Self-Directed Learning Project 

by Keri Nadeau

The topic of my self-directed learning project centers on the idea of cultural diplomacy and the use of soft power. These concepts are just another way of speaking about relationship building as a way to lead, even when your position of influence may not seem powerful. My exploration of this topic considered the way that the cultural arts, in particular, the Cuban National Ballet (CNB), has been used for cultural diplomacy over time, and what leadership lessons we can take from this example.

First, a quick definition. Soft power, as defined by Joseph Nye in his foundational study in the shifting contours of American power at the end of the cold war, is “a form of power that lies in attracting others willingly to your position by fostering in them empathy or envy, self-identification or aspiration.” It is the type of power used most frequently in cultural exchange and diplomacy.

The vision of post-Revolution Cuba was to have a well-educated population. It was also intended to help Cuba to become a part of the world community as a country standing on its own. With regards to the arts, Castro, and his advisor, Che Guevara, were intentional about these missions. The ballet was nationalized in 1959, becoming one of the first artistic institutions to become so.

Castro’s 1961 speech titled “Words to Intellectuals” set forth a “definitive and instructive” doctrine on cultural expression, going into depth on the revolution’s stance on the artists’ social role and creative liberties” (Kronnenberg, 2011 p. 260). Cuba was planning to use its artists in various forms to both create a more educated and sophisticated populace, and also to advance their position in the world.

Speaking to the Ballet in specific, in the time prior to the Revolution, ballet was viewed as an elitist art in Cuba. Something I found surprising is that, Post- Revolution, Alicia Alonso, its principal dancer and artistic director, took the mission to bring about a more accessible form to the arts by traveling with her husband to the countryside, dancing on the back of a truck.

Over the course of time, the ballet has become an institution that is broadly loved by Cubans, and is not seen as an elite experience. We saw this ourselves when we attended. Young children were there with their parents and grandparents, people were ignoring the rules and taking video, and there was an openness of coming and going that signaled a more relaxed feel to the art.

Ballet in Cuba is for the people. All of them.

The ballet has also been used to help advance Cuba’s place in the world. No where do we see the use of soft power come into play more than with the CNB, its development into the beloved national entity it is in Cuba, and its numerous cultural exchanges in its history. The Ballet Festival, held every other year in October, has led to some iconic performances from groups like the Martha Graham Dance company (2016). Over its 60+ year history, the festival has hosted artists from 56 countries and been the site of 198 world premier works, and every major Ballet dancer you can think of, from Nureyev to Barishnikov, Copeland to Boylston, has been there.

So, what can we learn about leadership from the foundation laid by this example?

1. Taking the time to broadly share your knowledge & skills with those around you can attract others willingly to your side;

2. Relationships matter. The only real way to foster real empathy is person to person, one by one;

3. When working in cross cultural spaces, finding a common language is important, and it isn’t always the one you’ll expect.

As the great poet and patron saint of Cuba, Jose Marti, once said, “Mankind is composed of two sorts of men- those who love and create, and those who hate and destroy.” By using their art to create relationships with other artists around the globe, the CNB uses their soft power to impact cultural diplomacy, seeking to gain empathy and aspiration from other artists one at a time, as they show their intentions to love and create.

We can all learn something from that.