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</style><table width="540" border="0" cellpadding="0" cellspacing="0"><tr><td align="right" class="text" style="text-align: right">ISSN 1810-620X</td></tr></table><table width="540" border="0" cellpadding="0" cellspacing="0"><tr><td height="64" align="right" valign="top" background="cid:3c1bf4c3a5aed0ca0155e76d964abc6a" class="date"><table width="100%" border="0" cellspacing="0" cellpadding="0"><tr><td><a href="http://www.cubarte.cult.cu/eng" target="_blank"><img border="0" name="banner" src="cid:11d3fabf046c586d9b1fe6b7830d87eb" width="68" height="64"></a></td><td align="right" valign="top" class="date">Year
4
Number
32
, <span>August 10th, 2006</span></td></tr></table></td></tr></table><br><table width="540" border="0" cellspacing="0" cellpadding="0"><tr><td class="text">CUBARTE Newsletter is a specialized weekly news service from
the <a class="text" href="http://www.cubarte.cult.cu/eng" target="_blank">Portal
of Cuban Culture</a>. In our pages you will find the most outstanding aspects
from national culture ongoing and its worldwide reflection, as well as opinion
sections dealing with themes which today worry intellectuals.</td></tr></table><p><a name="top"></a></p><div><table width="540" border="0" cellpadding="0" cellspacing="0"><tr><td colspan="2"><img vspace="10" src="cid:0e66ef2b44e1344932e0fc24a2b100d5"></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4792">José Lezama Lima, on the Cuban 20th Century. By: Mercedes Santos Moray </a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4785">World Intellectuals Demand to Respect the Sovereignty of Cuba</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4770">Silvio Rodríguez Dedicates His New Album to His First Songs</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4781">Provincial Awards of Community Culture 2006</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4793">Printing Press which Republished El Cubano Libre in 1895 is Preserved. By: Marlene Montoya </a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4784">Guantánamo Hosted National Week of the Political Song. By: Lisván Lescaille Durand</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4790">A Curse Full of Experiences for the National Ballet School. By: Isachi Fernández</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4775">Frémez in the Fine Arts Museum</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4762">Mother Theresa Award to Cuban Librarian</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4791">Tribute to Federico García Lorca. By: Bárbara Vasallo Vasallo</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4774">Bayamo, Capital of Environmental Sculpture. By: Martín Corona Jerez</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4778">Cuban Artists Wish Quick Recovery to Fidel Castro</a></td></tr></table><table width="540" border="0" cellpadding="0" cellspacing="0"><tr><td colspan="2"><img vspace="10" src="cid:a80230eca4133fecbeb82bc2d618e9eb"></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4786">Cuban Carlos Acosta in a Brilliant Rehearsal</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4763">The movie Camino a Guantánamo, the Horror of a Human Zoo</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4771">Chucho Valdés Plays for an Audience Trapped by the Magic of his Music</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="#4782">Cuban Films in Locarno, Montreal and Toronto. By: Joel del Rio</a></td></tr></table><table width="540" border="0" cellpadding="0" cellspacing="0"><tr><td colspan="2"><img vspace="10" src="cid:023839270e0d22a6e56daace1e7b2f8f"></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=actualidad&cont=showitem.php&id=1047&tabla=entrevista&seccion=Cubarte Portal Suggests You" target="blank">Silvio Rodríguez and His New Disk, «Erase que se era». By: Karina Micheletto</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=actualidad&cont=showitem.php&id=1049&tabla=entrevista&seccion=Cubarte Portal Suggests You" target="blank">About "The Route of the Slave". By: Miguel Barnet </a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=actualidad&cont=showitem.php&id=1050&tabla=entrevista&seccion=Cubarte Portal Suggests You" target="blank">Federico García Lorca, Goblin and Angel. By: Mercedes Santos Moray </a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=actualidad&cont=showitem.php&id=1046&tabla=entrevista&seccion=Cubarte Portal Suggests You" target="blank">Digital literacy. A Challenge For Latin America. By: Enrique González-Manet</a></td></tr><tr><td valign="top"><img src="cid:2d9ecf88d74404fcaf734eecaebe82f5" vspace="10" hspace="10"></td><td width="100%"><a href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=actualidad&cont=showitem.php&id=1042&tabla=entrevista&seccion=Cubarte Portal Suggests You" target="blank">Madeline Albright: Human Fame, Divine Dishonor. By: Eliades Acosta Matos </a></td></tr></table></div><p class="desc"><strong>Do you wish to obtain more information about interesting
topics ? <a target="_blank" href="http://www.cubarte.cult.cu/eng/global/loader.php?cat=acercade&cont=index.php&secc=3">Click
here</a></strong></p><hr align="left" width="540" size="3" noshade="yes"><div><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4792"></a></p><p class="title">José Lezama Lima, on the Cuban 20th Century</p><p class="desc"><b>Author:</b> Mercedes Santos Moray </p><p class="desc"><p> Havana, (AIN).- It has been three decades since the physical disappearance
of José Lezama Lima, which took place on August 9th, 1976 in Havana.</p>
<p> His work however has expanded and it has achieved as never before a world
scale fame, turning him, together with Alejo Carpentier, into the pair of authors
with the greatest number of editions in different languages.</p>
<p> They are also – through their novels<em> Paradiso </em> and <em>El siglo
de las luces</em> (The century of the lights) – the only two Cuban authors
who were included in the selected list of a hundred authors with the most important
books of the last century.<br>
As Lezama enters and afterwards the whole generation called of <em>Orígenes</em>
(Origins), summarized on that exceptional volume <em>Diez poetas cubanos</em>
1937-1947 (Ten Cuban poets 1937-1947), there is a renovation of poetic language
codes within the panorama of Cuban literature.</p>
<p> Lezama Lima and his colleagues break up with tradition, in the middle of a
context of political frustration, to produce a new picture that will make a
mean not just of expression, but also of knowledge out of poetry, to create
what the author of Paradiso called, in his debate with the Spanish poet Juan
Ramón Jiménez during the stay of the famous Andalusian in Havana,
“an Insular Teleology”.</p>
<p> It wasn’t his projection nor pure poetry nor the social register so
very cultivated for the generation of the thirties. The road of the new ways
for a new sensibility which would reach, thanks to the cultivation of language,
to the body of meta-poetry, on its search for the truths of the human beings.</p>
<p> As he stated it: “on the root of that group of painters, musicians,
writers, was implicit in all of them the tendency to universality in culture,
to the search of our landscape (we can not forget that that was a time of great
pessimism) and I felt obliged to rise the myth of insularity…”</p>
<p> José Lezama Lima and Orígenes contributed also to the rescue
of the national identity, not through action or political praxis, but through
the exploration and creation of the horizon of culture.</p>
<p> The language was for them a method of knowledge, eager to apprehend the essences
of reality, even though in Lezama’s writing his verbal abundance leads
him to the field of what is inscrutable in his dialogue with the readers and
also with the critic, which came to classify them as transcendental, not just
because of their cristian ideas, but through the substance itself of their poetry.</p>
<p>(*) The author is a collaborator of the AIN</p>
<p> Translation: Karen López (Cubarte)</p>
</p><p class="desc"><b>Source:</b> AIN</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4785"></a></p><p class="title">World Intellectuals Demand to Respect the Sovereignty of Cuba</p><p class="desc"><p>As a result of the communication of Fidel Castro on his state of health and
the provisional delegation of his responsibilities, high ranking U.S officials
have formulated more explicit statements about the immediate future of Cuba.
