YuanYuan Tan

Yuan Yuan Tan (born in Shanghai, China) is a world-renowned Chinese ballet dancer, celebrated as one of the most accomplished prima ballerinas of her generation. She began her training at the Shanghai Dance School at age 11, overcoming initial resistance from her father, who preferred she pursue medicine, with her mother’s support and a decisive coin toss determining her path. Tan’s prodigious talent shone early, earning her a gold medal at the 5th International Ballet Competition in Paris (1992) and both a gold medal and the Nijinsky Award at the 1st Japan International Ballet and Modern Dance Competition (1993).

At 18, after further training at Stuttgart’s John Cranko School, Tan joined the San Francisco Ballet as a soloist in 1995. Just two years later, at age 20, she was promoted to principal dancer—the youngest in the company’s history—marking an exceptionally rapid rise. Over her 28-year career with the San Francisco Ballet, Tan’s extensive repertoire included leading roles in classics like *Giselle*, *Swan Lake*, *Romeo & Juliet*, and *The Nutcracker*, as well as works by choreographers such as Balanchine, Ashton, Wheeldon, and Possokhov. She originated roles in numerous ballets, including Helgi Tomasson’s *The Fifth Season* and Christopher Wheeldon’s *Continuum*, showcasing her versatility and artistry.

A frequent guest artist, Tan headlined galas like “Yuan Yuan Tan and Eight Ballet Stars” in Nara, Japan (2003) and “Yuan Yuan Tan and Friends” in Shanghai (2000). Her accolades include an invitation to the White House (1999), the Shanghai Magnolia Silver Award, the Isadora Duncan Dance Award, and being named one of Time magazine’s “20 people under 40” heroes from Asia (2004). In 2018, her story of perseverance was featured in Chelsea Clinton’s book *She Persisted Around the World*. Tan also served as artistic director for the Shanghai Grand Theater’s reimagined *White Snake* (2022), earning praise for her innovative choreography and powerful performance.

Tan retired from the San Francisco Ballet in February 2024, with her final performance as Marguerite in Frederic Ashton’s *Marguerite and Armand*. Despite some controversy over the handling of her farewell, her legacy as a trailblazing dancer endures, marked by her grace, resilience, and profound contributions to the global ballet community.