Category Archives: exile

On Cuba, Hope and Change

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President Obama, a man who actively promotes the audacity of hope and based his presidential campaigns on the idea of change, has combined both concepts in his long gaze at Cuba: he hopes Castro will change. However, that option isn’t remotely possible in Cuba. Back in 2003, Castro Bros. added to the Cuban Constitution that the socialist character of the Cuban revolution is irrevocable.

Lest you think the Cold War is over, and it’s time to move on, Raul Castro is there to remind you not to forget. Both Castro and Obama had agreed to announce the news of a new dawn for Cuba-USA relations, simultaneously, at noon on December 17th, a day that has particular significance in Cuban lore, as it celebrates San Lázaro, the patron saint of the needy, the one who brings hope to the people.

Obama conducted his press conference standing up in a properly lit room. He’s a young man, during his second presidential term, talking naturally. Castro, a player from the Eisenhower era, was sitting down in an obscure mahogany time capsule. He read from several sheets of paper (paper!), with the affected tone reserved for a grandiloquent speech, the only tone with which he has always addressed the Cuban people.

Obama, the Commander-in-Chief of the United States Armed Forces, was wearing civilian clothes. Castro showed up in his military uniform with all the medals he has bestowed on himself over the years (he’s been the head of the Cuban Army since he and his older brother took power in 1959). That choice of attire was carefully considered.

Raul Castro appeared between two black-and-white framed photos. In one, he poses with a comrade in arms who died fighting the previous dictator —not Fidel, the one before him. The other photo shows Raul with his late wife, the most powerful woman in Cuba in the last half-century. As much as the president of the United States wants to move forward, Raul Castro is a man living in the past.

But if the retro look wasn’t enough, then Castro opened his mouth. These were his first words: “Since I was elected President…” That’s exactly the moment the educated audience should have known this is a complete farce: Raul Castro has never been elected.

The agreement to open an American embassy in Havana was preceded by a quid pro quo mambo in which an American spy serving time in Cuba was traded for three Cuban spies. (According to the trophy-of-war selfie Raul Castro took with them upon their arrival, his spies were well fed in their American prisons). The USAID subcontractor Alan Gross, who lost most of his teeth and over 100 pounds in his Cuban prison, was released on “humanitarian grounds” after five years of wrongful imprisonment for handing out laptops and cellphones to the Cuban Jewish community.

Additionally, Obama announced he wants to revisit Cuba’s standing in the list of countries that sponsor terrorism. Yet, the same day of this exchange, the long tentacle of North Korean repression reentered America’s collective consciousness by dictating to Sony Pictures (and its global audience), that if Sony releases “The Interview,” there will be terrorist retaliations.

Nothing has changed in Cuba since July 2013, when the Chong Chong Gang, a North Korean ship, was caught in Panamanian waters carrying 240 tons of weapons concealed under sacks of sugar. The ship and the weapons were coming from Cuba, from the same regime that brought the world to the brink of nuclear war in the early sixties, the same regime this new development is trying to appease.

In his inaugural speech on January 20, 2009, Obama hinted at the Castro dynasty: “To those who cling to power through corruption and deceit and the silencing of dissent, know that you are on the wrong side of history, but that we will extend a hand if you are willing to unclench your fist.” But Castro’s fist is as tight as it has ever been.

On the morning of December 20th, 2014, the news of a Cuban Coast Guard sinking a vessel, carrying women and children, that was fleeing the island started to reach English media outlets. So far, one passenger has been reported missing. Expect more snubs to the US government (and the Cuban people) where this came from.

There’s a parable that illustrates the doomed relationship between Obama and Castro. A man sees a scorpion drowning in a puddle. He weighs the outcome of his actions, but decides that his nature is to nurture, so he picks up the scorpion. The scorpion’s nature is to sting. The man reacts to this venom by opening the hand, which drops the scorpion back in the water. With his limbs beginning to swell and about to hallucinate, the man sees a scorpion in a puddle. And he feels an urge to save the creature.

***

Alexis Romay
New Jersey

This text was published originally on Translating Cuba.