The Secretary of Commerce Carlos Gutierrez said that “the moment has arrived
for a true transition towards a true democracy” and the White House spokesman
Tony Snow said that his government is “ready and eager to provide humanitarian,
economic and other aid to the people of Cuba", as was recently reiterated
by President Bush. </p>
<p> Already the “Commission for Assistance to a free Cuba”, presided
over by the Secretary of State Condoleezza Rice, pointed out in a report issued
on June “the urgency of working today to ensure that the Castro regimen´s
succession strategy does not succeed” and President Bush indicated that
this document “demonstrates that we are actively working for change in
Cuba, not simply waiting for change”. The Department of State has emphasized
that the plan includes measures that will remain secret “for reasons of
national security” and to assure its “effective implementation”.
</p>
<p>It is not difficult to imagine the character of such measures and the “announced
assistance” if one considers the militarization of the foreign policy
of the present American administration and its performance in Iraq. </p>
<p>In front of this increasing threat against the integrity of a nation, and the
peace and the security of Latin America and the world, we the signatories listed
below demand that the government of the United States respect the sovereignty
of Cuba. We must prevent a new aggression at all costs. </p>
<p>José Saramago, Portugal; Wole Soyinka, Nigeria; Adolfo Pérez
Esquivel, Argentina; Dario Fo, Italia; Desmond Tutu, Sudáfrica; Rigoberta
Menchú, Guatemala; Nadine Gordimer, Sudáfrica; Zhores Alfiorov,
Rusia; Noam Chomsky, EEUU; Oscar Niemeyer, Brasil; Harry Belafonte, EEUU; Mario
Benedetti, Uruguay; Ignacio Ramonet, España-Francia; Danny Glover, EEUU;
Samir Amin, Egipto; Alfonso Sastre, España; Francois Houtart, Bélgica;
Eduardo Galeano, Uruguay; Juan Gelman, Argentina; Frei Betto, Brasil; Pablo
González Casanova, México; Russell Banks, EEUU; Bernard Cassen,
Francia; Ernesto Cardenal, Nicaragua; Angela Davis, EEUU; Ariel Dorfman, Chile;
Tom Morello, EEUU; Walter Salles, Brasil; Manu Chao, Francia; Blanca Chancosa,
Ecuador; Egberto Gismonti, Brasil; Andrés Gómez, Cuba; Alice Walker,
EEUU; István Mészáros, Hungría; Fredric Jameson,
EEUU; Pedro Casaldáliga, Brasil; Franz Hinkelammert, Alemania; Joao Pedro
Stedile, Brasil; Jorge Enrique Adoum, Ecuador; Fernando Birri, Argentina; Leonardo
Boff, Brasil; David Viñas, Argentina; Emilio Carballido, México;
José Luiz del Roio, Italia; Hebe de Bonafini, Argentina; Thiago de Mello,
Brasil; Eugenio Barba, Italia-Dinamarca; Amiri Baraka, EEUU; Pedro Rivera, Panamá;
Amina Baraka, EEUU; Boaventura de Sousa Santos, Portugal; Armand Mattelart,
Bélgica; William Blum, EEUU; Miguel Bonasso, Argentina; Chico Whitaker,
Brasil; María Rojo, México; Idea Vilariño, Uruguay; Belén
Gopegui, España; Diamela Eltit, Chile; Atilio Borón, Argentina;
Luciana Castellina, Italia; Ramsey Clark, EEUU; Luis Britto García, Venezuela;
Stephen Rivers, EEUU; Miguel D’Escoto, Nicaragua; Stella Calloni, Argentina;
Emir Sader, Brasil; Daniel Viglietti, Uruguay; Lucius Walker, EEUU; Piero Gleijeses,
Italia-EEUU; James D. Cockcroft, EEUU; Aníbal Quijano, Perú; Theotonio
dos Santos, Brasil; Pablo Guayasamín, Ecuador; Leonard Weinglass, EEUU;
Susu Pecoraro, Argentina; Francisco de Oliveira, Brasil; Graciela Duffau, Argentina;
Fernando Rendón, Colombia; Luis Sepúlveda, Chile; Andy Spann,
EEUU; Hildebrando Pérez Grande, Perú; Fernando Pino Solanas, Argentina;
Santiago García, Colombia; Michael Löwy, Brasil; Juan Manuel Roca,
Colombia; Pascual Serrano, España; León Rozitchner, Argentina;
Jorge Rufinelli, Uruguay; Franca Rame, Italia; Alfredo Vera, Ecuador; Patricia
Ariza, Colombia; Leslie Cagan, EEUU; Noé Jitrik, Argentina; Tununa Mercado,
Argentina; Eric Nepomuceno, Brasil; James Petras, EEUU; Keith Ellis, Jamaica-
Canadá; Tristán Bauer, Argentina; Ferreira Gullar, Brasil; Marco
Martos, Perú; Lorgio Vaca, Bolivia; Eric Toussaint, Bélgica; Georges
Labica, Francia; Octavio Getino, Argentina; Richard Levins, EEUU; Martin Almada,
Paraguay; Elmar Alvater, Alemania; Roberto Montoya, Argentina; Víctor
Heredia, Argentina; Víctor Víctor, R. Dominicana; Tomás
Borge, Nicaragua; Eva Forest, España; Michele Mattelart, Francia; Leticia
Spiller, Brasil; Javier Couso, España; Fernando Suárez, México;
Salim Lamrani, Francia; Montserrat Ponsa, España; Jean Pascal Van Ypersele,
Bélgica; Verenice Guayasamín, Ecuador; Marilia Guimarães,
Brasil; Gioconda Belli, Nicaragua; Tarek Williams Saab, Venezuela; Isidora Aguirre,
Chile; Suzy Castor, Haití; Claribel Alegría, El Salvador; Andrés
Sorel, España; Ann Sparanese, EEUU; Denisse Stoklos, Brasil; Alessandra
Riccio, Italia; Carlos Fernández Liria, España; Alex Cox, Reino
Unido; Michel Collon, Bélgica; Danny Rivera, Puerto Rico; Tato Pavlovsky,
Argentina; Román Chalbaud, Venezuela; James Early, EEUU; Jean Brigmont,
Bélgica; Anthony Arnove, EEUU; Carlo Frabetti, Italia-España;
Fernando Buttazoni, Uruguay; Fernando Morais, Brasil; Ramón Chao, España-Francia;
Silvio Tendler, Brasil; Hanan Awwad, Palestina; Orlando Senna, Brasil; Saul
Landau, EEUU; Francisco Jarauta, España; Adolfo Colombres, Argentina;
Roberto Amaral, Brasil; Pilar del Río, España; Fernando Ainsa,
Uruguay; Alcira Argumedo, Argentina; Carmen Bohorquez, Venezuela; Steve Williams,
EEUU; Hernando Calvo Ospina, Colombia-Francia; Gilberto López y Rivas,
México; Juan Carlos Camaño, Argentina; Michael Parenti, EEUU;
Marta Palau, México; Italo Ordóñez, Ecuador; Gloria la
Riva, EEUU; Francisco Villa, Chile; Gennaro Carotenuto, Italia; Edward Sanders,
EEUU; Ersi Sotiropulos, Grecia; Constantino Bértolo, España; Manuel
Cabieses, Chile; Jose A. De Frietas (Tunai), Brasil; Thelva Nava, México;
Hugo Urquijo, Argentina; Isaura Navarro, España; Cecilia Conde, Brasil;
Igor Jinkings, Brasil; Iosu Perales Arretxe, País Vasco; Issa Makhlouf,
Líbano; Marcos Roitman, España; Héctor Díaz Polanco,
R. Dominicana; Antonio Maira, España; Arturo Andrés Roig, Argentina;
Roy Brown, Puerto Rico; Al Campbell, EEUU; Luisa Vicioso, R. Dominicana; Carlos
