Argentine choreographer with international recognition Mauricio Wainrot was declared "Emeritus Personality of National Culture" during a tribute at the Palacio Libertad (ex CCK). There, he recalled the threats he received during the last military dictatorship. Testimonies were heard, ranging from dancer and teacher Paloma Herrera to the current director of the Ballet Estable del Teatro Colón, Julio Bocca. The Argentine News Agency was present at the event where the National Secretary of Culture, Leonardo Cifelli, awarded the distinctive plaque to the creator who took Argentine dance to the world, while at the same time he dialogued on stage with specialized journalists Constanza Bertolini and Ricardo Kirschbaum. The artist appeared before the emotional gaze of outstanding figures from the cultural scene, such as the president of the Argentine Dance Council, Natalia Álvarez; representatives of the National Fund for the Arts; the general director of the Teatro Colón, Gerardo Grieco; the directors of the Contemporary Ballet of the Teatro San Martín, Andrea Chinetti and Diego Poblete; and maestro Guido de Benedetti, among others. After the testimony of Paloma Herrera, who stated that "the best memories were working intensely with him," followed by Julio Bocca who pointed to him as an owner of "immeasurable passion," Cifelli celebrated his "story built with talent, discipline, and years of work." "Mauricio dedicated his life to dance, to creating, to teaching, to researching, and to taking his art further and further. When we arrived, there were many mothers with their daughters," he recounted. In this context, he reviewed his path through the Teatro Colón, his arrival in the contemporary field alongside Andrea Chinetti, and his rapid takeoff on the international stage. "And when it is done with truth, as in Mauricio's work, it is capable of moving any audience anywhere in the world," indicated the official. Likewise, the secretary highlighted that the artist's work was "recognized on international stages and interpreted by companies of enormous prestige," at the same time as he added: "In each of those stages, Argentine talent was present." I had my partners here. In this sense, he detailed: "I am very melancholic and vital at the same time." Regarding his beginnings, he remembered: "I always loved to dance. In 1952, my old man took me to the National School of Dances. My mom sang and took us a lot to the Jewish musical comedy theater. I loved the theater. When an artist like Mauricio triumphs in the world, not only is his work recognized, but the quality, creativity, and strength of our culture are also contemplated." With the bearing of a dancer who dedicated his life with passion to the profession, and at 79 years old -"almost 80", as he himself pointed out-, Wainrot entered the dome of the former Central Post Office, almost in a pilgrimage of greetings, of course, accompanied by a cane that was the only sign that betrayed his age. "I never stopped, whether they paid me or not," the choreographer began and explained: "Most of us artists struggle to have a brand, just like Oscar Aráoz and Ana María Stekelman." The dancers premiered the work with clothes from the second cast," he explained and added: "Over the years, I mounted that work in 17 different companies, it was my passport to get out of Argentina." Wainrot does not rest from his passion, he will revive "Carmina Burana" and also awaits with illusion to get his "Carmen" back on stage. Both, in different provinces of Argentina. "I didn't think of leaving a couple for a career. Maybe I was foolish, but I had both things anyway." "How many lives did I have?", the master asked himself before opening the fan again: during the last military dictatorship, he "felt like Anne Frank, but at the Teatro San Martín, because we lived locked up": "I received threats because there was dramatic antisemitism in our country." "In 1984, I worked on -his choreographic creation based on the homonymous book- 'Anne Frank' with -Andrea- Chinetti. He was Jewish, a socialist, and starving to death."
