Alicia Alonso: Meditations on a Cuban diva who sold her soul to the devil

From our Bureau of Faustian Bargains

As there can be no doubt about Alicia Alonso’s artistic brilliance or about her role in turning her ballet company into an instrument of communist and Castronoid propaganda, there can also be no doubt about her love for the Castro dictatorship or about the fact that she sold her soul to the devil, much like the fabled Dr. Faustus.

She might have been a great ballerina in days of old and something of a visionary entrepreneur, but her artistic genius and her entrepreneurship were both so heavily politicized that one cannot help but think that her true genius lay in the art of propaganda rather than ballet.

Alicia loved Fidel Castro and his so-called Revolution more than she loved ballet. Something of a dictator herself – according to the testimony of many who worked and danced for her – Alicia the prima ballerina not only weaponized the Ballet Nacional de Cuba, turning it into a powerful public relations flamethrower of the so-called Revolution, but willfully and calculatingly enslaved all of its dancers, robbing them of their freedom.

To dance for Alicia’s National Ballet one had to be a true “Revolutionary.” As required by the totalitarian cult created by Fidel Castro, strict adherence to communist orthodoxy was required, along with a vow of poverty. One word of dissent, and you’d be booted out.

Moreover, everyone who danced for Alicia & Fidel’s National Ballet earned the same poverty-level income as everyone else in Castrogonia, except for the oligarchs, of course.

Constant defections marked the history of her enslaved troupe. And some of those who defected became stars in the free world or even exerted a remarkable influence on its ballet companies.

For sixty years she sang Fidel and Raul’s praises and provided them with a powerful symbol of the so-called “success” of the so-called Revolution, an avatar of fake goodness equal in propaganda value to those of the so-called “free education” and “free healthcare” also ostensibly provided by Castro Inc.

Naturally, the Maximum Leader and his minions –including Alicia – constantly reminded their slaves and the rest of the world that the wonders of ballet, education, sports, and healthcare could only exist in a totalitarian state. So, ballet and all those other great gifts of communism required the creation of a repressive secular monastic community in which all Cubans had to make three vows: poverty, correct thinking, and obedience, and in which any breaking of vows would land you in the dungeons of the Castronoid Inquisition.

The worst aspect of Alicia’s weaponized art is that it helped convince many in the world that the so-called Revolution wasn’t all that bad after all, or even that it was something very good.

“Look what a little communism can do for noble savages!”

“Why, Mildred, look, savages and classical ballet! Who would have ever thought that combination possible? And look, they can win gold medals at the Olympics, too! Of course, none of them could have ever accomplished any of this without a strong leader and a good dose of communism!”

Yeah… just like the Bolshoi Ballet… look what a little communism did for those Russian barbarians.

Anyone who doubts the genuineness of Alicia’s love for a monstrous dictator need only watch the video below, filmed on the occasion of Fidel’s 90th birthday, in which she tells a story about the cuddly, lovable Fidel’s antics around a swimming pool. (In Spanish)

One cannot help but be reminded of all those photos and film clips of a smiling Hitler petting dogs, cute little fawns, and children.

Nauseating. Absolutely, positively nauseating.

3 thoughts on “Alicia Alonso: Meditations on a Cuban diva who sold her soul to the devil”

  1. Just as Fidel wanted to be Maximum Leader for life, Alonso wanted to be Assoluta for life, not in theory or memory but in fact. Only Castro, Inc. could give her that–and she took it. Obviously, there was a price to pay, but she was perfectly prepared to do it, even if she became a version of the portrait of Dorian Gray. I expect she would have done the same thing for Hitler’s Reich if that’s what it had taken to get what she wanted. For some people, any means are justified by achieving the desired end.

    Again, she had the artistic goods, unlike the many mediocrities who could only climb by “revolutionary” means in a rigged market with much weaker competition than a free one, but she absolutely sold out and utterly disgraced herself, certainly as a person and as a Cuban.

  2. I don’t think Alonso loved Fidel and the “revolution” per se, but rather what they gave her. She may well have appreciated the “respect” Fidel paid her, which was no doubt more than what she got from Batista–since Fidel had ulterior motives involving her which Batista did not. The woman expected to be treated like a Major Big Deal by everybody she came in contact with, and the bigger the flatterer, the better.

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