Fazio, Uruguay; Luciano Vasapollo, Italia; John Beverley, EEUU; Carlos Varea,
España; Víctor Flores Olea, México; Hassan El Ouazanni,
Marruecos; Jitendra Sharma, India; José Mulligan, Nicaragua; Beto Almeida,
Brasil; Juan Madrid, España; Sonja de Vries, EEUU; Red Ronnie, Italia;
Juan Kalvellido, España; Miguel Urbano, Portugal; Nora de Izcue, Perú;
Raúl Pérez Torres, Ecuador; Santiago Alba Rico, España;
José Steinsleger, México; Setsuko Ono, Japón-EEUU; Susan
Willis, EEUU; Vicente Romano, España; Néstor Kohan, Argentina;
Pedro de Castro Amaral, Brasil; Angeles Maestro, España; Vicente Battista,
Argentina; Stefania Mosca, Venezuela; Clifton Ross, EEUU; Zlatko Krasni, Serbia;
Wim Dierckxsens, Costa Rica; Sérgio Saboya, Brasil; Claudio Katz, Argentina;
Luciano Alzaga, Argentina; Corium Aharoniam, Uruguay; Donatella Mészáros,
Italia; Carol Cross, EEUU; Raly Barrionuevo, Argentina; Kali Akuno, EEUU; Gloria
Berrocal, España; Rodolfo Livingston, Argentina; Remy Herrera, Francia;
Mano Melo, Brasil; Irene Amador, España; Paul Emile Dupret, Bélgica;
Jaime Losada, España; Marcelo Resende, Brasil; Pablo Marcano García,
Puerto Rico; Miguel Martín Ayllón, España; José
C. Rovira, España; Alvaro Castillo Granada, Colombia, Natalia Toledo,
México; Consuelo Sánchez, México; José Heleno Rotta,
Brasil; Shirley Pate, EEUU; Gerardo Cerdas Vega, Costa Rica; Carlos Marés,
Brasil; Clarisse Chiappini Casthilos, Brasil; Michael S. Smith, EEUU; José
Luis Tagliaferro, Argentina-Italia; Claude Marks, EEUU; Iñaki Errazkin,
España; Eduardo Ebendinger, Brasil; León Ferrari, Argentina; Guy
Bajoit, Bélgica; Lia Sessy, Italia; Ricardo Antunes, Brasil; María
Toledano, España; Robert Franck, Bélgica; Verena Graf, Suiza;
Eva Björklund, Suecia; Raúl Vallejo, Ecuador; Eduardo Guimarães,
Brasil; Aitana Alberti, Argentina-Cuba; Sara Rosemberg, Argentina; Beatriz Bissio,
Brasil; Bert de Belder, Bélgica; Jaime Mejía Duque, Colombia;
Jane Franklin, EEUU; Alicia Hermida, España; Ana Esther Ceceña,
México; Angel Parra, Chile; Branca Eloysa P. Ferreira, Brasil; Dionne
Brand, Canadá; Sergio J. Dos Santos França, Brasil; Lêdo
Ivo, Brasil; Rosario Murillo, Nicaragua; José Antonio Barroso Toledo,
España; Christine Fayart, Bélgica; Caique Botkay, Brasil; Angelica
Malinarich-Dorfman, Chile; Manuel Fernández-Cuesta, España; Sidnei
Liberal, Brasil; Carlos Takeshi, Brasil; Jean Pestiaux, Bélgica; Aderbal
Ashogun, Brasil; Carlos Baron, Chile; Alejandro Moreano, Ecuador; Hans-Otto
Dill, Alemania; Carmem Regina de Vargas, Brasil; Richard Becker, EEUU; David
Lagmanovich, Argentina; Carmen Vargas, Brasil; Jean Philippe Peemans, Bélgica;
Aderbal Moreira Costa, Brasil; Claudia Korol, Argentina; Teodoro Buarque de
Hollanda, Brasil; Enrique Dacal, Argentina; Célia Ravero, Brasil; Nico
Hirft, Bélgica; Andrea Duffour, Suiza; Ana Tendler, Brasil; Carolina
Virguez, Colombia; Terezinha Lameira, Brasil; Juan Carlos Volnovich, Argentina;
Clarissa Matheus, Brasil; Hugo Achugar, Uruguay; Michael Steven Smith, EEUU;
Nicolas Bardos, Bélgica; Anisio Palhano P. Ferreira, Brasil; Vera Malaguiti,
Brasil; Danielle Bleitrach, Francia; Rafael Spregelbud, Argentina; Augusto Boal,
Brasil; Bob Stone, EEUU; Pierre Beaudet, Bélgica; Clarisse Mantuano,
Brasil; Vivaldo Franco, Brasil; Claufe Rodrigues, Brasil; Alicia Jrapcko, EEUU;
Waldir Leite, Brasil; Dácio Malta, Brasil; Anne Waldmann, EEUU; Danon
Lacerda, Brasil; Betsy Bowman, EEUU; Denise Fraga, Brasil; Bryan Becker, EEUU;
Echaterina Brasileiro, Brasil; Joy Harjo, EEUU; Jorge Fons, México; Emilio
Mira y Lopez, Brasil; Fábio Basilone, Brasil; Mary Louise Pratt, EEUU;
Andrés Linares, España; Geraldo Moreira, Brasil; Angeles Diez
Rodríguez, España; Ana Lydia Vega, Puerto Rico; Susana Fiorito,
Argentina; Joseph Mutti, EEUU; Haroldo Costa, Brasil; Margot Pepper, EEUU; Isadora
Jinkings, Brasil; Carlos Tena, España; Andrés Ordoñez,
México; Ivair Itagiba, Brasil; David Acera Rodríguez, España;
Ivana Jinkings, Brasil; Eduardo Hernández Fernández, España;
Jalusa Barcelos, Brasil; Iñaki Markiegi, España; Jaqueline da
Silva, Brasil; Jorge Lopez Ave, España; Jesús Chediak, Brasil;
Justo Carracedo, España; Jean Portante, Luxemburgo; José Vicente
Tavares dos Santos, Brasil; José Braga, Brasil; Jussara Freire, Brasil;
Miguel Riera Montesinos, España; Leila Jinkings, Brasil; Pepe Mejía,
España; Luis Carlos Cseko, Brasil; Alain Ruscio, Francia; Mãe
Beata de Yemoja, Brasil; Susana Vellegia, Argentina; Marcello Guimaraes, Brasil;
Beatriz Stolowicz, México; Marcellus Machado, Brasil; Horacio Verzi,
Uruguay; Elvira Concheiro, México; Mário Augusto Jakobskind, Brasil;
Luciano Concheiro, México; Isabel-Clara Simó, España; Xavier
Dalfó, España; Michele Victer, Brasil; Monique Lemaitre, México;
Miwa Saboya, Brasil; Natalia Toledo, México; Nilo Batista, Brasil; Hane
Haga, Noruega; Olny de Freitas, Brasil; Clemente Padín, Uruguay; Raymundo
de Oliveira, Brasil; Hernán Rivera Letelier, Chile; Quintín Cabrera,
Uruguay; Regina Libonati, Brasil; Douglas Bohórquez, Venezuela; Zezé
Sack, Brasil; Catherine Murphy, EEUU; Maximilien Laroche, Haití; Hiber
Conteris,Uruguay; Joao Ubaldo Ribeiro, Brasil; Marita Fornaro, Uruguay; Graciela
Paraskevaidis, Uruguay; Rafael Aponte Ledée, Puerto Rico; Daisy Zamora,
Nicaragua; Mauricio Kartun, Argentina; Cecilia Boal, Brasil; C. K. Otead, Nueva
Zelanda; Chiranan Pritpeecha, Tailandia; Gerhard Falkner, Alemania; Quincy Troupe,
EEUU; Neshe Yashin, Chipre; Koulsy Lamko, Chad; Nicole Cage Florentiny, Martinica
; Leslee Lee, Perú; Andrés Rivera, Argentina; Juan Cristóbal,
Perú; Frèdèric Debuyst, Bélgica; Jean Claude Fritz,
Francia; Gérard Fritz, Francia; Jacques Bidet, Bélgica; Milagros
Rivera, Puerto Rico; Katalina Montero, EEUU; Luis Fernando Eyerbe, Argentina-Brasil;
Daniel Veronese, Argentina; Pat Murphy, EEUU Kendell Hoppolyte, Santa Lucía;
Breyten Breytenbach, Sudáfrica; Ingibjörg Haraldsdóttir,
Islandia; Clara Algranati, Argentina; José Seoane, Argentina; David Franco
Monthiel, España </p>
<p>To sign: <a href="www.porcuba.org" target="_blank">www.porcuba.org</a>, <a href="soberania@porcuba.org" target="_blank">soberania@porcuba.org</a></p>
