"The Art and Science of Ballet: Fernando Alonso" is the working title of a book I am currently writing under contract with University Press of Florida. The book will explore the work of the famous Cuban ballet master, who was the architect of the Cuban ballet pedagogy and co-founder with Alicia Alonso and Alberto Alonso of the world class Cuban National Ballet Company. At 93, Alonso continues to live in Havana where he plays a central role in the continuity of the Cuban National Ballet School and its curriculum. In mid-March, I was able to observe Alonso in action, at an event where ballet students and their teachers from 21 countries journeyed to Cuba to compare methods and styles of teaching and learn from the masters: Alonso, himself, as well as one of the "jewels of Cuban ballet," Ramona de Sa, Director of the ballet academy, and the director of a contemporary Cuban ballet company, Rene Cardenas. They teamed up to instruct students in technique and partnering, and at the close of their week's work together, students performed a full program of works at the Garcia Lorca Theater in downtown Havana. 
While in Havana, I was able to take a tour of the school and interview De Sa, (pictured here), along with Rene Cardenas and one of the newest additions to the Cuban National Ballet's corps de ballet, Yonah Acosta, whose uncle is the noted Royal Ballet Principal Dancer, Carlos Acosta, whose photo is on the cover of my book, "First Position: A Century of Ballet Artists."
It was my second visit to Cuba. My first took place in 1980, when for a short time, U.S. passport-holders could visit there. Pictured here is the Havana of today, with more and more modern cars than in 1980, busses similar to those we see in cities in the U.S., reconstruction projects and outgoing, interesting people to meet and speak with and activities of every description--music in the hotel lobbies and restaurants, dance in the squares and in the theaters, gallery showings and lively discussions under way about Cuba's future--defending its revolution while making changes to open up new opportunities for Cuban working people to communicate among themselves and with others by using state of the art technology and traveling abroad.
Old habits die hard and so one still sees little parks, clean and tranquil, where Cuban workers spend the late afternoon playing dominoes or chess. The baroque architecture is so prized that rather than build new structures, the old ones are renovated in such a way as not to lose their splendor and historicity.
I stayed at the small but stately Hotel Presidente, where each evening a duo of a violinist and pianist--both women--played all genres of music, the violinist occasionally putting down her instrument to sing bistro songs, including selections made popular around the world by the Buena Vista Social Club. Seen in photos here are the swimming pool at my hotel and the view of the garden from the hotel's dining room.
Among the most enjoyable moments were seeing the students perform at their showcase, attending the ballet "Giselle" accompanied by Cuban dance scholar, Ismael Albelo, where the vivacious Viengsay Valdes danced the title role, and meeting with the Ballerina Assoluta, Alicia Alonso, in her office at the Ballet Nacional de Cuba, after having brought her my book and a DVD of the film "Alicia" made by my friend, Frank Boehm. She regaled me with stories from her life and career and we chatted about dancers we both know. The evening before she had she very graciously sent a bouquet of the largest roses I have ever seen to my hotel room! When her assistant, Fara learned that I had worked in the steel mills, she spoke with me of her common work in the industrial sector alongside the revolutionary, Ernesto Guevara. We spoke of the great variety of activities he participated in and led during his short political life.
My hours of discussions and interviews with Fernando and his attentive step-daughter, Maiuly, and his devoted companion, Yolanda, brought me closer to the core of the creative and inventive life of the man who developed, counseled and taught and followed with great interest the careers of every one of the Cuban dancers who add energy, artistry and inspiration to ballet companies in Cuba and around the world today. What a privilege it was to take in his words, engage with his humor, all delivered with a frankness and humility that reflects not only on him and his scientific approach to the art of dance, but also on Cuba's commitment to hard work and ultimate confidence in human potential and advancement.
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