The year of 1931 defined the history of ballet teaching in Cuba. Under the
presidency of Oria de Albarran and Natalia Arostegui de Suarez Pro-Arte
Musical established its three schools: ballet, declamation and guitar.
Other courses began on June 30 of that same year directed by Professor
Nicolai Yavorsky.

This was the milestone that marked the beginning of the teaching of a new
art, which shortly after would become one of the more responsible artistic
and pedagogic institutions of Cuba.

The ballet school of the Pro-Arte Musical Society was founded with the
purpose of promoting and teaching this artistic manifestation, making
emphasis on classic ballet. At first, lessons were free for all those
interested. Then, it was necessary to be a member to be able to be part of
them.

The first lessons took place in the stage of the Auditorium Theatre, today
Amadeo Roldan Theatre, because back then there was no other stage of wood
floors suitable for that activity. Before long, they turned the third
floor of dressing rooms into classroom, with the entrance through D.
Street, in Vedado.

Three relevant and transcendental figures in the history of Cuban ballet
and culture: Alberto Alonso, Alicia Alonso and Fernando Alonso, started
their career under the guidance of this society.

Alicia Alonso had her first solo in the piece “La bailarina de la cuerda
floja” (The tightrope dancer) in 1933; and as time passed by, she became
the Cuban prima ballerina assolutta and gained international recognition
for her talent and devotion to this art.

Fernando Alonso also wanted to try his luck in ballet and had his debut in
the piece “Claro de luna” (Moonlight) in 1936 by the side of Alicia.

In the Pro-Arte Musical Society boys, girls, beginners, and intermediate
students received ballet lessons, whereas the advanced students also
received more specialized courses. Every student was examined twice a
year, and the school offered an annual performance in the stage of the
Auditorium Theatre.

The school arranged several presentations from December 29, 1931, until
July 5, 1961. In the last one, in the Hubert de Blanck Hall the students
performed the piece “Ejercicios de ballet de fin de curso” (ballet
exercises for the end of the academic year), with choreography by
Professors Elena del Cueto, Finita More and Adelina
Duran.

Every year Pro-Arte Musical hired very famous dance personalities, who
travelled to Cuba to dance along with soloists and students, in many of
those presentations.

In addition to this school there were also other academies and workshops
that contributed to the development of ballet in Cuba; most of these
institutions were somehow linked to prestigious national and international
ballet figures.

The first casting of students took place in 1960, in one of the halls of
the Provincial Ballet School of Havana. From that moment on, that ballet
group and the building passed to the Conservatorium.

Another institution worth mentioning is the Ballerina Club, founded by a
small group of Pro-Arte Musical members, and was directed by Celida
Parera. The purpose of this club was to collect funds for Pro-Arte and to
boost ballet culture in the country.