A DIALOGUE TO ENRICH TWO CULTURES

Pedro Ruiz:
"Cuban culture has been present, has always been and it is a major influence on American culture for many years, especially in music and dance."

Pedro Ruiz returned to Cuba, his homeland, and was dazzled. He had emigrated in his childhood, the memories were distant. But the reunion was overwhelming.

"After thirty years away, I returned in 2009 as part of the group of Americans who bore the official invitation letter to Alicia Alonso to participate in the celebration of the American Ballet Theater for the 90th anniversary of the dancer. At that time I visited a master class in Contemporary Dance of Cuba. It was a great emotion that encounter with such spectacular dancers. The invitation of the director Miguel Iglesias to work with the company opened the doors on the island. "

The doors actually opened wide. From that moment, Ruiz, a renowned choreographer in the New York area, began to repeatedly travel to Cuba, almost always to work with companies on the island. He mounted pieces with Danza Contemporanea de Cuba, with Dance del Alma (based in Santa Clara), and finally with Contemporary Endedans Ballet, a company founded in Camagüey by Master Tania Vergara.

Ties with the latter cast were strong from the start. Peter was seduced by the force and delivering of the dancers. And he fell in love with Camagüey, "a city that is unlike any other in the world."

That love at first sight had a fruit: the ballet Momentos en el viento, released in the Main Theater of the city. Pedro reveled in putting his views to retrace the labyrinthine streets of the city.

It was the beginning. Last year he was appointed artistic director of the company. It is the first time a US-based choreographer takes a position of that relevance in Cuba. What is called a milestone. More important when taking into account the close links between the dance movements of the two countries.

But it is not a free appointment: it is based on a serious and committed work. "I feel I have things to offer to dance in Cuba, a humble contribution, but sincere. I owe it to my homeland. I myself have drunk much of this legacy, treasured for many years, championed by so valuable artists. "

What challenges are posed by the appointment? What challenges remain?

The first challenge is to take the company to a new professional and artistic level, with renewed aesthetics and enriched by a diverse repertoire, which will give the opportunity to dancers grow both technically and artistically.

A more stable presence in the company will give me the opportunity to develop new cultural and educational exchanges with the new director Yaylin Ortiz.

What can bring Cuban culture to the United States? What can bring the culture of the United States to Cuba?

Cuban culture has been present, has always been and it is a major influence on American culture for many years, especially in music and dance.

It is remarkable the great contribution of American music, particularly jazz, to Cuban popular music. In the same way contributions of Cubans rhythms to the American music have been important.

Dance in America has also been benefited from the influence of the Cuban ballet technique. And vice versa: Alicia and Fernando Alonso danced there for many years.

It is the same with the technique of Contemporary Dance of Cuba, which has clear inputs of technique by Merce Cunningham and Martha Graham.

This ongoing dialogue is very important because it enriches cultures. That was precisely my inspiration since I returned to Cuba.

What are your plans with the Contemporary Ballet Endedans?

I have many plans. They take time, slowly. The repertoire of the company must increase, but I also want to develop educational and artistic programs for young dancers and members of the company. I dream of creating a choreographic laboratory for the development of future young choreographers in Cuba.