04/02/08
Juventud Rebelde (Havana)

Report of the Commission on Culture and Society*

[Submitted to Unión Nacional de Escritores y Artistas]

*Translated by Dana Lubow, May 12, 2008
Edited by Robert Sandels
Bracketed comments by Nelson P Valdés
Received through Cuba-L

THEY WERE DIFFICULT TIMES TO BELIEVE IN THE FUTURE, Julio Garcia Espinosa told us at the VI Congress of UNEAC in 1998. But this [comment] doesn't refer to those [times] from [the documentary] Mégano, but to these in which we confuse FAME and TALENT, when to retain hope seems to be an utopian gesture for some.

The organizers of that [UNEAC] event had created a commission to compile suggestions about the topic of culture and society during the preceding process. That is how a smaller study group was set up which after considering all the suggestions, charged Roberto Fernández Retamar with editing a document that integrated them, and furthermore, could permit fostering debates towards a higher social awareness in our organization.

The text was read in one of the plenary sessions and gave way to what is remembered as days of very fruitful dialogue among the delegates and Fidel, who presided over them.

We then commemorated the 150th anniversary of the Communist Manifesto's publication in Europe, and a century of United States intervention in our War of Independence. Now, almost on the eve of the bicentennial of the beginning of the independence movements in America, but above all, on the verge of completing 50 years of the Cuban Revolution, it is foreseen the need to create a space for debate - similar to the one that was so important then. All the opinions offered during this preparatory process have been considered, and as in the past, incorporated in this report that will open a new way for our dialogues. This is a permanent labor that will have to be a central feature of our very organization and its social function. .

We are meeting when Cuba faces significant circumstances. Fidel will not be present. A new Parliament and Council of State was just chosen and he will no longer preside them. Too much time has passed since our last Congress. There, we made new commitments that were added to those that we already had made with Cuban society. Our first responsibility must be to take them into account in this analysis. On November 17, 2005, Fidel, in his address from the Aula Magna of the University of Havana, called on us to reconfigure our participation in the future tasks of the Revolution. In times of adversity and confrontation, we have to define the new map in which the Cuban Cultural Revolution will be traced. We have traveled a long road, and serene and intelligent analyses will help us in order to discard only what is really not useful. But we will have to be relentless in the permanent exercise of criticism and the implementation of spaces that support it. Because, as the documents of the past Congress said, citing Martí, in our America: "criticism is healthy, but with only a single heart and a single mind."

During these last months, we have taken part in a vast process of analysis of our society. From the position to which everyone has a right as part of the Cuban population, we have expressed our opinions and points of view about the widest range of problems, and we have become aware of many other suggestions, as has the rest of the Cuban population. We know that our views have been collected, and they will be useful for the necessary readjustments in the country's reorganization, anxious as we are to find a new equilibrium and to repair and consolidate the indispensible consensus through participation.

Unity of all forces has been and continues being the fundamental strategy of the Cuban Revolution. But unity is not the same as homogeneity of thought, but rather the reconciliation of different points of view. That is why we speak about repair and consolidation from a consensus that includes us, but also includes those who, although they do not think exactly as we do, aspire to a better society, based on independence and social justice.

We have been called together to closely follow reality, that which affects us and about which we are better informed, or that much broader reality that we will not always be able to directly influence, although we feel jointly responsible and interested in its improvement. We also know all plausible queries will be made to us, in order to find adequate solutions for every problem. But above all, we have been called to work, to produce goods that could assure a better quality of material and spiritual life for our society. It is precisely in the spiritual world where we feel the greatest responsibilities and it is there the risks await us to which we must pay particular attention.

Although we lack information and have too many pending answers, we know with certainty that our population is dissatisfied with the options of recreation that we offer them. That is, with the possibilities of employment of what we call free time.

In the documents from our VI Congress, it had already been established that, "The expression of identity and, culture is the source of spiritual life and therefore, through it, support for the entire system of values. Indispensable for the growth of human kind, the means of accessing knowledge is a necessary component of every authentic process of social development and contributes to the achievement of a better quality of life."

