Havana Cuba. — Claiming to be skilled at detecting vulgarities, Castro’s censors are sinister at repressing libertarian thought, and they then become those who impose vulgarity.
What would the dissident artist Luis Manuel Otero Alcántara think, in his cell, if he had the newspaper within his reach? Granma on paper —its digital version on the Internet is impossible for him in jail— and read what Díaz Canel assured a group of pro-government writers and artists: “Rest assured that there is no prejudice towards culture from the leadership of the Party , the Government, or the institutions”.
The words of the ruler before the multitude of cultured sycophants from the provinces were acclaimed by those present, summoned to the Palace of the Revolution and who try to follow the guidelines of the Union of Writers and Artists of Cuba (UNEAC), a body of meek intellectuals at the service of the regime.
The sheep of the cultural flock were herded to the ideological slaughterhouse par excellence. The building that hides the communist Central Committee, the antithesis of culture. There, the president from La Plata, with the arrogance of power, told the stagehands: “The absence of prejudices has been built, and I think that Fidel was the first visionary of that.”
Nobody contradicted him. Those present closed their mouths and brought their knees together. The spirit of Virgilio Piñera flew over the room. The cameras were blind.
To break the silence, Pedro de la Hoz (y el Martillo), a cultural journalist, referred to his adherence to the “creative resistance”. He highlighted the importance of “conferring from the universe of culture, conditions that are substantial to the fight against cultural colonialism.” And he sentenced: “The media have to entertain; but entertain with culture”.
It is the suffocating verbiage of those who receive the rapper Tekashi 6ix9ine and they cover the rudeness and stupidity of a marginal on all four sides: ex-gang member, drug addict and FBI informant. Meanwhile, they make Betsy Remedios flee, the girl from Banes, Holguín, who almost won the Got Talent, Madrid, an artistic contest in Spain.
Today, Betsy Remedios is already part of the artistic body of the Teatro de la Zarzuela. The talented interpreter, a graduate of the University of the Arts and a member of the Rodrigo Prats Lirico Theater, is one of the 340,000 Cubans who have fled the country in recent months due to misery and repression. Her escape route was somewhat different than most of her compatriots: she went through Russia, Serbia, and Greece, where she was held in a detention camp. He finally made it to Spain. Just six months after her arrival, and after participating in the television contest, she was acclaimed by the public and the specialized press.
So if the talent flees, and the ragtag is greeted with a red carpet, where’s the taste of the cultural herd led by sheepdogs like Abel PrietoRogelio Polanco, Fernando Rojas, Alpidio Alonso or Luis Morlote?
The halberdiers of cultural correctness imposed on us Pello the Afrokan against the Orquesta Aragón and the Beatles in the distant sixties. The obscene and moralizing old men of the nineties promoted the sexist José Luis Cortés (El Tosco) against the rebel Carlos Varela.
Sexism, triviality and vulgarity have their matrix in the totalitarian socialist society and in absolute power to provide bread and circuses. Only in this way, and in the absence of other values, a pimp like Alberto Yarini is rescued for the popular imagination, to establish him in the pantheon of the notables of the republic. They dedicate films, books and plays to this scoundrel.
Mikhail Bulgakov already said it, a century ago, in his story dog heart: the economic crisis is first in the minds and then goes to the platforms.
Those recycled ones who aspire to the cultural piñata, or to be the new oligarchy, who seize telephones and plant themselves as handsome on the corner, are the ones who promote the songs of Raúl Torres (el Buitre), of the libidinous Fernando Bécquer, and why not, even from Chocolate MC.
For this reason, given the political-cultural modesty of the censors, the herd should be reminded that if Los Van Van and Buena Fe were not worthy of the television program of the big sceneErnesto Lecuona and Celia Cruz, yes.
OPINION ARTICLE
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