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Rolando Sarabia defects


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Thanks, drb!

You'll have to scroll down a bit and click on the item, "The first dancer of the Cuban national ballet formalizes his request of asylum in the U.S.A. "

The translation is, shall we say, a bit mechanical. :wub:

Best of luck to Mr. Sarabia!

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This is AMAZING news. Cuba's loss is our gain. From having seen Rolando Sarabia in ballet competitions in the late 1990s (when he was 15 or 16), I can say that this is one of the greatest raw talents I've ever seen. We're talkin' Baryshnikov-level quality here. No joke.

I wonder how he has developed since he won his multiple Grand Prix trophies so many years ago? Was he able to work through the injury of 2-3 years ago (while dancing in Havana)?

WHATEVER - Welcome to America, 'Sarabita' (his dear nickname from competition-fans, years ago).

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I look forward to seeing him.

On a side note: isn't it lovely how there are so few countries now (relative to 15-20 years ago) from which one "defects" rather than simply "emigrates"? I saw the post title and thought "defected?!?! From where? How quaint!"

Here's hoping the verb "defect" becomes obsolete sooner rather than later.

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How true, koshka! Even the People's Republic of China is 'open' enough to allow its budding stars/competition medalists to work in companies like ABT, the Royal Ballet & Royal Danish Ballet. So that leaves -- what? -- Cuba and North Korea in the die-hard old school?

Related to this: I wonder how the Feijoo sisters, Carlos Acosta and Jose-Manuel Carreno manage to straddle the two worlds (maintain their principal status in both the USA and Cuba)? Perhaps the Cubans are being especially tough on Rolando Sarabia & only Rolando Sarabia? If so - why single him out? [Yeah, he's great but so are Acosta, Carreno & the Feijoos.]

If the above are inappropriate questions, just 'edit' & send me a PM. Understood. But I am honestly curious. Somebody has to ask the questions.

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Natalia - From what I understand, dancers must have permission from Alicia Alonso to leave the company to be able to "straddle" both worlds. For example, Lorna can come and go as she pleases, but as I have read in numerous articles, Lorena does not have such ability, as she left Cuba without permission.

Rolando is just getting back from an injury. I saw him dance last week in Florida, as he took class with my son at the summer program my son was attending with Magaly Suarez, better known to Cubans as "Mamicha". "Sarabita" is still amazing, even though he is just getting back. My son was in awe, as most everyone was. Our jaws dropped when he casually threw off ten pirouettes.

My hope is that he will dance for Boston Ballet, as I will get to see him on my regular trips to that city.

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Lorna, Lorena, Carreño and Acosta do not "straddle both worlds" and Alicia Alonso does not say who comes and goes. All Cubans who leave the country are free to come and go - those who accept free training and then leave the country in order to set up websites and sell baseball caps, as Acosta has done, cannot expect to be welcomed back to their Cuban jobs, and indeed I am unaware that any of these four have performed with the Ballet Nacional de Cuba since leaving. Please correct me if I am wrong.

[snip]

Indeed it will be a treat for Americans to see Sarabia since the U.S. harasses and threatens any American who dares to visit Cuba, and routinely denies visas to Cuban artists who wish to visit the U.S. But they should at least be aware that Cuba gave him an enormous gift, which he is now turning to his economic advantage. [snip]

[Admin's note: Edited to remove political content that is in violation of Board policy and partially factual statutory content. Natalia has contested the info in the first paragraph in the post below.]

Edited by Helene
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Lorna, Lorena, Carreño and Acosta do not "straddle both worlds" and Alicia Alonso does not say who comes and goes.  All Cubans who leave the country are free to come and go - those who accept free training and then leave the country in order to set up websites and sell baseball caps, as Acosta has done, cannot expect to be welcomed back to their Cuban jobs, and indeed I am unaware that any of these four have performed with the Ballet Nacional de Cuba since leaving.  Please correct me if I am wrong.

HLVS: You are wrong, sorry to say. They have indeed straddled the two worlds. For example, one of J-M Carreno's returns to Cuba is prominently featured on the VHS of ABT's male stars, "Born to Be Wild." The Nov 2000 Havana Ballet Festival included the participation of Carreno & one of the Feijoo sisters. Acosta's return to Cuba was shown on a CBS Sunday Morning feature, the year when he danced 'Snow Maiden' with Nina Ananiashvili. I could go on.

