She began her ballet training in 1991 at the Provincial Ballet School “Alejo Carpentier”, in Havana. During her school period she performed in Mexico and Colombia as part of a cultural exchange between the two countries. In 1998 she was finalist at the Jackson International Ballet Competition, in Mississippi, the United States. Between 1996 and 1999 she won the Gold Medal in every rendition of the International Ballet Academies Encounter-Contest and in 1997 in the “Alicia Alonso” International Ballet Competition, all held in Havana.
In 1999 she joined the Ballet Nacional de Cuba, under the technical-artistic guidance of Alicia Alonso. With the Ballet Nacional de Cuba she has performed in countries of the Americas, Europe and Asia. In 2002 she was awarded the “Villanueva” Prize of the Critic, granted by the Performing Artists Association of the Cuban Union of Artists and Writers (UNEAC) for her performance in the Agon pas de deux, by Balanchine.
Her repertoire includes leading roles in works of the Romantic-classical grand tradition and in many other pieces by Cuban and foreign choreographers.
«Giselle is danced by Sadaise Arencibia, whose ethereal softness aptly illuminates this romantic role. Her dynamite extension and expressive arms create a smooth and floating dream state, essential to the work.»
Eliza Ingle, Post-Courier Reviewer. Charleston, United States, 2003
In The magic of the dance: «Very interesting was the fragment of the second act of Giselle performed with the delicate grace of Sadaise Arencibia (arms that float in the night breeze; and dance sweetly expressed) ».
Clement Crisp. Financial Times. England, 2005
«Sadaise Arencibia comes out to scene in the pas de bourrée, and we see that she has been born to perform that role [Odette]. With long extremities, she possesses the serenity and the intensity that are the character’s essence. Besides these remarkable qualities, Sadaise Arencibia dominates the gestural and the mime expression. Her arms are not only long, but delightfully flexible, and she uses them with fullness to attract Siegfried’s attention. Her sadness seems to be deeper than the one the role demands, expressed in the flawless feet work of her trembling coup de pied, as if this was a quality belonging not only to the character but to the dancer […] The entrance of Odile and the scene of Siegfried’s seduction are among the best things I have ever seen. Arencibia has abandoned her sadness and her nostalgic nature and has assumed the personality of an irresistible sorceress. (…) The public gave her a standing ovation, during the multiple curtain calls.»
Toba Singer. Dance Magazine, 2006.
«Sadaise Arencibia in Mercedes (Don Quixote), once again surprising for her physical beauty and elasticity.»
Laura Domingo Agüero. Culture – Actualité. France, 2007
«Sadaise Arencibia marked the pleasure of dancing mastering pointes and accents.»
Julia Martin. El Mundo. Madrid, Spain, 2009
«There were other moments that filled the production with elegance, the appearance of Sadaise Arencibia, in her role as the arrogant duchess Bathilde.»
María L. Martin-Horga. Montañés newspaper. Santander, Spain, 2009
In Giselle: «She, with lyricism all on edge, her beautiful poses, arms, hands, extensions, captured the audience.»
Toni Piñera. Granma. Havana, 2010
«Sadaise Arencibia —a Kitri embroidered for the memory, as much in interpretation as in technique, in each one of its three acts—, highlighting the elegance of her expressions, long balances, beautiful arabesques… with which she delivered one of the best Quixotes in her career.»
Toni Piñera. Granma. Havana, 2011.
«Arencibia showed another quality that characterizes the Ballet Nacional de Cuba, the juxtaposition of softness and rigidity, mainly in the upper body.»
Paul Hodgins. The New York Times. United States, 2011