A visit to Santiago de Cuba
by

My wife Jennifer and I are both age sixty, and live in the San Francisco Bay Area. When Jacira heard that we would be in Santiago de Cuba for four nights in April, 2003, she put us in contact with her SalsaPower Local Correspondent there, José Antonio Prades Hung.

José Antonio is a documentary film maker for UNEAC, or the Union of Writers and Artists of Cuba. His everyday job is to capture on tape, or digital camera, all of the culture of that fascinating city.

We spent our first night at the famous old Hotel, La Casa Granda, in the center of town.

José Antonio and his good friend Francisco Ulloa (more about him later) met us on the hotel steps the next morning. We crossed a narrow street, and in that instant we left behind the tourists’ Santiago, and entered the art, music, and literary community for the rest of our time there.

Our first stop was a block away, at the studio of the city’s most famous painter, ninety-plus year old Ferrer Cabello. It is guarded by a porter at street level. It was a charming, top floor, sunny atelier, strewn with the creative confusion of works in progress, paint supplies, stacks of picture frames, and scores of finished paintings. We were told that his routine for the past seventy years or so has not changed much. He rises early, begins work around six a.m., works until noon, and then leaves his studio, to roam the city for inspiration.

The rest of that morning we were shaking hands with many of Santiago’s music legends, whom we met all within a few blocks. (Chelín from the Trova Santiaguera is pictured here with Francisco Ulloa)

Now, about Francisco Ulloa: He is one of the two subjects of SalsaPower’s article entitled "The Two Franciscos". He is the founder and director of El Piquete Santiaguero, a 14-piece band (approximately), which, among other engagements, these days performs every Saturday at el Museo del Ambiente Histórico, opposite La Casa Granda. We attended, and were fascinated. The gig is all about presenting the history of Cuban music, from 19th Century danzón (essentially French) through 1920's cha-cha-chá. You see the tympanist sneaking in syncopated rim shots. You hear maracas being introduced. You witness hand drums coming in. In other words, you see European music becoming more African, and thus more Cubana.

The highlight of our Cuban visit, including La Habana, was a birthday party for José Antonio’s wife Barbara Julia, at their house. Present were UNEAC members from all the artistic disciplines, as well as neighbors and friends. Miguel Cabrejas, a famous bolerista, sang a few boleros. Juan René Lescay recited his poetry. (I have my favorite, called "Imperios", which I will send to anyone who asks). Reynaldo, a master choreographer, demonstrated his interpretation of carnival street conga dance. A twelve year-old dance prodigy, Arlene Jaquira, showed us her interpretations. Francisco played muted trumpet to my singing of some jazz standards! Such amazing talent, yet it was all so relaxed. When Jennifer and I left, at 1:00 a.m., all of the remaining guests walked us to our lodgings a block and a half away. They then returned to the Prades' house, for another four hours of partying!

I will just mention that on another occasion, in one afternoon and evening, we witnessed six straight hours of bolero at La Casa de Tradiciones.

Really, an internet article can not do justice to what we experienced in Santiago de Cuba. José Antonio, como nos habías prometido, ahora tenemos memorias pa’ la vida! (Translation: Just like you promised, now we have memories that will last us a lifetime!)

 

--Mike and Jennifer Doran

 

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This page was last updated on:  31-Dec-2007