Born in Granma, Cuba. Marco began his studies at the National School of Art (ENA), in Havana in 2007. His early creations included: En la rueda and Doctor Cirrosis, presented at the International Dance Festival in Urban Landscapes and other competitions.He joined the Rosario Cárdenas company in 2013. There he performed choreographies such as Tributo al MontePrado 111María VivánConcierto en Nueve and Dador. As part of this cast, he created the choreographies Versus and La soga.

Marco has worked with choreographers including; Bernardo Orellano, Osnel Delgado, Eduardo Blanco, Pal Frenak, Tony Testa, Cecilia Colacrai, Marianela Boan and during his time with Danza Contemporánea de Cuba, the Norwegian choreographer Kristian Estovind.

In 2017 he was part of Ballet Revolution, performing choreographies by Roclan Gonzalez and Aaron Cash. Marco has danced at theaters in Germany, Australia, New Zealand, Austria, Dubai and Switzerland. He has also worked with the Santiago Alfonso company and the Rakatán Ballet, directed by Nilda Guerra. In 2019 he performed with the Marte Project at El Ciervo Encantado, Fabrica de Arte Cubano and at the Bertolt Brecht cultural complex, with the choreographies Duelo and Pink Black, by choreographer Jorge Ramírez (Niche). In 2020 he joined Acosta Danza company.

Born in Santiago de Cuba. Chay began his dance studies at the José María Heredia Vocational School of Art in 2011. He was an outstanding student and was selected as the most versatile student on the scene in 2015, for his ease in assuming different dance styles. In 2017, he began studying at the Acosta Danza Academy, under the direction of Carlos Acosta. As a student he has participated in many performances for both the academy and the Acosta Danza. His performances have included; Justin Peck’s Belles-LettresAround there is nothing, by Goyo Montero; Majísimo, by Jorge García; Tocororo SuiteDon Quixote Suite and Carmen, by Carlos Acosta; Bridges, by Pedro Despaigne and Yo, tú, él, ella, by Ely Regina. In January 2020, Chay was selected to participate in the awards gala of the 48th edition of the Grand Prix de Lausanne. as part of the Choreographic Project directed by the artist Mauro Bigonzetti. In 2021, he performed the solo Guernica, a choreography that won first place and an award for the interpretation of the First Choreographic Contest organized by the Academy in 2021. With this same piece he also won the second prize in the International Choreography Contest of the Lizt Alfonso Dance Cuba company in 2021. Chay is a graduate from the first intake of dancers in the Acosta Danza Academy and joined Acosta Danza in 2021.

Born in Santa Clara, Cuba. Amisaday at the age of five she began rhythmic gymnastics at the José Antonio Hechevarría sports school in her province. She studied Spanish dance and in 2011 and then moved to the Olga Alonso Elementary School of Art. During her time there she participated in the Ernestina Quintana dance competitions, in which she obtained the first performance awards in 2013 and 2014 with the solo Consecration, dedicated to Pina Bausch. She was the best graduate of her academy from the 2012 and 2016. In 2017, she auditioned and began studying at the Acosta Danza Academy, directed by Carlos Acosta. As a student she participated in performances by the academy and with Acosta Danza. Amisaday, was part of the cast of pieces such as Tocororo SuiteDon Quixote Suite and Carmen, by Carlos Acosta; Majísmo, by Jorge García; Around there is Nothing, by Goyo Montero; Belles-Lettres, by Justin Peck; End of Time, by Ben Stevenson and Siervo, by Héctor J. Rodríguez. She has created the choreographies Adiós, felicidad and Orate, the latter with Brandy Martínez. In January 2020 Amisaday was selected to participate in the awards gala of the 48th edition of the Grand Prix de Lausanne, as part of the Choreographic Project directed by the artist Mauro Bigonzetti. She was an interpreter of Meraki, solo created by Verónica Caballero, which was awarded second place in choreography and performance award at the First Choreographic Contest organized by the academy in 2021. Amisaday is a graduate from the first intake of dancers in the Acosta Danza Academy and joined Acosta Danza in 2021.

