Dos Hermanos | Two Brothers — Our Next Story?

Aldo Lopez Gavilan (far right), featured in our upcoming film, with Usher, Joshua Bell, Larisa Martínez- Soprano, Carlos Varela, Dave Matthews Band, and Smokey Robinson celebrating with the U.S. artist delegation visiting and collaborating in Cuba this week.

Ken interviews El Oso last spring for our short film, LA RUEDA DE LA VIDA /WHEEL OF LIFE.

We celebrated Ken's birthday at the most excellent Havana Film Festival New York—a gem of an event —where we had a sneak preview of our new short film, LA RUEDA DE LA VIDA / WHEEL OF LIFE. We shared the screen with a remarkable group of visiting directors and actors from Cuba, and elsewhere in Central and South America, and were delighted to reconnect with Rafael Solis, one of the cinematographers for our upcoming story of photographer, Ivan Soca.

Rafael Solis at work documenting photographer Ivan Soca.

RUEDA DE LA VIDA is our short film tribute to El Oso, one of the founders of casino, the godmother of salsa. El Oso’s charming story reminds us that salsa, thought to be a confluence of Puerto Rican and New York cultures, is rooted in Cuba.  Our screening inspired a group of casineros in the audience to dance in the lobby after the screening.

An inspired audience takes the dancing off the screen and into the theater lobby at the Havana New York Film Festival, where WHEEL OF LIFE previewed.

A highlight of our weekend in New York—Ilmar Gavilan, a Cuban-born violinist living in New York, came to our screening. Ilmar is a violinist with the Harlem String Quartet, and his brother Aldo is one of Cuba’s greatest jazz pianists. We had lunch and drinks with Ilmar, who left Cuba as a teenager to continue his music education in Moscow. That was in 1986.  Although he travels often to see his family, geopolitics have prevented the two virtuoso brothers from touring together in the U.S. Ilmar’s quartet plays a range of music spanning from Mendelssohn to  Billy Strayhorn’s Take the A Train. Aldo, called “a genius, a star” by none other than Chucho Valdés, has a rich creative life in Cuba, but only a few opportunities to play in the US. That will start to change this summer, when he tours with Ilmar and his Quartet, plays with an orchestra in Napa, CA,  and joins Harold López-Nussa, his dear friend (and our series composer) for a date at San Francisco Jazz Center.  We are looking for funding right now to support our telling this story of  two virtuoso brothers, separated by geopolitics, whose lives might finally converge—the third in the (R)evolution Cuba series. We welcome introductions, tax deductible contributions, ideas!

Ilmar Gavilan's Harlem String Quartet, bringing jazz and classical excellence to underserved kids.

We were lucky to catch Ilmar and the Harlem String Quartet play in Santa Rosa. After Ilmar and I spent the following day appreciating a beautiful San Francisco day. Muir Woods (they don’t make ancient redwoods in Cuba nor in New York), Hawk Hill for a view of the Golden Gate Bridge, some in-car video of the Hyde Street Cable Car, and yes, the Sea Lions at Pier 39. Oh—and delicious food and margaritas at Tommy’s Restaurant in our neighborhood, the Richmond. I had just met Julio, the owner, at an event in Havana—small world!

Ilmar enjoying the Bay Area as we chat about profiling him and his brother, Aldo, in Dos Hermanos / 2 Brothers. 

Meanwhile in Havana, Aldo, the pianist brother toasts with violinist Joshua Bell, after performing together in Havana. Bell was part of a U.S. delegation of artists that included Usher, Dave Matthews and Smokey Robinson. 

And back at PatchWorks in San Francisco, the footage Ken shot of the Ivan Soca's  story last month has been translated and readied for editing. We start in earnest next Monday. Stay tuned.

LAST SHOOT WITH IVAN SOCA

We started our last day of shooting at the John Lennon park in the Vedado District, where a full-time guard insures that no one steals the steel rimmed green tinted circular glasses mounted on Lennon’s statue. By chance we bumped into someone I admire—Ivan Napoles, cinematographer for Santiago Alvarez, the godfather of Cuban documentary. Ivan was one of the founders of ICAIC, the government institute for filmmakers. He was profiled in Isabel Santos’ beautiful doc, El Pais Que Ya No Existe, (The Country That is No More), which I saw when it played alongside HAVANA CURVEBALL at the Havana Film fest in 2014. The film crosscuts between Ivan’s footage of Vietnam during the war (16mm black and white material he shot in the late 1960’s) and his return visit to the country more than 40 years later. Ivan is a man of many images but few words; Solis, my cinematographer and Isabel’s husband, told me that Isabel spent two years convincing Ivan to participate in her film. Isabel, Solis, Marcia and I will have more to talk about next week in New York, as our film and Isabel’s film are both screening at the Havana NY Film Festival.

Production went well. Claudia Bueno, our Cuban Field Producer, and I prepared a reasonable shooting schedule with built-in breaks, critical for a hot day in Havana. It is a city where a cold drink break at an outdoor cafe is interrupted numerous times by this director, that soundman, this artist coming over to hug and kiss and chat with one or all of our crew members. Several glasses of juice and beer later, (the beer here is tasty and weak), we finished our filming with Ivan Soca, the subject of the first film of our series, (R)Evolution Cuba. That title, by the way, has sparked some good discussions. Several of our stalwart supporters back home are upset that we would appropriate that word for our title, even with the parentheses. Nearly everyone I’ve asked here loves it. A few from the older generation, who have a different relationship with the revolution, think we should find a better title. There is no consensus. Please weigh in with comments.

Ivan teased us on camera with an intro to the project he is developing for the next Havana Biennale (2018), a build-out of his previous work with the symbolism of Pink Floyd’s The Wall. It will be mounted between two institutions—one US and the other Cuban. It is fascinating and if he can pull it off, it will be a treasure.

Our final interview with Ivan took place on top of a hill across the bay from the city, with the buildings behind him turning pink and amber at the magic hour. Sergio Muñoz, our sound man, lamented that it is impossible to find a quiet place in Havana, making feature filmmaking a real challenge (but parking here is easy—there’s always a balance). We had to stop many times for trucks and guaguas, the ubiquitous buses that turn sound recordists’ hair gray. After wrapping, we had more ideas, of course, and I made my crew quite hungry while spending the next few hours filming Havana at night. They were game, though, and we celebrated at Melen, Ivan’s favorite restaurant in Miramar. As we walked out around 1:30 AM, Yissey and her band were lighting up the place with her music.

Done. At least until tomorrow, when I tie up as many loose ends as the day allows. After two weeks, I’ve got my sea legs, and as much as I miss my family, I’ll be sorry to leave.

