Cuba is currently experiencing a moment reminiscent of the time when Fidel called for the preservation of culture—a force he defined as the nation’s shield and sword. This was stated on Tuesday afternoon from the Palace of the Revolution by the First Secretary of the Central Committee of the Communist Party of Cuba and President of the Republic, Miguel Díaz-Canel Bermúdez.
This Tuesday was no ordinary day; it was October 20th—Cuban Culture Day. Consequently, a meeting was held in the Portocarrero Hall between the nation’s leadership and a group of creators from the island’s cultural landscape. The exchange focused on essential and urgent matters, well-attuned to the current times. In his closing remarks, the President explained why culture serves as both a shield and a sword today:
"Today, culture must serve as a shield, because there is a hegemonic ideology that seeks to impose colonial domination upon us—a goal that requires the destruction of our identity. Therefore, culture must act as the shield that defends our identity."
"Furthermore, culture must also serve as a sword; it must function as a weapon through which we defend our homeland, our Revolution, and our socialism."
When sensitivity, talent, and commitment set the tone, beautiful and much-needed moments emerge. This was the case this Tuesday, during an event that was also attended by, among other leaders, Roberto Morales Ojeda—member of the Political Bureau and Secretary of Organization of the Communist Party’s Central Committee—along with Yuniasky Crespo Baquero, head of the Central Committee’s Ideological Department; Deputy Prime Minister Inés María Chapman Waugh; and Minister of Culture Alpidio Alonso Grau.
Before the creators began sharing their experiences, ideas, and emotions, a musical performance—featuring Pancho Amat with his inseparable *tres* (a traditional Cuban string instrument) and saxophonist César López—served as a curtain that was delightfully lifted through a series of cherished melodies, including "La Bayamesa," a piece composed in 1851 by Carlos Manuel de Céspedes, Francisco Castillo, and José Fornaris.
"Today is a truly happy day—a significant day for the Cuban people, rich in symbolism—that highlights the bond between the homeland and culture," stated Alpidio Alonso. He noted that Cuba is able to celebrate October 20th precisely because "Cuban men and women, like all of you, work to foster culture."
Since it was the Head of State who initiated this Tuesday’s gathering, the Minister of Culture took the opportunity to say, "Thank you, Mr. President." Addressing the representatives of the cultural sector—including officials, educators, and artists, as well as the highly esteemed thinker Isabel Monal (who was presented with flowers in honor of her 95th birthday)—he remarked, "This is a wonderful opportunity for us to engage in conversation."
Alonso Grau reflected that, despite the difficulties imposed upon the "Largest of the Antilles" [Cuba] by the empire’s criminal blockade, "culture remains alive." He acknowledged: "No one has grown weary; no one has given up."
WORDS ON BEHALF OF BEAUTY AND DIGNITY
Principal Dancer Dani Hernández—director of the National Ballet School and regarded as one of the world’s leading figures in ballet—was the first to speak. He described October 20th as a symbolic and special day for all Cubans, and expressed his gratitude for the opportunity to engage in dialogue with the nation’s leadership.
He noted that, even amidst the imperial war, "culture has continued to serve as both the shield and the banner of our nation." He also highlighted the deep commitment inherent in arts education—a field where, he noted, "the future lies."
He emphasized that "our Cuban identity belongs to the children of Cuba." He recalled how many had doubted whether the new academic year could even begin this year, adding: "Yet, we have proven that the school year has been successfully carried out." Dani shared a personal detail: "I come from the countryside—from Remedios, in the province of Villa Clara." He stated firmly that, were it not for the Revolution, he would not be the dancer he is today, let alone the director of the National Ballet School.
President Díaz-Canel remarked that Cuba possesses a unique distinction: its ballet tradition has reached everyone and has remained truly inclusive.
Marlene Vázquez Pérez, director of the Center for Martí Studies, shared another story of personal growth and fulfillment. She spoke of her roots on her grandfather’s farm—a place without electricity—where she learned her first lessons about the world by the light of a lantern, a relic from the national Literacy Campaign.
In any republic, the lifeblood flows through culture, asserted Marlene, who holds the conviction that—despite all the shortcomings it suffers from—the Cuban project is the most just one in existence on a global scale.
Drawing on the spirit of José Martí, she spoke to the significance that virtue and integrity must hold in the present day. "We cannot allow," she added, "the distortion of Cuban history"—an objective of the war being waged against the Revolution, a war pursued "with perversity, but also with intelligence."
Luis Enrique Quiñones, rector of the University of the Arts (ISA), noted that "we continue to see high demand from young people who want to study at our university." He added, "We are focused on developing everything related to thought." Quiñones—who also hails from humble roots—remarked this Tuesday: "I believe there is no greater privilege than being able to contribute to the education of other people's children."
