She quickly achieved great popularity in the Mexico thanks to her talent, demeanor, and unconventional stature (being very tall for an actresses of the time).

He launched a competition in Havana where about five hundred girls attended (among the contestants were the future stars Ninón Sevilla and Mary Esquivel).

He was unable to find an actress to play the character of a Japanese spy in the film A Woman from the East, so he decided to return to Mexico.

[5] Rosa Carmina began her artistic career in the Mexican Cinema starring the film A Woman from East (1946), directed by Juan Orol.

[6] In both films Rosa Carmina plays the femme fatale, the object of the conflict between the male characters in the story, a situation that contributes to elevate to star as one of the most representative sex symbols of the Mexican cinema of the time.

Rosa Carmina success in film increases due to her versatility, she soon proved to be a complete vedette, because she not only showed talent for dancing but also singing and acting.

Rosa Carmina continued her filmic collaborations next to Juan Orol in three more films: Crime Syndicate (1954), Under the Fear Influence (1955) and Dangerous Secretary (1955).

Rosa Carmina was also originally considered to star in the film un extraño en la escalera, directed by the filmmaker Tulio Demicheli, next to Arturo de Córdova.

In 1956, Rosa Carmina received an offer to make a film in France with actress Viviane Romance, but because the movie would contain lesbian scenes, Juan Orol recommended that she reject the project.

In 1976, the Peruvian Nobel Prize winner Mario Vargas Llosa directed her in Captain Pantoja and the Special Services, based on his novel of the same name.

However, her physical attractiveness was again an impediment to the realization of the character she was intended to play, so she was replaced by the Mexican actress and rumbera Meche Barba.

[8] Carmina also performed in arenas, stadiums, cabaret, public theaters and nightclubs around Central and South America, which achieved significant success in an era when the television was not yet considered a mass medium.

Her foray into the theater in Mexico occurred shortly after her arrival to the country and after the success of the film Tania, la bella salvaje.

Eventually, Rosa entered in a musical revue presented at the Tivoli Theatre in Mexico City, where she shared scenes with figures like Libertad Lamarque, Rosita Fornés and Los Panchos.

To develop these new rhythms, she had the support of the Dominican choreographer Julio Solano, Broadway dancer and former member of the Katherine Dunham Company.

In 1976 she starred in a successful music season in the Blanquita Theater of Mexico City, alongside the comedian Adalberto Martínez and the Cuban rumbera Amalia Aguilar.

One thousand performances were held at the Teatro Esperanza Iris of Mexico City, coinciding with the 45th anniversary of Rosa Carmina's career, under the sponsorship of the National Council for Culture and the Arts, the Secretariat of Public Education and Leon Alazraki Riverón.

Probably her most memorable works in this medium are the telenovelas Juana Iris (1985) and Muchachita (1986), where she played special characters written especially for her by the writer Ricardo Renteria.

Such was the impact of her musical numbers from films caused among the public, the audience whistled and clapped to repeat the roll in theaters.

[10] The Mexican painter and sculptor José Luis Cuevas has stated numerous times in the press and on television that he named the Zona Rosa, Mexico City in her honor.