With a hat, guayabera, and the joy of knowing it is necessary, the Supreme Cuban Guateque once again brought together poets, musicians, plastic artists, artisans, and other creators between 28 June and 2 July, in honor of the 195th anniversary of Juan Cristóbal Nápoles Fajardo (El Cucalambé).
Several friends accompanied us, regular visitors such as Emiliano Sardiñas, Luis Paz (Papillo), Antonio Iznaga (El Jilguerito), María Victoria Rodríguez, Marisol Guillama, the German photographer Hans Urlich Meller..., and others no less notorious such as members of the Club del Poste, the musicologist Sonia Margarita Pérez Cassola (Cubadisco Prize 2024), winners of the Cucalambé competition, and even the Minister of Culture Alpidio Alonso.
The colorful atmosphere was palpable from the start, with a parade from the Provincial Council of Plastic Arts to the Plaza Martiana, accompanied by the head of the sector, the highest authorities of the province, and artists of various manifestations.
Among the exhibitions, which showed a diversity of techniques and styles, the Salón de Paisaje and Décima Ilustrada (Landscape and Illustrated Décima) stood out. The Cuban Association of Artisan Artists (ACAA in Spanish) held a large exhibition in the Fayad Jamís gallery and its usual fair in El Cornito.
The Recital de Mujeres Decimistas (Recital of Decimist Women) demonstrated the solidity of spinel made by women. The Colloquium Diversity, Essence, and Identity, on the other hand, provided an approach to important topics that emphasized the need to conserve the intangible heritage, of wise alliances and promotion. The Catauro de la Décima once again reaffirmed itself as one of the substantial spaces of the festival, with prestigious guests and a wise conception. In Las Ruinas de El Cornito, where the first two chapters took place, the results of the national competitions Cucalambé and Canto Alrededor del Punto (of glosses) were announced. On the other hand, the third Catauro was held at the headquarters of the Provincial Committee of the National Union of Writers and Artists (Uneac in Spanish) and came with the good news of the prize for the competition Décima de Cordel, which went to him.
The program conceived for children, highlighted the area Cantos de Colibrí and other spaces encouraged by various children's projects. In addition, the galas performed were beautifully crafted, because of a successful artistic direction. At one of these events, the Flor de Birama was chosen. The Son de El Cucalambé space debut at the Guateque, with young instrumentalists from the Artistic Education, and the famous Club del Poste, from Villa Clara, visiting us for the first time with its humorous tenth. Young contestants from several provinces, including a female improviser, competed in the Justo Vega Repentismo Competition.
In addition, the Bohío Campesino and the traditional games area were maintained, there was no shortage of conferences and audiovisuals, and Cucalambé Street -named after the poet- once again celebrated his birthday. But..., was it all rosy?
NECESSARY INTROSPECTION
Although the Fiesta Suprema del Campesinado Cubano had a varied program and numerous valuable spaces, the participation of the people was insufficient in the majority. In the Catauro..., for example, almost all the participants were artists. In addition, some activities were delayed, which goes against the design. In the same way, the confluence of notorious proposals also limited participation. Especially in El Cornito, the absence of the population was painful, especially when an event of this type involves months of preparation, investment of resources, and effort.
Even though this newspaper, about a month ago, warned about recurring issues such as scarce food and high prices, this year was no exception. There were some options, but they still do not even half meet the demand.
Another issue is the refurbishment of the headquarters should not be left to the last minute. In those days, you could notice the asphalt still freshly laid on the road leading to the premises and the fresh paint on the tables near the central courtyard. Of course, it still pains us to see the huts on the site in disrepair.
"In recent years, I have felt a sense of joy and, at the same time, sadness. Joy because we always meet people who love what we love; and sadness to see El Cornito so abandoned. The real ‘ruins’ look like the once beautiful cabins," confessed the repentista Emiliano Sardiñas to 26.
Both the Poeta de la Mochila, Luis Paz, and Juan Carlos García Guridi, who know the art of improvisation, agreed that this year the level of the Justo Vega contest dropped considerably, which has been a trend in the last few calendars. Now there have even been technical errors, which could avoided if specialists such as themselves were consulted beforehand about possible participants in the competition, which could also motivate them. They also suggest not delaying the publication of the Cucalambé prize-winning books so long, because of what they represent, what should be supported even at the national level.
Generally speaking, more attention must be paid to detail, in such vital areas as attention to artists. We knew of more than one unnecessary event that could have been avoided with simple foresight or quick decisions, especially if it involved people who had given their souls to the event.
The interviewees recognized the value of the event because, despite everything, continuing to defend it is its greatest strength. Papillo rightly said: ‘It is time to open its tuning fork, to turn it into a national festival, but with a movement from the grassroots in the provinces, to keep traditions alive in Cuba. All the factors must be linked: Culture, the Association of Small Farmers (Anap in Spanish), Education... We have to defend our national identity.
However, as Sardiñas added: "We must be more passionate, more respectful of the artists and, between us all, save what can be saved of the Cucalambeana." Something we urgently need to understand, from government authorities to the humblest people from Las Tunas.
