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DEC

DIC 2016 INCLUDING GUIDE TO THE BEST PLACES TO EAT, DRINK, DANCE AND STAY IN HAVANA

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LA HABANA.COM is an independent platform, which seeks to showcase the best in Cuba arts & culture, life-style, sport, travel and much more... We seek to explore Cuba through the eyes of the best writers, photographers and filmmakers, both Cuban and international, who live work, travel and play in Cuba. Beautiful pictures, great videos, opinionated reviews, insightful articles and inside tips.

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HAVANA GUIDE The ultimate guide to Havana with detailed reviews of where to eat, drink, dance, shop, visit and play. Unique insights to the place that a gregarious, passionate and proud people call home.

HAVANA LISTINGS

MAY 2016

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E D I TO R I A L Cuban revolutionary Fidel Castro Ruz’s ashes were encased in a large granite boulder at the Santa Ifigenia Cemetery in southeastern Cuba on Sunday, December 4, 2016 in a ceremony that capped nine days of public mourning and was the final act in an elaborate and well thought out series of events and actions to celebrate the life and achievements of this historic figure. Fidel governed the Republic of Cuba as Prime Minister from 1959 to 1976 and then as President from 1976 to 2008. He also served as the First Secretary of the Communist Party of Cuba from 1961 until 2011. Whatever his precise role, until illness forced him to hand over power in 2006, he dominated Cuban politics, defied the United States for nearly half a century as Cuba’s maximum leader, bedeviling 11 American presidents and holding onto power longer than any other living national leader, except Queen Elizabeth II. Since his death on November 25 at age 90, hundreds of thousands of Cubans lined the streets and plazas to bid farewell to ‘El Comandante’ with a combination of tears, vows to sustain socialism and choruses of “I am Fidel!” as the funeral cortege carrying his ashes traversed the country. There has also been a perhaps more significant internal realignment that is a very much personal and emotional one: The patron and father of the nation is no longer here to determine which path to go down. It is a historic time that marks the definitive end of era. DEC 2016

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Our December issue is dedicated to Cuban cinema in recognition of Cuba’s influence in the film culture of the American hemisphere. Every year, the International Festival of New Latin American Cinema serves as a launch pad for Latin American cinematography and has become one of the leading film festivals in the region. ICAIC in the sixties led to the formation and consolidation of filmmakers and film professionals. Names like Tomás Gutiérrez Alea (Titón), Humberto Solás and Santiago Álvarez, among others, contributed to the prestige that the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) internationally obtained from the first years of its creation. The 1960s were the ICAIC’s Golden Age. Memorable films of the decade include Memorias del Subdesarrollo (1968) by Tomás Gutiérrez Alea and Lucía (1969) by Humberto Solás. Also the documentaries made by Santiago Alvarez, who also directed the Latin American ICAIC News, which was as much anticipated as a feature-length film. Other filmmakers have continued in their footsteps, like Fernando Pérez, Pavel Giroud or Ernesto Daranas, just to name a few. This issue features articles on the state of Cuban cinema and the film festivals that take place throughout the year in different cities in Cuba. Also featured are animated films, the independent film industry in the Island, low-budget films and documentaries. We have also included a review of El acompañante, which has garnered multiple awards in the Americas and Europe; a Chronology of Cuban cinema; and a forecast for the Cuban film industry in 2017. Rounding out this issue is our pick of 10 must-see Cuban Films of all time. Outside of cinema, December is packed with both cultural and historic events: Cuba’s Jazz Plaza Festival, with a first-class lineup, including the multi-talented instrumentalist and composer, Rachel Flowers; the International Crafts Fair at Pabexpo; and, if you’re interested in Cuban customs and traditions around Christmas, the wonderful Parrandas de Remedios are a must.

Meanwhile, to see the fascinating fusion of Afro-Cuban Santeria with the Catholic Church, join the Pilgrimage to Rincón for the feast of San Lázaro on December 17, the largest popular religious event in the Island. Tradition-wise, Margaret Atkin’s article “Christmas and New Year’s Eve in Cuba” will shed light on how Cubans celebrate these two commemorations. And as 2017 draws near, the LaHabana. com Team wishes all of its readers a joyous holiday season and a New Year filled with peace, health, happiness and prosperity! Abrazos!

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Cuba Travel Network: Definitely Different Come and experience Cuba with a company that’s passionate about the magical island. Our on the ground team in Cuba is the first to know about the country’s developments—from new hotels and tour possibilities to ever-changing travel regulations, and we love to show our beautiful home to the world. With Cuba Travel Network, experience Cuba as a traveler, not a tourist.

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CONTENTS DEC 2016

CUBAN CINEMA issue

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Havana seen through the eyes of an indie

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A brief history of Cuban Cinema

Fide: life in pictures

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Forecast for 2017 A great year for the Cuban Cinema

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El Acompañante

10 must-see Cuban Films

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Movie Theater Nostalgia

A Film Buff Travel Calendar to Cuba

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Cuban Posters

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Young Cuban Jazz The legend lives

A New Map for Cuban Documentary Films Independent Cinema in Cuba

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December 17, Pilgrimage to Rincón - San Lázaro

The Gibara Low-Budget Film Festival

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Parrandas de Remedios

Animated Films in Cuba

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Christmas & New Year Eve in Cuba DEC 2016

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FIDEL LIFE IN PICTURES

Fidel Castro is the third of seven children. He was born in a farm in Birán, Holguín Province. His parents were Ángel Castro y Argiz and Lina Ruz González. His best known siblings are Raúl, current President of Cuba, and Ramón, who is responsible for many of Cuba’s agricultural initiatives during the revolutionary period.

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In 1934, Fidel was enrolled in the La Salle School in Santiago de Cuba, and in September 1939, he was sent to the Jesuit-run Dolores School, also in Santiago. In 1942, he became a student of Colegio de Belén in Havana. Here he was selected best athlete of the 1943-1944 academic year. He began studying law at the University of Havana in 1945, receiving a lawyer’s degree in 1950. His first steps in politics took place during his college years. He receive death threats when he confronted a candidate of the University Student Federation (FEU) supported by the corrupt government of Ramón Grau San Martín.

On July 26, 1953, a group of young revolutionaries headed by Fidel attacked the Moncada and Carlos Manuel de Cespedes Barracks, important military sites in Santiago de Cuba and Bayamo, respectively, under dictator Fulgencio Batista’s government. After the failed attack, most of the assailants were tortured and executed. Fidel was taken prisoner, tried and sentenced to 15 years in prison. His speech in his defense in court is known as “History Will Absolve Me,” in which he explained his actions and denounced the ills afflicting the Cuban people.

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After 22 months in prison, Fidel and his fellow combatants were released during the general amnesty of May 1955, declared by Batista after strong popular pressure. Months later, Fidel went into exile in Mexico. In Mexico, he prepared an armed expedition with 82 revolutionaries. Setting sail from Tuxpan on the Granma yacht, they landed in Playa Las Coloradas (present-day Granma province) seven days later.

Fidel and Ernesto Che Guevara’s friendship goes back to their meeting in Mexico, when the Cuban leader invited Che to join the troop as a doctor. Since then, the Argentine revolutionary has been linked to the history of Cuba.

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On December 2, 1956, Fidel arrived in Cuba with the aim of starting the armed struggle against the dictatorship of Fulgencio Batista. Gradually, the Cuban people began to support the 26th of July Movement, both in cities and in the countryside. Fidel with other rebel leaders in the Sierra Maestra in June 1957 along with Che Guevara, Juan Almeida and Raúl Castro.

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The Rebel Army gradually took over the national territory until Fidel entered Havana on January 1, 1959. Fidel Castro and part of his revolutionary army crossed the country until arriving at the capital on January 8. The Caravan of Victory, as this episode of Cuban History is known, was joyfully received by the people of Cuba.

Fidel giving his first speech in Havana on January 8, 1959, when a white dove perched on his shoulder during the entire speech.

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On the morning of April 17, 1961, an expedition of around 1,500 mercenaries landed on Playa Girón and Playa Larga, known as the Bay of Pigs Invasion. Led by Fidel Castro, the counter-offensive of the Cuban forces began on the 18th. The invasion was a failure just 60 hours after the attacks had begun. The Cuban Government captured over 1,000 mercenaries who were tried and returned to the United States in exchange for food and medicine.

“If Uncle Sam is against you, you know that you’re a good man,” was one of the comments made by Malcolm X to Fidel Castro on September 19, 1960 o they met at the Hotel Theresa in Harlem, in a historic occasion.

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As Prime Minister of the Cuban Revolutionary Government, Fidel spoke for the first time at the United Nations General Assembly in New York on September 26, 1960. The speech, which lasted five hours and 18 minutes, is the longest speech ever delivered at the UN throughout its history and as such is included The Guinness Book of Records.

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Fidel with Muhammad Ali and Teófilo Stevenson

Fidel and Pope John Paul II in Havana in 1998. The pope referred to the blockade imposed by the United States as “unjust and ethically unacceptable.”

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The young Cuban boy Elián González was a victim of the irregular migratory relations between Cuba and the US. In November, 1999, Elián is illegally taken out of the country by his mother, who drowned at sea. The boy remained in US soil until he was rightfully returned to its father after seven months of negotiations between the Cuban and US governments.

Fidel in December 2003 with his brother Raúl, then Cuba’s Defense Minister. In 2006, Fidel withdrew from public life transferring his presidential duties to then first vice president Raúl Castro.

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Fidel Castro was an inspiration to the leftist movements in Latin America and leaders such as Hugo Chávez and Evo Morales declared their admiration for the Cuban leader.

Since 1998, Cuba waged a battle for the US government to free the Cuban Five. Ramón, Gerardo, René, Antonio and Fernando were Cuban agents infiltrated into the networks of terrorist organizations based in the United States with the aim of stopping violent acts against the Cuban people. For this reason they were taken prisoners. In 2015 they finally met in Havana and visited Fidel, who was a tireless fighter for their freedom.

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On the night of November 25, 2016, Raúl Castro informed the world of the death of the historical leader of the Cuban Revolution, Fidel Castro Ruz. Nine days of national mourning were declared. The Cuban people paid one last tribute to their leader all across Cuba. Fidel’s multitudinous funeral rites revived the Caravan of Victory made in 1959.

“I AM FIDEL,” SHOUTED THE CUBAN PEOPLE IN THEIR FAREWELL.

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Forecast for 2017: A great year for the Cuban Cinema by Joel del Río Judging by the roster of Cuban films that will be shown during the next International Festival of New Latin American Cinema, 2017 is going to be a fabulous year for the Cuban film harvest. Our optimism is well-founded, especially, when we evade mentioning films that have already been seen some way or another and which will be part of the competition (for example, Fernando Pérez’s Últimos días en La Habana, and Jonal Cosculluela’s Esteban) and lend an ear to still unseen, brand new movies. Director Lester Hamlet (Casa vieja) has just wrapped up his third feature-length fiction film, Ya no es antes, based on Alberto Pedro’s play Weekend en Bahía and starring Isabel Santos and Luis Alberto García. Set in a micro-brigade apartment, the plot revolves around the impossibility of a relationship between a man and a woman on the basis of conflicting opinions. The original theatrical concept has been translated into cinematic terms and covers the controversial topics of exodus and families torn apart by emigration. With the photography of Raúl Pérez Ureta (a habitual collaborator of Fernando Pérez and Gerardo Chijona) and produced by ICAIC (the Cuban institute for Cinematographic Art and Industry), the musical score of Ya no es antes was composed by Harold López-Nussa. The soundtrack includes Dame un abrazo, sung as a duet by Kelvis Ochoa and Haila María Mompié. Lester Hamlet also filmed the song’s music video.

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Patricia Ramos shot her first fiction feature-length film El techo on location in Centro Habana, specifically on a rooftop at Soledad and Concordia streets. Independently produced, the director assembled a very young and untried group of actors (Andrea Doimeadiós, Emmanuel Galbán, and Jonathan Navarro) to tell the story of the hopes and dreams of three young people: one black guy, one white guy and one pregnant girl. “I wanted this story to be one of growth and dreams with almost all of it shot out in the open. The three main characters appear to be up top, unattached to the ground or the floor. I saw the story that way, with a minimum of interiors and lots of natural light.” Natural light and exteriors, more rural than urban, abound in Santa y Andrés, describing in detail the relationship between a very revolutionary woman, plain and with rough edges, and a welleducated and sensitive non-conformist intellectual, set in the polarized setting of the 1980s. The woman is pressed to keep an eye on him and she forbids him from leaving his house. Directed and written by Carlos Lechuga, the film invites us to consider tolerance. It candidly acknowledges the errors of the past and proposes that we reflect on artificial inflexibilities and useless repression. DEC 2016

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The independent production company Quinta Avenida, associated with highly praised and popular films like Juan de los Muertos (Alejandro Brugués) and Melaza (Carlos Lechuga), has been hard at work on Lechuga’s third feature film called Habana: territorio vampiro, along with a couple of first films: the science-fiction comedy El viaje extraordinario de Celeste García written and directed by Arturo Infante and Agosto, marking the feature-length fiction debut of documentary filmmaker Armando Capó, who retells the events of the Maleconazo (the immigration crisis) at the beginning of the 1990s. Similarly fascinated by the past is Esteban Insausti’s Club de jazz. The script, written by the director, tells three stories taking place in a nightclub in three different eras: “Saxo tenor” (late 1950s), “Contrabajo con arco” (late 1980s) and “Piano solo” (late 20th century, early 21st century). The common thread uniting the segments is a theme of rivalry and the negative passions, apart from presenting authentic artistic creation generated by agony and pain. Taken on by ICAIC as one of the most complicated projects in Cuban cinema in recent years, Club de jazz provides a unique look to Cuban film as it juxtaposes the different contrasts of black and white. It also presented a tremendous challenge for actors Luis Alberto García, Héctor Noas and Raúl Capote because the director had them go through special training with music teachers to learn how to deal with scales, techniques and harmony so that they could create heightened credibility in the scenes where they must play various musical instrument.

Héctor Noas is one of those versatile Cuban actors who take on any and all challenges. He is a musician in Club de jazz and a Soviet cosmonaut in zero-gravity, speaking Russian of course, in Sergio & Serguei, Ernesto Daranas’(Conducta) most recent film. From 1991 to 1992, when the Soviet Union had disappeared and Cuba was suffering from the so-called Special Period, Serguei is stuck in outer space for longer than was originally planned. From his space station he establishes a bond with Sergio (Tomas Cao) a Cuban ham radio operator and professor of Marxism who graduated in Moscow.

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Also taking place in the 1990s, the Spanish-Cuban coproduction Vientos de La Habana finally puts the most popular of Cuban fictional detectives, Mario Conde, on the big screen. Directed by Félix Viscarret of Spain, the film is loaded with Cuban acting talent. The script was written by Leonardo Padura and Lucía López Coll, the locations are 100% Havana and the starring role goes to Jorge Perugorría as the legendary character created by Padura some 25 years ago. Other top actors join the cast: Luis Alberto García as Carlos “el Flaco,” Mario Guerra playing Candito “el Rojo” and Vladimir Cruz incarnating Conde’s eternal rival, Lieutenant Fabricio. As director Félix Viscarret tells us, the police angle of the story has been reinforced to create a sort of film noir à la Caribbean, whose esthetic is similar to that of a thriller. It has references to contemporary Cuba and to the eroded beauty of the capital, the turf of Padura’s characters. Vientos de La Habana is one more on the long list of Spanish-Cuban productions set in the island, with a Spanish director, like Benito Zambrano’s Habana Blues and the more recent El rey en La Habana by Agusti Villaronga, just to mention two of the most publicized films in the 21st century.

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10 MUST-SEE CUBAN FILMS by LaHabana.com

For Cubans, films are the most popular and mediaoriented of all the art forms. Although the film industry took in 1959 with the creation of the Cuban Institute for Cinematographic Art and Industry (ICAIC), before the first Cuban cultural law was passed in the Island (providing legal support for film production), Cubans were already making films, even when the quality did not quite match up to that of the Mexican or Argentine movie industry. Keeping pace with the revolutionary era, changes disrupted the established order in art and as of 1960 young men of the caliber of Alfredo Guevara, Tomás Gutiérrez Alea and Julio García Espinosa took it upon themselves to head a movement that would go beyond the borders of this Caribbean nation to make up the New Latin American Cinema Movement. With this in mind, LaHabana.com proposes a list of the ten must-see Cuban films in order to have a comprehensive overview of Cuban cinema. We don’t mean to suggest that they are the best films but they are a representative view of movies produced on the Island.

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MEMORIAS DEL SUBDESARROLLO (1968). Directed by Tomás Gutiérrez Alea who is considered to be the most outstanding movie director in Cuba for his skill in taking the pulse of the nation and reflecting the complicated tapestry of cultural elements that persist in Cuban society, along with all his other work this film makes a mandatory reference to Cuban culture. Other Alea films not to be overlooked are Las doce sillas (1962), La muerte de un burócrata (1966), La última cena (1976) and Fresa y chocolate (1993).

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DE CIERTA MANERA (1974). Sara Gómez is a legend within the panorama of Cuban film: the first woman to reach the ranks of director in an industry, which, until relatively a few years ago, was reticent in allowing women to step behind the cameras. We also recommend her documentary films because they provide a clear reference for her later fiction work. Sara died before being able to finish editing her first feature-length film but her teacher, Tomás Gutiérrez Alea, concluded the posthumous work.

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LA BELLA DEL ALHAMBRA (1990). The best musical to have been made in Cuba bears the signature of director Enrique Pineda Barnet. Until the present, no other film has managed to attain the wit and warmth of this one; it is set in the 1920s-30s and owes a great debt to the tradition of musical theater in Cuba. From the long list of films made by Barnet, the experimental short feature Cosmorama (1964) also deserves mentioning. It is dedicated to the Cuba-based Rumanian artist Sandú Darié, a pioneer in the field of cinematography on the Island.

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RETRATO DE TERESA (1979). The defense of women’s rights is a recurring subject in the region’s media. The cultural roots of machismo are deep. At the beginning of the 1980s, Pastor Vega gave us a visceral view of the reality of a woman overwhelmed by her day-to-day milieu. Daysi Granados and Adolfo Llauradó were one of the most effective artistic partnerships in Cuban cinema.

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CECILIA (1982). This film is one of the most complicated and lengthy productions ever undertaken in Cuba. Humberto Solás was a director extremely focused on his work with actors and with the art direction. His first cinematographic efforts reveal extensive use of period costumes and sets, akin to a baroque style. With the arrival of new technologies he astutely reinvented himself as a creator and espoused the esthetics of low-budget filmmaking, eventually founding the Low-Budget Film Festival of Gibara, located in the charming coastal town of the same name in eastern Cuba.