We think that our cultural programs, carried out in the midst of difficulties that always seem insurmountable, constitute an unquestionable achievement. We would consider any contrary opinion unacceptable and, at best due to a lack of information. Nevertheless, we would not take into account that this always depends, ultimately, on comparative references that we might have decided to establish.

Therefore, the truly wise, and therefore revolutionary thing, would be to ask us which are the references concerning the population. It seems clear that there has been a mismatch between the cultural project of the Revolution and the references established for themselves by broad sectors of the population.

Which requires a digression:

We have been involved in a war brought about by the new communications technologies, the entertainment industry and market strategies, in which socialism lost all the battles, principally by developing them in settings designed by the enemy by insisting on fighting the content without paying attention to the medium transmitting the message. By not understanding that in the process of information transmission itself, and the manner of organization, a setting was prepared for us in which, in the best of cases, we would only be able to achieve a state of "respectable subordination."

Prohibiting access to these options, aside from being an "empty gesture," would only increase its appeal without preparing us for an adequate interaction with the channels by which information is processed and distributed in the world. On the other hand, to discard the flow of information that current technologies place at our disposal, would be equivalent to going back in time and would place us outside of reality.

From our point of view, we could solve the question by affirming that it is others who spread reductionist, simplified and trivial models that do not accept the responsibility of preparing our population to interact intelligently and lucidly with modern circuits of information transmission. And, because of that, we become avid receptors of all simplified triviality and thus favor the development of life ambitions based on a false consciousness.

We could even be more audacious and state that, on occasions, we bitterly perceive that those "others" responsible for the damage are not outside, but within our society, and that it is not about ill-intentioned enemies, but our own comrades in the struggle. We are referring, certainly justifiably, to insufficiencies of every entity that has to do with citizen education and concessions that in places like those for tourism - restaurant and commercial and networks - reproduce and spread the worst of pseudo-cultural models imposed by globalization. And that this is even more serious when it is done by cultural institutions and businesses, or is distributed and amplified daily through our media both in their so-called entertainment slots and in those with educational or informative purposes.

But unfortunately, these considerations would not solve such a complex problem nor would they satisfy the deepest expectations of the population. We would put forward parts of the truth, important yes, but in the end, only parts, instead of objectively and completely taking on the totality of the factors involved in a process that allows us, without prejudice or justifications, to reach effective and lasting solutions. There is nothing to fear in clarifying the truth regardless of how risky and complex it may seem to us since, without any political ingenuousness, it has always been the best weapon of socialism, although times we might not be aware of it.

But truth can only be established and proclaimed from the appropriate setting, which is an inseparable part of it, and includes speakers and spectators. Therefore, we want there to be a procedural character to any dialogue, without implying delays, which under the circumstances, could become very harmful. About the badly named recreation, in order to avoid simplification, perhaps it would be convenient from now to clarify that the cultural policy we are working for, which is entrusted with that artistic and intellectual output that we consider to be the country's shield, embrace the totality of Cuban life, and serves to give sense to the unity of our existence. Therefore, it doesn't allow for, divisions that imply that our productive time be tedious, tiresome and monotonous, taken on without any pleasure, and only because no other solution remains for us, while we expect all the rewards for the time would call free, that is, which is culturally unproductive.

In fact, because of everything we have seen, the reductionist and trivial models, have unfortunately already shaped the aspirations and life plans of broad sectors of the Cuban population, in flagrant contradiction to the principles of our educational and cultural policy. And, as we justifiably want all that is best in the Cuban artistic and intellectual creation recognized, we propose to set up a permanent working commission of UNEAC, which, under the name "Culture and Values," would discuss, from the perspective of our writers and artists and recreation, the development of audiences and tastes, the presence of cultural models in the media and educational institutions, the influence of culture in social welfare and the relationship between culture and daily life. This commission would invite representatives from institutions and organization that directly or indirectly are involved in the solution of problems connected with the aforementioned topics.

We also propose that UNEAC participate permanently on the National Commission of Social Services and Social Welfare and on recreation commissions in the provinces and in those municipalities where branches of our organization exist. In addition, we consider it useful to recommend the creation of a National Commission of Recreation.

