Discussion #2: Cuban Ballet and Political Expression- Sabby

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 Ballet holds a special place in my life, having grown up immersed in and adoring the art form. Although I left the world of dance behind many years ago, I continue to appreciate and enjoy watching ballet in my free time. From my early years, I was aware of Russia's reputation for producing some of the world's best dancers, with the Vaganova Academy known for its harsh yet highly technical training. For many, disciplines like ballet, along with other arts such as ice skating and gymnastics, served as a means of escaping the USSR for individuals, and this trend continues in contemporary Russia. Historically speaking, ballet in Soviet Russia was also used as a political tool to help form and influence public/cultural opinions of the state. 


For this module, I was particularly drawn to learning about Carlos Acosta and Cuban ballet. Socialist states, including Cuba under the Communist Party's leadership, have a history of investing in the education and training of artists along with national organizations such as the National Union of Writers and Artists of Cuba (Unión Nacional de Escritores y Artistas de Cuba, UNEAC ). Notably, Cuba boasts renowned art schools like the National Art Schools in Havana, the National School of Ballet, and the National Ballet of Cuba. This investment reflects a commitment to cultivating a robust cultural and artistic identity within the socialist state. 


The connection between art and ideology becomes apparent in the Cuban context, where ballet serves as more than just a form of artistic expression. It becomes a representation of the socialist principles and revolutionary ideals championed by the government. Aspiring dancers, nurtured within this system, not only receive technical training but also contribute to the broader goals of the socialist regime through their artistic endeavors. It appears that ballet acts as a vehicle for shaping a collective identity and promoting social change within the framework of socialist ideals. This is evident through the careers of dancers such as Acosta, whose talent was developed and honed by the arts programs in Cuba, allowing him to take flight on a global stage and gain international recognition. His gratitude and loyalty to the country are seen in the ways he shares his Cuban pride with the world and returns to the country to establish a studio and school.


Personally, I find that the backing of the arts and music by the Cuban government leads to success for many artists. When the government encourages and financially invests in something, citizens, especially in a country that exercises nationalism, will find great pride and continue to support the art and the people who are attempting to learn it.


Questions I have: 

  • Considering the significant investment by the Cuban government in arts education and training, particularly in ballet, is there any form of censorship or restriction on the political expressions and statements that artists are allowed to convey? Are there limits on artistic freedom, reminiscent of the restrictions on expression and religion under the Castro regime?


  • The connection between art and ideology in Cuba is evident, with ballet serving as a representation of socialist principles and revolutionary ideals. How does the government navigate the balance between encouraging artistic expression and ensuring that the art aligns with the political narrative? Is there a concern about potential propaganda in the art exported to the world, resembling situations observed in other politically controlled environments like North Korea and Russia?


Sources: 

  • https://rmozone.com/snapshots/2016/05/docs/INT_CEDAW_NGO_CUB_13690-00.pdf 

  • https://www.carlosacosta.com/ 

  • https://www.bbc.com/culture/article/20170628-the-ballet-that-caused-an-international-row 

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