Viengsay Valdés and her love for Cuba

June 17, 2019

In the Blue Room there is no space for another presence. Viengsay Valdés moves about as if possessed. Music fills every corner and is not even disturbed by the intense light that penetrates through the enormous doors and sometimes takes on the colors of the geometric stained glass. The rehearsal director watches attentively the splendid dancer who knows it, but forgets it when she converses with that melody that leads her to want to reach the sky, to spin with the tremendous force of a cloud's tail…, and yet she manages never to hurt the air with her arms.

The heat is suffocating and shows no mercy. Nevertheless, her energy remains intact. It doesn't matter how many times she becomes an admirable fountain when it comes to achieving perfection. Only after silence becomes king does she descend with delicacy from her pointes, and one realizes that the divine begins to gradually yield to the human. I approach cautiously so as not to disturb the trance. Then she notices me and smiles.

—I'll be with you right away, just give me a few minutes, please, she assures me, and I try to apologize for my impertinence. Perhaps I should have postponed the already scheduled meeting for another time, but in just two days the Ballet Nacional de Cuba (BNC) was departing on its usual tour of Spain, and this was the first time that, in addition to being a brilliant prima ballerina, Viengsay Valdés was traveling in her capacity as associate artistic director of that very company where she became great.

I imagine this significant appointment must have been an immense satisfaction for you, I say when I have her at my side again and her response comes quickly. "Yes, it is, for the time I've spent in the company, for that sense of belonging that never abandons me, because I love my country! I belong here. I adore my Island, I have everything here… I assure you there is no greater satisfaction for an artist when recognized all over the world, than to return to one's country and feel that your land fills you with love and recognition," and her voice breaks for a few brief seconds, which feels like an eternity to me.

—First the appointment must have surprised you, then a very great responsibility must have fallen on your shoulders. We're talking about a company that in 70 years has been directed by Alicia, and now they choose you…

—An enormous responsibility… Of those 70 years, I can say that there are 25 in which I have given my life to this company. And this reaffirms in me the conviction that we must be very respectful of that historical legacy, of that great contribution to universal dance that has been the Cuban school of ballet; of that development that the BNC has shown in its trajectory, and that has brought us to here, to what we are and makes us feel proud wherever we are.

"Everything has been the work of the BNC, of Alicia, of its founders, of the teachers, rehearsal directors, technicians, of the dancers who over seven decades have made possible the near miracle that a small Caribbean island, so distant, in time and space, from the emergence and evolution of this sublime art, has achieved recognition and applause from the entire world.

"But equally I think that we cannot continue living off past glories, we must again rescue that admiration that has fluctuated in recent years, for various reasons. It is evident that there has been stagnation and we must update ourselves, project ourselves toward the future, recover that place we conquered internationally.

"It is important that our Cuban school be represented on a planetary scale not only by stellar Cuban dancers who have become stars by becoming part of renowned companies, as happened with José Manuel Carreño, Carlos Acosta, Rolando Sarabia, Osiel Gounod and so many others, but that our women also be a reflection, with identical magnitude, of that greatness. The school should stand out not only because its men are technically outstanding, but because it as a whole is strong in itself. International critics, without exception, point out that Cuban dancers are very talented, that they have muscular strength, a power on stage, but that power and strength must be known how to dose, how to refine so that they are more in tune with the requirements of this art.

"This is an essential element, because the company is nourished by that Cuban school of ballet, which remains very solid, but which must, without losing those traits that make us unique, be more up to date.

"I recognize that the great classics are our jewels, but the BNC has to show itself in many more styles, not only for what enriches it, but also for what enriches its own dancers, who will discover another way to dance, to move the body, and will acquire new sensations… Facing new works and aesthetic lines, with different choreographers, will allow them to grow in an integral way. All of this will result in benefit to the company.

"That's where my work philosophy in this first stage goes. I, of course, will continue the historical legacy of this company that I love and admire, but we cannot continue validating those who claim we have stopped in time. I believe that the way the company can truly come alive is by assuming the proposals of foreign choreographers, without surrendering in the effort to continue developing our own; facing new projects, rescuing the most significant of our repertoire, made up of more than 700 works; some may be out of fashion, but there are others that have not lost their charm, that can still move today, that are still very interesting and that, above all, will connect more young people to that part of our history that we must not forget.

"Soon, while part of the company is on tour in Spain, the other part that remains in Cuba will bring to the stage not only in Havana, but also in the Teatro Eddy Suñol in Holguín—it's happening this very weekend—, classics within our repertoire like Estudios para cuatro, in which teacher Iván Tenorio approached the wonderful tangos of Astor Piazzola from classical dance; and like that jewel called Muñecos, by teacher Alberto Méndez, so beautiful and moving that it always squeezes our hearts.