Regarding processes linked to the so-called massification or democratization of culture, we should be especially careful and responsible in the development of a perception of works of art, which emphasizes its autonomy, permits whenever possible, critical and enlightening access to an understanding of our social reality in all its complexity and from the greatest possible diversity of viewpoints.

At the last congress, Roberto Fernández Retamar reminded us of a particularly important observation by Gramsci:

"To struggle for a new art (Gramsci said) would mean to struggle to create new artists, which is absurd, since they cannot be artificially created. One needs to speak about struggle for a new culture, that is, for a new morality, which cannot stop being intimately linked to a new intuition of life, even changing it to a new way of seeing and feeling reality, and, consequently, in a new world accustomed to "possible artists" and to "possible works art."

Thus, the real sense of revolutionary culture is postulated, and, as Retamar then emphasized, ".it is not about competing with capitalism on its own terrain. It is about the development of everyone being the condition for the development of each one. It aspires to be a free and just society, not an opulent society. To compete with capitalism on its own terrain means accepting its rules of the game, and later would come the adoption of everything from the economy to many spiritual expressions and that would wind up being fatal."

To talk today of giving voice to the silenced, of the need for a democratic culture, for stimulating intelligence and sensitivity to encourage a critical and participatory conscience, that is, our possibilities to create self-defense mechanisms against the devastating invasion of instruments of trivialization, seems to have an antiquated resonance. But in reality we are not talking about the past. It is possible to recognize today's neoliberal globalization and the hyperbole of yesterday's contradictions. From the perspective of the present, Graziella Pogolottis, has referred to the fundamental processes of our cultural policy in these terms:

"For some, art is considered mere illustration of an ideology conceived in abstract terms. The relationship is expressed as guidelines. For others it provides a beautiful and comfortable setting. These reductionist points of view ignore the adventure of discovery implicit in the entire process of artistic creation, immersed in revealing the complexity of life. Since Heredia sang the Fatherland still nonexistent, artists have appropriated from seeds from the future and have constructed an imaginary world in which we all end up recognizing ourselves."

We discussed this in the VI Congress. Today, most and more of us accept that the most complex and difficult problems of contemporary Cuban society are revealed in the work of our creative artists long before they appear in other discourses. Nevertheless, these works do not always have the impact they should in sectors of the Cuban population that should be their natural audience. Because, among other reasons, it still is very difficult for our media to make them known or at least reveal their existence.

To this deficiency, we must now add the functioning of control mechanisms and institutional censorship in our society. It is healthy to speak frankly and with the greatest transparency possible about this topic. The majority of the conflicts in the public circulation of the works come from not establishing in a timely fashion an adequate and respectful dialogue between the specialists of the institutions and the creators who, justifiably feel that the integrity of their work is compromised. At the same time, the institutions are responsible for what they sponsor and promote and they need to represent the interests of the recipient, which is what gives sense, in the final instance, to any cultural policy. But they must do so without affecting in any way the creative processes which they sponsor and promote, or that, in any case, they should sponsor and promote. All the actors of the contemporary creative process, characterized by the plurality of factors that make it up, should keep in mind, without the simplifications which minimize the problem, the specific political circumstances in the country of each moment, the international situations, as well as interventions, positive or not, of the domestic market (if it exists), and above all the international market, among the aspects to consider.

The extreme complexity of these relationships requires a broader analysis containing all the elements which, as we have said, interfere in artistic creation, as well as its links to the recipient, for which we recommend constituting a working group, attached to the presidency of UNEAC. This would have as its mission to study these processes and to attend to the specific cases that can arise. And above all, to bring about the dissemination and promotion of the best and most significant criticism of contemporary artistic creation, in order to coordinate its work with all associations and other institutions involved in these processes.

In some way related with the previous point, and unresolved since the VI Congress, are concerns about the role that various aspects of the market should play with respect to artistic creation in Cuba. It was then said:

"It is complex but unavoidable to know the attitude that we need to take toward this difficult contradiction. If we do not attend to the rules of the market, where are the resources going to come from to maintain major cultural productions? If we only attend to those rules, how will we finish changing our culture?"