</body></p><p class="desc"><b>Source:</b> CUBARTE</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4770"></a></p><p class="title">Silvio Rodríguez Dedicates His New Album to His First Songs</p><p class="desc"><p>Havana (EFE).- The Cuban singer and composer Silvio Rodríguez brings forward his first compositions on his new disc <em>Erase que se era (</em>It
was what it was), which was launched on August 4th in Cuba and other countries,
among them Spain.</p>
<p> This double album also appeared on this same day in Argentina, Mexico,
Peru, Bolivia and Costa Rica, as a speaker from the recording studios <em>Ojalá</em>,
which was founded by Silvio on the Cuban capital, informed EFE.</p>
<p> <em>Erase que se era</em> collects themes composed by the singer and composer
between the end of the sixties and the beginning of the seventies, before his
recording debut with <em>Días y Flores</em> (Days and Flowers).</p>
<p> <em>El papalote</em> (The kite), <em>El matador </em>(The matador), <em>Oda
a mi generación</em> (Ode to my generation), <em>Discurso fúnebre
</em>(Mourning speech), Judith and <em>Una mujer</em> (A woman) are some of
the titles selected by Rodríguez, who told the Juventud Rebelde newspaper
that his aim with them was to “show the thematic diversity” which
“moved him at the time.”</p>
<p> “I have a lot of pending material, and that is because when I recorded
my first album I had been composing for a decade. These titles are from those
unpublished years, they had been waiting for a long time and looking at me from
the silence, accusing me. I wanted to be sure that these songs could be circulated,”
he pointed out.</p>
<p> “ I grouped the greatest possible number of languages, of ways of approaching
music and of writing words,” he adds. Some of the songs from the record
were written on board of fishing ships during the maritime expedition which
lasted four months made by the afterwards famous singer around the coasts of
Africa during his youth.</p>
<p> The record includes <em>Fusil contra fusil</em>, one of the first songs he
dedicated to the Argentinean-Cuban guerilla member Ernesto ‘Che’
Guevara, three songs he wrote to a North American female friend and <em>Nunca
he creido que alguien me odia</em> (I have never believed that nobody hates
me), composed after somebody confessed to him that he had waited for him after
a concert with the intention of killing him.</p>
<p> The singer and composer insists on pointing out that his new record “is
nothing more than my insistence on repairing the emptiness; another pay of my
debt with the experiences which led me to <em>Días y Flores</em>.”</p>
<p> Rodríguez prepares the recording of a tribute disc to the deceased
singer Noel Nicola and composes the music for an animated feature film for children.</p>
<p>Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> EFE</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4781"></a></p><p class="title">Provincial Awards of Community Culture 2006</p><p class="desc"><p>Havana, (DPC Ciudad Habana).- For their exceptional contribution to the socio cultural
communitarian work deserved this high award: Mayda Delgado de la Torre, director
of the House of Culture of the Arroyo Naranjo municipality, with more than 22
years of experience and a continued communitarian work; María del Carmen
Álvarez García, instructor of plastic arts of the Plaza de la
Revolución municipality, with more than 30 years experience; Ana María
Paredes Vilariño, of the Plaza de la Revolución municipality,
instructor with more than 30 years experience. The project <em>La Flauta de
Chocolate</em> (The Chocolate Flute), a children literary competition of the
Cerro municipality, created in 1986 as a tribute to the famous Cuban writer
Dora Alonso and the communitarian project Muraleando of the 10 de Octubre municipality,
created in 2001 with a distinguished communitarian work. </p>
<p>The award ceremony will take place next September 9th, 2006 at 4:00 pm at the
Memorial José Martí de la Plaza de la Revolución. Congratulations
to the winners and many successes in their valuable work with the communities
of Havana. </p>
<p> Translation : Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> DPC Ciudad Habana</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4793"></a></p><p class="title">Printing Press which Republished El Cubano Libre in 1895 is Preserved</p><p class="desc"><b>Author:</b> Marlene Montoya </p><p class="desc"><p> Santiago de Cuba, (AIN).- The printing press which republished the insurrectionist
newspaper El Cubano Libre (The Free Cuban), on August 3rd,1895, is preserved
as a valuable object on the Birth Home Museum of Antonio Maceo, in this city. Placed on the colonial mansion, it was seized by the Liberating Army on a agricultural
company on the Eastern region of the country, it was made out of molten iron,
of Washington Press brand and it had been fabricated on 1854.</p>
<p> It has been today 111 years since El Cubano Libre saw the light again, giving
a continuity to the one founded by Carlos Manuel de Céspedes after the
storming of the city of Bayamo, began this time by Maceo, conscious of its importance
as an ideological instrument on the liberating fight of 95.</p>
<p> The extreme measures taken to transport the press to the swamps were such
that the curiosity of the mambi troops were awakened and when asked by an officer
the Titán de Bronce (Bronze Titan) answered in a joking but firm manner:
“That thing they are bringing here is the artillery of the Revolution.”
He named Captain Mariano Corona as the director. He had in his favor his experience
as a typographer and editor.</p>
<p> Faced with such a great responsibility the officer was afraid of not being
capable of fulfilling his mission, but such a question was answered with the
answer of the general: “Look, whenever you write on the newspaper, you
think about Cuba, and I am sure everything will be alright.”</p>
<p> There are many anecdotes about the high esteem in which Maceo held the publication.