PERSPECTIVES FROM FRIENDS NEW & OLD

Ken's trip is winding down.

Today was a day of sharing stories with old and new friends.  Inti Herrera, filmmaker and one of the directors at the excellent Fábrica de Arte Cubano , took me to lunch at the California Cafe, opened last year by our old pal Shona Baum, formerly of San Francisco. Shona moved here with her Cuban husband Paver and opened the California, an outstanding open air eatery a block from the Malecón (the seawall protecting Havana from the Caribbean) and a few blocks from a public wifi spot. (Call or write me before you come to Havana so I can give you the intel on the California.) Inti and I talked about his university studies (Marxist theory), what it was like to grow up in a family of artists (complicated), the early years of the Fábrica (it just turned two and has become one of the coolest places in Havana, and the world, as far as I’ve experienced), and his time in Spain. He returned after a year or two abroad to create here, became a filmmaker, and produced, among other films, Cuba’s first zombie flick, Juan of the Dead.  Juan is a wicked satire on Cuba, America, and Cuba & America.

Cuba's first zombie cult classic.

Rafael Betancourt’s story is equally rich. He left here as a Peter Pan kid (google it), a US-run operation that convinced Cuban families that their kids would be better off in Miami than in Cuba, in the early 1960’s, a few years after the revolution commenced. In 25 years in the states, he attended school and earned a PhD in Economics before deciding to return to his homeland in 1986 to “participate in the Cuban socialist project.” During the Special Period, so christened by Fidel after the Soviet withdrawal of funds led to nearly a decade of deprivation, there were few clubs and restaurants, as electricity and supplies were short. Rafael held regular jam sessions and salons at his place, and as it turned out, hosted many of the people in our series. A university econ professor holding music sessions at his house—I like that.

Just back from a Cuban music showcase at SXSW, Telmary is back at work in Cuba.

After seeing Telmary perform her unique mix of soul and hiphop,at a tourist bar above the Plaza Vieja, we had a talk about her life here and in Toronto, where she lived for many years. There were more grants, more resources, but she also returned here after her stretch up north. One of the things she loves about Cuba is that “nobody asks me what I do here, and if they do, they don’t nod silently.” Being an artist here (or anywhere) is not easy, but it is embraced. She shared the frustration of having to perform at said tourist joints for cash, but it does subsidize her creative work. At midnight, when we finished our talk, she rushed off to the Bertold Brecht Theater to perform with Interactivo, the much-loved fusion band that I cannot quite describe. A few days ago, Telmary returned from South By Southwest, where she performed with other Cuban musicians; the day after we spoke, she was off to Varadero, a beach resort a few hours from Havana, to perform again. When I told her that I was exploring artists at this moment of change, she said firmly that the change has been in process the last three years. She is interested in our series, and I hope to see more of her.

Inti, Rafael and Telmary all left and returned. Each has a gestión, a navigation they conduct to continue to create. Despite the outmigration and consistent reports in our press of the difficulty of life here, this place has a magical pull.

COMPLICATIONS & EXPLORATIONS

Words Without Voice, contemporary Cuban art considering the internet's arrival in Cuba, showcased at the Taller Experimental Grafica.

Colleagues in the Cuban film world remind me that it’s typical to have regular cancellations and delays. I have definitely shed the “time is money” ethic of my home country, but I’m not quite used to hearing, at 11 PM on the eve of a shoot, that it is off—or on. Fortunately, the crew I am collaborating with is flexible, and has no other commitments this week—so I am still hoping to get everything done during my last three days.

An on-and-off breeze (mostly off) helped me get through the spring heat—and this is nothing compared to July, when Marcia and I filmed a few days last year. Havana is completely back to normal, as far as I can tell, post-Obama/Major League Baseball/Los Rollings (The Rolling Stones). The pulse of Havana is a bit uneven on the subject of Obama’s visit. Some are lamenting the loss of a day or two of work—not a small thing in much of the world. Some felt his speech was canned, that he did his research and said the right things, but they await actions (lift the embargo). Others were inspired and felt that it was a historic opening, with inherent gains—and risks. Over beer today with our advisor Rafael Betancourt, an economist at the U of Havana, we talked about the implications. All of it is true, he said. Potential gains, risks, frustrations, empty promises, inspirations. A middle class will emerge, non-agricultural cooperatives will grow in number, and the state will remain strong and involved in planning the economy. There are no models for Cuba’s future—not Vietnam, nor China, nor Sweden nor Denmark.

Cuban telenovela star, Enrique Bueno.

I met with Enrique Bueno, one of the most well-recognized telenovela stars, whose government salary requires him to create other opportunities. I know that many aspiring actors in LA, San Francisco and New York wait tables between auditions, but Enrique is a star. He had several stories to tell that he wished to remain off the record.

An cautionary vision of the future Malecón by Lyudmila & Nelson at the fabulous Fábrica de Arte Cubano. 

As my final meeting was delayed, I had a nice walk on the Malecón, the wall that protects Havana from the sea. While the light turned warm, and the sea a deeper blue, I watched a fisherman snag a squid, a Santera dressed in white with a white parasol, and the usual and wonderful collection of lovers young and old, families, travelers and seekers. It is a magical part of this city.       

OLD CHEVYS, NEW ART

Ken with Ernan López, jazz pianist and father of our series composer, Harold López-Nussa.

Bumped into several interesting people today, starting with Ernan Lopez-Nussa, patriarch of one of Cuba’s great contemporary jazz families. Ernan plays piano, like his son Harold, who will compose original music for our films. We shared responses to Los Rollings (The Rolling Stones) concert. It’s always interesting to talk to jazz and classical artists about rock and blues. We both agreed that Ronnie Wood was the best of the front line musicians. I still think of Wood as the “new” Stone; when he joined the band in 1974, two guitarists had already preceded him. Wood is also an accomplished artist, and a few of his portraits of rock and blues artists are hanging on my brother and sister-in-law’s walls.

Also saw Ian Waddell, former BritishMP from the socialist party. He wrote laws protecting the rights of indigenous Canadians. He was very excited at the election of Justin Trudeau, as Ian had served during his dad’s (Pierre) tenure.

But the day’s highlight, save for the mid-afternoon nap, which I needed after only four hours of sleep following a 4 AM bedtime (don’t ask), was the time I spent with Kadir López, one of the most interesting artists on the planet.

Kadir in his studio.

Kadir was very generous with his time and invited us to film as he welcomed an American art tour group organized by a couple who run an art center in Palos Verdes. The evening started with the group piling into a convoy of bulbous convertibles, yellow, pink, purple, and red, hood ornaments preceding their arrival.  Honestly, it felt a bit strange. Kadir explores, among other themes, memory, and history. What do we take with us? What should we forget? What need we preserve? Both in the personal, cultural and political landscapes?

