That's all for today
mdrfraga asks:
What do you see as the biggest issue in connecting dance to the general population who does not find dance interesting?
Guardian contributor One way would be to bring in professionals to their communities, and somebody explaining what they are about to see. And what to look for in a performance. I'm sure with this explanation, and a sample of a particular dance, they will get why dance is so great. We need to be careful in not marginalising a sector of the population by making the ticket price too expensive, so that only a few can afford it.
When you're young, you play with toy cars; then you tire of them, and you like Justin Bieber. Then you tire of him, and learn about Mozart... You start to get tired of McDonalds and you want to eat something proper. That also goes with this philosophy in dance. Sometimes you don't want to go the the Royal Opera House, especially if you don't have parents that give you this education from early. My daughter has been there since early, it's always been part of her life - but most people aren't lucky enough to have that. It takes longer for them to discover it. But when they're 25 or something, they can get hooked - a whole new world appears before their eyes. It's like anything in life, it requires a little bit of getting used to, and educating yourself. Read the programme! You will get a lot of joy from learning who your favourite dancers are, and why you love them. All that is something you gradually cultivate.
greysky asks:
Are you concerned about the possible re-Americanisation of Cuba?
Guardian contributor I'm not concerned about that. I think that Cuban politicians will make sure that we don't go back in time, when almost half of the island belongs to US companies and individuals. But at the same time, these two countries should not be enemies, especially being neighbours. There's so many things that could do together for the benefit of both parties. From environmental schemes, to artistic collaboration.
Rattydave asks:
Where would you most like to live in the world? What will you do after ballet? Where do you recommend to visit in Cuba?
Guardian contributor England and Cuba! That's the right balance for me. In Havana, La Fabrica de Arte is a must. Also I strongly recommend the Institute Superior of Art, where I'm building my art centre. Please show it to all your friends!
'I never felt I made it in ballet. And that's the key to my success'
Northernballetastic asks:
When did you feel you’d really made it in ballet?
Guardian contributor I never felt I made it in ballet. And that has always been the key to my success. You're always learning. Then when you feel you have nothing to learn, then you know it's the end.
Ballet at 42 - it injures you. It's an artwork that is anti-anatomic - it's not made for the human anatomy. When you're in your twenties, you're straight out of the factory, completely new, and everything is pain-free. But at 42, it doesn't come as easy.
Updated
Lisa Norris asks:
You have had an inspirational career, what advice would you give to aspiring young male dancers to encourage them to follow their dreams in a society that doesn’t openly promote ballet dance for boys.
Guardian contributor I think what may help to inspire young boys to be drawn into ballet is if there is a ballet program in their communities. It could be in the local gym, in school, so they could have access to this wonderful world from a young age. Ballet is an expression that should bring people together. I think it all starts with local MPs to address the necessity of ballet and dance in general in the local community - it has to do with politicians, and with schools' programmes. Some schools have a theatre programme, but there are less schools that incorporate dance. It has to be supported by the government as a top priority, but what happens normally is that government increasingly are cutting the funds involving the arts. Which is a big mistake.
I think that your tastes get sealed off when you're a teenager. So it's important to get access to ballet as early as possible - to be exposed to Swan Lake, to hear Tchaikovsky and have you mind switched on by it.
totalstranger asks:
Thank you for the pleasure of watching you dance with such brilliance over the years. You are sensational and have contributed so much to the canon of performing ballet. My question is this: are there any poets, novelists or other artists who have sustained your inspiration to dance? Please share, if so.
Guardian contributor Until I was 25 years old, my world all around me was just ballet. I had blinkers on. It was when I turned 25 that I read a book for the first time in my life, and that was The Great Gatsby. I knew that I wanted to write my story, so that's why reading came very handy. From that point on, obviously, every play I've seen and every book I've read, it impacted my art and my creativity. I don't have a particular inspiration - I try to get inspiration from everything around me.
Updated
ruskiny asks:
Do you spend much time in Yorkshire?
Guardian contributor I go to Yorkshire quite a lot, to visit my wife's relatives. I love the countryside, all the pheasants running around, for a Cuban guy like me that's something truly amazing.
kynnek asks:
Does the Cuban education system offer all children the opportunity to study dance?
