The director and prima ballerina of the National Ballet of Cuba (BNC), Viengsay Valdés, seeks balance in each movement: between legacy and renewal, between office and stage, between the classical soul of the institution and her eagerness to open it to new trends.
In an interview with EFE on the occasion of the BNC’s 75th anniversary in October, Valdés said that she does not plan to hang up her pointe shoes in the near future, that she has “a lot to do” in the company and that she “would love” to choreograph a work herself.
“It’s a historic moment for me, special, exciting, because being at the helm of the company is a great responsibility. It’s something that I am very committed to and I feel that I have to give even more in memory of all of them,” she says in reference to the historic shortlist (of dancers) launched by the BNC: the master dancer Fernando Alonso, the prima ballerina Alicia Alonso and the choreographer Alberto Alonso.
Valdés speaks of the “pride of the past”, “of history” and the “legacy” of the company, as well as the “honour” felt by the current generations to continue “with the tradition, with the fulfilment of the dream that the founders of the BNC had”.
She assures that “it has been very difficult to always maintain such a high technical-artistic level”, but considers that it has been achieved “thanks to the demand, commitment, perseverance, dedication of so many generations of dancers”.
Now, with the serious economic crisis that Cuba is suffering, she points out that the challenges are even greater, due to the financial difficulties to carry out projects and the departure of dancers every time the BNC goes on an international tour. However, Valdés stresses that this has not slowed them down.
“We understand the reasons, whether personal or professional,” for leaving for “a better contract or artistic improvement,” says the director of the BNC, who prefers to “focus” on those who remain, because they are “continuity and the future.”
She acknowledges that among the most difficult moments of the BNC are times like the present, in which “many dancers” leave the company, although she assures that it is “incredible” how the institution “recovers” and “reinforces” itself with the “direct” feed from its school.
After three years at the helm of the BNC, she recognises the “great responsibility” and the “great commitment” involved in acheiving the international benchmark that was Alicia Alonso at the head of the institution. But it also highlights the opportunities that come with the position.
As director she can “make a contribution” from her “vision as a prima ballerina”, and leave her mark thanks to her almost 30 years of experience at the BNC.
“That [experience] helped me see some mistakes and that I wanted to say, ‘this can be done better’ or ‘I would have loved it to be done this way’, and [now] I try to put it into practice,” she says.
“I always wanted to bring renowned international choreographers who could give us that capacity for diversity in our repertoire, which has always existed, but which I always wanted to update in recent years,” explains the dancer.
At the head of an institution known internationally for its classicism, Valdés nevertheless stresses the importance of renewing itself: “It is very necessary for us to update ourselves. We must expand.”
“We can do a great classic like Swan Lake, which is one of the most famous performed by the BNC, just as we can do a beautiful, neoclassical program, like Beethoven’s Seventh Symphony,” she says.
On a personal level, the director of the BNC also has plans. “I maybe still have to make my own choreography, from a classic or a different creation. I don’t have the time yet, but I’d love to leave a legacy there,” she says.
Despite the difficulties in combining her duties, she assures that she does not have a date for leaving the stage: “Only time will tell.”
“It’s a great decision to still be active, but I think the time will come when I stop dancing and dedicate myself to the directing role fully. But as long as I can do it, I’d love to keep dancing,” says Váldés.
Link to original report by CubaSi.cu in spanish
In another interview Viengsay said that 2023 has been important for the BNC, as they have resumed tours in countries such as Costa Rica and the Dominican Republic, places where they have not performed for several years.
The BNC’s 75th birthday was marked by a program of activities through October with performances every weekend of that month at the National Theatre of Cuba with a special gala on 28 October. Viengsay also announced the company intended for the celebration of its 75th anniversary to resume performances in schools, factories and hospitals, as its founders did.
Declared in 2018 as Cultural Heritage of the Nation, the National Ballet of Cuba has staged 784 works by 212 choreographers since its founding.
Link to original report in Spanish by ACN
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