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In every block a festival

Think for a moment that this is not 2020, and that the possibility of going to a concert is still on the table. Imagine that it is not October, that January begins and, as a good musician, you can plan the year: you start with the Festival Longina, in Santa Clara, you continue and stumble upon the Jazz Plaza, you mark the Festival del Tambor, the Festival de la Salsa, the Havana World Music; you get fully involved in the Festival Internacional de Música Antigua, in the Cubadisco, in the Festival Nacional de Changüí Elio Revé Matos ―although you have to find a way to get to Guantánamo―, you continue to Varadero Josone that brings good rumba, jazz and son; and you stop at the Patria Grande, because a little Latin American rock lifts your spirit.

Then, it is already December, and who does not want a good play of light, half psychedelic, to dance to the rhythm of electronics mixed with Caribbean sounds. This is how the Festival Eyeife goes in your calendar that only shows a small but more visible part of all the events that fit in it. But your planning doesn't end there. How could¬?! One day you sit in front of the television, or open Facebook, and discover a “lost” promotion of the Festival de Música Popular “Barbarito Diez”, in Las Tunas, land where the golden voice of danzón took roots. You write it down. Later you get a notification to a WhatsApp group where it is announced that the Festival Nacional e Tríos, in Sancti Spíritus, has been in session since 1989; that, in addition, the Rock Festival of the Loma de Bayamo has been held for 20 years; that there is the Festival Internacional Pepe Sánchez de Santiago de Cuba, directed by Eduardo Sosa. You write it down again. You let the flame of the music grow, even though you start to worry that the fire will become irrepressible.

But your planning doesn't end there. How could it? One day you sit in front of the television, or open Facebook, and discover a “lost” promotion of the “Barbarito Diez” Popular Music Festival, in Las Tunas, land where the golden voice of danzón took root. You write it down. Later you get a notification to a WhatsApp group where it is announced that the National Trios Festival, in Sancti Spíritus, has been in session since 1989; that, furthermore, the Rock Festival of the Loma de Bayamo has been held for 20 years; that there is the Pepe Sánchez International Festival in Santiago de Cuba, chaired by Eduardo Sosa. You score again. You let the music flame grow, even though you start to worry that the fire will get out of control.

Along the way you find that to your already busy schedule of Cuban festivals you can add the Potaje Urbano hip hop, in Matanzas; the Habana Clásica, directed by the pianist Marcos Madrigal; the Encuentro de Mujeres Creadoras Ángel y Habanera, organized by the Liuba María Hevia project; the Festival Ciudad Metal de Santa Clara… The list goes on and on, so much so that you almost have to find another calendar. You do not have enough lives to attend each of those shows. Yet there they are. What luck! You say.

So you start to wonder how much is spent on the production, programming and promotion of these large-scale live shows in Cuba. And well, since there are so many, how much income do they generate? Are they profitable? What is your actual call? Who makes it possible? Following that line of thought, you put yourself in “camisa de once varas”: are all these events necessary? Does Cuba suffer from the "Festivalism Syndrome" and we have not realized it?

The next thing is you in a pandemic 2020, trying to find the answers.

***

Es noviembre de 2016 en La Habana. Es sábado y es invierno. Unos pocos llegan a las inmediaciones de la Tribuna Antimperialista, en el Malecón, cubiertos de bufandas, gorros, abrigos. El Festival Patria Grande ha logrado reunir un cartel donde figuran bandas como Endemia (Costa Rica), Diafragma (Panamá), y las cubanas Tendencia y Stoner, entre otras. La estrella de esta edición es, sin dudas, Ana Tijoux: la voz del hip hop chileno más internacional de los últimos tiempos. Con varias nominaciones a los Premios Grammy, y reconocida en 2014 por la revista Rolling Stone como la mejor rapera en español, ofrece un concierto para menos de un centenar de personas, en un espacio donde caben miles. La convocatoria, esta vez, no fue suficiente.

¿No se enteraron todxs en la ciudad, en Cuba, en el mundo, que la autora de Antipatriarca iba a dar un show único y totalmente gratis en ese foro y que quienes llegaran hasta allí serían afortunados?

According to Sebastián Heredia, founder and organizer of the Patria Grande, as well as other artists who participated in that edition, Anita Tijoux was almost unknown to the public on the Island. “The currents that are massive in Latin America are hardly heard in Cuba. Putting Tijoux, plus Eruca Sativa, the most powerful band in Argentine rock, and Andrea Echeverri in the same edition - dedicated to women - and not having thousands of people go, is another clear sign that what is heard in the Island is not what is programmed in the circuit of great Latin American festivals. But this not only happened with the Tijoux. In 2018, few people knew the band Here Comes The Kraken, number one in extreme metal in the region that closed Rock al Parque the following year ”.