"When in January I assumed the associate artistic directorship, the planning for 2019 was already done, nevertheless, I intend to change it from the middle of the year onwards, that is, after the return of the presentations of Cinderella and Swan Lake in theaters in Oviedo, the Basque Country, Andalusia, Madrid and Barcelona. My new vision will be appreciated starting with the performances of the November season, with which we will celebrate, for three weeks in the Gran Teatro de La Habana Alicia Alonso, the 500 years of our beloved capital.

"On that occasion we will include a choreography by Alexei Ratmansky, resident choreographer of the American Ballet Theatre (ABT) and among the most acclaimed of today, and who served as artistic director of the Bolshoi. I recently had the opportunity to meet with him in New York and it will be very enriching to have among us someone who has reconstructed ballets by Marius Petipa with Stepanov's notations, while being the author of fabulous creations that are performed by the most important companies in the world. How wonderful that after nine years of negotiations that dream finally becomes a reality. As notable artists have done before, Alexei Ratmansky has agreed to give us his ballet, with no other interest than to receive the grateful applause of the Cuban public.

"The presence of Concerto DSCH, by Ratmansky, will be a significant asset for the company. Actions like these will help strengthen that place of privilege that the BNC has always occupied on the world stage. In that sense, I can announce to you that in our plans for next year is to add to the repertoire pieces by other highly sought-after choreographers like Justin Peck (New York City Ballet, NYCB) and Kyle Abraham (Paul Taylor Dance Company), and that these coexist with the extraordinary versions of the classics made by our Alicia, which we will preserve and put in the lineup.

"Because if there is something else I'm also clear about, it is that it is necessary to dance those monumental works that are what maintain the rhythm and the histrionic, technical and virtuoso training of a dancer, while we must include pieces capable of awakening those young minds, that foster a close exchange with choreographers, as a strategy for the company to grow artistically."

—Not long ago social media reported your presence in New York and the real possibility of establishing more frequent exchanges with renowned American companies, with their directors…

—That was the idea. On this occasion I interviewed Kevin McKenzie and Kara Medoff Barnet, artistic director and executive of the ABT, respectively. Also with the artistic directors of the NYCB, Wendy Whelan and Jonathan Stafford, and executive director, Katherine Brown. Equally fruitful was the meeting with Linda Shelton, director of the Joyce Theater, a small theater in New York, with only 400 seats, but very influential in the dance world.

"The Joyce Theater opens doors. On its stage the Cuban company Malpaso presents regularly. They showed interest in bringing the BNC in a smaller format, with contemporary pieces, and the collaboration can be expressed in terms of proposing choreographers who can work with us. These are new opportunities for exchange that respond to the high esteem in which they hold Cuba's tenacity, to knowing how much dance is appreciated in our country, how popular it is…

"In these meetings I asked in a very special way the ABT and the NYCB to join us next year in the commemoration of Alicia's hundred years. These are two companies with which she maintained a close relationship. I asked them to offer a special gala and they received the idea with pleasure. They were very receptive. I really returned very pleased from those contacts. I think it was very positive that they knew me personally, that I could introduce myself."

—Everyone was very eager to see what could result from the possible links with Acosta Danza. Does that mean that those many figures who have made their careers in other countries will be able to perform with the company beyond the Ballet Festival?

—We have set out, perhaps for next year and going forward, to schedule longer seasons that allow not only our dancers to stand out, and that each one can prove themselves over and over; not only train for one performance and then not dance that ballet again for two more years when it's revived, but that within the same season they have the opportunity to reaffirm themselves in their roles and feel more comfortable.

"With longer seasons we can propose that a couple or another join us, or that a dancer comes to dance with one of our girls, and vice versa, which could also happen internationally, as happens during the Festival. I must say that there have been many dancers, magnificent artists, who have approached me since I took on this responsibility, not only to congratulate me, but also to offer me help, collaboration; choreographers who have offered me their works completely selflessly… Stars like David Hallberg, from the ABT; or like Mathias Heymann, from the Paris Opera, have expressed to me their desire to perform in Cuba, they are very eager. It would be a wonderful experience for our dancers because they would appreciate other schools.

"My purpose is not to invite only dancers, but also teachers… I don't want to mention too many names, but it's likely that by the end of the year Julio Bocca will be at our headquarters to teach classes and take rehearsals, that is, the idea is to call on internationally recognized teachers to update us, without this conflicting, as I've said before, with the precepts of Cuban methodology, but to engage in those necessary refinements we must add to our way of dancing. It is about exploiting to the maximum what contributes to development: workshops with choreographers, new choreographies, dancers from other formations… Exchanges of all kinds."

—As associate artistic director you have to do with programming, with castings, promotions, planning for the year… They say you frequently open auditions for those who want to try themselves…

—When I addressed the company for the first time as associate artistic director, I assured them that here everyone would dance, that there would be no favoritism: everyone who shows desire, interest in dancing and is prepared, will get the role. Through auditions and good selection, I will be giving opportunities to both the youngest and the most experienced.

"In the past Cinderella season several girls who possess enormous talent made their debuts. It's true that we must continue working with them, but I know how much it can help development for them to see themselves in the middle of an audition, with that nerve, with that effort to get a role, preparing themselves consciously to achieve it.

