{"id":330859,"date":"2025-11-10T02:35:23","date_gmt":"2025-11-10T07:35:23","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=330859"},"modified":"2025-11-10T02:35:23","modified_gmt":"2025-11-10T07:35:23","slug":"carlos-acosta-my-legacy-is-not-yet-complete","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/carlos-acosta-my-legacy-is-not-yet-complete\/","title":{"rendered":"Carlos Acosta: \u201cMy legacy is not yet complete\u201d"},"content":{"rendered":"

Carlos Acosta is unstoppable.\u00a0That\u2019s\u00a0the impression that comes to mind when one considers all the projects the iconic Cuban dancer, at 52, is involved in. Over time, and with the certainty of having left a legacy as a performer in dance, he has\u00a0demonstrated\u00a0competence as a\u00a0creator\u00a0(Acosta Danza, Birmingham Royal Ballet), talent,\u00a0vision\u00a0and sensitivity as a choreographer, and even his acting skills, among other\u00a0facets. Winner of the National Dance Prize in Cuba (2011) and decorated in 2014 by Queen Elizabeth II of England with the Commander of the Most Excellent Order of the British Empire (CBE) medal, Acosta always manages to move\u00a0people.<\/span>\u00a0<\/span><\/p>\n

After\u00a0<\/span>Yuli<\/span><\/i>\u00a0(2019), the film inspired by his life and directed by the Spanish filmmaker Ic\u00edar\u00a0Bolla\u00edn, audiences empathized even more with the path forged by Acosta, a path fraught with obstacles. In the world of dance, Carlos rose to become a principal dancer with\u00a0London\u2019s\u00a0Royal Ballet and built a 28-year career as a leading figure in international classical dance, until he announced his retirement from the stage in 2016. That same year, he gave the first performances of the company he had founded months earlier, on September 28, 2015.\u00a0<\/span>\u00a0<\/span><\/p>\n

Acosta Danza was born as a vibrant combination of classical and contemporary styles, fused with elements of Cuban dance. Carlos\u2019s dream took shape in his homeland and took root\u00a0\u2014\u00a0the company\u2019s Academy bears witness to this. Ten years later,\u00a0<\/span>we celebrate the first decade<\/span><\/b><\/a>\u00a0of existence of one of the most flourishing dance companies on the Cuban stage.<\/span>\u00a0<\/span><\/p>\n

Those who attended the company\u2019s performance season at the Avellaneda Hall of the National Theater of Cuba last September could attest to this.\u00a0<\/span>A decade in motion<\/span><\/i>\u00a0showcased a potent dose of the dance DNA that Acosta Danza has forged over all this time, from the cryptic\u00a0\u201cLa\u00a0ecuaci\u00f3n\u201d\u00a0by George C\u00e9spedes, the nod to Federico Garc\u00eda Lorca in\u00a0\u201c98\u00a0d\u00edas\u201d\u00a0by Javier de Frutos, the trance-like\u00a0\u201cLLamada\u201d\u00a0by Goyo Montero, and the dose of Cuban identity and contemporary relevance in\u00a0\u201cDe\u00a0punta\u00a0a\u00a0cabo,\u201d\u00a0choreographed by\u00a0Yaday\u00a0Ponce based on the original by Alexis Fern\u00e1ndez.<\/span>\u00a0<\/span><\/p>\n

\"\u201c98\u00a0d\u00edas.\u201d\u00a0Photo:
\u201c98 d\u00edas.\u201d Photo: Argel Ernesto Gonz\u00e1lez.<\/figcaption><\/figure>\n

Now, when Carlos Acosta speaks with\u00a0<\/span>OnCuba<\/span><\/b>\u00a0about this decade of work, he does so\u00a0imbued\u00a0with the responsibility that comes with continuing to reap success and train generations of dancers at his academy.<\/span>\u00a0<\/span><\/p>\n