Much later in the evening, after the guests had left, sated with food, mojitos and art, I asked him in a midnight interview, about the convoy. He told me that the Americans’ memory is part of his work as well. Our histories are intertwined, not only since the revolution but for years prior. He has a strong critique of the colonial relationship the US imposed on Cuba after the Spanish-American war. And he also recognizes that we share this landscape. That past present and future are more a spectrum than three distinct time periods. The tourists in the old cars, looking at the neon signs he has restored throughout the city, (a huge and ongoing public project) are part of his art.

Bending glass for a neon sign.

I was thankful to have filmed it, and grateful for my incredible crew—Rafael Solis as cinematographer, Claudia Bueno as producer, Sergio Muñoz on sound. And props to Adolfo Nodal (Al), Kadir’s LA-based associate.

Kadir also gave us a demo in his workshop of bending neon over a blue flame. His work is quite visionary. In order to do it, he navigates the worlds of private fundraising and seeking permissions and licenses from the state. For him this is no conflict. Both entities ultimately want the work to be done.

ART & ROCK N' ROLL

Mabel Poblet's work.

Met with two of my favorite artists today to continue a dialogue about our series. Mabel Poblet had several pieces in last year’s Havana Biennale, and her work is striking. She did several pieces with incarcerated women called, “Simple Beauty.” She told me how lucky she felt to be born an artist in Cuba, rather in the US, where it is so hard for artists to earn a living. Kadir Lopez-Nievesdoes mixed-media work about history and memory,  often mounted on old porcelain signs left by American companies (Esso, Texaco, Wells Fargo, etc) and shot up by rebels during the revolution.  Both are interested in participating in our series.

Rubrik's presidents, work by Kadir López.

We started filming the preamble to Los Rollings the morning of the concert.  The line was quite short—don’t they know that they should line up for 3 days and hold a bacchanale while waiting? Apparently not. There were a few hundred people in two lines, clearly enjoying themselves, but not unruly. They were in their 60s and teens, pierced and clean-cut, Cuban British, American, German, Mexican. Our conversations with them were quite moving—this was a historic moment, the first big show in the history of Cuba, whom had once banned the music. It was both a reflection and an announcement of the change taking place. David Blanco, one of the most well-known pop/rock musicians here, described it as an opening , a bridge builder. Of course, they want more concerts, but he was expressing more than that. A man in his 60s told me that this indeed was their Woodstock.

Our crew waits for the concert to begin. (L to R) Ernesto Granado, Javier Figueroa, Ivan Soca and our own Ken Schneider.

A very nice lady and her mom who live across the street from the venue invited us to her rooftop perch, where we set up a camera to capture 2 PM--the moment when the gates opened and Cuba poured in. I was on the ground filming, and it was exuberant.  I spent the next six hours conversing, with and without the camera, and the pulse of Cuba beats pretty well today. A large (estimates were 500,000) but civil and polite crowd—people gently touching my shoulder if they needed to move past me, no strung-out people, little overt drunkenness. And tremendous enthusiasm, with an understanding of both the gravity and joy of the moment.The two port-a-potties on my side of the field could have used help though, like another dozen. I imagine that Los Rollings brought them in, as the Cuban version was a rusted stall placed every few hundred yards on the street.

Los Rollings make history.

Mick and the boys are quite incredible in their early 70s. They still put on quite the show, although the voices are not what they once were.  For me the music was fun (they did play a few of my favorite Stones tunes, and even threw in “You Got the Silver” when they needed a rest on stage), butthe event was spectacular. And, by the way, free. And therein lies the rub. More bands will certainly come; they are already lining up.  Will they too give free concerts?  Or will future concerts rely on a middle and upper class to pay for tickets? Change here is inevitable, and the creating of said classes is already underway. Many Cubans I talk to embrace that aspect of the change—at least the creation of a middle class. But yesterday I saw a broad swath of el pueblo, the Cuban people, in attendance. What happens if, next year, a band plays, and it costs $20 to attend?

FIRST DAY OF FILMING!

Cinematographer, Ernesto Granado, with Ken at Ivan Soca's studio--a space we in San Francisco would dream about.

The Obama visit seems to have struck a jazz chord here—expected, but still surprising, with a nice after taste. This was a big deal visit, and his words, both to the Cuban entrepreneurs (“How can we help?” rather than the drumbeat of “You need regime change”) resonated and, I believe, inspired. I met a writer for the Wall Street Journal whom I told, yes, everyone I have spoken to wants change, but nobody wants to give up what they see as their basic human rights: universal education, healthcare , housing and food. He responded that nobody is threatening to take that away. I mentioned that Cubans know that we lack such guarantees, and that may be a cautionary tale for Cubans, and he shrugged.  I also met a Puerto Rican news crew, baseball fans like myself, and after talking pelota for a while I asked their impressions of the Obama visit. They appreciated his speech, but are disappointed in the absence of action on Puerto Rico’s desire for independence. Tough job these Presidents and Prime Ministers have.

Ivan Soca photographing The Rolling Stones stage, built at La Ciudad Deportiva (Sports City) in Havana.

Spent some time filming out at the grounds of the Ciudad Deportiva, a sports arena and public field built in 1958, the year before the revolution, and the site of tomorrow’s concert of Los Rollings, as Mick Jagger’s enterprise is called here. Ivan, the subject of the first film in our series, is one of the few Cubans with access to photograph the site.  It is the usual array of banks of speakers and an arc of screens and a neon ornamented stage and huge towers of lights, 62 freight containers in all. Apparently they have 3 complete sets, which allows for the 2-3 week set up time on this “Olé” tour throughout Latin America. But it does look unusual against the canvas of Cuba. I won’t get too detailed about the 600 strong crew of shirtless Englishmen, including 300 for security, as Martin Scorsese is here with 40 cameras and will no doubt produce the definitive film of this moment. Because I’ve got something Scorsese doesn’t—Ivan. In 1990, Ivan, living with his diplomat parents in Eastern Europe, saw Paul McCartney in Red Square, The Rolling Stones in Prague, and Pink Floyd’s The Wall concert in Berlin, a few months after the wall fell. A few weeks or a few months later, the Eastern European form of socialism ended. Ivan offered that this moment is a similarly historic one. Not that socialism here will end this Saturday—but things will change, and the process of history will continue, and Cuba will evolve. I see this moment as Cuba’s Woodstock, save for the naked swimming in the pond at Yasgur’s farm.

Ken, our field producer, Claudia Bueno, and our sound recordist, Javier "Figa" Figueroa.

Helluva time to be here.

