Conversations on Dance · Michael Sean Breeden & Rebecca King Ferraro

(442) Carlos Acosta, director of Birmingham Royal Ballet

·48 min·4 clips

Legendary dancer Carlos Acosta reveals how he transitioned from performing to leading two major dance companies.

This episode features an interview with Carlos Acosta, the legendary dancer and artistic director of both Acosta Danza and Birmingham Royal Ballet. Hosts Rebecca King-Ferraro and Michael Sean Breeden focus the conversation on Acosta's transition from performer to arts leader. Acosta explains he first considered leadership around age 30, in the year 2000, recognizing a desire to shape dance beyond his own performances. He founded Acosta Danza with a mission to unify diverse Cuban art forms into a cohesive company. His leadership journey expanded when he was appointed director of the Birmingham Royal Ballet, a role he assumed just months before the COVID-19 pandemic began. Acosta discusses taking significant artistic risks, such as commissioning a full-length ballet set to the music of the rock band Black Sabbath. He reflects on the challenges and successes of steering these two organizations through recent years. Upcoming performances for both companies at the Kennedy Center are highlighted, with Acosta Danza scheduled for May and Birmingham Royal Ballet bringing *Black Sabbath the Ballet* in June. Acosta shares his perspective on watching both institutions flourish under his direction. The conversation delves into how his unparalleled performing career informed his managerial and curatorial decisions. He details the process of building a repertoire that balances innovation with tradition. A key insight is Acosta's view that risk-taking, like the Black Sabbath project, is essential for keeping ballet relevant and attracting new audiences. He describes the unique energy and identity of Acosta Danza as a fusion of Cuban cultural elements with contemporary dance. The interview reveals the logistical and artistic complexities of directing two major companies on different continents. Acosta expresses particular pride in the resilience both organizations showed during the global pandemic. The tone is conversational, respectful, and focused on artistic vision rather than personal biography. The style is educational, offering a behind-the-scenes look at international dance leadership. Listeners interested in the business and artistic direction of ballet companies would love this episode. Those seeking stories primarily about Acosta's historic dancing career might find less focus on that subject.

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