Andrea Echeverri at the Patria Grande Festival 2019. Photo: Rolo Cabrera.

Andrea Echeverri at the Patria Grande Festival 2019. Photo: Rolo Cabrera.

The insufficient media coverage could be one of the factors against the call, especially in a context such as the Cuban one where the Latin rock-fusion current does not have as many followers as the Anglo-Saxon one. "The Patria Grande is going to need time and work in this regard," says Heredia.

And it is that in general the promotion of musical events on the Island leaves much to be desired. While some festivals top the foregrounds, others go by without pain or glory, either because they are ostracized by the media due to their geographical location, or because of a poor communication strategy.

According to Eric Domenech, organizer of the Ciudad Metal Festival in Santa Clara, nowadays "the public hardly knows in advance the proposals due to the late and poor diffusion".

If we travel to Santiago de Cuba, we find that the Pepe Sánchez International Festival of this city, dean of the festival circuit with almost 60 years of existence, faces the challenge of permanently updating its planning and distribution strategies so as not to become a dinosaur in extinction.

Eduardo Sosa, president of his Organizing Committee, points out that one of the main difficulties in broadcasting is given by the absurdity of having to bring a television team from the capital. "Otherwise, the festival is left without coverage, despite having a provincial telecentre like Tele Turquino."

In addition, he recognizes the troubadour that many times they sin by misunderstanding, although at the moment they are making progress with the hiring of a group specialized in communication services to take advantage of the tools that the Internet offers in this regard. What does it take to fully implement an effective promotion policy in the country? Have budgets? Make expenses clear; but, also, think and creatively manage what you have.

What does it take to fully implement an effective promotion policy in the country? Have budgets? Make expenses clear; but, also, think and creatively manage what you have.

***

En 2016 Frank Delgado se vistió de director artístico y organizó el Primer Encuentro de Trovadores Vida, te perdono, un festival que, aunque “fue un éxito ―recuperó la inversión inicial, no generó pérdidas y recaudó un monto de casi medio millón de pesos― nunca más se retomó”, según cuenta el propio cantautor.

The event - authorized by the Ministry of Culture (Mincult) under the condition that it had to be profitable - filled the El Sauce Cultural Center, and the record fairs organized in its outskirts gave good results to the record companies involved. However, when preparing the second edition, Frank admits that he presented the project late because he did not like the proposal to merge his festival with another celebration; a “nebula was generated by changes at that time within the management of the Mincult and the money, moreover, did not arrive in time to pay the artists; although Artex was willing to continue it and take the lead under the premise of 'we don't win, but we don't lose' ”. And that was all.

Helgrind. Foto: Jorge Luis Toledo.

Helgrind. Foto: Jorge Luis Toledo.

This project added to the long list of good intentions that have evaporated on the island's musical map, due to laziness, bureaucratic obstacles or lack of financing. This was the case of the Brutal Fest, the only extreme music event in Cuba, run by the Cuban Rock Agency, which died due to lack of resources, explains its founder and producer David Chapet, who in 2018 made the decision to “put end to the presentations until the minimum and acceptable conditions were created for the musicians ”.

But if we talk about good festivals that have fallen by the wayside, it is necessary to mention those organized by the Leo Brouwer Office, events that were praised by critics and the public, and completely changed, and for the better, the panorama of musical events first line in the Cuban capital. The Guitar Festival, the Leo Brouwer of Chamber Music, Les Voix Humaines and the Encounter of World Contractors had the creative impulse of the Master and his Office, and if these experiences ceased, it was not for lack of consecration of their creators.

This is how Isabelle Hernández, director of the Office, announced that new festivals would not be called: "What marks the useful life of an event in some way is the budget, money and the willingness of other institutions to join forces, because we cannot work alone".

Speaking with Katherine Gavilán, director of the Les Voix Humaines conference, some shadows are clarified: “The absence of definitions for fundraising has always been, and was for us, a big problem. Fortunately, when one demonstrates rigor and quality, it is easier to bring together friends, independent creators, embassies and banks, convinced that they were putting their money in an Office that worked to raise the culture of the Cuban people. There is a very long road that the institutions on the island must complete to reduce all the bureaucratic obstacles they create. The forces were diminishing little by little and we had to make peace with the idea that perhaps it was time to stop ”.

