The Havana International Ballet Festival, whose 24th edition took place from October 28 to November 7, 2014, is one of the most prestigious dance events in the world, as well as a cultural gathering in which broad sectors of the Cuban population participate with genuine enthusiasm. It was first held in 1960, at the initiative of the National Ballet of Cuba and in collaboration with other Cuban institutions. Over the years, it has been marked by a very high artistic level and the imprint of the distinguished dancer Alicia Alonso, as well as other figures of the marvelous art of pointe dancing.

This year, the event was held under the motto “For Shakespeare, Dance,” with the intention of paying tribute to the English playwright, 450 years after his birth. His magnificent work has been a nourishing and inexhaustible source of inspiration for various creators and artistic expressions, particularly ballet. The opening performance, at the Karl Marx Theater, consisted of a staging of the choreography “Shakespeare and His Masks” by Alicia Alonso, which featured masterful performances by Anette Delgado and Dani Hernández.

Numerous foreign dance companies have participated in this event, many of them with proposals also linked to the most universal aspects of Shakespeare’s work. Among these, the most notable are the version of “Romeo and Juliet” by the Joburg Ballet of South Africa; “The Tempest” by the National Ballet of Uruguay Sodre; and “Concert-o” by the Swiss company Linga, a work that recreates the emotional interstices of the tragedy of Othello, with the only stage support of a table and four chairs, in a free and innovative dance style that recalls contemporary times. Dance institutions from the United States, Puerto Rico, Chile, Argentina, Portugal, Italy, France, Great Britain, Germany, Belgium, Denmark, Norway, China, and Hong Kong also participated.

Throughout the event, the potential of the Cuban ballet school was once again realized on stage. Figures such as Anette Delgado and Viengsay Valdés, as well as their most frequent partners, Dani Hernández and Víctor Estévez, once again moved the audience with the magic of their dance movements, atop slippers that seemed to be made of pure air. Furthermore, the young Yanela Piñera shone in her performances, playing the lead role in “The Sleeping Beauty,” alongside Arián Molina—also delivering a remarkable performance—as well as in “The Corsair,” accompanied by Camilo Ramos, another promising young artist of Cuban ballet. Likewise, the Camagüey Ballet demonstrated its solid choreographic talents, conducive to continuing to extend this unique, ancient art form, always renewed in the sensitivity it manages to convey, throughout the island.

As a true cultural celebration, the Festival was not limited solely to the stage, but also involved the tribute of other artistic forms to dance, particularly the visual arts. In this regard, significant side events were held, harmoniously integrated with the magical universe recreated by ballet. These included the exhibitions “In Good Hands, Ballet,” by Nancy Reyes Suárez and Luis Alberto Alonso, as well as the photography exhibits “Geometry of Bodies” by Pilar Rubí and Marta María Rivera, and “Tribute to Alicia Alonso in Seville,” by Spanish artist Josep Guindo.

There are only a few hours left until the audience’s thunderous ovation is heard and the festival curtain closes, leaving the spirit of dance in the air. However, the Cuban National Ballet will continue to accompany us, renewed by the exchange of experiences with other dance groups, demonstrating that authentic art recognizes no distinction between the highbrow and the lowbrow. The Island on pointe, after 11 days, is like 11 turns of fouetté.