Artistic director Septime Webre uses cultural exemption in embargo to
take his troupe to Havana
Michael Crabb. National
Post, Canada. October 24, 2000
WASHINGTON - While both Cubans and Americans continue to argue over the real
effects of a new U.S. law that ostensibly relaxes the embargo against trade with
Castro's island, Septime Webre, the enterprising artistic director of the
22-member Washington Ballet, is set to make history of a kind this week as he
leads his troupe on an ambitious cultural mission to Havana.
Although not officially sponsored by the U.S. government, a cultural
exemption in the embargo is allowing Webre to present his company, from Oct.
25-28, as part of the 17th International Ballet Festival of Havana. It's said to
mark the first time since the Castro revolution that a whole American dance
troupe has performed in Cuba. This, however, is only part of it. Webre is taking
with him a more than 100-person entourage made up of choreographers, theatre
directors, dance presenters, ballet teachers, leaders of various arts and
community organizations and even a personal emissary sent along by Anthony
Williams, the Mayor of Washington.
Webre, who has been vaulting bureaucratic hurdles in both countries for most
of the past year, has titled the expedition "Dialogues in Dance: Cuba 2000."
Some 15 reporters from major media organizations are expected to attend,
promising the whole event high-profile coverage in the United States. There are
already plans for teacher and choreographer exchanges in the years to come,
designed to make the trip more than a one-off event.
Ironically, given his family's experience, Webre is the last person you'd
imagine would be interested in trying to penetrate the walls of American and
Cuban propaganda in order to build better understanding between the two nations.
Webre's mother is Cuban-born. His French father ran a sugar plant on the island.
The Webre family enjoyed a lavish lifestyle, servants and all, until Castro's
militia drove them out with hardly time to pack a suitcase. Septime Webre's five
older siblings, all born in Cuba, have vivid enough memories to resent what
happened. He, however, was born in the United States 38 years ago and, while
harbouring no sentimental illusions about the negative aspects of the Castro
regime, does not believe change will be fostered by unthinking belligerence.
Webre paid his first visit to Cuba only a year ago and came back convinced
that a slow process of adjustment and accommodation on both sides will
eventually ease 40 years' worth of hostility. Webre, who claims to be
apolitical, says he believes cultural missions such as the one he has organized
are very fruitful. "It became clear to me", he says, using language
that could qualify him for a job at the U.S. State Department, "that there
are many levels for positive interaction in a very special time for U.S.-Cuba
relations. Obviously, having Washington Ballet perform in Cuba is very important
to me as artistic director, but what makes me really proud is being able to
facilitate opportunities for genuine, meaningful exchanges. The more we get to
know and understand each other, the easier it will be."
There are precedents. The Baltimore Orioles' visit to Cuba two years ago was
a positive eye-opener for all involved. Individual or small unofficial groups of
American artists have for years been finding their way to Cuba. Earlier this
year, the Milwaukee Symphony played in Havana. Cuban artists can and do perform
in the United States, and next year New York's ICM Talent will be bringing the
National Ballet of Cuba back for yet another in a recent and successful string
of American tours. Jane Hermann, who runs the dance operations of ICM, says she
would have liked to present the Cubans in Canada but could not find any takers.
Then, of course, there are the hundreds of thousands of American tourists
who have managed to skirt the embargo to enjoy Cuba's bargain-priced beach
resorts. They receive almost as warm a welcome as do the even larger throngs of
sun-loving Canadian tourists, in part because they tend to leave bigger U.S.
dollar tips and because, as Cubans see it, if these Americans have taken the
trouble to find their way to Cuba, they must be OK.
Despite the precedents, Webre's accomplishment is remarkable. He is a
talented young choreographer. Chez La Duchesse, a new work he created for
Montreal's Les Grands Ballets Canadiens in March, 1999, was critically well
received. Washington Ballet, which Webre has directed since last season, is
hardly of the same calibre. As one American impresario who chose to remain
nameless pointed out, for all Webre's plans to revitalize and raise its profile,
Washington Ballet remains a second-league regional troupe, the kind of place
dancers hone their professional skills before heading for a major company. If
the State Department itself had any interest in sponsoring a U.S. ballet company
to visit Cuba, it could certainly find more artistically distinguished
candidates.
Webre, however, is ambitious and not afraid to stick his neck out. On his
trip to Cuba a year ago he met with Alicia Alonso, the legendary ballerina and a
cultural icon in her homeland, who still directs, or rather rules, the National
Ballet of Cuba. The rapport they soon established led to Washington Ballet's
invitation to the prestigious Havana festival. Webre then used this as the
springboard for assembling a much larger cultural delegation. If other American
dance companies feel jealous that Washington Ballet has carved itself a spot in
the international limelight, they can hardly blame Webre, only their own lack of
initiative.
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