Beatriz Eugenia Vasquez was born in Bogota Colombia (South America), she began her dance training in Folkloric dance and Classical Ballet. Upon coming to the United States she continued her Ballet studies in Los Angeles, CA under various renowned teachers, The Joffrey Ballet School in New York and GCC.
After auditioning at a city wide casting call in 2002 she was given the opportunity to participate as principal dancer and Choreographer for the 1st City wide production of ‘The Nutcracker in the City” at The Los Angeles Theater Center. She continued her participation in 2003, 2004, and 2005.
Beatriz joined Rune Dance Theatre Modern Dance company in 2009-2010 performing at The L2K contemporary art Space, LA Day of the Dead at the Hollywood Forever Cemetery (2009), First Baptist Church of Glendale, and at the Marsee auditorium in Torrance CA.
Between 2007-2012 Beatriz has choreographed and danced for the The International Cumbia Festival, The Hollywood Fringe Festival, The Mexican Cultural Institute, Encuentro Latino Art Gallery, The Echo Park Art Walk, The LA Day Of The Dead at The Hollywood Forever Cemetery, Dia De Los Muertos at the El Centro del Pueblo in Echo Park CA, Evening of Contemporary Dance at the Mexican Consulate of LA, Shine ON- Bring it ON by Grammy nominated artist Arnold G, “Variations on Sonakinetography” by Channa Horwitz Pacific Standard Time Festival, Teatro Akabal’s Sentado En Un Arbol Caido.
Besides dancing Ms.Vasquez has dwelled in the world of theatre, in the acclaimed Revival performance piece “The Dark Year of the Penguin” Written and directed by Jorge Luis Rodriguez and Produced by Carmelo Alvarez, performed at CASA0101, and by participating as supporting actress in BFA’s production of Salon Mexico 2012.
Summer 2013 Beatriz was Principal Dancer and one of 3 choreographers for BFA’s production of “Lorca, Child of the Moon” part of Grand Performances Summer Series at the California Plaza.
Beatriz is one of the principal dancers of the Central Avenue Dance Ensemble which specializes in American Vernacular Dance, and how these dances were influenced and shaped by African Dance, spirituality and slavery.
After seeing how well her choreographic pieces were received Beatriz decided to create in 2011 her own dance company 3-19 Dance Art, It is here that her love for dance, movement, visual art and music all come together to create a sensory experience. “3-19 Dance Art” has appeared at Silent Cinema Hill Tribute to Aline Barnsdall, The LA Day Of The Dead 2011, Mi Alma Garden's Day of the Dead 2011, Encuentro Latino Equinoccio 2012, Encuentro Latino Equinoxx 2012, SIPA (Kita Tayo Sa SIPA) 2012, Echo Park Art Walk 2012, La Paloma Market Place 2012 and 2013, The Mix and Match Dance Festival at the Myles Memorial Play House, UCLA Viva 2013, Encuentro Latino’s Folklorisimo Celebration 2013, Dia De Los Muertos at Highways Performance Space, USC School of Genetic Science, National Water Dance Day 2014 for Grand Performances at California Plaza and more recently for the Tuesday Night Project in Downtown LA.
This past January 2014 Beatriz was Mercy the cat in CASA 0101 Theatre’s production of “ A Cat Named Mercy” written by Josefina Lopez and directed by Hector Rodriguez, and most recently Beatriz was the Choreographer for “Under My Skin” Directed by Emanuel Loarca a production by Teatro Akabal at the Lee Strasberg Institute, in the Marilyn Monroe Theatre, city of West Hollywood part of the One City One Pride Festival 2014.
Besides Performing Beatriz has been a Ballet and Yoga instructor for children, adults and Seniors at dance and private schools in the LA area for over 10 years.
“I chose numbers to define my work as my work has no ethnicity, I swim in the waters of each culture as if it was my own. We live in a global world and I choose to be inclusive of everyone and everything as opposed to delineate boundaries.”
Beatriz Eugenia Vasquez
Interview with Beatriz
1. How did you get involved in theater? When did you know you wanted to become a dancer?
I got involved with Dance at a young age, I was lucky I went to a private school that offered many extracurricular activities and one of them was dance, I started dancing at the age of 4, I was exposed to Jazz, Modern dance, Performance Art and Folkloric dance. Every year my dance teacher would prepare us for the school’s recitals, she would bring her dance company to perform along us, and would create wonderful dance numbers full of creativity and magic. On the weekends my parents tried to expose me to different activities, I was enrolled in swimming, guitar, volleyball and tennis lessons but I insisted that my thing was dance, at 9 years of age I looked through the yellow pages found a Ballet school and asked if I could attend, my parents couldn’t say no at my initiative and besides dancing during the weekdays at school, I started attending ballet classes on the weekends, and that’s how it all began.
2. What kind of theater inspires you?
The kind of theater that inspires me is the one that speaks to the heart and soul, I love beautiful music and performances that are committed, it’s not about how expensive a production is, or a fancy theater, it is about the work, the care, the love and conviction the performer, the director and everyone involved has put into it.
3. Who/What has been your biggest inspiration to you as a dancer?
There have been many inspirations in my life, it would be hard to choose just one.
I have to mention my teachers and choreographers who with their passion, commitment, and crazy intensity showed and taught me how marvelous is the sacredness of rehearsals, the practice, and the work that goes into a production. A performance may last a night, or a couple of runs but the months of practice and rehearsals stay with you forever, it is then when you get to play, grow and experiment.
I have to mention a few of those wonderful individuals who guided and nurtured me as an artist: Constanza Suares, Lynn McMurrey, Terry Markwell, Dora Krannig, Myles Marsden, Diana Cummins, Daniel Glickman, Jennifer Nairn Smith, Ellen Davis, Ron Parker, Chester Whitmore, Reginald Thornton, and the list goes on!
As a Dancer/Choreographer I am inspired by visuals, colors, movement, what is depicted on paintings and what the artist is trying to say, because of this most of the time I use props and visuals on the pieces I choreograph, if not as props then in our bodies or make up.
Music inspires my creativity, and nothing fires it up like it, I love all kinds of music but I always gravitate towards classical, and world music. I feel that people should listen to it more often, it feeds the soul.
4. What's your role in Hollywood In the Hood? Why did you want to work on this show?
I have two roles in Hollywood In The Hood. I am the Choreographer and one of the dancers. When I received the invitation to participate in it I thought the idea was fantastic and wanted to be part of it. Ever since my family and I arrived in the US I have observed a disconnect between cultures, at first it was hard to understand why the separation between Latinos, Blacks, Asians, Whites etc (It has gotten better, but it still needs work), then I realized that as a society we were not and are not doing a very good job at teaching and showing our youth how intertwined and mixed we really are, at this point in history. We have mixed so much that we should be embracing every culture. In Colombia for example where I come from we are taught since a very small age what a mixture of cultures, and colors we all are, we wouldn’t have the rhythms, music and rich culture we have if it wasn’t for the African, Spanish and Indigenous Cultures, I haven’t seen that here! Even on this day and age of technology, YouTube, and Google I have students who don’t know that pop, rock and other musical genres wouldn’t be here if it wasn’t because of the African roots they come from.
5. In one word, what is the one thing you are most excited about for the show?
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