00:25I live in Bosa and I studied
00:30and I saw videos from 2 years old
00:33and I told my mom that I wanted to play ballet
00:36and then my grandmother had a crisis
00:39and at the moment we couldn't pay the rent
00:41and my grandmother didn't feel good
00:43and we went to live with my grandmother
00:45and then I went to work for things
00:48that my grandmother needed
00:49and we saw a paper that said
00:53that there were becas for girls who could play
00:56and so I followed up until I arrived as a professional
01:07one of the reasons for Gloria Castro
01:10to fund the Instituto Colombiano de Ballet
01:12is the enormous frustration that she finds
01:15when directing the departmental
01:17has led to the bureaucratic barriers
01:19such as the financing
01:21or the lack of economic support
01:23by the state
01:24and finally, something that in the moment
01:27we are talking about in the beginning of the 80s
01:29reflects the great lack of support
01:33to the development of the culture in the country
01:36I consider that in Colombia there are opportunities
01:40but they are very scarce
01:41and in reality those who come to have high levels
01:44are those who have maybe had the blessing
01:48to be able to be in a school of training
01:51the most do it in a recreational way
01:54and logically there is no reach a very high level
01:57so they are very few those who
01:59both in Colombia or abroad
02:01can find their requirements
02:04such as being dancers of a company
02:06or perhaps belonging to an opera
02:08but they are very few
02:11more than for the opportunities
02:13it is more for the training
02:14because there is a lot of training
02:17for the ballet dancers in Colombia
02:20A classic dancer here
02:22could not only be able to dance ballet
02:25in Colombia
02:26she would have to go to another country
02:30where they can pay for dancing ballet
02:33I started in Colombia
02:36in Bogotá
02:37and when I finished my bachillerato
02:39I went to Mexico
02:40to study pedagogy of classical dance
02:45Here in Colombia
02:46it is a bit complicated
02:47the issue of the support of ballet
02:48to this art and this discipline
02:50but of course
02:52she can dedicate it
02:53and that is what she wants
02:54in her heart
03:03is absolutely necessary
03:06indispensable
03:07to be able to expand
03:08the resources
03:09that is dedicated to ballet
03:12and also to other sectors
03:14because really
03:15all the others
03:16such as the salsa
03:17the hip hop
03:18other styles
03:20the folklore
03:21the contemporary
03:22are having a specific destination
03:24specific
03:25approximately
03:26between 60
03:27and 70 million
03:28of pesos
03:29and really
03:30it is a very small resource
03:32the ballet
03:34yes
03:35it is a cost
03:35discipline
03:37because
03:38definitely
03:39in our country
03:41there is no support
03:43to this type of art
03:45like the ballet
03:46so
03:47if I want
03:49my daughter
03:49to be very good
03:50in ballet
03:50I have to
03:52give them more opportunities
03:54and those opportunities
03:55they cost money
04:05they cost money
04:08for the pressure
04:09and the competition
04:12of all the people
04:13present in this world
04:14that one ends up living
04:17with this pressure
04:18well
04:19clearly
04:20one affects
04:21or has to
04:22make changes
04:23in their dynamics
04:23their routines
04:24for example
04:25salir
04:26many times
04:27becomes an option
04:28and that affects
04:29a little bit of the social
04:30the bailarines
04:31many times
04:32have no social life
04:32because there are
04:33holidays
04:35in every part of the world
04:37in which one
04:38has to give
04:39the entire day
04:39to be impeccable
04:41for the moment
04:41of the presentation
04:42the function
04:44also
04:45a level
04:46alimentary
04:46a level
04:48global
04:49there are
04:50more than the majority
04:52they are affected
04:54by
04:55things like
04:56bulimia
04:57I don't know
04:57if anorexia
04:59because
04:59well
04:59a pesar of
05:01that the bailarines
05:02always have to be
05:03very delicate
05:05I don't know
05:06if
05:06to the anorexia
05:08is also an option
05:08because there is also
05:09going to be affected
05:10the image
05:11but bulimia
05:12clearly has to be
05:13there
05:13that need
05:14that urgency
05:15and that stereotype
05:16or that standard
05:18physical
05:18that the bailarines
05:20can influence
05:21in the way
05:22I comport
05:23around my alimentation
05:24to be able to get there
05:25not all women
05:27have the context
05:28to have that type
05:29of appearance
05:30so
05:31it may cost
05:32more work
05:33than others
05:34for context
05:35genetic
05:35or
05:37alimentary
05:38so
05:38so
05:38that can
05:39influence
05:40the appearance
05:40of these type of disorders
05:49I was
05:51forced to
05:52I
05:53I
05:53like this part of the leg, because I was doing a split
05:56and I felt that I was moving, something like that,
06:01and I was hurt and I couldn't dance like that for a week.
06:06I remember that a teacher raised my legs a lot
06:10so that I could reach a pose
06:12and from there, there's a pain that I always have on my back.
06:15So, with a stretch, only with a stretch,
06:18it takes me out,
06:19but they're like gages from the gym that are going to be there.
06:23In a class, I was doing a very simple exercise,
06:26I couldn't move more.
06:27I said to the teacher, so I stayed in that class.
06:30I arrived at my house, my dad is medical,
06:31so he revisited me and told me,
06:34you're very, very inflammation in both sides.
06:37The lesion was basically from the leg to the leg,
06:41so it was all like lateral,
06:43so I couldn't rotate and in the ballet,
06:45it was 100% rotate.
06:48So, in the month of being like this,
06:51I tried to go back one last time
06:53and I definitely couldn't.
06:56They told me that it wasn't the muscle,
06:59they thought it was the articulation
07:00and they didn't think it was the articulation.
07:02They told me that I could do something else.
07:03At the end, I don't even remember what it was specifically,
07:06but it was difficult to control with therapy
07:08because it wasn't muscular,
07:11it was more internal.
07:12So, until the day of today, when I'm stressed,
07:15it hurts both sides.
07:21We have $76 million,
07:24which are designated through two baccats.
07:28One is the baccats of district circulation in ballet
07:31and the other is one of the categories
07:34of the baccats of dance,
07:36which is also designed for the creation
07:38in classical dance and neoclastic dance.
07:40We have been winners
07:43of stimulus from the local authority,
07:46of stimulus from the Art Institute,
07:48which we have been able to be 100%
07:51to children from 1 and 2.
07:53I would like, for example,
07:55when I'm older, to travel to another side
07:57and be in a competition or something like that.
08:00We don't have a program or a resource
08:05to support or to finance the career
08:08of a ballet dancer.
08:10More or less,
08:12when I was in the ninth baccats,
08:15I thought I would play a professional level.
08:19In fact, when I came to ballet,
08:21I had a few hours
08:23to enter into this professional world,
08:26but it was a moment
08:29when I was realist
08:31in the country in which we were.
08:33The ballet is not as strong as in Russia
08:36and in any moment I could hurt
08:39and hurt my future.
08:40So, I decided to study
08:43a career as far as that,
08:45and that's why I abandoned it.
08:48that's why I was just partying
08:48.
09:15And,
09:16A Cure in La Cure.
09:17A Cure in La Cure of Anand
09:18to my life in this country.
09:18I get the opportunity
09:18and to find it,
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