Born in Havana, Cuba. Brian joined the Ballet Elementary School “Alejo Carpentier” in 2003 and five years later he continued his ballet studies at the National School of Art “Fernando Alonso”. Upon graduation from the Higher Secondary Level of this specialty, he became part of the National Ballet of Cuba, under the direction of Alicia Alonso. As part of the artistic cast of the company he played main roles and character roles in major titles such as; Don Quixote, La fille mal gardée and Swan Lake among others. He has also performed works by Alicia Alonso, Alberto Alonso, José Parés and Alberto Méndez and other international choreographers such as Annabelle López Ochoa (Celeste and Oscurio), Vicente Nebrada (Percussion for Six Men) and Maruxa Salas (Didenoi). Brian has danced at venues including; The Kennedy Center New York, The Playel Theater in Paris, The Palace of the Arts Montreal, Teatros del Canal Madrid, Spain and in Italy. Brian joined Acosta Danza in 2018.

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.

He was born in the province of Guantánamo. He began his dancing studies at the Regino E. Boti School in 2006. In 2009, he continued his studies at the José María Heredia School in Santiago de Cuba. In 2012 he graduated as a professional dancer and joined the cast of the company Danza Libre, from his hometown, under the general direction of Maestro and choreographer Alfredo Velázquez. In 2013 he became part of Contemporary Dance of Cuba, directed by Maestro Miguel Iglesias. In this company he reached the rank of first dancer and performed choreographies such as 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; El Cristal, by Julio César Iglesias; Transire. Without wanting to look back, by Norge Cedeño; Caprisis, by Àngels Margarit; Cuban Tangos, by Billy Cowie; Reversible, by Annabelle Lopez Ochoa; Segunda piel and Coil, by Julio César Iglesias; 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. As part of Danza Contemporánea de Cuba he performed instages in the United Kingdom, the Principality of Monaco, Mexico, the United States, Germany, Russia, Switzerland. Since 2019 he has been a dancer of Acosta Danza.

She was born in London, England. In 2005 she began his studies at the Elementary School of Ballet “Alejo Carpentier” and then, in 2010, at the National School of Ballet “Fernando Alonso”. She graduated Suma Cumme Laude in 2014 as a dancer and ballet teacher and joined the cast of the National Ballet of Cuba, under the general direction of Alicia Alonso. With this company she performed on stages in America, Europe and Asia. She has danced as a soloist in titles of dance romanticism such as Giselle; also in works of the classical period: Swan Lake, Nutcracker, Don Quixote, Paquita Grand Pas, La fille mal gardée, La Bayadère Grand Pas; and in pieces of the Cuban repertoire: La Commedia é … danzata, A la luz de tus canciones, Sombras de un vals and Dido abandonada, by Alicia Alonso; Cinderella, by Pedro Consuegra; Un concierto en blanco y negro, by José Pares, El relato and La forma del rojo, by Ely Regina Hernández; Didenoi, by Maruxa Salas and Sinergia, by Luis Serrano. She has also worked with choreographers such as Annabelle López Ochoa (Oscurio). In 2019 she starts to be part 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.