I was actually really looking forward to Ballet Revolución but turned out to be quite disappointing. Not sure whether they were all just having a bad night, or the Australian program wasn’t quite right, or the stage was too small, or something, but it just had very little spark. One of the only things I’ve considered just leaving at intermission but I thought it might have gotten better in the second half (spoiler: it didn’t). But anyway, the actual review will be posted here soon and this was a quick Q&A I did with one of the dancers!
The interview was originally posted on Arts on the AU.
Ballet Revolución, the renowned dance sensation, is set to return to Australia this month with a whole new production. The performance showcases some of the world’s most talented classical and contemporary dancers, backed by a live band and performing to the rhythms of Latin-America and hits from artists like Sia and Beyonce. The AU caught up with one of these talented dancers- modern, contempory and folklore dancer Lianett Rodriguez Gonzalez. We discussed the incorporation of dance styles, training regimes and working with choreographer Aaron Cash.
When did you first start dancing, and what originally got you into dance?
I started with rhythmic gymnastics when I was 4 years old as a sport and the reason for that is because I was a very energetic child and my mother needed something to help me canalize my energy.
You are a modern, contemporary and folklore dancer. How do these three styles differ and how do you incorporate them all together?
Folkloric dance comes from the more ancient times of Cuba and more historic tradition. It is also related to all the popular styles in Cuban dance throughout history. The difference between contemporary, modern and folkloric comes in terms of the technical aspects. After studying and being trained for all those styles, I realized at the moment of creating movements that I have it incorporated in my body. It is something natural and I cannot really describe a process my body is the one mixing them together.
What does a normal routine consist of for you in terms of training and maintaining your high level of fitness and skill?
The training really depends on the activity that is required and the needs that each of us have. What we do in this type of show is physical training the same way an athlete would do in order to build strength and resistance in addition to this we have a ballet training for the technical aspect and the style. In my personal case, in addition to what we train for the show, I also do yoga, and capoeira which is also helps with what we do.
Ballet Revolucion is known for its explosiveness and intensity, how do you muster this for each and every show?
In order to muster it all we have to be united as a collective as a dance company. It’s the connection and the focus that allows for us to perform to this high level every day. This way you can enjoy the show as a performer and also pay attention to any situation that may occur.
What was it like working with choreographer Aaron Cash?
It is a very organic process as he works with you on your personal aspects. It is a lot of fun. With Aaron we really work more on the neo-classical aspect of the show and this is very interesting for me.
What are you most looking forward to about bringing the show to Australia?
What I am very excited about is coming back for the third time and connect with the amazing Australian audience. They have so much enthusiasm and they give us a lot of energy. Being the third time that we are coming it’s a treat to get to be reunited with our Australian friends again.
What should audiences expect from Ballet Revolucion?
Our energy and the new choreographic surprises that we have in the show. An all around great music and dance performance.
And finally, do you have a favourite song to dance to?
I honestly love all of the numbers, they all have something different and special to me. What I really love about it is that all the numbers are performed by very special musicians with whom I have been working for over 5 years now.