"Dance is not elitist; many artists come from working-class families"

Tamara Rojo, a prominent Spanish dance star, leads one of the world's most prestigious cultural institutions, the San Francisco Ballet. Having had a stellar international career as a dancer, Rojo possesses an insatiable thirst for knowledge. She is interested in a wide range of subjects, including history, politics, and art, which she seeks to incorporate into her work as a choreographer and director of the oldest ballet company in the United States.

She succeeds a legend, Helgi Tomasson, who led the organisation for 37 years. Rojo has been a significant figure at the English National Ballet in London (ENB), where she served as both principal dancer and artistic director. Tamara Rojo will participate in the Santander WomenNow, an event organised by Vocento, which will hold its seventh edition on June 18 and 19 in Madrid. The director of the San Francisco Ballet is determined to renew dance without betraying its foundations. "I support a British tradition that allows liberties in ballet productions so that today's audience can understand the message," she says.

–Is there a significant difference between European and American companies?

–In continental Europe, in countries like France, Germany, or Italy, companies are often national and subsidised by the state or local governments. In the UK, there is a mix: public funding exists, but companies are also required to achieve a certain level of box office success. In the United States, however, there is no public subsidy, which greatly influences the type of artistic risk that can be taken.

–And which system is more advantageous?

–For me, the British system is the most balanced. It has enough public resources to support companies and pay everyone at the end of the month, but it also requires connecting with the audience. This allows room to invest in creators, new voices, composers, and designers, without the issue that sometimes occurs in continental Europe, where the audience is forgotten because the box office is not essential.

–Is the San Francisco Ballet beginning to develop its own personality?

–The previous director, Helgi Tomasson, was in charge for 37 years. This is only my second season. Changes take time, but I do believe that in the current season, some things are beginning to show: we have worked on stage naturalness, on how to modernise the classical repertoire, and on individualising each performance.

–Does Tomasson's legacy weigh heavily?

–Rather than being a burden, it is a legacy I deeply respect. He transformed the company and placed it among the top ten in the world. My approach is not to erase the past but to build upon it.

–How can classical ballet be adapted to the 21st century without becoming frozen in time?

–This is one of the great questions in our field. Classics are classics because they contain a universal story at their core, like 'The Odyssey' or the works of Shakespeare, Cervantes, or Lope de Vega. 'Swan Lake' has endured because it speaks to the human condition. The key is in how you present it. I follow a more British tradition, which allows for liberties so that today's audience can understand the message. In my version of 'Raymonda', for example, I transplanted the context to the Crimean War.

–Is dance still elitist?

–That perception is not true. Dance is one of the best tools for social mobility. Many artists come from working-class families. It is true that attending a performance in Spain is neither easy nor cheap, but that is another issue.

–Can technique and training compensate for some physical limitations of a dancer?

–After more than 40 years in this profession, I am convinced that the most important thing in dance is the mind. Physical conditions are important to a certain extent, but intelligence can overcome what are considered limitations.

–Can dance connect with any culture and country?

–Absolutely. Like music, dance is a primitive expression of human emotion.

–What other interests do you have besides ballet?

–I am interested in everything. I don't have enough time to explore all that I would like. I am passionate about culture, theatre, cinema, museums, books, politics, history... I always want to learn more.

–And can you transfer those interests to dance?

–I try to do so. For example, with the ballet 'Raymonda', I spent five years researching the Crimean War. I also had the fortune to study Stepanov's original choreography notes at Harvard University.

–What is the level of the Spanish audience in terms of dance?

–We need to change the narrative that Spain has no tradition in dance. During the time of Isabel II, we were pioneers. Petipa lived in Spain for three years, which is why all his ballets included a Spanish dance. We are one of the few countries where folk dances are still performed in the streets. I would love for it to be understood one day that this cultural richness can be a powerful tool to attract quality tourism.

–Are you tempted by the idea of working in Spain?

–To accept a good offer, there would have to be an opportunity to create infrastructures that would make Spain a pioneer in musical culture and popular dance. We have exceptional artistic talent.

–Do politicians interfere much in the design of cultural creations?

–When subsidies are given directly, it is almost impossible to avoid. It is complicated if you depend on visiting the minister and their mood to obtain a subsidy. That is why it is so important to separate subsidies from politics so that there is truly free culture and art.