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Delgado, César (Coord.). Cuadernos Del Cenidi Danza José Limón, Número Veintiuno

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Delgado, César (Coord.). Cuadernos Del Cenidi Danza José Limón, Número Veintiuno ! Repositorio de Investigación y Educación Artísticas del Instituto Nacional de Bellas Artes ! ! www.inbadigital.bellasartes.gob.mx Formato digital para uso educativo sin fines de lucro. Cómo citar este documento: Delgado, César (coord.). Cuadernos del Cenidi Danza José Limón, número veintiuno. Una vida dedicada a la danza. CONACULTA/INBA/Cenidi Danza/UAM. México, D.F.: 1989. Palabras clave (descriptores temáticos): maestros de la danza, bailarines mexicanos, homenajes, dance teachers, mexican dancers, honorings. Primera edición D.R . © 1989 INDA/ Dirección de Inves tigación y Documentación de tas Artes/ CENIDl·DANZA Campos Etiseos No. 480 Colonia Po\anco Ciudad de México Impreso y hecho en México Printed and made in Mexico FRANCISCO ARAIZA Felipe Segura o hace mucho tiempo en el panorama internacional de la ópera surgió un cantante, Francisco Araiza, que N cada día logra mayor aceptación en las grandes ca- sas de ópera del mundo, y que seguramente llegará a ocu- par un lugar privilegiado. Pero ames, mucho·antes, desde la década.de los cincuenta surgió en México un muchachito con ese nombre teatral, y que se habría de convertir en una de las principales figuras de la danza clásica mexicana. Ese muchachito, Francisco Anaya, nació en Ameca, Jalisco. Su familia lo trajo a la capital cuando aún era niñ.o, y debido a problemas con ellos fue que cambió el apellido de Anaya por el de Araiza. Su padre era médico y su madre, una pia- nista concertista que llenó su cabeza hablándole de espec- táculos, y cocando toda clase de música para él. Con ella conoció la de Chopln, que después interpretaría estupen- damente. Cuando tenía doce años asistió a una función del Ballet de la Ciudad de México que tenía como huéspedes a las gran- des estrellas de esa época, Alicia Markova y Anton Dolin. Estaban también los solistas y conjunto mexicanos, todo lo impresionó, le entusiasmó, comenzó a sentir el llamado de la danza. Nunca tuvo mucho interés en los estudios, dejó la pre- paratoria para estudiar pintura, para la que siempre ha te- ni do disposición; dejó la Academia de San Carlos para de- dicarse a la danza. En una de sus frecuentes pintas, en las que se convenía en turista de la ciudad de México, con un compañero fueron a dar al Palacio de Bell as Artes. Todo fue emocionante, entrar por la puerta del escenario, subir lasescaleras,entraral granforo.Allíensayabanlas danzas de la ópera Aído, Jos bailarines eran Ricardo y José Silva, y Gkiria Mestre. Logró conversar con ellos, y obtuvo la di- rección de su escuela, que era en ese momento la del Sindi- cato de Actores. Ver de cerca a la ge nte de la danza lo con- movió profundamente y tomó la decisión .. comenzó a asistir a las clases, su primera maestra fue Gloria Mestre. larga temporada de conciertos por todos lados, y también En el grupo vespertino comenzó a estudiar con Scrge Un- un programa en el Canal 11 que duró muchísimas semanas. ger, después de relacionarse un poco comenzó con Nclsy Llegaron a tener un acoplamiento magnífico, gustaban mu- Dambré. Ellos eran los maestros más imporcantes de Méxi- cho al público. Y como solían programar un número im- co, su interés se dirigia hacia la danz.a y sus miras eran Jo portante de pas de deux, ambos adquirieron no sólo expe- profesional; ambos anhelaban tener una eompaftía mexica- riencia, sino un entrenamiento magnifico. na de ballet, y cualquier varón que ll egaba era muy bienve- Después, en 1954, tomó parle en los exitosos ballets que nido y alentado. Guillermo Kcys Arenas hizo para la opereta Orfeo en los Madame Dambré lo invitó enseguida para IOmar parte infiernos. También hizo con este coreógrafo El afma buena en un festival de su escuela; como debut para Francisco le de Sechuan y El sueño de una noche de verano. Continua- puso un pas<ledeuxcon una de sus mejores alumnas, Pola ba tomando clases con Serge y modome Dambré y bailaba Plate, que además de ser más alta que él, era bastante cor- en cuan1as funciones estuvieran, igualmente hacía progra- pulenta. Francisco sufrió un verdadero pánico, no había mas de televisión, como aquella serie que encabezaron Lu- asistido al ensayo general, olvidó la música, manejó mal a pe Serrano, Michel Panaieffy César Bordes, de muchísimo la bailarina ... pero con el correr de los aftos habría de so- éxito. breponerse; poco a poco logró adueñarse del escenario. En ese momento, Francisco ya estaba en un elevado ni- Las experiencias fueron muchas: estuvo una temporada vel técnico, había adquirido experiencia, era un buen part- en la Academia de Ja Danza Mexicana, continuó estudian- ner y ya tenia un nombre dentro de las primeras figuras de do con Serge y madame Dambré. En 1950 