Yoani Sánchez in New York: Visit and Notes

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A *week after the visit of Yoani Sánchez to New York —which I have been privileged to witness and, to a lesser extent, share— I rush to write down some impressions that I do not want to trust solely to my good memory. First, I want to name this altered state of (Cuban) consciousness caused by her cycle of conferences. But the playwright and actress Carmen Peláez beat me to it last Friday, coining a term in English (which I translated and started spreading on the web): Cubasm. Yes, it was a collective Cubasm.

Several friends and relatives have asked me to relate my experience. It turns out that Sanchez’s talks and presentations in the Big Apple has been written about with sufficient skill and considerable frequency. So before suggesting some texts, I open a parenthesis to note that I am going to give these lines a more personal touch. Forgive me. I close the parentheses, and recommend the notes that Enrique del Risco has posted on his blog (in Spanish, here, here, here, here, here and here), as well as the excellent essay by **Gerardo Muñoz summarizing the tone of the intellectual debate and the nature of the issues from an academic perspective which, in spite of it, reads very well. The in spite of it of the previous sentence is intentional. I have my reservations with the academic approach to the issue of Cuba because between the epistemology and the sodium chloride, the department chairs sometimes forget that we’re talking about the concrete lives of human beings, not laboratory rats.

In his essay Muñoz had the kindness —which I thank him for— to mention as one of the most memorable moments of the panel held Saturday morning my intervention from the audience. My question was already floating in the air from the previous day, in a close variant and in the words of Del Risco. If my friend had inquired about the responsibility of the American academic world in the construction of the myth of Fidel, I wondered what had to happen for this complicit academic world to wake up from its enchantment and see the Cuban reality for what it is, not for what is told —the image that follows is Orlando Luis Pardo Lazo’s— in the fiction of the State.

My question, like all those posed, was preceded by a brief introduction. I took the opportunity to thank Coco Fusco and Ted Henken, organizers of the panels, and New York University and The New School for bringing to New York a debate about the present and future of the island which, for the moment, cannot take place in totalitarian Cuba, because the panelists would be arrested. From the audience, a female comrade —who a couple of hours later would participate in the act of repudiation against Yoani Sánchez— screamed at me, “That’s ridiculous!” I said to her, “I know, but this is my minute to be ridiculous, so please be quiet.” There was general laughter, applause, and I had the opportunity to give a nod to my fellows and a smile to the old witch.

An hour later, I took my seat next to Yoani Sánchez to serve as her interpreter. Already on Friday, Sánchez had captivated me with the flow of her oratory: she carried off a 24-minute presentation without props, without consulting notes, without losing the thematic thread, without stumbling; I had the sensation of being in the presence of a musician who, instrument in hand, executes an almost half hour solo without repeating a riff or missing a note. And don’t let this sound like fanaticism; the only thing I’m a fan of is a soccer team.

Jose Martí, that mountain climber, said that climbing mountains brings men together. I would add that being the target of acts of repudiation does that as well. If before the Castro-loving mob burst into the conference —with their usual folkloric tantrum— my affection, admiration and respect for Yoani Sánchez was great, at that moment it solidified. I was struck by her equanimity when they started to shout against her. Clearly, she has seen and experienced worse things on the island. Thus, when the Castro-lovers showed the ugly face of Castrism —poor thing, the only one it has— I told our illustrious visitor that since she was being insulted by a minority, I was going to take the liberty of giving her a hug, which was also the embrace of the majority of the audience who were chanting her name. Talking about this and that, we spent the rest of the act of repudiation, the way people look out on the rain, with the advantage that from the stage we were safe from the torrent of the Castro-lovers’ violence, this export used by the revolutionary dynasty which, twenty times, refused to grant the blogger the right to leave her own country.

Sunday was also a day of panels, but I did not go in the morning session, thus saving me the show put on by the lovers of foreign dictatorships who returned to foam at the mouth. In the afternoon, an American to whom the word idiot would be a promotion, broke the Q&A protocol to ask for an explanation of where the funds come from to maintain the platform that hosts the blog and to translate Generation Y, along with other blogs, into several languages. Sanchez said she preferred that this question be answered by the person in charge of that project. MJ Porter, a transportation engineer, who has redefined volunteer work, took the microphone, turned to the audience and said what many of us know: the translations are done or coordinated by her, with a network of collaborators who are never paid a single cent and who do it for the love of the art. (I know that for a fact. I am a part of this network, as is my friend Ernesto Ariel Suárez, who traveled from Kansas City to act as interpreter for Sánchez on the panel.) When Porter concluded, she was met with the applause of the respectable and a hug from this happy man, who was sitting beside her.

