Critics have said.

Memoria de Soles

"Lugo's work is to look at it carefully because it is one of the most relevant artistic creations and most beautiful that have occurred in order to reflect on the notion of Mexico, who is also a word, a myth, a truth, a convention and an ideology. Lugo part of a multidisciplinary to create a piece that is dancing, but that is based on the rhythm of poetry, in the intensity of the prose, the explosiveness of the word, the timeliness of the music, the bloody howl and cry, and water clarity."

Alejandro Flores.

El Economista, 12 de november de 2010

Memoria de Soles

Lugo has climbed his way ever upward in his career as a creator and has settled at the pinnacle of creative maturity. Has given birth to a son of the highest caliber. Suns memory was gestated with patience, anxiety, joy, with insomnia, but always with clarity and boldness. The costume is a hit Alita Winburn more, so how the sound design Joaquin Lopez Chaz, bathed in lighting design Xochitl Gonzalez. Lugo throws us into a world of disturbing sounds. Percussion, barking dogs, symphonies with touches of our Mexican-sound, a poetic text, brief and concise, all in complicity lucky. The result: a work that steals the breath, choking on tears by the intensity and haunting mysticism. Everything that happens in the forum goes back to Mexico ... and no. Hence, its referent beyond parochial boundaries and out into the world of the universal.

Evangelina Osio.

Teatro Juárez. Guanajuato 3 de october 2010

Likewise, in the dances, Lugo composes and decomposes, using her own (contemporary dance) language by means of a motivating interplay among statement-anecdote-images and, finally, a hiatus that, on stage, turns into atmosphere. Only down-deep or in certain flashes of movements does Lugo propose or sketch original rhythms. Thus she manages a renovated concept, a "NOSTALGIA" that is pretty dynamic and, fortunately, nothing lachrymose.

Alberto Dallal.

La Jornada, June 1, 2001

Cecilia Lugo GUARDIAN OF THE WINDS Lugo's communities are full of shamans and strange beings, half-women half-iguanas, that possess the arcane ability to decipher the world, and thereby transform it. Lugo authenticates her craft, bsessions and disposition with this choreographic composition. And she does something more: she demonstrates that remaining faithful to oneself does not necessarily lead to repetition nor does it impoverish the discursive contents.

Carlos Ocampo

Publication: La Cultura de México, September 18, 1997

Based on in-depth self-reflection, [Lugo] decided to put herself in the hands of fate to try and find a new artistic direction for her and her group Contempodanza. Despite being highly structured, rigorous and even a tad strict, she decided to submit to the challenge of work under the sole rule of not having any rules. Her entire proposal for staging is the result of a "spread of cards" and, based on this random spread, Arkanum was defined.

Rosario Manzanos

Proceso 2007

In the blood of a performance lurked a mutant, an entity alien to the orthodox world of tradition. That strange being is the companion spirit of Cecilia Lugo. It snuck into the language lent from her training, slowly conquering terrain in her own expression. Behind it, we guess at everything potentially hidden or merely suggested. In the details, in the tiny nuances is where her personal code lies. Yes, En memoria de un soliloquio is the oeuvre of Cecilia Lugo coming closest to Cecilia Lugo.

Patricia Cardona

Uno más uno, June 1987

MIRROR OF LYNXES. Spiral of Ceremonies. Spiral of ceremonies. The experienced hand of Cecilia Lugo, is present in all the details of the work. His is the aura of tenderness between the bodies set the compass of eroticism, the melancholy of his images drawn in the manner of a lucid sentence, his conviction that dance is a path of wisdom and love and that, under that temperature will always be the subject man, woman, located between the coordinates of time and desire.