The evening ended with an excellent dinner at Habana Blues, a restaurant inspired by the 2004 film of the same name, where all of the waiters are actors in TV, cinema, or theater. Joined by Gary Meyer, old pal and founder of Landmark Theaters, who supported our first Cuba film, HAVANA CURVEBALL. He brought a group of friends who included Robert Bloomberg, a filmmaker specializing in 3D, who gave me the best business card I have ever received—a set of 3D glasses with his name and website printed on the edges. He also took a few frames of us with his 3D still camera, mojitos out front. 

Dinner out with Bay Area film stalwart, Gary Meyer.

A FEW PICTURES & SOME GOOD STORIES

Our field producer, Claudia Bueno, on Day 2.

Our crack team met at the house of Figa, our sound recordist, who has an apartment in Vedado. We try to travel light, but ended up with a crew of 8, all Cuban except moi. Our newest find is Claudia, a 25-year old producer who will be working on Rapido y Furioso 8 (Fast and Furious 8) when that production blows into town next month. Claudia is amazed at the amount of money Hollywood throws around, for a location that will provide only 10% of the finished film. I responded that I wish I could pay her what they are. 

Production day 1 went without incident--but for a few small snafus, it was similar to a production day back home, except it was easier to park. We had to think on our feet, solve a few problems, but we spent much of the day in the studio of our character, Ivan, well outside the sections of Havana I know. From outside one might not pay it any mind--a concrete building painted a pale yellow, off the potholed street, past a gate and a garage--but inside the place was sumptuous for a studio. A large room greeted us, side lit by windows, with a kitchen and two other spaces, where Ivan's guitars, computers (he has preserved the archaeology of his technological development, even keeping the Mac SE, which he claims still works), photographic equipment and music lives. 

Ivan Soca Pascual's self-portrait.

Ivan proved a willing subject, is a good raconteur, and speaks from a combination of head and heart. Ernesto Granado, our new cinematographer, knew exactly what to do, mounting the 5D on this handmade concoction of pipes and mounts, to create a primitive but effective shoulder mount for handheld work.

At night, Ivan and a few friends watched Obama's speech, which was an invite-only event with huge security. It was cool to hear them talk about it--they appreciated its warmth and sincerity, and expressed a mixture of optimism and concern for the changes ahead. But there seems to be a good vibe here vis-a-vis the President's speech. Not such a good vibe, however, about the Tampa Bay Rays, the baseball team visiting for a game against the Cuban national squad. Tampa Bay trounced, 4-1.

Watching Cubans watch Obama.

Good news though. Although I am still waiting for my press pass, A very nice woman at the Press Center gave me the wi-fi code, which only requires me to be in the vicinity of the Center. Reliable, fast wi-fi is a rarity here, and I am enjoying.

The Obama visit was odd to witness in that, there was very little to witness, unless you were in the press pool. There were no true public events—no throngs of people watching the motorcade pass, no public addresses,  no posters. I scoured several neighborhoods for “Welcome, Señor Obama” signs but nary a one was to be seen. I thought that certainly the shops on Calle Obispo, the tourist street well-known for housing the Floridita Bar, would have some Obama paraphernalia—a shirt, a lighter, a Russian doll inside a doll inside a doll—but I saw none.

HAVANA GETS MORE INTERESTING ...& MORE COMPLICATED

The window in a Habana Vieja shop, highlighting some of the week's happenings. The first U.S.-Cuba baseball game since the 90s and of course, the Friday concert by Los Rollings (Stones, that is.)

My morning meeting was cancelled today due to road closures--it was impossible to get from my part of Havana to the section where Kadir Lopez, one of the most exciting artists around, lives. Frustrating, but when life gives you lemons....take a walk in Old Havana. 

President Obama and his family toured Old Havana yesterday in the rain, so I expected to see welcome signs, posters, etc. Nada. I saw no evidence that the Obamas were here. He is set to give a speech tomorrow in the classic Alicia Alonso Theater, to the Cuban people and civil society--but only a few have invitations. The closest I'll get is watching the televised speech tomorrow--if they ever announce the time.

A political mural Ken stumbled across.

The mural  close up.

Strolling on Obispo St., site of the famous Floridita Bar, where Hemingway held court and tourists now out on their bucket lists, I looked for Obama paraphernalia and saw nada, but I did catch a glimpse of Hall-of-Fame baseball player Dave Winfield, here as part of the Major League baseball delegation, and I passed one store that carried a few T-shirts of Los Rollings.

 Tomorrow, barring further road closures, I'll be filming Ivan Soca. Wish me suerte!

Your man in Havana,

Ken

LIVE FROM HAVANA, Ken joins Obama, MLB, & the Stones (sort of)

I expected the Jose Marti airport to be swarming with reporters and tourists, as my friend at the Ministry of Culture told me they had received over 1500 requests for press credentials, that main thoroughfares would be closed, and that it would be difficult for me to work. Why not wait, she asked, and come after the hubbub of Obama, Major League Baseball, and Los Rollings (local parlance for the Rolling Stones) has passed? I explained to her that I need to be here to locate the characters in our film on the canvas of this moment. I have asked Cuban friends, shopowners, and police on the street which of the three events is the most significant. Their answers remind me thatthere is no “Cuban people;” there are many Cuban peoples. Some are thrilled to see Los Rollingsperform here for the first time; others are resentful of the reminder of what they have been denied, others want it to be over, others love Obama, others distrust the PR aspect of his visit, others are upset that they cannot secure a ticket to see the Cuban National team play the Tampa Bay Rays in the Estadio Latinoamericano, the temple of Cuban baseball. As always, there is universal agreement that the lifting of the US embargo (yes, it is still very much in place, despite the recent loosening of restrictions vis-a-vis travel and commerce) will lift everyone’s spirits and opportunities. A police officer told me today that Obama’s visit is good for humanity, yet he is just another human, like us.

Ken @ SFO, waiting for his red eye to Cancún.

Within moments of my arrival I met a visiting humanities professor from the University of Yucatan in México; while waiting for our luggage, we made fast friends talking literature, university curriculum, and the upcoming events. He suspects that the visit by Los Rollings may be of greater significance than that of Obama . And upon entering my casa particular (I say “my” because by now it feels like home), the private home I rent while in Havana, Ana, the excellent owner, had fixed a broken light, bought me bottles of water in advance of the rush, and prepared several plates of papaya and pineapple in the fridge. A series of “I love this place” moments.

Arriving at José Marti International.

At the International Press Center I bumped into Cynthia Carris Alonso, who is working on a follow-up to her beautiful book on Cuban artists. She has been working and photographing here for 23 years, and we both marveled at how many journalists are here for the first time, with no Cuba experience and little or no Spanish. Another affirmation of the importance of our project—to hear about Cuba from the Cuban point of view.

