CUBAN TRANSITIONS

The national heroes recognized by any nation are quite often figures that are considered an embodiment values or abilities that the nation’s people hold in high regard. And in this respect, Cuba is certainly no exception—the most obvious example are the figures of Che, Camillo Cienfuegos, Jose Martí, and Fidel, all of whom are held synonymous in Cuba with cherished notions of revolution, courage, and resistance.

A quick scroll through this blog makes it clear that Cuba is a nation that has invested so much in arts education and that has produced such incredible quantities of highly esteemed art—including music, literature, theatre, plastic arts, and dance. That said, it is hardly surprising that among the many national icons recognized in Cuba are a number of gifted artists. Before we even had the chance to really grasp the importance of artistic excellence in Cuba, a few of us witnessed the appreciation Cubans have for one such icon. This blog-post is a spotlight on the incredible Cuban dancer/choreographer/director, Alicia Alonso.

Just before the start of Copelia at the Cuban National Ballet, when almost all the seats were occupied and the orchestra was ready, a slow applause began at the back of the theatre and grew steadily more intense, until the entire audience was on its feet. Following the gaze of those around me, I realized that all eyes were turned towards an elderly woman on the second-floor balcony, as she was helped slowly into her seat. As the standing ovation ended, I murmured a little with my classmates as to who the woman might be, but soon forgot my curiosity and turned my attention to the stage where the ballet was beginning.

Returning to her seat at the end of the intermission, the elderly woman on the second floor was bestowed another standing ovation, and yet another after the ballet ended. Of course, by this point my curiosity was peaked. As we filed into the aisles, I inquired to two Cuban women as to the identity apparently famous woman. “That is Alicia Alonso,” they answered, “She was a pretty well known dancer.”

Well…let’s just call that the understatement of the century, because a quick google search made it clear that she was more than just “pretty well known”…

Alicia Alonso began her training in Havana, but then enrolled in the School of American Ballet in New York City when she was just 17. By 1940 Alicia was dancing in the American Ballet Theatre. However, after just a year she was forced to leave the dance company due to problems with sight. For the next two years, Alicia was absent from the dance scene as she underwent multiple operations in an attempt to recover her sight. The operations were mostly ineffective, and Alicia struggled with visual impairment for the rest of her life. Returning to the stage in 1943 (again with the American Ballet Theatre), Alicia’s staring role as Giselle solidified her presence in the world of ballet theatre and her career took off from there. Given her problems with sight—she had no peripheral vision—Alicia’s partners (she worked most especially with Igor Youskevitch) had to be in precisely the correct position on the stage at all times. Oftentimes the stages on which she performed were lit with particular colors in particular locations to alert Alicia if she were too close to the orchestra, or otherwise out of position.

Alicia danced with the American Ballet Theatre for five more years, after which she traveled internationally, guest starring on Spanish, Parisian, Soviet (she was the first Western dancer invited to perform in the Soviet Union!), and of course, Cuban, stages.
In 1948 she founded the Alicia Alonso Ballet in Cuba, later renamed the National Cuban Ballet, of which she is still the leading director (even though she is in her 90s!!!).

Alicia Alonso has become a recognized figure in Cuban society, and has been given a long list of national awards and titles, including that of National Heroine of Labor and the Order of Jose Martí in 2000. UNESCO awarded her the Pablo Picasso Medal in 1999 for her notable contribution to art and culture, and made her a goodwill Ambassador in 2002.
Additionally, she has been internationally recognized by just about every prestigious dance society, and has been awarded many of the most important prizes in the world of dance (including the Dance Magazine Award in 1938 and 1958, and the Grand Prix de la Ville de Paris in 1966 and 1999).

I everyone to watch a clip or two of Alicia Alonso dancing—not only are her performances incredible and beautiful, but they are made all the more impressive given her difficulties with sight. She is an important addition to the long tradition of excellence in Cuban theatre, dance, and (performance) art in general.