In a message to Corona he expressed once: “Good, very good. Keep going
like that! El Cubano Libre is a body of the army made up by 12 columns that
fights and fights well, everyday, for the Cuban cause….”</p>
<p> The idea to republish it on the 1895 war, demonstrated Antonio Maceo’s
intelligence and political maturity, who mentioned proudly the artillery of
the revolutionary ideas and protected it to prevented the press which brough
them to light from falling into enemy hands.</p>
<p>Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> AIN</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4784"></a></p><p class="title">Guantánamo Hosted National Week of the Political Song</p><p class="desc"><b>Author:</b> Lisván Lescaille Durand</p><p class="desc"><p> Guantánamo, (Juventud Rebelde).-The opening ceremony of the 30th Week
of the Political Song resorted again to its original style when a group of young
and veteran troubadours sang purely patriotic songs which contents constituted
an open support to the proclaim issued by the Cuban President Fidel Castro.</p>
<p>Liuba María Hevia, delighted participants with an anthological repertoire
turning the evening into a memorable one and the meeting into an authentic party
marked by a deep revolutionary fervor.</p>
<p> The occasion was also opportune to give the recognition “The Utility
of Virtue”, conferred by the José Martí Cultural Society
to the fine arts exponent and founder of the Hermanos Saíz Brigades.</p>
<p> Troubadours of different provinces shared the opening session held in the
headquarters of the Hermanos Saíz Association.<br>
Liuba gave a concert to the children hospitalized in the Pedro Agustín
Pérez Pediatric Hospital who chorused songs of her album “Magic
Crossing” devoted to the youngest public.</p>
<p> The Week of the Political Song extended to communities and cultural institutions
of the province. Guantanamo citizens could also enjoy the presentation of singer
and song-writer Polito Ibáñez, whose concert took place on the
third day in front of the historical monument to local martyrs Gustavo Fraga,
Fabio Rosell, Enrique Rodríguez, Abelardo Cuza and Jesús Martín,
to whom the event pays homage.</p>
<p> The meeting is the unique of its type in the country and has had that province
as its permanent headquarters since its very first edition in 1978 coinciding
with the celebration of the 11th World Youth and Students Festival in Cuba.</p>
<p>Translation: Ivette Semanat Negret (Cubarte) </p></p><p class="desc"><b>Source:</b> www.jrebelde.cubaweb.cu</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4790"></a></p><p class="title">A Curse Full of Experiences for the National Ballet School</p><p class="desc"><b>Author:</b> Isachi Fernández</p><p class="desc"><p> Havana, (Cubarte). – The National Ballet School, an institution with
international prestige, strengthen during the 2005 – 2006 year with highly
enriching experiences from the artistic and human point of view, declared Martha
Iris Fernández, teaching deputy director. </p>
<p> To that matter, the Cuban executive, referred to presentations to patients
of the Operación Milagro (surgical operations that have gave back the
sight to a number of person of poor countries), as well as the presentations
made to a number of institutions and figures who visited the school. </p>
<p> She remembered the XIII Encuentro Internacional de Academias de Ballet (International
Meeting of Ballet Schools) and the IX Concurso Internacional para Jóvenes
Estudiantes (International Contest for Young Students) where the work of the
whole group was highlighted, specially the role of the females. </p>
<p> She referred also to the graduation, last February, of teachers that are covering
the artistic teaching in Cuba, as well as another similar graduation in June.
</p>
<p> On the placement of those professionals, she explained that the school has
two profiles: the dancers and the ballet teachers. In ballet teaching they cover
the needs of the country in the different systems of artistic teaching. It can
be in dance, show, circus, at the ballet elementary schools and in the future
in the art instructors’ schools as well. </p>
<p> Regarding the pre-professional practice, she said: “a number of dancers
are being prepared in order to dance for a period of six month with the Cuban
National Ballet or in other dancing institutions of the country. It is a part
of the teaching process in which we give a great value to the comprehensive
education of the student, no9t only his artistic or technical results, but also
his humanistic formation”. </p>
<p> In that process, she explain, take part with a certain force, personalities
of the Cuban culture, it is a feedback. It is the case of figures of the National
Ballet of Cuba, the Ballet of Camaguey, the first dancer and maitre Aurora Bosch,
the first dancer and maitre Loipa Araujo, the Prima Ballerina Assolutta Alicia
Alonso and specially the teacher of teachers Fernando Alonso, who she considered
as “practically our adviser” and refer to the privilege of having
his daily presence, his observations and his wise advises. </p>
<p> On the perspective that are opening for the new academic year, Fernandez mentioned
the constructive works to extend some buildings, a request of the great vocational
workshops that are now at the school. </p>
<p> “We have the task of perpetuate the teaching of ballet in Cuba as well
as the whole aesthetic of the Cuban Ballet School that was created by its founders.
We are going to put in that task our determination”, she ended. </p>
<p> Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> CUBARTE</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4775"></a></p><p class="title">Frémez in the Fine Arts Museum</p><p class="desc"><p> Havana, (Cubasí).- The exhibit <em>Alto Cntraste</em> by the National
Plastic Arts Prize 2005-winning painter José Gómez Fresquet (Frémez)
opened last Friday, August 4th in the National Museum of Fine Arts.</p>
<p> Frémez displays a review of his artistic work featured by experimentation
and commitment with ideals of social justice.</p>
<p> In the course of almost five decades, he’s worked as draughtsman, designer
and art director in numerous Cuban publications and been awarded nationally
and internationally and his pieces have been presented in more than 20 countries.
