Malakhov " To Dance the way María Callas sings!

On one occasion, Teophile Gautier said that the main virtues of a great dancer were "passion, sensitivity, too lavished soul, enthusiasm ...". The renowned French writer was right with that phrase of romantic momentum. "The elan –he said-- is essential of all the great ones in dance." And there is no doubt that the famous Ukrainian dancer Vladimir Malakhov carries that mysterious aura, that unmistakable breath, that something else that is very hard to define. But it is not only on stage where everyone has had a chance to confirm it. A serene morning of the ninth month I realized that Malakhov has, away from the stage, the momentum and panache that amazed the good Parnassian. After all, is not by chance he is one of the greatest dancers in the world.

Being able to talk to a myth is not very common. He is unwittingly. How did he do it? With effort, will, determination and hard work, and of course: with talent. In Holguín, where the artist’s dream came true: the 1st. North Atlantic Dance Competition and Vladimir Malakhov Grand Prix was the encounter with this man who began his career by 1986 as the youngest principal dancer of Moscow Classical Ballet, and who in his acclaimed career has left everlasting footprints in groups and dance festivals worldwide: Germany Stuttgart Ballet, Ballet of Canada, the American Ballet Theater US, the Ballet of the Opera of Vienna, Berlin Opera, Ballet Tokyo and others. He has also combined his work as soloist, choreographer, teacher and director since 2002.

A stroke of words opens the door to dialogue that blends with all the simplicity, a leisurely say, but also dotted with all the proverbial strength of his character. Memories? He becomes echo of the question and answers: "They are life itself, with the hangover of the good and sad times." Although his life –he says --  is full of positive memories. To create, live, decide, give, have been very popular words in his dictionary. That is why he uses to add the life earnings. They are the memories that keep coming, he says. As the images of his mother, who was undoubtedly an inspiration to enter this world of movement, that one where he was caught very early in life. And as rescuing time, his blue eyes "dive" the inside to shore memories that vibrate in his words.

His mother shows then, his first inspiration, artisan because of her efforts, because, she says, she dreamed of being a dancer, it was most her cherished desire, but she could not be. She focused her gaze to the sport and saw in artistic gymnastics a parallel way, quite similar. She was champion in her specialty, with the Olympic team of her country. But that desire to dance was never fulfilled; she promised that his first child would be what she was not. Since I was in her womb, she kept saying, "The child is going to be a dancer." "I was that child-- 'he says. You know the rest [laughs]. My mother always wanted me to be happy. Therefore, when I turned 10 had to leave Ukraine to Moscow to study at the Academy of the Bolshoi , far away from home, she would not let me to see her crying at that crucial moment, she turned around because she wanted my happiness and do not spoil my career. Years later, she told me how hard it was that. "

To look inside oneself is the main thing

This is a beautiful but tough career, of much tenacity and daily work, "but most important is to feel inside, one must look inside and try to find oneself as an artist. In Cuba there is a huge level, much has been done for dance for some time. But I have observed both in the classroom and in the rehearsals, there is a huge fascination with technique --pirouettes, jumps ...--, everyone wants to jump like Carlos Acosta. And I tell them: '' No! 'You must be yourself, look inside you and take yourself out; you do not have to imitate anyone. You have to think, figure out how to do it our way, always surrendering, giving everything. We are individuals, that is the only way to get there, and of course, to succeed here. "

Then he continues with this dialogue tempered by the teacher he is, by the experience that flows from his pores from dancing around the world, with very different people from various latitudes of the globe. "When a dancer rehearses must give one hundred percent, but when he dances the figure should be higher. It is that besides you, there are many people behind! Is the orchestra, more dancers, technicians ... and the public, you must respect them all. So you have to be delivered in a two hundred percent. It is the moment of truth, when you are alone to reflect and to succeed despite any unforeseen problem.

It is not by chance that it is said you have to give everything on the stage. A dancer sometimes makes a mistake, but he has to transform it, he can not give the impression that he is frightened or leaves everything. Because the public paid their entry. He is a professional, he must continue, overcome, do everything possible so that the viewer will not notice. At that moment one forgets what it is supposed to be done and just dances, but it is necessary to do it right. I am very strict with me professionally. In the world of ballet there is no mistake ".

Cuba and Vladimir Malakhov

During the 22 International Ballet Festival of Havana in 2010, Vladimir Malakhov first dialogued with the Cuban public, though, of course, the renowned dancer was not an outsider in our scene. Long before, around 1997, during the Gala in which the American Ballet Theater celebrated the 50th anniversary of the ballet Tema y variaciones (Theme and Variations), created by Balanchine for Alonso and Igor Youskevitch, Malakhov shared the stage with Alicia Alonso in El espectro de la rosa, at the Metropolitan Opera House in New York. He was an emblematic figure of the famous American company and also had many Cuban friends in the field of dance: José Manuel Carreño, Carlos Acosta, Viengsay Valdes ... The also danced Bahiana y el güije, that Alberto Alonso created for him, in addition to sharing the stage with another great: Aurora Bosch. From that performance a few words were written, dedicated by this critical to the artist in the Granma newspaper: "... On the day of the Gala of Lezama Lima particularly shone Vladimir Malakhov, from the Ballet of the Opera of Berlin, with a version of La muerte del cisne (the Dying Swan), by Mauro Di Candia, where the dancer offered with great purity of movement, an effective combination of technical expertise and interpretive sensitivity ".

