Declaring that all artists and intellectuals were left-wing sympathizers, he drastically cut what little funding the government had given Alonso's ballet school and touring group. Forced to work in nightclubs to earn a living, the dancers often had no energy to perform for Alonso. Due to Alicia’s disgust at the Batista regime, and the offered bribe of $500 a month to refrain from any criticism of this regime, she was forced to close the school in 1956 after just eight years of operation (Campoy 2005).
However, before the revolution in 1959, significant European dance companies came to Cuba to perform classic Ballets, as identified in Appendix A.
In 1931, classical ballet received a fundamental opportunity with the founding of the Sociedad Pro-Arte Musical (SPAM). Its first director, Russian Nikolai Zagorsk (1931-1938) provided Cuban’s the opportunity to study the techniques of Russian based ballet, and of those to graduate from this major company were Alberto and Fernando Alonso, and Alicia Martinez Hoya. In 1941 Alberto Alonso became Director of SPAM, and continued so until 1959. The company ceased operation in 1967 (Hunt 2008)
This time for Cuba and its ballet culture is of great importance to the current identification of the Cuban national Ballet Company. Ballet did exist with SPAM, and opportunity arose for dancers to progress in this style of dance. (Kapcia 2005)
The Cuban Revolution
The most significant turning point for the operation of the arts, and in particular ballet, within Cuba came in 1959 when Fidel Castro took over Cuba and overthrew the Batista regime. Castro, greatly favoured and supported by the Alonso’s, provided Alonso with $200,000 to assist their pursuit in the growth of ballet in Cuba (Independent Lens 2008)
The old government was out and the new hope was coming for the
arts and the ballet in Cuba
Independent Lens 2008
recalled Margarita Saa, former BNC Ballerina. With substantial state funding, ballet was recognised as being of great importance to Cuban culture and its identity, and with this recognition came the re-opening of Alicia’s company, now named as ‘National Ballet of Cuba’, promoting the development of dancers, choreographers and creators. The political implications of Castro’s policy to promote the arts suggested his desire to raise the country’s cultural and economic status by making the arts more available. To achieve a National dance company, Castro made ‘a commitment to the social structure’ (Independent lens 2008 p.1) of the country.
Castro’s Cuba
The political and cultural impetus that surrounded Castro’s political status allowed for artistic change and recognition within the country. Within Batista’s regime, the arts and ballet had been quashed and little or no opportunity presented for the growth of this cultural landmark. However, with Castro’s initial funding of The National Ballet of Cuba, ballet dance once again had the opportunity to flourish. ‘The entire spectrum of dance…is controlled by The Cuban Ministry of Culture…’ ( Mahoney, 1983, p.13) and has created a strictly supervised National program. Castro’s support of a National Ballet Company led to Law 812;
The Ballet de Cuba will be employed in all official activities requiring ballet in its various styles, and it will lead, essentially, to the biggest and most exemplary diffusion of the artistic genre throughout the Republic
Mahoney, 1983, p.13
The implications of these political diktats created a strong influence on the company’s identity, as well as their social and artistic context. ‘Virtually everything in their repertory is implicitly political, right down to the choice and execution of classical works such as Giselle and Coppelia’ (Baker, 1978). Castro’s ambitions to lead Cuban arts into an International artistic context reflected in the companies choice of Western ballets, with no connotations to the Cuban ‘pro-revolutionary and anti-imperialist’ context (Baker 1978).
This law allowed Alonso to create an important cultural and artistic context for her dance company. The political backing allowed for the compulsorily wide spread growth of the ballet culture, and placed a public sense of importance on this cultural growth.
In 1959, when the government support secured the existence of the company and school, the methodology began to gain support in countries south of the United States for its academic style and Latin spirit
Horosko, 1991, p.66
In 1960, the first International Ballet Festival of Havana was created. This historic milestone, with the joint efforts of The National Ballet of Cuba and Instituto Nacional de la Industria Turística, as well as the cultural organizations of the government, has provided a cultural landmark by which the arts in Cuba diffuse. ( Ministry of Tourism Cuba 2008) Prior to Castro, the artistic context of the arts and in particular ballet, had little if any grounds for innovative development. The severe lack of funding during Batista’s political regime, of recognition, and of political support even by the Ministry of Culture, forced a stalemate of artistic development and progression. However despite this impasse, with the rise of Castro’s revolutionized Cuba, the National Ballet of Cuba has been able to strive for wider recognition.
The social issues surrounding Cuba’s development of the arts create a significant quandary in regards to their international growth. At the forefront of this issue is the US embargo placed on Cuba initialized on February 7th 1962. Following this embargo, the spread of Cuban ballet to the obvious progression into the U.S. was thwarted. Despite Alonso’s flourishing career in the U.S., following the embargo the U.S. population turned their backs on Alonso preventing a wider spread recognition and advance of the company.
After the break in diplomatic relations between the U.S. and Cuba…it was not possible for Americans to see the Cubans dance in Cuba. They never came to the U.S., to which Alonso was denied a visa.