Planning our shoot with photographer, Ivan Soca Pascual. He has one of the few Cuban press passes to cover Los Rollings (as the Stones are known in Cuba). You can check out his photos at #ivansoca on Facebook.

Ivan Soca tracking the building of the immense stage for Los Rollings concert on Friday.

The Obamas are set to arrive sometime today, although information is scarce. If there will be a motorcade with throngs of cheering people on the streets, it will be unannounced. And today the area where he, his entourage, and the journalists are staying (just a few blocks from my casa) is oddly quiet. I suspect a bit more of a throng tomorrow.

That's all for now.

Ken

Your man in Havana

(R)EVOLUTION CUBA: History of an idea

Years before all the buzz over Cuba, before Mick Jagger, Will Smith, Andrew Bourdain, Conan O’Brien, and President Obama arrived, Peabody Award-winning producer/director Ken Schneider of PatchWorks Films was filming there.

On location in Cuba for HAVANA CURVEBALL, 2011.

When Ken boarded the plane for Havana in December 2014 to showcase his documentary HAVANA CURVEBALL  at the International Film Festival, he thought it was the end of his Cuba work. Little did he know that his film would screen on the very day Presidents Obama and Castro made their historic announcement of a diplomatic shift between their estranged countries. Remarkably, that screening led to an invitation to tour the island with Todas Contracorriente, a group of Cuban pop stars, Olympic athletes, and thought leaders addressing domestic violence by changing attitudes toward machismo.  

PatchWorks' Marcia and Ken with Todas Contracorriente including Cuban music legends David Blanco and Rochy in Santa Clara, Cuba.

For 2-weeks Ken and fellow director/producer, Marcia Jarmel, had the privilege of riding a bus with these cutting edge Cubans, and listening, and what they heard were stories nowhere to be found in the U.S. media. Thus began their journey to make, (R)EVOLUTION CUBA. We expect to begin production later in the spring of 2016.

(R)EVOLUTION CUBA will be a series of short documentaries profiling Cuban artists navigating the tricky evolution of their country. “We chose to focus on artists,” said Schneider, “because Cuba has an inverse relationship to the U.S. when it comes to the arts.  Unlike countries where art is a fringe activity, in Cuba art is central to national identity.” The small island of 12 million people has outsized influence in dance and music around the world. At the cultural vanguard in any country, artists are some of Cuba's most salient ambassadors, with a history of crossing divides created by the 50-plus year embargo. To bring currency into an ailing economy, Cuban artists have been among the first to have opportunities to travel, to sell and perform their work, and for some, to push the limits of free expression. “Our characters have life experiences unique among Cubans and eye-opening to outsiders.  Their stories are just so provocative, and visually compelling. That’s why we are excited to share them,” explained Jarmel.

To learn the rest of their story and watch the (R)EVOLUTION CUBA trailer, visit: http://www.patchworksfilms.net/revolution-cuba.

What do Mick Jagger, Barack Obama, and PatchWorks have in common?

The answer: Cuba, March 2016 . . . if our Kickstarter campaign is successful.

Barack is definitely going. The Rolling Stones are doing a Latin American tour and have not announced a date in Cuba yet, but we think they just might. And Ken is scheduled to shoot and edit the first short in the (R)EVOLUTION CUBA series next month.  

Many thanks to the 144 of you for ponying up already and  reaching out across your networks. We're in the final push to make our goal. We have 10 days to go in this all or nothing campaign.   If you haven't yet watched our trailer, will you check it out and see if you lend support. A donation? An introduction to someone who can help? A post?  Info found at: bit.ly/revolutioncubadocs.

Here are some sample posts below, we'd love you to share.

#CUBA #ART #SOCIALISM #MARKET #CHANGE @PatchWorks Films launches short doc series. Trailer @ bit.ly/revolutioncubadocs Plz RT!

OR

Join me in supporting @PatchWorks Films new (Revolution #Cuba #film --#art for the people collides with market forces. Trailer and info @ bit.ly/revolutioncubadocs. 

OR

Rum. Jazz. Vintage Cars. We think we know Cuba. We hear about shortages, lack of opportunities, expected regime change, refugees and lucrative business deals. Lost is the remarkable debate where revolutionary ideals face off against the market's seduction. In Cuba, where 98% of the people are literate, have healthcare, a home, and free education, artists are not fringe. They are vanguard and they are in a quandry. Opportunity vs. free expression vs. socialism. How will they choose? Or can they have it all? (R)EVOLUTION CUBA brings you six short film stories of artists at the heart of an evolving nation.

AND 

If you are in the Bay Area, please joining us for one of two free events (and invite your friends!):

El Oso, featured in WHEEL OF LIFE. Sneak Preview screenings.

CUBA NIGHT: Feb. 23 - Berkeley - FREE

We will be screening a sneak preview of our upcoming short film THE WHEEL OF LIFE, featuring El Oso, one of the founders of Casino (the unheralded godmother of salsa), and hosting a discussion of the intersection of art, socialism and the market in contemporary Cuba.  Post-screening Q & A with the filmmakers, Marcia Jarmel & Ken Schneider, Malia Everette of Altruvistas, and UC Berkeley Lecturer Elizabeth Vasile, Ph.D. RSVP and details at:bit.ly/revcubaberkeley.

FILM, SALSA, & CELEBRATION: Feb. 24 - Free

The beloved Bissap Baobab in San Francisco’s Mission District is hosting a free salsa party, and has generously offered to donate 20% of the night's proceeds to (R)EVOLUTION CUBA!Admission is free before 10pm. If you want to join a select few for a West African dinner with us, back (R)EVOLUTION CUBA at the $100 or higher level at bit.ly/revolutioncubadocs.    RSVP and details at: bit.ly/baobabsalsa. We'll be screening WHEEL OF LIFE at 7. Dancing starts at 8.

AND 

If you haven't checked out the art perks we have, consider upping your contribution to own original photos, music, signed books at  bit.ly/revolutioncubadocs.  

Rochy was rock start David Blanco on the Todas Contracorriente tour with PatchWorks last spring.

New today is a CD of beloved Cuban singer-songwriter, Rochy. Virtually impossible to find outside Cuba, this music will knock on your heart's door. We had the pleasure of meeting and touring with Rochy and her colleagues last spring in Cuba.  We're thrilled to be sharing her music here.

Questions, suggestions, ideas? Let us know. info@patchworksfilms.net.

Adelante!

PatchWorks Events in SF & Berkeley!

Dear Friends,

We are delighted to report that our crowdfunding effort to support our new series, (R)EVOLUTION CUBA: Stories of Art and Change, is steaming along. As we approach the halfway point this weekend, we are within reach of 50% of our goal. Many thanks to our incredibly generous supporters who’ve jumped in already. If you’re considering becoming a backer, please take a look at the trailer and see if it’s something you’d like to support: bit.ly/revolutioncubadocs.  

