Josefina Mendez, Cuban Ballerina
Ballet Mistress for the Cuban National Ballet, Josefina Méndez (1941-2006) passed away, January 26, in Havana, after a long illness. She began her study of ballet at Sociedad Pro-Arte Musical with Alicia and Fernando Alonso, and J. Parés, joined Ballet de Cuba in 1955, which became the Cuban National Ballet (BNC) in 1959.
She, along with Loipa Araújo and Mirta Pla, were known as the "crown jewels" of BNC where she stayed for almost 35 years, retiring in 1996, but remaining as its ballet mistress. She largely ran the company after her mentor, the ballet's founder and still director, Alicia Alonso, became increasingly blind.
In 1948, Alonso had returned to Havana after gaining world renown at American Ballet Theatre and Ballets Russes de Monte Carlo to start her own school and company. As she toured Cuban farms and villages for young pupils, she hand-picked Méndez for study in the school and made her a member of her company and in 1955. Méndez was appointed to prima ballerina status in 1962; won the Varna competition Bronze Medal in 1964; the Varna Silver in 1965 and the L'Etoile d'or in Paris, 1970. In the National Ballet, which excels in 19th century classical works, Méndez was an outstanding exponent of lyricism, romanticism and quiet authority in works such as "Pas de Quatre," and as Murtha in "Giselle." In 1972, as "Giselle," the BNC's signature piece, and as a guest artist at the Paris Opéra, she received what she thought was a cool reception from the cast. But after her first solo, there was a burst of cheers and applause from the cast.
According to New Yorker Gloria Fokine, a former member of BNC, "As a ballet mistress, appointed by Alicia Alonso to rehearse the company, Méndez was meticulous in preserving details and extremely patient with the dancers. This included rehearsing the company on tour, in Havana with internationally known guest stars and in contemporary works."
From the 1960s through the 1990s, Méndez performed in more than 130 roles. In 1996, she made a moving farewell appearance in a piece called "Intimidad" (Intimacy) with her son, Victor Gili playing the male lead. The piece ended with Méndez walking off the stage silently having handed over to a new generation the legacy of the company, and leaving her son in the spotlight.
The Cuban school of dance incorporates the refinement of Italian technique and some Russian characteristics, with its own element of stability, multiplicity of tours and an emphasis on quick, neat batterie. There are more than 700 ballet students in its several schools free of tuition, with a number of its professional dancers, including Carlos Acosta, performing in international companies.