Maynard, 1978, p.53
However, despite the lack of opportunity within the U.S., Alonso’s company toured both Eastern and Western Europe with great success. In 1967 and 1971 they performed in Canada, with marked victory. (Nessy 2008)
Whether this repression resulting from the U.S. embargo caused significant subjugation of The Cuban National Ballet is debatable. Alonso’s company flourished under the new government and implementation of Castro’s cultural ambition. The company produced wholly new versions of classics such as Swan Lake, Giselle and Coppelia. (Boccadoro 1998)
Besides its intense activity, the Cuban Ballet Company has managed to socially project its art on a national level. It annually develops a program of international tours that takes into various countries in Europe, Asia and America (Cuban Journeys 2006).
In 1964 the company took part in an international ballet competition in Verna, Bulgaria where the Cubans ability in ballet was initially recognised. Although the ballet world appeared to have knowledge about the reformation of the Cuban Ballet, it had perhaps not yet had the opportunity to fully appreciate its advances. Thus when the opportunity presented itself at this early stage in the company’s growth for the dancers to make their cultural statement of ability, the world was taken aback. From this example of cultural expression, the artistic quality of the company could be seen. Where perhaps some companies may have folded under the potential strain of the embargo, Alonso’s company set wider international goals for progression and recognition, and succeeded. From this pinnacle position, The Cuban National Ballet were able to continue to impress the world with their innovative feats.
With huge praise for what was considered as the apolitical nature of its repertoire, Cuban dance exists at least partly as an arm for spreading the Revolutionary message (Baker, 1978, p.112). The National character of Cuba was identified as;
a land rich with a wide range of cultural traditions; native Indian, black African, Spanish, Oriental et al…and just as the island has tried to rid itself of racism, sexism, and cultural elitism in recent years, a concern with these inequalities is reflected in the repertory
Baker, 1978, p.116
The political connotations of the repertoire reflect Castro’s influence on the company. This nature was identified by many critics, perhaps reflecting the attempt by Castro to provide not only an artistic company, but another form of political expression. The possible initial success of The Cuban National Ballet may stem from its socio-political origins. The identification of these by the U.S. audience highlights the probable importance of this cultural feature of the Cuban’s repertoire, and may give cause as to their rapid success. Ballet had been known and renowned in France, Italy, Russia etc, but for a Latin American country to introduce a repertoire that infused their inherent cultural roots combined with excellent technique was something new and exciting (Baker 1978).
National socio-cultural success and advances
Not only did the success of the company spread through the world, but also the socio-cultural importance of the company took great artistic meaning within Cuba. In an interview with Principal Alicia Alonso, she stated;
I go all over the island, to every one of the tiny mountain villages to
find children who want to dance. We play music and then chose those
who have the best physique and bone structure
Boccadoro, 1998
This wide spread national impetus to allow ballet to all is of great significance to the growth of the ballet culture and artistic context. Everything was non-paying, to allow prospects to all. The support by the Ministry of Culture and the Cuban Government, to advance Cuba’s national cultural heritage, created opportunity for the Cuban National Ballet to become a global success.
Within the company, a rigid hierarchy is emplaced to provide the learning of discipline to the younger dancers, and a sense of stability, order, and just progression. As identified in Appendix B, the structural hierarchy for the corps de ballet gives room for dancers at each level to execute technical accomplishments and progress before advancing to the next level. A highlighting factor of the company’s structure is their interaction with each other to gain artistic development. Teacher’s opinions and ballet masters expressions and all taken into account when there is to be a progression within then hierarchy. A student can become an etoile at a very young age, and with uniform recognition of their ability and a shared judgement, the choice for advancement can be made. This democratic shared judgement demonstrates a vital part of the company’s social role.
From where the company started some fifty years ago, the strength of their repertoire and international prowess continues to grow. This can be seen from the growth of performances at Sadler’s Wells by the Cuban National Ballet, and dancers such as Carlos Acosta. The general development of Cuba in terms of their industrial expansion, socio-cultural establishment and economic growth due to increased revenue from tourism, has meant an increased stability for the country and increased stability for their cultural expansion. Under the Castro regime it has been difficult for any enterprise to progress without the acting or tacit assistance of the state. However with the recent resignation of Fidel Castro, and the appointment of his brother Raul Castro, it may be reasonably hoped that some eventual easing of the American and other sanctions and embargo’s placed on this country throughout his tenure is gradually eased. This would be providing, however, that there is some sort of movement towards a more ‘democratic’ system. The results of this on The Cuban National ballet? Possibly an increased availability for the dancers to travel and perform, a continued increase in global awareness of The Cuban national ballet company, and its opportunity to interact on a greater scale with other Ballet Companies. The possibilities for the company are hopeful. In despite of their past struggles, the company has always continued to make progress in the face of adversity, and it seems this early growth is set to continue and expand.
Bibliography
Baker, R (1978) Reviews; Dance Magazine Issue Oct 1978
Harnecker, M (1987) Fidel Castro’s Political Strateg: From Moncada to Victory; Pathfinder Press
Horosko, M (1991) The Cuban Connection; Dance Magazine, Issue May 1991
Hunt, C (2008) Alberto Alonso National Ballet of Cuba Co-Founder; The Independent issued Wednesday 20th February 2008
Kapcia, A (2005) Havana: The making of Cuban Culture. Berg Publishers
Mahoney, J (1983) Dance in Castro’s Cuba; Dance Teacher Now Issue Sep-Oct 1983
Maynard, O (1978) Alicia Alonso; Dance Magazine Issue June 1978
Suchlicki, J (1997) Cuba: From Columbus to Castro and beyond. Potomac Books
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