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Written records of Alonso’s work are scarce, yet Toba Singer’s quest to spotlight his seminal role in the development of the modern ballet canon yields key material: pre-blockade tapes from Lincoln Center, Spanish-language sources from the Museum of Dance in Havana, and interviews with the ballet master himself alongside a broad range of friends, relatives, and collaborators from throughout his long career, including his ex-wife, Alicia, a famous ballerina in her own right.

Table of Contents

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  1. Cover
  2. p. 1
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  1. Title Page, Copyright
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Prologue with Letter from Alicia Alonso
  2. pp. ix-xx
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  1. Acknowledgments
  2. pp. xxi-xxii
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  1. Part I. Antes (Before)
  2. pp. 1-25
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  1. 1. Always Ask Why
  2. pp. 3-9
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  1. 2. Pro-Arte Musical, Yavorsky, and New York
  2. pp. 10-16
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  1. 3. Alicia, Fernando, and Laura: Giant Steps across a Changing Landscape
  2. pp. 17-21
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  1. 4. Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre
  2. pp. 22-24
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  1. 5. Repertoire, Camaraderie, and an Étoile
  2. pp. 25-28
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  1. 6. Challenges and Pilgrimages
  2. pp. 29-32
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  1. 7. Autumn in New York, and a Dawning in Havana
  2. pp. 33-38
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  1. 8. Ballet Theatre, a University of Dance, and More . . .
  2. pp. 39-42
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  1. 9. Ballet Alicia Alonso
  2. pp. 43-46
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  1. 10. El Maestro de Maestros, the Father of Cuban Ballet
  2. pp. 47-52
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  1. 11. Crafting a Curriculum, Sculpting a Style [Includes Image Plates]
  2. pp. 53-60
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  1. 12. Legends and Lessons: Laura and Loipa
  2. pp. 61-67
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  1. 13. A Revolutionary Proposal
  2. pp. 68-72
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  1. 14. Batista's Blackmail Bid
  2. pp. 73-77
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  1. 15. The Soviet Union Invites the Alonsos
  2. pp. 78-80
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  1. Part II. Después (After)
  2. pp. 81-105
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  1. 16. Cuban Revolution Triumphs—and Invests in Ballet!
  2. pp. 83-90
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  1. 17. Constructing Ballet Schools, Extending the Revolution
  2. pp. 91-93
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  1. 18. International Recognition Abroad, at Home, on Film, and in Print
  2. pp. 94-99
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  1. 19. Camagüey: The Center of Gravity Shifts [Includes Image Plates]
  2. pp. 100-113
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  1. 20. Révérence
  2. pp. 114-118
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  1. III. Recuerdos (Recollections)
  2. pp. 119-143
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  1. Introduction
  2. pp. 121-124
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  1. Aurora Bosch
  2. pp. 125-129
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  1. Carlos Acosta
  2. pp. 129-131
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  1. Azari Plisetsky
  2. pp. 131-132
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  1. Ramona de Sáa
  2. pp. 133-136
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  1. Lázaro Carreño and Yoel Carreño
  2. pp. 137-140
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  1. Tania Vergara
  2. pp. 140-142
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  1. Menia Martínez [Includes Image Plates]
  2. pp. 142-152
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  1. René de Cárdenas
  2. pp. 153-156
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  1. John White
  2. pp. 156-162
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  1. Lorena Feijóo and Lupe Calzad]lla
  2. pp. 162-167
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  1. Jorge Esquivel
  2. pp. 167-172
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  1. Lorna Feijóo and Nelson Madrigal
  2. pp. 173-178
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  1. Donald Saddler
  2. pp. 178-180
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  1. Grettel Morejón
  2. pp. 180-188
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  1. Appendix A. Dance Magazine Interview
  2. pp. 189-191
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  1. Appendix B. La danza eterna Interview
  2. pp. 192-203
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  1. Appendix C. Address to the Assemblée Internationale, Toronto
  2. pp. 204-209
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  1. Appendix D. Prizes Awarded to Cuban National Ballet Dancers, 1964–1974
  2. pp. 210-242
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  1. Appendix E. Selected BNC-Commissioned Repertoire Works, 1959–1974
  2. pp. 211-243
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  1. Appendix F. Elementary, Middle Ballet, and National Arts Schools
  2. pp. 212-244
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  1. Appendix G. Proposal on Ballet
  2. pp. 213-217
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  1. Appendix H. Revolutionary Government Statute to Guarantee National Ballet and Law 812
  2. pp. 218-221
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  1. Chronology
  2. pp. 223-225
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  1. Notes
  2. pp. 227-228
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  1. Bibliography
  2. pp. 229-262
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  1. Index
  2. pp. 231-240
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