YOUNG AND ARTIST: "When the Performance Ends, I Want to Start Again"

Those who have attended the most recent seasons of Danza Contemporánea de Cuba have likely noticed one standout dancer in the ensemble: Alex Leonard Poey Reguera. His colleagues and friends affectionately call him "Choco." It is impossible to overlook him—his powerful execution and vibrant stage presence have earned him several leading roles. We interviewed him for our series on young Cuban artists.

When did you know you were going to be a dancer?

I think from the very beginning, as soon as I became aware of myself. There was not any tradition of dance in my family, but my mother would take me to Paseo de Prado, near our home, whenever there was a celebration. As soon as music played, I would start dancing. In fact, I won many awards in children’s competitions. So for as long as I can remember, I have been in this world. My mother enrolled me in workshops, and I always wanted to be a dancer.

How did you enter the arts school?

That was very demanding. I wanted to be a dancer, but I did not fully grasp what that meant or what it required. During the entrance exams, I realized it demanded total dedication and discipline. It was not just a game. But I loved that challenge. I told myself, This is my calling.

When did you first see a performance by Danza Contemporánea de Cuba?

You might not believe it, but the first time was when I reached the intermediate level. In elementary school, I did not go to theaters. The first thing I saw from Danza was Carmina Burana.

Did it impress you?

Honestly, no. I did not really understand what I was watching. I wanted someone to explain what was happening on stage. At that point, dance to me was just salsa, chachachá, popular dances…

You did not see yourself dancing like that?

Not at all. It was too strange for me.

Did that change at some point? Did you eventually want to join the company?

Of course it changed. That is life. But it was not simple. At the National School of Arts, I was pigeonholed. They thought I was basically just a folkloric dancer. Some even told me I would never be able to perform contemporary pieces. That bothered me. I knew I was a complete dancer, but I had to prove it. So I set a goal: I am going to be a dancer in Cuba’s leading contemporary dance company—to challenge those who did not believe in me. But it was more than that: I wanted to show I could master multiple styles. And I worked so hard that I succeeded.

Do you remember your first time entering the company? Your early experiences?

I remember being very nervous. Imagine arriving and meeting dancers I had always admired—now they were my colleagues! I had to measure up to them, sharing the same studio, taking the same classes. Little by little, I adjusted and felt more confident.

What do you enjoy most about the company’s daily routine?

What I love most are the people. The current members of Danza move me, motivate me, inspire me…

You said you wanted to be versatile in multiple styles, but which one do you prefer?

Right now, Danza is working mainly with two styles: Julio César Iglesias’ and George Céspedes’. I would not say one is better than the other. They are different experiences. Which one am I more comfortable with? Julio César’s. But George challenges me, and that is fantastic.

What do you find difficult in the company?

Frankly… nothing. I approach everything with a smile and enthusiasm. I tackle challenges with positive energy.

What do you feel a minute before the performance starts?

I feel and think so many things… I might wonder how I got here, why I do what I do. Sometimes I remember past experiences. But I always ask my guardian angel for a blessing. And I think of my mother. Finally, I try to clear my mind.

And when the performance ends?

Right when it ends, I want to start the piece all over again. That is when I say, Now is when we should begin dancing.

Translated by Sergio A. Paneque Díaz / CubaSí Translated Staff