Pedro Ramiro Guerra Suárez

Doctor Honoris Causa. National Prize for Dance, choreographer, artistic director and writer. Recognized as one of the most distinguished creators of spectacle and dance in Cuba in the twentieth century. His work constitutes the beginning of a dance tradition that ennobles Cuban art.

He was a creator whose dance aesthetics were given by an extensive fusion of techniques and studies, educated in classical ballet in which he assumed the basic principles.

Guerra (Havana, 1922), is recognized as one of the founders of the contemporary dance movement in Cuba. For the work of his life, he received the National Prizes for Dance (2000), Artistic Teaching (2006) and Cultural Research (2009).

Founder of the Modern Dance Ensemble, later Contemporary Dance of Cuba, his creative legacy also remained in companies such as the National Folkloric Ensemble, the National Ballet (BNC) and the Camagüey Ballet, and his teaching in many other dance groups and dancers of the country.

Researcher, essayist and critic. Pioneer of contemporary dance in Cuba, starting from the creation of the National Modern Dance Ensemble (later Contemporary Dance), in 1959. He is also founder of the National Folkloric Ensemble of Cuba. He has served as a dancer, choreographer, promoter and teacher of the first generations of this technique in the country and with his work he created the foundations for the development of the style of current Cuban dance. President of the Dance Center. He graduated in Law in 1949 at the University of Havana. He received the category of Doctor Honoris Causa at the Superior Institute of Art in Havana.

He adhered to the German school of classical ballet, which he combined with the influences of the modern dance movement of the USA, he received classes from Doris Humphrey and José Limón, although he recognizes Graham technique as his greatest influence. Upon his return to Cuba he dedicated himself to the study of Cuban folklore.

Ramiro dared to found a dance company in a country without tradition, without dancers, without audience. He had the lucidity to include in his creative project men and women, white and black. He knew how to creatively assume universal dance techniques and incorporate Cuban folklore into the training. He brought Cuban themes to dance and is a pioneer in studies on dance in Cuba. He was the first to publish texts on dance in Tablas, clarifying in many ways. Lucidity and wisdom to investigate, critical capacity and literary gifts are qualities that distinguish him.

He achieved his first major successes as a creator in the modern dance ensemble. With his work The Decalogue of the Apocalypse, he breaks with many theatrical parameters, privileges communication with the public, where he does special work in the show-public relationship, it was a very communicative and avant-garde work for Cuban spectators.

However his masterpiece is Suite Yoruba, where he establishes himself as a creator and achieves expressive levels and dance forms that constitute references in the Cuban cultural imaginary around dance. He is considered an avant-garde artist and one of the high standards of Cuban culture in the twentieth century.

Published Books

His theoretical production includes books such as:

Appreciation of Dance (1968).
Theatricalization of Dance and Other Essays (1988).
A Methodology for Teaching Dance (1989).
Dancing Caliban (1998).
Dance Coordinates (2000)
Eros Dances. Dance and Sexuality (2001).

Most Representative Works

Lament for Ignacio Sánchez Mejías (1954).
Gallant Impromptu (1970).
Fantastic Dances (1957).
Mambí (1960).
The Decalogue of the Apocalypse (1971).
The Miracle of Anaquillé (1960).
Chacona (1966).
Medea and the Slave Traders (1968).
Antillean Orpheus.
Trials by Ordeal.
Time of Chimera.
Suite Yoruba (1960).
Freda (2001).

Awards and Distinctions

Alejo Carpentier Medal (1984).
Félix Varela Order (1988).
Alejo Carpentier Essay Prize (2000).
National Prize for Dance (2000).