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“I've always be­en very pas­si­o­na­te; I've be­en de­vo­ting my­self to what I do sin­ce I was litt­le. I always knew what I wan­ted to do and what I wan­ted to ac­hi­e­ve.

”I de­vo­ted my child­ho­od, my ado­les­cen­ce, my youth, and all my dre­ams and ho­pes to dance.

”It is a gre­at ho­nor and com­mit­ment to ha­ve one of the three com­pa­ni­es that will show the cha­rac­te­ris­tics of Cu­ban dance art, and for this I ha­ve cho­sen a com­pre­hen­si­ve re­per­toi­re, ran­ging from tra­di­ti­on in a first act to modernity in a se­cond one.”

Last ye­ar, the pro­fes­sor ce­le­bra­ted the fifth an­ni­ver­sary of her com­pany's foun­da­ti­on with the inau­gu­ra­ti­on of a se­a­ting he­ad­quar­ters for the group's work, fo­cu­sed on Spa­nish, tra­di­ti­o­nal and con­tem­po­rary dances.

Irene Ro­drí­guez com­pany was desig­na­ted, at the end of 2017, as the of­fi­ci­al he­ad­quar­ters of the Fla­men­co Sc­ho­ol of An­da­lu­sia in Cu­ba, which, ac­cor­ding to the di­rec­tor, makes a dif­fe­ren­ce in the trai­ning of her stu­dents.

Irene Ro­drí­guez's mark in the his­tory of the Ballet Es­pañol de Cu­ba (Spa­nish Ballet of Cu­ba com­pany) is re­cog­ni­za­ble. In each pro­duc­ti­on, the cha­ris­ma­tic dan­cer and cho­re­o­grap­her le­a­ves her per­so­na­lity imprint and the most de­man­ding au­di­en­ces ac­claim her. To­day she is one of the mains­tays of Cu­ban dance cul­tu­re.

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