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PLAFF O DEMASIADO MIEDO A LA VIDA (1988). This is a film satirizing conventional attitudes, both those inherent in human behavior and in the cinema. Juan Carlos Tabío took on a work that speaks about cinema within cinema to provide us with proof as to what point we need story-telling, a manner of telling a tale that might as well be the tale of all our lives.

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CLANDESTINOS (1987). Few artists have undertaken an episode in the history of Cuba with as skillfully as Fernando Pérez did in this work. The armed struggle against the dictatorship of Fulgencio Batista in the 1950s is told through the lives of a young couple: it is one of the classics of Cuban cinema. Over the years Pérez has maintained his position as one of the truest voices in Cuban audiovisual creations: Madagascar (1994), Suite Habana (2003) and José Martí: el ojo del canario (2010) bear testimony to this.

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PON TU PENSAMIENTO EN MÍ (1995). Thanks to his filmmaking debut, with this film, Arturo Sotto was considered in his day to be one of the enfants terribles of Cuban cinema. The enormous narrative and visual complexity resident in this film bring him into the vicinity of European film, contrasting with the habitual color of most Cuban work. Among other outstanding pieces in Sotto’s oeuvre is Bretón es un bebé, a road movie revealing “magical realism” as described by Cuban writer Alejo Carpentier. MEMORIAS DEL DESARROLLO (2012). Miguel Coyula has made one of the most experimental and daring films of the last decade. As a result of the production of this film, which took five long years to complete, this filmmaker has developed a supremely personal visual and narrative style.

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LA OBRA DEL SIGLO (2014). Hermetic, silent, strange… These are some of the adjectives that come to mind after seeing Carlos M. Quintela’s second film. Belonging to the new generation of Cuban filmmakers, Quintela shot his film as an independent effort. His directorial concerns focus on universal themes such as loneliness and the alienation of the individual.

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A Film Buff’s Travel Calendar to Cuba

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Some people are forecasting that Cuba is going to become a giant set for Hollywood. Others are more skeptical. But certainly shooting scenes for Fast and Furious and Transformers in Havana opened up Pandora’s box. Foreign filmmakers find Cuba to be attractive and they set out to show the marvels of this land on celluloid. But these are mere postcards of a much more beautiful reality, tough and complicated at the same time. That’s why no foreign movie could ever paint a portrait of a country any better than those who live in it, enjoy and suffer it on a daily basis. Rediscovering the Island using the cinema as a guide and pretext is the best way for us to put together a film about Cuba. Many arrive in Havana drawn by the aromas of Fresa y chocolate (1993). Dinner at La Guarida Restaurant is practically a must stop for those who visit the city motivated by the movie and its Cuban star Jorge Perugorría. It’s because La Guarida, where the likes of Madonna, Princess Caroline of Monaco and Usher have supped, provided the location 23 years ago for this paradigmatic film. But Cuban cinema is not just Fresa y chocolate, and it is not just located in the capital. Every year both young and veteran filmmakers from around the country set out to shoot movies with whatever they have and however they can, often without the official film industry stamp of approval. What happens to these films? Where can we see them? Here are some clues. If you are on your way to the Eastern end of the country, perhaps seduced by curiosity on the heels of the last hurricane, you would do well to stop over in Camagüey for a couple of days. Besides getting to know a five-centuryold city, declared a UNESCO Heritage Site, you can also partake of the Almacén de la Imagen Festival. Cuban films that have been produced both in Havana and the rest of the country compete at the event.

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Any reason is a good one to take the highway to the south of Cuba, where the ocean and cinema await. Mid-November Cienfuegos, known as the Pearl of the South, celebrates Surimagen, an event dedicated this year to Benny Moré who composed songs, which, fifty years later, continue to circle the globe. It’s the perfect time to breathe in the cinematic air in a city which is also renowned for its music. And if you are in Cienfuegos, it is just a hop and a skip to Trinidad. This city is a tourist haven, a virtual museum built over stones: it was here where Humberto Solás filmed scenes making up the first story in his 1968 movie Lucía. Anybody who loves Cuban colonial architecture will be ecstatic in this gem of a town. And what can be better than coming to Cuba in December? The perfect combo takes place during this month: Havana, cool weather and the International Festival of New Latin American Cinema. This year the festival holds its 38th edition and, as always, it provides the chance to see movie theaters overflowing with people and to rub elbows with the stars who every year attend this important cinematographic event. It’s also the best time to enjoy a cocktail on the grounds of the legendary Hotel Nacional: that’s where most of the activities related to the festival occur. And so the film cycle draws to a close, to put it one way. But at the start of the new year the fans of non-fiction audiovisual productions can fulfill their dreams by going almost one thousand miles east of Havana. In March on alternate years, Santiago de Cuba opens the doors to their International Santiago Álvarez In Memoriam Festival dedicated to documentary films. This is a significant event for documentary filmmakers. Collateral activities can include trips through the city and a visit to Our Lady of Charity of El Cobre Sanctuary, a site that Cuban movies have visited time and time again. The truth of the matter is that Cuban cinema is active all year round. Those of you planning a spring visit to Cuba will be able to indulge in young, diverse and (why not?) low-budget cinema. In April there are two important events: the Joven ICAIC show and the International Low-Budget Film Festival. The first is held in Havana, drawing competitors from around the country. Young Cinema is on the bill for several days during daylight DEC 2016 36

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hours and at night it’s party time at the Centro Fresa y Chocolate in Vedado. The days and the nights run into each other and you really need to follow up with a few days off to get ready for your date with low-budget films. For the next one, we are off to Gibara, a small town in Holguín Province where filmmaker Humberto Solás shot Lucía in 1968 and Miel para Oshún in 2001. The peaceful streets of Gibara pulsate with the rhythms of a unique fiesta that encompasses all the arts. Movies are only an excuse for you to eat fresh seafood and get to know the home turf of Guillermo Cabrera Infante. Since last year the festival is being directed by actor Jorge Perugorría who is making sure that the event glimmers with all the allure of days gone by. Getting involved in cinema in the mountains with the inhabitants of the region as the protagonists is an experience only the fortunate few have been able to undertake. If you penetrate the Sierra and reach San Pablo de Yao in Granma, you can visit Televisión Serrana, a project which, since 1993, has been showing us that Cuban reality is sometimes forgotten by the media. Add Festival Imago to this cinematic itinerary: this event celebrates film students in Cuba, the Television Festival and of course the annual premieres of Cuban movies, the box office hits in our movie theaters. With all of these ingredients you can edit your very own Cuban movie and even fit in different stops on the itinerary. As we have shown, Cuba is a lot more than sea, mojitos and palm trees. Cuba is also art, especially the cinema. Come one, come all: come to experience the cultural richness that lives in the land of tobacco and sugar cane fields.

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A NEW MAP FOR CUBAN DOCUMENTARY FILMS IN THE 21ST CENTURY

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by Juan Antonio García Borrero (*) In 2001, I had the good fortune of having the Arte y Literatura Press publish my book Guía crítica del cine cubano de ficción (Critical Guide to Cuban Fiction Cinema). Since it has been sold out for a while now, some people, including the publishing house itself suggested the possibility of re-printing. Initially, it seemed like a good idea, because even though I have always thought I wouldn’t be interested in a reprint, the thought of reediting with corrections and updated material, didn’t seem so bad. For some strange reason, I believed that since I had managed to compile all that information appearing in the book, spanning the period from silent films to the year 1999, it would be easier for me to draw up an inventory of the production done in the last 16 years. What a miscalculation! In terms of numbers, audiovisual production in Cuba since the year 2000 has multiplied in a fashion that would daunt even the most intrepid of researchers. Nonetheless the problem would not just be about numbers since we are talking about the need to renew now insufficient concepts that we have held up to now about the Cuban cinema. Up to the end of the 1990s, ICAIC was still playing the leading role in Cuba’s audiovisual productions. But groups of filmmakers were already starting to appear who were working on the fringes of that venerable institution and that would lead to the organization, in 2001, of the First Showing of New Filmmakers. Still, the guiding role lay in the hands of ICAIC.

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Thus, it was relatively easy to locate productions and to organize our cinema’s activities around certain master nuclei that would even justify a writer such as Enrique Ubieta (in contention with critic Dean Luis Reyes) to point out that there was by that time a tendency to veer towards the documentary form. He indicated: “An absurd opposition of two types of films, one epic and the other intimate, was trying to establish itself in Cuba built on two paradigms without much success: the explicitly epic work of Santiago Álvarez and the search for day-to-day detail, at times “dirty” detail, by Nicolasito Guillén Landrián, another important Cuban filmmaker. We are not disputing so much the findings in their respective work, as the paths they undertook, even though it should be taken for granted that in art all views are valid. But sometimes it happens that some angles of the viewpoint become fashionable: the exacerbated need to finish with the Cuban Revolution has spawned a market of penny-philosophies. Esthetic minimalism is the prizewinning refuge for those who are fleeing Revolutionary “maximization”. [*] Ubieta’s interesting observation is useful for us to effectively take note of the dialectic arguments established at the beginning of the new century, dealing with Cuban audiovisual products torn between utopia and disenchantment, showing on the screen matters we have been harboring in our imaginations on the macro-social level. In their films we are able to effectively perceive the spirit of the famous lines written by Eugenio Montale: “About that, all we can only tell you today / is what we are not, what we do not want”.

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In a film like Fernando Pérez’ Suite Habana (2003), the film which had brought together reflections made by both scholars, we see an exemplary manner of manifesting this ebb and flow. The film’s characters are going about their daily lives burdened with the heavy baggage of daily routine, driving or hindering the spiritual growth of each one of them. Viewers discover that in the mire of the humdrum, of everyday gestures, epic qualities can also be evoked. Nevertheless, describing what has been happening to Cuban documentaries in the 21st century by merely looking to the two extremes of the national canon and its more specific byproducts (Santiago Álvarez and Guillén Landrián), leaves a plethora of nuances out in the cold. Actually, from 2000 till today, any possible drafting of a map for Cuban documentary film is extraordinarily complicated by the fact that the new technologies have not only democratized how documentaries are being made but they have also democratized how they are distributed and consumed. To begin with, a number of new filmmakers have taken up revolutionary commitment , which signifies putting their unease up there on the screen rather than what we know needs to be changed; but they do it by appealing to a community-oriented perspective. In other words, they take part in public issues but they do so from the fringes where the interests moving the filmmakers are more precisely defined. To put it in yet another way, these days the new Cuban documentary films do not speak about the abstract “Other” which we were once able to associate with the collective subject identifying the Revolution; instead we look to “Others” in their more specific circumstances.

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Perhaps this forces us to think about drafting new maps for Cuban 21st-century audiovisual production by appealing to terms proposing the concept of “neo-geography”. Here we are talking about drafting maps where we can locate and evaluate productions not on the basis of a center which unites and radiates (like ICAIC once did), but through networks which may or may not be intercepted and which reveal a country that was once unable to be uncovered in any official manner. Events such as “El Almacén de la Imagen” (Camagüey), “Muestra de Nuevos Realizadores” (Havana), “Festival de Cine Pobre” (Holguín), “Festival de Documentales Santiago Álvarez” (Santiago de Cuba), and “Hieroscopia” (Nuevitas, Camagüey), just to mention a few, may give us a preliminary idea about how much this map has grown, a map which once barely described for us what our main audiovisual production center (ICAIC) was capable of retaining through narratives, which it legitimized by providing centralized exhibition venues for the materials. This brings us to the grand question which these days may well bring 21stcentury researchers to their knees: in the midst of these new circumstances where technological nomadism, eclosion of the most diverse screens, democratization of the use of audiovisual creation devices directly having an impact on the representation of the reality surrounding us, will it be possible to draft a truly trustworthy production map done by Cubans here and now?

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On such a new map, the documentary film will play a relevant role, both numerically and qualitatively. When we surpass that naïve realism which was at one time called upon as a rhetorical element to impose arguments upon the viewers before they could even participate in any discussion about them, then we will be able to speak of a documentary movement where the interest in complexities is appreciated. It is this selfsame complexity which will demand its description to be on a par with the problems being presented to us by this 21st century, a century we are living through at top speed. (*) This article is part of the Guía crítica del audiovisual cubano del siglo XXI [A critical Guide to Cuban Audiovisual Productions in the 21st Century], to be published in 2017 by Oriente Press.

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INDEPENDENT CINEMA IN CUBA by Ricardo Alberto Pérez As a result of its artistic and social evolution, the veteran ICAIC (Cuban Institute for the Cinematographic Industry) is headed towards some variations in its functions. Particularly it has been taking a back seat to its former leading role in producing new films. This clearly shows its keen perception of current trends and keeping in synch with audiences wanting to see the high levels of excellence that have made Cuban cinema appreciated all over the world. In no way do I believe that the monumental work done by ICAIC over decades can be dismissed. We have to see this as part of a natural process where, gradually, over time, the institute will become a valuable coordinator and facilitator for the different producers and creative groups beginning to flourish in Cuba these days. As we await the highly anticipated Film Law, these new producers are blazing a trail to create precedents which will put together an essential experience for what is hoped for in the future, a dynamic product with strong esthetic values, removed from banal or simplistic statements. We have seen this happening in other aspects of Cuban life, and we could be witnessing a transformation that would take us from shyness to boldness. Along these lines, a very interesting creative phenomenon has been taking place. The young talent on the audiovisual scene in Cuba is mingling with acclaimed veterans who, after having had their greatest successes under the ICAIC umbrella, are deeply attracted to the new possibilities. According to some of them, this would provide a well needed stimulus to breathe new life into the filmmaking processes. Among this group of filmmakers, Fernando Pé rez has admitted that he is going to commit himself to this possibility. DEC 2016 43

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Fernando is one of those few individuals in Cuba who have understood and encouraged the needs of young filmmakers thanks to his extraordinary sensibility and because in recent years he has been directing and organizing the Exhibition of Young Cinema, a significant pool of talent associated with independent cinema. In the last ten years, those circumstances produced two films which I would like to mention along with their respective directors: Juan de los Muertos, directed by Alejandro Brugués and Melaza by Carlos Lechuga. Juan de los Muertos is an unusual film in the context of Cuban filmmaking, both for the script’s richly textured fiction and for the original manner in which the director deals with the Cuban reality. It is somewhat controversially labeled as a comedy, but what we see is acidic humor that is applied to elements of contemporary life in Cuba. The storyline tells of a zombie invasion of Cuba, creating the surreal atmosphere under which some pretty serious matters lie.

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Melaza is an outstanding film because of its artistic qualities: the title refers to the town where the narrated events occur. The overriding themes deal with inactivity and waiting and they develop an intense climate of the absurd which enriches and personalizes the film. The relationship between the two characters, a professor who teaches swimming in an empty pool and his wife who is the only worker and manager at a sugar mill which is awaiting startup again produces enough tension and anxiety to legitimize a production such as this one. Both movies have received abundant praise from audiences and film critics alike, inside and outside of Cuba and they have received their fair share of awards. I believe that they precisely demonstrate the phenomenon we are analyzing here. Both productions took place thanks to the rise of Producciones Quinta Avenida whose staff is characterized by austerity and efficiency, thereby providing us with an excellent example of what such alternative approaches can do.

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THE GIBARA LOWBUDGET FILM FESTIVAL by Ricardo Alberto Pérez There is no doubt about the fact that Gibara in the province of Holguín is a veritable enigma within the realm of Cuban nature. Its unique and spectacular beauty, humility and charm combine to present visitors with the gift of a truly unique vista. The sights and sounds of the Caribbean can be perceived from every part of the city. The promoters of the International Low-Budget Film Festival chose this site precisely because of its glorious natural setting. The event’s premiere edition took place in 2003 under the chairmanship of the celebrated Cuban filmmaker Humberto Solás. Until his death, Solás imbued the project with his boundless energy, serving as both its chairman and guru. His fellow adventurers on this quest aimed to create a venue which would defend genuine cinematic art and for him it also became a personal obsession at the time when he was shooting his film Miel para Oshún in Gibara; it would be the first low-budget Cuban film shot in digital format. As we gaze back over the postulates of the Low-Budget Film Manifesto which served as the platform to guide the steps taken by this festival, we discover the incredible confluence of those aims and the place selected. It was as if nature and visual creation embraced in a magical and unexpected manner.

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This city’s history is full of stories and legends contributing to strengthen the splendor of its geographical layout. Just like tourists drawn to the region for its landscapes, filmmakers attending the festival can enjoy a few days there while exhibiting their best ideas and projects. The films are produced on very low budgets and they competently combat the growing trend towards turning out banalities. They aim to salvage the authentic values of diverse cultures and social groups at the same time as the festival provides them with a launching pad to exhibit their work. From 2009, after Solás’ death, the festival was called the Humberto Solás International Low-Budget Film Festival in his memory. Editions are attended by Cuban and international film artists and by the local residents thereby turning them into a fiesta and something with which the inhabitants of Gibara can deeply identify. The most recent festival editions have taken on the task of dedicating each one to a certain country and its culture, and also to the trajectories of specific filmmakers. All works being presented must be governed by the Manifesto and they must come out of the alternative film markets. In artistic terms, we should emphasize that these events have gone beyond the confines of the cinema and have become celebrations of creation that encompasses the visual arts, concerts with renowned Cuban musicians and theater groups. This develops into an unparalleled setting for everyone who gravitates towards cultural tourism. The Humberto Solás International Low-Budget Film Festival has received a good bill of health at the 2016 edition: 366 films encompassing short and long fiction films, documentaries, animation, art videos and experimental work. The festival chairman this year was the multi-talented actor Jorge Perugorria, perhaps bestknown for his role in Fresa y Chocolate. DEC 2016 47

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ANIMATED FILMS IN CUBA: A story of perseverance by Dean Luis Reyes

According to some sources, the first Cuban animated short film premiered in New York sometime in the early 1920s. An article in that year’s March issue of Cine Mundial, a Havana magazine, reported that Conga y chambelona was a charming satire about the era’s toplevel political scene in Cuba. Its director, Rafael Blanco, is one of the most outstanding precursors of Cuban motion graphic design at the beginning of the 20th century. But since that short film disappeared and we have no news of its having been shown in Cuba, most film historians mention Manuel Alonso’s two-minute long Napoleón, Faraón de los sinsabores (1937) as being the first example of Cuban animation. In truth, it is the first Cuban animated film with sound. It was based on the homonymous character in Alonso’s comic strip which was published on a daily basis in the El País Gráfico newspaper. Later, this same director made the short advertisement called Old Smuggler using animated dolls. Making short animated advertising films became all the rage in Cuba. Havana ad agencies set up graphic design and animation departments and their products were shown in movie theaters and later on television. DEC 2016 48

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One of these was the Roseñada y Silvio Company. They created a character that was supposed to represent the typical Cuban and named him Masabí. Almost at the same time as Manuel Alonso, Jorge Piñeyro began to produce animated advertisements. By the 1950s, the Buznego y Maza Studios and Art-Studio Capdevila turned out animation ads for the movies and television. This trend towards animation studios was also being seen in the provinces. As of 1946, the Productora Nacional de Películas is established in Santiago de Cuba for the purpose of creating animated films in color. Among its work are the short films featuring the character called Restituto, the detective, created by Mario Cruz Barrios and César Cruz Barrios. This company’s second title was El gato con botas. Subsequently, they made Mario Cruz Barrios’ El hijo de la ciencia, the first Cuban color animated film. The growth of the Cuban animation industry led to the production of short films using the stop motion technique. Esteban Seigler pioneered this type of animation in Cuba. From 1955, the film revue, Cine Revista, included vignettes, and humorous and advertising animated shorts. A few years later Holveín López, in charge of the Drawing and Scenography Department for Cine Revista, became one of the founders of the Animation Department at the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC, Cuban Institute for Cinematographic Art and Industry). He took on the development and management of Cuban cinema production after the triumph of the Revolution in 1959.