Let's also talk about events that, despite not ideal budgets and a trail of organizational problems, remain standing, like propped buildings. In terms of rock, several festivals under different auspices coexist - even in the same province. The Asociación Hermanos Saíz (AHS), for example, manages eight of them throughout the country.

In Santa Clara, the Ciudad Metal Festival is the result of creative ingenuity and thorny negotiation processes to cover all the needs with the money allocated.

Maikel Segredo, bassist of the rock band SCYTHE, illustrates through a very basic account the expenses in logistics: “In audio it is only 15 thousand to 20 thousand CUP, the passage of more than 20 bands of five members can cost 50 CUP, at least, for each one. Add to that the food; the five or 10 thousand that have to be paid to a band, and he calculates that all this in an open-air event in which nothing is charged. It is very difficult to sustain something like that ”.

In this juggling act, another side of the coin also appears: the "weakness" of the posters. The almost 20 years at the head of the Organizing Committee of Ciudad Metal, make Eric Domenech a key piece to elucidate other elements that have catalyzed the decline: “Today the festival is sacrificing quality for massiveness. The first editions were made with few bands, but these grouped the best. Local groups are included out of paternalism, without first reaching a worthy trajectory. The viewer, rather than pleasing him with a variety of styles, must first be respected and educated with quality ”, added the musician from Blinder.

In the hip hop scene, Pedro Muñoz - director of Potaje Urbano, a festival with a summer and a winter edition in Matanzas - claims to have found the formula so that the economic administration can support, without contradictions, the creative dimension in quotes like this. According to his account, in the mission of looking for a profitable art and as once again the budget subsidy received is insufficient, the vast majority of his expenses are run by brand signatures and sponsorship of funds launched by international institutes and embassies; meanwhile, the vast majority of foreign artists are self-financing their trip and stay.

Habana Clásica Festival 2019.

Habana Clásica Festival 2019.

Apelando también a otras alternativas, aparece en el mapa el festival Habana Clásica, dirigido por el pianista Marcos Madrigal. Lograr la excelencia de un evento de este tipo puede poner en jaque la creatividad más allá del territorio de la música. Un programa de conciertos de máxima calidad, donde confluyan formidables intérpretes de Cuba con probados músicos de todas partes del mundo, demanda en su ejecución una significativa gestión de recursos. “Nuestro festival no es autofinanciado, de hecho, los grandes eventos clásicos de Europa requieren de grandes subvenciones públicas por la envergadura de estos tipos de formatos. Siempre es desafiante buscar los medios para que cada año el público disfrute de artistas que semanas antes estuvieron en el Lincoln Center de Nueva York. Necesitamos la colaboración directa de nuestras instituciones culturales, de sponsors privados que ayuden a costear sus pasajes y de aplicaciones de fundrising para traer materiales e instrumentos donados”, explica Madrigal.

But Habana Clásica, together with a group of homologous Cuban festivals, plays in other leagues as it is sponsored by the Esteban Salas Cabinet of Musical Heritage; for that reason it has the benefits of a grant under the financial decentralization scheme of the Office of the City Historian (OHC, in Spanish).

***

The Cuban Institute of Music (ICM) is the governing body, at the national level, of all musical events on the Island, which are distributed under its auspices among the companies of the institutional culture system. On the other hand, in this scheme we have other structures such as the AHS which, due to its philosophy of union operation, while expanding its social purpose of creative freedom is restricted in its economic purpose. In other words: they are not allowed to apply the modality of self-financing to alleviate or sustain their expenses, or actions to venture into cultural tourism.

Thus, of the total of 151 annual activities managed by the organization (61 days and 90 events) - where music occupies a very good part - only the Romerías de Mayo, in Holguín, are designed to finance the enormous production expenses that their logistics supposed. This is told by Marialis Martínez, head of the Programming Department of the National Directorate of the AHS, who also affirms that, although the payments for credentials and alliances with the Paradiso Cultural Tourism Agency constitute the mechanisms that allow the self-support of the Pilgrimages exceptionally, the figures for some time point to a decrease in international participation in the event.

The income generated by the festivals produced by the AHS is not enough to cover their costs, and this rule applies to almost any other structure of the institutional culture system. Although in 2019 the Saíz Brothers rearranged funds to promote those festivals with the greatest social impact ―according to Rey Montalvo, vice president - “the budget approved each year by the organization's National Council is hardly enough; for example, the Longina represents 30% of the total ”of the money conceived by the organization for all its festivals.

