The Woman's Voice

Had it been granted you to enter the theater of the UNESCO Palace on the evenings of the week from mid-April, to watch the "ballet" of the Marquis de Cuevas, you would have believed with me that the presence of this world-famous company in Lebanon is a great artistic event, deserving from us a gesture of appreciation and thanks.

It is very easy to come down upon the Commissariat of Tourism and Summering, fastening upon it all manner of accusations, because it has turned its face, in the coming tourist season, toward the West, importing the colors of its art — opera and ballet and philharmonic orchestra and theatrical and revue troupes — which, as some imagine, might be replaced simply by encouraging the local color, by whatever brings out our authentic personality.

And we are with you, O you who aim at strengthening the local color and displaying its being in the purest artistic frame possible. Nor do I reckon the Commissariat of Tourism and Summering any less jealous than we are on this matter.

But a single night spent watching the Marquis de Cuevas ballet company is enough to turn your pen from criticism to praise; for you touch and feel, in the depths of your soul, this refined artistic atmosphere that pulsed in the heart of Lebanon for the first time in its history — and behold, Lebanon was in harmony with this atmosphere, appreciating it at its true worth, contrary to what some had imagined! And since it is not within the power of every cultured Lebanese to visit the capitals of the West and behold the landmarks

of their ancient art, it became inevitable that the bringing of these very landmarks to Lebanon should be an opportunity not to be missed, one that calls for appreciation and thanks.

It is acknowledged that the Marquis de Cuevas ballet company is among the distinguished companies of the world, having gathered its artistic elements from here and there with surpassing skill — and a brief glance at the personality of the Marquis himself is needed before turning to the most prominent stars of the ballet in his company. He was born in Santiago — Chile — and from childhood a keen native intelligence showed itself in him, so that he mastered four languages: French, English, Spanish, and Italian. As a young man he made the acquaintance of the granddaughter of the rich Rockefeller and married her, and from this he gained his material support, alongside his moral support of competence, intelligence, and an eye fixed on a future in the sun.

His activity in the field of ballet goes back to 1940, the day he opened in New York a school of dance that brought together the children of refugees from the countries of the world; but before long it occurred to him to form a ballet company bearing his own name — and he cast his eyes about with skill, gathering its members from the corners of the