Guardian contributor Yes, that's one of the most important achievements of the Cuban revolution. Not only they offer all children the opportunity to dance, dance, sport, or whatever they decide also is absolutely free.
Lorraine19 asks:
I’d like to ask Carlos two questions. The first is how did he plan his book? Did he set out a chapter and character plan before starting or did the writing flow quite naturally without planning? The second question: If a person didn’t get the opportunity to train in dance as a younger person, do you think that person could gain suppleness with regular practice, and are there styles of dance that would be more accessible to such a person (besides ballroom)?
Guardian contributor I had an idea of my book: I wanted to project to the readers with two realities. The one the narrator tells the reader, and then the true reality. And at the end, have the reader choosing a reality they want to believe. I also knew that I wanted to do something against the canvas of Cuban history, and fill the book with picturesque characters inspired by family members and people I know. I wanted to have that kind of structure of two realities because I wanted to do something with schizophrenia. My aunt died as a result of that illness, and my sister in part as well. So I also wanted with this book to celebrate their memories.
If you are serious about becoming a professional ballet dancer, like any other artform you will benefit from early training. But having said that, Nureyev started in his teens to go to a ballet school, and he went on to become a legend. Nothing is set in stone. Also, ballet, it could be a great way to exercise your body and to keep it healthy. There is this great trend of people in their 50s and 60s that rather train in ballet than going to the gym. I think the world is better with ballet in general than without, so it's never too late to submerge yourself in this wonderful world.
Griselda Corona asks:
You mentioned in your book that you were inspired to learn ballet when you saw Alberto Terrero Miller dancing. Do you know where he is now?
Guardian contributor I believe he is somewhere in Mexico, but we don't keep in touch.
'The spirit of the Cuban people remains unchanged'
Grace Tierney asks:
Do you go back to Cuba very frequently? What has changed the most about it since your childhood?
Guardian contributor Cuba has changed dramatically since my childhood. In my childhood there used to be only one currency and now there are two. There was a point in the early 90s when Cubans were not allowed to go into hotels, and now it's all changed for the better. Also education during my childhood was more strict, and so Cuba has been adapting constantly, as a result of the social and economic changes. But the essence of living in a community still is the same: the sun, and the sea, and the music, they're still there, and the spirit of the Cuban people remains unchanged.
PammyB asks:
I recently went to see Guys and Dolls in Birmingham and found the dance sequences both excellent and amazing! I was wondering how you managed to choreograph musical-theatre-trained dancers to realise your balletic directions? Was it harder for you or for them to get this stunning fusion?
Guardian contributor Once of the successes of the choreographer is to adapt to the subject he's working with. I knew that musical theatre dancers, they're used to a different kind of formation. They also had to dance eight shows a week, so that had to be factored in the choreography - there is no point trying to have them do something extremely hard that they couldn't sustain for the whole run. So I tried to maximise the impact of the choreography by having them do movements and steps that they were familiar with.
'Would I appear on Strictly Come Dancing? I don't think so!'
Helen Smith asks:
As part of your transition to contemporary dance, would you consider making an appearance on Strictly Come Dancing and showing us how to really salsa?
Guardian contributor Updated
RobertHickson2014 asks:
What sort of exercise regimen and diet are necessary to develop one’s muscles for ballet?
Guardian contributor The ballet class in itself is a wonderful way to exercise your body. At the Royal Ballet we have a wonderful team of physical therapists and trainers that help us to make our bodies even stronger, to prevent injuries. It is necessary to have a balanced diet, full of protein, because protein helps to reconstruct your muscles. Also very important is massages and resting, so you can recover quicker.
I don't do a lot of exercises apart from the ballet routines. When I'm working in three or four ballets at the same time, because that doesn't leave you time to do so, so I try to balance out the amount of exercise days with what I'm doing at that particular moment. Normally we work eight hours a day - if I'm run into a situation where I'm only working three hours a day, because I only have one or two ballets, during that time I make sure I fill out some of those hours by doing some training, some sit-ups, some push-ups, some weights, a little bit of cardio - it could be running or biking. It's a balance. You can overwork yourself, but at the same time at my age which is 42, you can also be too passive.