And referring to other fundamental aspects related to the market and artistic creation:

"In these circumstances, the responsibility of cultural institutions acquires a greater dimension. In defense of present and future art, there needs to be a fair balance between the market and state subsidy without paternalism. They need to protect and promote the renewal and continuity of our culture. The same thing must occur with patrimonial values and also with those that connect creation with research and experimentation, which is indispensable for the necessary renewal."

Or:

".. It also is necessary to struggle to prevent dubious market demands from adulterating popular culture products, as frequently occur.

At the same time, we must defend our cultural patrimony and our modernity. Only superficially is it about remote realities when they are not opposed."

These pending approaches to continuity, whose solution, in some cases, are obviously beyond our areas of competence but, which nevertheless, notably interfere with the organization and efficiency of our work especially, in the services that we can offer to society, must be continually analyzed by permanent committees on national promotion, on the economy of culture and on culture-tourism. For the importance that it has for the future of Cuban culture, we propose that there be another independent group, also attached to the presidency, which would be entrusted with studying the possibilities of facilitating and supporting research and the experimental processes of artistic nature.

With respect to education in our country, it was affirmed in 1998, that "obviously, one of the greatest institutions necessary in any transformation of society and culture is the school. Since in our country, education is free, wide-spread, and guided by socialist criteria , its essential role is clear regarding the offering from the earliest years of an education that examines the essential scientific-technical and information science revolution, at the same time pays attention to the humanistic dimension of knowledge and the need to dream of art and literature, which instills the demands of representation by the various groups that make up Cuban society and stimulates the love for our culture."

And we asked:

"To introduce in measured form the totality of our past and present culture, in programs organized by ages, specialties and levels, that which will result in an enriched vision of who we are, and will imply a defense against very risky interventions and forgetfulness."

With respect to the education of the public, a problem of strategic importance that is not always duly prioritized:

". it is not possible to promote art and literature without the development of that other indispensable component, its recipient. Many judge and prejudge about the tastes and preferences of the spectator as if it were about a compact, homogeneous and unchangeable reality . But the decisive role in this sense is played by education. Other priorities, limitations in resources and in the preparation of the specialized personnel and, at times, due to a lack of time in burdened school programs, the place that should belong to artistic education in our general education programs has been relegated. Nevertheless, it has been shown that good preparation in that area contributes to the full development of the personality, favors academic performance, refines sensitivity, reaffirms identity and feeds the spiritual dimension of humankind."(.)

"It is essential to extend artistic education to the entire general educational system, from elementary, secondary, and pre-university levels up through teacher training, so as to contribute to the development of the spiritual side of personality and to that which has to do with the reaffirmation of values of cultural identity."

During his dialogue with the delegates, Fidel was interested in the art instructors program, begun in the first years of the Revolution, and for which he had asked the cooperation of Cuban artists and intellectuals, as seen in the 1962 speech, known as Words to Intellectuals. It was cited as such in the yearbook of the VI Congress.

"We dreamed of a cultural level, not only vocational but very high cultural, and we did not think about tourism in that period. We were thinking about the cultural development of the nation, about the concept of society to which we aspired; a society that could create the material base necessary to sustain that level of life, and just as we trained professors, engineers, architects and doctors, we wanted to develop art professionals. I am referring to a mid-level professional, the beginning level of art instructors.

In the last ten years, various special programs connected with the Battle of Ideas have been created, which have produced radical changes in all teaching levels in Cuba, just as in the capacity to influence the development of values in schools, or in family. The incorporation of a larger number of youths in diverse educational programs has created new paths toward social integration and, at the same time, has generated new contradictions that raise unknown challenges of a qualitative nature. During the preparatory work of the Congress, very severe criticism was expressed about the implementation and the results of these programs. UNEAC proposes to work actively, together with the other organizations and institutions involved, in the analyses that could be done for the improvement of significant initiatives, which, as Fidel himself said, arose from the heated debates of our VI Congress.

