“Mother and dancer” is how she defines herself Eleonora Cassano in their social networks and throughout the entire conversation THE NATION, Her family (her husband of four decades and her children Tomás and Julieta) keep appearing. She is proud that she was able to combine her professional and personal aspects: “If it hadn’t been like that, I wouldn’t have done it, I’m a madrasa.” I probably could have done more if I hadn’t had kids, but I did a lot.”
These are special days for the artist: two weeks ago she received the first Martín Fierro Gold Award for Dance, an honor with which she shares Julio Bocca and less than a month ago he had hip replacement surgery, a surgery he tried to put off as long as possible until pain became the trigger for the decision.
As he recovers at home – surprisingly quickly, so much so that he can no longer use a cane – he celebrates Aptra rewarding dance and praises the work of his former dance partner in the role of artistic director of the Teatro Colón. Eleonora talks about her present as a teacher and her fame: “I’m like any other person, I’m noticed, but that doesn’t mean living a normal life, shopping, standing in line, what a housewife, a mother does.”
—You won the first Martín Fierro de Oro de la Danza, how did you experience that?
“I didn’t expect that, it’s super important that they created this space for dance because it’s a discipline that is banned from all spaces.” At the Colón there is the orchestra, the opera and then the ballet. Things are a little better right now. One of the organizers of Martín Fierro asked me to leave. I didn’t expect to be moving because I had just had hip surgery, much less for an event like this. But it seemed important to me to go, I knew that they would give me something, but not that it would be gold. I didn’t go on the red carpet because I couldn’t last that long, and when I got to the room I felt the love of the people standing applauding; I’m happy to be able to tell you about it, it was beautiful. Afterwards I sat down with Hernán (Piquín), with Cecilia (Figaredo) and with José Zartmann, who was my Spanish dance teacher when I was ten years old. When they gave Cecilia the recognition, I thought it was for me. Julio couldn’t go, I didn’t think they would give us an award together. The gold was a great surprise, I didn’t have anything armed, I was very happy about it.
—You had to undergo surgery for a while, was it difficult to make the decision?
—I’m very surprised at the level of everything and how I’m doing; I would have had surgery sooner, I was suffering. It was very difficult for me to work on the topic, but eventually the pain overcame me. I couldn’t take it anymore, I couldn’t find a sleeping position and it was very strong. I canceled and didn’t plan anything for the operation in December, but I had to move it forward, I didn’t get there.
—You are in full recovery…
– Yes, continue. But I have a mobility that I didn’t expect. If I had known it was like this, I would have done it a year ago, because two and a half years ago the doctor told me to have surgery whenever I wanted. Now I’m super happy and have to work to get back. The attitude and the way you approach everything in life also helps and on the other hand my body has the memory of a dancer. Even though I didn’t dance, I would lift my leg and move in class. I suffer from hypermobility and my position is particular which is damaging my hip and causing wear and tear on my hip. It is common in this profession that every person is affected a little because of their vulnerability. For Julio (Bocca), for example, on his knees, where he has to undergo several operations; My column also has its problems. The body takes its toll, it is our instrument and it breaks down, it’s like high performance athletes.
—How is the recovery going?
—I’m already walking without a cane. In January I’ll take it easy and go on vacation. I have been married for forty years. We wanted to go on a trip, but that wasn’t possible. My children and husband told me I should have surgery. I had to do this click but the pain surpassed anything psychological. And now I want to do everything. My husband only helped me on the first day, but that’s just me.
—Julio couldn’t be with the Martín Fierro family, do they talk regularly?
—Yes, we had talked and he told me that he couldn’t be there.
“The award had to do with the fact that in some way you brought ballet closer to people.”
—We have created something very special. Ballet was not known. The manager was Lino Patalanowho took care of promoting Julio and the couple as well as my career. There are great dancers and people don’t realize it. Marianela (Núñez) has always been one of the best in the world, and they ask me about this “new” dancer who has actually been dancing for a long time. What would happen if I had a Lino Patalano?
—People came to ballet because of and thanks to you.
—Yes, my job is to travel around the provinces to give MasterclassI take part in competitions and meet mothers who tell me that they had my photo in their portfolio and trained with us. A woman on the street introduced me to her daughter, whom she had named Eleonora after me; A girl showed me a tattoo on her back that had a photo of Julio and me on it.
—Now devote yourself to teaching.
-Yes. I teach on Tuesdays at the Seminari Theater in Escobar Parish. A very nice group has formed that makes the effort and describes the place as their place on Tuesdays, with a lot of love and many other things happen outside of class. Besides, I give Masterclass in artistic training in the city of Buenos Aires, in three dance schools for different levels and teachers. It is special because it is the best dance schools and something special that I found meaning when I started living it. I go to elementary school with an artistic bent and the children examine me, they give me a rehearsal, I talk to them, they ask me questions and at the end they dance. The idea is to encourage them to continue in dance schools. I go in and everything is wallpapered with my things and drawings. It is very special because it has a wonderful meaning: to encourage them to keep dancing and humanize the character they see so far away. They asked me if I had Ferrari or how many followers I had and they have to understand that fame doesn’t come from followers.
—How do you deal with fame or have you dealt with it? You belonged to the elite of the elite, but feel like a humble person.
“People see me as normal, on the street they don’t believe I am.” I am like any other person. I stood out, but that doesn’t mean living a normal life, shopping, standing in line, what a housewife, a mother does. People forget it and it unnerves you and exalts you. It helps me go shopping and come back with words that are said to me. I come back with a full heart and notice it everywhere. I admit I don’t have a figure position. I spoke to Julio at the time about the fact that he couldn’t go shopping. It’s okay that his level is different, but I told him that yes he could: “Relax, say hello and don’t run away”; but what happened to him was out of control.
—Do you like what he’s doing in Colón?
—By and large, it handles everything and many functions. That was a big problem because they were doing ten shows a year and now they’re doing ten shows of each program.
—You were recently…
—I taught five courses. I liked what came out of it. I have the opportunity to teach lessons and set the tempo through singing and I enjoy it. They change their cuckoo face, they are professional dancers, but they can’t dance with an angry face. Emotional work has to be done. It is important that you enjoy it at the bar.
—Are your children (Tomás, 27, and Julieta, 21) interested in the artistic side?
—Tomás got married six months ago, it was exciting. I wish I had become a dancer because he has problems. He is an actor, studied musical comedy and is involved in the production together with his father (Sergio Albertoni, director of Maipo). Julieta worked as a model for a bit, but is now studying textile design. At that time he played classical, jazz and contemporary music.
“You were always a role model for being able to combine work and family.”
“My family is the most important thing and I am grateful that I was able to combine both.” When the children were small, I was able to integrate them into my life and rhythm; I took them on tour with me, my husband produced and my children accompanied me, and if that wasn’t the case I wouldn’t have done it because it’s my style. I am a madrassa. It makes me very proud, I probably could have done more if I hadn’t had children, but I did a lot and neglected neither. I wanted to change my first diaper and got up from the cesarean section. I like doing things with them. These things make a difference.
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