Throughout the XX century, the hard-fought battle of blacks and dark-skinned dancers to perform the classical repertoire on professional stages (including “white ballets”) was a part of the struggle for citizens’ equality. Cuba is a clear example of creating a national ballet school in a country where the fight for social equality was closely connected with overcoming racial segregation. But some researchers have noted that the majority of dancers in the Ballet Nacional de Cuba belong to the Caucasoid phenotype, which means they do not represent the Cuban nation which includes a large variety of phenotypes. We pose the question in what way is the history of Cuban ballet and the artistic experience of its founders connected with the struggle of blacks to have professional dancing careers, and is there actually racial discrimination in Cuban ballet? We demonstrate that the Alonso triumvirate was a good indicator of the problem: Alicia and Fernando as performers, and Alberto Alonso as a choreographer, participated in a cultural movement directed at the rebirth of Cuban identity, they performed African American dances, and they worked together with George Balanchine, who adapted black dance and invited black dancers into his company. However, due to various reasons and circumstances, Alicia Alonso, first for herself and then for the Nacional ballet school and theatre, took a different path, that of entering, on equal footing, the domain of classical ballet, of European art in its essence, in which the white aesthetic is inherent. We would like to demonstrate that the main explanation of the paradox of Cuban ballet became the aesthetic dictatorship of the classics, the dictatorship within “white ballet” which is accepted voluntarily. Classical ballet is an art of subordination to rules and images that are thought of as absolute pinnacles.

中文翻译：

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黑人舞者和白人芭蕾舞团：古巴的案例

在整个二十世纪，黑人和深色皮肤舞者在专业舞台上表演古典剧目（包括“白人芭蕾”）的艰苦斗争是争取公民平等斗争的一部分。古巴是在争取社会平等与克服种族隔离密切相关的国家创建国家芭蕾舞学校的明显例子。但一些研究人员注意到，古巴国家芭蕾舞团的大多数舞者都属于高加索表型，这意味着他们并不代表包含多种表型的古巴民族。我们提出的问题是，古巴芭蕾舞的历史及其创始人的艺术经历如何与黑人为拥有职业舞蹈生涯而进行的斗争联系起来，古巴芭蕾舞中真的存在种族歧视吗？我们证明阿隆索三巨头是问题的一个很好的指标：艾丽西亚和费尔南多作为表演者，阿尔贝托阿隆索作为编舞者，参加了一场旨在重生古巴身份的文化运动，他们表演了非裔美国人的舞蹈，他们一起工作乔治·巴兰钦 (George Balanchine) 改编了黑人舞蹈，并邀请黑人舞者加入他的舞团。然而，由于各种原因和情况，艾丽西亚阿隆索先是为自己，然后是为国家芭蕾舞学校和剧院，走上了一条不同的道路，即平等地进入古典芭蕾领域，本质上是欧洲艺术，其中白色美学是与生俱来的。我们想证明，古巴芭蕾悖论的主要解释是经典的审美独裁，自愿接受的“白色芭蕾”内部的独裁。古典芭蕾是一种服从于被认为是绝对巅峰的规则和形象的艺术。