</p>
<p> Among most outstanding pieces authored by Frémez is the serigraphy
<em>La modelo y la vietnamita</em> that traveled the world as a symbol of anti-imperialist
resistance and the poster Miss Liberty 2000 very much used in the setting up
of an intellectual front developed against George W. Bush administration’s
aggressive policy.</p></p><p class="desc"><b>Source:</b> www.cubasi.cu </p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4762"></a></p><p class="title">Mother Theresa Award to Cuban Librarian</p><p class="desc"><p> Havana, (PL). The Mother Theresa Award, granted by the Popular Library Mother
Theresa of Argentine and awarded by merit in the cultural promotion was granted
to the Cuban Rosa Báez</p>
<p> According to the information given to Prensa Latina by executives of the Biblioteca
Nacional de Cuba (Cuban National Library) “the daily fight of Rosa Báez,
editorial chief of Librínsula, the digital bulletin of the Biblioteca
Nacional José Martí (National Library Jose Marti) has been rewarded
with this award”. </p>
<p> The same sources indicated that the Popular Library Mother Theresa of Buenos
Aires, is the first public library created at Virrey del Pino and among
its activities there is the execution of literary, theater, arts and English language
workshops among others. </p>
<p> The institution is granting the mentioned award since the year 2000 to personalities,
artists, writers, institutions and media that fight and work for the human dignity
and the common good, they added. </p>
<p> The Biblioteca Nacional José Martí (National Library Jose Marti)
is run by the distinguished researcher and writer Eliades Acosta Matos. </p>
<p> Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> PL</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4791"></a></p><p class="title">Tribute to Federico García Lorca</p><p class="desc"><b>Author:</b> Bárbara Vasallo Vasallo</p><p class="desc"><p> Matanzas, (AIN). <em>La niña que riega la albahaca </em>y el<em> príncipe
preguntón, (</em> The girl who is watering the basil and The Asking Prince)
of the Las Estaciones group, of this city, was staged at the Llauradó
Theater in Havana City as a part of the tribute that the Cuban theatre offers to Federico García Lorca.</p>
<p> The play that the public enjoyed the 5th and 6th of August is a version written
by Rubén Darío Salazar, director of <em>Las Estaciones</em> group
on the original written by García Lorca to his sister and was premiered at
his home courtyard in Granada. </p>
<p> This individual show that involves the Lorquian lyricism has been on stage
in Italy, Mexico, Venezuela, and United States and took part in Granada, Spain
at the Festival in honor to the one hundred years of the birth date of Lorca
in 1998. </p>
<p> In Cuba the performance won the <em>Villanueva </em>award that is granted
by the <em>Unión de Escritores y Artistas</em> (Union of Artists and
Writers of Cuba); the Caricato at the Small Format Festival of Santa Clara as
well as other achievements of the Ministry of Culture and the Scenic Arts. </p>
<p> With over 100 performances as a reference, La niña que riega... (The
girl that is watering ...) Darío Salazar and Las <em>Estaciones </em>joined
the tribute in commemoration of the 70th anniversary of the death of the Andalusia
poet, killed the 19th of August 1936, in his home town of Granada by the fascist
hordes. </p>
<p> Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> AIN</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4774"></a></p><p class="title">Bayamo, Capital of Environmental Sculpture</p><p class="desc"><b>Author:</b> Martín Corona Jerez</p><p class="desc"><p> Bayamo, (AIN).- Suggesting and massive pieces of carved marble welcome or
farewell the thousands of people who travel for the beltway located to the south
of Bayamo city, at more than 750 kilometers off Havana. </p>
<p> Authorities of the territory emphasize that that silent greeting of plastic
arts is only an evidence of the will that can transform Granma into the Antillean
capital of environmental sculpture. </p>
<p> With that purpose it’s worked since year 2001, when the First International
Symposium of Environmental Sculpture Rita Longa left behind in the City of Hymn
as well as in its outskirts 12 works of steel, marble, and combinations of the
latter with other metals. </p>
<p> Those carvings were made by artists coming from Egypt, Italy, Spain, Argentina
and the host nation. The 2nd Symposium Rita Longa which held sessions last February,
contributed with equal number of figures to spruce up the panorama of the recently
finished beltway, one of the new features exhibited by the city of Bayamo as
venue of the central act for July 26th, Day of National Rebelliousness. </p>
<p> The pieces, 1X3 meters high, fall into the ancestral themes of fertility and
ecology, with impressive tones of good design and spontaneity. </p>
<p> Eight of this sort of invitations to imagination are located in the meeting
intersection between the new road and the path Bayamo-Manzanillo; two in the
intersection with Central Highway leading to the neighboring province of Santiago
de Cuba, one in the exit of El Almirante neighbourhood and another one near
the road leading the amusement park Granma. </p>
<p> The authors are from Havana City, Las Tunas, Holguín and Granma. High
Authorities of Granma as well as from the Advisory Committee for the Development
of Monument Sculpture announced that the 3rd Symposium is scheduled for year
2008, in Manzanillo, the second city in importance of the territory. </p>
<p> Hence, in a region where the plastic specialty had little or nothing to show
about until five years ago, begins to shape remarkable profiles. </p></p><p class="desc"><b>Source:</b> AIN</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4778"></a></p><p class="title">Cuban Artists Wish Quick Recovery to Fidel Castro</p><p class="desc"><p> Havana, (PL).- Cuban intellectuals wished a quick recovery to the leader of
the Cuban Revolution Fidel Castro. Musicians César Portillo de la Luz,
Juan Formell and Richard Egües, actress Daysi Granados and writer Reynaldo
González expressed their confidence on the Commander-in-Chief ´s
quick recovery who underwent an intestinal operation and provisionally delegated
his responsibilities.</p>
<p> In his declarations to Prensa Latina, Portillo de la Luz, composer of the
anthological song “Contigo en la distancia” (With you in the distance),
said that “Fidel is a man to respect and that is why the world respects
him.” </p>
<p> He thanked “all men and women in the world who have expressed their
concern on the Fidel’s health state” and said the dignitary would
surely appear soon to say the words he uses to say. </p>
<p> “The book “One Hundred Hours with Fidel” by Ignacio Ramonet
impressed me. Our leader foresees everything, he has had to fight very superior
forces for years and he has learnt to take advantage from them,” Portillo
asserted.</p>
<p> In relation to the hysteria sparked in Miami, he stated it provoked laugh
and shame. “They are hurt and embittered and that is why they behave like
that,” he added.</p>
<p> For his part, Juan Formell, director of the Cuban orchestra Los Van Van, presently
in Japan, similarly expressed confidence on the prompt revival of “brother
Fidel” on behalf of his musicians.</p>
<p> “The moment is delicate and we have to be prepared because the enemy
may build it hopes up. I rely on our Armed Forces and people. We will be back
in September and for then I want Fidel to be back to work,” he said. </p>
<p> Richard Egües, flautist and composer of the famous Aragon orchestra stated
that “the news of Fidel´s disease bit me strong and right now I
am ill too, but he is the greatest man in the world and so he will recover for
sure.”</p>
<p> “If it is necessary to offer my life instead of his, I would do it,”
he remarked </p>
<p> Daysi Granados, the most international Cuban actress, said she expects his
rapid recovery so that he continues working in favor of Cuba and the world.</p>
<p> Reynaldo González, National prizewinner in Literature, reflected on
the people’s response which he described as calmed, mature, serious and
sensible.</p>
<p>He said that a notice like that could have sparked chaos, concern and disorder
in any part of the world. However, the Cuban people have done just what its
leader asked them to do, to work.</p>
<p> Translation: Ivette Semanat Negret (Cubarte) </p></p><p class="desc"><b>Source:</b> PL</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4786"></a></p><p class="title">Cuban Carlos Acosta in a Brilliant Rehearsal</p><p class="desc"><p>London, (BBC).- At the age of 33 and accompanied by various stars of his present
company, the British Royal Ballet, Cuban first dancer Carlos Acosta performed
at the Sadler´s Wells Theater.</p>
<p> His spectacle "Carlos Acosta and Friends" started and concluded
as if it were a rehearsal. Dancers arrived, greeted one another and started
with their warm-up exercises in the back stage.</p>
<p> Then, solos and duets received with plenty applauses started. Dancers received
the audience’s welcome with a disdain and modesty unusual in the world
of ballet.</p>
<p> Between act and act and to stress the presentation’s air of informality,
props managers appeared to fix the curtains or something on the stage.</p>
<p> This studied carelessness helped to highlight the professionalism of Acosta
and the accompanying staff.</p>
<p>Disappeared Choreographers </p>
<p>The first part of the program included versions of disappeared choreographers
such as George Balanchine, Mijail Fokin and Kenneth MacMillan. </p>
<p> The Cuban artist started by dancing the pas de deux by Balanchine with dancer
Zenaida Yanowsky, followed by Sarah Lamb and Rupert Pennefather in “The
Sylph” by August Bournonville and then the farewell duet Mara Galeazzi
and Thiago Soares dancing “Winter Dreams” by MacMillan. </p>
<p> Zenaida Yanowsky, evidently one of the audience’s favorite, danced “The
death of the Swam” by Fokin with a gentleness that would have touched
even the choreographer of the Russian Ballets.</p>
<p> But it was precisely another Russian choreography which sparked participants´
ovations, "Acteón and Diana" by Agrippina Vaganova. This time
Acosta and Marianela Nuñez, his counterpart, provided a new display of
their acrobatic skills during the flight from the invisible dogs frightened
by the naked goddess.</p>
<p>Cuban ending</p>
<p>The second part of the program was centered on contemporary choreographies
like duets "The End of Time" by Ben Stevenson and "Margot and
Rudy" by Liam Scarlett as well as the solo "Nisi Dominus" by
William Tuckett with music by Claudio Monteverdi. </p>
<p> The most memorable moments started when the stage seemed to be set in one
of those bars in Buenos Aires or a Paris, while Argentine Marianela Nuñez
and Brazilian Thiago Soares danced a sensual tango in the play "to Buenos
Aires", conceived by Gustavo Mollajolli and supported by Astor Piazzolla´s
music. </p>
<p> Acosta, carrying a bottle in the hands, crawled around the bar’s tables
following Sarah Lamb. </p>
<p> Thus, they prepared the ground for next choreographies, including "Je
ne regrette rien", danced by an Acosta, each time drunker and funny and
by Lamb who moved in time to the beat of the Edith Piaf´s famous song
entitled "Les Bourgeois" sung by Jacques Brel. </p>
<p> The evening, marked by the interludes of Jules Massenet, ended up with "Majísimo",
a lighthearted play for eight dancers by Cuban choreographer Jorge García
with music by Massenet and with a more than 10-minute ovation.</p>
<p> Cuba’s National Ballet, the company from which Carlos Acosta comes from,
will perform at the Sadlers Well in September.<br>
Acosta presented again his autobiographical work "Tocororo" August
2nd-5th in London.</p>
<p> Translation: Ivette Semanat Negret (Cubarte) </p>
</p><p class="desc"><b>Source:</b> BBC</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4763"></a></p><p class="title">The movie Camino a Guantánamo, the Horror of a Human Zoo
</p><p class="desc"><p> Madrid, (Diario ADN). - «To make this movie has turned us into fighters.