Cartel del Festival Longina 2020. Diseño: Alejandro Cuervo.

Cartel del Festival Longina 2020. Diseño: Alejandro Cuervo.

However, the also troubadour insists that quotes like these make "once a year the communities of Guantánamo are oxygenated with the Political Song"; in Ciego de Ávila, for example, "they wait for the Trovándote to escape the proposals of a cultural center where the same people always go and the troubadours have no place." Beyond the social balance that they are bequeathing, most of the works of the troubadours are neither commercial nor profitable, and there is no search for human growth that is worth or lasts without reconciling the creative direction with the economic administration.

***

It is not a matter of luck that Havana Worl Music (HWM), after several years of creation, participated in the Training Program for the Music Industry of the Caribbean islands, coordinated by the British Council and the Green Moon Foundation; or that, in the middle of this 2020, it appears on the first online world sound map of the Oslo World music festivals.

If the successes of the HWM are worthy of review, it is because they have found something that many of their peers lack: DNA. Having a clear concept, the audience to be conquered, risking proposing new artists, strictly ensuring the quality of the shows, are some of the criteria for achieving excellence. But, what has been the economic formula that has allowed you to obtain good results, although not all the desired ones?

During its first six editions, the HWM was under the protective umbrella of the National Center for Popular Music (CNMP); But by 2020 they moved house, with an umbrella and everything, seeking the auspices of the Egrem. The financial advantages that the CNMP could offer them were limited because, since it functions as a subsidized representation company, it cannot handle the own funds that it enters. He had to deliver them saying goodbye to the possibility of reinvesting them in the festival that would become a self-sustaining project.

Amalia Rojas, general producer of the HWM, points out another recent financing scheme that has worked for them: the holding of fundraising parties that, in addition to keeping the brand active, allows solving the dilemma of depositing money to cover expenses to pay in cash.

Despite all that has been achieved, Eme Alfonso, its artistic director, recognizes that they have not yet managed to be a profitable festival, because they depend on synergies with Cuban cultural institutions to operate with flexible financing structures that do not prohibit them from commercializing privately or put the state sale to dialogue with the self-employed.

Una cuestión adicional es el tema de las sedes. En sus seis ediciones, la world music ha sonado en diferentes locaciones ―El Club 500, otrora Círculo Social José Antonio Echeverría; La Fábrica de Arte, el Parque Metropolitano, el Salón Rosado de La Tropical―, espacios en los que otros festivales, como el Eyeife, también han encontrado su sede; por lo que es un desafío para los organizadores asentar una identidad propia asociada a una locación.

Festival Eyeife. Foto: Eduardo Reyes.

Festival Eyeife. Foto: Eduardo Reyes.

Otra de las tareas complejas para los organizadores es el booking internacional. “Dependemos de la buena voluntad de los músicos que uno invita. Siempre hay soñadores, emprendedores que quieren colaborar con un festival non-profit. Decimos Cuba y enamora, aparece la disposición, pues honorarios de 15 mil dólares por tocar una hora resulta algo incosteable para nosotros”, dice Mauricio Abad, director artístico de Eyeife.

Year after year, both the HWM and the Eyeife have proven to have a loyal audience, because as Mauricio points out, they prefer to be consistent with their objectives and hold a pro-bono concert “where you have practically no charge and have five thousand attendees, than a price that only people who go to reggaeton concerts can afford ”.

(That said, let's launch a brief but timely parenthesis of alert: where are the reggaeton festivals in Cuba?).

***

If there is a large-scale event that has taken a notable leap in recent years, it is the La Salsa Festival, the most recent edition of which - also at the 500 Club - brought together about 20 thousand people a day. Beyond being a type of music for large audiences, something is saying the amazing massiveness of this event, preceded by a good organization that has Maykel Blanco as its main curator and artistic director, the Provincial Directorate of Carnivals, Paradiso and the artistic representation agencies Clave and Musicalia, of Artex.

The Festival de La Salsa joins the select group of events that have found their own self-financing dynamics, since according to Matilde Valdivieso, director of Musicalia, they generate a significant amount to cover all their expenses.

Of course, enjoying the most popular orchestras in the country on the same stage is the excuse to sell the complete experience: Afro-Cuban or salsa dance classes, a welcome dinner enlivened by El Septeto Santiaguero, or knowledge about dance on wheels. of casino by the hand of Adalberto Álvarez from his home.