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In that period, many critics and filmmakers visiting the Island would express their surprise at the department’s existence. Generally speaking, animation films should belong in developed countries having wealthy film industries and it seemed difficult to imagine an underdeveloped country such as Cuba getting involved in the art form. Nevertheless, Cuban directors aimed at producing highly experimental efforts that would use avant-garde graphic codes and modern design elements. During those initial years, Cuba modeled itself on United Productions of America (UPA). A number of Cuban filmmakers also travelled to Czechoslovakia to learn about techniques from one of the most prestigious animation schools in Europe. Filmmakers such as Canadian Norman McLaren came to Cuba to pass on their experience.

This department was organized in 1960. The creators came from all the advertising agencies and had been trained as draftsmen and painters. The first director, Jorge de Armas, from Publicitaria Siboney, wanted to organize production in the fashion of United States’ studios. And even though at first animation was considered by ICAIC to be a minor form of cinema, directed towards teaching and political propaganda, in the 1960s the astounding quality of Cuban animation artists was already patently visible.

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Along with traditional animated drawing, the Animation Department encouraged the boom in cinematographic trick photography. Jesús de Armas had acquired an Oxberry camera in the United States that allowed him to use animation in experimental contexts. Santiago Álvarez’s documentaries (Now; Hanoi, martes 13) and those directed by Nicolás Guillén Landrián (Coffea Arábiga), as well as fiction cinema (Las doce sillas, La muerte de un burócrata (both by Tomás Gutiérrez Alea) and Aventuras de Juan Quin Quin by Julio García Espinosa, made use of trick photography and animation techniques that gave Cuban films an avant-garde flair and placed them well in the ranks of the fledgling national film industries in Latin America. In the 1960s, the following animation shorts stand out: El Maná, La prensa seria (1960) and Pantomima Amor no. 1 (1965), all by Jesús de Armas; La cosa (Harry Reade, 1962); Un sueño en el parque (Luis Rogelio Nogueras, 1965); El poeta y la muñeca (Tulio Raggi, 1967); Los indocubanos (Modesto García, 1964); Osaín (1966) and Niños (1964), by Hernán Henríquez. Miguel Fleitas and Hugo Alea worked with the stop motion technique. In the late 1960s and early 1970s, production makes a turn towards subjects directed to children as well as to historical themes and those with patriotic content. The work of Juan Padrón shines like a beacon in this period: he is the most popular filmmaker in Cuba and the only animator to date who has received a National Film Award. Padrón created Elpidio Valdés, a character embodying a Cuban independence fighter during the 19th-century wars of independence. Elpidio Valdés has been transformed into a symbol of all that is Cuban spirit, the personification of “cubanía.”

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This character’s saga was fuel for the first Cuban feature-length animation films: Elpidio Valdés (1979), Elpidio Valdés contra dólar y cañón (1983) and Más se perdió en Cuba (1996), all creations of Juan Padrón. Padrón also collaborated with Argentine cartoonist Quino to produce the series called Quinoscopios and the feature-length Mafalda (1994). Another one of Padron’s feature-length films, Vampiros en la Habana (1985), ranked number 50 on the first world survey of the 100 best Ibero-American movies, carried out by Noticine.com. It is the only animated film on the list. Also important during this period of splendor of short animation films: El bohío (Mario Rivas, 1984) and El pequeño planeta perdido (Mario García-Montes, 1990). In 1988 the Televisión Cubana Animation Studios produced Papobo (Hugo Alea), the first Cuban stop motion feature length film. The economic crisis in the 1990s caused animated film production to almost disappear. In 2003, the new ICAIC Animation Studios were inaugurated and started to produce digital animation. The year also marked the debut of a new generation of animators, young filmmakers who were influenced by the likes of Pixar, Disney and Anime. Some of these animators are Ernesto Piña (Pubertad, 2010-2013), Alien Ma (Mundo sumergido, 2013), Alexander Rodríguez (Quietud interrumpida, 2007), Bárbaro Joel Ortiz (20 años, 2009) and Yemelí Cruz and Adanoe Lima (La luna en el jardín, 2012). In the past fifteen years the following feature-length films were produced: Más vampiros en La Habana (Juan Padrón, 2003), Fernanda y el extraño caso del Dr. X y Mr. Jai (Mario Rivas, 2013) and the first 3D feature-length animation: Meñique (Ernesto Padrón, 2014).

But besides ICAIC-directed animation, today in Cuba we see films being produced in provinces like Holguín and Villa Clara. The new formats have extended the use of animation techniques to the visual arts. Work such as La segunda muerte del hombre útil (Adrián Replansky, 2010), No Country for Old Squares (Ermitis Blanco, 2015), the short films by Cucurucho Producciones (Ivette Ávila and Ramiro Zardoya), the independent series Dany y el Club de los berracos (Víctor Alfonso Cedeño) illustrate a diverse scenario. We have also been seeing the extension of animation techniques as visual effects in independent feature-length films such as Cucarachas rojas (2003) and Memorias del desarrollo (2011), both by Miguel Coyula, and in some ICAIC productions that assume dystopian science fiction in Omega 3 (Eduardo del Llano, 2014). Sources: Arturo Agramonte & Luciano Castillo. Cronología del cine cubano. Tomo I (1897-1936). Ediciones ICAIC, Havana, 2011. Arturo Agramonte & Luciano Castillo. Cronología del cine cubano. Tomo II (1937-1944). Ediciones ICAIC, Havana, 2012. Arturo Agramonte. Cronología del Cine Cubano. Ediciones ICAIC, Havana, 1966.

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HAVANA SEEN THROUGH THE EYES OF AN INDIE by Mayté Madruga Hernández In December, 2015, the International New Latin American Film Festival welcomed a group of American producers and screenwriters to Havana to hold a number of workshops, thanks to the cooperation between the Festival and the Sundance Institute. The group was led by Michelle Satter, director and founder of the Institute’s feature film program and also included actor and writer Ethan Hawke, and producers Christine Vachon and John Sloss. On the Institute’s blog, Satter described the people attending the encounters as “an audience hungry to learn from the group.” She also emphasized the importance of the artist-toartist encounters they had with several Cuban filmmakers and their projects. On the subject of the current panorama of film production, Vachon declared that “we have to think of production as a giant jigsaw puzzle since in the framework of film we have to find the pieces that make its funding, its commercial side, possible. We have to think how to promote that connection with the public….Producers are seeing themselves forced into being entrepreneurs.” During the days that the Festival was running, the group of producers met with filmmakers of the region and screened films to a full house, as in the case of Todd Haynes’ most recent film Carol presented by Vachon, the movie’s producer. The Yara movie theater was bursting at the seams that Saturday night.

Ethan Hawke

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Before this millennium: The relationship between the Sundance Institute and Cuba has its roots in the last century. Between 1989 and 2000, the Feature Film Program (FFP) collaborated with ICAIC (the Cuban Institute for Cinematographic Art and Industry) in an exchange program between Cuban and American directors. For years, part of this cooperation effort included screening films by Todd Haynes, Rory Kennedy and Todd Solondz at the Havana Film Festival. Cuban filmmaker Tomás Gutiérrez Alea was also invited to the screenwriters’ lab. These visits and screenings marked the beginning for Latin American filmmakers such as Alfonso Cuarón, Guillermo del Toro and Walter Salles to get to the Sundance Institute and participate in its screenwriters’ laboratory.

Todd Haynes

Alfonso Cuarón

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Second parts are also OK: Seven months after their screenings in Havana in December, the Sundance Institute returned to the city with a shorter but equally intense program of films. On that occasion they showed films by new directors, such as Alfonso Gómez-Rejón and his Me & Earl & the Dying Girl and the documentary Merú, codirected by Jimmy Chin and Elizabeth Chai Vasarhelyi. Both shows were moderated by a panel headed by the Sundance Institute’s director John Cooper who showed great interest in learning about and developing long-term projects with his Cuban peers. Along these lines, Michelle Satter would write in the Institute’s blog that in the coming years they hoped to continue developing these collaborations with the artistic community and its different excellent formats. She said that they were interested in carrying on with this dialogue with Cuba, a country with unique artists.

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A BRIEF HISTORY OF CUBAN CINEMA 1897 On January 24, the first public showing of a film took place by Gabriel Veyre of France at the Lumiere Cinema Theater in Cuba on Prado, between San José and San Rafael streets.Two weeks after that inaugural screening in Cuba, Veyre filmed Simulacro de incendio.

1930 Prior to leaving for Mexico, Ramón Peón makes a masterpiece of Cuban silent movies: La Virgen de la Caridad. It was premiered on 8 September at the Rialto movie theater.

1937 In July Ernesto Caparrós’ La serpiente roja premieres at the Radiocine and Payret Theaters; it is the first Cuban feature-length picture with sound.

1950 The best film of the day is Manuel Alonso’s Siete muertes a plazo fijo, a police genre which, according to researcher Arturo Agramonte, represents the birth of the Cuban cinema “as the serious marriage of industry and art, business and science ».

1951 The Sociedad Cultural Nuestro Tiempo is founded; its movies section provides film discussions and lectures, publishes a newsletter and a magazine and promotes encounters with Tomás Gutiérrez Alea, Julio García Espinosa, Manuel Octavio Gómez, José Massip and other Cuban film-makers.

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1955 On January 9, at the Anfiteatro Varona, El Mégano premieres. It is a short film directed by Julio García Espinosa and T.G. Alea, shot in the Ciénaga de Zapata, telling the story of the sub-human living conditions of the charcoal-burners in the Zapata Swamp. Despite attempts by the repressive bodies of the Batista dictatorship to destroy the negatives, they were rescued by film-maker José Massip.

1959 The first cultural law of the Revolutionary Government saw to the creation of ICAIC, the Cuban Institute for Cinematographic Art and Industry, founded by Alfredo Guevara, Julio García Espinosa, , just to mention a handful of luminaries.

1962 Tomás Gutiérrez Alea’s burlesque comedy about bourgeois ambition, Las doce sillas, starts to attract world attention to Cuban fiction films.

1964 Mijail Kalatozov’s Soy Cuba, with fantastic photography by Serguei Urusevski, is a Cuban-Soviet co-production, a pompously and over-the-top story about the revolutionary epic.

1965 Santiago Álvarez’ documentary Now!, won the Paloma de oro at the Leipzig Festival, combining the Hebrew song Hava Naguila, with the voice of Lena Horne and an uninterrupted succession of images about racial discrimination in the United States.

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1966 Tomás Gutiérrez Alea’s La muerte de un burócrata is considered to be one of the most eloquent and impassioned cinematographic satires on the insufficiencies of Socialism.

1967 A comedy in the epic genre makes a film that was one of the huge box-office successes in Cuba, Julio García Espinosa’s Las aventuras de Juan Quin Quin.

1968 This is a stellar year for Cuban cinema; Tomás Gutiérrez Alea’s Memorias del subdesarroll and Humberto Solás’ Lucía are premiered; they are considered to be among the best Spanish-language films of all times and personal masterpieces for each of their directors.

1969 The ICAIC’s Grupo de Experimentación Sonora [Sound Experimentation Group] is created under the leadership of guitarrist Leo Brouwer and with the participation of Leonardo Acosta, Pablo Milanés, Noel Nicola, Eduardo Ramos, Silvio Rodríguez, Emiliano Salvador and Sergio Vitier, among others, in order to collaborate on cinematographic productions and broaden the horizons of the new style of Cuban songwriting which would greatly influence the so-called “nueva Trova”.

1973 Sergio Corrieri plays the revolutionary hero par excellence in Manuel Pérez’ El hombre de Maisinicú ; it turned into one of the greatest box-office successes of this decade.

1973 The conflict between revolutionary ideas and machismo backlog, ancestral customs and religion are the subject of De cierta manera, the first fiction feature-length film directed by a woman, Sara Gómez. DEC 2016 57

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1976 La última cena has its Cuban premiere: it is an excellent example of historical filmmaking à la Tomás Gutiérrez Alea. His style in making this genre of film includes many inflections to the present and atemporal reflections about demagoguery and the manipulations of power.

1977 El brigadista becomes wildly popular; it is the fiction feature-length debut of documentary film-maker Octavio Cortázar where he documents the years of the Literacy Campaign by means of an efficient and generic narrative.

1978 Tomás Gutiérrez Alea’s “black comedy” Los sobrevivientes is a story about a wealthy family which shuts itself up in their home awaiting the demise of the Revolution; it is Cuba’s entry at Cannes.

1979 The premiere of Retrato de Teresa, a contemporary drama directed by Pastor Vega, starring his wife actress Daisy Granados, is quite the event in Cuba. The film shows the daily life of a Revolutionary Cuban woman. Granados receives awards at the film festivals of Cartagena de Indias, Moscow and Huelva. From the 3rd to the 10th of December, Havana holds the First International Festival for New Latin American Cinema; award-winners are the Cuban film Maluala, directed by Sergio Giral, along with the Brazilian film Coronel Delmiro Gouveia directed by Geraldo Sarno. Elpidio Valdés, the first Cuban feature-length animation film becomes one of the most popular movies of all times. It presents viewers with a new heroic paradigm, brimming with good humor and typical folksy Cuban charm.

1980 Octavio Cortázar’s Guardafronteras is the major success of the year starring a long list of popular young actors. DEC 2016 58

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1982 Humberto Solás’ Spanish-Cuban super-production of Cecilia competes at Cannes and causes quite a furor in the Cuban press for the “liberties’” the director took in his very free-handed adaptation of the anti-slavery novel Cecilia Valdés written by Cirilo Villaverde.

1983 As ICAIC president, Julio García Espinosa promotes popular Cuban films and several successful comedies are made such as Juan Carlos Tabío’s Se permuta and Rolando Díaz’ Los pájaros tirándole a la escopeta (1984), in which popular TV actors are cast.

1985 One of the most popular films this year is Una novia para David; it is Orlando Rojas’ directorial debut and a new twist on the subject dominating the era, young people, their hopes and dreams and the generation gap. Some new directors present their first or second films: Rolando Díaz’ En 3 y 2; Constante Diego’s Un corazón sobre la tierra; Víctor Casaus’ Como la vida misma, and Luis Felipe Bernaza’s De tal Pedro tal astilla. All of these films deal with contemporary subject matter.

1986 On the 15th of December the International School for Cinema and TV is founded. It is the first Latin American teaching institution and a project of the Latin American Film-makers’ Committee, with the support of the Cuban government. The school’s headquarters are at the San Tranquilino estate in San Antonio de Los Baños. Fernando Birri is appointed as its first director.

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1987 Fernando Pérez. a new film-maker of the so-called “Intemediate Generation”, makes his debut with the historical film Clandestinos, humanizing the heroism of the revolutionaries.

1988 With an outstanding performance by Daisy Granados, the Cuban comedy Plaff directed by Juan Carlos Tabío gives us a critical look at national identity, the war between generations, bureaucratic practices and the mortifying paranoia of the elderly.

1989 Enrique Pineda Barnet’s La bella del Alhambra pays homage to Cuban vernacular musical theater and it became the biggest box-office hit in the country during this decade.

1990 Misunderstanding about the critical aspects used in Daniel Díaz Torres’ satirical comedy Alicia en el pueblo de maravillas escalate to heighten tensions between the Cuban authorities and ICAIC. The film is shown in theaters for a few days and harshly and profusely criticized by the official media. In Cuba, five contemporary tales about the female condition, machismo and emigration are dealt with in Mujer transparente, directed by five debutante directors Ana Rodríguez, Héctor Veitía, Mayra Vilasís, Mayra Segura and Mario Crespo The humorous experimental short film Oscuros rinocerontes enjaulados (muy a la moda), directed by Juan Carlos Cremata, puts the first graduates of the San Antonio de los Baños International School for the Cinema and TV into the public eye.

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1992 In Cuba, Humberto Solás premieres one of his most anticipated projects, the movie adaptation of Alejo Carpentier’s novel El siglo de las luces; it was shot as a TV mini-series in co-production with France, Spain and the USSR. Nevertheless, the launching of the movie version had a lukewarm reception in Cuba.

1993 Cuba is surprised by the extraordinarily warm reception given by the press and audience for Tomás Gutiérrez Alea and Juan Carlos Tabío’s Fresa y chocolate. The comedy puts the topic of sexual and political intolerance on the table and it wins the most important awards at the Havana Film Festival and in the following year it triumphs in Berlin, receives the Goya in Spain, honorable mention at Sundance, is nominated for an Oscar and makes Jorge Perugorría an international star. Communications difficulties between the generations, the frustration and claustrophobia of the Special Period are shown in Fernando Pérez’ short film Madagascar, acknowledged as one of the best Cuban films of the 1990s. The International School for Cinema and TV at San Antonio de los Baños receives the Rossellini Award at Cannes thereby enshrining it as one of the best schools of its type in the world.

1995 On the occasion of the one hundred years since the invention of the movies by the Lumière brothers, Juan Carlos Tabío completes El elefante y la bicicleta; it is pure inter-textual madness and delight set in 1925, about a travelling movie projectionist who brings the movies to his hometown on a Caribbean island and his films cause a popular rebellion against the iron-fisted local dictator. Feature-length films see the debuts of young directors Arturo Sotto Díaz for his Pon tu pensamiento en mí, the film version of the play Jesús by Virgilio Piñeira, and Enrique Alvarez for his film La ola.

