Born in Tahiti, Mikael began his training at the Paris Opera School of Dance at the age of 14. After graduating, he launched his professional career at the national theater in Leipzig, Germany. He then returned to France to dance in Nice, before joining the Víctor Ullate Ballet in Madrid, with which he toured extensively across Europe. His path next led him back to Germany, where he performed at the national theater in Cottbus, followed by engagements with Tanzcompany Innsbruck in Austria and then Theater St. Gallen in Switzerland. His final stage as a dancer was at the Gärtnerplatztheater in Munich—a defining chapter in his journey. After two decades in the dance world, Mikael began a new chapter by transitioning into media studies at the Bayerische Akademie für Fernsehen, where he is currently enrolled.
You’ve experienced an incredibly diverse career across many different companies and styles of repertoire. How did you approach the end of your dance career?
Mikael Champs: I suppose it felt a bit unreal somehow, as though it wasn’t really coming to an end. I continued working, performing, and enjoying dancing just as much at the end as I did throughout my career. Even though I had made the decision, I didn’t change my behaviour until the very last moment.
My final performance was quite demanding because we had so little time. I was still going through corrections and focusing on all the details to perform at my best - not because it was my last, but simply because I wanted to perform as I always had. Somehow, it didn’t really sink in, and it took me a while to fully realise it. I think I’m still in the process of understanding what it means.
Logistically, how did you know it was time?
Mikael: There was an event that pushed me to reconsider my situation. The thought of what would come after dancing had been in my head for a while, but I hadn’t fully committed to making a change. I was caught off guard when my boss didn’t renew my contract - I was surprised because we had a positive meeting a few months earlier, and I’d been given special roles throughout the season, including my first lead role.
My initial reaction was to keep doing what I’ve always done and find a new contract. But since I typically moved on every few years, I thought, “Maybe it’s already time.” Then I reconsidered. Munich is a great city for a transition, full of opportunities and resources. I thought about finding a job elsewhere, but at almost 40, starting over in a smaller city didn’t feel right. That was the pivotal moment when I decided to begin the transition.
I was also starting to build more contacts in the cinema industry and doing more editing. I’d started editing projects at my theater and received positive feedback, slowly considering it as a potential path. I thought I’d transition gradually over a year or two, but instead, I was propelled into it. I still feel I made the decision, just at a faster pace than I’d expected.
What did you find most challenging about retiring from the stage?
Mikael: I still relate so much to dancing in the way I see the world and feel my body. The hardest part wasn’t missing dance itself but facing a whole new world that feels vast and humbling. There’s so much to learn, and talented young people constantly surprise me with their abilities.
My colleagues always inspired me, and now young students do too. But seeing their talent can trigger self-doubt - that ever-present question: Am I good enough? It never really goes away in the artistic field. Some days, you feel amazing; others, you question everything.
Interestingly, after retiring, I started putting music on and dancing around in my flat, like the teenagers in front of a mirror in the movies. I started just moving for fun, and that’s how I’ve been living with dance more in my daily life now. For me, dance is much more than just pliés or tendus. It’s about connection - with people, the room, the shared energy. So because I think of dance as a state of mind and a lifestyle, it feels like I haven’t really left it yet.
Your videography and editing are still aesthetic, visual art forms, like dance. Has your dance identity influenced how you create when behind the camera?
Mikael: It’s extremely connected. People are surprised when I say I want to edit, calling it a “static job,” but I feel like I’m dancing with the images on my computer. I almost take on the role of a choreographer, refining something over and over, much like repeating steps in rehearsal. I feel that my relation to musicality, space, and human connection - all qualities I developed as a dancer - serve me so well as an editor. I can translate all of those feelings into my videos.
For example, I recently worked on a piece where my partner focused on when an eye appeared on screen, but I cared more about when the movement began. For me, it’s about the flow - where the movement starts and where it leads. I try to help the audience develop empathy for the character, using non-verbal communication to create an emotional connection.
Building a transition within a structured environment has been good for me. It allows me to give my best because I know I have a certain framework to work within.
What are you studying now, and did you complete any prerequisite or introductory studies?
