- 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]
Batista’s Blackmail Bid
Batista’s Blackmail Bid
- Chapter:
- (p.73) 14 Batista’s Blackmail Bid
- Source:
- Fernando Alonso
- Author(s):
Toba Singer
- Publisher:
- University Press of Florida
Cuba becomes first company in the Western Hemisphere to mount a 4-act Swan Lake at University Stadium sponsored by La Polar Brewery. Company’s farewell to Cuban stage. Protests mounted to Batista’s 1954 Second Biennial Hispano-American Art Exhibition. U.S. temporarily lifts anti-communist travel ban on Fernando so he can attend This is Your Life in Hollywood, where Alicia is surprise guest. Change name of company to Ballet de Cuba. Fidel Castro announces, “This year we free ourselves or become martyrs.” Batista proposes to co-opt ballet into his arts council. Ballet refuses in open letter signed by Alicia and is de-funded.
Keywords: This is Your Life, Batista, Alicia Alonso, Ballet de Cuba, Fidel Castro, Zéndegui, Carlos Rafael Rodríguez
Florida Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .
- 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]