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1998 With the film La vida es silbar, Fernando Pérez becomes the most important Cuban film-maker in the 1990s, receiving awards in Havana, the Spanish Goya, at Sundance, Freiburg and Berlin.

2000 Two rather successful comedies are premiered: Juan Carlos Tabío’s comedy satire Lista de espera and the following year, Daniel Díaz Torres’ police-genre spoof Hacerse el sueco.

2001 After a hiatus of almost a decade, Humberto Solás shoots the first digital-format Cuban fiction feature-length film Miel para Oshún, talking about reconciliation between Cubans living on the Island and Cuban émigrés.

2003 Fernando Pérez premieres the best Cuban film of the decade, Suite Habana, a documentary about the life of the most humble Havana residents. A dozen stories about daily life crisscross, marked by the spirit of resistance and the deep-rooted capacity of dreaming in spite of being deluged by innumerable difficulties. Two controversial documentaries are completed in Cuba: director Arturo Sotto and actor Jorge Perugorría co-direct Habana abierta, a documentary about émigrés, while Ián Padrón deals with a similar topic and a portrait of the status of baseball in the country, Fuera de liga, a film that is placed into the vault until its release in 2008.

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2004 Shot in digital technology and subsequently transferred to celluloid, Pavel Giroud, Lester Hamlet and Esteban Insausti’s Tres veces dos, signifies the possibility of opening up a new era for Cuban cinema, with the arrival of new voices in a film about loneliness and falling out of love, strangely lacking in sociological overtones.

2005 Juan Carlos Cremata’s second film is ¡Viva Cuba!, a tragi-comedy revolving around the central characters of children, offering a message of reconciliation among Cubans belonging to different political persuasions. It represents the possibility of producing quality independent films outside of ICAIC, the official film-making body.

2006 In his musical bio-pic El Benny, Jorge Luis Sánchez manages to create a reinterpretation of the past as he calls up fragments in the rise and death of the legendary Cuban singer Benny Moré, including his career in Mexico and his problems with alcoholism.

2007 Madrigal, starring a far too imaginative actor, becomes Fernando Pérez’ most controversial film and one of his most disturbing.

2008 In Cuba, radio and television scriptwriter Ernesto Daranas directs his first featurelength film Los dioses rotos, demonstrating the validity of the legendary pimp Alberto Yarini y Ponce de León.

2009 Liked to historical cinema, Rebeca Chávez’ Ciudad en rojo deals with the revolutionary epic; it is the second ICAIC fiction feature-length film to be directed by a woman. DEC 2016 63

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2010 Miguel Coyula’s Memorias del desarrollo, reaches back to the work of Edmundo Desnoes, and gives continuity to reflections of the classical film by anchoring them to experimental film-making and the subject matter of emigration. A personal reinterpretation, avoiding the temptation to lapse into the epic, Fernando Pérez’ José Martí, el ojo del canario delves into the childhood and adolescence of the Cuban Apostle of Independence, salvaging the Cuban version of historical genre films.

2011 Poking fun at national absurdities, from black humor to the grotesque, Juan de los Muertos represents considerable success in several countries for films about skepticis and sarcasm. Fun and light-hearted, talking about class differences introduced to Cuba, Habanastation is Ian Padrón’s debut, becoming a popular hit.

2012 With a cast of children and moving along at the pace of languid observation, La piscina is Carlos M. Quintela’s first foray into film; it produces equal doses of uneasiness and praise. Carlos Lechuga’s first fiction feature-length film, Melaza, about the paralysis of the sugar industry, Cuba’s principal industry, and the ensuing difficult conditions in rural areas of the Island.

2013 Arturo Sotto receives a prize for scriptwriting at the International Festival for New Latin American Cinema for his episodic comedy Boccaccerías habaneras.

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2014 A cry for a return to the nation’s ethical values and paean to the power of teaching, Ernesto Daranas’ Conducta becomes a phenomenal box-office favorite. With just a few months between them, the almost simultaneous releases of Fátima, o el Parque de la Fraternidad, directed by Jorge Perugorría, and Vestido de novia, directed by Marilyn Solaya, creates the impression of saturation on the topic of homosexuality for a segment of the public. Fernando Pérez’ La pared de las palabras continues the author’s exaltation of subjects like sacrifice, suffering, the family and alienation.

2015 Retrospective testimony about the failed experience of the Cienfuegos nuclear plant in contrast to the frustrating reality present in that very same milieu form the narrative threads running through the celebrated La obra del siglo, directed by Carlos M. Quintela.

2016 Pavel Giroud’s El acompañante has significant international and box-office success in spite of his dark view of the 80s, the rise of the AIDS epidemic and the prison environment of the Los Cocos AIDS Sanatorium. Carlos Lechuga’s Santa y Andrés also examines the 80’s and the way the system repudiated anybody having different opinions.

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El Acompañante (2015) Cuba, Panama, France, Colombia and Venezuela coproduction

Plot synopsis: The greatest Cuban boxer of his day, Horacio Romero, has just tested positive for doping. His punishment lies in Los Cocos, a hospital under military conditions to which HIV patients are admitted and which they can only leave once a week under the vigilance of a companion…the acompañante of the film’s title. Horacio will be one of these companions and the small liberties of Daniel, the most troubled of the patients, depend on him. The interests of the two men clash. Daniel wants to live out his last days in freedom and is ready to do anything to achieve that goal. Horacio wants to return to the boxing ring to face an opponent for which he hasn’t been trained.

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Pavel Giroud, from designer to filmmaker Pavel Giroud graduated from the Higher Institute of Design and took courses at the San Antonio de los Baños International School for Film and Television (EICTV in its Spanish abbreviation), and at other schools. His work has been shown at national and international film festivals. He has received the Silver Zenith for the Best Debut Film at the 28th World Film Festival Montreal, Canada, for directing one of the stories (the first one) in the film Tres veces dos, together with Lester Hamlet and Esteban Insausti. He subsequently shot La edad de la peseta (2006), a film chosen for the Discovery Section at the Toronto International Film Festival (TIFF). His next film, Omerta (Abra Prod, Spain & ICAIC, Cuba), won him the Coral Award in the category of Best Original Script at the 27th International Film Festival of Havana and it got its premiere screening the following year at the San Sebastián Film Festival, Spain. In 2013 he embarked on his collaboration with Los Carpinteros, a group of Cuban visual artists; in this regard, he directed the videos Polaris, Conga Irreversible and Pellejo (Sean Kelly Gallery, New York & Ivory Press, Madrid). In 2014 he codirected the documentary Playing Lecuona, starring pianists Chucho Valdés, Michel Camilo and Gonzalo Rubalcaba, accompanied by Ana Belén, Raymundo Amador, Omara Portuondo and other outstanding musicians. It was an award winner at the Montreal Film Festival as the Best Documentary and until the present it has been screened at IDFA (Amsterdam), Miami IFF and SEMINCI (Valladolid).

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The script for his most recent feature-length work, El Acompañante, was recognized as the Best Developing Project at the 61st San Sebastián Film Festival and received the Julio Alejandro SGAE Award for the best Ibero-American screenplay at its world premiere at the International Film Festival at Busan. This film received the Peoples’ Choice Award at Miami, Toulouse, Málaga and Havana (2nd prize) and for the best screenplay at HFF New York where the Mayor of Brooklyn, Eric Adams, acknowledged this as “the best use of film as a social tool.” Alejandro Brugués, screenwriter Although born in Argentina (Buenos Aires, 1976), Alejandro Brugués has worked for most of his life in film in Cuba. Graduated in screenwriting at the San Antonio de los Baños International School for Film and Television, he came into the public eye with his fiction feature-length film Juan de los Muertos (2011), considered the first Cuban film about zombies. He has collaborated with other filmmakers in the screenplays for Bailando Cha Cha Chá (2005), DEC 2016 68

lahabana. com Frutas en el café (2005) and Tres veces dos (2004). In 2008 he directed his first feature-length film, Personal Belongings. Currently he is based in Los Angeles, USA. Ernesto Calzado, director of photography He is one of the most recognized of the young photography directors in recent years. He has been at work in the Cuban film industry for over 20 years. He started as head of lighting, went on to be first camera assistant and eventually became the photography director for fiction short- and feature-length films and documentaries, as well as for music videos and other audiovisual products. He has earned national and international recognition for his work and collaborated on projects such as Red Bull BC One, Video Musical Pablo Milanés, and Banco Popular de Puerto Rico Special in 2015. Among his feature-length films are Leontina (Rudy Mora, 2012) and Melaza (Carlos Lechuga, 2009). Yotuel Romero, a singer before the camera Although his worldwide fame comes from being a member of the

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Cuban hip-hop group Orishas, one of the revelations of Cuban music in the 1990s, singer Yotuel Romero has earned respect from even the most skeptical critics for his acting in El acompañante. Starring in the role of the boxer Horacio Romero who, after having to leave boxing because of doping is forced into being the companion for an HIV carrier in the Los Cocos facility on his weekly outings. Armando Miguel Gómez, from TV to the big screen Starting his career on national TV, the movies have catapulted this young actor to stardom. Prior to El acompañante, his roles in the Cuban films Melaza and Conducta have placed him firmly among the best actor on the Island.

Commentaries and critical opinions: “I think that any discussion about El acompañante would be more useful if we leave to one side the connections and phobias about ways of representation (traditional vs. avant-garde), and we explore what this film means for Cuban audiovisual work on a more universal basis.” Juan Antonio García Borrero Progreso Semanal “The feature-length film El acompañante continues Cuban film work by paying the innumerable debts it has with its contemporaneity, with its social strata and with individuals scattered about in the silence of nonrecognition.” Antonio Enrique González Rojas Inter Press Service (IPS) in Cuba

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“Despite the apparent clarity of El acompañante, Pavel Giroud’s film provides us with certain clues about those twisted elements in Cuban society which in those years still revealed a naive faith in the future.” Berta Carricarte Cubanow.net   Festivals and Awards: • Recipient of the CINERGIA Fund / Gothenburg International Film Festival for the Development of Film Scripts • Winning screenplay of the fellowship Carolina Foundation / Casa de América for the Development of Film Scripts • Best Original Screenplay VII Premio SGAE Julio Alejandro 2012. SGAE Foundation. • Best Developing Project. II Foro de Coproducción Europa – América Latina 2013. San Sebastián International Film Festival. • People’s Choice Award. Rencontres Cinémas d’Amérique Latine. Toulouse, 2016 • Centre communal d’action social award (CCAS). Rencontres Cinémas d’Amérique Latine. Toulouse, 2016 • People’s Choice Award. Miami International Film Festival, 2016 • Havana Star award for best screenplay. Havana Film Festival in NY, 2016 • Honorable mention, Brooklyn Borough President Office (BBPO) to Pavel Giroud “for the good use of the cinematographic art as a social tool to educate the public in general about HIV/ AIDS and to reflect upon its complex social problems from a human approach.” • TDN Changemaker Award 2016 to Pavel Giroud for his film El Acompañante by the Transdiaspora Network of New York. El Acompañante once more proves that art can be a great cultural ally in the VIH/AIDS prevention strategy and help us to improve the intercultural dialogue with the communities that are most affected by the virus in the city of New York.” • People’s Choice Award. Malaga Film Festival, 2016.

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Movie Theater Nostalgia by Victoria Alcalá The fever unleashed whenever the New Latin American Film Festival of Havana is lurking just around the corner just doesn’t seem to be at the same high pitch this year. I’m not feeling the same goose bumps of anticipation I felt in other years, no friend has fervently recommended a film in competition and not even the announced presence of Oliver Stone and Brian de Palma seem to have awakened any great enthusiasm among film buffs. I don’t know whether it’s because Plácido Domingo is in town momentarily stealing the thunder from the movies, or because the gradual reduction of fiction films in competition (18 this year; 3 less than in 2015) has disappointed devoted followers, or because there is no scuttlebutt about a “heavyweight” among the Cuban films involved, even though we do have a Fernando Pérez film and that is always a good omen… I started thinking about why I wasn’t as enthused as in years gone by and, sure, besides “the irrevocable passage of time” as Pablo Milanés would say, influencing our comfort in seeing “pirated” copies at home, it is a heavy blow that in Havana we now only have a couple of dozen movie theatres when in 1960 there were over 130.

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I hear that this is a worldwide phenomenon these days and that’s quite true; but seeing the cinemas where I discovered Bergman, Wajda, Antonioni, Fellini, Agnes Varda, Buñuel, Saura, Kurosawa, Glauber and Titón closed today, transformed into theaters, offices, warehouses or into anything else…or simply in ruins, leads me into yearning for the return of those days when, not even having to leave my neighborhood or at least the same municipality, I used to be able to enjoy new films and reruns. In the event of some “urgency” I could see more than one showing a day and there were always the Yara, La Rampa, Jigüe, Payret, Rialto and the Cinemateca; it would be an outing needing “going-out-clothes” and would even merit breaking in a new dress, purse or pair of shoes. Most of these movie palaces were comfortable, clean and air-conditioned, with acceptable sound and even, in some cases, magnificent architecture, because ever since the movies burst onto the Havana scene at the end of the 19th century, screening rooms went from being in theaters or adapted houses to having buildings stylistically reflecting all (or almost all) esthetic trends on the Island, and so one could be tearing-up to Ashes and Diamonds seated in a jewel of Cuban architecture.

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A brief tour of Havana movie theaters (those that used to be and the few that still are) reveals how in the oldest of these the powerful stamp of eclecticism can be seen (the Trianón which is today’s headquarters of El Público theater company; the Majestic, on calle Consulado, and others). We become aware of the association of esthetical renewal with the “youngest” of the art forms, in the sense of progress attributable to Art Deco which left us with significant movie houses, such as the América, Fausto, Arenal, Duplex, Gran Cinema, Cuatro Caminos, Strand.... Of course, the Modern Movement also perfectly fit in with the novelties of the cinematographic industry and to this confluence we owe the existence of the Radiocentro Building on the corner of 23rd and L streets, which had the homonymous movie theater on its premises (today it is called the Yara and its re-opening following extensive repairs is forecast for the film festival), the Ambassador, the modest Luyanó, La Rampa, the Acapulco, the Rodi (today’s Mella Theater), the Lido with its enormous mural and so many others, including the beloved Mónaco (especially for people living in its vicinity and for how important it was for the life of the neighborhood: it lent its name to a number of establishments in the area such as the adjoining restaurant, the supermarket, the amusement park and other shops, and at the end of the 60s, it had turned Mayía Rodríguez Street into the “little sister” of crowded La Rampa in El Vedado).

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As if to raise our flagging spirits, it was announced that the Proyecto 23 circuit will be endowed with Digital Cinema Initiative (DCI) technology to ensure the quality of the screenings, that Oliver Stone will be bringing his controversial new film Snowden, that an exquisitely restored copy of the classic by Tomas Gutiérrez Alea, Memorias del subdesarrollo, will be shown and, at long last!, we are going to be able to see the filmed Rolling Stones concert in Havana (The Rolling Stones Havana Moon), that El ciudadano ilustre will be a must-see, chosen for the inauguration and winner of two prizes at the Venice Film Festival, along with Fernando Pérez’s Últimos días en La Habana, that Pablo Larrain’s new film (Neruda) looks promising…. Did anybody mention nostalgia?

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CUBAN POSTERS: off the streets and into the imaginary

Por Claudio Sotolongo

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Posters communicate in visual terms. They are reproduced, used by the public and they express ideas with words or by a dialogue set up between text and image. They are different from the public advertisements preceding them in history because the poster’s chief aim is to implant an idea into the minds of the public. Ads inform; posters seduce. In western culture, posters first came into being in 19th-century Europe along with industrial production, business, transportation media and communications. Add tourism to that mix and you are shaping modern society. Posters arose as purchasing options diversified for the public, whether it was products, services or in the contemporaneity of experiences. The child of printmaking and the printing press, the poster is art and communication. For designers, particularly those working in contemporary Cuba, the poster is always a challenge: unlike other visual communication products, the poster involves a combination of communications skills and creative sensibilities that are intrinsically bound up with personal experience. Acknowledged researcher on graphic design topics, Jorge Bermúdez places the introduction of the poster in Cuba towards the second half of the 19th and the first decades of the 20th century. The first ones were basically typographic in nature. Other reproduction techniques like lithography and commercial chromolithography are associated with this period in the production of material for the tobacco industry, especially all the decorations accompanying cigars. These have been recognized worldwide for their design beauty DEC 2016 76

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and superb technical quality. Typical typographic posters rely principally on the text and so visual elements are reduced to vignettes or illustrations taken from catalogues. Even though very few examples have survived to our day, a 1910 ad for kerosene just eight years after the proclamation of the Cuban Republic on the heels of the US intervention on the Island allows us to understand the Cuban context at that time. The ad was printed by the West India Oil Refining Company, a company that was established in La Chorrera, then an area on the outskirts of Havana. The ad tells us that orders are to be made at the Teniente Rey St. office in Old Havana. Even though the advertised product is kerosene, its popular name of “brilliant light” is used for publicity purposes, and as a finishing touch the ad makes it obvious that the cans are printed with an identifying elephant image in order to prevent falsifications. The ad is characteristic of the era and it is really somewhat of a historical document. During this period we do not see any of the great esthetic breakthroughs that were occurring in Europe and the United States: all we have to do is mention the Bauhaus Design School, the Art Deco movement and the posters being produced by the Federal Art Project, part of the Work Progress Administration in the US. In Cuba, the most advanced trends in graphic design will be seen in magazines such as Social (1917-1933; 1935-1938), Carteles (1913-1960) and Bohemia, the latter still being published, and in material destined for the tourism industry. From magazines to the countless ephemeral materials such as pamphlets, tickets, postcards and hotel receipts, artists such as Conrado Massaguer, Enrique García Cabrera and Enrique Caravia, just to name a few, availing themselves of the visual codes of Art Deco, fabricated the image of Cuba as a “civilized oasis” for international tourism, especially for American audiences.

