Feature: Dance - Interview with Cuban dancer and choreographer George Céspedes
Published: 29 July 2010
by NATALIE LI
YOU would imagine any choreographer would be desperate to discuss his new project, but George Céspedes is reluctant to gush about his latest work in which he collaborates with his friend, the legendary Carlos Acosta, as part of the annual summer season at the Coliseum.
“I am working on two solos with Carlos,” explains Céspedes, “it explores the relationship and struggles when you are in a couple. It focuses on the psychology behind it.”
Having just started rehearsals when we meet, it’s still very much a work in progress and Céspedes seems hesitant to give much away, relaxing into his chair as we sit backstage at Sadler’s Wells where he is working on the piece.
“Normally I like my dance to be based around the human situation – life, man and his struggle,” he says. “What I do to gain inspiration is go out and watch people in clubs. I have a beer and watch behaviour – sometimes you watch people and you can understand their life. Sometimes I think I might look like a freak watching people.”
The 30-year-old, who began his training in Cuba at the age of 10, takes his success in his stride, openly admitting that dance is not his life.
“Dance for me is not my life, dance is part of my life,” says Céspedes. “I am not like, ‘I am the dance’ – I could say it is but I dance because I feel good and I need choreography.”
It’s this subversive outlook which has produced innovative conceptual pieces which break clichés of Cuban dance. Most recently, Cespédes’ Mambo 3XXI was performed earlier this year with Cuba’s premier contemporary dance troupe which launched its first large-scale UK tour to celebrate its 50th anniversary.
Céspedes has made only a handful of dances for the Danza Contemporanea de Cuba but he is already gaining recognition in Cuba. His down-to-earth, no-nonsense manner is refreshing. This is one choreographer who is ready to embrace change and to put critics in their place.
“As an artist I find it hard to understand how critics can rate work, to give it two or three stars when sometimes some critics do not really understand what we are trying to communicate,” he says.
“It’s not about movement, it’s about an idea. Dance is a way to communicate, to say things – even if it is commercial.
“Movement is a tool, it is a language to explain, say things, like words are to a play.
“The audience has the right to say what they feel – they pay the money.”
Misinterpretation of his work certainly riles this young, outspoken artist, but then he aspires for something much deeper in his work.
“Normally people go to the theatre to be entertained,” says Céspedes. “But artists, like me, I don’t do it to entertain, but I know I have to entertain the audience. Now you have to think about selling your piece and putting it in the theatre but you have to stay true to yourself.
“I like to make people think, otherwise there is no point, I don’t like to talk about political stuff. England have no dance – that’s what I think. To talk about the British dance scene, it doesn’t exist. Companies from all over the world come here.
“I have seen the English National Ballet in rehearsal – they don't touch me, it’s just movement with no feeling – movement is a language, it doesn’t matter what movement you use, but you must use it well.
“I say what I think. I am a human being and I know how the world works, I have to eat and I have to keep the right balance. It’s very easy to judge. I think a lot before I make my judgement. This is my opinion, I might be wrong but this is my opinion.
“I mean, I’m just George from Cuba.”
• Carlos Acosta is at London Coliseum, St Martin’s Lane, WC2N from July 28 to August 7