Carlos\u00a0isn\u2019t\u00a0one to sit back and reflect on his achievements.\u00a0\u201cIf that were the case, I\u00a0wouldn\u2019t\u00a0have\u00a0accomplished\u00a0anything. I always have a goal to achieve; ideas come to\u00a0me\u00a0and I try to make them a reality. You\u00a0have to\u00a0aspire to the sky to at least be able to get closer to it, and\u00a0that\u2019s\u00a0what I do.\u00a0I\u2019m\u00a0satisfied with what\u00a0I\u2019ve\u00a0achieved, but that\u2019s only part of the journey. Today\u00a0I\u2019m\u00a0ensuring what tomorrow will bring.\u00a0That\u2019s\u00a0my natural drive, my duty, my mission. My legacy is not yet complete.\u201d<\/span>\u00a0<\/span><\/p>\n

\"Photo:
Photo: Argel Ernesto Gonz\u00e1lez.<\/figcaption><\/figure>\n

How would you define this decade of Acosta Danza?<\/span><\/b>\u00a0<\/span><\/p>\n

I define it as a good start. When I founded the company, I always knew that achieving distinctive work would take a long time, because an identity\u00a0isn\u2019t\u00a0created in five years.\u00a0There\u2019s\u00a0a lot of\u00a0trial\u00a0and\u00a0error\u00a0in the beginning.\u00a0Anyone\u00a0familiar with the company knows\u00a0we\u2019ve\u00a0done it all.<\/span>\u00a0<\/span><\/p>\n

These past ten years have been incredibly intense, and\u00a0we\u2019ve\u00a0set\u00a0ourselves\u00a0challenges to overcome, in addition to all the difficulties you\u00a0encounter\u00a0along the way. Artistically, Acosta Danza has done a lot:\u00a0we\u2019ve\u00a0danced everything,\u00a0we\u2019ve\u00a0had contemporary seasons and others dedicated entirely to classical ballet; we have works that preserve the tradition of Cuban modern dance technique or Afro-Cuban folklore, all performed by the same dancers.<\/span>\u00a0<\/span><\/p>\n

They had a tough time at first because the company demanded they step outside their comfort zones, but they never said no. That courage fostered a cast always ready to do anything, and\u00a0that\u2019s\u00a0how we began to distinguish ourselves. The company became known for having a highly trained and versatile group of dancers, and for offering stylistically diverse shows. We\u00a0already\u00a0have an audience that is truly\u00a0ours,\u00a0that seeks us out and waits for us. What I thought would take longer\u00a0started to\u00a0emerge, and although I\u00a0don\u2019t\u00a0think\u00a0I\u2019ve\u00a0arrived yet, we already have our own light on the dance scene.<\/span>\u00a0<\/span><\/p>\n

\"\u201cLlamada.\u201d\u00a0Photo:\u00a0Yuris\u00a0N\u00f3rido.\u00a0\"
\u201cLlamada.\u201d\u00a0Photo:\u00a0Yuris\u00a0N\u00f3rido.<\/figcaption><\/figure>\n
\"\u201cLlamada.\u201d\u00a0Photo:\u00a0Yuris\u00a0N\u00f3rido.\"
\u201cLlamada.\u201d Photo: Yuris N\u00f3rido.\u00a0<\/span><\/figcaption><\/figure>\n

You presented a revamped cast in the recent season celebrating Acosta Danza\u2019s 10th anniversary, young performers graduating from the company\u2019s academy. What do you ask of your dancers when they embrace dance and work with your company? What does it take to be a performer with Acosta Danza?<\/span><\/b>\u00a0<\/span><\/p>\n

They must be versatile artists, with well-trained bodies, capable of\u00a0dancing\u00a0any choreographic style without sacrificing quality. And I always tell them they\u00a0have to\u00a0work hard every day. This profession is\u00a0very difficult\u00a0because\u00a0you\u2019re\u00a0constantly going against nature.<\/span>\u00a0<\/span><\/p>\n

The body may resist, but you\u00a0have to\u00a0think,\u00a0\u201cI can do it,\u201d\u00a0and that mental message is transmitted to the body, which\u00a0is\u00a0activated\u00a0and keeps going. This is\u00a0a mind-body training that you\u00a0have to\u00a0do as a professional if you want to advance, and it guarantees everything else.\u00a0Hard work\u00a0can\u2019t\u00a0be\u00a0hidden:\u00a0you always know when a dancer is hardworking and when a company is well-trained.<\/span>\u00a0<\/span><\/p>\n

