Cuba's cultural workers are being systematically displaced as state-run art institutions collapse under economic strain, forcing artists into precarious street performances while a handful of expensive private venues emerge as the only remaining spaces for cultural expression. Juan Miguel Mas, a 60-year-old dancer and choreographer from Havana, whose troupe Danza Voluminosa regularly filled prestigious venues for nearly three decades, now works in Havana's streets and neighborhood spaces.
Mas was recently notified that his teaching contract with the National Theater of Cuba has been suspended. His daily life has been upended by persistent blackouts, water outages, soaring costs, and a lack of transportation, conditions that affect all working people on the island. Artists, he noted, have been hit even harder by canceled shows and a lack of production budgets.
The Cost to Cultural Labor
Essayist and arts journalist Michel Hernández stated that "The outlook for the arts is complex and bleak." Hernández added that Cuba's cultural spaces, once affordable and state-run, have deteriorated significantly, leaving artists with few venues beyond a handful of expensive private spaces. This shift represents a privatization of collective resources, moving cultural production from public support to market dependence.
The mass exodus from the cultural sector further depletes the collective artistic capital of the island. Mas, who made his debut 30 years ago with Danza Voluminosa, which remained active until 2 years ago, provided a home for dancers whose bodies diverged significantly from the industry's prevailing aesthetic norms. He trained under Laura Alonso, a renowned ballerina, and Ramiro Guerra, the father of contemporary dance on the island, and also studied with Cuban-American dancer and choreographer Lorna Burdsall, who encouraged him despite discrimination from dance schools due to his weight.
To supplement the modest income he makes working with children, Mas leases a small area of his home for business use. He also hosts weekend garage sales featuring curated recycled clothing, tableware, and household goods, a testament to the necessity of informal economic activity in the face of wage suppression and systemic economic hardship. Mas has lived alone since his sister and teenage nephew relocated to Spain 1 year ago, managing his expenses by shopping at a local farmers' market two blocks away and using subsidized medications at a state-run pharmacy directly across the street.
Resistance in the Streets
Despite these structural challenges, Mas remains committed to his community and his art. He stated, "I am very interested in staying in Cuba," adding, "Were I to emigrate, I would lose contact with that 'Cubanness' that exists here, with the audience, the people, the folks next door." This commitment highlights a deep connection to the collective life of the island, resisting the pressures of capital flight and individualistic solutions.
On a recent morning, 6 days ago, Mas walked six blocks to the Marianao district, where 30 children and their mothers awaited him. There, the group turned a street corner into a stage for a 90-minute performance in which the children, dressed as bees and other colorful characters, sang and danced. Mas explained the purpose of this work: "It's about bringing the knowledge of art to these children and lifting them out of a reality defined by conflict." This collective act of cultural production in public spaces serves as a direct response to the systemic failures and the fading of state-supported art infrastructure, demonstrating the resilience of labor and community in the face of economic contraction.