Viengsay Valdés: "I Still Have Much to Dance"

February 11, 2020

In one of the halls of the Ballet Nacional de Cuba, prima ballerina Viengsay Valdés rehearses with Dany Hernández one of the most difficult pieces in the company's historical repertoire: Theme and Variations. It is the choreography that George Balanchine created for Alicia Alonso in 1947. It is said that the celebrated choreographer did not make it easy for the dancer: the sessions were almost a battle. Challenge after challenge, the work came together.

Viengsay Valdés, as everyone who knows her is aware, never takes a rehearsal lightly. "Imagine this one, which is a ballet conceived for Alicia. You have to be up to her level, you have to do it very well."

The thing is that Viengsay Valdés is no longer simply one of the leading figures of the company; she is also now the general director. One would suppose that time is not something she has in abundance. So she grants us the interview during a break, still wearing her pointe shoes.

—After your appointment, the support from the government, cultural institutions, artists and the public has been remarkable. Recently you received a congratulation from Raúl Castro himself…

—He saw me dance many times and the fact that he kept me in mind in that congratulation from admiration and respect, knowing that perhaps I was the right person, has been a most pleasant surprise and above all it is a great commitment.

—You have said that this commitment is based on continuity, but also on renewal. It is clear that ballet is not a museum art.

—Continuity, of course, implies respect for a historical legacy. But it does not exclude continuing to work toward renewal. An evolution, an updating of our Cuban ballet.

"I believe that without losing our essence, without forgetting our roots, much can and should be contributed to the company. To its repertoire. To the daily work in the halls and its result on stage. There is still much that can be done.

"Since I was named associate artistic director I had it very clear, I have it clear now that I am leading the direction. It is the way that from within I can motivate a change, which always seemed necessary to me.

"Dancers need versatility. It is a necessity to develop not only in the great classics of the repertoire, which is what our company has done above all. There is also a need for dancers who have a capacity, a broad range of styles that allows them to work with any choreographer, with any language.

"That is vital. They cannot tell us that this company has specialized only in one branch of dance. The ideal would be for them to consider us an integral company, possessing an international seal.

"A seal, of course, that stands out the ensemble; it is not about stimulating individualism. But the range, the diversity of styles and expressions, must be seen.

"That is what I want to offer the dancers. It is the way to complete the technical and artistic development of all of them."

—There is a tradition of dancers who have directed companies while continuing to dance. Alicia herself did it for a long time. To what extent is this a challenge for you?

—I can assure you that it is very difficult. No one imagines my day to day. I dedicate the morning to the physical part, to my training, to perfecting myself... the classes, the rehearsals. In short, my constant improvement as a dancer.

"But from the afternoon on it is another type of work: I have to immerse myself in the administrative side. It is an accumulation of matters: programming, for example, much more now that we are organizing the International Ballet Festival, dedicated to our Alicia on her centenary.

"There are many things at once. And many other details that come up along the way. All of that extends my day. I begin at eight in the morning and many times it is seven in the evening here and I am still working. Almost twelve hours without stopping. It is exhausting, frankly. Fortunately the next day I can free myself from stress with physical exercise. Dancing is always liberating."

—In other words, you do not have immediate plans to stop dancing…

—I believe I am at an important moment in my life, in my career and I am not going to waste it. I have to exploit it to the maximum, because a dancer's career in a certain sense is short.

"If I can continue on stage, I will continue on stage. For my audience, for those people who follow me. I still have much to dance."