The aesthetics of ideology in Cuban theatre dance
By 'Funmi Adewole
As with many political movements in multi-cultural nations, dance in Cuba was used a tool of cultural invention. Though not on the level of Apartheid South Africa, Cuba was on record the most racist of Hispanic Caribbean territories. The government after the Cuban revolution in 1959, aimed to counter the negative psychological and social effects of racism on the large black and mixed raced population. They set in motion programmes to raise the status of dark skinned people and forge a Cuban identity that transcended race.
Spanish, African and Haitian elements make up the complex of Cuban dance forms from which new forms continue to emerge. There are also in Cuba discrete elements of Asian, Jewish and Chinese culture. The African Orisha dances (dances for the Yoruba deities) due to their religious nature however are slower to absorb influences.
Traditional dances on stage at once affirm and transcend ethnicity and thus provide a visual representation of new ideals. The government established National Folklore companies, and an institute of Ethnology and Folklore. The main company ‘Conjunto Folklorico Nacional’ is the most conservative. Unlike more spontaneous amateur performance groups which might be made up of a whole family the Conjunto Folklorico performs with narratives and characterisation and do not mix dance forms as the remit of the company is to preserve tradition. This does not mean there is no innovation at all. Silvana Fabars Gilall, lead dancer of the Conjunto Folkloric Nacional is known for the innovations she has created within the structures of Arara basket dances. The Folklorico de Oriente however is more stylized, as it incorporates modern movement motifs and is adventurous choreographically because it represents on the other hand the dynamicism of tradition.
Due to its participatory nature dance can engage a community psychologically in the up holding of new ideals. As such, the government encouraged social dancing through initiatives such as ‘Rumba Saturday’. Space was given to dance on secular festivities and support provided for amateur groups who might perform in the streets.
The ballet company of Alicia Alsonso, which dominated the theatrical scene before 1959, was not pushed aside but made into the national ballet company. Ballet began to develop a Cuban flair. Alsonso was famed for her fast foot work. She performed a pas de deux based on the Rumba. Also a balletic stylization of the Rumba was created for dancing en Pointe with toe shoes for the production Ad Libitum. Ideas such as these gave the ballet a Cuban twist.
Danza Nacional, the Cuban modern dance company evolved its technique through the crystallization of a variety of traditional dances and a re-evaluation of modern techniques such as Graham and Humphrey to reflect Cuban sensibilities.
The organisation of dance in Cuba has made it a focal point of those interested in African-related dance and the aesthetic and ideals of its various theatrical expressions. Sheron Wray wrote of her visit to Cuba in 1995 that ‘there is a positive energy with in the arts which cuts through racial boundaries and creates a hybrid Cuban dance culture. It is not only vital that this philosophy is pronounced in Western countries but also that our own youth have the opportunity to experience this non-divisive environment’. Consequently Wray went on to produce ‘White Spirits’, a fusion of Jazz improvisation with Cuban Orisha dances which premiered at the Clore Studio in September 2000.
A national culture and identity has emerged in Cuba though racism and poverty still exist and many within the country have found its political stance isolating. With the loss of Soviet economic support in the 1990s Cuba opened up to tourism and dance extravaganzas flourish in bars and hotels. It is a lightheartedness that still reflects the fight to survive, the will to be one.
References:
- Rumba: Dance and Social Change in Contemporary Cuba by Yvonne Daniel, Indiana university press, USA, 1995.
- AfroCuba: An anthology of Cuban Writing on Race, Politics and Culture edited by Pedro Perez Sarduy and Jean Stubbs, Ocean Press, Austrilia, 1993
- The Cocks Crows by Sheron Wray, ADAD newsletter, April 1996 no 6.
- Bami Jo! ’98 brochure issued by Badejo Arts.
- www.china.org.en
- www.CubaNet.com