On Sunday night there was a party at a friend’s house. I took advantage of the opportunity to give Yoani a CD by Boris Larramendi, a book by Paquito D’Rivera, and another of my own. At the end of the evening, I said goodbye to the guest of honor as if we were not going to see each other again during her tour. But on Monday, on arriving at work, I requested a vacation day to attend the panel on Thursday that would include her, along with Del Risco, Pardo Lazo and Ernesto Hernández Busto, with Geandy Pavón behind the lens, taking photos and filming at will.

I arrived at that presentation just in time to offer my services as an interpreter for a small group of English speakers. I simultaneously interpreted the presentations of the four bloggers, and their responses to the audience. Later I found out that two of my listeners came from a non-governmental and non-profit organization that promotes human rights. (Incidentally, this panel was coordinated by the Cuban Cultural Center and Walfrido Dorta. My admission to the premises, without prior reservation, I owe to Dorta and my dear Axana Alvarez. To both, from these confines of New Jersey, thank you! ). At the conclusion of the panel, I again said goodbye to the Ortega y Gasset prize winner as if we wouldn’t see each other again.

A friend whose identity I will not reveal so as to not compromise her had told me about the possibility of attending Yoani Sánchez’s press conference at the United Nations. I had already answered that of course I would go, but I wouldn’t believe it until I was standing inside the building’s lobby. Once inside, I learned that the Castro delegation to the UN was boycotting Sánchez’s press conference. But I was relieved to hear that it would take place even if it had to be inside the elevator. By an act of poetic justice, the UN press association stuck up for their colleague, and invited her to an improvised conference room to share her impressions with them. Among the journalists present, I highlight and salute Stefano Vaccara, editor of America Oggi, who offered her a warm welcome, moderated the talk and dedicated a column to her in his newspaper.

When we arrived at the small space in which the exchange was going to place, I remembered that Prensa Latina —that mouthpiece of the Castros, and an expert on bait and switch— has representatives at the UN. I surveyed the room, and told journalist Karen Caballero: “I already know who the apparatchik is.” “How do you know?” she replied. “Infamy has a look,” I said, although I could have also said, “You can see it on his face.” The guy would dispel any doubts minutes later by asking the guest about Posada Carriles. With her usual grace and ease that should not be taken for granted, Sánchez replied that she is against all types of violence: from those who bomb a hotel to those who assault Army barracks under the cover of night. The Castro’s representative returned to his natural state: in the shadows, and a friend tells me that his hands shook throughout the rest of the conference. This could be a myth or the truth. In either case, it sounds promising.

At the conclusion of the event, which was captured by The New York Times’ and TeleMartí’s cameras, as well as my phone, Yoani Sánchez had to depart hurriedly to her next engagement, her next journey. With all the rushing, I was left with the desire of giving her yet another hug, so I am sending it to her through this blogosphere that facilitated her trip and shortens any distance.

***
Translated by MJ Porter and Ernesto Ariel Suárez.

Foto: Frank Zimmerman.

* Originally posted in Spanish on March 22nd, 2013.

** This link to Gerardo Muñoz leads to his Twitter account, where you can read his “live” comments in English —see Tweets for 16-17 March. His essay, in Spanish, can be read here.

“Nemesis” Art Protest Honors Cuba’s Oswaldo Payá and Harold Cepero

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Press release from Cuba Archive

April 7, 2013, New York City.

Last night, artist Geandy Pavón staged his latest “Nemesis” upon the façade of the building of Cuba’s permanent mission to the United Nations at 315 Lexington Avenue, New York city.

In Greek mythology, “nemesis” represents the persecutory memory of divine justice. The innovative art-protest consists of digitally projecting images onto buildings hosting Cuban government offices. Pavón “imposes the face of the victim upon the assassin using light as an analogy of truth, reason, and justice.”