Mientras, el Festival Varadero Josone Rumba, Jazz & Son se consolida en el panorama musical, no solo de Cuba sino de Latinoamérica, como una cita obligada para los mejores músicos de la Isla y la región. Un factor que incrementó la asistencia en su segunda entrega de 2019 fue establecer una entrada para todo el evento en 6 CUC para los cubanos, mientras para los extranjeros era de 10 CUC. Y claro, no podemos olvidar el fastuoso montaje técnico y la minuciosa producción diseñada para, en 28 conciertos, reunir a un arrollador cartel que ha ido desde Los Van Van, Alain Pérez o Gilberto Santa Rosa hasta la peruana Eva Ayllón o embajadores ghaneses del jazz como Weedie Braimah and The Hands of Time.

Gilberto Santa Rosa en el Festival Varadero Josone Rumba, Jazz & Son. Foto: Kako Escalona.

Gilberto Santa Rosa at the Varadero Josone Rumba, Jazz & Son Festival. Photo: Kako Escalona.

With Issac Delgado, its creator and president, we are looking for the key to success: “I believe that a festival has to be profitable and we design it that way. I think that it should be available to everyone, so for it to work it must also be done for Cubans, not just purely for tourism. From the beginning we set well what kind of music, what audience you want to reach and where to present the artists, and to achieve all that you need the support of a good team and many months of preparation. You have to work with a lot of planning and passion for the audience, with love for what you do. "

Taking into account these credentials, the event sponsored by Egrem stands out then as one of the most promising and strong exponents in its bid for a real change in the projection of Cuban music towards a profitable company.

***

Una palabra aflora, una y otra vez: “rentabilidad”. En busca de ese Olimpo hay varios caminos, como algunos de los actores involucrados han mencionado. Sin embargo, la alianza con el Ministerio de Turismo es una línea a tener en cuenta en el guion de esta larga historia. En Cuba, las agencias turoperadoras manejan alojamientos, paquetes turísticos culturales y las acreditaciones internacionales de los eventos. Los turistas o interesados en general, para reservar, deben hacerlo a través de un intermediario como Paradiso, por correo electrónico, y no a través de la organización de los eventos, la mayoría de los cuales no tienen herramientas de ticketing y a veces ni sitios web propios desde donde se puedan gestionar dichas reservaciones.

El sistema de booking de nuestros festivales está en la necesidad urgente de acometer procesos de modernización; de buscar pasarelas de pago y vías para simplificar y estimular la comunicación, para trabajar efectivamente un fenómeno tan relevante y prometedor para el desarrollo socioeconómico en Cuba como es el turismo musical de eventos.

Además de visibilizar la riqueza cultural de una región determinada, los festivales activan los recursos que en ella están presentes, actuando como dinamizadores de las economías locales. La propia aplicación en Cuba del modelo de ciudades musicales puede reportar una muy positiva incidencia, y algunos pasos se han dado con la inclusión de La Habana en la Red de Ciudades Creativas de la Unesco, que conocimos gracias al proyecto de cooperación internacional Mincult-Onudi-Koica “Fortalecimiento de la competitividad, desempeño organizacional y capacidad de exportación de la industria musical cubana”.

Yolaida Duharte, su coordinadora general, apunta que el proyecto buscó focalizar aquellos festivales de mayor alcance, diseñar propuestas de actores complementarios como oficinas de exportaciones y agencias de booking, y desarrollar plataformas de ticketing para la venta de la programación musical.

The seven festivals organized by Egrem are also designed towards this business segment: in addition to the aforementioned Varadero Josone Rumba, Jazz & Son and Havana World Music, there are Chocolate con Café, Ciudad del Mar, Piña Colada, La Canchánchara and A bridge towards Havana.

The oldest record label in Cuba is one of those that has stimulated the export of the “Cuban music festival” format as a line of business. According to its general director, Mario Escalona, ​​at the end of 2019 the export of live performances ―in the border and abroad― and the sales of tickets to cultural facilities for this purpose or festivals organized by them represented 82% of the income company totals.

Escalona provides some of the strategies focused on linking its festivals with tourism: design of musical routes for the visitor and the professional sector; study of audiences and contexts to insert the attractions of each territory; advance sale with guarantees for participants; increase in packages with opportunities for greater use of the festival; and alliances with Cuban and foreign entities, with public and private actors. While progress has been made in this regard, the truth is that many challenges remain.

The foreign visitor comes to Cuba under the promise of a varied musical offer; but he is given the same hackneyed experience, unattractive for the times. It is not the same to draw an isolated strategy for a musical tourism focused on the personalization of each destination, than to integrate the particular attractions of the territories of our geography into the programming.