Many of our most noteworthy intellectuals and artists are rightly considered to be, heirs of a pedagogical lineage that is one of the major links of Cuban culture, and that is also seen renewed and strengthened by the triumph of the Revolution to which their activities contribute an invaluable vocation of civility and patriotism.

As one of its highest and most valued achievements, Cuban revolutionary society developed, a primary, secondary, and higher educational system that served thousands of scientists and humanists trained throughout the last forty years. The intellectual excellence achieved in this process was always accompanied by the internalization of the values which characterized the social behavior of Cubans until the beginning of the Special Period. In any aspect of contemporary Cuban life, one can see an alarming triviality and the superficiality in the aspirations and ambitions adopted by ever larger sectors of our population, especially among the youth. It is expressed in various ways, whether by frivolous or marginal attitudes, or by the idealization of capitalism, among many others. The exodus of young professionals is particularly painful.

In this sense, we propose that these topics form an organic part of the agenda in the already proposed Commission of Culture and Values. Additionally, we consider that our organization needs to be present systematically in the National Group on the art instructors program, as well as in the Values Leadership Program which the party runs. In the case of art instructors, the analysis will need to offer the mechanisms and the most convenient ways to provide training and advancement for the best and most representative of the creative talent in every city and province of the country, as well as to contribute to the analysis of their professional practice and social function, and to the implementation of their specific profile in our society.

The commission of Artistic Education, besides attending to, the improvement of this teaching system - as it has done since it inception - could also consider collaborating in the analysis of the technical training of art instructors in their various levels and specialties. Our permanent commission of community cultural work, together with all the other factors, can make useful contributions to experimentation with models of cultural development in places of special social complexity.

The previous congress tackled, with strength of character and depth, the problems of racial discrimination that survive in our society. The Revolution responded more generally through programs of the Battle of Ideas and UNEAC worked through the program Cuban Color, which has had unquestionable results. However, we can still not consider ourselves satisfied. The program must continue and deepen in its actions. Meanwhile, a working group attached to the Central Committee of the Party has been created that will promote these actions in society and give them the universal application they deserve.

We propose that the Commission of Culture and Values be attentive to and analyze all manifestations of discrimination whether based on racial, gender, religious or sexual preferences. All this becomes magnified and can be very serious if it is expressed though the media. It will especially need to coordinate its work with various programs promoted by CENESEX and directed toward education of the population to establish the basis for the elimination of discrimination for reasons of sexual preference. But, in general, this commission will attend to the protection of all forms of diversity in contemporary Cuban culture. In the same way the Congress demanded that attention be paid to the growing signs of disrespect towards native persons from the east of the country as well as the various causes that provoke it. Since the beginnings of the preparatory work that culminates today, we wonder what type of organization UNEAC needs to be as a result of the Sixth Congress. Even today, the question it is not only difficult to answer but it is the fundamental task that the National Council and the elected leadership will have for the next five years.

An institution needs to be capable of finding specific answers that satisfy the peculiarities of each specific historic moment without renouncing the essence of its fundamental definitions. But, whatever the means adopted in the future, we know that the primary responsibility of UNEAC must be to keep an eye on the quality of all the cultural processes that take place in Cuban society and at the same time, constitute a permanent space for sober, analytical and critical dialogue, which always has been required in our culture. Of the concerns shown for the more general problems, and whose specific solutions UNEAC would involve itself with less directly, we consider it convenient to participate together with our people in the transformations promoted by the leadership of the Party. Meanwhile, for the sake of continuing to permanently advocate constructive, healthy dialogue - as we should - we hope that the incorporation of our organization in the commission and groups already mentioned will allow us -even if modestly - to have our contributions included in the configuration of the future that we wish for Cuban society.

We do not come here to seek some form of catharsis, but to work; to help. We want to continue participating and to learn to do it better each day together with all sectors of our society. Later, the time of judgment will arrive, even for us. Meanwhile, it is good to clearly perceive that we can not learn to judge without having learned to participate; and there will never be a way to do it without feeling ourselves committed with a single heart and a single mind, once again.

Many thanks Havana,
UNEAC VII Congress

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