Five years ago, on a day like today, news shocked the world: the legendary Cuban dancer Alicia Alonso passed away. Her virtuosity and unsurpassed technique in the art of ballet seemed out of this world, and many believed she would be eternal.
Although her physical presence on Earth was like that of any mortal, she remains alive in the memory of all those who saw her dance, in the heart of her people, in each of the dancers trained with the style and methodology of the school. Cuban ballet, of which he is its greatest exponent; as well as in the actions of the National Ballet of Cuba, a company that continues the legacy of its founder.
Alicia will always be a transcendental figure in the history of classical dance, in her country and in the world. In addition to being one of the great dancers of the 20th century, she also stood out as a choreographer, teacher, director and promoter of dance. Through his art, he managed to place this small Caribbean island among the most representative countries of ballet.
The idiosyncrasy of his land was present in his every movement: the sense of rhythm and the peculiar way of moving among Cubans. She fought and managed to popularize the art of ballet in Cuba, and another great figure of our culture, Alejo Carpentier, defined her as the National Artist.
His stage presence was mesmerizing. The perfection of his technique was added to his histrionics and incredible ability to appropriate the style of each ballet, the feeling of each character and make it his own. Every movement, every gesture, no matter how small, was filled with great sensitivity. Each performance was unique.
Alicia’s performances were distinguished by technical and interpretative virtuosity. Many critics agree that it has been the greatest of all the Giselles.
Last year, as a tribute to the 80th anniversary of the first time she played this character, the Spanish publishing house Ediciones Cumbres published the illustrated book Alicia Alonso. Giselle: The eternal moment.
The editor of this title, the journalist, writer and cultural promoter, Mayda Bustamante, conceived it “not as an exhaustive compilation of her journey in this role, but rather looking for the defining flash moment, a tour of its most relevant corners, such as as her contemporaries saw her, the phrases that catapulted her into the monument that she is: universal pillar of ballet.
Among the opinions collected in the text is that of the critic Arnold Haskell: «How can you interpret Giselle if Giselle is you? Your work will remain long after you have stopped dancing. Whoever has left such a mark continues to live in the soul of the culture.
