A round of applause for virtuous Argentina
A sustained and vigorous ovation shook the Teatro Colón . It was a tribute to the outstanding dancer Marianela Núñez, who, along with the institution's regular ballet, performed Don Quixote last week. But what was the Teatro Colón applauding? Was it simply a magical and dazzling spectacle, or something less visible and more intangible that connects us with the best of our country?
It was a round of applause that, perhaps unintentionally, contained recognition for a model that epitomizes virtuous Argentina . It applauded excellent work, the culmination of effort, discipline, and individual talents brought together in a team effort. It applauded a career that combines sacrifice, passion, hard training, and professionalism. It also applauded the demonstration that public service is not at odds with quality; something perhaps owed to Julio Bocca , who, firmly but without arrogance, has placed the prestige of the Colón above union deviations and privileges. It also applauded an attitude: the sobriety, commitment, and humility of a monumental artist who, nevertheless, seems uncomfortable with the exhibitionism and stridency that characterize this era.
Marianela Núñez embodies a core of values that represent the best of Argentina : she was born in the 1980s in the Buenos Aires district of San Martín . The daughter of a policeman and a housewife, she began studying dance at a very young age in a neighborhood salon in the suburbs. There was a teacher who discovered her, a family that supported her, and a country that still encouraged merit. She challenged her own limits until she managed to enter the Instituto Superior de Arte at the Colón dance school. She later developed a distinguished career abroad and famously became the principal dancer of the Royal Ballet of London . However, she always kept one foot firmly in Argentina, where she has honored her roots with an artistic and charitable commitment.
In a country that, at the very least, has neglected the values of professionalism and excellence, the moving ovation from the Teatro Colón—packed with young, diverse audiences—takes on a special meaning and dimension. It expresses a segment of society that believes in virtuous Argentina and honors that culture in various spheres and activities. It contrasts with that country we also see every day: that of cheating on medical residency exams, of accommodation, shortcuts, abuse, and swindling.
Perhaps we should ask ourselves whether figures like Marianela Núñez are sufficiently appreciated in Argentina . In her case, she has received numerous awards, it's true, but shouldn't more effort be put into highlighting her career as an inspirational icon? Shouldn't the government call on her, along with other Argentinians who shine around the world, to bring her experience to public schools, universities, and clubs?
In April of this year, the Argentine dancer received the distinction of Officer of the Order of the British Empire from King Charles III of England for her services to dance. It was a ceremony at Windsor Castle that symbolizes the degree of recognition and admiration that some societies promote toward outstanding figures in culture, art, science, sports, and other areas that enrich public life. We can also mention, without going any further, the important recognition that the King of Spain recently granted to a writer and journalist of the stature of Jorge Fernández Díaz ; the designation as a Knight of the Order of the Legion of Honor received in France by the Argentine chef Mauro Colagreco ; and the presentation of the Grand Cross of the Order of Merit of the Federal Republic of Germany to Daniel Barenboim .
In Argentina, there are some serious initiatives to recognize careers , such as the Konex Awards or the distinctions awarded by academies and other civil society institutions. However, the impulse to ignore, forget, dismiss, and encapsulate certain figures who should be elevated to the category of "cultural heroes" seems stronger.
How can it be explained that Julio Palmaz is a little-known name in the country? He is an Argentine doctor, trained in public education, and created none other than the stent, an invention that has saved the lives of millions of people around the world. At the National College of La Plata, where he was educated, and at the School of Medicine in the same city, where he graduated, shouldn't a monument be erected in his lifetime? Shouldn't his story be told with pride? As far as I can see, there isn't even a photo commemorating his time in those classrooms. New generations graduate from those same institutions without even realizing that a true eminence of world medicine was trained there.
A few weeks ago, LA NACION reported , in a note by Lucía Vázquez Ger , that the figure of the great artist Emilio Pettoruti has been practically forgotten in his hometown. The Provincial Museum of Fine Arts bears his name, and there are some vandalized squares where one of his works lies in agony, but very few signs in the Buenos Aires capital remind us of this central figure of modernity and abstraction. What would Cadaqués be without Dalí 's house? What would Isla Negra be without Neruda 's, or Mexico City without Frida Kahlo 's Casa Azul? They are not mere tributes; they are beacons of inspiration and markers of identity. La Plata, however, has allowed itself the luxury of erasing the traces of one of the greatest artists of the 20th century.
The name Rogelio Fogante, for example, is virtually unknown outside of very specific circles. However, he was one of the great architects of a technical innovation that revolutionized agriculture in Argentina: no-till farming. For the land, the environment, and agribusiness, it was a milestone similar to that of the stent. However, there are no known statues or monuments to this great professional who, along with other pioneers, changed the history of the country's main economic activity.
Politics tends to approach figures who embody virtue and excellence with a criterion somewhere between utilitarian and demagogic. That's why the world champions, led by Messi and Scaloni , wisely avoided the balcony of the Casa Rosada upon their return from Qatar . Shouldn't there, however, be a tradition that transcends governments and recognizes in the public sphere "cultural heroes," living or dead, who represent Argentina's best values and inspire new generations?
We have witnessed labyrinthine discussions about the name of the cultural center that was formerly called Néstor Kirchner and is now the Palacio Libertad . Perhaps we should have considered having this national monument change its name every three, six, or twelve months. It would be a way to take advantage of that honorary marquee to highlight figures like Marianela Núñez, Julio Palmaz, or Rogelio Fogante, to cite a few examples of the many Argentines who honor or have honored the values of excellence, innovation, and creativity. Perhaps it isn't necessary to change the name, but rather to think of a format and allocate a space for this type of recognition. In any case, it would be a matter of recovering the spirit of the old "honor rolls," which decades ago were taken down from schools in the name of a false equality championed by populism.
Let's imagine that instead of hurling insults and disqualifications, the presidential account of X dedicated frequent space to highlighting virtuoso models of Argentina. Marianela Núñez surely doesn't need it, although she would have deserved congratulations from the President, as the Permanent Ballet of the Colón de Madrid would deserve today, which on this very day celebrates its centenary. But how much would recognition from the President of the Nation mean to the "Marianelas" who excel in so many disciplines? It's true: this week the head of state highlighted the achievement of Army mountaineers who reached, for the first time, the summit of the Himalayas . He did so a few hours after announcing that he will no longer resort to insults in his public appearances. Hopefully, this is the beginning of a genuine change of attitude that begins with honoring the weight and gravitas of the presidential word. Hopefully, we'll stop "hating" certain civil society figures enough to "love and value enough" established or promising figures who represent the best of Argentina.
Symbolic gestures and recognition can be the beginning of something more ambitious. Couldn't the State consider a training program that brings together celebrities of the stature of Messi, Julio Bocca, Marianela Núñez, Martha Argerich , or Manu Ginóbili , to name a few, to share their experiences and give motivational classes in public settings? Most of them would surely be delighted to do so. Many already do so on their own initiative.
We must listen to that applause from the Teatro Colón. Perhaps we'll find a message , an inspiration, an idea. It's applause that vindicates the Argentina of effort, quality, demands, and dreams. If we know how to decode it, art will have fulfilled, once again, its mission to enlighten us.
lanacion
