Carlos Acosta, Director of the Birmingham Royal Ballet

Carlos Acosta's Background and Early Life

• Born and raised in Los Pinos, a working-class barrio in the outskirts of Havana, Cuba, as one of 11 children; his father was a truck driver and a devotee of the Yoruba religion.
• Started dancing street styles like breakdancing and salsa but was enrolled in ballet school at age nine by his father without his consultation.
• Initially disliked the structured nature of ballet, leading to expulsion from school at age 12, followed by a transfer to a boarding school in Pinar del Río three hours away.
• Developed resilience and talent after encountering supportive mentors who helped channel his natural movement abilities into classical dance.

Impact of Cuba's State-Sponsored Arts Program

• Post-revolutionary Cuba implemented a government scheme to provide free, accessible ballet education, allowing talent from impoverished backgrounds to be discovered nationwide.
• Acosta credits this system for uncovering his potential and launching a "big boom" for Cuban artists in the 1970s and 80s, with talent found even in remote areas like horseback-riding students.
• This accessible model allowed families like his own to study ballet despite the typically high costs, expanding the pool of discoverable talent globally.

Career Milestones and Achievements

• Won the prestigious Prix de Lausanne in 1991 at age 17 while still in school in Havana, which boosted his confidence and visibility.
• Signed a principal contract with the English National Ballet in London at age 18 in 1991.
• First black principal dancer to perform in the role of Siegfried in Swan Lake at the Metropolitan Opera in New York.
• First black person to direct a major ballet company, appointed Director of the Birmingham Royal Ballet (BRB) in January 2020.
• Previously danced for the American Ballet Theater in New York (five years) and held engagements with the Paris Opera, Bolshoi, and Mariinsky.

Diversity and Industry Inclusivity Initiatives

• Acosta emphasizes that diversity is now central to industry operations, moving away from the "bubble" mentality to actively seek talent from unexpected regions like Colombia and the Dominican Republic.
• Through his foundations, he funds schemes to find and develop new talent outside traditional pipelines.
• Views his status as "first" not as a personal triumph but as a call for the industry to look broader and stop losing talent from underrepresented groups.
• Believes the industry is in a better position regarding diversity now compared to the 1990s, driven by directors pushing for more range and opportunity.

Strategic Goals for Birmingham Royal Ballet (BRB)

• Aims to make BRB the "best company in the world" by raising the technical level of dancers through the introduction of new idioms, repertory, and top-tier choreographers.
• Prioritizes audience diversification to dismantle the stigma that classical dance is an artifact of the past, specifically targeting younger generations.
• Launching innovative outreach programs, including Radio and Juliet, a performance of Romeo and Juliet set to Radiohead's music, to blend contemporary culture with classical structure.
• Seeks to expand international recognition and build community alliances to secure resources for new initiatives.

Pandemic Response and Future Outlook

• The arts industry faced severe disruption as Acosta took the directorship in early 2020; dancers were forced to train in kitchens via Zoom, creating high levels of anxiety.
• Career interruptions caused many young dancers to consider quitting, particularly those in their early 20s who were in transition phases.
• BRB implemented three contingency plans (A, B, and C) and rushed to boost digital capabilities to maintain viewer connectivity and provide escapism online.
• Explored alternative performance venues, such as tennis courts and libraries, due to theater closures.
• Acosta notes that while the situation was "disastrous" for training conditions and hiring, recent trends suggest a positive outlook with continued enthusiasm for recovery.