To celebrate, share our work, and deepen conversation on what’s happening in Cuba right now, we are hosting two Bay Area events:

CUBA NIGHT: February 23 in Berkeley - FREE

We will be screening a sneak preview of our upcoming short film THE WHEEL OF LIFE, featuring El Oso, one of the founders of Casino (the unheralded godmother of salsa), and hosting a discussion of the intersection of art, socialism and the market in contemporary Cuba.  

RSVP and details at: bit.ly/revcubaberkeley

Film, Salsa, and Celebration: February 24 in San Francisco

The beloved Bissap Baobab in SF’s Mission District is hosting a free salsa party and has generously offered to donate 20% of the night's proceeds! Admission is free before 10pm.  If you want to join a select few for a West African dinner with us, back (R)EVOLUTION CUBA at the $100 or higher level @bit.ly/revolutioncubadocs.

RSVP and details at: bit.ly/baobabsalsa

We hope to see you here or there, and welcome your tax-deductible donations any way that’s easy.

Adelante!!

Ken and Marcia

P.S. Our friends Gaby and Drew hosted an incredible party to introduce us and our project to their pals. We’d love to meet your friends too, and share more about our work. Email info@patchworksfilms.net to host your own Kickstarter Party.

Featured image: El Oso, featured in WHEEL OF LIFE.

Kickstart Revolution Cuba - with a $500 MATCH!

Hello from PatchWorks Films!

Today is day 5 of our Kickstarter launch, and we can't thank you enough for your generosity in contributing to our (R)EVOLUTION CUBA project.

Your support has already helped us reach almost 8% on Kickstarter--a huge boost to our launch. 

TODAY ONLY, a generous donor has offered a $500 matching gift. If we can raise $200 in donations by midnight tonight, those gifts will be doubled!

Deadline:  Wednesday, Feb 03, 11:50pm EST - $500 MATCH!

We need your help spreading the word!

Crowdfunding is a way audiences can help create the films they want to see. You are an essential collaborator.

HOW YOU CAN HELP:

• Share our trailer with your friends and network bit.ly/revolutioncubadocs

• Back us at any level. Every contribution gets us closer to our goal and builds momentum for the project.

• Share our page with your social network.  We're on Facebook, Twitter, and Instagram

• Help us broaden our network.  Forward our email to a handful of friends and let them know why you are backing the project. Introduce us to a friend who is a patron of the arts, has a family foundation, writes for a relevant blog or publication, or works at a related organization.

• Host a house party. Invite a few friends over for mojitos to screen a sneak preview of WHEEL OF LIFE and watch our Kickstarter trailer. We'll join you, if we can, or Skype in for a Q & A if we can't. Email info@patchworksfilms.net for details.

Social media is a huge part of crowdfunding. Help us get the word out by posting on Facebook and Twitter. Don’t forget to tag PatchWorks Films on Faceook, and @pwcubafilms on Twitter!

For easy sharing, we’ve created sample posts below, so tweet, post, and share away!

Tweets:

#CUBA #ART #SOCIALISM #MARKET #CHANGE @PatchWorks Films launches short doc series bit.ly/revolutioncubadocs Plz RT!

Check out @PatchWorks Films new project (R)evolution #Cuba #film -#art for the people collides with market forces. Watch the trailer: bit.ly/revolutioncubadocs

Facebook post:

Check out Revolution Cuba trailer, and support @PatchWorks Films new project! bit.ly/revolutioncubadocs

Rum. Jazz. Vintage Cars. We think we know Cuba. We hear about shortages, lack of opportunities, expected regime change, refugees and lucrative business deals. Lost is the remarkable debate where revolutionary ideals face off against the market's seduction. In Cuba, where 98% of the people are literate, have healthcare, a home, and free education, artists are not fringe. They are vanguard and they are in a quandry. Opportunity vs. free expression vs. socialism. How will they choose? Or can they have it all? (R)EVOLUTION CUBA brings you six short film stories of artists at the heart of an evolving nation.

Useful Hashtags: #‎cuba‬ #art ‬‪#‎film‬ ‪#‎cubadocs‬ ‪#‎revcuba‬ ‪#‎kickstarter

We’re so grateful to have you on our PatchWorks Films team!

Live from Havana - Day 7

Havana Day 7

After my morning rite of logging in to the nearby wi-fi hotspot, I meet San Francisco pals Debby, Boaz, Tal and Idan Arzt-Mor, just in for a few weeks of vacation. Trying not to act like a grizzled veteran (I’m not, actually, I still love this place, just a little less agape), we strolled until we found a local restaurant, consisting of a counter, a few tiny tables, and the odd chair. A fish and rice plate later, and I was off again to Roberto Salas’ house where I wanted to share a creative idea with him, one that came to me on the previous day’s shoot, involving GIF files, new to a 75-year old photographer schooled in the darkroom. He took to it well, and we decided we would connect again. He explained his creative process. He’ll have an idea that germinates, gestates, iterates, and eventually flies away or becomes solid enough to warrant a photograph, or a series. “Send me a script,” he said, when I asked if he wanted to be profiled for our series. I gently reminded him that our documentaries are not shot to script, and he laughed. It’s always fun to talk to him, as he has stories, and more stories.

Spent an excellent afternoon with Kadir Lopez, a mixed-media artist with a very cool studio in the Kohly district. He did a large format (3 or four feet square) piece called Havana Monopoly: Deluxe Edition, a monopoly board where the spaces are occupied by old hotels, mafia men, and bond certificates of the companies that used to run the island. He has also taken old metal signs from the companies (large Coca-Cola, Texaco, Esso, etc), in various stages of elegant decay, and printed, painted, and lacquered collages of similar iconography. Powerful stuff. Apparently Will Smith and Jada Pinkett strolled in on their way from the airport and were so taken by the place that they asked if Kadir had an extra room. Being Cuban, he said yes, and they stayed for three days, while their luggage waited at their hotel.

Kadir is the subject of one our films, and his current project centers on repairing the marquee lights of theaters throughout the city. He calls it, bringing light to the dark. He is a neon artist, among other things, and he fired up the flames to give me a little demo. We shot a small bit of material and said farewell, sure that our paths would cross again soon.