I'm also sorry to say that your words on the GENERAL politics of Cuba & the USA have no place here. It's OK to discuss politics' impact on ballet. However, the rest is out of place in a ballet forum. I would hope that the Administrators take note.

I am sure that there are plenty of political chat rooms & fora in Cyberspace. You are free to post your general words there. Not here, I'm afraid.

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hlvs:

>Lorna, Lorena, Carreño and Acosta do not "straddle both worlds"

>and Alicia Alonso does not say who comes and goes.

Natalia is correct. Lorna, Carreno and Acosta all left Cuba with Alonso's approval, and are not only welcomed back, but are expected to return to Cuba frequently to teach, perform, and share what they have learned from the abroad ballet world.

Lorena has not been welcomed back to Cuba, yet, as she did not obtain permission from Alonso first, before leaving. Lorena's courage is to be admired. If she had waited a few years longer, in Cuba, I doubt she'd have the same gorgeous career she's now enjoying at SFB, et al.

I was so happy to hear the news of Sarabia's defection as well(!!). Bravo to Sarabita! Such a great talent.

And, who doesn't want to make good money in whatever chosen career?! I'd consider ballet dancing to be one of the most difficult ways....

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I think we've established that:

1. Some Cuban dancers are welcome to return to Cuba to dance

2. This is based on having obtained prior permission to leave.

As a country with limited government subsidies for the arts, especially arts training, we've created a situation in our visa policy, particularly now that cultural visits are no longer allowed for US citizens -- one of the few loopholes available for travel to Cuba in recent years -- where we can see the products of Cuban government-subsidized training if they leave Cuban soil, on rare tours or permanently. If I were Alicia Alonso, my heart would be broken.

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>...we've created a situation in our visa policy, particularly now

>that cultural visits are no longer allowed for US citizens...

Not exactly true. Some US citizens may still visit Cuba, but only through a very small amount of cultural organizations/foundations. A foundation I've worked with, which will remain anonymous, still organizes limited group visits to Cuba because of their strong relationship with Alonso.

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SZ is right. For ex, my employer (an NGO) had a small agribusiness training project ("Outreach to the Cuban People"), funded by USAID. It was competed two years ago in open competition, announced to all interested bidders through normal channels. No big secret, in other words. Unfortunately, this same spirit does not seem to transfer to arts-related trips or exchanges nowadays.

Edited by Natalia
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I stand corrected, at least regarding Acosta and Carreno, who apparently do return to perform at the Havana Ballet Festival. Here is another link that confirms it – note the word “legally” and the fact that Acosta acknowledges that he got an education in Cuba he would have been unlikely to get elsewhere.

------

http://www.cubatravelusa.com/ballet_cuba.htm

Stars like Acosta and Carreno, who earns up to $10,000 for a one-night gala appearance, recognize their debt to Cuba. Most left legally and maintain ties to the homeland, returning to perform at the Havana Ballet Festival every two years.

“Classical training is very expensive in other countries. I come from a poor family and had the good fortune to go to ballet school in Cuba,” said Carreno.

-----

[off topic remarks deleted]

Edited by Alexandra
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Helene:

> If I were Alicia Alonso, my heart would be broken.

The suffering in Cuba is truly far greater than ever (thank you Bush) ... I've spoken with Ms. Alonso, and what upsets her the most is seeing her youngest, all talented, students without one pair of ballet slippers to wear to class. They show up barefoot, wearing shorts and a torn pair of socks.

It would be pointless for individuals to send money or ballet supplies directly to NBofC, but, while touring abroad, dancers in the company could easily accept a gift of a lovely leotard or two, a pair of slippers or two, taking them back to Cuba in their personal luggage. Flowers are very pretty, but...

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SusanB,

You're absolutely correct in saying that the political situation in Cuba is a complex one. I have no desire to get into any political discussions here on BA, nor am I qualified. But, the lastest embargo, under this President, is a huge reason why individuals, NBof C, Carlos Acosta's group, Tocororo, could not travel from Cuba to the USA. It was never easy to do, but it was possible. Now it is not.

