━Get Refined at Class A, the Sanctuary━

Useful Techniques, Usable Body.

The first priority is to become the type of dancer that can perform under any circumstances, regardless of which country or organization it is in.

I have trained dancers with various abilities, sensibilities, and mindsets, many of whom did not possess idealistic physical attributes.

However, all of them, without an exception, were able to improve upon their ‘then-current’ skills, transformed themselves and departed for each of their respective destinations.

The key is to teach a student ‘what is right for that student.’

“The method, in the true sense of the word, only exists within the dancer itself.”

The instructor’s role is to discover it for the dancer, and present it before its eyes, step by step・・・

Thereafter, the process is simple, in that the student will absorb it like a sponge and digest it.

By teaching them the right thing, or giving them a little hint, they will begin to transform themselves, like a fish in the water.

Confidence and Joy in Taking Responsibility to Train and Help Them Grow.

All-too-familiar customs such as study abroad and training programs could be the business tools for the benefit of schools and contests. However, in most cases, they might not produce the expected result, realistically speaking.

Students who were blessed with the ability from the start may benefit by going overseas. However, I have never seen an adult or young dancer in my life, who showed remarkable improvement in dance skills upon their return from overseas.

Even in cases where young and adult dancers want to become successful overseas, or simply to dance somewhere outside Japan, the future for the dancers, their family and others surrounding them would be more secure and brighter, had the dancers first mastered ‘the proper techniques and strength.’

What separates success from failure in the future for aspiring dancers lies in seeing the reality as it is, and acquiring the proper techniques that are agreeable regardless of who is seeing the dance, or where it is being seen.

When the times comes for them to try out for top-notch domestic and international ballet companies, the dancers will only have themselves to rely on, and no name of school or instructor will have bearing on the outcome.

Ultimately, only the techniques of ballet per se will be judged.

Can the dancer perform, or not? Is the dance beautiful and attractive, or not…?

We, CLASS-A BALLET, truly wish that all students, including those who do not aspire to become professional, could first be the dancers that possess both universally-acceptable techniques and physical ability. To this end, we have literally adopted the motto of ‘watch carefully to the degree it will almost make a hole’ as one of the school’s key guiding principles.

It all boils down to the fact that the students would be able to confidently consider ballet as one of their career options when the time comes for them to decide on their future, as long as they had acquired ‘the usable ability.’

━What Is Important Is Not to Try to Be a Professional but to Have the Techniques to Become One Whenever It Is Desired.━

At CLASS-A BALLET, current professional dancers and the studio’s exclusive instructors, whom I meticulously trained, will share with each and every one of the students all their top-level techniques and deep sensibility that they themselves use to perform.

In addition, to enhance the physical ability and build the proper body as a dancer, we have incorporated the ’Funbo’ training method in our core curriculum, through which ‘reliable techniques as well as powerful yet smooth movement’ that are essential for good dancers can be obtained.

Let’s aim to become top-notch, world-class dancers with us at CLASS-A BALLET, where you will gain your true capability and confidence.

Hiro Asari

In 1999, he established the Dancers’ Thera-pit, a medical conditioning laboratory, to provide diversified professional therapeutic responses including emergency care, rehabilitation, and conditioning training for professional ballet dancers. Based on long-term research and his considerable experience in tough professional situations, he developed his own Ballet Performance Enhancement Program, which builds up the body to function more efficiently and smoothly.
He has treated a total of more than thirty thousand professional ballet dancers thus far, and his performance and achievements are highly regarded by the cognoscenti inside and outside of Japan. He has thus become a charismatic figure in the ballet world.

In 2005, he developed the Funbo (Functional Body Workout) Method, an authentic workout program whose concept is “building up an attractive and functional body”.

In January 2008, he opened the Class-A Ballet Studio in Chiba, offering high quality ballet lessons and the Funbo Method classes.

In fall 2008, in addition, he opened the Funbo Personal Style Omotesando in Minami-Aoyama, a studio to provide a more genuine core Funbo practice personalized to each individual.

In 2010, he formed a youth ballet unit, Class-A Ballet Youthful Stages (CABYS), the members of which are mainly students from elementary to senior high school age. He has been giving regularly scheduled performances with them to develop promising future ballet dancers who have extraordinary technique, power and humanity. They have been enchanting many fans with their performances.
In his other persona, as an actor, he appeared as one of the main cast members in many international and domestic films and stage works. Receiving many offers from abroad, in the blockbuster movie, The Last Samurai, starring Tom Cruise, he played Hirotaro, the younger brother of Katsumoto played by co-star Ken Watanabe and the husband of the heroine played by Koyuki. He showed his wonderful and enthusiastic performance in the man-to-man fight scene in the movie with Algren played by Tom Cruise and gained a good reputation from all over the world. He has also utilized such extraordinary personal experiences from that highly professional world in his unique training method.

His activities, however, are not limited to the ballet world. He has also drawn much attention from creators in multiple fields and is now involved in body makeovers for many artists, models and other celebrities.

In recent years, he has greatly contributed to theatrical art works, mainly classical ballet performances, as a scriptwriter, producer, director and choreographer. Now, he is more enthusiastic than ever in pursuing new activities.