If there is one principle put into practice by the Acosta Danza company, it is to give new generations of dancers the opportunity to deepen their knowledge of classical and contemporary technique, to renew and experiment with the very fusion of these dance languages.
Rigor, of course, is included, because the prestigious Cuban performer Carlos Acosta is well aware of the perseverance, effort and many other barriers that dancers must overcome to achieve their goals and go even beyond the horizon that seems to limit dreams.
His triumphs, as he has said in several interviews, are the result of pain, a pain that made him overcome prejudice, elitism and contemptuous looks for the color of his skin, and conquer the stages of the world, becoming principal dancer of the English National Ballet at only 18 years old.
Acosta compared the rough road to a desert. The experiences that came later, and that shaped his professional growth, transfor-med that desolate space into a terrain inhabited by security, confidence and self-esteem.
His aptitude led him to shine at the Houston Ballet and then at the Royal Ballet in London, where he became the first black dancer to assume princely roles always performed by whites and demonstrated his choreographic imagination and stage projection.
From 1998 to 2003, as a member of the English ensemble, he received notable awards such as the Commander of the Order of the British Empire and the Queen Elizabeth II Coronation Award from the Royal Academy of Dance.
That strength, coupled with his innate talent, led him to achieve great things, such as founding his own company in Cuba in 2015, a reflection of his influence, quality and strength in the excellent reviews obtained by critics and audiences worldwide.
The group brings together diversely trained bodies, which enrich its dance discourse and allows it to develop its own style based on traditional and contemporary trends which demonstrate its strength in interpretation.
The Teaching Group that emerged two years after the founding of the artistic group enables work to be done on the trunk of the tree when it is in full growth, multiplying knowledge and practices and promoting exchange, as has happened with the young people from Venezuela, Colombia, Brazil, Dominican Republic and Spain who have received classes in the company.
Anyone seeing Acosta Danza witnesses a show of divine youth with dynamism, strength, exquisite technique, beauty of muscular bodies on stage, infectious energy and passion.
Undoubtedly, for those who “cross the desert,” the training guarantees a top technical and interpretative capacity that allows them to skillfully take on the challenges of the professional world and ability to interpret classic works of distinguished international choreographers.
Several stages in Cuba have witnessed their virtuosity in a deluxe repertoire that includes the pieces Paysage, soudain, la nuit, by Pontus Lidberg; the duet Nosotros, created by Beatriz García and Raúl Reinoso, and Imponderable, by Goyo Montero.
La muerte de dos cisnes, by Carlos Acosta and Yaday Ponce; Satori, by Raúl Reinoso, and De punta a cabo, a recreation of the original by Alexis Fernández (Maca), are other pieces of his repertoire that enchanted again in his most recent presentation, intentionally titled Juventud.
CubaPLUS Latinos
CubaPLUS Guyana
CubaPLUS Travel