We caught a whiff of Cuban grace when we went to listen to Los Van Van, the island&rsquos most popular band. The exuberance of Cuban dance has long been the object of admiration and denunciation. During the Inquisition, church officials recorded the testimony of one informant stating that the motions were &ldquoalien to propriety&hellipand a terrible example to those who witness it.&rdquo Another horrified citizen reported that &ldquothe dance is performed with gestures, shaking and swaying contrary to all honest intentions.&rdquo But as Juan Formell, Los Van Van&rsquos legendary leader, began to weave his spell, there was no hint of mendacity in the faces of the couples around us. They twirled and spun and whirled, doing the mambo with breathtaking dexterity and obvious enjoyment. In contrast to the freestyle dance steps that have been in vogue in Western clubs since the sixties, the mambo has a leader and a follower, each sensing the other&rsquos reflexes and sparking off new ones to create beauty that&rsquos greater than simply the effort of two individuals. An instructor once complained to me that Americans make terrible mambo dancers. &ldquoAmerican women think it demeaning to take cues from anyone,&rdquo she explained, &ldquowhile American men seem incapable of leading their partners subtly.&rdquo But to Latin Americans, the mambo is the expression of a finely nuanced understanding of the differences between the sexes&mdashand their equality. It&rsquos about retaining your independence and balance, but going with the flow because it&rsquos fun that way. It&rsquos about allowing yourself to be led by another person while keeping your centre of gravity. To me, the mambo seemed another apt metaphor for Cuban socialism defying the disapproval of some onlookers, a self-assured people submit to instructions because they know that everyone has a better time that way. And when it all comes together, it looks really pretty.