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All of these graphic formats use the illustration techniques and photography of some of the esthetic avant-garde movements, but posters did not shake off their descriptive and narrative characteristics. In the case of the oldest movie poster from the year 1915 and preserved in the Cinemateca de Cuba archives, it advertises the film La manigua o La mujer cubana, printed in New York by ACME LITHO using chromolithography. It depicts a view of the Morro Castle, a Cuban flag superimposed in the foreground with a portrait of Independence War General Máximo Gómez. Collections of Cuban posters having examples from this era do not have many pieces, but it is interesting to see that many of them were lithographs and some were printed in the US and in Mexico. Even though by 1910 Cuba was already introducing silkscreen, a technique coming from the US, it is not until the 1940s that artist and printer Eladio Rivadulla popularizes the technique in order to reproduce movie posters. Eladio Rivadulla was one of the most prolific poster designers in Cuba. His work was influenced by the taste of posters being turned out in Mexico and Hollywood and his creations emphasize realistic depictions of the film stars, putting them into the foreground of the compositions. He also liked to include scenes from the movies or to recreate the plots. Besides designing the posters, Rivadulla also assumed their production in his serigraphic workshop, thereby servicing the different Cuban film distribution companies. With some of the Latin American movie stars, he even depicts just their faces and leaves a blank space for the film’s details to be filled in. Above and beyond producing iconic images, Rivadulla created a visual vocabulary that became an easily recognizable style distinguishing his work within the context of Cuban preRevolutionary posters.

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The Cuban Revolution in 1959 brought with it changes in structure and paradigms in Cuban society. The new political model needed to replace the institutions of the ancien régime and the ways and means of dealing with the art of communicating had to change. Designers, graphic artists and draftsmen from ad agencies were absorbed by the communication departments in the new institutions, commercial advertising disappeared and the emphasis was moved to political, ideological, social and cultural campaigns. While the political posters were produced on offset, a technique ensuring photographic reproduction and turning out huge series, cultural posters were being produced as silkscreen prints, a process that needs more time and results in smaller editions. Unlike the political and social graphic representations which were made available all over the country, cultural posters would have local circulations. Within the context of the new institutions, the Casa de las Américas, the Cuban Institute for Cinematographic Art and Industry and the National Council for Culture were the principal issuers of cultural poster art. A first period between 1959 and 1964 would mark the transition towards a new visual vocabulary. Gradually the codes changed. We moved past descriptive, narrative and, to a certain degree, innocent images to more complex compositions. New revolutionary content required new revolutionary images. In 1970 the bookcatalogue El Arte de la Revolución was published by Pall Mall Press. Preceding the gallery of images, the book’s introductory essay by Susan Sontag declares that Cuban posters are no longer serving commercial purposes, but they are works of art per se with a powerful social conscience. In their multiple copies, they function to socialize the new esthetic principles of the new political system. Similar criteria were brandished by other essayists like Phillip Meggs, Alejo Carpentier, Adelaida de Juan, Nelson Herrera Ysla and, recently, by Sara Vega, Jorge Bermúdez and Flor de Lis López.

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Among the poster artists who established guidelines for the building of this visual vocabulary for Cuban posters, we find Alfredo Rostgaard with his iconic 1967 Canción Protesta, printed in a large format. It would become a revolutionary symbol. Other posters for ICAIC and some for the Organización de Solidaridad con los Pueblos de Asia, Africa y América Latina by Felix Beltrán are also outstanding, managing to reduce the visual element to a minimum in order to have more imposing images which communicate more powerfully. We just need to mention Clik in 1969; Antonio Fernández Reboiro effectively combined the beauty of visual elements with the density of the message. Examples of this are Despegue a las 18:00, El monstruo en primera plana and Moby Dick, but his masterpiece of simplicity and maximum elegance is surely Harakiri of 1964; during the 1970s, René Azcuy and Antonio Pérez (Ñiko) managed to put together high-impact visual images by combining photographs and other design resources in color planes and lines and, in some cases, a scattering of typographical details, in work such as Besos Robados (Azcuy, 1970) or El padrino (Ñiko, 1974). Eduardo Muñoz Bachs stands out for his inclination towards illustration; he is famous for designing the poster for the first ICAIC film in 1960, Historias de la Revolución, and it is one of the first to be done in a large format and in offset. Bachs concentrated on his illustrative style and worked with ICAIC until his death in

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2001, going through several periods in his graphic design, from the free, expressionist period of La vieja dama indigna (1966) and El tren de las 3:10 a Yuma (1969) to illustrations based on caricature and humor as in Vampiros en La Habana (1985) and Semana del diseño gráfico (2001). For some twenty years, from 1980 to 2000, poster production dwindled until it almost totally disappeared. A few random examples exist from that period, almost all of them printed in very small editions but using an experimental and unique style, from La plástica joven se dedica al beisbol (Eduardo Marín, 1989) to aChé (Daniel Cruz, 1997). Posters in this period are experimental in every regard. A new language erected on top of foundations laid by the first revolutionary posters reverberated among the “new generation,” a term coined by a group of graduates from the Higher Institute of Design ready to position themselves as contemporary Cuban poster artists. This “new generation” is led by Pepe Menéndez and includes, among others, Nelson Ponce, Michelle Miyares, Raúl Valdés, Giselle Monzón, Eric Silva, Idania del Río, Roberto Ramos and Edel Rodríguez (Mola). These are artists who took up the reins of cultural poster design at the start of the 21st century and who, since then, have been putting together a solid body of work bringing them national and international recognition. New graphic design graduates have also had considerable success: Alberto Nodarse, Alejandro Fornés, Alejandro Escobar, Gabriel Lara, Carlos Mondeja, Darwin Fornés, Lily Díaz and Gabriela Gutiérrez, just to mention a few. But Cuban posters have been taken off the streets and moved into the galleries and even though designers are producing posters now with relative stability, they have disappeared from public spaces to make their appearance at exhibitions, biennales and cultural events. DEC 2016 81

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With a solid tradition of poster design using unique language, the product of a combination of modernity and contemporaneity, today Cuban posters exist in the social imaginary rather than in reality. Cleansing forms and creating a language, the rich visual vocabulary must still pass the litmus test set by the public once the socialization space reinserts the poster as a renewed evocative art form, to take its place in the beauty of the everyday.

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YOUNG CUBAN JAZZ:

the legend lives on by Ricardo Alberto Pérez I think of myself as one of the faithful, one of those veteran fans of Cuban or Latin Jazz. I’ve been very lucky to have been able to see close up some of the phenomenal artists in the 1980s who increased the stature of this musical genre on the Island and presented its image on an international scale, as if by magic. I’d like to refer to four events that stand out for their virtuosity, intensity, fantasy and originality: Chucho Valdés and Irakere; Gonzalo Rubalcaba and Proyecto; Arturo Sandoval and his band; and the fabulous Emiliano Salvador and his group. Arturo held his peña on a regular basis at the Sala Atril of the Karl Marx Theater and the others used to perform all around the city making sure that by the end of the 1980s, Havana had become a sort of unusual jazz laboratory, something that had never before happened in any musical genre.

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Many of us thought (and we still think) that those Cuban jazz stars set the bar very high, not only for the brilliance of their performances but especially for the authentic sounds they were able to create under a veritable rainstorm of influences. Their contributions were long-lasting and they opened up the path for future generations. I’d like to comment on how the newest of Cuba’s jazz musicians have interpreted those paths and who those people who have taken off on this new musical adventure are. When the first edition of JoJazz (the competition for young jazz musicians) appeared in 1998, the doors flew open for brand new improvisational talents to demonstrate their possibilities and take us into a future full of complexities and conquests. If we make a review of the eighteen editions that have followed that unique event, we’ll find a surprising result. A fairly high percentage of the musicians producing the newest jazz in Cuba today were winners in that competition and many of them have also sat on the juries. This is a generation that has very distinctive traits. I’d like to focus on three of them. First is the speed with which they have matured and become established artists. The second trait has to do with their free-wheeling capacity to take on new sounds within the genre, especially when they use fusion to multiply the sense of universality on the basis of something that is distinctly Cuban. The third trait is associated with the spirit of camaraderie that bonds them together and turns every concert into a propitious interchange among talented virtuosos. In this new batch of impressive jazz musicians produced in Cuba in the last ten years we find Jorge Luis Pacheco, Harold López-Nussa, Michel Herrera, Ariel Brínguez, Emir Santa Cruz, Janio Abreu, Miguel Ángel de Armas, Alejandro Falcón, Alexis Bosch and Rolando Luna.

Michel Herrera photo by Eduardo Rawdriguez

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At this point I’d like to comment on the special case of Zule Guerra, the true lady of jazz. Only twenty-seven years old, she has already won her first Jojazz and the Gold Medal at the International Baltic Stage Arts Festival in Latvia. She is also the leader of the Blues Habana band. Her main gift lies in being able to transform her voice into a thousand instruments, mixing funk, a dash of electronic music, Blues and Latin American sounds, all poured over a base of Cuban music. What results is a sort of mélange identified as NuJazz. Also, most of the instrumentalists I have mentioned compose their own music, something that gives them a higher level of comfort in their performances. You can also often see how indebted they are to dance music. One thing is certain. Whoever lives in or visits Havana these days will always be able to find some night spot where they can enjoy the excellence of these artists. They represent the future and are an important part of Cuban jazz today.

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DECEMBER 17, Pilgrimage to Rincón for the feast of San Lázaro DEC 2016 86

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By Victoria Alcalá This is another side of Cuba far away from tropical beaches, vintage cars and Tropicana dancers. The Pilgrimage to Rincón for the feast of San Lázaro every December 17 is a reminder of the fusion of Afro Cuban Santeria with the Catholic Church. This is based on the Lazarus parable in Luke 16:19-31 and combined with Babalú-Ayé, a deity of the Yoruba pantheon. There is an intensity and devotion apparent in many of the pilgrims, which makes any visit a deeply moving one and gives visitors an insight into this part of the Cuban psyche. In mid-December, come rain or shine or cold weather, the largest religious pilgrimage in Cuba takes place in celebration of the Catholic feast of St. Lazarus. On December 17, thousands upon thousands of people from various parts of Cuba go out of their way to visit the church of the leper colony located in the town of Rincón, about 25 miles south of Havana. Paradoxically, these people do not make the pilgrimage out of devotion to the saint that is recognized by the Catholic Church—Lazarus, resurrected by Jesus Christ and later Bishop of Marseilles, whose skin was cruelly lacerated before being decapitated on December 17, 72 AD—but to a Lazarus who is the result of the curious combination of the sick beggar of the parable in Luke 16:19-31, whose sores were licked by dogs, and Babalú-Ayé, a deity of the Yoruba pantheon, orisha of smallpox, leprosy, venereal diseases and skin, syncretized with the St. Lazarus of the Catholic Church.

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Because of this unorthodox mix, another curious phenomenon occurs: it is not the image that presides the altar of the church— Lazarus, Bishop of Marseille—whom the pilgrims pay respect to, but to another image situated to the left of the high altar, which the Church considers the same saint, but which popular tradition identifies with the Syncretic Lazarus, the one in crutches accompanied by a dog. This is the “Saint” Lazarus (a result of the diffuse religiosity that characterizes the average Cuban) to whom the faithful make offerings and sacrifices as a token of gratitude. And because in the collective imaginary “old Lazarus collects his due,” no one dares to break their word. The long journey to Rincón begins on December 15 and 16. Many people use some sort of transportation to go as far as the town of Santiago de Las Vegas and walk a few kilometers to the church; others walk all the way from their homes to the leprosarium. Some come barefooted, or on their knees, or wearing clothes made of jute sack, or towing heavy objects such as large rocks, cement blocks, lead ingots and even cannon balls. Of course, you’ll always find the ones who go there out of curiosity or merchants who set up flash businesses and sell fast foods, beverages, flowers or candles. But what prevails in the majority is gratitude for favors received or the faith that their prayers will be heard. So, after the initial shock one experiences at the many forms of self-punishment, what follows is simple and plain compassion.

DEC 2016 88

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The old man who drags his feet as he walks along the rough road makes one inevitably assume that he has a seriously ill grandson. The woman that leaves a trail of blood from her knees probably has a child in danger. No wonder when Pope John Paul II visited Cuba in 1998 and expressed his wish to have “an encounter with pain,” the place chosen was Rincón, the lazaretto in Havana that is home to the most serious cases of leprosy and where every December 17 tears, flowers, candles and many other offerings bear witness to the pilgrim’s faith. Leprosy For many Cubans, Rincón is associated with dismal images related to leprosy. The presence in this town of people affected with the illness dates back to 1917 when the hospital, which treated the sick since the 18th century, was transferred to this territory in the outskirts of Havana, and consequently, expanded. Today, leprosy is no longer a health problem in Cuba as the number of people infected with this disease is very small. In 1962, the leprosarium became the Specialist Dermatology Hospital which serves all other skin diseases, such as psoriasis, lupus erythematosus, chronicle or acute dermatitis. The few cases of leprosy which have been identified are treated as outpatients.

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THE CRAZIEST CHRISTMAS EVE PARTY Christmas in San Juan de los Remedios: Silent Night?

DEC 2016 90

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In countries of Christian tradition, the 24th of December—Nochebuena or Christmas Eve—is associated with retirement, intimate family dinners, and Christmas carols. That was probably the case in the town of Remedios until the 1820s when the young priest Francisco Vigil de Quiñones, affectionately called Franscisquito by his congregation, came up with the idea of getting together a group of children and teenagers to make noise with horns, maracas, plowshares and tins full of rocks to waken parishioners who were seemingly reluctant to get up from their warm beds in the cold mornings of the last month of the year to attend a series of masses, which began on the 16th and ended on the 24th of December with Midnight Mass, called in Spanish-speaking countries Misa del gallo (literally, Rooster Mass). This would be the first step towards what would later become one of the most popular festivities in Cuba, the parrandas de Remedios. Founded in 1514 and the eighth Spanish settlement in Cuba after the discovery, Remedios is a small town in the central region of Cuba which first received the name of Santa Cruz de la Sabana and was later called San Juan de los Remedios del Cayo by the infamous Spanish conqueror Vasco Porcallo de Figueroa, better known for his extreme cruelty and unbridled genetic impulse, believed to have procreated around one hundred children with aboriginal women. Although in 1835 a decree was issued forbidding the noisy manifestations before 4am, the merry ‘alarm clocks’ continued going around the streets with their pandemoniac ‘orchestra’ now composed of horns, grilles, horses’ jawbones, rattles, güiros (the globe-shaped, hard-shelled fruit of a Cuban tree) and harmonicas. Around 1850, new additions included singers, guitars, mandolins, harps, congas, claves and an instrument that was used exclusively in parrandas, the ‘atambora’—a small barrel-shaped drum covered with the tanned hide of a goat. More changes were made over time leading to the celebration’s present-day musical forms: the peals, with which the ‘parranderos’ make the rounds of the town’s neighbourhoods; polkas composed more than a century ago and which are heard when the ‘trabajos de plaza’—art work exhibited in the plaza—are lit and the floats begin their parade; and the rumbas, which may be a ‘challenge rumba’ that is improvised under the lights of the firework display above, or a ‘victory rumba’ by which a neighbourhood ensures that its fireworks, floats and plaza art work are the best. DEC 2016 91

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During the mid 19th century, the eight neighbourhoods in which the town was divided formed two rival groups, El Carmen and San Salvador, each with its own musical clan. However, the competitive character that still survives in today’s parrandas goes back to 1871 when also large lanterns made of India paper were shown off and kite competitions were held. Four years later, chariots—considered the antecedent of today’s floats—would parade down the streets, and towers, triumphal arcs, and other ingenious handicrafts that would later become the ‘trabajos de plaza’, would be exhibited at the Plaza de Armas Isabel II, which together with the fireworks have characterized this festivity since then. This popular celebration has extended to nearby cities such as Camajuaní, Vueltas, Caibarién, Guayos and Encrucijada, as well as to other towns of the North-central region of Cuba, whose Christmas celebrations have characteristics akin to those of Remedios, while researchers have found similarities with other Spanish celebrations, such as the Fallas in Valencia. With very rare interruptions, year after year, the people from Remedios feverishly get ready to ensure a successful celebration: several months are spent in the manufacture of rockets, Roman candles, Bengal lights, pinwheels, sparklers and other fireworks. Skilled craftsmen and craftswomen design and build the floats and the ‘trabajos de plaza’ based on historic, literary and mythological themes, although sometimes the works are purely abstract shapes where light and colour play a fundamental role. All this is done in strictest secrecy to be revealed only on the opening night of the parrandas. This creativity is preserved in the Museo de las Parrandas (Calle Máximo Gómez número 71, open Tuesday-Saturday, 9:00am-noon and 1:00pm-6:00pm; Sunday 9:00am-1:00pm), which first opened its doors in 1980 becoming the first museum in Cuba dedicated to popular art. Its collections include gadgets, documents and photographs related to the parrandas.