The die was cast. That first contact motivated him a lot to return to Cuba loaded with initiatives and love. He realized it was a dancing island and its inhabitants breathed ... with movement. Dancers and public seduced him in his endeavor. In the same plane returning to Berlin joint ideas emerged with Paul Seaquist, executive founder of Seaquist Dance Marketing, a company that represents recognized dancers of this time. The bases were implemented to return with tempting proposals.

The renowned artist, Benois Dance Award and considered on five occasions the best dancer in the world by the famous Dance Magazine, was impressed with the dance movement in Cuba and the precariousness with which it was conducted. It occurred to him to bring a gift for the Cuban people, emerging thus the concept of a Un regalo de Malakhov (A Gift from Malakhov), for public and dancers.

Why Holguin? "When they thought of a gift ... they longed to be a project with the National Ballet of Cuba. It was not just for the prestige of the group and the quality of the dancers, or to create a partnership with it; it was simply because aesthetically it approached to the style of Vladimir Malakhov. But he was not provided with the necessary heat, the proposal was not accepted, which apart from benefit the BNC he wanted to encourage those viewers that were so excited in the first visit. They visited other companies ... but no one in Havana said yes. "

Maricel Godoy appeared on the way, director of Codanza, in a chance encounter in the Gran Teatro of Havana. After a fruitful dialogue the dream began to take shape; a place had appeared to nest the idea and make the project that bears his name come true, in addition to sow the Malakhov´s gift on Cuban soil, and thereby provide a little love / friendship to that old expression that aroused in the same man on Earth. That same year, in 2013, he visited the city, danced and let the seed that germinated in 2014. At that moment begins the story and a great professional friendship is strengthened. "I loved what I saw in Holguín, I was impressed with the quality of Codanza Company and the Eddy Sunol Theater. But especially with the desire to do, beyond possible risks for both Maricel and her dancers. Besides that the public is unique, of an immense affection".

Holguin, bridge of friendship

Love and dance took over Holguin. The beautiful city of parks dawned on this September flawed in ... dance. To the usual landscape those beings that see life from movement joined to these days. They arrived from different provinces representing dissimilar groups, they came attracted by the 1st. North Atlantic Dance Contest Vladimir Malakhov-Grand Prix.

The first day various Cuban companies: Danza Espiral from Matanzas, Danza del Alma from Villa Clara and the hosts Ballet de Cámara and Codanza from Holguin took the stage at the Eddy Sunol theater, headquarters of the event, which celebrated in June its 75 anniversary. It was the preamble of the event that took place from September 15 through 18. In the four days of competition 55 contestants participated, representing ten companies of Havana, Guantánamo, Camagüey, Villa Clara, Santiago de Cuba, Havana and Matanzas as well as Ballet dancers from the Cuban television, recently graduated from the National School of ballet; students from the Instituto Superior de Arte (ISA) and independent dancers. The jury was chaired by Vladimir Malakhov and integrated by Maricel Godoy (Cuba) and Paul Seaquist (Chile). The idea of the contest was interesting, mainly for the facilities of artistic growth that allows creators throughout the island and beyond its borders, and choreographic searches of young dancers.

"Precisely it arises –Malakhov says-- the desire to do more things together to develop and grow. We held meetings in Havana with the Minister of Culture and the National Council for the Performing Arts, and we were encouraged to continue creating initiatives. Both the Grand Prix Malakhov and Choreography Competition Codanza emerged from the freedom to do that they proposed to us. I already knew of the many talented young people living outside of Havana and often fail to 'born' because they do not live in the capital, or lack of motivation to succeed. Stimuli are vital to progress! How many talents, not only in dance, but in the literature, science, sports ... fail to grow for lack of goals? ".

In those days the Ukrainian dancer Award was happy to see the results of the meeting. Always smiling, he had words of praise for the hosts and highlighted the quality of the vast majority of the participants, which he described as excellent dancers. "I have feel excited a lot to see them dance, and would like more dancers and choreographers for next year. I've been able to ascertain from the auditions the extreme quality in dance and choreography, which amaze me by the professionalism and creativity. In Europe everything is equal to the other. "¿Holguín? "It's our home, like all eastern Cuba. We will continue doing things together, working together."

We are proud to have Vladimir Malakhov as a friend of Cuba and dance. His agenda is busy after leaving. No time for anything. Speaking about his work in these times he explains to Art by Excellencies that, after more than two decades, he ended the contract with the Ballet of the Opera Berlin. "I'm moving to Japan to work with the Tokyo Ballet, with which I have made over one hundred presentations throughout my career but I'll take the job along with other various competitions and contests. For example, Berlin is organizing the First European Ballet Award, named Taglioni. I must go to Kiev, China, Puerto Rico –where I hope to dance the Dying Swan, a version made by Mauro Di Candia-- different Japanese cities, Slovakia, Slovenia, Monte Carlo, Mexico ... ".

He has in mind to open a network of competitions with his name in several countries in Latin America with the objective of providing opportunities, to help dance in a region where there are few economic opportunities to register for events in Europe or America.

At the end of the long dialogue Malakhov expresses: "It was hard at the beginning of this new stage sharing life between being a dancer / choreographer and later director / teacher. But it keeps me busy.I need time, but when I'm working is when I feel happy. The only thing I do not like is to be away from my dogs. "

The answer to this question was convincing: predilection for any dancer / ballerina in particular?"I only have idols in opera. I would like to dance the way Maria Callas sings".