Saturday night’s performance was dedicated to Oswaldo Payá and Harold Cepero. Payá, age 60, was founder of a movement calling for a peaceful change to democracy widely regarded as Cuba´s leading opposition leader (see www.OswaldoPaya.org in Spanish). Cepero, age 32, was an activist of the group. Both died July 22, 2012 after what the Cuban government reported as an accident of the car in which they were traveling with two foreigners. But, the family reports having evidence, now corroborated by the driver from Spain, that a vehicle in their pursuit had caused the crash. Plus, the two Cubans had apparently survived the crash and died later of unverifiable causes. The Washington Post and The Wall Street Journal, among others, have reported on the case.

The art-protest was timed to coincide with a visit to New York city of two of Payá’s three children, Rosa María and Oswaldo Jr., who were invited and on site. (See video of Nemesis Payá-Cepero.) Rosa María, age 24, has been on an international tour calling for an independent investigation of the deaths.

Mr. Pavón launched his art-protest in March 2010 at the same building of the Cuban Mission to the U.N. with the image of Cuban prisoner of conscience Orlando Zapata, who died February 2010 while on hunger strike. Since then, he has staged Nemesis in Barcelona, Madrid, Washington, DC, and on several different occasions in New York city. In May 2011, he displayed the image of Chinese artist/dissident Ai Weiwei at China’s consulate in New York.

Geandy Pavón was born in Cuba and graduated from the National School of Fine Arts in Havana. He was part of the independent group “La Campana,” formed in 1988 to produce art critical of the lack of freedom in Cuban society. Exiled since 1996, he lives in New Jersey. His work can be found in private and public collections throughout Mexico, Cuba, and the U.S. (See www.geandypavon.com.)

Cuba Archive called for an international investigation soon after the death of Payá and Cepero and produced a report on their case as well as on “Strange Accidents and Unexplained Deaths.” (See www.CubaArchive.org, Reports and Alerts & Releases.)

*See PDF version and the Spanish translation at www.CubaArchive.org.

“Cecilio Valdes, King of Havana” goes to Philadelphia

I am thrilled to introduce four songs from Paquito D’Rivera’s zarzuela, entitled Cecilio Valdés, King of Havana, an opera in the Spanish style with libretto by Enrique del Risco, and lyrics by Enrique del Risco and Alexis Romay.

The story of Cecilio… is loosely based on Cecilia Valdés —Cuba’s most famous opera, from the early XX Century— it takes place in contemporary Cuba, and it adds a racial undertone to the theme of impossible love inherited from Montescos and Capuletos.

The songs were performed, in the order in which they appear in the opera, in Philadelphia, at the Lenfest Hall at Curtis Institute of Music, on June 13, 2012, during the New Works Forum of the annual conference organized by Opera America.

In “Don’t Tell Me You Don’t Know,” Cecilio’s wife explains to a foreign tourist the state of Cuban affairs.

Music: Paquito D’Rivera
Lyrics: Alexis Romay
Mezzo-soprano: Katy Pracht
Piano: Jerome Tan

“Patricia’s Song,” is sung by the female lead as she refuses an advance from a suitor and demands to be respected according to her high social status.

Music: Paquito D’Rivera
Lyrics: Alexis Romay and Enrique del Risco
Soprano: Evelyn Santiago
Piano: Jerome Tan

In “Nothing Lasts Forever,” Patricia’s father, fearing that he is falling from grace with the government, commands his daughter to marry the nephew of his Spanish business partner.

Music: Paquito D’Rivera
Lyrics: Enrique del Risco
Soprano: Evelyn Santiago
Baritone: Eric Dubin
Piano: Jerome Tan

“Betrayal,” features Patricia’s father and Cecilio’s mother as they admonish their respective children for engaging in an interracial romance.

Music: Paquito D’Rivera
Lyrics: Alexis Romay
Soprano: Evelyn Santiago
Baritone: Eric Dubin
Piano: Jerome Tan

Enjoy the drama!

Twelve years

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Today I am celebrating twelve years of living in the United States: twelve years of not having to look over my shoulder when I speak, twelve years of not going to bed hungry, twelve years of not waking up in fear.