Among the work of new choreographies, shows and premieres for the next months, the DCC representative, Jorge Brooks, spoke to Cuba Contemporánea on the recent tour of the company by several European countries, where presented key works of its repertoire and returned to live days of organic relationship with different audience.
How would you evaluate the recent tour of Contemporary Dance of Cuba in Europe?
-When companies leave the country return saying that they won out. I am of whom they say that Contemporary Dance of Cuba does not prevail abroad, but did his work, because to be artist it is a job like any other, with certain characteristics. Celebrating 55 years of work in this 2014, is a significant date because it has been 55 years of the triumph of the revolution, of the Foundation of emblematic institutions such as Casa de las Américas, ICAIC, the National Theater of Cuba with their respective departments, including that of dance, led by Ramiro Guerra, which was founded on September 25, 1959. It is revealing that shortly after the triumph of the revolution, was founded what is now Contemporary dance of Cuba and began to take shape the dance movement of the country, which worked to show Cuba at the scene .
In which places they appeared?
-The tour began March 22 in the Netherlands, where we introduce ourselves in four cities. Only in a City Theatre was not sold in advance and was in The Hague, where we agree with Obama, who attended the Nuclear Security Summit, and roads were blocked for security reasons, there were even protests in the street.
There we meet Jan Linkens, the choreographer of this marvelous work which is Compass. He told us that we are a privileged company, then by the economic crisis Dutch companies cannot turn, not even within Holland, with more than 12 dancer. We left Cuba with 31 people to act on some of the most important theatres in Europe. It was a privilege, a recognition to the work of Contemporary dance of Cuba, to the dance movement in this country, Cuba.
Danza Contemporánea de Cuba – Demo-n-crazy
Then we went to Germany for 22 days, theaters were sold out four months in advance, we went in that country 4995 kilometers and we passed many times through the Rhim. We also presented in Luxembourg and then Switzerland. In the latter country, we attended the Steps Festival, the most important festival of dance in Europe, funded by the cooperative Migros, a company of great might, which sells its products at half price. Upon the death of the founder leaves by Testament a percentage of his wealth to invest in education and culture. The Festival invited 12 companies from different parts of the world, the tickets were inexpensive. We showed in several cities. It was a very well-organized tour, we work with much ease.
I would like you to share some stories of what happened in those days
– Something curious happened in Luxembourg. We made Identity to minuses 1, by George Céspedes, and Demo-N Crazy, by Rafael Bonachela, a spectacular work, which includes the song "Ne me quitte pas", with a male Duet, all Theatre chanted the song. At the end of the work the dancers remain head down on scene: the public came out of theatre because imagined that it was ending the function. Managers of the Theatre closed the doors to alert that a piece, Mambo 3XXI was still missing. Usually, in Europe become programs of one hour duration and a single piece. The second night it was announced that they were three pieces and the public remained in their seats. The first night in Germany theatre director asked us to do only two parts and we agreed. The public would kick the floor, which is a demonstration of satisfaction, and we had to make the third piece. The Swiss, who initially wanted to only two parts, then they asked us three, and that made us very happy. I tell these stories because I think that sometimes do not value as we should to the companies that we have in Cuba. We have very good companies and good dancers across the country. When we released in Cuba Identity to minuses 1, critics received it with indifference, and on this tour, the work was applauded. It is true that we worked after the premiere, and it had matured to reach Europe.
I have some news that it produced exchanges with the public after the functions
– During the tour, at the end of the function, talked to the public, through the system of questions and answers, about the company, about dance, about Cuba, about our system of artistic education. That pleased us much. In many cities we do workshops on modern dance and Cuban folklore, Professor Yoerlis Brunet teaches them. Developers are asking us to do the workshops because in Europe there is much eagerness to know the Cuban modern dance technique, gladly share our knowledge.
Which is the proposal that more hits the European public?
-The first thing that impacts in Europe is to see the Cuban technique of modern dance, which is unique, and trains the dancers to do anything onstage. Many came to us to learn about our system of training, to learn about the Cuban School of modern dance. Nearly all of the Cuban dancers who roam the world are employed in companies. Our company also has incorporated other forms move through workshops, working with choreographers from other parts of the world, so our technique is enriched. It is the same as Ramiro made in the founding years. No one moves in the world as the Cuban dancers.
Can the dance destroy false images on Cuba?
Danza Contemporánea de Cuba – Mambo 3xx1- The Swiss newspapers said: Contemporary dance of Cuba achieves a great success, and we were proud to know that we represented our country. At the Festival of Switzerland were large companies such as Akram Khan and Sidi Larbi Cherkaoui, but only us dance in the Opera of Bern. Technicians are admired because they said we just use the technology, and it is that what matters most to us is the dancer. We want to move thinking from what we do, but we want the public to see dance well danced. The public says to us that the press only speaks badly of Cuba, asks how it is possible that there are dancers like those, or that dances a work like Demo-N Crazy, where there is a homosexual relation.
How continue the festivities for the 55 years of life of the company?
-At the beginning of June we participated in the Incol Ballet Festival in Colombia. We attended the event last year and they returned to invite us. We presented Compass, the work of Jan Linkens.
Then we will have a work with Julio César Iglesias and another with Alejandro Zaneti. They were principal dancers of the company, one lives in Germany and the other lives in Mexico.
A part of the company will work with Carlos Acosta in the Suite of Tocororo, at the Royal Opera House. The greatness of Carlos has led him to do, in that great theater, a single program with Cubans. It will be the first dancer of the Ballet Nacional de Cuba Veronica Corvea, and they will dance works by George Céspedes, Alexander Varona and Miguel Altunaga. Even musicians are Cuban. We have anticipated premieres of the revered Bill Cowie, Anabel López Ochoa, Itzik Galili and Marcos Morau. The latter received the national dance prize in Spain last year. We hope everything goes well.