The day we left Guantánamo, the people from the hut told us to tell the
world what was going on.»</p>
<p>Ruhel Ahmed, Asif Iqbal and Shafiq Rasul, talk slowly, as if they were telling
a story. They do it on a cinema in Madrid, on the premiere of the movie Camino
a Guantánamo (<em>A road to Guantánamo</em>).</p>
<p>The story of three British young people detained in Afghanistan in 2001 and
imprisoned by mistake on the North American Guantánamo Base, in Cuba.</p>
<p>Their story: « Two years jailed in a human zoo ». And also their
« best revenge against the United States and Great Britain governments.
»</p>
<p>A movie which combines documentary and fiction, directed by Michael Winterbottom
(9 songs) and Mat Whitecross. It was awarded with the Silver Bear for Best Direction
on the last Berlin Film festival.</p>
<p>Their trip took them from Tipton to Pakistan, to assist to the wedding of one
of them. Their mistake was to cross the border to help the victims of the war.
« We were 18 years old and we were not interested in politics.»</p>
<p>They ended up in Kunduz, captured by the Northern Alliance that handed them
over to the Americans. « The first time that I saw them I felt happy,
but I was rushing, » jokes Asif.</p>
<p>« We were told we would be treated better than the Afghans but the first
thing they did was to place a bag over our heads and beat us. »</p>
<p>The movie has just been premiered on the New York Tibeca. « It was very
well received. They felt ashamed of their government. That is essential, because
they are the only ones who can fight Bush, » concludes Whitecross.</p>
<p> Translation: Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> www.diarioadn.com</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4771"></a></p><p class="title">Chucho Valdés Plays for an Audience Trapped by the Magic of his Music</p><p class="desc"><p>España, (Terra).- The Spanish musician Enrique Heredia -"El Negri"-
and the Cuban piano virtuoso Chucho Valdés played the songs of Agustin
Lara, as well as traditional Cuban music during the Jazz Festival San Javier.</p>
<p>It was an encounter in which jazz has been the link among the different rhythms
that were heard at the Almansa Park, were two concerts took place.</p>
<p>Two musical works performed by the piano trio, Pedro Ojesto,<em> De la ceca
a la Meca</em> and Soniquete started the concert, followed by Enrique Heredia,
<em>El Negri</em> who, after salutations, began playing songs of the Mexican
music composer Agustin Lara -to whom he dedicates his disk-, adjusted to Jazz
and Flemish Music.</p>
<p>Some of these songs were "Noche de Ronda" -Patrol Night- ( that Lara
wrote for his wife, the actress Maria Felix); <em>"El ultimo beso</em>"-The
last kiss-; "<em>Maria Bonita</em>" (Cute Maria), and "<em>Nadie</em>"
-Noone.</p>
<p>It then followed "<em>La Paloma"</em> -The Pigeon-, a universal poem
by Rafael Alberti, which Heredia adjusted to music while working with the group
La Barberia del Sur.</p>
<p>He went back to Lara, performing "Veracruz", dedicated to this Mexican
city, where Tona La Negra -the person who sang together with Lara- was born.
Then came "Granada", which he played with his niece Triana Heredia,
daughter of the reminded Ray Heredia.</p>
<p>Lara´s score was a pretext which allowed <em>El Negri</em> play "<em>Camaron
tangos</em>", giving a Flemish touch to the concert.</p>
<p>Three percusion solos were performed by <em>El Bandolero</em> to the Flemish
box <em>rumba</em>. Enrique Heredia and the Cuban batterist Fernando Favier
closed the Jazz Festival by playing "<em>La alegria de vivir</em>"
-The joy of living- and "<em>Gitanillas de Cascorro</em>" -Cascorro´s
gypsies- at the <em>Conga</em> style.</p>
<p>The second part was assigned to the quartet of Cuban pianist Chucho Valdés,
one of the Island´s music treasures. His chords identify him as one of the most
important Cuban musicians, loved by both, critics and audience.</p>
<p>Chucho learnt from his father, the gifted Bebo Valdés, to play the piano
and how to place his hands on this musical instrument, which Chucho has been
so good at creating authentic Caribbean music. But, certainly, his most significant
contributions within jazz music have been the foundation of the musical groups
Irakere and Crisol; the latter includes <br>
the presence of trumpet player Ray Hargrove.</p>
<p>Chucho Valdés has been awarded by many institutions, among them: The
L.A., Madinson and New Orleans´ keys; this last city being reminded at the Jazz
Festival.</p>
<p>Valdes was performing his own musical scores for an hour and fifteen minutes.
