Fernando Alonso : the father of Cuban ballet / Toba Singer.

Cover; Contents; Prologue with Letter from Alicia Alonso; Acknowledgments; Part I. Antes (Before); 1. Always Ask Why; 2. Pro-Arte Musical, Yavorsky, and New York; 3. Alicia, Fernando, and Laura: Giant Steps across a Changing Landscape; 4. Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre; 5. Repertoire, Camaraderie, and an Étoile; 6. Challenges and Pilgrimages; 7. Autumn in New York, and a Dawning in Havana; 8. Ballet Theatre, a University of Dance, and More . . .; 9. Ballet Alicia Alonso; 10. El Maestro de Maestros, the Father of Cuban Ballet.

11. Crafting a Curriculum, Sculpting a Style12. Legends and Lessons: Laura and Loipa; 13. A Revolutionary Proposal; 14. Batista's Blackmail Bid; 15. The Soviet Union Invites the Alonsos; Part II. Después (After); 16. Cuban Revolution Triumphs-and Invests in Ballet!; 17. Constructing Ballet Schools, Extending the Revolution; 18. International Recognition Abroad, at Home, on Film, and in Print; 19. Camagüey: The Center of Gravity Shifts; 20. Révérence; Part III. Recuerdos (Recollections); Introduction; Aurora Bosch; Carlos Acosta; Azari Plisetsky; Ramona de Sáa; Lázaro Carreño and Yoel Carreño.

Tania VergaraMenia Martínez; René de Cárdenas; John White; Lorena Feijóo and Lupe Calzadilla; Jorge Esquivel; Lorna Feijóo and Nelson Madrigal; Donald Saddler; Grettel Morejón; Appendix A: Dance Magazine Interview; Appendix B: La danza eterna Interview; Appendix C: Address to the Assemblée Internationale, Toronto; Appendix D: Prizes Awarded to Cuban National Ballet Dancers, 1964-1974; Appendix E: Selected BNC-Commissioned Repertoire Works, 1959-1974; Appendix F: Elementary, Middle Ballet, and National Arts Schools; Appendix G: Proposal on Ballet.

Appendix H: Revolutionary Government Statute to Guarantee National Ballet and Law 812Chronology; Notes; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z.

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.

Includes bibliographies and index.

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