These days new campaigns against Cuba, especially denigrating and involving our culture, are back on track. Some time ago, some of us watched and warned that the new forms of aggression (blackmail and defamation also fit) would take little-anticipated paths for many: culture. Who would have bet on that scenario in a confrontation? Of course with a well articulated gear and with no casual or momentary advice.
In the final months of 2019, fierce campaigns against Cuban artists took shape and began a rare, but frontal inquisition that is worth recalling in these lines. Concerts by artists such as Jacob Forever, for example, were canceled and an artful sail against Haila was designed, which resulted in the same: zero presentations in the US. preceded in both cases by delusional and decadent hysteria.
An unusual and excessive attack against Descemer Bueno came a short time later, as well as the exclusion of Gente de Zona (gdz) from a presentation at the end of December in Miami, including campaigns to revoke migratory privileges.
In these cases there were very weak and ridiculous arguments, but bashed with fine goldsmithing of evil, such as the accusation to gdz of “singing to the Cuban President”, to Haila for kissing Fidel and Descemer for “laughing thanks to the regime”, accusing them of all and threatening them for “lackeys and communist artists.”
Then, out of the culture script for a moment, the writers of the “novel”, coinciding with the 1st. January, they prepared the premiere of the chapter of Show-Clandestine circus and his bloody outrage to busts of the Apostle, nothing more and nothing less against him!
To this we add that that month, January specifically, another slapstick called Parón de January was born unsuccessfully. Launched under the twitter of lucky clowns and worshipers of the toupee, he advocated that remittances and recharges to relatives in Cuba cease that month.
In that line they also continued with an old and bad idea: to continue looking at all costs for a prefabricated and obedient «martyr», at which time a character enters the scene, presented to public opinion on our TV, by the hand of « invisible »agent Quiñones,« responsible for the brutal beatings »suffered by the« harmless democratic and passive messiahs », created with money destined for the subversion of Cuba.
Disassembled and discredited these “jewels” of the Greek classical comedy, followed by the shameful plagiarism of the song hopefully and now old passions are revived from the “culture” with the irruption of another actant, this time the look of a documentary about a Cuban troubadour residing in Miami has motivated quite angry attacks on Cuban musicians and intellectuals, and puts in discontext of all kinds the events prior to Mariel’s exodus in 1980.
Now there are swarming accusations and dark darts to the Nueva Trova Movement and its main figures, and accounts are required of some here and others who even years ago chose to reside outside the country, manipulating and slandering them in a pyrrhic way. Continuing with the overflowing hysteria of the beginning and as a good soap opera, new twists add to the plot: already in this part the character played by the once honest self-flagellated activist and that of the humorous actor who did not return to the country because «he feared for his lifetime”.
Now another “fighter on duty” emerges from the “conceptual art” headlines for performing performances using shamefully as a rag – and not as an outfit – to the national flag, an action punishable under Cuban law. Missing examples and an in-depth analysis perhaps, which I don’t think deserves so much effort on my part. But the most important question for this staging of grudges and arty feelings might be: what chapters have us prepared for next week?
– .
