Five years ago, on a day like today, news shook the world: the legendary Cuban dancer Alicia Alonso passed away. Her virtuosity and unsurpassed technique in the art of ballet seemed out of this world, and many believed she would be eternal.

Although her physical presence on Earth was like that of any mortal, she lives on in the memory of all those who saw her dance, in the hearts of her people, in each of the dancers trained with the style and methodology of the Cuban ballet school, of which she is its greatest exponent; as well as in the actions of the National Ballet of Cuba, a company that continues the legacy of its founder.

Alicia will always be a transcendental figure in the history of classical dance, in her homeland and in the world. In addition to being one of the great dancers of the 20th century, she also stood out as a choreographer, teacher, director and promoter of dance. Through her art, she managed to place this small Caribbean island among the most representative countries of ballet.

In each of her movements, the idiosyncrasy of his land was present: the sense of rhythm and the peculiar way of moving of Cubans. She fought and managed to popularize ballet in Cuba, and another great personality of our culture, Alejo Carpentier, defined her as the National Artist.

Her stage presence was mesmerizing. Her technical perfection was combined with her histrionics and incredible ability to appropriate the style of each ballet, the feeling of each character and make it her own. Each movement, each gesture, however small, was full of great sensitivity. Each performance was unique.

Alicia's interpretations were distinguished by technical and interpretative virtuosity. Many critics agree that she was the greatest of all Giselles.

Last year, as a tribute to the 80th anniversary of the first time she played this character, the Spanish publishing house Ediciones Cumbres published the illustrated book Alicia Alonso. Giselle: The Eternal Instant.

The editor of this book, the journalist, writer and cultural promoter, Mayda Bustamante, conceived it "not as an exhaustive compilation of her journey in this role, but rather as a search for the moment of defining flash, a tour of her most relevant corners, as seen by her contemporaries, the phrases that catapulted her into the monument she is: the universal pillar of ballet."

Among the opinions compiled in the text, there’s that of the critic Arnold Haskell: "How can you interpret Giselle if Giselle it’s you? Your work will remain long after you have stopped dancing." Whoever has left such a mark will continue to live in the soul of culture.

Translated by Amilkal Labañino / CubaSí Translation Staff