I\u00a0don\u2019t\u00a0like anyone to go on stage unprepared, because you\u00a0have to\u00a0respect the audience, and the company\u00a0can\u2019t\u00a0stop.\u00a0That\u2019s\u00a0why we\u00a0have to\u00a0work and be ready, in body and mind, for\u00a0what\u2019s\u00a0coming, which in our case could be something completely unexpected.<\/span>\u00a0<\/span><\/p>\n

\"\u201c98\u00a0d\u00edas.\u201d\u00a0Photo:
\u201c98 d\u00edas.\u201d Photo: Argel Ernesto Gonz\u00e1lez.\u00a0<\/span><\/figcaption><\/figure>\n

Ten years\u00a0ago\u00a0you came to plant a seed in Cuba. To what extent do you think\u00a0you\u2019ve\u00a0been able to reap all the desired fruits?<\/span><\/b>\u00a0<\/span><\/p>\n

I think\u00a0that\u00a0in that sense everything has gone well. The company has\u00a0developed,\u00a0we\u2019ve\u00a0built a reputation. We have an audience that follows us and waits for us. There are many young people who dream of being part of Acosta\u00a0Danza\u00a0and we have an academy that trains the dancers we need. Some of those students have also gone on to join other companies, so, in a way,\u00a0we\u2019ve\u00a0collaborated with the work of other national groups. Now we have other projects that will contribute to the development of the country\u2019s cultural life.<\/span>\u00a0<\/span><\/p>\n

\"\u201cLa
\u201cLa ecuaci\u00f3n.\u201d Photo: Yuris N\u00f3rido.\u00a0<\/span><\/figcaption><\/figure>\n

How much has Carlos Acosta\u2019s dream of making dance in Cuba changed in this decade?<\/span><\/b>\u00a0<\/span><\/p>\n

That dream\u00a0hasn\u2019t\u00a0changed.\u00a0It\u2019s\u00a0true that ten years ago the country\u2019s situation was\u00a0very different: the economic conditions were\u00a0different\u00a0and the winds were very favorable for creating new things. Right now, we are living through\u00a0difficult times\u00a0that are testing us. Even in other parts of the world, after the pandemic, many people\u2019s views on the need to invest in the arts have\u00a0unfortunately\u00a0changed.<\/span>\u00a0<\/span><\/p>\n

We are experiencing a complicated landscape, and not only for artists. But we are still here,\u00a0planning for the future, thinking about what we can do to develop.<\/span>\u00a0<\/span><\/p>\n

It\u2019s\u00a0true that our performances in Cuba are not as frequent as they were six years ago because the current circumstances force us to schedule our work differently\u00a0in order to\u00a0continue existing. But Cuba is our base of operations: we plan everything here, our roots, our school and our future are here. Cuban culture is the lifeblood that defines us, and we strive to ensure that the Cuban\u00a0audience\u00a0is the first to see our work.<\/span>\u00a0<\/span><\/p>\n

\"\u201cDe\u00a0punta\u00a0a\u00a0cabo.\u201d\u00a0Photo:
\u201cDe\u00a0punta\u00a0a\u00a0cabo.\u201d\u00a0Photo: Argel Ernesto Gonz\u00e1lez.<\/figcaption><\/figure>\n
\"\u201cDe\u00a0punta\u00a0a\u00a0cabo.\u201d\u00a0Photo:
\u201cDe punta a cabo.\u201d Photo: Argel Ernesto Gonz\u00e1lez.\u00a0\u00a0<\/span><\/figcaption><\/figure>\n

How do you envision the next ten years for Acosta Danza?<\/span><\/b>\u00a0<\/span><\/p>\n

For now, I see a lot of work ahead. There are things we need to redefine; we\u00a0have to\u00a0make decisions to mark this new era and show that we are moving forward, that there is development.<\/span>\u00a0<\/span><\/p>\n

I would like to do more full-night shows, like\u00a0<\/span>Nutcracker in Havana<\/span><\/i>. We need to work more on the fusion of\u00a0different styles\u00a0to achieve our own.\u2026\u00a0I have several ideas in mind, but we\u00a0have to\u00a0proceed\u00a0carefully,\u00a0think each step through.<\/span>\u00a0<\/span><\/p>\n