LauraE10 asks:
Now you’re retiring from ballet, do you want to choreograph more musicals like Guys and Dolls? (which I am very excited to see when it comes to London! Have booked my tickets!)
Guardian contributor Yes, I enjoy very much the process of choreographing a musical, and having to work with a director to guide you through his ideas, and I will definitely consider another opportunity of doing so.
Because in a musical, the way of telling a story is through songs, and words, the element of choreography is sometimes limited. The choreography isn't the primary thing, as it is in dance, where it is the most important thing - in a musical, sometimes the choreographer provides the movement of the actors and singers, that can be very minimalistic. In Guys and Dolls, there are two ballets within the musical, and they are quite self-sustained within it, that are just dance. There is one scene where Skye and Sarah go to Havana, and they wanted to do something genuinely Cuban, so they contacted me. So that give me the possibility to choreograph something unique for a very well-known musical like Guys and Dolls. But in the future, if another opportunity comes for me to work on a musical, the first thing to see is what kind of musical, what is the team behind it, and if I can really add value to it. And of course I will give it a go.
kizbot asks:
Will you marry me?
Guardian contributor You're too late! I'm already married. Maybe in the next life...
'I would definitely like to carry on doing more movies'
clareyesno asks:
Might you ever transition into straight acting? Dancers have to express such a range of emotions ... might that prepare you for purely dramatic roles, or is it just a totally different ball game?
Guardian contributor It is a different ball game, because our means of communication in dance is the movement, whereas in acting in a movie or so on, they use words - that makes it too different kinds of skills. But essentially, the ability to connect with an audience, it is the same. Once you understand the nature of that fact... I have done two movies so far, and it came without me having to audition for them. They were both in supporting roles and they were both related to dance, so it wasn't that hard for me to accomplish. I would definitely like to carry on doing more movies if I have the chance because like I say, I will never say no to an opportunity that makes me grow all around as an artist.
'My advice to young black boys is that talent always will prevail'
Alpha Djalo asks:
How did you deal with racial prejudice and bias at the beginning of your career? And having that in mind, what advice would you give to the young black boys pursuing the same heights as you?
Guardian contributor My mother was white, and my father was black, so I wasn't aware that the racial division existed growing up in Cuba. Also, Cuba is a very eclectic melting pot of races and cultures. So growing up I didn't have that on my mind - only when I came into my 20s did I understand that there was a few black people in the ballet world. But that didn't detract me from going forward in nurturing my skills to become a better dancer. My advice to young black boys is that talent always will prevail - there's no such thing as black, white or yellow, because we're all part of the human race, so dream big, and work hard.
I suppose that like any roles, you probably will fit more to some than others. So I suppose that people were more hesitant to give me the Prince roles right away, than other roles that came more naturally to me, such as Don Quixote, and Le Corsair. But I've been very lucky in my career - I have had mentors and directors that believe in my talent and gave me the chance to grow in those roles that normally people don't see me in, like Romeo and Juliet, and the Prince roles in general.
Updated
Carlos Acosta is with us now
Post your questions for Carlos Acosta
Carlos Acosta has the kind of fairytale story that might make for a good ballet one day: the hard-knock life in Havana giving way to the discipline of dance, and a glittering career across the world’s stages.
His tempestuous yet graceful style made him a regular romantic lead, first working in Cuba and Houston in the mid 1990s before embarking on a 17-year career with the Royal Ballet – one that is coming to an end this year with a final production of Carmen, and a selection of his finest work at London’s Coliseum. After touring the UK in May with A Classical Farewell, Acosta is then retiring from classical ballet, but will continue to perform contemporary work, and will perhaps do more writing following his acclaimed first novel in 2013. He is also choreographing a new production of Guys and Dolls, opening at London’s Savoy on 10 December.
Ahead of the Coliseum performances, he is joining us to answer your questions in a live webchat, on Tuesday 1 December from 1pm GMT. Post them in the comments below, and he’ll answer as many as possible.
Updated
It's been great to chat with you. I'm sure it's not going to be the last time. I'll be dancing next week in the Coliseum, and then touring in May 2016 around the UK - I hope to see you there. And don't forget to mention to everyone you know about my foundation, so I can raise all the funds I need for this dance centre in Cuba that will bring people together all over the world. If you know any millionaires...