AS A steady and significant presence at the heart of global creative expression for centuries, dance holds an undeniable legacy. Its essence runs deep, sustained by powerful, soul-stirring projects—and the people behind them—who continue to deliver moments of beauty that transcend convention.
Guadalajara-born, New York-based artist Isaac Hernández belongs firmly in that category. “I’m number seven of eleven children, and we were all homeschooled in Mexico,” he recalls with a light laugh as our conversation begins. “[My brothers and I] trained in ballet with our father in the backyard of the house,” he reflects, pausing. “It was the central activity of our childhood.”
Photograph: Alessandro Lo Faro
Both of Hernández’s parents were dancers determined to raise their children differently. “My dad says it was an experiment—one that, had it gone wrong, could have landed him in jail,” he jokes. “Even though we were well-educated—my mum was a university professor and we were part of the Mexican education system—homeschooling was heavily criticised. Much of our extended family thought my parents were antisocial or a little eccentric.”
Looking back, though, Hernández is grateful. “We learned at our own pace and were exposed to piano, martial arts, ballet—so many extracurriculars. But more importantly, we were encouraged to follow our dreams, and I feel like not every kid gets that opportunity.”
On his first memory of dance as an art form, he speaks with unguarded honesty. “I can’t help but think of those days we used to train in the backyard where clothes were being hanged, and one of the routines was moving all the pieces so we could use the windows as mirrors,” he recalls, adding that, “then we would lay down two blocks of wood with tape from the middle to the centre of the patio, open it up, get one of those paint buckets and flip it over; that was a daily routine before class while waiting for my dad.” But there’s more to the story. “Looking over at the kitchen window and seeing my sisters and my mum looking at us training and being supportive about what we were doing was the best feeling.”
A 2003 documentary, Born to Be Wild by American Ballet Theatre, ignited his deeper passion for dance. “It was a VHS tape featuring Julio Bocca, Ángel Corella, José Manuel Carreño, Ethan Stiefel… an incredible generation,” he shares.
“It was the first time I saw what a professional dancer really looked like. Until then, everything I knew came from stories my dad told before class.” He cites Mikhail Baryshnikov as a lasting inspiration. “He had a brilliant mind and vision, and he wasn’t afraid to step beyond the stage—that’s something I find deeply motivating.”
Photograph: Alessandro Lo Faro
At 12 years of age, came the phase of discernment. “I got a few scholarships: one was to train at the Paris Opera, another was to attend a school in the States (Philadelphia) and there was also an option for the Royal Ballet—-but I didn’t know exactly what all that meant,” he says. “I just knew from my dad’s point of view that if I wanted to have a professional career, I really needed to move away from Mexico. So at 12, I made the decision to go to Philadelphia, and I believe that decision meant committing myself to that career and dream.”
Hernández trained for four years at The Rock School for Dance Education in Philadelphia. At 17, he ventured into the American Ballet Theatre’s Junior Company (where he remained for a year), and then joined the San Francisco Ballet for four years, which led him to become a Soloist.
After, he moved to Amsterdam’s Dutch National Ballet for three seasons landing him a gig as Principal dancer before guesting at the Paris Opera, the Mariinsky, and the Bolshoi. After seven years with the English National Ballet, he returned to San Francisco for two seasons—and now, he’s come full circle, joining American Ballet Theatre as a Principal Dancer.
“I’ve really enjoyed every phase of my career because I haven’t been afraid to take on challenges,” he confesses. “I have a friend that directs movies and shows and he invited me to be part of a Netflix series that he was doing and he wanted to bring ballet into the platform: I got to work with Carlos Saura in his last movie he made with Vittorio Storaro, and just recently I shot a movie with Jessica Chastain by Michel Franco.” Hernández finds the creative process scary and exposing, but he has a creed he swears by. “I won’t say no out of fear.”
Photograph: Alessandro Lo Faro
He opens up about the complexities along the way. “There’s always discipline and human error,” he says. “I was injured at 15, then again at 19—serious herniated disc injuries that didn’t look promising.” He describes himself as stubborn, admitting the emotional toll of being far from home.