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When at ten o’clock in the evening the church bells begin to ring announcing the start of the festivity, the night sky glows with fireworks for several hours; music from different bands can be heard and danced to; the stunning plaza works are lit with oohs and ahs coming from the crowds; the floats, the result of many hours of work put in by carpenters, electricians, designers, dressmakers and dozens of workmen, begin their triumphal parade, while the carmelitas—from the Carmen neighbourhood—and the sansaríes—from San Salvador—travel down the centenary streets singing and dancing to the rhythm of the victory rumba, because in this competition, devoid of judges and juries, everyone’s a winner. Towards morning, at the same hour when sleepy remedianos of two centuries ago were roused from their sleep to the sound of horns and grilles, the visitors, having removed the hats which are advisable to wear as a protection against the fireworks, head to the small yet elegant and discreetly colonial Mascotte Hotel whose ten rooms are usually booked in advance, or to the private homes where they are staying, while the exhausted residents of El Carmen and San Salvador begin to envisage next year’s parrandas. DEC 2016 93

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Christmas and New Year’s Eve in Cuba By Margaret Atkins

DEC 2016 94

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December is a special month in Cuba as throughout the Western world. Early in the month, people begin to get ready for the holidays. Homes, shops, hotels, restaurants and other public or private entities are decorated with lights and Christmas trees that survive at least until January 6, when the Three Wise Men of the East come riding on camelback bringing gifts for the children who have behaved well throughout the year. The gift-bearing Three Wise Men is a tradition in Spanish Catholicism that is deeply-rooted in Cuba, much more than the super-hyped Santa Claus. Despite the cultural influence of the United States upon the island—particularly strong during the first half of the 20th century and which has remained to this day through music, movies and TV, as well as Xmas ornaments sold around this time of year— the white-bearded and red-suited Santa clearly loses the battle against the Three Kings of the Orient who paid homage and brought gifts to the newborn Christ child in the manger in Bethlehem, a scene that is repeated in every Catholic church in the world around this time of the year. In recent times, however, old jolly St. Nick is increasingly growing in popularity among many Cuban children who receive gifts both on Christmas and on Epiphany to their benefit but at the expense of their parents, who pay the price of this cultural amalgamation that characterizes Cuba. Prior to 1959 and in the early years of the Revolution, some households followed the custom of cleaning the floor of their homes with a special kind of green-colored sawdust so that the Magi would find everything spic-and-span, and set out food and water for the camels. The children followed the custom, just like nowadays, of writing letters specifying their requests and thanking the Wise Men for what they would receive. For most kids, this belief would last throughout their infancy until the rumor that “the Magi are mom and dad” would start to spread. The older kids in the know would then become their parents’ accomplices in hiding this fact from the small ones. DEC 2016 95

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With the radicalization of the Revolution, Cuba officially became an atheist nation in 1962, although the Christmas holiday continued to be celebrated until 1969. The Magi slowly began to be consigned to oblivion as well as the festivities that surrounded the Nativity of Jesus Christ. There was no place for Christmas trees, ornaments or lights. Moreover, Catholic Churches were practically deserted on Christmas Eve during the celebration of Midnight Mass. Although “Nochebuena” was dropped from the Cuban calendar of holidays in 1969, many families continued to come together on Christmas Eve for the traditional meal of roast pork, rice and black beans, boiled cassava in garlic sauce and a large salad of tomatoes, lettuce, cabbage, radishes and whatever vegetables could be found at markets. Dinner would be topped off with classical desserts such as buñuelos, a kind of cassava fritter shaped into the form of a number eight and served with anise syrup. In the early 1980s, apples, mostly from Bulgaria and the Soviet Union, could be bought at subsidized prices. The disintegration of the Socialist Bloc brought about an extremely harsh period for the nation and its people during the 90s. Foodstuffs were severely reduced and this, of course, was reflected on the Christmas dinner. The visit of Pope John Paul II was a landmark in the religious openness that was already taking place on the island. In 1997, the government declared Christmas a holiday in honor of the Pope’s upcoming visit in 1998. The following year, December 25 was officially declared as a national holiday. Today, practically everybody in Cuba, whether Christians, atheists, Catholics or believers of Afro-Cuban religions, celebrate Christmas Eve and New Year as a way for reconnecting with family and friends in a usually intimate climate. DEC 2016 96

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In the late 19th century, a number of cultural and recreational associations were created. These “Sociedades” were divided according to the color of the skin. On December 31, these centers would organize balls and dinners allowing the attendance of children on that sole occasion. On that day, and only on that day¸ the Sociedades admitted people of different races, and whites, blacks and mulattos could be seen dancing and reveling together as equals. Many years later, this same spirit of equality and sharing inspired collective dinners in different urban communities, in which food was provided by the neighbors who together welcomed the New Year, congratulating and wishing each other the best in the coming year, and eating 12 grapes as a symbol of each month. In the early years of the Revolution, collective dinners were organized on New Year’s Eve, the most famous being the Giant Dinners at the Plaza de la Revolución. Traditions remain but the way they are celebrated change with the passage of time. Today, many people prefer to celebrate New Year’s Eve at a restaurant or a nightclub in which special dinners are prepared and enjoyed along with a show. Most Cubans, however, continue to prefer to celebrate the New Year at home with pretty much the same dinner as for Christmas, except that chicken or turkey may substitute the omnipresent pork. Diehard Cubans, though, can’t conceive this day without a slice— or two or three—of their favorite meat. Beer, red wine and rum are the favorite drinks, while a sparkling wine is reserved for the toasts at midnight. If there isn’t a party going, then families will sit down in front of the TV to see the special shows, which are mostly musical or humorous. At 12, the official ceremony with the 12-gun salute is broadcast live from the Cabaña Fortress.

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Many Cubans follow the custom of throwing a bucketful of water out into the street at midnight as a kind of exorcism, in which the bad things from the year gone by are expelled letting in the good things that the New Year may bring. Another custom that has become increasingly popular is walking around the block with a suitcase waving goodbye to their neighbors, in the hope that this farce will actually come true and ensure them a trip abroad. On January 1, the streets are deserted and silent. This day is also the Anniversary of the Triumph of the Revolution. Almost everyone rests on this day after all the partying the day before, but it is not unusual to hold a party that night because January 2 is also a holiday. If you happen to be visiting Cuba around the Christmas holidays, try to spend Nochebuena, or New Year’s Eve, with a Cuban family. There you will become acquainted with the warmth and hospitality of the inhabitants of the largest island in the Caribbean. DEC 2016 98

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HAVANA LISTINGS VISUAL ARTS PHOTOGRAPHY DANCE MUSIC THEATRE FOR KIDS EVENTS

HAVANA GUIDE FEATURES RESTAURANTS BARS & CLUBS LIVE MUSIC HOTELS PRIVATE ACCOMMODATION

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VISUAL ARTS

FÁBRICA DE ARTE CUBANO

NOVEMBER- DECEMBER

Living Spaces Today is a collection of housing works and projects by German, Austrian and Swiss architects. Filigrana hoy, show of contemporary Portuguese jewelry. Expedición 8 + brings together artists with similar approaches to art: William Acosta, Michal Černušák, Viktor Frešo, Ašot Haas, Katarína Jančeková Walshe, Tomáš Klepoch, Antoine Mena, Osmeivy Ortega, Vladimír Ossif, Lisandra Ramírez, V.A.E, Ján Vasilko and Erik Vinder.

MUSEO NACIONAL DE BELLAS ARTES. EDIFICIO DE ARTE CUBANO

THROUGH JANUARY 16, 2017

Las cosas como son, solo show by Glexis Novoa, specially conceived for the institution, exhibits large-scale paintings recently made in Havana, and graphite drawings of wall fragments, presented under a novel sculptural perspective.

BIBLIOTECA PÚBLICA RUBÉN MARTÍNEZ VILLENA

THROUGHOUT DECEMBER

CASA JUAN GUALBERTO GÓMEZ

THROUGHOUT DECEMBER

Al rescate del grupo Espacio 1965-1972, dedicated to the work of Yonny Ibáñez Gómez, will exhibit the faces of young painters of the Espacio group, which he was a member of , along with paintings from some members of this group of Cuban visual arts.

GALERÍA LA ACACIA

THROUGH DECEMBER 12

Óxido, solo show by Lorena Gutiérrez Camejo.

FACTORÍA HABANA

THROUGH DECEMBER 15

Varios segundos sin pestañar, by Nelson Jalil, will present small and large format pieces, along with objects that have served as inspiration to the artist for his most recent work, which is marked by a sense of abandonment and annulment expressed by representing everyday elements.

CENTRO HISPANO AMERICANO DE CULTURA

OPENS DECEMBER 9

Bienal de Cerámica, organized by the Museo Nacional de la Cerámica Contemporánea Cubana. As part nof the program, the publich will be able to see the show Cerigami. El patio de mi casa, by Ioán Carratalá, who transfers ceramics material to the use of the origami language.

El silencio de Duchamp includes performance art, installations, video art and sculptures by important Cuban artists, such as Iván and Yoan Capote, Ariamna Contino, Humberto Díaz and Sandra Ramos, who focus on silence in history.

CASTILLO DE LA REAL FUERZA

THROUGH DECEMBER 17

Huellas sobre la ciudad, by painter Ileana Mulet, occupies the railings and the temporary exhibition hall of the old castle, in a loving tribute to Havana.

photos by Alex Mene Museo Nacional de Bellas Artes. Edificio de Arte Cubano

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CENTRO DE ARTE CONTEMPORÁNEO WIFREDO LAM THROUGH JANUARY 2017

Muestra personal de Jannis Kounellis. This exhibition by Jannis Kounellis, founder, along with Michelangelo Pistoletto, of Arte Povera in Italy, and whose work incorporates objects and everyday materials (animals, plants, carbon, rocks, steel sheets, wool, pieces of appliquéd textile folk art fire, smoke) to refer to the course of life and its transitory condition.

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CASA DE LA OBRA PÍA

THROUGH DECEMBER 22

Anita Guerra. Mi Cuba, la mia Italia: rivivere il passato, vivere il presente, exhibits pieces by the Italian-Cuban artist who focuses on memories from her childhood mixing nostalgia and reality in three sections: “Mosaico,” composed by oil paintings on carton covered with cloth; “Entre el sueño y la realidad,” using panels covered by mesh that is hand embroidered with cotton thread; and a collection of documents and photographs of houses built by the artist’s father, architect Juan Ignacio Guerra.

CASA 26

THROUGH DECEMBER 13

Frecuencia y tiempo, by Yonlay Cabrera, is based essentially on the use of continuous phenomena whose state vary at time intervals.

THROUGH DECEMBER 17

La mirada de los doce, group show by Miguel Adrover, José Ariel Alonso, José Balboa, Damien Barroso, Alain Cabrera, Lisandra Isabel García, Yuri Romero, Yamel Santana, Titina, Yoxi Velázquez, Yudit Vidal Faife and Ahiron Villalobos.

CENTRO DE ARTE CONTINUA

THROUGHOUT DECEMBER

Exposición de Anish Kapoor. This Indian-British artist is considered one of the most significant creators of the contemporary international circuit, whose work is characterized by its monumental dimensions, his manipulation of space and the capacity of reinvention. He created several pieces which, conceived especially for the space of the Center, explore the relation between what is empty and what is full.

GALERÍA ORÍGENES

THROUGH DECEMBER 18

Levitación, solo show by Moisés Finalé, one of the outstanding figures of the generation of the Cuban 1980s, which brings colossal fabrics, acrylics, sequins, metals, and an explosion of red, yellow, black and white.

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HOTEL PARQUE CENTRAL

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HOTEL PARQUE CENTRAL

THROUGH DECEMBER 18 DE DICIEMBRE

Dibujo de dos… includes works by Onay Rosquet, who approaches the existence, needs and aspirations of his fellow countrymen, and by Bryan Romero, who uses strokes, , el dripping and shadows to achieve in the viewer a distancing of what is represented.

GRAN TEATRO DE LA HABANA ALICIA ALONSO

THROUGH DECEMBER 31

Fuerza y sangre. Imaginarios de la bandera en el arte cubano exhibits 160 pieces on various mediums and different trends, esthetics and manifestations (painting, sculpture, installation, printmaking, drawing, photography…), by 124 Cuban artists who have repeatedly or occasionally used the Cuban flag in their work. Artists like Raúl Martínez, Nelson Domínguez, Roberto Fabelo, Manuel Mendive, René Francisco, Raúl Corrales and Osvaldo Salas are joined by the younger representatives of the national artistic vanguard in this singular tribute to our flag.

MUSEO DE ARTE SACRO BASÍLICA MENOR Y CONVENTO DE SAN FRANCISCO DE ASÍS

THROUGHOUT DECEMBER

Acerca de la eternidad, el infinito y todo lo demás, which opened as part of the activities of the World Countertenor Festival, the exhibition will include photographs and abstract engravings by around 490 artists, including Roberto Abascal, Raúl Cañibano, Arien Chang, Nelson Domínguez, Dagoberto Jacquinet, Rigoberto Mena, Ángel Ramírez, Eduardo Roca (Choco), Rubén Rodríguez and Lesbia Vent Dumois.

UNIÓN NACIONAL DE ARQUITECTOS E INGENIEROS DE LA CONSTRUCCIÓN DE CUBA

THROUGHOUT DECEMBER

Nido sin árbol pays tribute to the architect and exceptional draftsman Francisco Bedoya, who had an early death, and to Cuban architecture in general, with works especially conceived by Alejandro Campins, Celia y Yunior, Elizabet Cerviño, Susana Pilar Delahante Matienzo, Leandro Feal, Carlos Garaicoa, Osvaldo González Aguiar, Luis Enrique López-Chávez, Yornel Martínez, José Manuel Mesías, Reynier Leyva Novo and José Yaque, as well as drawings from the series Habana desparecida by Bedoya, which were collected in the book of the same name, published by Ediciones Boloña, of the Office of the City Historian. DEC 2016 102

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FOTOTECA DE CUBA THROUGH DECEMBER 11

Composiciones & De-composiciones, two-person exhibition by photographers Aliocha Boi and Adrien Brunel.

FÁBRICA DE ARTE CUBANO THROUGH DECEMBER 14

Lo impropio, with pictures by Reiner Ande, Ivan Capote, Yoan Capote, Humberto Díaz, Adonis Flores, Aymeé García, Jeff, Lyudmila y Nelson, Alién Maleta, Octavio Marín, Osi Milán, Carlos Montes de Oca, Marienela Orozco, René Peña, Susana Pilar, Mabel Poblet, Carlos Quintana, Jennifer Rico, Fernando Rodríguez, Enrique Rottemberg, Meira Toirac, VAE and Ronald Vil.

GALERÍA ARTIS 718 THROUGH DECEMBER 12

Crimen perfecto, by the young artist Linet Sánchez, winner of the first prize of the third edition of the Post-it competition, who will present her most recent work: a photographic series in which she continues to deal with concepts such an emptiness and the relation between illusion and reality.

CASA VICTOR HUGO THROUGH DECEMBER 16

In Situ en la Ópera de París, by Pierre-Elie de Pibrac, offers a selection of photos that illustrate the life behind the scenes of dancers, among other topics.

GALERÍA CARMEN MONTILLA THROUGH DECEMBER 5 photos by Huberto Valera Jr.

PHOTO GRAPHY

Mantua, Cuba, by Paolo Simonazzi, focuses on the municipality of Mantua in Pinar del Río Province.

SALA DE LA DIVERSIDAD DE LA SOCIEDAD CIVIL PATRIMONIO, COMUNIDAD Y MEDIO AMBIENTE OPENS DECEMBER 16

Fe, by Cuban photographer Juan Manuel Cruz del Cueto, shows the artist’s interest in the cultural roots and imprint of popular traditions present in the procession to the National San Lázaro Sanctuary.

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DANCE ACOSTA DANZA

DECEMBER 7-10, 8:30PM; DECEMBER 11, 5PM GRAN TEATRO DE LA HABANA ALICIA ALONSO

Autumn program of Acosta Danza with the world premieres of Hokiri, by Mickael Marso, andBabbel 2.0, by María Rovira; the premiere in Cuba of Derrumbe, by Miguel Altunaga, and the rerun of Faun, by Sidi Larbi Cherkaoui. The second part of the program includes Tocororo suite, a group of dances from Carlos Acosta’s Tocororo, a Cuban Fable.

MALPASO COMPANY

DECEMBER 9-10, 8:30PM; DECEMBER 11, 5PM TEATRO MARTÍ

Malpaso Company, one of the most renovating projects in today’s Cuban dance scene, has announced a program of premieres with choreographies by its director, dancer Osnel Delgado

1...2...3... TODOS A ESCENA

DECEMBER 9-10, 8:30PM; DECEMBER 11, 5PM SALA AVELLANEDA. TEATRO NACIONAL

Performances by the popular Lizt Alfonso Spanish Dance Company.

ESTO NO TIENE NOMBRE

DECEMBER 10, 5PM CENTRO HISPANO AMERICANO DE CULTURA

Show by the Joel Zamora Flamenco Company from the city of Cienfuegos.

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lahabana. com The contemporary fusion and electronic music scene has expanded recently as new bars and clubs have opened party promoters have organized events in parks and public spaces. Good live music venues include Bertolt Brecht (Wednesdays: Interactivo, El Sauce (check out the Sunday afternoon Máquina de la Melancolía) and Fábrica de Arte Cubano which has concerts most nights Thursday through Sunday as well as impromptu smaller performances inside. In Havana’s burgeoning entertainment district along First Avenue from the Karl Marx theatre to the aquarium you are spoilt for choice with the always popular Don Cangrejo featuring good live music with artists of the likes of Kelvis Ochoa, David Torrens, Interactivo, Diana Fuentes, Descemer Bueno, David Blanco, just to name a few, Las Piedras (insanely busy from 3am) and El Palio and Melem bar— both featuring different singers and acts in smaller more intimate venues. BALNEARIO UNIVERSITARIO EL CORAL

FRIDAYS & SATURDAYS / 1PM-1AM Electronic music with rapping, DJing, Vjing, Dj-producers, breakdancing and graffiti writing, among other urban art expressions. CAFÉ CONCERT EL SAUCE

EN GUAYABERA

SUNDAYS / 5PM Discotemba BARBARM PEPITO’S BAR

SATURDAYS / 6PM Milada Milet

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MUSIC CONTEMPORARY FUSION

HAVANA HARD ROCK

EVERY OTHER FRIDAY / 6PM Soul Train, a show of soul music SATURDAYS & SUNDAYS / 6PM Rock cover bands

SUNDAYS / 5PM La Máquina de la Melancolía, with Frank Delgado and Luis Alberto García CASA DE LA AMISTAD

SUNDAYS / 9PM Rock ’n’ Roll with Vieja Escuela. DIABLO TUN TUN

SATURDAYS / 11PM Gens BAR RESTAURANTE FABIO

SATURDAYS / 10:30PM Tesis de Menta JARDINES DE LA TROPICAL.

SATURDAYS / 9PM Sarao Audiovisual Project DEC 2016 105

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CASA DE LA MÚSICA DE MIRAMAR

CASA DE LA MÚSICA HABANA

ALL DAYS Popular dance music 5 PM, 11 PM

ALL DAYS 5 PM, 11 PM

Popular dance music

MONDAYS 11 PM

Sur Caribe

TUESDAYS 5 PM

Casino

FRIDAYS 11 PM

NG La Banda

WEDNESDAYS 11 PM

NG La Banda

SATURDAYS Lazarito Valdés y 5 PM

Bamboleo

CABARET PICO BLANCO. HOTEL SAINT JOHN’S

WEDNESDAYS / 10PM Popular dance music (Vacilón) CAFÉ CANTANTE. TEATRO NACIONAL

MONDAYS / 11PM Popular dance music THURSDAYS / 5PM Popular dance music CASA DE 18

FRIDAYS / 8:30PM Iván y Fiebre Latina SATURDAYS / 8PM Ahí Namá

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SALSA TIMBA TERCERA Y 8

WEDNESDAYS / 11PM Alain Daniel DIABLO TUNTÚN

THURSDAYS / 11PM Popular dance music (NG La Banda) SATURDAYS / 9PM Popular dance music (Manana Club) JARDINES DEL 1830

FRIDAYS / 10PM Azúcar Negra SUNDAYS / 10PM Grupo Moncada DEC 2016 106

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MUSIC

Jazz Café

Café Jazz Miramar

Mellow, sophisticated and freezing due to extreme air conditioning, the Jazz Café is not only an excellent place to hear some of Cuba’s top jazz musicians, but the open-plan design also provides for a good bar atmosphere if you want to chat. Less intimate than La Zorra y el Cuervo – located opposite Melia Cohiba Hotel.

