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Cuba's Faded Glory

Waves crash, smoke wafts, people hustle. A motley sea of vintage cars and tattered buildings surround me. Spanish—soft and round—blends seamlessly with the insistent pulse of son, mambo, and rumba. The air is an unmistakable blend of sea, tobacco, and diesel. 

Yes, Cuba is a place that assaults the senses, that embodies paradox and defies logic. It is also a place where I was fortunate to take 23 travelers in February as part of a Fairfield University Bellarmine Museum of Art new program to promote cultural exchange. Our group, comprised of alumni and faculty as well as members of the general public, noticed that things were definitely different in Cuba from the moment we arrived. Upon entering the small baggage hall, my husband Victor (a Cuban-American architect) and I were approached by a somber young man in a khaki uniform. “Luis” was very interested in the literature we had in our carry-on bag—Bellarmine exhibition catalogs. For ten rather tense minutes he recorded, in long-hand, our answers to his many questions together with the title of each publication. 

Once released, we stepped out of the airport into a parking lot filled with vintage American cars—living relics of Havana’s pre-Revolutionary days. Equally eye-catching is the propagandistic imagery, which proclaims the rectitude of revolution and the righteousness of socialism from murals and billboards. A broad billboard near the airport, for instance, apotheosizes Che Guevara: “We see you each day, pure like a child or an honest man, Che, Commander, friend.”

Also remarkable are the holdings of the Museo Nacional de Bellas Artes, now divided into two separate collections: Cuban Art (housed in the Palacio de Bellas Artes) and “Universal” Art (in the Palacio del Centro Asturiano). Another collection worth visiting is the Museo Nacional de Artes Decorativas. Housed in a villa once owned by a wealthy Countess, the museum—and the treasures it contains—give modern-day visitors a clear sense of how Havana’s élite lived before 1959. One such person was Ernest Hemingway. His island residence, FincaVigía, can be visited by tourists, as can his room (#511) at the Hotel Ambos Mundos in Old Havana.

Old Havana offers evidence of Cuba’s efforts to preserve its architectural patrimony. The city’s five civic squares are bounded by colonial structures that are, generally speaking, far better maintained than the city’s other crumbling edifices. This dichotomy reveals itself on the outskirts of town as well; perhaps nowhere more so than at the sprawling arts complex known as “ISA” (Instituto Superiore des Artes). This project was spearheaded by Castro’s Revolutionary government in 1961, when a golf club was nationalized to create a vast campus comprising five separate art schools. By 1965, however, the regime’s once-utopian project was abandoned. We visited the best of what remains: Ricardo Porro’s School of the Plastic Arts; notable for its organic design and “Catalan” masonry vaults. Here we were wowed by the architect’s evocative spaces and by the opportunity to meet young painters and graphic artists at work. It is their creative energy that gives one hope for renewal in the midst of chaos and privation.

We also visited the Taller Experimental de Gráfica de La Habana, a co-operative of some 120 graphic artists. Visitors can engage directly with artists at this studio just off of Cathedral Square in Old Havana, in addition to buying their works. Classified as “informational material,” artworks are among the few things Americans can bring home from Cuba.

A state-trained guide accompanied our group, contextualizing the “Triumph of the Revolution” along the way and steering us toward state-owned restaurants. The food tries hard, though unsuccessfully, to emulate Continental cuisine—white fish in white sauce abounds. Though meals in Havana may disappoint, the rum does not. This amber elixir, like the omnipresent cigars, does not qualify as “informational material,” and therefore must be enjoyed in situ. 

Cuba is inherently beautiful, despite its current state of decrepitude. There is a real risk, however, that change—if it comes—will be accompanied by a charmless brand of global capitalism. And here’s the rub: achieving prosperity without the destruction of all that makes Cuba unique. If the balance is not right, you may find yourself ordering your cortadito at a Starbucks on Revolutionary Square, your mojito at a Cheesecake Factory in Habana Vieja.


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