debutó profe- !a danza clásica. En 1960 ingresó al Ballet Concierto de Mé- sionalmente en el Teatro Iris con el Ba!let Nelsy Dambré. xico como primer bailarín huésped, actuó en la temporada Después visitaron varias ciudades de la República, San Luis de Bellas Ar1es, en las innumerables giras . Bailó las partes Potosi, Puebla. Saltillo, Guadalajara, y también bailó en estelares del repertorio: Giselle, El lago de los cisnes, Cop- la que madame Dambré presentó en Bellas Artes: la estrella pelia, Tragedia en Calabria, los pos de deux, y desde luego era una juvenil Lu pe Serrano. Los primeros bailarines eran Las sl/fides de la cual hacia una creación. César Bordes, Salvador Juárcz, Guillermo Keys Arenas y La mayor experiencia llegaría en !962 con la visita del Felipe Segura .. Entre las solistas estaban Mercedes Pascual, Gran Ballet Internacional del Marqués de Cuevas. Fue in- Carolina del Valle y Laura Urdapil leta. En el conjun!o Jorge vitado para ingresar, pero no pudo salir, no tenia cartilla Cano, Tomás Seixas y Francisco. militar ... después de muchos sufrimientos y temores, ocho Otra experiencia magnifica fue estar en la temporada que meses después pudo reunirse con ellos en Europa. Al fin in- presentaron Nana Gollner, Paul Pet roff y su Ballet Russe gresaba a una compañía internacional, una de las mejores en el desaparecido Teatro Colón. Dos estrellas de los Ballet de su época; su creador, el Marqués de Cuevas ya había Russe de Moll!e Cario y dd Original Ballet Aquí Fran- mueno, madame Bronislava Nijinska y Raymundo de Larrai- cisco comenzó a observar a bailarinas imernacionales y a ne trataban de conservar el alto nivel que la caracterizó. conocer el repertorio tradicional. Francisco tuvo oportunidad de bailar al lado de rutilantes Estando aún en su perioao de formación e impulsado por es1rcllas como Rosella Mightower, Yvette Chauviré. Scrge esos grandes balletómanos que fueron Pedro y Juan Gabriel Golovin, y con el ruso que causaba furor en ese momento Espinosa de los Monteros, fundó el Ballet de México. Fran- tanto por su cali dad como por ser un asilado politico de oc- cisco fue su director, su maestro, su coreógrafo, y desde lue- cidente, Rudolf Nureyev. Ahora Francisco bailaba y vcia go su primer bailarin. Era demasiado jovenci10, pero logró a esos grandes solistas, grandes producciones de las obras conjuntar un buen grupo, estuvieron con él Sonia Castañe- de repertorio como lo bella durmiente, tomó clases con exi- da, Carolina del Valle y Beatriz Carrillo. Presentaron una ge ntes maestros. La experiencia lo consolidó como artista corta temporada en ta Sala Chopin, funciones al aire libre. y lo llevó a bailar a tos grandes teatros de Europa y del nor- y visitaron varias ciudades. Logró tener un buen reperto- te de Africa. rio: Carnaval, Los patinadores, Danzas sagradas y profa- La compañía no pudo sostenerse, y Francisco regresó a nas, los comediantes y varios pos de deux. México. Habia otras perspectivas, pero tenía en mente co- Formó pareja con Beatriz Carrillo, con quien reali7.ó una laborar para que la danza de su pais se superara. Reingresó a Ballet Concierto de México. En ese momento la compa- obras mayores para Bellas Artes y se hizo acornpai'iar de la iiía firmaba un contra!O con el Instituto Nacional de Bellas orquesta, Giselle. Coppelia, La filie mal gardée. En este gru - Artes para formar una ¡_;ompañía oficial. Hubo una Ultima po reinó gran camaradería artística, !as ballerinas y los ba- gira de despedida donde se incluyeron algunas ciudades nor- llerinos compartían los roles estelares. En el otro grupo sur- teamericanas, y para mediados de 1963 se ini!.:iaron las ac- gieron nuevos problemas que ocasionaron la sal ida del maes- tividades del nuevo Ballet Clásico de México . tro Sanders, y se reunió a los dos grupos. En 1973 tomó Después de rigurosas audiciones, Francisco fue califica- el nombre de Compaflía Nacional de Danza; Francisni i\rai- do como primer bailarín. Antes del debut, surginon pro- za, Jorge Cano, Francisco Martincz y Tomás Seixas eran blemas, renunció Nellie Happee, se retiró Felipe Segura, su los primeros bailarines. Seguían compartiendo !os roles, pero director artístico, y Francisco también decidió separarse. Al en ese momento Francisco llegaba a su plena madurez ar- rehacer Segura el Ballet Concierto, Francisco se une y 10ma tística y definió la línea que hacía tiempo anunóaba, él era parte en !Odas sus aclÍvidadcs, en giras, programas de tele- el "danscur noble", reunía en su persona todas las caracte- visión y filmes. Inclusive en los Festivales de Danza que or- rís1icas de la más alta categoría en danza clásica. ganizó magníficamente la sei'mra Clementina Otero de Ba- A partir de ese momento la Compatiía Nacional de Dan- rrios en Bellas Artes, que en ese momento era la jefe del za tendría grandes momentos. Cuba coniribuiria con des- Departamento de Danza.
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