Love affair with Cuba - visit of Franca Russell to Ballet Nacional de Cuba - cultural program of University of Washington's Center for Women and Democracy

Dance Magazine, Sept, 2003 by Francia Russell

One of the first big disappointments of my life was being forced to turn down a contract with the Ballet Nacional de Cuba. At 17, I was unconcerned that a revolution was underway; Alicia Alonso was my idol and I wanted to learn at her feet. My parents" wisdom prevailed, of course, and I joined the New York City Ballet. But I never ceased hoping to see firsthand the company and schools founded by Alonso.

In February 2003, my chance came with an invitation from the University of Washington's Center for Women and Democracy, an organization that promotes and links women in leadership positions around the world. Distinguished women in medicine, science, government, education, social services, and the arts were invited to spend a week in Havana. To universal amazement, the Cuban authorities recognized my name and that of Pacific Northwest Ballet principal dancer Patricia Barker and planned special activities for us. It was the first sign that ballet holds a very special place in Cuban hearts.

I contacted two influential friends to ensure that our brief stay would be productive. Both Lourdes Lopez, executive director of The George Balanchine Foundation, and Septime Webre, artistic director of The Washington Ballet, were overwhelmingly generous with contacts, information, and advice. I owe them credit for the success of nay trip.

Our first balletic experience in Havana was attending the premiere of Carlos Acosta's full-length Tocororo. Unable to find the box office or talk our way into the theater, Patricia and I were saved by our guardian angel, Ismael Albelo. Ismael is the dance expert for the Ministry of Culture and teaches dance history for the Ballet Nacional's school. Ushering us to our seats, he whispered, "I think Fidel will come." Moments later President Fidel Castro arrived with an entourage and sat near us. Clearly enjoying the performance, he and his friends talked out loud throughout.

The following day Ismael took us to watch class and rehearsals at the Ballet Nacional. The administrative director, the lovely, chic Miriam Vila, made us feel welcome. Alonso and most of the company were on tour in Italy, but the rest of the dancers took class as usual. Patricia watched the men while I had the good fortune to see the women's class, taught by former ballerina Svetlana Ballester. The exercises were ample and elegant and Svellana was both encouraging and demanding--the ideal combination. We also watched rehearsals of a gifted but sullen young ballerina being coached in Swan Lake by fire impressive former ballerina Loipa Araujo, and a vibrant young couple, Annette Delgado and Rolando Sarabia, in Don Quixote.

Like the rest of Havana, the Ballet Nacional's buildings are in disrepair. The floors are hard, the linoleum tom, and there is no more tape to hold it together. Poor conditions cause injuries, as do the terrible shoes they wear until they are in shreds. Pacific Northwest Ballet's gifts of 125 pairs of new toe shoes and 115 pairs of ballet slippers, plus notions for tire women in the costume shop, were very much appreciated. Dancers are respected and live better than most Cubans, but their working conditions reflect the sad slate of the country's economy.

An exception is the magnificent building being renovated for the Ballet Nacional's Secondary School for students ages 15-18. Clouds of dust and a fearful racket greeted us, and hundreds of workmen swarmed over file building. We were told it would be ready to accept 4,000 new recreational dance students in a couple of weeks. The obvious question: "How can the work be done by then?" received the only possible answer: "Fidel wants it."

At the Secondary School, we were welcomed by the director, Ramona de Saa Bello, and master teacher Fernando Alonso, who at 89 continues to respire and charm his students. We watched classes, met teachers and students, and I agreed to present a lecture-demonstration on Balanchine technique the following day.

Later that evening our group met with President Castro and listened to him make "a few brief remarks"--for three hours, His command of facts and figures on a multiplicity of topics was impressive, as was his energy and enthusiasm. He said Cuba has the highest literacy rate in the world and that he believes everyone should participate in the arts. To paraphrase from memory, "A student graduating with a master's degree in agricultural engineering must also be able to recite poetry, and a poet must be able to fix a car."

The trip's highlights were two visits to the Primary School for ballet students ages 10-15, and the acquaintance of a woman I expect to remember the rest of my life, Sylvia Rodriguez, director of the school. Sylvia showed Patricia and me several ballet and gymnastics classes, all in small studios resembling dark, green prison cells. Every student was giving maximum attention and effort. It is a privilege for the children to he chosen for the school. Fear of not being kept nil plays role in their efforts, but the Cuban humor and love of life are also evident. One class was a beautiful group of 11-year--old girls who spent the final fifteen minutes doing improvisations. The girls shyly announced their characters, usually birds or animals; two enterprising students sheepishly declared they would he "two bad gills" and danced hair-pulling fight.