Since 2020, you have also been the director of the Birmingham Royal Ballet. How would you define that other responsibility?<\/span><\/b>\u00a0<\/span><\/p>\n

The Birmingham Royal Ballet has been a great learning experience for me. It is a large, historic company, and working there has given me greater experience as a director to take on other projects. The first major mission was to update the repertoire and thus win over new audiences.\u00a0I believe that ballet\u00a0has to\u00a0keep pace with the times if it wants to survive. You\u00a0can\u2019t\u00a0perform\u00a0<\/span>Swan Lake<\/span><\/i>\u00a0the same way you did 30 years ago.<\/span>\u00a0<\/span><\/p>\n

The vocabulary of ballet is rich, allowing for thousands of combinations, and the technique continues to evolve. Today\u2019s dancer performs things that would have been difficult to execute 50 years ago. All of this must be reflected on stage, along with technological advancements, new\u00a0themes\u00a0and the best thinking of our time.\u00a0All of\u00a0these ideas were discussed at\u00a0the\u00a0Birmingham Royal Ballet, and we have succeeded in turning\u00a0attention to\u00a0the company. It is a revitalized\u00a0institution\u00a0and many are awaiting our next premiere. Our show inspired by the music of\u00a0<\/span>Black Sabbath<\/span><\/i>\u00a0is an\u00a0example of this.<\/span>\u00a0<\/span><\/p>\n

\"Photo:
Photo: Taken from Carlos Acosta\u2019s Instagram profile.<\/figcaption><\/figure>\n
\"Photo:
Photo: Taken from Carlos Acosta\u2019s Instagram profile.<\/figcaption><\/figure>\n

To what extent have you allowed for feedback between the two companies, Acosta\u00a0Danza\u00a0and the Birmingham Royal Ballet?<\/span><\/b>\u00a0<\/span><\/p>\n

The feedback happens naturally. Many of the things I learned working at the Birmingham Royal Ballet I have brought to Acosta Danza, and many ideas that I initially brought there I had already tested here. Even dancers from one company have been able to\u00a0participate\u00a0in shows by the other. All of that is\u00a0development,\u00a0enrichment.<\/span>\u00a0<\/span><\/p>\n

Carlos Acosta celebrates the first anniversary of the Acosta Dance Centre in London, a space that has welcomed thousands of dancers and is\u00a0establishing\u00a0itself as a symbol of diversity and unity through dance. Photo: @poetryfilmproduct. Taken from Carlos Acosta\u2019s Instagram profile.<\/span>\u00a0<\/span><\/p>\n

\"Carlos
Carlos Acosta celebrates the first anniversary of the Acosta Dance Centre in London, a space that has welcomed thousands of dancers and is establishing itself as a symbol of diversity and unity through dance. Photo: @poetryfilmproduct. Taken from Carlos Acosta\u2019s Instagram profile.\u00a0<\/span><\/figcaption><\/figure>\n
\"Carlos
Carlos Acosta celebrates the first anniversary of the Acosta Dance Centre in London, a space that has welcomed thousands of dancers and is establishing itself as a symbol of diversity and unity through dance. Photo: @poetryfilmproduct. Taken from Carlos Acosta\u2019s Instagram profile.<\/figcaption><\/figure>\n

We\u2019ve\u00a0received\u00a0very good\u00a0reference\u00a0about\u00a0<\/span><\/b>Nutcracker in Havana<\/span><\/i><\/b>. Is it a show\u00a0you\u2019d\u00a0like to present in Cuba?<\/span><\/b>\u00a0<\/span><\/p>\n

Of course, it will come to Cuba as soon as possible.\u00a0That\u2019s\u00a0what\u00a0we\u2019ve\u00a0wanted most since the moment we premiered it. I know Cubans will be moved,\u00a0they\u2019ll\u00a0laugh and cry with the show, because\u00a0they\u2019ll\u00a0see themselves represented with so much grace,\u00a0color\u00a0and love. Nowhere in the world will that story be better understood than in Cuba.<\/span>\u00a0<\/span><\/p>\n