SHOWS: 11 PM - 2AM

UNEAC DECEMBER 21 La Esquina del Jazz, hosted by 5 PM

showman Bobby Carcassés

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This new jazz club has quickly established itself as one of the very best places to hear some of Cuba’s best musicians jamming. Forget about smoke filled lounges, this is clean, bright—take the fags outside. While it is difficult to get the exact schedule and in any case expect a high level of improvisation when it is good it is very good. A full house is something of a mixed house since on occasion you will feel like holding up your own silence please sign! Nonetheless it gets the thumbs up from us.

CAFÉ MIRAMAR DECEMBER 14 Havana in the Grand Manner, with 10 PM

Tamara Castañeda (vibraphonist), Oliver Valdés (percussionist), Jorge Reyes (contrabass player), Jorge Luis Chicoy (guitarist) and Ernán López-Nussa (pianist), and guests singers Daymé Arocena and Kelvis Ochoa.

CASA DEL ALBA CULTURAL DECEMBER 10 Ruy López-Nussa y La 8 PM

Academia

JAZZ

ASOCIACIÓN CUBANA DE DERECHOS DE AUTOR MUSICAL DECEMBER 21 Alexis Bosch (pianist) and 6PM

Proyecto Jazz Cubano

SALA COVARRUBIAS. TEATRO NACIONAL DECEMBER 14, 17 & 18 5PM

Jazz Plaza

CENTRO HISPANO AMERICANO DE CULTURA DECEMBER 14 Alejandro Calzadilla (clarinetist), 5PM

and Yoandy Argudín (trombonist), and guest musicians. DEC 2016 107

MUSIC BOLERO,

FOLKLORE, SON AND TROVA

CASA DE 18

WEDNESDAYS / 8PM

Héctor Téllez

THURSDAYS / 8PM

José Valladares

SUNDAYS / 8PM

Leidis Díaz

CAFÉ CANTANTE, TEATRO NACIONAL

MONDAYS / 5PM Proyecto Lírico CASA MEMORIAL SALVADOR ALLENDE

DECEMBER 30 / 6PM

CABARET EL TURQUINO. HOTEL HABANA LIBRE

FRIDAYS / 11PM

Mónica Mesa

EL JELENGUE DE AREÍTO

TUESDAYS / 5PM Conjunto Chappottín WEDNESDAYS / 5PM

Trova

THURSDAYS / 5PM

Conjunto Arsenio Rodríguez

FRIDAYS / 5PM

Rumberos de Cuba

SUNDAYS / 5PM

Rumba

GATO TUERTO

FRIDAYS / 5PM

La Hora Infiel, with music, visual arts, literature and more.

FRIDAYS / 9PM

Osdalgia

THURSDAYS / 4PM

Trova with Frank Martínez

SUNDAYS / 6PM

Singer Leidis Díaz

HOTEL TELÉGRAFO

FRIDAYS / 9:30PMPM Ivette Cepeda

CLUB AMANECER

FRIDAYS / 5PM Conjunto de Arsenio Rodríguez DELIRIO HABANERO

SATURDAYS / 10PM Sonyku DIABLO TUN TUN

SUNDAYS / 8PM

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CENTRO CULTURAL FRESA Y CHOCOLATE

Ángel Quintero and guests CASONA DE LÍNEA

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ASOCIACIÓN YORUBA DE CUBA

FRIDAYS / 8:30PM Obbiní Batá (folkloric group) HOTEL NACIONAL DE CUBA

SATURDAYS / 7PM

CASA DE LA AMISTAD

SATURDAYS / 9PM Roberto Javier PABELLÓN CUBA

FRIDAYS / 4PM

Los Indómitos

Trovador Silvio Alejandro.

THURSDAYS / 5PM Trova with Ray Fernández

Trova HURÓN AZUL, UNEAC DOS GARDENIAS

WEDNESDAYS / 10PM

SATURDAYS / 9PM Bolero Night

LE SELECT

FRIDAYS / Grupo Moncada 9:30PM

CASA DE ÁFRICA

DECEMBER 10 / 3PM Obbiní Batá (folkloric group)

Haila María Mompié DEC 2016 108

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CLASSICAL MUSIC BASÍLICA MENOR DE SAN FRANCISCO DE ASÍS DECEMBER 3 6PM

Works by Robert Schumann, Max Reger and cuban composer Félix Guerrero, with the performance of the D’ Accord Duet, made up by Marita Rodríguez (piano) and Vicente Monterrey (clarinet), and guest soprano Alioska Jiménez.

DECEMBER 15, 6PM

Recital by the Arsis saxophone quintet.

DECEMBER 17, 6PM

Concert by the Camerata Romeu.

DECEMBER 23, 6PM

Concert by the Música Eterna chamber orchestra, and violinists Arnold Steinhardt (US) and Ilmar López-Gavilán (Cuba).

CASA DEL ALBA DECEMBER 4 5PM

En Confluencia, dedicated to guitar.

DECEMBER 11 5PM

Young Composers.

DECEMBER 18 5PM

De Nuestra América.

DECEMBER 25 5PM

Seis por Derecho, with guitarist Bárbara Milián and guests

CASA VICTOR HUGO DECEMBER 14 5PM

Concert by Maya Beiser (violoncello) in coordination with the National Laboratory of Electroacoustic Music.

SALA COVARRUBIAS. TEATRO NACIONAL SUNDAYS Concerts by the National Symphony Orchestra. 11AM

IGLESIA DE PAULA DECEMBER 9 7PM

Works by Carl Philipp Emanuel Bach, Justin Heinrich Knecht and Michael Gotthard Fischer, performed by organists Moisés Santiesteban, Gabriela Rojas and Karen Hernández. DECEMBER 16 The Vocal Luna women’s ensemble will perform works by 7PM female composer from different eras and countries. DECEMBER 23 7PM

Christmas concert by the Ars Longa early Music Ensemble with works from the Codex Baltasar Martínez-Compañón, the Songbook from the Oaxaca Cathedral, the Coimbra Manuscript and music from Afro-Cuban traditions.

TEATRO MARTÍ 14 DE DICIEMBRE 8:30PM

Recital by pianista and composer Aldo López-Gavilán and his trio.

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THEATRE

Playback

El diccionario

Ivona, Princess of Burgundia

TEATRO KARL MARX

ESPACIO IRREVERENTE

DECEMBER 22, 4PM LICEO ARTÍSTICO LITERARIO DE LA HABANA

PRODUCTION: EVA GONZÁLEZ NOVEMBER-DECEMBER, SUNDAYS AND MONDAYS, 7PM

TEATRO EL PÚBLICO / PRODUCTION: CARLOS DÍAZ

Theatrical performance of the Gigantería Group, the stilt walkers who dance all around the streets of Old Havana’s Historical center.

The piece by Spanish playwright Manuel Calzada addresses the vital conflicts of the philologist and lexicographer María Moliner, author of the Diccionario de uso del español, who at the age of 70, discovered the first symptoms of Alzheimer’s disease and begins the definition of the concept of freedom, according to what it has meant in the different dilemmas of her life.

FRIDAYS AND SATURDAYS, 8:30PM; SUNDAYS, 5PM SALA TEATRO TRIANÓN

Play by Polish dramatist Witold Gombrowicz, which, according to Carlos Díaz, director of El Público, “No adaptation is needed because it deals with Man, with the world today, although it was written many, many years ago. It also speaks of how we are and the mistakes that are made on a daily basis with injustices, which is what happens to Ivona, leading her almost to extermination.”

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FOR KIDS La dama azul se viste de flamenco DECEMBER 10, 2PM CENTRO HISPANO AMERICANO DE CULTURA

Organized by the Foundation of the Joel Zamora Flamenco dance Academy from the city of Cienfuegos.

Clowns MUSEO NACIONAL DE BELLAS ARTES SUNDAYS, 11AM

Clowns, music and other attractions.

Zona de juego MUSEO DE ARTE COLONIAL THROUGH JANUARY 22

Group exhibition of contemporary art especially designed for children.

photos by Huberto Valera Jr.

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EVENTS IN HAVANA

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Festival Internacional del Nuevo Cine Latinoamericano DECEMBER 3-13 HAVANA AND OTHER PROVINCES Since December 3, 1979, Havana has been the venue of the International Festival of New Latin American Cinema, which has served as a launch pad for Latin American cinematography and become one of the leading film festivals in the region. Awards are given in categories that include animation, documentary, fiction, first work, unpublished script and poster, as well as direction, screenplay, actor, actress, art direction, photography, music, film editing and sound. Numerous professional workshops and seminars also take place during the festival, plus much awaited screenings of international contemporary cinema. The organizers have announced the projection of 440 films distributed in the sections Latin America in Perspective, Tributes, Contest and Galas. Eighteen feature films (including those by Cuban filmmakers Fernando Pérez, Enrique Álvarez and Léster Hamlet), 22 shorts and medium-length films, 18 first works (including two Cuban films: Esteban by Jonal Cosculluela, and El techo by Patricia Ramos), 26 documentaries, 27 animated films, 25 unpublished scripts and 24 posters will all be competing for Coral Prizes. In addition, seven works will be competing for the First Copy postproduction prize. A number of films will be shown in the ancillary screenings, including Jackie by Pablo Larraín; the musical La La Land by Damien Chazelle; Snowden by Oliver Stone; Quand on a 17 ans by André Techiné, and I, Daniel Blake by Ken Loach, and the documentaries The Rolling Stones: Olé Olé Olé, A Trip Across Latin America and The Rolling Stones Havana Moon by Paul Dugdale, and The Beatles: Eight Days a Week by Ron Howard. The competing Argentine film El ciudadano ilustre by Gastón Duprat and Mariano Cohn, which is preceded by its success at the Venice Film Festival, will open the Festival in the Karl Marx Theater on December 8. DEC OCT 2016 112

EVENTS IN HAVANA

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XVIII Feria Internacional de Artesanía FIART DECEMBER 6-18 PABEXPO, HAVANA Held as a way of expressing the identity and cultural diversity of different countries, the International Craft Fair has promoted arts and crafts attracting thousands of visitors each year. Lectures, exhibits, fashion shows, sales and the crafts themselves offer an opportunity for interaction and exchange between artists and the public. In past years, the original treatment of contemporary design has been remarkable in handicrafts, which, without losing their ancestral nature, exhibit an undisputable touch of modernity, whether applied to textiles, fibers, leather, precious and semiprecious stones, metals, clay, or any other material ready to be fashioned and beautified through the sensitivity of craft artists. This edition will be dedicated to the province of Cienfuegos and textiles, and will have 347 stands: 77 with articles by craft artists from 18 different countries, including Peru, Spain, Mexico, India, Colombia, Italy, Canada and Portugal, to name a few; 26 from the provinces and several institutions, like Artex, Génesis, Coral Negro, Egrem, Centro Provincial and Distribuidora Nacional del Libro; and 244 stands of individual Cuban artisans who will exhibit and sell their wares in textiles, footwear, furniture, dolls, ceramics and working of precious metals. DEC OCT 2016 113

EVENTS AROUND CUBA

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32 Festival Internacional Jazz Plaza DECEMBER 15-18 MELLA THEATER, CASA DE LA CULTURA DE PLAZA, JARDINES DEL MELLA, PABELLÓN CUBA IN HAVANA One of Havana’s most famous music events, the Jazz Festival is a display of the link between Cuban rhythm and jazz, which goes back to the late 19th century when newly freed slaves immigrated to New Orleans. Started in 1979 pretty much as a local event at the Casa de la Cultura de Plaza, the festival has grown in size and scope with venues that include several large theatres and nightclubs. International stars such as Dizzy Gillespie, Charlie Haden, Steve Coleman, Michel Legrand, Ivan Lins and Ronnie Scott are just a few names in the list of past participants, who, together with Cubans Chucho Valdés, Gonzalo Rubalcaba, Bobby Carcassés and Ernán López-Nussa, to mention just a few, attract fans from all over the world.

XXI Salón de la Ciudad DECEMBER 6-JANUARY 22, 2017 CENTRO PROVINCIAL DE ARTES PLÁSTICAS Y DISEÑO, LA HABANA VIEJA Under the premise that “Havana of 2016 is unfolding in a framework in which diverse and new socio-political and economic scenarios coexist, and in which the defense of the utopias that marked several generations of Cubans are beginning to be obsolete,” the organizers have invited artists to “to rethink the theme from the diversity of artistic productions and experiences…from historical research to the noblest and elementary dreams, aspirations or fantasies.” As on previous occasions, a theoretical event will be held around the proposed topic.

IX Bienal de Talla THROUGH DECEMBER 30 MUSEO DE ARTES DECORATIVAS “Wood carving at the height of the 21st century, rescuing the values of our culture and identity” is the slogan of this wood carving contest that aims to verify the current state of that artistic manifestation on the Island, to empower young creators and to acknowledge the mastery of those with greater experience.

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HAVANA’S

best places to eat Los Mercaderes EL ATELIER

BELLA CIAO

CAFÉ BOHEMIA

CAFÉ LAURENT

EXPERIMENTAL FUSION

HOMELY ITALIAN

CAFÉ

SPANISH/MEDITERRANEAN

Interesting décor, interesting menu.

Great service, good prices. A real home from home.

Bohemian feel. Great sandwiches, salads & juices

Attractive penthouse restaurant with breezy terrace.

Calle 5 e/ Paseo y 2, Vedado (+53) 7-836-2025

Calle 19 y 72, Playa (+53) 7-206-1406

Calle San Ignacio #364, Habana Vieja

Calle M #257, e/ 19 y 21, Vedado (+53) 7-831-2090

CASA MIGLIS SWEDISH-CUBAN FUSION

Oasis of good food & taste in Centro Habana Lealtad #120 e/ Ánimas y Lagunas, Centro Habana (+53) 7-864-1486

MEDITERRÁNEO HAVANA INTERNATIONAL Interesting and diverse menu. Beautiful terrace. Calle 13 #406, e/ E y F, Vedado. (+53) 7-832 4894 http://www/medhavana.com

INTERNATIONAL

Beautiful colonial house.Polpular place whit great food and good service.

Beautiful modern decor. Interesting menu and good service.

Calle Mercaderes No. 207 altos e/ Lamparilla y Amargura. H.Vieja (+53) 7861 2437

Calle #35 e/ 20 y 41, Playa. (+53) 7-203-8315

CORTE PRÍNCIPE

RÍO MAR

D.EUTIMIA

INTERNACIONAL

ITALIAN

INTERNATIONAL

CUBAN/CREOLE

Industrial chic alfresco rooftop with a buzzing atmosphere

Sergio’s place. Simple décor, spectacular food.

Calle 26, e/ 11 y 13, Vedado. (+53) 7-832-2355

Calle 9na esq. a 74, Miramar (+53) 5-255-9091

IVÁN CHEF

EL LITORAL

SANTY

INTERNACIONAL

SPANISH

INTERNATIONAL

SUSHI/ORIENTAL

Calle 46 #305 esq. a 3ra, Miramar (+53) 7-202-8337

OTRA MANERA

EL COCINERO

LA FONTANA Consistently good food, attentive service. Old school.

LOS MERCADERES

CUBAN-CREOLE

Brilliantly creative and rich food.

Watch the world go by at the Malecón’s best restaurant.

Aguacate #9 esq. a Chacón, Habana Vieja (+53) 7-863-9697

Malecón #161 e/ K y L, Vedado (+53) 7-830-2201

Contemporary décor. Great seaview. Good food. Ave. 3raA y Final #11, La Puntilla, Miramar (+53) 7-209-4838

NAZDAROVIE SOVIET

Authentic fisherman’s shack servicing world-class sushi.

Well designed Soviet décor excellent food & service.

Calle 240A #3023 esq. a 3ra C, Jaimanitas (+53) 5-286-7039

Malecon #25, 3rd floor e Prado y Carcel, Centro Habana (+53) 7-860-2947

Absolutely charming. Excellent Cuban/creole food. Callejón del Chorro #60C, Plaza de la Catedral, Habana Vieja (+53) 7 861 1332

SAN CRISTÓBAL CUBAN/CREOLE

Deservedly popular.Consistently great food. Kitsch décor. San Rafael #469 e/ Lealtad y Campanario, Centro Habana (+53) 7-860-9109

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El Litoral

TOP PICK

magazine

Style of food: International Cost: Expensive Type of place: Private (Paladar)

Best for Quality décor, good service and great food. Best new place recently opened. Don’t Miss Drinking a cocktail at sunset watching the world go by on the Malecón Malecón #161 e/ K y L, Vedado. (+53) 7-830-2201

Style of food: Soviet Cost: Moderate Type of place: Private (Paladar)

TOP PICK

Nazdarovie

Best for Getting a flavor of Cuban-Soviet history along with babuska’s traditional dishes in a classy locale. Don’t miss Vodka sundowners on the gorgeous terrace overlooking the malecon. Malecon #25 3rd floor e/ Prado y Carcel, Centro Habana (+53) 7-860-2947

TOP PICK TOP PICK

Otra Manera

Style of food: International Cost: Moderate Type of place: Private (Paladar)

Best for Beautiful modern décor and good food. Don’t miss Pork rack of ribs in honey. Sweet & sour sauce and grilled pineapple Calle 35 #1810 e/ 20 y 41, Playa (+53) 7-203-8315 DEC 2016 116

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La Guarida

TOP PICK

magazine

Style of food: Contemporary fusion Cost: Expensive Type of place: Private (Paladar)

Best for Authentic, charming and intimate atmosphere in Cuba’s best known restaurant. Great food, professional. Classy. Don’t Miss Uma Thurman, Beyoncé or the Queen of Spain if they happen to be dining next to you. Concordia #418 e/ Gervasio y Escobar, Centro Habana. (+53) 7-866-9047

Style of food: Traditional Cost: Moderate Type of place: Private (Paladar)

TOP PICK

Café Bohemia

Best for taking a break from long walks and seeking shelter from the stifling Cuban.. Don’t miss location in the cool inner courtyard of the colonial building. Ground floor of the Palacio de la Casa del Conde de Lombillo, Calle San Ignacio #364 (+53) 5- 403-1 568, (+53) 7-836-6567 www. havanabohemia.com

TOP PICK

Iván Chef Justo

Style of food: Spanish Cost: Expensive Type of place: Private (Paladar)

Best for Spectacular innovative food. Light and airy place where it always seems to feel like Springtime. Don’t Miss The lightly spiced grilled mahi-mahi served with organic tomato relish. Try the suckling pig and stay for the cuatro leches. Aguacate #9, Esq. Chacón, Habana Vieja. (+53) 7-863-9697 / (+53) 5-343-8540 DEC 2016 117

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magazine

Los Mercaderes Style of food Cuban creole Cost Moderate Type of place Private (Paladar)

Best for Beautiful colonial house.Polpular place whit great food and good service.

