Before hanging up his pointe shoes and dedicating himself fully to cultural management in London, Javier Torres built a career as a principal dancer with the National Ballet of Cuba, working alongside legendary figures such as Alicia Alonso, Loipa Araujo, Josefina Méndez, and Aurora Bosch. In 2010, he took a major leap to England’s Northern Ballet, where he also performed as a leading artist until his recent retirement from the stage.
His repertoire included principal roles from the romantic-classical tradition, such as “Giselle,” “La Fille mal gardée,” “The Nutcracker,” “Sleeping Beauty,” “Don Quixote,” and “Swan Lake,” alongside contemporary works. In the United Kingdom, he starred in productions such as “Beauty and the Beast,” “Hamlet,” “Madame Butterfly,” “Wuthering Heights,” “Peter Pan,” “Cleopatra,” and “Casanova.”
Today, he leads the Acosta Dance Foundation in London, established in 2011 by fellow renowned Cuban dancer Carlos Acosta. There, he oversees artistic and educational strategies aimed at promoting arts education, particularly in ballet, drama, and music.
Beyond his experience as a cultural manager, Javier Torres is a producer, artist representative, and founder and executive director of We Dance Agency, an organisation dedicated to first-rate dancers and choreographers. As an academic researcher, he has conducted studies on leadership within dance companies and is an expert in Cultural Diplomacy, International Relations, and Global Governance. He is also a member of the Royal Society of Arts in the United Kingdom and the International Dance Council at UNESCO.
Are Hispanics underrepresented in dance in the United States?
Although there is a notable presence of Hispanic dancers in American companies, the representation of Hispanic identity in dance repertoire remains limited. Institutions must incorporate more works by Latino and Hispanic choreographers, recognising their talent and unique perspective. Doing so would not only enrich the repertoire but also reflect the cultural diversity of society.
It is essential that dance organisations, like the one I lead, have a strong Latin identity so that audiences do not merely see Hispanic dancers on stage but also feel represented in the stories being told. It is not enough for Latino dancers to be acknowledged for their technical skills or passionate performances; we need spaces where our cultural heritage is an integral part of artistic narratives.
Hispanics have a great responsibility to nurture this identity in everything we do. This is particularly important in dance, where American traditions dominate nearly every company. We mustn’t lose sight of our roots. Hispanic dance has an expressive richness that goes beyond technical virtuosity: it is steeped in history, and deeply connected to music and popular sentiment. If we do not actively preserve our essence on stage, we risk being absorbed into a pre-existing mould that does not fully represent us.
Hispanic dancers must be more than just interpreters of an established repertoire; they must become ambassadors of an identity that is constantly evolving. Authentic representation in dance is not only a matter of cultural justice but also a way to preserve our heritage for future generations.
What can Hispanics specifically contribute to dance in the United States?
Identity is undoubtedly the most significant contribution. Every Hispanic country has a rich dance tradition that, when integrated into the American scene, enriches and diversifies the artistic landscape. This strong cultural identity is essential for creating sustainable and innovative dance, and Hispanics bring it naturally, strengthening the country’s artistic fabric.
Even when a Latino dancer performs a classical role, or any role, in an American company, their cultural heritage can deeply enrich the character. It is not just about steps or technique but about a way of feeling and living dance. The musicality, the phrasing of movement, the connection to rhythm, the way the body expresses itself—all of this comes from our roots and can give a character a completely new dimension.
I think of dancers like Carlos Acosta, who, with his strength and expressiveness, brought new depth to iconic classical roles. He did not just perform; he contributed his identity, his history, and his way of understanding movement. This is what Hispanic dancers can bring to any company: a distinctive imprint that makes a role feel more real, more relatable, more human. Classical dance does not have to be rigid or uniform; on the contrary, it is enriched when it embraces the diversity of its interpreters.
The challenge lies in companies and choreographers allowing this interpretative freedom and not confining Hispanic dancers to predefined roles. We are not just passionate, fiery dancers with overwhelming energy. We are versatile, we are technical, we are artists capable of conveying depth and nuance, and it is time for this to be reflected on stage.
Is it possible to conduct cultural diplomacy through Hispanic American dance today?
Hispanic American dance remains a powerful tool of cultural diplomacy, acting as a bridge that facilitates cooperation and understanding between nations. By promoting social cohesion, these artistic expressions integrate diverse communities into a shared celebration of culture and tradition, strengthening international ties and fostering peace.
However, cultural diplomacy through dance goes beyond institutional collaborations or merely “representing” a country on an international stage. It is, in reality, a responsibility for all of us involved in this art form. It is not enough to exchange performances between companies or showcase our traditions; true cultural diplomacy lies in the relevance of our artistic work and how our community identifies with it.
If the Latino community does not see itself reflected on stage, if it does not feel a sense of belonging in what it witnesses, then dance fails to serve as a cultural bridge. This is why dance diplomacy is not just about exporting our art but also about dialogue. Companies must engage with what the community needs, and the community, in turn, must support and nourish the companies that strive for authentic representation. Only when both elements intertwine meaningfully does cultural diplomacy through dance fulfil its true purpose.
How do you see the ballet world after being a principal dancer in Cuba and the United Kingdom?
Having been a principal dancer in Cuba and the United Kingdom, I now perceive the ballet world from a broader perspective. Globalisation and technology have connected dancers in unprecedented ways, presenting both challenges and opportunities for the evolution of this art form. My experience allows me to navigate these complexities and contribute to the development of future generations in dance.
Today, the ballet world is more interconnected than ever, especially following the pandemic. However, paradoxically, I also feel that dance has become more constrained in certain ways. There are more platforms to share the art, yet the industry remains entrenched in aesthetic and cultural barriers that limit true inclusion.
The cultural challenges within ballet remain a sensitive issue. While there has been progress in representing dancers from diverse backgrounds, there is still a deeply ingrained aesthetic ideal that excludes many talented artists. Throughout my career, I have seen extraordinary dancers overlooked simply because they did not fit a pre-established image of what a classical dancer should be.
Ballet must evolve to be more representative of contemporary society. It cannot remain an art form reserved for a single type of dancer or a singular aesthetic vision. Ballet’s richness lies in its ability to adapt, absorb influences, and reinvent itself while maintaining its essence. This is precisely what Hispanic dancers can offer: a way of moving, interpreting, and storytelling that breathes new life into this centuries-old tradition.
What did you learn from the British?
From the British, I learned elegance and poise, as well as the ability to communicate even a “no” with grace and respect—qualities that greatly enhance professional and personal interactions.
About the Writer:
Michel Suarez. Journalist and editor. He holds a PhD in Communication from the Complutense University of Madrid (Spain, 2011) and a degree in Journalism from the University of Oriente (Cuba, 1997). He lives in Madrid. He is the author of the books “Television News Channels” (2011), “Audiovisual Dramaturgy” (2007), and “Son de la Loma” (2001)