"It's about awakening interest, so they don't feel comfortable and think we'll always give the same roles to the same people, and who knows, maybe from those auditions a talent will emerge that no one had seen, that was hidden. That one must be given the opportunity, because now is the time."

—The responsibility you carry is great and, yet, it's clear that Viengsay will not stop dancing. How do you manage? Because moreover we're talking about a very international dancer who is constantly being invited to galas around the world. I worry about that internal conflict that could arise…

—I have really received several proposals this year that I have had to decline, precisely because if this is my first stage I want to have everything very well organized. Just three months after my appointment I was presented with the first major international tour: two months no less!, but the workload was enormous, and I preferred to sacrifice those performances to ensure that my entry was not so chaotic. However, I have managed to fulfill each of my responsibilities, thanks also to the magnificent team that accompanies me: the regisseur Ocilia Pedrera, my advisors Alberto Méndez and Aurora Bosch; Heriberto Cabezas, director of Public Relations, who has also given me great support… Together we have managed to materialize many projects.

"I think I entered management with a good rhythm, without stopping dancing, programming everything: from the casts to the tours, making the programming for the rest of the year, even January 2020 is already planned. It has been intense, because then comes the tour of Spain that will keep me busy for two months… True that I have had to make personal sacrifices, put aside international commitments, but, I repeat, faced with such great responsibility, I must be very focused."

—How does the dancer, who must be under a lot of stress, manage to remain so excellent in her dancing? What is a day like for Viengsay Valdés?

—Well, I arrive, I take my class, I try to rehearse in the first hour so I can have the rest of the day available for other tasks; sometimes, I also do rehearsals. In the afternoon I schedule meetings… It's past now, but there was a time when I was also involved in my thesis to graduate from the Instituto Superior de Arte (ISA): studying, researching, writing… I would arrive and go to bed dead from exhaustion, but the next day I was ready to move forward a little more, until I finally made the defense.

—Which, by the way, they gave you five points. Congratulations!

—Thank you, José Luis. That stage was very hard, because I didn't stop dancing; I was also a judge at the International Ballet Academies Meeting. I'd leave the Grand Theater and go to school, that is, it was so much, so much… My mom and my husband really fight with me a lot to take care of my meal times because sometimes it's two, three, four in the afternoon and I don't eat a bite… I must watch over my space to exercise… Dividing my day is quite complicated, because it tends to be super intense, but I try to honor myself, with others and even more. I try to give everything."

—This matter of being a judge at the Academies Meeting, is it a strategy to observe the talent pool?

—I've been judging at the Meeting for several years, which allows me to get even closer to the school, although I've always been very close to it; in fact, I'm an advisor to the Escuela Nacional de Ballet. I've always had this interest in visiting that center which is like my home, in seeing how the students are doing, in taking some rehearsals with them; looking for ways to correct them, trying to get them to dance the Cuban versions of the ballets, because then they arrive at the company and don't master them. That closeness is like a thermometer that allows me to measure the level, the quality of the training process…

"Now that I hold the associate artistic directorship of the BNC, I will surely become even more involved with the school, with Cuban methodology, with the way to properly execute the steps so that errors are not dragged along… It will be a greater burden, but it's about the present and the future."

—Spain is your first tour as associate director…

—Two months, we will be performing throughout Spain. In most theaters we will dance Cinderella and only in Madrid and Barcelona will we do Swan Lake. Hard, because it's a long tour, with many trips, many performances… Fortunately they are ballets with which we did seasons this year, that is, they already have them a bit more mastered. Hopefully we manage to capture the attention of critics; we hope in future tours to take other proposals so they don't label us as always dancing the same thing.

—Before, during long tours, the part of the company that remained here would perform in our theaters…

—There was indeed a time when those who stayed did nothing, but we've wanted to recover that practice. With our prima ballerina Sadaise Arencibia at the helm, I put together a program that could be an opportunity for these young people, even we're going to take four girls from their last year from the Escuela Nacional de Ballet to join these performances, let it serve them as training and they can feel what it represents to be in the company; so they can learn the repertoire… That way, the company will be active, even if divided.

—Will performances in the provinces also resume?

—So much so that one of the first requests I made to the Ministry of Culture was a national tour. So far we have only reached Santa Clara and Holguín, but we need to account for programming in the capital, the tours… Whenever possible we will be performing in different territories. We will do so as soon as the Sauto is ready, but we also want to be in Santiago de Cuba, Camagüey, Cienfuegos, Las Tunas… We want to rescue those presentations. It would be great.

—So, very busy, although I suppose very happy…

—Yes, because I am involved with my heart in many projects with the dancers, trying to improve their working conditions, artistic quality; encouraging them, making them see that everyone will have opportunities, wanting them to feel proud to belong to the Ballet Nacional de Cuba, that they don't lose their illusions. That if someday their careers take another path, they never stop coming here, to their home, to dance for that public that saw them be born and grow, for that public that with their applause gave them so much love.