CAMAGÜEY.- The Contemporary Ballet Endedans was born with the name of Ballet Endedans, and offered the first performance on May 23, 2002 at the Alkázar Theater.
That day was loaded with symbolism because 35 years earlier on the same stage danced the most advanced students of the Academy of Arts Vicentina de la Torre, who we owe the formation of the Ballet of Camagüey (BC) to, so that students of dance and the BC participated.
The term "endedans" alluded to the intention of artistic commitment from the very guts inside out, in the opposite direction to what in ballet moves from the outside to the inside.
With the project, Tania Vergara intended to link the students of the Academy of Arts Vicentina de la Torre to the avant-garde works of art developed by young people through the Hermanos Saíz Association. Soon the members were all graduated, and the followers of that irreverent proposal grew. It was an author company that was then opened to choreographer collaborations.
"The first 12 years in which it was directed by Tania Vergara, the company reached an important solidity within the national panorama. Since her departure, we underwent a destabilization, and after three years we have returned to stability, "says Yaylín Ortiz Claveria, current director.
"I feel that those characteristic features of Company directors are not present in my person, it might be that I'm still a teacher or that I've a different way of seeing dance as such. In my classrooms, I always had new faces, new people to fight for, and I do not exhaust myself." says teacher Yaylín.
"I've never been so important as now that I'm running Endedans. No matter how many kids I've seen graduated, or how many theses I've run, I was still imperceptible. As a young director, I am amazed at what Endedans means to the Camagüey´s audience. It changed with regards to direction,aesthetics, and remains important to them. People feel Endedans very much theirs, with a special affection, with tenderness, as something that was born from here and those they have to protect ".
PRIMA BALLERINA
When Lisandra Gómez de la Torre got to Endedans, she did not suspect that it would be the door to the discovery of her. She was 19 years old and had a classical training, but that company demanded efficiency from her floor work and other breakdances.
"I did not know how to move, how to break with the academicism learned in school. Little by little, I was entering the aesthetics proposed by Tania Vergara, I was interested in her creative work. Now I am fascinated by what Pedro Ruiz, our choreographer, does," says who is already the first dancer.
"Life is what one puts forward. Since my childhood, I dreamt of being the first figure. When I saw the ballet on television I wanted to be that girl who suddenly stepped out the middle of the dance group. That personal feeling was pushing me towards the effort and constant challenges in this company that have made me grow. It was not a prompt process. Endedans is a real house for me, it is the energy that embraced me 12 years ago. Always something binds me and makes me wish to be here. Being a first dancer confirms the possibility that gives you a daily effort ".
-Why are you seduced by the contemporary ballet?
-For the aesthetic realization of the company, for the possibility of movement, because you can break with the academicism of classical dance, you use elements of other choreographic intentions. I'm excited about that constant search for something different. Endedans has taught me to be more daring.
-You have a six-year-old boy, has that limited your career?"
-I did not have to give up anything for Carlos Manuel. My son has taught me how beautiful is to be a mother and the beauty of being a responsible woman. He gives me a lot of encouragement, when he hears me saying that I'm exhausted: 'Oh, no, Mom, do not leave the job you dance cute'. It is the greatest gift that life has given me.
-When you dance with Jesus Arias people see a profound love, does that intensity change at home?
-Jesus is also a gift. At home, we share the work, and at work he encourages me, when I have to do something alone he tells me where I have to improve ... and I also try to be his support.
-You are the ones who have been in Endedans the longest, how are you doing with a very young cast?
-I am very happy with the artistic talent, most recent graduates who assume the company with admirable responsibility. We have achieved a cohesive cast, that understand one another during the rehearsals, that is prepared for the same purpose in our national and international projection.
"Is Endedans in your future dreams?"
-My dreams have always been the possibility to stay in this company, to be able to become a choreographer; besides, I also have an immense interest on teaching. They give me the possibility of teaching contemporary techniques, and that has me totally in love, studying, researching and it is a new incentive.
Off-stage
Off-stage there are many people who support the company: the stage manager, the prop master, the lights operator, the sound technician and, of course, the cultural promoter. That is why Julio César Delgado has played a leading role in the Endedans public relations arena, but unfortunately, technicians are rarely recognized.
Boris Martínez, the sound technician, is as fundamental as him, who assumes the rehearsal just like a dancer; and the lights operator Milton Ramos, who apprehends each ballet in order to suggest and value the light with the choreographer.
But Julito "resigned" to this by his own responsibility: "When we had no lights operator I dared and left people in the dark; I tried the sound, but I changed the track ... I decided not to play with any equipment. Advertisement and the image of the company are my things. "
I once thought he had a deep frustration. Would he like to dance and could not? "Never. It happened that he worked in the House of the Young Creator and Reinaldo P. Labrada, then president of the AHS in Camagüey, told me about the auditions for a company that was to be found and I met Tania Vergara. It was achieved with five dancers more or less. I helped to organize the first show at the Alkázar Theater. "
Fifteen years later his sense of dance is indisputable: "I do not see my life in any place other than this. I have seen this company grow. I have had the privilege of being here for better or for worse, but always in love with the work of the company. It's a strong sense of belonging, and the dancers that have been here the longest feel the same way I do. First, there is Endedans and then my house. "
And it is not difficult to prove it during the holidays when he arrives at the headquarter with the energy of the dancers who go to remember their parts, to improve their techniques, to be in shape.
"Endedans is the only contemporary ballet company in Cuba - says Julito - in Havana they may do so sporadically, but with this line only us. It is a Camagüey´s cultural achievement, something that must be supported, followed and understood. We are in one of the best moments in the 15 years."
Translated by Ludys Peguero Domínguez/ 3rd year English Language student