For nearly 30 years, Cuba’s groundbreaking dance company Danza Voluminosa stood as a symbol of inclusion and artistic innovation, captivating audiences at some of the country’s most prestigious venues. Founded by renowned choreographer and dancer Juan Miguel Mas, the Havana-based troupe challenged long-standing stereotypes in the dance world by featuring exclusively plus-sized performers.
Today, however, the celebrated artist faces a dramatically different reality as Cuba’s worsening economic crisis continues to reshape daily life and the country’s cultural landscape.
A Pioneer of Inclusive Dance in Cuba

Mas, now 60, built a reputation as one of Cuba’s most original contemporary dance figures after launching Danza Voluminosa in 1996. The company quickly gained international recognition for embracing body diversity at a time when rigid beauty standards dominated professional dance.
The troupe’s performances drew large audiences at iconic venues such as National Theater of Cuba and inspired documentaries abroad, including a Canadian production that explored the company’s unique artistic journey.
Trained under influential Cuban dance legends including Laura Alonso and Ramiro Guerra, Mas overcame years of discrimination because of his body size. He credits Cuban-American choreographer Lorna Burdsall for encouraging him to continue pursuing dance despite repeated rejection from traditional institutions.
Through Danza Voluminosa, Mas created opportunities for performers often excluded from mainstream artistic spaces.
Cuba’s Economic Crisis Hits the Arts

The country’s deepening financial struggles have placed enormous pressure on artists and cultural organizations. Persistent blackouts, transportation shortages, rising inflation and declining public funding have disrupted performances and creative projects across the island.
Mas said the challenges facing Cuba’s arts sector have intensified in recent years. His company ceased operations in 2024, and he recently learned that his teaching contract with the National Theater had been suspended.
Cuban essayist and cultural journalist Michel Hernández described the current situation for artists as “complex and bleak,” noting that many once-accessible cultural spaces have deteriorated or become financially out of reach.
The economic downturn has also triggered a significant migration wave among Cuban artists, musicians and performers seeking stability abroad.
Choosing to Stay in Cuba

Despite mounting difficulties, Mas remains determined to stay in his homeland.
“I am very interested in staying in Cuba,” he said while preparing for a community dance rehearsal in Havana. “If I emigrated, I would lose touch with the Cubanness that exists here — the audience, the neighborhood and the people around me.”
Mas now spends much of his time teaching dance workshops for children in local communities rather than performing on major stages. To supplement his income, he rents part of his home for commercial use and organizes weekend garage sales featuring recycled household items and clothing.
After relatives moved to Spain last year, he began living alone, carefully managing his expenses amid Cuba’s rising cost of living.
Turning the Streets Into a Stage

On a recent morning in Havana’s Marianao district, Mas walked several blocks carrying a water bottle under the intense Caribbean heat to meet a group of children and parents waiting for his arrival.
Within minutes, the neighborhood street corner transformed into an improvised stage filled with music, dancing and colorful costumes. Children dressed as bees and cartoon-inspired characters performed enthusiastically while nearby residents gathered to watch.
For Mas, these small community performances carry the same emotional weight as the large productions that once defined his career.
“It’s about bringing art and knowledge to children,” he explained. “It helps lift them away from a reality often marked by hardship and conflict.”
Preserving Culture Through Community

Although Cuba’s economic challenges continue to strain the nation’s cultural institutions, artists like Mas are finding new ways to preserve creativity at the grassroots level.
His story reflects the broader struggle facing Cuban performers today — balancing financial survival with a commitment to protecting the country’s artistic identity.
Even without major theater productions or institutional support, Mas continues to use dance as a tool for expression, inclusion and resilience, proving that art can endure even in the most difficult circumstances.