For example, do you remember the Habanarte Festival? The one who promised, in 2014, to deliver "all art at once" and who planned to turn Havana into one of the main Latin American places for cultural tourism? By 2017, what was intended to be a cultural feat on the Island, no longer existed. And the thing is, if you want to prioritize the capital as an ideal destination, let's prioritize it; but managing well its visuality, the personalization of the locations and the conception of the show.

Strategically orienting the Cuban music industry towards the development of event music tourism means local specialization, outlining market interests, perfecting and resizing existing promotional designs, and establishing a serious relationship with producers.

Foto: NATHADREAD PICTURES

Photo: NATHADREAD PICTURES.

***

December 2019. British Culture Week at the Cuban Art Factory. Roy Luxford, Director of Programming at the Edinburgh International Festival, talks about how the Scottish capital does not sleep when this enormous creature transforms tradition into a colossal source of resources. And one, who reads this, cannot help but think of Cuba, of its potential to do something similar.

However, in the Cuban scenario, for Alfredo Carballos, PhD in Economics from the Latin American Faculty of Social Sciences (Flacso), the operating structure of the Mincult, where this product is based on the planned execution of budgetary resources, for now, it makes the institutional organizers avoid one of the producers' headaches: uncertainty and the risk of losing. For this reason, the also bassist of the Cuban rock band Tendencia places other questions in the debate: Who are the producers? Are they entrepreneurs? Are there tax benefits? How, then, do these non-commercial logics affect the efficiency of the music industry sector in Cuba?

Given this, Dr. Tania García, from the Juan Marinello Cuban Institute for Cultural Research, considers that a possible solution to lighten the burden on the state budget could lie in structuring a mixed financing system as a regulated modality on precise and transparent bases.

In a country like Cuba - where it is valid to clarify that entry is free or at moderate prices - having a healthy festival circuit in economic terms implies identifying and consolidating markets, distribution channels, promoting capital mobilization, granting tariff and tax incentives and promote exports. It all comes down to making decisions and acting.

In the midst of all these plots, there are other questions, just as complex and that, at this point, jump to the eye: if an artist proposes an event, in principle, does it benefit from the influence of the artist and vice versa? Let's put it another way: if an artist feels the need to have his own festival and is authorized, would he be being granted a kind of niche of influence, a space of power?

We must begin to think about Cuban festivals within the perspective of the global behavior of the consumption of cultural goods and services; place the sights on how the markets of cultural industries stimulate national creation, access, diversity and identity processes.

Y, por último, ¿qué nos ha enseñado una pandemia que ha sacudido la industria musical y nos invita a reconfigurar sus procesos? ¿Por qué no incentivar el comercio digital desde las plataformas y servicios diversos, incluyendo la realización de festivales y concursos on-line? ¿Qué atención merece la inserción en los mercados del live streaming y campañas de marketing asociadas a los productos culturales?

Words like profitability, economics of culture, conservation of musical heritage, cultural and economic policy, and music event tourism are in the answers, and yet they seem to be only the beginning.

Indira Hernández Alonso Journalist that if you search, you will find. Filling in a title. With the vital urge to discover to investigate. A moments calm in the chaos and chaos in the calm. Artist's soul without the confessed skill, but with the sensitivity. Writing is not for tomorrow. Today, I keep typing. More posts

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  1. Rene Rafael Esquivel Sarria says:

    ???Cuales son los verdaderos Objetivos de estos festivales ?
    !Que nivel de convocatoria por su Calidad y audiencia tienen???
    ???Quienes lo convocan ??
    ??Que intereses ??
    Cuando se habla de la historia de la música Cubana se obvia La historia del Ser Humano.
    Díganme los conocedores y Entendidos.
    ???Cual fue el mecanismo que creo “El Rincón del Feeling???
    ???Cuantos recursos se invertieron en su creación ,difusión y su transcendencia Histórica???
    ???Cuantos recursos invertidos en la transcendencia internacional del “Trío matamoros ,Del septeto de “Ignacio Piñeiro,del Grupo Iraquere,de la orquesta “Los Van Van”.En el nivel de convocatoria del “Concurso Adolfo Guzmán”;De La Fabrica de Arte”.
    Y muchos ejemplos más .
    Y respóndame los entendidos
    ????Que Es lo que Une a las Abejas 🐝??
    Estudien el Panal y ahí encontrarán la verdadera Respuesta.

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