Discussion
The Conjunto Folklórico Nacional brings Afro-Cuban folk dances to the national, and international stage, drawing attention to the varied and complex history of Afro-Cubans. However, there does arise some controversy about the display of these folkloric dances outside of their traditional context. Undoubtedly, the Conjunto Folklórico is dedicated to the preservation of Afro-Cuban culture, and the dancers and instructors themselves may have a personal connection to the text they are performing. Yet, these dances were not created to be danced on stage, and in doing so certain concessions have to be made. For example, something as simple as the choreographed nature of the dances differs from their normal performance style, and their presentation on the stage may create additional separation from the audience that may not exist in traditional ritual (Berry 2010; “Voices of the Orishas - Alexander Street, a ProQuest Company” n.d.). However, despite these differences to the context of the performance, the values that are expressed remain the same in my opinion. My perspective on the practice of folkloric dances by the Conjunto Folklórico is limited, however, the organization seems to dedicate a lot of time and effort to maintaining the core elements that define each dance style and history. In the documentary To the Heart of Dance in Cuba, we see that to the dancers interviewed, the dances of the Conjunto Folklórico are not just performances, but part of their identity as Cubans. One young dancer explains that the dance must come from the inside out, it is a reflection of inner feelings and values. I think that so long as the text (the folk dance) continues to represent the Afro-Cuban and larger Cuban identity, then the context may become fluid as the times change but the core values will be maintained (Mansfield 2021).