Selected Quotes


“Letty Bassart’s enigmatic performance piece Un-Nameable One, Two, Three is packed with so much talent that it is definitely the standout of the evening. Bassart’s piece asks how much we can know about each other and ourselves in terms of personal identity and lineage. The vocal acrobatics of top-notch Cuban songstress Gema Corredera combine with a performance by powerhouse Shaneeka Harrell to create collage of fragmented text, sound and movement — all set to an evocative musical score by Daniel Bernard Roumain. Corredera moves around the periphery of the stage, belting out operatic trills, nonsense sounds and fragments of song, while Harrell’s prowess comes from her explosive physicality and the raw emotion of her voice. The women never interact directly, but they ignite the stage with a memorable theatrical force field.Mia Leonin, Miami Herald

“Letty Bassart’s “Good,God, Go” for Miami Made 2013 was a wonderfully entropic, energetic, comedic and well-timed performance packed with a plethora of elements and symbolism that flew over my head like the wooden canaries hovering above me”. Neil de la Flor, Knight Arts Blog

“Like a locomotive, Requiem for a Mustard Seed Close in Song Act 1, (Act 2 will be premiere May 11 and 12 at the Gehry Campus) built speed as the performance progressed. Letty Bassart choreographed a work with dancers who danced a game of Marco Polo, hid behind and beneath umbrellas, danced with cabbages and crossed a path on Brussels sprouts. Yes, the dancer walked on Brussels sprouts, which I guess served as an anti-yellow brick road where life’s journey is bumpy, not smooth. It was an intuitive performance driven by a company of powerful female dancers.  Neil de la Flor, Knight Arts Blog

“In “100,” Bassart set the restriction of never letting the palms touch the ground, with the effect that Reynolds is frequently gliding across the floor, her body slowly following the back of her hand. The first movement of the piece is set to an instrumental version of “Amazing Grace,” played simultaneously with two women talking about the relationship one of them had with her now deceased husband, “Vincent.” This decontextualized conversation is manipulated to repeat key phrases, emphasizing the difficulty of showing affection to loved ones and the feeling of loss left by those missed opportunities. Those ideas reverberate in the second movement, danced in silence, and the third, with a quick electronic soundtrack.  Celeste Frasier Delgado, Artburst Miami

"The dance scene was marked by the growth of grass-roots talent, with the emergence of young artists such as Ana Mendez, Letty Bassart, and Rudi Goblen – often mixing in other genres like theater and performance – and creative underground venues such as Heather Maloney’s Inkub8 Studio in Wynwood."   Jordan Levin, Year in Review: Dance, Miami Herald

 “Whereas Salt utilized heavy physical movements and the utterance of poetic lines laced with despair, 100 skips, pulsates, and spins into the unknown of a new century.”   Mia Leonin, Miami Herald


"Segovia continues to be one of the most under-appreciated talents in Miami; her Bolero was masterful in its use of space and pattern, in the way rhythmic bursts of flamenco heelwork, claps, and castanets, and the flaring arms and arching backs of Spanish dance accent and clarify Ravel's swollen river of music.  There was a wonderful sequence with Rosa Mercedes, Cristina Masdueno, Angela Rhea, and Letty Bassart in magnificent ruffled bata de cola dresses, and sharp flamenco dancing from Junco and Rhea.  The finale, with the whole company in complex swirling patterns, managed the formidable task of reflecting and illuminating the music without being submerged by it." Jordan Levin, Dancers End Festival With All the Right Moves, Miami Herald.

"Even more satisfying were the kaleidoscopic patterns and taut sculptural energy that Segovia created with Mercedes, Masdueno, and Letty Bassart in Estudios, more than matching the bombastic Rachmaninoff music." Jordan Levin, Miami Herald

Selected Links to Interviews: Choreography

Miami Festival Here and Now...

Miami Made Festival Returns to the Arsht Center

An Interview with Letty Bassart on Metamoto

Selected links to Interviews: Other heartfelt projects

Cala, CNN Interview,  YoungArts

Synapse Project, Harrell's From the Corner, An Experience of Me, Miami, and Ali