- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
El Maestro de Maestros, the Father of Cuban Ballet
El Maestro de Maestros, the Father of Cuban Ballet
- Chapter:
- (p.47) 10 El Maestro de Maestros, the Father of Cuban Ballet
- Source:
- Fernando Alonso
- Author(s):
Toba Singer
- Publisher:
- University Press of Florida
The company tours Latin America, runs out of money and is rescued by student federations in Puerto Rico and Cuba. Financial problems arise again with Pro-Arte, and the Cuban student federation raises funds. Sol Hurok offers to sponsor a tour, but lack of government sponsorship makes it impossible to accept his offer. Fernando begins teaching on tour when the ballet master quits.
Keywords: Angela Grau, Sol Hurok, Puerto Rican University Student Federation, Juan Peron, Isaac Libenson, The Evita, Teatro Colón, Quinto de los Olivos
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- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