My last jazz show (or so I thought) was at the National Theater—a fabulous performance by the Gastón Joya Trio: Gastón on bass, Rodney Barreto on drums (I sat with Rodney’s mom, whom I met last year) and Rolando Luna ticklin’ the keys. After lingering a bit to talk, I was about to head home to pack my things when I was seduced into one last trip to the Fábrica de Arte Cubano, where the Preservation Hall Jazz Band from New Orleans was ending their three weeks here. I ended up hanging out with Danny Scher of the Bill Graham Foundation, who had been to Cuba many times but not to the Fábrica. I gave him my version of the tour and we saw a very fun performance by Preservation Hall, whom I had last seen in New Orleans around 1988. It was quite crowded and sweaty, and I was reminded of some of Kerouac’s descriptions of jazz and blues clubs in On the Road.

When I say a week is not enough, I’m not referring to the things I wish I had seen or done. I am referring to my hunger to be culturally embedded here. Visiting artists in their studios, visiting people in their homes for conversation, food and drink—this is the stuff of Cuba. This was my seventh trip, and every day I bump into someone I know on the street—one of the techs from last spring’s tour of Havana Curveball, a cinematographer, someone involved in the arts or music, someone I met at the Fábrica. My next trip must be longer. When I return in March, I need a full month, to experience life at the Cuban rhythm, continue what feels like a long and not easy process to retrain my ear to better understand the Cuban version of Spanish (not the same language I spoke as a student in Spain the 80s), and, of course, to make our films at a leisurely pace.

Hasta luego,

Ken

Live from Havana - Day 5, Day 6

Havana Day 5

Today I visited the studio of Zaida del Rio, one of the country’s best known artists, who showed us some beautiful new work. Her son was in the middle of a canvas as well; nice to see the family business going strong. Bought a small piece for a special friend having health challenges—it was one of those, this painting reminds me of you moments.

For some reason breakfast never materialized, and I was starving by the time I arrived at Roberto Salas’ house for lunch. He and his excellent wife prepared an exquisite lunch of shrimp and lobster for Rick, Carolina Sanchez of the Ministry of Culture, and myself. Roberto nearly choked when he saw the amount of Tabasco I put on my rice. I am desperate for heat in my food here, as the Cuban palate likes it “3” on the 1-10 scale of spicy. Always the raconteur, Roberto had a story or two to tell. Born in the Bronx, chased away by the FBI, he landed in Cuba as a teenager in the 50s and ended up taking some of the most iconic photos of the era. His current work is stunning, and he has an opinion about everything.

After a pre-production meeting with Chile, our cinematographer, I had to make the tough decision to forego an ungodly jazz show to return home and finish prepping for the next day’s shoot. I did a fair amount of agonizing as my maquina, a 1956, smelly blue Dodge, rambled past the Teatro Mella, which beckoned me. But the work ethic won out—this time. Did not want to show up on location with people asking, “what?” and my having no response.

And it was a good thing. I was a bit slow on my feet at the start of the shoot the following morning. Ivan Soca was our subject. Ivan has photographed Cuban musicians from Silvio Rodriguez to Los Van Van to Leo Brauer to Cuba’s greatest singers. An incisive guy with critical sensibilities and a winning laugh, Ivan talks about the economía solidaria (barter economy, basically), a concept we tried to use at lunch when the bill arrived; his years as a diplomat’s son in Berlin when the wall fell, and his beloved Lancia, one of the few Italian autos on the island. We had an excellent shoot, with Chile lovingly recording the car’s details and capturing life through Ivan’s lens.

FIga, our sound recordist, and Luz, his lovely partner, were married tonight in a recently rehabbed church in Vedado.  The chorus sang from a terrace that wrapped around three sides of the chapel, and had an other-worldly feel, as we could not see them. I still cry at weddings

I managed to squeeze in a little jazz. For some reason, Billy Gibbons opened , and in this context I found his band quite boring. 4:4 rock with marginal lyricsjust cannot stand shoulder-to-shoulder with Cuban jazz. But I’ll give them this—they did a rocking encore of Whole Lotta Love, singing the chorus in Spanish (“Got mucho amor, “mucho amor,” etc.).

Tomorrow is my last full day here, and I’m meeting two potential characters for our series, (R)evolution Cuba: Stories of Art and Change.

~ Ken

Live from Havana - Day 4

Havana Day 4

Had breakfast with Denise Guerra, a cinematographer who works with our pal Alejandro Ramirez Anderson. She shot a film I love, One child, One School, which profiles one of the 60 + schools in the countryside where there is only 1 child of school age. Pursuant to the country’s national education promise, each of these villages has a schoolhouse, where the teacher and child raise the flag, do lessons, sing, eat lunch together, finish their school day, and often walk home together.

While waiting on Havana Vieja for a friend, I happened upon Hector Drago,  a teacher and photographer (this place is full of creators) who I met while making Havana Cureveball.  Hector is one of the men who engage in spirited discussions about baseball everySunday, waxing philosophic about umpires, the out-migration of players to the US, and their beloved home team, Los Industriales, currently in second place of Phase 2 of this season.

Rick Swig and I checked out Raices, our cinematographer Roberto Chile’s beautiful photo essay on the Afro-Cuban communities on the island. Beautiful textures of the dance, song and rituals brought and maintained by former slaves whose culture survives and flourishes throughout Cuba. The photos captivated me and inspired me with some ideas for (R)evolution Cuba, our series of short films about contemporary Cuban artists.

The day’s highlight may have been a private concert at the studio of Choco, one of the giants of Cuban art. Surrounded by Choco’s painting and sculpture,  Aldo and Ruy jammed, backed up by an acoustic guitar and electric bass. As we say at Passover, Dayenu. If that had been my only experience here, it would have been enough.

But of course, there was more, as there always is here, especially the week of the Jazz Festival. Yasek Manzano and Yssy’s band tore up the stage at the Bertolt Brecht theater. I sat with Rebecca Mauleon of SF Jazz Center; I hope she is able to program a Cuban Jazz Fest in our city.

After, I paid a late night visit to the Fábrica de Arte Cubano, the world’s best art space, where I hung out with journalist/filmmakers Reed Lindsay and Jehane Hafez, who have been making films about human rights and political change around the world, tracking the Arab Spring, Gaza, acid attacks on women in India, and here in Cuba, the changing landscape of baseball, where this week a delegation of US players are visiting, giving free clinics to young ballplayers.

- Ken

Live from Havana - Day 3

Havana Day 3

Every travel experience seems to have a day of cancelled appointments and near misses--today was that day. It started well, with breakfast with Scottish filmmaker pal Eirene Houston, whom I met at last year's Havana Film Festival. Her film, The Cuban Way, tells of the exuberance of contemporary Cuban dance. A cancellation suddenly freed up my afternoon, which allowed me to take the long walk up 23rd, where I had the worst pizza I have ever eaten (most of the Cuban pizza I've had is quite tasty) and discovered a vendor who sold me some of X Alfonso's CDs, including his fabulous reinterpretation of Beny Moré. 