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[ADMIN BEANIE ON]

This is an important topic, but we've had a number of off-topic and off-hand political remarks that aren't pertinent to the discussion of classical ballet.

I have to ask you to please stop it. I need to be able to go to an occasional meeting for my day job without coming back to an intervention. :beg:

If someone posts something you think violates our policy, please click the "Report" button at the bottom of the post instead of responding on the thread. We appreciate that you are trying to keep everyone honest, but please leave this to the Moderating team.

:thumbsup:

[ADMIN BEANIE OFF]

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The New York Times (31 August 2005) has an article on "The Cuban Nijinsky", Mr. Sarabia:

http://nytimes.com/2005/08/31/arts/dance/31danc.html

In part:

Officials at the Boston Ballet said they still hoped to hire Rolando Sarabia as a principal dancer. "He still has some working documents to sort out before we can offer him a contract, but we certainly would expect to," said Valerie Wilder, the company's executive director. "I'm glad he's here now and we can look forward to having him here on the stage in Boston."

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Fascinating NY Times story. Thanks, drb, for the link. The story summarizes the unfortunate and inconsistent dancer/defector situation and policies which have been discussed by many posters in this forum.

One good piece of news: Sarabia is scheduled to dance (with Alihaydee Carreno) at the Miami International Ballet Festival several weeks from now. And we have tickets!

(This is one of the very few times, in my experience, that a last-minute change in a gala's adveretised schedule has actually worked out to the ADVANTAGE of the audience.) :excl:

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Here is an interview with Alihaydee Carreno and Rolando Sarabia from December, 2003, regarding their performance of Romeo and Juliet. Four photos.

...

One good piece of news:  Sarabia is scheduled to dance (with Alihaydee Carreno) at the Miami International Ballet Festival several weeks from now.  And we have tickets!...  :excl:

Between the last two photos he discusses how working with her has helped him mature as an artist.

http://www.lajiribilla.cu/2003/n137_12/137_15.html

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drb, thanks for the link to the 2003 story about Sarabia and Alihaydee Carreno. The photos are beautiful and the production seems striking. Sarabia seems quite thoughtful about the character of Romeo.

La Jiriabilla -- described on its homepage as a "revista digital de cultural cubana" -- is a real discovery. For those who read Spanish or even remember just a bit from school, I recommend it. It seems free, creative, and remarkably eclectic. The arts are always among the best parts of any society. Here, too. (Or so it seems to me.)

________

its the mom. I can't remember where I first heard about this festival, but a search led me to the website of the producing organization,

Miami HIspanic Ballet - Link

Hit "English", then "Festival" to get the information.

There are a variety of events from August 26 through September 18 including a film series, master classes, etc.

They're a little vague as to dancers (though the website includes pictures of individual dancers) and has nothing about the programs. But the companies represented include a variety of European, North American and Latin American groups: among them, Royal Ballet, English National Ballet, Paris Opera, Vienna State Opera Ballet, Balletto Teatro di Torino, Stuttgart, Teatro Colon, Rio de Janeiro, national ballets of Puerto Rico and Dominican Republic, etc., and the Washington, Cincinnati, Orlando, Winnepeg, and Ballet Florida from the US, plus contemporary companies mostly from Latin America.

The Gala performances are as follows. (I'm attending the West Palm Beach performance.)

Thursday, Sept. 15 (8:00 pm). Contemporary Ballet performance/ Artime Theater, Miami

Friday September 16 (8:00). Classical and Neoclassical Ballets Grand Gala performance at the Kravis Center for the Performing Arts, West Palm Beach. This is their first appearance in West Palm.

Saturday, September 17 (8:00 pm). Etoile's Classical grand Gala performance. Jackie Gleason Theater, Miami Beach. Presentation of "10th Anniversary 2005" Grand Prix gold medal to Violette Verdy :P and a "Life for Dance" achievement award to Paul Szilard.

Sunday, September 18 (3:00 p,m). Festival Closing Performance. "All Paraticipating companies to perform with different programs.

You have to order tickets directly from the theaters involved.

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