CAMAGÜEY.-Members of the Folkloric Ballet of Camagüey and authorities of the institutional system of Culture in the province celebrated the 30th anniversary of the company, on September 12 at its renovated headquarters.
The director Reinaldo Echemendía Estrada affirmed that the learning has gone beyond dance, music and the scene, due to the intention of “representing in art what emanates from a people rich in tradition, in wisdom”.
He considered the company a result of “the social justice of a country” that ponders “the worth of the barefoot on the stage”, and sent a special congratulations to the dance teacher Dalia Aguilar, co-founder.
The first dancers Elsa Avilés and Janixe Jiménez, and the percussionist Francisco Mola, founders still active there, also deserved his praise.
The group obtained Recognitions from the Provincial Directorate of Culture and the Performing Arts Council. Both instances ratified their support to achieve the Olorum Festival in December as part of the anniversary day.
TOUCHING THE STEPS OF A FOUNDER
His name is Francisco Eustaquio Mola Fernández, but he is known by Frank Mola. Percussionist of the Folkloric Ballet of Camagüey, he has a history of identity, of family, like the company itself because he is one of the founders, and there he started dancing.
“In 1991 he lived in Esmeralda. My sister Regla Mola, a dance teacher, told me that they were looking for members to create a group. I passed the auditions at the Tasende Theater. We started 21 people, ” he says without offering many details, out of modesty.
"What did you dance in those early days?"
—I remember the choreography Enpungo Malungo. That means The King of the Mount. He played it with María Sosa. She represented the mountain and I, the maroon. As a soloist she danced for Ogún, Columbia, Congo, and I joined the troupe.
When mentioning the idea of the group, it is inevitable to remember it with the bass drum at that closing moment when musicians and dancers come out to meet the public with a choir, mirror of tradition: Today I greet you / I, the Charanga de Camagüey ...
“I come from a family of rumberos. My uncle Luis Mariano Almanza Varela, better known as “Fila”, directed the Charanga de Camagüey. My dad played and I started there when I was fourteen. Music is in my blood, ”he says with healthy pride.
"So you've played a few Sanjuanes ...
—Since I can remember, I have been in the Las Estrellas troupe, my uncle Fila's rumba, and on September 20 I will be 56 years old… I really enjoy how the town has fun when a brass band comes out from San Juan.
Frank Mola is more comfortable, and recounts the festive atmosphere of when people went out according to the rumba group, for example, those of the Charanga del Anoncillo were looking for segments of a bush; the one with the Chancleta wore a towel, hat, and wooden shoes; Marquesano's was different.
"In recent editions, maestro Echemendía asked me for support in the Paseo Commission," he says of this other complex task, and also takes the opportunity to thank his director at the "Folkloric Ballet".
“I am hedgehog when I know that I am a percussionist for the Camagüey Folkloric Ballet. I am an empiricist and have touched things I never imagined. The teacher tells us that a good musician spends time on the instrument. In the midst of a pandemic, if you don't exercise, you can't play. Your hands can hurt, ”he says.
"When did you decide to switch from dance to music?"
—In '96 I took my first steps as a musician without leaving dance, and in '97 I reached my first level percussionist evaluation until today. Due to mishaps I have gone in and out, but my heart has always been here.
The dialogue becomes a coming and going from the present to the past. Then he takes out of the trunk of memories, his experiences as an art instructor, and later as a member of the Guatoco Cunancheto group, by Eddy Nagüe.
“I represented the province in Para Bailar program on three occasions. I got two second places. I could not participate in the semester because my partner had a health situation ”, this is how dance returns to the conversation.
—In the beginning, how did the public receive what you offered?
"I had an explosiveness that was impressive." He danced with a real machete. I do not forget the farewell to a hotel. I had to play the Congo. Behind the tourists, I did a sheep turn that everyone applauded. In Santa Lucia we made a life until the teacher decided to return. Camagüey had to meet us in different settings, for today's achievements.
From there, he began a tour to commemorate the reception in countries of Europe, America and Africa where the most famous felt, and they indulged with dancing to Cuban music at the end of the shows.
“The Folkloric Ballet of Camagüey brings to the scene the spirituality of the human being. It has an identity, its own roots, songs, dances, choreographies, with live music. That differentiates us ”, emphasizes this man from rhythms that go from the guaracha to the danzón, that goes from the contradanza to the peasant, and that knows how to express the magical sound of the batá drum.
He is joined by the reasons for celebration: the company's anniversary, his birthday and the return home of his wife Maidelis Yamilka Marshall López, a nurse from the Henry Reeve Brigade. Here she works as Head of the Transplant Room at the Manuel Ascunce Domenech Provincial Hospital.
“She has just returned from Azerbaijan. Before, she served a mission in Haiti. During the pandemic she has gone to reinforce other Cuban provinces. I am very grateful to my wife and my six daughters because they give me strength ”, and said like this, there is no doubt that Frank Mola is a complete Camagüey's son.
Translated by Linet Acuña Quilez