The difficulty lies in the fact that the show has performances scheduled for the last and first months of the year, which limits our time to bring it here and then transport all the equipment. Furthermore, the current technical conditions of Havana\u2019s theaters\u00a0don\u2019t\u00a0allow for the scale the production demands, and that would significantly increase the cost.<\/span>\u00a0<\/span><\/p>\n

I believe that if\u00a0we\u2019re going to\u00a0bring it, we must do it as it is. It\u00a0wouldn\u2019t\u00a0be fair to make such a large investment only to\u00a0ultimately sacrifice\u00a0part of the show. Cuba deserves to see\u00a0<\/span>Nutcracker in Havana<\/span><\/i>\u00a0in all its splendor.\u00a0That\u2019s\u00a0why\u00a0it\u2019s\u00a0best to prepare the conditions well so we can present\u00a0it\u00a0in the country. I feel that day will be historic for us, a moment of pure joy.<\/span>\u00a0<\/span><\/p>\n

As a choreographer, where do you currently choose to focus your attention? Is there a particular\u00a0problem\u00a0or concept that concerns you to the point of wanting to express it in a choreographic composition?<\/span><\/b>\u00a0<\/span><\/p>\n

Reality always\u00a0inspires. There are\u00a0themes,\u00a0there are struggles that must now be brought to the stage. Although working with both companies\u00a0greatly limits\u00a0my time, I never stop imagining future choreographies. For Acosta Danza, specifically,\u00a0I\u2019m\u00a0thinking about another all-night show that, like\u00a0<\/span>Nutcracker<\/span><\/i>, will bring together the historical with the contemporary, the national with the universal.\u00a0We\u2019ll\u00a0see how it goes.<\/span>\u00a0<\/span><\/p>\n

\"Photo:
Photo: Taken from his Instagram profile.<\/figcaption><\/figure>\n

There is Cuban talent scattered all over the world. How do you see the role of Cuban dancers on the current international dance scene?<\/span><\/b>\u00a0<\/span><\/p>\n

I think they\u00a0continue to\u00a0contribute\u00a0the strength that has always defined us and, at the same time, they are learning that\u00a0international\u00a0ballet and dance require much more than strength.<\/span>\u00a0<\/span><\/p>\n

How do you see the current state of dance, internationally, both as an art form and as a market?<\/span><\/b>\u00a0<\/span><\/p>\n

Let\u2019s\u00a0just say\u00a0it\u2019s at\u00a0an interesting\u00a0time. Performances continue to be\u00a0given\u00a0in theaters, the technological level has risen, the sensibilities of this era are\u00a0reflected\u00a0and,\u00a0at the same time, stage dance has had to refocus on the virtual world. Social media presents new\u00a0stages\u00a0we must navigate, and this is reshaping the entire language of theater.<\/span>\u00a0<\/span><\/p>\n

\"\u201cLa
\u201cLa ecuaci\u00f3n.\u201d Photo: Yuris N\u00f3rido.\u00a0<\/span><\/figcaption><\/figure>\n

I\u2019m\u00a0not saying the results will always be positive, but\u00a0that\u2019s\u00a0what\u00a0we\u2019re\u00a0working on. One of the main challenges is adapting an art form that has always required a live audience to thrive in virtual spaces, survive, and reinvent itself in an era where fewer people attend the theater.<\/span>\u00a0<\/span><\/p>\n

Furthermore, we must consider how to engage young people who are always glued to their phones,\u00a0in order to\u00a0create new audiences. Our survival depends on this new struggle.<\/span>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A decade after founding Acosta Danza, the renowned dancer and choreographer reflects on the achievements, challenges and future plans of his company, while reaffirming his commitment to training new generations and to the future of dance in Cuba. <\/p>\n","protected":false},"author":12346240,"featured_media":330863,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[33,13920],"tags":[15258,18668,18667,19256],"ppma_author":[34896],"class_list":["post-330859","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-dance","tag-carlos-acosta","tag-carlos-acosta-dance","tag-cuban-ballet","tag-featured"],"acf":[],"yoast_head":"\nCarlos Acosta: \u201cMy legacy is not yet complete\u201d | OnCubaNews English<\/title>\n<meta name=\"description\" content=\"Carlos Acosta. 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