For years, probably since 2010, the public in Palma had hardly had access to a dance proposal with capital letters. The date refers to the end of the Mallorca Ballet Season, born in 1996, and which in its fifteen editions brought us the best of the international scene. During its period of validity, they approached the Palma Auditorium referring to a way of doing things marked by excellence and if I should choose a milestoneWithout a doubt, the reference to highlight is the visit of the Lausanne Ballet, and the majestic ‘Le Presbytère’ by Maurice Béjart with music by Mozart and The Queen.
The natural child of that experience is undoubtedly the Dance Cycle, which the Auditorium itself launched in 2015 to compensate for such a great loss. His peak moment, without hesitation, has come with the presentation of Acosta Danza and his emblematic proposal, Tocororo suite, which by the way will attend the Santander International Festival on August 8.
Tocororo: climbing bird that lives alone, endemic to the forests of the island of Cuba. It is also recognized as the national bird of Cuba. The detail is not minor, when we approach Tocororo suiteshow based on the first choreography (2003) of the Cuban dancer Carlos Acostathat in 2016, when he founded his own company, he decided to resume this work that It was inspired by the customs and characters of Cuban society, in addition to including biographical features.
Regarding the personal experiences of Carlos Acosta, I recommend reading his autobiography No way home (2007) and watching the documentary Yuli (2018) directed by Iciar Bollaín. Carlos Acosta trained at the National Ballet School of Cuba, a quarry from which the National Ballet of Cuba has traditionally been nurtured. He came the company to Palma, with Alicia Alonso at the head, and we could see that without hesitation she is one of the jewels of the Caribbean dance current. Acosta’s success was to create his company coinciding with his promotion to principal guest dancer of the Royal Ballet, progressively creating his own quarry that brings dance with capital letters to the direct encounter with the Cuban musical tradition and from that fusion arises the miracle Acosta Danza that is in itself a company where the neoclassical school is sublimated.
It is interesting that when Tocororo Acosta resumed, he resorted to the ‘suite’, which is a musical form whose origin dates back to the Renaissance and that it can be interpreted in musical theater in a similar way: short movements of a dance nature with which it is possible to accentuate the dramatic sense of the opposition. What better choice when the argument deals with the customs of Cuban society, confronting them with biographical traits of Carlos Acosta himself, and also offering a refined reading of the similarities and oppositions of a complex dance painting?
Award-winning work already in its beginnings, it came to coincide with Acosta’s peak moment as first dancer of the London Royal Ballet, another matter that is not minor either, because in this version in the form of a suite what is actually proposed is the dialogue between cultures based on the migratory phenomenon that Acosta himself embodies on stage and he sublimates himself in the different pas de deux that he performs paired with the prima ballerina, in addition to a colossal final duel pairing up with the guest dancer.
A dialogue between cultures also resolved in the permanent confrontation of classical ballet with ethnic expressions, based on beautiful transitions between the Cuban neoclassical school, contemporary dance and a lot of folk dance. And above all, going to the underlining of an excellent technique. By the way, ‘tocororo’ is also an onomatopoeic word that goes very well with those interspersed in Haitian Creole that marks distances with the simple folkloric approach and contributes to elevating it to the summit of alternative culture. Because above all, Tocororo suite puts the sublimation of topics on the stage, turning them into a masterpiece.
A delicate scaffolding that invites us to evoke images that allow us to immerse ourselves effortlessly in modern music and at the same time deeply savor the strong character of the Cuban soul through evocative drawings that are described by the dance team. But, as I say, they are the pas de deux where the idea-force that runs through the plot falls, sublimated in the final duel between Acosta and the guest dancer, while the love story that underlies the story is expressed in the tours of supreme plastic beauty shared with the prima ballerina.
The curtain rises and the live music is evident from a primary game of rhythms to complete a combo of piano, electric bass and percussion. Until the entrance on stage of the dance corps giving meaning to the plot about to unfold, and that has already warned us of the presence of a newcomer who will put his legacy (classical ballet) to the test until the understanding with the other (dance contemporary) and the encounter with singularities (folkloric dance) that are actually words of dialogue.
Because that is another. Carlos Acosta displays his genius; he makes the choreographic movement the vocabulary of a precise narrative until we discover the Cuban soul and transform the story into a wonderful staging, where a refined technique allows effortless appreciation of transitions. What we see is, in effect, a masterful mosaic of dialogues between dances. Someone has referred to Tocororo suite as “a hymn to miscegenation”, and I could not disagree more, because in reality we are witnessing the flow of a story that is a hymn to universality, from the observance of the paintings that make up a reality concrete that she does not claim: she knows she is the owner of her own dreams, of her abilities to dialogue freely. There is no need then to claim anything, just be true to yourself.