Miguel Díaz Nápoles understands his commitment. He knew it before, since he joined the ranks of the Union of Writers and Artists of Cuba (UNEAC in Spanish), when he later became one of the vice-presidents of the Provincial Committee and, even more so now, when he commands the artistic vanguard here, an enormous task.
The keen journalist, of direct speech and Creole mischievousness, whose firmness conceals the dark circles under his eyes left by work, has broadened his range since 19 April last, when he was elected president at the balance assembly of this institution in Las Tunas (period 2019 - 2024), before the 10th Congress (to be held in October). "Now I look at Uneac with a broader view," he confessed to 26, quickly lending himself to the dialogue.
Miguel, how do you assess the organization functioning today in the territory?
It is in a good moment, especially in terms of creation. We are working on the agreements of the ninth congress, some of which have not been fulfilled, plus those of the last conclave in the province, as well as the projections for each branch. However, we need to focus more on areas such as public education, one of the aspects in which we are still weak. We want to develop a series of actions to attract people to the activities at our headquarters and, later on, to move to different communities. It's hard work, but it's necessary.
And what other areas are you currently working on?
We are concerned about the maintenance of the province's sculptures, many of which are in a state of great deterioration, which is why this has been a recurring theme in our analyses for several years now. The same applies to several heritage institutions in Las Tunas and Puerto Padre, which are in a deplorable state of construction, especially those in Villa Azul.
We have to start the commercialization of the plastic arts, which has been approved at the national level but requires financial support for its implementation. For example, we want the Uneac Gallery to be a commercial gallery, so that people can see a work and, if they wish, buy it. Audiovisual production is also part of this. All our art can be commercialized, but we want to start with the plastic arts, whose project has been in place for a long time.
I understand that there are plans to revive the infrastructure of the Provincial Committee's headquarters. If so, what would the work consist of?
Yes, we plan to paint it, fix the part of the roof corresponding to the creative workshops that are leaking, and we want to soon finalize a roofing project for the courtyard, which was drawn up by the artist Leonardo Fuentes and includes the use of wood, lights, and other elements.
UNEAC, throughout its history, has also distinguished itself by forging close links with other institutions and organizations. I imagine that this is also part of its current projections...
Of course, we are very concerned with interrelating with other entities, getting closer to the community, and strengthening ties with universities and other educational centers, the Young Communists League, the Hermanos Saíz Association, and institutions in our sector and different spheres. Starting in September, we want to promote new working agreements with several of these factors, as established in our regulations and statutes. And we want to rescue others we made at some point, but we must consolidate.
All of this, without ceasing to stimulate creation, often faces material shortages but does not stop. This is the case for artists, whose materials are not always available. We are interested in making life easier for our members, who are 125 in total, 108 in the municipality of Las Tunas and 17 in Puerto Padre.
What do you consider to be the organization's greatest strength and challenge at the moment in our province?
The greatest strength is in the members themselves, in their quality. However, it is a reality that we have been aging, and, although in the last growth, some young people joined, we know that there are others with the potential to join the union because they have a substantial body of work. We must look for new ways to attract them. That is vital. Puerto Padre was in danger of losing its committee due to low membership. A municipal committee needs at least 15 members and they have few numbers above that. UNEAC as an organization must project itself for growth.
Are the issues you mentioned on the agenda of Las Tunas to be taken to the 10th Congress at the national level?
Yes, of course. Commercialization, the defense of heritage, the need to increase membership, audience building, and community work have been recurrent topics in the dialogues and projections of our work. Of course, we are interested in talking about it at the organization's big event.
To end our conversation..., what has being a member of UNEAC meant to you as a human being and as a professional?
UNEAC has changed my life. I joined the organization in 2004 through radio and, then, I also embraced television. I have been in the presidency since 2006, first as president of the Film, Radio, and Television branch, then as vice-president, and now as president, which allows me to have a more comprehensive view. I have been to congresses. I have learned a lot. These have been years of growth. Today I am a different person, a different professional.
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Miguel has been in the ranks of the artistic avant-garde for two decades. He represents not only the encouragement of our most outstanding creators but also a latent part of the Cuban people, who bet -tirelessly- for an ever better society, faithful to its roots. The Cuban intellectual Fernando Ortiz said it well: "Culture is the homeland."
The reporter, teacher, and audiovisual producer, who has become a leader in the Balcón de Oriente of a vital guild for the country, know that as the President of the Republic Miguel Díaz-Canel Bermúdez said at the closing of the IX Congress of UNEAC, on 30 June 2019: ‘All cultural institutions exist for and because of creators and their work’. Upholding this principle is undoubtedly one of its tasks.