The reasons for Paloma Herrera that precipitated her resignation: “You cannot have a dance team of 100 and have 50 dance”
After announcing his resigns from the position of director of the Stable Ballet of the Teatro Colón, Paloma Herrera spoke with THE NATION and gave details of his decision.
“It is indeclinable. I’m not going back, it doesn’t make sense, everything I could do I did. What needs to be changed is more at the base, ”says Herrera in dialogue with this medium after it became public. the letter he sent to the general director of the Teatro Colón, María Victoria Alcaraz.
In his letter, Herrera anticipates his decision and assures that he will send the formal resignation in due course. Sources close to the Theater indicate that the general director and the former dancer will meet this Wednesday.
“I must clarify that since I assumed the position of director of the Stable Ballet (in February 2017) there have always been very serious problems that affected me greatly. Never throughout these five years was it in my plans to resign, quite the opposite. I redoubled my efforts and in this way I was able to turn the Stable Ballet from the unfortunate state it was in when I arrived, into the House’s highest-grossing show, easily surpassing the Opera, historically the show that sold the most tickets,” Herrera points out in your text and resumes dialogue with THE NATION.
“All of us who have a career abroad want excellence. Dancers have left for a reason, right? I wanted to change that, so that they did not have to leave the country, but there are basic things that if they are not modified, they are unsustainable, ”says the former leading figure of the American Ballet in New York.
One of the most critical aspects for Herrera is the formation of the stable ballet, which “has a body of 100 dancers but 50 dance. I was always very idealistic, I believed that I could change it, that young people could have opportunities, choose the people who deserve dance and I see that it is not possible. There are people who have been for years. A choreographer comes from outside and I can’t tell him to put whoever he wants, but he has to choose this or that because that person played the role 20 years ago. You want to put the person who deserves it, who has the talent. What happens in football, do you tell the coach who has to play? The dancer knows that it is a short career, that he has to support himself, take classes every day. He can’t sit still, he can’t move.”
As she points out in her letter, Paloma Herrera confirms that her decision was rushed “as a result of a meeting” she had with the executive director of the Teatro Colón (Martín Boschet) at the end of the year, “in order to talk about the 2022 season that was already submitted. He let me know that for 2022 he has a list of the teachers who will come, who will audition for the main and solo categories, but only for some. The ones he chooses will not audition and will remain, and the rest that had the category for earned merits would return to the dance corps and audition, but I would be the one who should take charge of this decision in front of the dancers because I am the director. That I have the obligation to make all the dancers dance, regardless of their age and their physical/technical condition”.
Paloma Herrera’s intention was to hire “people from the Institute, who are young and want to dance,” she says. “But instead of that they force me to choose 45-year-old people who are at home and who never came to the theater. There are people I don’t know, who aren’t dancing and get their salary,” she adds.
Regarding the design of the 2022 season, the former dancer defines it as wonderful. “The dancers who come this year are the top of the top. I danced with Roberto Bolle, a figure who is coming in his last year because I called him. And so it happened with everyone, because they trust me. Like Herman Cornejo, who is going to come back. People who want to come back and people who never came who said yes because I was there. I left everything impeccable, but it is contradictory: how do you want me to put a Romeo and Juliet, a Giselle The The cheerful widow, which are so difficult, if you don’t give me the dancers I need. I don’t know if the contracts were signed, I left the contacts and everything was in process”.
Grateful to her work team, her teachers and the public, to whom she dedicated a post on her Instagram account, Herrera concludes: “When I took over the company there was not much of a ballet public and we ended up with sold out in all functions. It is very gratifying and it is what allowed me to continue all these years”.
The ex-ballerina was preceded in her position by Maximiliano Guerra, who remained as director for two years, and Lidia Segni, at the head of the stable ballet for a decade.