Gustavo Emilio Rosales

Rev. Tiempo Libre, November 2000

Cecilia Lugo has been an dancistic figure so essential on the Mexican scene over the past few decades. Ballarina, choreographer and teacher, she founded Contempodanza in 1986. Since that time, the characteristic trait of the group has been the exploration of the universe of women and that which is feminine. The repertory of Contempodanza includes notable oeuvres already forming part of the contemporary classic repertory of our dance. In her most recent production, Cecilia Lugo embarks upon the exploration of mystical universes, she transports us to the inasibilidad of the oneiric or to worlds parallel to our reality. With Cecilia Lugo, we hurl ourselves into the sea as a flow of life and into the sand as a sediment of experience. We travel, not linearly, in time and we return upon ourselves. Sleeping eyes-open, Lugo seeks vertexes of spirituality.

Manuel Stephens.

Teatro de la Paz, San Luis Potosi, october 10, 2008.

Arkanum is a Contempdanza's wager, wager because it randomly rises and falls and multiplies in the memory of the bodies, those that dance and seem to row upstream in euphoria, in melancholy and in corporal victory. Games of cards in which meanings seek out pathways, exitways and felicitous encounters, paradoxically, with tragedy. It is Cecilia Lugo, one of the most talented Mexican choreographers who has converted performance into learning, religosity, metaphysics. Each one of her movements, celebrated, carried along by the impulses of heart and mind. Each one of her turns in small universes of actors converted into dancers, into artists and sculptors transformed into dancers who most certainly play their hand, their peculiar play of emotions in corporal intelligence.

Alejandro Rosales Lugo

Crónica Urbana, Expreso de Ciudad Victoria, october 20, de 2008.

International critics.

Dancers Reflect Their Roots in a Mythic Land "Espejo de Linces" isn't about politics. It's about a people. It's a sexy dance, a dirge, and a whisper of Catholicism as in the poet´s fluid ghostly voice. Matters of trust and loss rise up. Dancers stand rigid, leaning forward like planks, as other dancers hold them by the floor. Choreographer Cecilia Lugo works economically and expertly in bold strokes, unafraid of passion and expressionism. As compelling as Lugo's choreography is, and as handsome and fluid as her five dancers are, some of the credit for Contempodanza's electrifying success must go to lighting designer Xochitl González, whose dramatic effects elevate the dancers to the realm of myth. But "Espejo de Linces" is only a taste tickler for Lugo's "Marea de Arenas," a dance of such fluidity and unashamed beauty that it takes you by surprise. On Thursday you could hear murmurs of delight from the audience as yet another something-expected shifted the dance's direction to the long trail of a wedding veil, for instance, or a sudden shower of sand from the sky.

Bob Hicks.

The Oregonian, july 21, 2001

If you think latin dance in limited to mariachi, samba and the tango, consider this dance piece, recently seen on a stage in Mexico City. Four women in somber, floor-lengh gray garments sway back and forth on their knees while one of them pulls her hair in a hanging gesture. It's one of the most striking images from Mexico City's Contempodanza Company a group that participated in the First Latin American Dance Festival of Modern Dance.

Rita Feliciano.

The San Francisco Bay Guardian, june 13/1990

Un aller simple pour Veracruz Les artistes francais et mexicains des Marimbas de l'exil Blottie dans un fauteuil á I'Opera- Théátre de Besancon, Charlotte Nessi reprend son souffle: Ce fut épuisant, c'est vrai. Mais au-delá du spectacle, restera la riche expérience d'une collaboration artistique exceptionnelle entre deux cultures. Elle rejoint sur scéne la chorégraphe mexicaine Cecilia Lugo, pour de nouveaux réglages.

Joël Mamet.

RÉGION: Franche-Comté, samedi 22 janvier 2000

"One of the most anticipated performances and attracted the attention of audiences at the Festival L'Estiu is teu was the Mexican Ballet Contempodanza who presented the work of La Casa del Sol and let everyone wonder how many watched the effective body language offered by all the neo-expressionist dancers in this version of the Aztec culture."

Revista Riu Sec. Aunt.

De Cerdanyola del Valles, España, septiembre de 1991