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Article Excerpt
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...
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