Don’t miss Wonderfull balcony view to the clasic street.

Calle Mercaderes No. 207 altos e/ Lamparilla y Amargura. Habana Vieja (+53) 7861 2437 y (+53) 5290 1531

Casa Miglis

TOP PICK

Style of food Swedish-Cuban fusion Cost Expensive Type of place Private (Paladar)

Best for The beautifully designed interior, warm ambience and Miglis’s personality create the feeling of an oasis in Central Havana. Don’t Miss Chatting with Mr Miglis. The Skaargan prawns, beef Chilli and lingonberries. Lealtad #120 e/ Ánimas y Lagunas, Centro Habana www.casamiglis.com (+53) 7-864-1486

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HAVANA’S best Bars & Clubs

Corner Café TRADITIONAL BARS EL FLORIDITA Hemingway’s daiquiri bar. Touristy but always full of life. Great cocktails. Obispo #557 esq. a Monserrate, Habana Vieja (+53) 7-867-1299

1950S TRADITIONALS Guest performers include BUENA VISTA SOCIAL CLUB MEMBERS Sociedad Rosalía de Castro, Egido 504 e/ Monte y Dragones, Old Havana (+53) 5-270-5271

SLOPPY JOE’S BAR Recently (beautifully) renovated. Full of history. Popular. Lacks a little ‘grime’. Ánimas esq. a Zulueta, Habana Vieja (+53) 7-866-7157

CERVECERÍA ANTIGUO ALMACÉN DE LA MADERA Y EL TABACO

Microbrewery located overlooking the restored docks Simply brilliant. Avenida del Puerto y San Ignacio, La Habana Vieja

CONTEMPORARY BARS EL COCINERO

ESPACIOS

TABARISH

FAC

Fabulous rooftop setting, great service, cool vibe.

Laid back contemporary bar with a real buzz in the back beergarden.

A comfortable place to chat / hang out with your friends. Great service.

X Alfonso’s new cultural center. Great concerts, funky young scene.

Calle 26 e/ 11 y 13, Vedado

Calle 10 #510, e/ 5ta y 31, Miramar

Calle 20 #503, e/ 5ta y 7ma.

Calle 26 e/ 11 y 13, Vedado (next to the Puente de Hierro)

(+53) 7-832-2355

(+53) 7-836-3031

(+53) 7-202-9188

(+53) 5-329-6325 www.facebook.com/fabrica.deartecubano

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CONTEMPORARY BARS/CLUBS

Sangri-La

TOP PICK

CONTEMPORARY BAR/CLUBS

Best for Hanging out with the cool kids on the Havana Farundula in the most popular bar/ club.

BOLABANA

DON CANGREJO Love it/hate it—this is the oldest Friday night party place and is still going strong. Outdoor by the sea. Ave. 1ra e/ 16 & 18, Miramar (+53) 7-204-3837

Packed night after night with a young dressed-up clientele wanting to party. Don’t go looking for Buena Vista Social Club! Calle 39 esq. 50, Playa (+53) 5 -294-3572

CORNER CAFÉ

SANGRI-LA For the cool kids. Basement bar/club which gets packed at weekends.

Great live music every day. very frequently by locals. Good tapas. Calle B e/ 1ra y 3ra. Plaza de la Revolución (+53) 7837 1220

Ave. 21 e/ 36 y 42, Miramar (+53) 7-264-8343

Don’t Miss The best gin and tonic in Havana. Ave. 21 e/ 36 y 42, Miramar (+53) 5-264-8343

GAY-FRIENDLY CABARET LAS VEGAS Can get dark and smoky but great drag show (11pm) from Divino—one of Cuba’s most accomplished drag acts. Ave. 21 e/ 36 y 42, Miramar (+53) 7-264-8343

FASHION BAR HAVANA

CAFÉ BAR MADRIGAL

A superb example of queer class meets camp, accompanied by a fantastic floor show.

Pop décor, fancy cocktails, and the staff’s supercilious attitude, this is a gathering spot for all types of folks.

San Juan de Dios, esq. a Aguacate, Habana Vieja (+53) 7-867-1676

Calle 17 #809 e/ 2 y 4, Vedado (+53) 7-831-2433

Corner Café

TOP PICK

CONTEMPORARY BAR/CLUBS

Best for Frequently by locals. Great tapas. Don’t Miss Live music every day. Calle B e/ 1ra y 3ra. Plaza de la Revolución (+53) 5-264-8343

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Espacios

TOP PICK

magazine

CONTEMPORARY BAR/CLUBS Best for Laid back lounge atmosphere in the garden area which often has live music. Good turnover of people. Don’t Miss Ray Fernandez, Tony Avila, Yasek Mazano playing live sets in the garden. Calle 10 #510 e/ 5ta y 31, Miramar (+53) 7-202-2921

CONTEMPORARY

TOP PICK

Bolabana

Best for Trendy new location near Salón Rosado de la Tropica. Don’t Miss Hipsters meet the Havana Farándula. Calle 39 esq. 50, Playa

TOP PICK

Sloppy Joe´s Bar

BAR / TRADITIONAL Best for Immense original bar lovingly restored. Good service, History. Worst for Not quite grimy. Too clean. Ánimas, esq. Zulueta La Habana Vieja, (07) 866-7157 DEC 2016 121

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Fábrica de Arte

TOP PICK

magazine

CONTEMPORARY BAR/CLUBS Best for X Alfonso’s superb new cultural center has something for everyone Don’t Miss Artists who exhibit work should demonstrate ongoing creativity and a commitment for social transformation. Calle 26 e/ 11 y 13, Vedado (next to the Puente de Hierro)

GAY FRIENDLY Best for A superb example of queer class meets camp, accompanied by a fantastic floor show.

TOP PICK

Fashion Bar Havana

Don’t Miss The staff performing after 11pm San Juan de Dios, esq. a Aguacate, Habana Vieja (+53) 7-867-1676

TOP PICK

Bertolt Brecht

CONTEMPORARY BAR/CLUBS

Best for Hanging out with hip & funky Cubans who like their live music. Don’t Miss Interactivo playing on a Wednesday evening. Calle 13 e/ I y J, Vedado (+53) 7-830-1354 DEC 2016 122

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HAVANA’S

best live music venues

CONCERT VENUES KARL MARX THEATRE World class musicians perform prestigious concerts in Cuba’s best equipped venue. Calle 1ra esq. a 10, Miramar (+53) 7-203-0801

BASÍLICA SAN FRANCISCO DE ASÍS A truly beautiful church, which regularly hosts fabulous classical music concerts. Oficios y Amargura, Plaza de San Francisco de Asís, Habana Vieja

FÁBRICA DE ARTE X Alfonso’s new cultural center. Great concerts inside (small and funky) and outside (large and popular!). Calle 26 e/ 11 y 13, Vedado (next to the Puente de Hierro)

SALA COVARRUBIAS TEATRO NACIONAL

Recently renovated, one of Cuba’s most prestigious venues for a multitude of events. Paseo y 39, Plaza de la Revolución.

SALSA/TIMBA CAFÉ CANTANTE MI HABANA Attracts the best Cuban musicians. Recently renovated with an excellent new sound system. Ave. Paseo esq. a 39, Plaza de la Revolución (+53) 7-878-4273

CASA DE LA MÚSICA

CASA DE LA MÚSICA

CENTRO HABANA

MIRAMAR

A little rough around the edges but spacious. For better or worse, this is ground zero for the best in Cuban salsa.

Smaller and more up-market than its newer twin in Centro Habana. An institution in the Havana salsa scene.

Galiano e/ Neptuno y Concordia, C. Habana (+53) 7-860-8296/4165

Calle 20 esq. a 35, Miramar (+53) 7-204-0447

SALÓN ROSADO DE LA TROPICAL The legendary beer garden where Arsenio tore it up. Look for a salsa/timba gig on a Sat night and a Sun matinee. Ave. 41 esq. a 46, Playa (+53) 7-203-5322

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CONTEMPORARY CAFÉ TATRO BERTOLT BRECHT

DON CANGREJO

EL SAUCE

Think MTV Unplugged when musicians play. Hip, funky and unique with an artsy Cuban crowd.

Love it/hate it—this is the oldest Friday night party place and is still going strong. Outdoor by the sea.

Great outdoor concert venue to hear the best in contemporary & Nueva Trova live in concert.

Calle 13 e/ I y J, Vedado (+53) 7-830-1354

Ave. 1ra e/ 16 y 18, Miramar (+53) 7-204-3837

Ave. 9na #12015 e/ 120 y 130, Playa (+53) 7-204-6428

TEATRO DE BELLAS ARTES Small intimate venue inside Cuba’s most prestigious arts museum. Modern. Trocadero e/ Zulueta y Monserrate, Habana Vieja.

TROVA & TRADITIONAL BARBARAM PEPITO´S BAR Some of the best Cuban Nueva Trova musicians perform in this small and intimate environment. Calle 26 esq. a Ave. del Zoológico. Nuevo Vedado (+53) 7-881-1808

GATO TUERTO Late night place to hear fabulous bolero singers. Can get smoky. Calle O entre 17 y 19, Vedado (+53) 7-833-2224

TRADICIONALES DE LOS 50 The 1950s traditionals, a project created over 10 years ago, pays tribute to the Golden Era of Cuban music: the 1950s. Sociedad Rosalia de Castro, Egido #504 e/ Monte y Dragones, Havana Vieja (+53) 7-861-7761

SALÓN 1930

COMPAY SEGUNDO

Buena Vista Social Club style set in the grand Hotel Nacional. Hotel Nacional Calle O esq. a 21, Vedado (+53) 7-835-3896

JAZZ CAFÉ JAZZ MIRAMAR Clean, modern and atmospheric. Where Cuba’s best musicians jam and improvise. Cine Teatro Miramar 10:30pm – 2am Ave. 5ta esq. a 94, Miramar

JAZZ CAFÉ A staple of Havana’s jazz scene, the best jazz players perform here. Somewhat cold atmospherewise. Galerías de Paseo Ave. 1ra e/ Paseo y A, Vedado

LA ZORRA Y EL CUERVO Intimate and atmospheric, which you enter through a red telephone box, is Cuba’s most famous. Calle 23 e/ N y O, Vedado (+53) 7-833-2402

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HAVANA’S

magazine

Hotel Nacional de Cuba

Best Hotels

SIMPLY THE BEST… IBEROSTAR PARQUE CENTRAL

Luxury hotel overlooking Parque Central Neptuno e/ Prado y Zulueta, Habana Vieja (+53) 7-860-6627

SANTA ISABEL

Luxurious historic mansion facing Plaza de Armas Narciso López, Habana Vieja (+53) 7-860-8201

SARATOGA

TERRAL

Stunning view from roof-top pool. Beautiful décor.

Wonderful ocean front location. Newly renovated.

Paseo del Prado #603 esq. a Dragones, Habana Vieja (+53) 7-860-8201

Malecón esq. a Lealtad, Centro Habana (+53) 7-862-8061

BOUTIQUE HOTELS IN OLD HAVANA FLORIDA

Beautifully restored colonial house. Obispo #252, esq. a Cuba, Habana Vieja (+53) 7-862-4127

PALACIO DEL MARQUÉS...

Cuban baroque meets modern minimalist Oficios #152 esq. a Amargura, Habana Vieja

HOSTAL VALENCIA

Immensely charming, great value. Oficios #53 esq. a Obrapía, Habana Vieja (+53) 7-867-1037

CONDE DE VILLANUEVA

Delightfully small and intimate. For cigar lovers. Mercaderes #202, Lamparilla (+53) 7-862-9293

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MELIÁ HABANA

Oasis of polished marble and professional calm.

Attractive design & extensive facilities.

Ave Paseo e/ 1ra y 3ra, Vedado (+53) 7- 833-3636

Ave. 3ra y 70, Miramar (+53) 5-204-8500

OCCIDENTAL MIRAMAR

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H10 HABANA PANORAMA

Good value, large spacious modern rooms.

Cascades of glass. Good wi-fi. Modern.

Ave. 5ta. e/ 70 y 72, Miramar (+53) 7-204-3583

Ave. 3ra. y 70, Miramar (+53) 7 204-0100

FOR A SENSE OF HISTORY AMBOS MUNDOS

MERCURE SEVILLA

HOTEL NACIONAL

RIVIERA

A must for Hemingway aficionados

Stunning views from the roof garden restaurant.

Eclectic art-deco architecture. Gorgeous gardens.

Spectacular views over wavelashed Malecón

Calle Obispo #153 esq. a Mercaderes, Habana Vieja (+53) 7- 860-9529

Trocadero #55 entre Prado y Zulueta, Habana Vieja (+53) 7-860-8560

Calle O esq. a 21, Vedado (+53) 7-835 3896

Paseo y Malecón, Vedado (+53) 7-836-4051

ECONOMICAL/BUDGET HOTELS BOSQUE

DEAUVILLE

SAINT JOHN’S

VEDADO

On the banks of the Río Almendares.

Lack of pretension, great location.

Lively disco, tiny quirky pool. Popular.

Good budget option with a bit of a buzz

Calle 28-A e/ 49-A y 49-B, Reparto Kohly, Playa (+53) 7-204-9232

Galiano e/ Sán Lázaro y Malecón, Centro Habana (+53) 7-866-8812

Calle O e/ 23 y 25, Vedado (+53) 7-833-3740

Calle O e/ 23 y 25, Vedado (+53) 7-836-4072

HAVANA’S Best Hotels

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HAVANA’S

best private places to stay Sueño Cubano

MID RANGE - CASA PARTICULAR (B&B) 1932 MIRAMAR 301 LUXURY HOUSE Visually stunning, historically fascinating. Welcoming. 4 bedrooms private luxury villa Campanario #63 e/ San Lázaro y Laguna, with swimming pool Centro Habana (+53) 7-863-6203

HABANA Beautiful colonial townhouse with great location.

JULIO Y ELSA Cluttered bohemian feel. Hospitable.

Calle Habana #209, e/ Empedrado, y Tejadillo, Habana Vieja. (+53) 7-861-0253

Consulado #162 e/ Colón y Trocadero, Centro Habana ( +53) 7-861-8027

UP-SCALE B&BS (BOUTIQUE HOSTALS) SUEÑO CUBANO

Old palace carefully restored, seven rooms, suites with bathrooms and featuring 24 hour service. Calle Santa Clara número 66 entre Oficios e Inquisidor. Habana Vieja 53 78660109 39 339 1817730

LA RESERVA VEDADO 5 luxurious rooms in a renovated colonial mansion . The tropical garden in the courtyard, ideal to eat, drink and relax. Calle 2 entre 21 y 23 numero 508. Vedado, La Habana [email protected] (53) 7 8335244 http://lareservavedado.com/

VITRALES

Hospitable, attractive and reliable boutique B&B with 9 bedrooms. Habana #106 e/ Cuarteles y Chacón, Habana Vieja (+53) 7-866-2607

CASA ESCORIAL

Attractive accomodations with a panoramic view of Plaza Vieja Mercaderes # 315 apt 3 e/ Muralla y Teniente Rey, Plaza Vieja, Habana Vieja (+53) 5-268 6881; 5-278 6148

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APARTMENT RENTALS BOHEMIA BOUTIQUE APARTMENTS

Gorgeous 1-bedroom apartment beautifully decorated apartment overlooking Plaza Vieja. San Ignacio #364 e/ Muralla y Teniente Rey, Plaza Vieja (+53) 5- 403-1 568 (+53) 7-836-6567 www.havanabohemia.com

CASA CONCORDIA

Beautifully designed and spacious 3 bedroom apartment. Spanish colonial interiors with cheerful, arty accents. Concordia #151 apto. 8 esq. a San Nicolás, Centro Habana (+53) 5-254-5240 www.casaconcordia.net

TROPICANA PENTHOUSE

A luxurious penthouse with huge roof terrace and breath-taking 360 degree views of Havana and the ocean. Galiano #60 Penthouse Apt.10 e/ San Lázaro y Trocadero

SUITE HAVANA

Elegant 2-bedroom apartment in restored colonial building. Quality loft style décor. Lamparilla #62 altos e/ Mercaderes y San Ignacio, Habana Vieja (+53) 5-829-6524

(+53) 5-254-5240 www.tropicanapenthouse.com

LUXURY HOUSES VILLASOL

CASABLANCA

Rent Room elegant and wellequipped. Beautiful wild garden and great pool.

Elegant well-equipped villa formerly owned by Fulgencio Batista. Beautiful wild garden.

Calle 17 #1101 e/ 14 y 16, Vedado

Morro-Cabaña Park. House #29

(+34) 677525361 (+53) 7-832-1927 (+53) 5-360-0456

(+53) 5-294-5397 www.havanacasablanca.com

MICHAEL AND MARÍA ELENA

This leafy oasis in western Havana has an attractive mosaic tiled pool and three modern bedrooms. Calle 66 #4507 e/ 45 y Final, Playa (+53) 7-209-0084

RESIDENCIA MARIBY

A sprawling vanilla-hued mansion with 6 rooms decorated with colonial-era lamps, tiles and Louis XV furniture Vedado. (+53) 5-370-5559

Bohemia Boutique Apartments Red

TOP PICK

Best for 3 small balconies (facing the Patio of the Palace), 1 spacious bedroom with air conditioning Don’t Miss The apartment is fully furbished, plenty of light and very well ventilated. San Ignacio #364 e/ Muralla y Teniente Rey, Plaza Vieja, Habana Vieja [email protected] (+53) 5 4031 568: (53) 7 8366 567

www.havanabohemia.com

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Bohemia Boutique Apartments Blue

TOP PICK

Best for i1 internal balcony, 1 spacious bedroom on the mezzanine with air conditioning. Don’t Miss The apartment is fully furbished, plenty of light and very well ventilated. San Ignacio #364 e/ Muralla y Teniente Rey, Plaza Vieja, Habana Vieja [email protected] (+53) 5 4031 568: (53) 7 8366 567

Sueño Cubano

TOP PICK

Best for Old palace carefully restored, seven rooms, suites with bathrooms and featuring 24 hour service. Don’t Miss Relax at any of the four terraces, feel the mellow touch of antique and original Cuban furniture.

TOP PICK

La Reserva Vedado Best for 5 luxurious rooms in a renovated colonial mansion recently Vedado. Don’t Miss The tropical garden in the courtyard, ideal to eat, drink and relax Calle 2 entre 21 y 23 numero 508. Vedado, La Habana [email protected] (53) 7 8335244 http://lareservavedado.com/ DEC 2016 130

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THANK YOU Wishes to thank all of the following entities for their support and involvement with La Habana.com

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