Agustín Antonio Villafaña Rodríguez—a ceramicist, printmaker, painter, designer, and draftsman—also weighed in, pointing out that "we come directly from the people," and that, for this reason, many should be grateful for the existence of a Ministry of Culture. "I always recall Fidel’s words, stating that the first thing that had to be saved was culture," said the artist—the son of rural folks from Yateras, in the province of Guantánamo—who even went on to explore the art of ceramics in Europe.
The gathering also featured reflections from Miguel Iglesias, director of Danza Contemporánea de Cuba, and musicologist, singer, and composer Lea Cárdenas—the latter of whom expressed gratitude to previous generations for their steadfast defense of culture. Igor Corcuera Cáceres, conductor of the National Symphony Orchestra of Cuba, added his voice: "Our art is not for an elite; it is for the people—and for that, we must thank the revolutionary process."
Igor pointed out that "no one else in his family is a musician," yet, despite this, he was able to pursue "the most expensive field of study in music" and has gone on to become the conductor of the National Symphony Orchestra.
ON SACRED SYMBOLS, LOVE, AND PROJECTS
Guille Vilar—a journalist, cultural promoter, music critic, and director of major Cuban radio and television programs—made a request to the country’s leadership: "The national flag must have a greater presence in our daily lives." He noted that whenever the *mambises* (Cuban independence fighters) launched a machete charge, a Cuban flag was always present.
For "Guille"—as many affectionately call him—the flag is an "element of combat, of resistance." For this reason, he emphasized: "Wherever there is a flagpole, there must be a Cuban flag—and the larger, the better."
The Cuban President immediately remarked that Guille was right. This led to a contribution from the distinguished writer and essayist Enrique Ubieta, who spoke of his own "trench"—a cultural magazine that will mark its 65th anniversary in December. The publication has gone through six distinct phases, and its name—*Revolución y Cultura*—reflects its focus on pure history.
He shared a message: "We, the Cuban intellectuals, are prepared to die facing the sun—and to do something even more difficult: to live facing the sun, to build the homeland, the Revolution, and socialism, while under siege."
Ana Nora Calaza—a Cuban actress, choral singer, composer, music arranger, and musical consultant—spoke to the value of community-based work, stating, "I am very happy to be here today, and to see that community work continues." In the same vein, filmmaker Lizette Vila, who leads the Proyecto Palomas, invoked the memory of Commander-in-Chief Fidel Castro Ruz and made a firm declaration: "We have never closed, and we never will." More voices joined in: troubadour Silvio Alejandro Rodríguez reflected on cultural enterprises and the importance of their not abandoning their socialist essence, regardless of the changes they might undergo today.
For his part, Pedro Pablo Rodríguez—a Doctor of Historical Sciences, senior researcher, and general director of the critical edition of the complete works of José Martí—recalled two "exceptional men" the island has known: Martí and Fidel. Their legacies, he noted, are currently being studied in various parts of the world.
Writer Adelaida (Laidi) Fernández de Juan spoke about a "culture of work," as well as the success of the most recent Book Fair, which—despite the adversities caused by the "medieval punishment" imposed by the empire—featured a wealth of books and a large turnout.
"What we have come to call a 'cultural blackout' will not happen. We will carry on," asserted Laidi, who added another poignant thought: "Because we writers possess a culture of work, we will continue to create."
Dancer David Frank Acosta highlighted the importance of reviving traditions such as the carnival troupes of Havana. His reflections were far from superficial; they were grounded in in-depth studies of the capital’s identity and events—such as the "Havana Carnival"—that deserve to be revitalized. Beneath these traditions, he argued, "lie deep cultural roots—symbols that must be defended"—for they embody the history of local neighborhoods and a sense of collective unity.
Next, filmmaker Aramís Acosta expressed his satisfaction at having "all the necessary support to foster audiovisual literacy among children and young people"—an initiative now in its seventh year. This project has reached "all across Cuba," facilitating the sharing of knowledge. There are already young people, he noted, who are creating their own works.
Toward the end of the session, singer-songwriter Nelson Valdés Viera revisited the legacy of Fidel and all that the leader did for the youth. He also suggested sending a warm embrace to Raúl, a man who has long been a champion of culture. In this regard, he asked the country’s leadership to convey to the Army General the message that "we also stand by his side, and we will defend the Homeland at whatever cost may be necessary."
Toward the end of the day’s proceedings, Alpidio Alonso Grau recalled "the responsibility that culture bears in the resistance of this people." In his remarks to those present, President Díaz-Canel noted:
"You have been extremely eloquent—drawing upon personal stories and explaining the substance of the projects you are championing—many of which are rooted in the community, a space that is so vital and necessary in these times, and where we all spend the majority of our time."
The President praised the way cultural figures have risen above every adversity. He remarked: "The commitment you have expressed inspires confidence, a sense of security, and energy. I want to reaffirm our firm conviction that there will be no 'cultural blackout' in Cuba—even in the face of an intensified blockade or an energy siege."
Díaz-Canel emphasized that, through this "culture of work" mentioned by Laidi—and "facing the sun," as Ubieta urged—the homeland, the Revolution, and socialism will be defended—by means of culture itself.
