Women with Purpose
Ketevan Papava
From war-torn beginnings in Georgia to the world’s stages, Ketevan Papava’s career has been shaped by discipline, resilience, and an unwavering sense of purpose. Trained at the renowned Vaganova Academy and now a principal dancer with the Vienna State Ballet, she is known for embodying strength, elegance, and emotional depth on stage.
Today, as a mother of two, Papava brings both life experience and artistic maturity to her performances — including the globally broadcasted ballet interludes for the Vienna Philharmonic New Year’s Concert. We spoke with our latest Woman of Purpose about artistry, movement, and the inner drive that carries her through every role.
Interview
You recently appeared as prima ballerina in the New Year’s Concert Ballet 2026. What does this moment represent for you?
It’s an enormous honor. The concert reaches audiences all over the world. I’ve danced it many times, and it feels like family — I know everyone involved. Being part of it is truly a gift.
How would you describe the concert in three words?
Magical. Elegant. Tradition.And if I may add one more: a new beginning.
The New Year’s Concert also marked the 20th anniversary of John Neumeier and Albert Kriemler’s collaboration. How did you experience their creative partnership?
Albert and John are both extraordinary artists, and they understand each other very deeply. Albert’s designs are almost architectural — very clean and elegant — while John focuses on emotion and storytelling. Together, their collaboration becomes a true Gesamtkunstwerk.
Talking about design: which costume makes you feel most powerful on stage? What should costumes contribute to dance?
Power comes from comfort. When a costume feels like a second skin — when nothing distracts or restricts you — that’s when you feel strong. Freedom of movement is everything.
Does the choice of fabric play a special role for you? What does the material need to do to work with you as a dancer?
It plays a very important role. I like materials that are soft, light, and truly move with you. The fabric should support the dance, not interrupt it. With modern costumes, you also see more of the body, which gives you greater freedom of movement.
What about offstage? What do you wear when you feel your best?
Comfortable, minimalistic pieces made with quality. I don’t need much — just clothes that feel honest and effortless.
What makes the Vienna State Ballet unique in your eyes?
Its international spirit. We are artists from all over the world, and art brings us together. We work with extraordinary choreographers, and now, under the direction of Alessandra Ferri, the company is constantly evolving. It’s deeply inspiring.
Do you have a pre-performance ritual?
I don’t believe in rituals, but I do have one quiet moment. Two minutes before I step on stage, I pray. I’m a religious person, and that moment helps me feel grounded and present.
Pointe shoes or bare feet?
Both. Pointe shoes are my home. I was trained as a classical ballerina, and they give me structure and strength. Bare feet represent freedom. I need both in my life as an artist.
You’ve portrayed a wide range of roles. Which ballet heroine do you feel most connected to, and why?
Tatiana from Eugene Onegin. She has a strong character and deep emotions. I never danced Juliet in Romeo and Juliet, but I feel very close to her. She has so much light and innocence, and she loves completely. I also deeply relate to Cinderella — not because of the fairy tale, but because she fights for her future and never loses hope.
How do you approach and immerse yourself in these roles?
When you prepare a role, you put on a second skin and dive into another life. You give something from your heart, but you also learn a lot. That is the beauty of our profession — we live many lives on stage and tell stories through the body.
When did you first know you wanted to become a ballerina?
I grew up surrounded by dance. One of my aunts was a prima ballerina at the Mariinsky Theatre, and I watched her perform from a very young age. Like many little girls, I was enchanted by ballet — the beauty, the costumes. Only later did I understand how much discipline and hard work exist behind that elegance.
If you could give one piece of advice to your younger self, what would it be?
Don’t overthink — just go for it. When I was younger, I thought too much before taking a step. Now I trust myself more and follow my inner path.
You are the mother of two daughters. How do you balance motherhood and such a demanding career?
It’s challenging, and balance is never perfect. In the past, people believed that motherhood ended a dancer’s career. I experienced the opposite. Becoming a mother deepened me as an artist. It gave me emotional richness, vulnerability, and strength. When I dance now, I bring my entire life — and all its love — onto the stage.
Do you have a daily mantra? What motivates you to get up every morning?
My daily mantra is kindness and presence. I try not to dwell on the past or worry about the future, but to stay fully in the moment. What truly motivates me every morning is love — love for my family and love for my work.
You are an Akris Women of Purpose. Personally, what does purpose mean to you?
Purpose gives direction, especially in difficult times. I began my ballet training in Georgia during the war. Later, my aunt took me to St. Petersburg so I could continue dancing. I was very young, far from my parents, surrounded by a new language and culture. It was incredibly hard. But I had a clear goal — I wanted to become a ballerina. When you know where you are going, purpose carries you through challenges and makes you stronger.
