The hidalguense Greece Reynoso he conquered Madrid with his style and rhythm. He was born on November 11, 1991 in Tula de Allende, but most of his life he lived in Tepeji del Rio, where she began to practice Spanish dance.
She is the first from Hidalgo to receive a dance scholarship from the “Casa Patas” Flamenco Conservatory Foundation, in Madrid.
“For me it is a catharsis to dance, what I seek is to find the right middle as Aristotle said and there are a lot of theories about dance, where space and time are sought, persuade emotions”, he relates in an interview with MILLENNIUM.
His most appreciated collaborations, for the dancer herself, have been with the guitarist Mario Herrero during the Fifth International Guitar Festival of Lagoa (Portugal), and as part of the guitarist quintet Oscar Herrero in the Flamenco Festival Esch (Luxembourg), as well as the International Jazz Festival (Madrid).
Currently and derived from covid-19, he is dedicated to the research “The impact of training on stage anxiety”.
During the five years that she was at Nallie and Gloria Campobello’s academy, she injured her knee for which the doctors told her that she would never dance again; until she found a doctor and physiotherapist who took her forward in six months without the need for surgery.
“The research consists of my experience in the formation of a conversation about how old-school education was carried out, that is: How much can it have an impact on saying to someone ‘you can’t’? Does it make it impossible? Do you generate insecurity? ”.
Grecia recounts the experience of being in the conservatory of the Nellie and Gloria Compabello National Dance School: “I was touched by the time of the old school where you learned to beat, they told us that we were fat, I remember that a teacher if you did not raise your elbow, pinched us, to the extent that I had an eating disorder that until a few years ago I could overcome”.
“I knew it was a discipline, but this idea of physical and emotional violence, I had not anticipated at 17 years.”
In the search for his information, he consulted with psychologists, teachers and students; did field work and research specialists such as the Spanish psychologist Aurora Fernandez and the Mexican psychologist Damian Barrera.
“I also interviewed Óscar Herrero, a professional guitarist, for the investigation, – he told me – someone who goes on stage has to be convinced of doing it well. The fear is because of the doubts that one has, the head is terrible, you can have a great guitarist or an important musician in front of you or you want to do it so well that you create tension; but yes, the student must be motivated ”.
Grecia Reynoso’s investigation seeks generate awareness among teachers who are currently artists, generate empathy with students, in the same way, teach them how to manage to control fears on stage and prevent future generations from deserting their artistic careers.
The difference between the discipline of Spain with that of Mexico was also addressed in the interview.
“The discipline is global, in Spain people practice since they were children, they grow up with it, it is part of their culture; in Mexico art is punished, however, we have a flamenco level, there is talent, an example: Karen Lugo who is a machine ”.
Grecia Reynoso likewise shared the three obstacles it has had to face: racism, pandemic and economic crisis.
“Being a foreigner in any country is a bit complicated immigration procedures, obtaining a work contract is not so easy.”
“You come across racism, in my life I had run into that social problem, until I arrived in Spain; One day I was with some friends in a cafeteria and some drunken boys come up and tell us – you Mexicans when you are going to take out the gun – I answered them – if you don’t go, you are going to meet her ”, she has a great sense of humor.
“With the pandemic it has been very crazy in terms of work, I have been teaching for a long time and suddenly you start teaching online, you try and you realize that you are not trained for these digital platforms either.”
“At a professional level they tie you up with two feet and say, come on, run a marathon. Economically it has been terrible I had to move house and go back to ask my parents for money; you are in difficult situations, I found myself cleaning houses to buy the supermarket, you do not see it coming. Suddenly you find yourself in this questioning: If you go back to Mexico?
Despite the difficulties, giving up for Greece has been a constant fight throughout her career, but she remembers her mother’s words “Do you like it, do you see yourself doing something else?”, And that is how she returns to her place.