He couldn´t miss a composition from his father and teacher, which he dedicates
to Yoldi Abreu Robles, the best bongo player of these times. Yoldi is accompanying
Chucho in his tour.</p>
<p>After an excellent musical performance, Chucho wanted to try out his musicians
through "El Son del Brujo" -The Witch´s Son-. So he made them repeat
by their musical instruments what he was doing with the piano. </p>
<p> The audience rhapsodized over this, acclaiming the exceptional musicians.More
boleros and Caribbean rhythms, mixed with jazz music were heard at Chucho´s
concert during the Jazz Festival of San Javier, that had a final surprise: a
little jam between Chucho and Enrique Heredia "El Negri". They performed
"Amor Fugaz" -Ephimeral Love-, composed by Agustin Lara. An embrace
between Agustin Lara and the Cuban rhythms was felt this summer at the 11th
Jazz Festival of San Javier, that was faithfully followed and enjoyed by a big
audience.</p>
<p>Both El Negri and Chucho Valdes´ quartet made it possible. This latter had
to go back to the stage to perform before an audience that was trapped by the
magic of his music.</p>
<p>Translation: Roxana Marquez Herrera (Cubarte) </p></p><p class="desc"><b>Source:</b> Terra</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table><table width="540" cellpadding="0" cellspacing="0" border="0"><tr><td class="desc"><p><a name="4782"></a></p><p class="title">Cuban Films in Locarno, Montreal and Toronto</p><p class="desc"><b>Author:</b> Joel del Rio</p><p class="desc"><p> Havana, (Juventud Rebelde).- Cuba will be represented in three of the most
important film festivals in the world on the next few days. Cuba will be represented
by a fiction feature movie that has just come out of the editing rooms. Locarno
in Switzerland, Toronto and Montreal in Canada, are very selective and rigorous
events that have tried to keep in touch with the most recent production generated
on the country. An award in them or in meetings of the style of Cannes, Venice,
Berlin and San Sebastian is equivalent to the happy chosen one obtaining immediate
attention from the press, and even from trans-national distributors, with the
resulting prestige for our cinematography and the possibility of international
sales.</p>
<p><em>Viva Cuba</em>, by Juan Carlos Cremata, awarded with around 25 international
prizes and also <em>Barrio Cuba,</em> by Humberto Solás, finished successful
international tours after their debut in an important festival: Cremata in Cannes
and Humberto in Huelva. Even if none of the three presented Cuban movies (I
mean <em>Páginas del diario de Mauricio </em>(Pages from Mauricio’s
diary), <em>El Benny </em>and <em>La edad de la peseta </em>(The awkward age))
reach any awards, the experience will result nonetheless gratifying, because
at least the gain will amount to the actualization which means for our movie
makers to participate in this kind of meetings, to share their experiences with
their counterparts al over the world, and with a bit of luck to attract the
attention of distributors and screeners that are searching for small diversity
breaches on the commercial and totalitarian wall set by Hollywood.</p>
<p>The one in Switzerland is a less glamorous event and it is more away from the
commercial requirements of its Class A European neighbors. Locarno has managed
to find equilibrium between the movies dedicated to satisfy the taste of the
big public and the riskiest, most heterogeneous and intellectually provocative
audio-visual approximations. For its main competition, for which El Benny by
Jorge Luis Sánchez was selected, there are many new directors, who have
just one or two previous full-length movies, but that does not mean that we
are in front of a contest full of newcomers. Locarno has consecrated a good
number of the directors who decide the course of contemporary artistic cinema.
The award for excellence in their career, will be this year for the North American
director Willem Dafoe; there will be a whole retrospective of the Finnish man
Aki Kaurismaki – including his last full-length movie Luces del amanecer
(Lights from dawn)- ; the section of today’s movies will be inclided to
the images of the Far East, with movies from the Korean Eric Khoo and the Japanese
Naomi Kawase ; and there will be am Honor Leopard handed in to the Russian director
Alexander Sokurov, apart from the projection of its most recent movie, <em>Elegía
de vivir</em> (Elegy of living).</p>
<p>The main metropolis of the French speaking Canada, Montreal proposes a contest
of full-length feature movies, between August 24th and September 4th, where
there are <em>Páginas</em>… (Pages..), by Manuel Pérez inserted.
This contest keeps also a very close eye on cultural diversity and to favor
the presence of titles from numerous and far away countries. It also presents
a parallel contest of prime operas (which a couple of years ago awarded the
Cuban <em>Tres veces dos</em> (Three times two)) and if that isn’t enough,
it proposes three macro-sections: Out of contest (with the screening of the
best awards from others great events), Focus on World Cinema (Concentrating
on a geographical area) and the Tributes, which are also destined to pay tribute
to great personalities.</p>
<p>The Montreal jury, for the main contest, is already determined, and is integrated
by Marc-André Forcier, « enfant terrible » of the Quebec
cinema, the North American actress Kathy Bates, Vibeke Windelov, the Danish
producer of the movies of Lars von Trier; the veteran Argentinean actor Federico
Luppi, and the French scriptwriter Guillaume Laurant. Because they are celebrating
this year their thirtieth edition, they have received complimentary opinions
from some of the great personalities of world cinema. For example the renowned
Majid Majidi thinks of this Festival that “thanks to the great awards
given to my three movies, <em>Los hijos del cielo </em>(The children of heaven)
came to be the first Iranian movie to be nominated to the Oscar awards, <em>El
color del paraiso </em>(The color of paradise) was widely distributed in North
America and Baran revealed the world of the Afghans after September 11th, if
Montreal had not existed, we would have had to invent it.”</p>
<p>A rival of Montreal and is not so much a traditional style festival, because
it has no juries or great awards, Toronto is considered to be the showcase and
the summary of all kinds of productions, commercially as well as artistically,
the entrance door to the Anglo-Saxon market, apart from the first step in the
race for the Oscar. Situated on the greatest English-speaking Canadian metropolis,
it has become one of the most important ones in the world, especially in commercial
and contact terms. This year it includes nothing less than 15 sections, among
which are included Contemporary World Cinema, Masters, Discovery, Real to Reel,
Special Presentations, Midnight Madness, Galas, a retrospective to contemporary
Indian cinema, and of course, the great North American premieres with artistic
pretensions.</p>
<p>This year’s edition is its number 31, and it will take place between
September 7th and 16th, and it will be the site for the international or North
American premiere of seven Hispanic movies, among which are included <em>La
edad de la peseta</em> (That awkward age), the debut in the full-length feature
movie for the Cuban Pavel Giraud; <em>La perrera </em>(The dog pound) from the
Uruguayan Manuel Nieto; <em>Fantasma (</em>Ghost) from the Argentinean Lisandro
Alonso and <em>El laberinto del fauno</em> (Faun’s labyrinth) from the
Mexican Guillermo del Toro.</p>
<p>On a tour through the wide world will be our cinema production and we hope
it will also be enjoying itself after winning the success they deserve<em> Páginas
del diario de Mauricio </em>(Pages from Mauricio’s diary), <em>El Benny
</em>and <em>La edad de la peseta </em>(That awkward age). Although paraphrasing
the poet who talked about making love and the sheets, we, when we make movies
with awards, that is great, without them, it doesn’t matter. Lat me say
that I make this last statement just myself. I havn’t asked Manolo, Jorge
Luis, nor Pavel their opinion on this respect.</p>
<p>Translation : Karen López (Cubarte)</p></p><p class="desc"><b>Source:</b> www.jrebelde.cubaweb.cu</p><p class="desc" align="right"><a href="#top"><img src="cid:bf88139bab91f2546ebe7034347ea2a1" border="0"></a></p><hr size="3" noshade="yes"></td></tr></table></div><br><a href="http://www.cubarte.cult.cu/eng/encuesta/index.php?encuesta=5"><img name="banner" src="cid:222545e53ac63281541e740c1790569d" width="529" height="132" border="0"></a><br><br><table width="540" cellpadding="10" cellspacing="0" style="border:1px solid red"><tr><td bgcolor="#FFD9D7" class="text"><p>We shall appreciate any suggestion to better our work. You may write
to: <a class="text" href="mailto:infoanalisis@webcubarte.cult.cu">infoanalisis@webcubarte.cult.cu</a>.
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