Mikael: I’m studying editing at the Bayerische Akademie für Medien (BAF), which also offers courses in camera and journalism. As editors, we need a broad understanding of other departments since we’re the ones who bring everything together. Normally we also do visual effects, but this year it was not included.
Before applying, I visited the school to get a feel for the environment and showed them some of my previous work. After a second interview, I was thrilled to be accepted the same day.
Is it a full-time course?
Mikael: It’s a full-time course - we study from 10 a.m. to 5 p.m. on weekdays - but I also took on several other commitments. I did an internship at the Gärtnerplatztheater, creating a series about behind-the-scenes departments of the theatre that we don’t usually see, like metalwork, prop-making, and set painting. I fought hard to get that internship because it wasn’t part of their usual structure, but eventually, they welcomed me onto the team.
I’d wake up early to film material at the theatre, then go to school, then sometimes work for a production company afterward. That company, Nightfrog, produces dance pieces, concerts and documentaries, and they’ve worked extensively with Richard Siegal and the Ballet of Difference. I’ve learned a lot from them.
I also worked on a feature film trailer and continued contributing to a documentary that began when I was 14, following my journey from Tahiti to the Paris Opera Ballet School. I’ve now stepped into a co-author role, helping shape the structure of the film. It’s a very different kind of project for me because I’ve been in front of the camera for much of it. Now, I’m involved behind the scenes as well, thinking about what to show and how to reorganise the structure. It’s given me a whole new perspective on this industry.
I feel that my relation to musicality, space, and human connection - all qualities I developed as a dancer - serve me so well as an editor. I can translate all of those feelings into my videos.
What are the skill sets that dance has given you that you have transferred to your current profession?
Mikael: I’m very thankful to still have a structure around me with my studies. As a dancer, it’s true that we develop a certain discipline, but that discipline is often imposed on us - it’s not necessarily self-discipline. So building a transition within a structured environment has been good for me. It allows me to give my best because I know I have a certain framework to work within.
One quality I’ve carried over to my new field is passion. I have a tendency to go all in, turning hobbies into semi-professional pursuits because I want to reach the highest standard. That drive can be emotionally intense, but it gives so much in return. When things go well, I feel extremely happy, but when things don’t go as planned, I feel deeply disappointed in myself. It can hurt, and it takes time to recover from those moments.
Is there anything you think schools or companies could do better in terms of preparing dancers for this inevitable step?
Mikael: It would be helpful if promises of support were more than just words. For example, I had to fight for my internship; I’m thankful for the little bits of help I had along the way, but I would say a good 95% of the effort came from me. I didn’t let go. I knew it was a good opportunity for me and I created it.
It’s hard to say how schools or companies could have accompanied me better, as it’s such an individual process that I don’t really feel qualified to generalise. I was lucky that my school encouraged us to finish our academic studies. That foundation helped.
When I started editing, it wasn’t immediately clear that this would become my path after dance. It might have been nice to have someone guide me through the process. Perhaps someone could have made me feel safer during the transition. Even though I didn’t know exactly what I wanted to do, I trusted the process. I told myself, I’ll just follow my path because the way I live will help me get there. For me, the most important thing was to gradually develop a new passion.
Perhaps what could help us make the most of our futures is knowing how to translate our unique qualities into something useful and something aligned with what we wish for ourselves.
Do you have any other advice for dancers who are considering a career transition or are about to embark on this journey?
Mikael: For those who are beginning to think about what life after dance might look like, my suggestion would be to find something that feels truly worth it in your life. As dancers, we put so much passion and enthusiasm into our careers. So the question becomes: What will make my life just as exciting? It’s not usually something that happens overnight, unless you have a “love at first sight” moment with a new path. It’s probably more like building a relationship, slowly growing over time.
I would encourage dancers to explore interests outside of dance. This can be useful as a dancer anyway, as it can enrich your artistry. Try to engage with something new in your free time. Of course, it’s hard - we work intensely as dancers, and there are injuries and pain to recover from. But if you can push yourself to step outside your comfort zone, it can set a wheel in motion that gives you energy and fuels your curiosity to keep discovering.
Eventually, you’ll find something worth investing more time, energy, and passion into. That may be the key to building a bright and fulfilling future.
Top image by Marlies Kross