“Your parents age, life shifts, and you realize how emotionally heavy it all is. I’ve lost two brothers—one before I was born, and one while I was abroad. There’s guilt in having pursued something so passionately that it took time away from my family.” He adds, “My mum has even said she wishes I hadn’t been so successful—because in some ways, it meant losing me.”
As part of the roles that reflect him the most, Hernández has always enjoyed performing Romeo because his personality is easily relatable to it. “I suppose it also has to do with leaving home at 12 and falling in love with every girl I would meet, or having that openness to life and willingness to go until the end of everything I experience,” he says. “I think as I’ve grown older, I’ve tried to keep that present in my life and in my personality; that willingness to be open to the world, to life and to people and to give myself to the people that are around me.”
Photograph: Alessandro Lo Faro
But there’s been amazing roles created for him as well, which he deeply cherishes. “A few years ago, we created a piece at San Francisco Ballet with an amazing playwright called Sam Shepard, Floating Points, and choreographed by Aszure Barton,” he shares. “I got to play Prometheus in Pandora’s Myth: I really enjoyed playing that character, as it allowed me to bring different qualities on stage that sat more on a darker edge.” But joys aside, there have been roles that felt a tad more distant.
“Prince Siegfried in Swan Lake is a complicated role to play for me because most of the versions that I’ve performed give very little chance to really say much about the character, his intentions or his personality,” he opines. “It’s very much focused on getting on to the second act and the swans,” he says.
Looking to the future, Hernández is fully immersed in Despertares Ballet, a project he leads with his sister Emilia to support young artists. “At 19, we started a production company together—Soul Arts Productions—and began creating large-scale shows, taking on huge responsibilities, including managing teams and finances. But the mission was always clear: to shift the perception of dance in Mexico.”
The effort has paid off. “Now we sell out 10,000-seat venues and are building a real cultural movement. We’ve helped young dancers get scholarships to places like the Royal Ballet School, San Francisco Ballet School, and the English National Ballet,” he says. “We’re making a difference—but I’ve definitely pushed myself, sometimes putting my own career second.”
Photograph: Alessandro Lo Faro
Photograph: Alessandro Lo Faro
Setbacks remain part of the journey. “I’ve had enough to know not to repeat certain mistakes,” he says with a laugh. “But something new always pops up. I’ve learned to focus on the bigger picture rather than getting stuck in moments that don’t go as planned.”
He speaks with excitement about the major premiere that will fall into place in due course, followed by an equally major feat: the movie with Jessica Chastain and his show in Mexico City on 30 August, which will be performed in front of 10,000 people. “I’m really excited because I’m getting a lot of friends to come to Mexico to dance for the first time,” he says. “And then I’m really excited to be able to finally debut at the Met here in New York, as I feel like I’ve been waiting 35 years to debut in this theatre!” he exclaims.
As we wrap our conversation, I sense an artist looking—with sheer poise and soulful intention—more inward than outward, as he builds his legacy. “I really hope we manage to retain this sort of excitement and willingness from the audience to participate in live performances—while sharing these experiences—which are really important not only for my industry, but for the arts and for the world at large,” he concludes. “I hope to continue having what it takes to create these moments and have access to beauty. It’s something that I hope remains a priority in people’s lives.”
by Chidozie Obasi
Photographer: Alessandro Lo Faro
Director: Andrew White & Sam Bates
Art Director: Sam Bates
Cinematographer: Andrew White
Stylist: Cassadee Chase
Grooming: Alexandra Osipova
Photography assistant: Yong Min Park
Styling assistant: Olivia Kierstead
Clothing Credits:
Look 1: Suit CHRISTIAN COWAN | Necklace INDIE STUDIOS | Shoes MODEL’S OWN
Look 2: Jacket FIVE, THOUSAND | Shirt, leggings HELMUT LAND | Shoes MODEL’S OWN
Look 3, 4: Top VOLKOV | Trousers MOSHE YOSSEL | Jewellery MANSAI
Look 5, 6: Top ECKHAUS LATTA | Tank MAX MARA | Trousers KIDSUPER | Belt SOJI SOLARIN