Our pal and Executive Producer Rick Swig mounted his first ever photo exhibit at Fresa y Chocolate (Strawberry and..well, you know), named after the iconic Cuban film from the 90s. Great jazz by the Lopez-Nussa brothers and Yaroldi on percussion, with Aldo Lopez-Gavilan sitting in for a few tunes, sore shoulder and all. Their music is beautiful and their joy is infectious. I am still moved that people can express such a range of deep emotion through music. The sound coming out of their piano sounds nothing like what I hear in my living room--no offense to my family. Roberto Chile, master cinematographer and close collaborator was in the house, along with Ever Fonseca, one of Cuba's finest painters, Roberto Salas, whose photography tells the story of Cuba from the 50s to the present, Mundo Piña of Los Van Van, and a host of other music, art and photography masters. I left feeling the warm embrace of the Cuban arts community, and headed for dinner at our friends Shona (formerly of San Francisco) and Paver's California Cafe.  Am currently writing on La Rampa, one of Cuba's first public wi-fi hotspots and a nightly party. People of all ages manage their facebook pages and communicate with loved ones on and off the island. One can buy an card (similar to a phone card) for hourly access, or find a resourceful hacker who can connect you through an ap on their laptop. Someone will surely soon write a dissertation on internet access on the island; for now, people withmodest means can log on

Jazz fest officially opens tomorrow night, and i plan to be there.

- Ken

Live from Havana

Havana Day 2

At breakfast with our Cuban line producer Claudia, she reminds me that we can criticize our own families, but when an outsider does so, it can carry a sting. It’s a reminder of how much I don’t know. Every moment here I learn more about the island and have more questions. Many things work well here—important things, like healthcare, education, and an ongoing creative evolution which manifests in the arts. And many here readily tell me, habían errors—we’ve made mistakes--which often catalyzes interesting discussions about the mistakes made in each of our homelands.

By chance we bumped into Inti Herrera Nuñez, a filmmaker who produced  John de Los Muertos (Juan of the Dead), a wicked satire masquerading as Cuba’s first zombie film. Inti also works at La Fábrica de Arte Cubano (The Cuban Art factory), the best multi-art space I have ever seen. We set a date for lunch later in the week.

I deliver a Zoom F8 state-of-the-art audio recorder to Figa, a dear friend and sound recordist for all of our Cuba films. He thinks it is the first one on the island, and will be a valuable part of his equipment package. Figa is in the process of constructing a 5.1 sound studio in his family home to design and mix sound for film. We talk about our approaches to sound work and discover much common ground; Figa eschews the literal for the evocative. He shows me a beautiful film he mixed which tells the incredible story of a woman who survived Franco’s bombing, the battle of Leningrad, and domestic abuse, before arriving in Cuba in 1963. When I return in March, we plan to mixLa Rueda de La Vida (The Wheel of Life), our short film homage to the founders of Casino, the mother dance of salsa.

Our Executive Producer, Rick Swig, is in country for the Jazz Festival, and invites me to an incredible jam session headed by Harold Lopez-Nussa, one of Cuba’s finest young pianists. Harold has agreed to compose music for our series of shorts about artists, Revolution Cuba, and he and I start the dialogue about music styles for our films. On stage he is joined by an impressive array of musicians, including his brother Ruy (drums), Rodney Barreto (drums), Aldo Lopez-Gavilan (piano), David Sanchez (sax), Michael Braud (trumpeter for the Preservation Hall Jazz Band), and Rebecca Mauleon, who sits in on piano. Rebecca is the Education Director at the San Francisco Jazz Center and an accomplished musician. One of the best jazz concerts I have seen, period. Happiness.

After a dinner at our friend Javier’s house, where his two young daughters and I entertain each other over fried chicken and paper fortune-tellers (remember those? My finger memory remembers them, and I taught the girls how to make them), I met Ivan Soca for a soda. Ivan has photographed every Cuban musician from los Van Van to Silvio Rodriguez, and he is the subject of one of the portraits inRevolution Cuba. His story is wonderful, and includes bringing in one of the only Italian Lancias on the isle. A diplomat’s son, Ivan lived in Berlin and Prague for over 10 years, witnessing the fall of the Berlin Wall. Returning to Cuba in the 90s, he has a keen international sensibility, and he will be a great collaborator. We start to design shots, talk lenses and angles, and I am excited. Very excited.

- Ken

Live from Havana

Havana, Day 1

The airport in Cancun is both a transition from San Francisco to Cuba and a cautionary tale. The food court screams out, Johnny Rockets! Starbucks! California Pizza Kitchen!  And the ubiquitous Duty Free, where I buy a few small bottles of American Whiskey for friends in Cuba.  In my day long journey, necessary due to the difficulties of travelling under the embargo (the embargo still exists, in spite of Presidents Obama and Raul Castro agreeing to loosen restrictions and move towards “normalization” of relations), gave me much time to meet a Spanish artist,  a Brazilian-American professor of Informatics, and members of the growing cadre of American tourists and travellers racing to Cuba “before it’s too late.” I assure them that Cuba’s transition will be incremental, and many of the things I love about this island—the music, dance, sport, and the joie de vivre—are not going anywhere. Or so I hope, being an optimist.

My good friend Javier met me at the Jose Marti airport with his older son, who does the lights and sound for Javier’s comedy performances. Javier is always my first contact on the island, and he fills me in on his family (his wife gives birth to a boy in 5 months!), the new photo exhibitions of our friends Rick Swig and Roberto Chile, and my Cuban cel phone, which he uses when I am not in country. As always, his young daughters have erased my contacts.

After settling into my casa particular, an apartment rented out by a local in Havana’s Vedado district (pre-Air B n B, Cubans have rented out extra rooms or empty homes to travellers for years), I meet my friend Ernesto Wong for dinner. Ernesto is a professor of linguistics at the University of Havana, is fluent in Spanish, English and French, and has a keen understanding of our cultural similarities and differences. He also serves as my translator, helpjng me not only with language but with cross-cultural subtleties that I sometimes miss. Our conversation sprawls from language stylistics to voting in Cuba and the U.S. (always interesting to see our system through the lens of an outsider) and the confluence of art, Cuba, the encroaching market, and free expression.

Saying goodnight, I strolled to La Rampa, one of Cuba’s first wi-fi hotspots, to check e-mails. Monday night is fairly slow at La Rampa; later in the week this 4-block corridor will be filled with people on their laptops and cels, communicating with friends and family on and off the island, gaming, managing their facebook pages.

Back in my casa a little after midnight, I discover that Anisa, the owner of the casa, had left a plate of sliced papaya, pineapple and guava in the fridge. I love this island.

- Ken