She was born in Havana and began her studies in 2003, at the Elementary School of Ballet Alejo Carpentier. Five years later she continued her training at the National School of Art, specializing in modern, folkloric and contemporary dance. During this period, she choreographed Ventana 7, a piece presented at the Impulso Festival organized by the company Danza Retazos. In 2009 she participated in an academic exchange with schools in the United Kingdom, with the choreography Cambio, created by Kerry Nicholls. In 2012 she graduated as a professional dancer and became part of the company Danza Contemporánea de Cuba, under the direction of  Miguel Iglesias. Together with this company, she performed on stages in Colombia, England, Mexico, Ecuador, Switzerland, Germany, Russia, the United States, the Principality of Monaco; and danced choreographies such as Mambo 3XXI, Identity-1, Matria Etnocentra, R = V (The Camel Criterion), Carmina Burana and Mozart’s Requiem, by George Céspedes; The Crystal, The walls are gone, Second skin and Coil, by Julio César Iglesias; DCCrama, by Norge Cedeño; Caprisis, by Àngels Margarit; Demo-N / Crazy, by Rafael Bonachela; Compás, by Jan Linkens; Cuban Tangos, by Billy Cowie; Consecration, by Christophe Beránger and Jonathan Pranlas-Descours; Beyond the dust, by Miguel Altunaga; Equilux, by Fleur Darkin; Reversible and Heterodox, by Annabelle Lopez Ochoa The loves of Mars and Venus, by Lea Anderson; and Theo Clinkard’s The Listening Room. In January of 2019 he became part of the cast of Acosta Danza.

She was born in the Artemisa province. At the age of ten, she began her classical ballet studies at the Cuba-Canada Vocational School ofArt. She continued her training at the Fernando Alonso National Ballet School. During those years she obtained, among other recognitions, the Female Bronze Medal, in the modality, pas de deux in the XIV International Competition for ballet students held in Havana in 2017. That same year she participated in a summer course in Utah, U.S. In 2018 he finished her studies with a Gold Title and joined the cast of the National Ballet of Cuba, under the general direction of Alicia Alonso. In this company she was part of the cast of titles of the historical repertoire such as Giselle, The Swan Lake and the suite of Sleeping Beauty of the Forest, in Alicia Alonso’s versions. Torres also danced Prologue for a tragedy, choreography by Brian MacDonald; The Cinderella, by Pedro Consuegra; The magic flute, by Alicia Alonso; Prospero, by Cathy Marston; Tierra y luna, by María Rovira and La forma del rojo, by Ely Regina Hernández. Since January 2019  she starts working with Acosta Danza.

She was born in Cienfuegos. In 2005 she began her dance studies at the Benny Moré art vocational school in her province, during that period she obtained a joint prize for choreographic creation with the piece Rencuentro. She continued her training in the Province of Villa Clara at the Samuel Feijóo Professional School of Art, in 2008. In the third year of middle school she participated in the first edition of the Ernestina Quintana contest and reached the prize in female performance. In 2011 she became part of the cast of Contemporary Dance of Cuba, under the direction of  Miguel Iglesias. As part of this company she reached the rank of first dancer and performed works such as MeKniksmo, Mambo 3XXI, Identity-1, Matria Etnocentra, R = V (The criterion of the camel), Carmina Burana and Requiem de Mozart, by George Céspedes; Return, by Alexis Zanetti; Demo-N / Crazy, by Rafael Bonachela; Compás, by Jan Linkens; Sombrisa, by Itzik Galili; El Cristal, by Julio César Iglesias; Transire. Without wanting to look back, by Norge Cedeño; Cuban Tangos, by Billy Cowie; Heterodox and Reversible, by Annabelle Lopez Ochoa; Cenit, by Laura Domingo; Segunda piel and Coil, by Julio César Iglesias; Beyond the dust, by Miguel Altunaga; Equilux, by Fleur Darkin; The loves of Mars and Venus, by Lea Anderson; Consecration, by Christophe Beránger and Jonathan Pranlas-Descours, and The Listening Room, by Theo Clinkard. Together with this company, he performed in countries such as Colombia, Switzerland, Russia, the United States, the Principality of Monaco, the Grand Duchy of Luxembourg, the United Kingdom, Mexico, Germany, the Netherlands and Poland. Since January 2019 she is part of the cast of Acosta Danza.

Born in Matanzas, Cuba. Liliana began her studies at the Vocational School of Art Alfonso Perez Isaac, continuing them in the National School of Ballet Fernando Alonso. In 2013 she graduated as a dancer and teacher of Ballet and joined the cast of the National Ballet of Cuba, under the direction of Alicia Alonso. Her repertoire in this company included historical titles such as Giselle, Swan Lake, Don Quixote, Sleeping Beauty of the Forest, Nutcracker, Coppélia, Paquita Grand Pas. She also participated in pieces such as Michel Fokine’s Las sílfides; Prologue to a tragedy, by Brian McDonald; Tula, Impromptu Lecuona, In the light of your songs, Pictures in an exhibition, Shakespeare and his masks, Threshold and In the shadows of a waltz, Alicia Alonso; Dionea, by Cuban choreographer Gustavo Herrera; I, you, he she and The story, by Ely Regina Hernández; Time of Danzón and Cuba inside a piano, of Eduardo Blanco, and in the spectacle “The magic of the Dance”. In 2016 she became part of Acosta Danza, under the direction of Carlos Acosta.