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SermonsPete Seeger

The Presidential Palace/Museum of the Revolution and La Colmenita

January 26, 2025

The next morning, we devoted ourselves to sightseeing. A straight 20-minute walk down San Rafael Street took us to the Old City of Havana, with the statue below at the end. Art permeates Havana. Cuba promotes music, visual art, and dance in schools from a young age. From what I have observed, artists appear to be more revered than sports heroes. In 2021, their call to the government for more freedom of expression caught the regime and much of the world by surprise. It also resulted in some of the artists serving prison sentences.

Our next stop was a visit to the former Presidential palace of Cuba that the government turned into the Museum of the Revolution in 1973 and a National Monument in 2010. But first, Ken got a chance to check out some of Cuba’s famous vintage cars:

The Plaza we crossed to get to the palace was the first place we encountered begging—she was an old, clearly malnourished woman. I don’t remember seeing people like her during our first trip to Cuba nine years ago.

The Presidential Palace

Ornate stone palace with domed cupola. Tank parked in front.
Presidential palace

Because one of Cuba’s frequent electrical blackouts had struck that day, the museum inside the the palace had no lights. Therefore, the following photos are dimmer than I would have liked, even with all the fancy adjustments on my iPhone. All the photos have English translations that you can read if you click on the photos, as do the next set of photos. To sum up the attitude of the museum toward these reminders of pre-revolutionary times, consider the comment on the office of the Presidents of Cuba between 1920-1965: “In this place, the most anti-popular, proimperialist (sic) and macabre decrees and laws that governed the national scene before 1959 were endorsed.”

Resistance

The next set of photos (below the picture of George Washington) chronicles the history of resistance in Cuba from the time of Indigenous people resisting Christopher Columbus and the conquistadors to the Cuban Revolution in the 1950s-60s. The three Indigenous groups who lived there at the time of Columbus’s arrival were the Taíno, Ciboney, and Guanajatabey. By 1544, Spaniards had decimated the native population from a conservative estimate of 112,000 people to 893 people, according to a count by Bishop Diego de Sarmiento. Criollo first referred to Spanish people born in Cuba, then to those who had intermarried with Indigenous and enslaved African people. They rebelled against the Colonial Government three times in the early 18th century, and resisted the English invasion during the Seven Years War or the First World War , as Churchill called it. And as long as we’re going to reframe things, it was a time when the English Crown authorized the British Navy and English privateers to be pirates and steal gold from Spanish ships that the Spanish had stolen from the New World.

From the time the Spaniards introduced slavery to the Island in the 16th century, enslaved people had probably rebelled against their enslavers, but from 1763 with the wealth coming in from sugarcane and coffee plantations, it had become a necessary cog in the capitalist enterprise, and insurrections became frequent. In the early 19th century social critics like Padre Felix Varela and Jose Saco spoke out against slavery and other social injustices.

Now we get to Jose Martí.

Imagine George Washington. If you can’t, I have provided Gilbert Stuart’s portrait to the left. Now, imagine that George Washington was a sickly abolitionist, journalist, poet and writer, who fought and died in the revolution that freed Cuba from colonial rule. If you can imagine George Washington comprising all these elements, you will understand what Jose Martí represents to the Cuban people.

Interestingly, a lot of of the Cuban intellectuals like Varela, Saco and Marti spent years in New York City, writing in exile.

The Ten Years’ War was an uprising was led by Cuban-born planters and other wealthy natives. On 10 October 1868, sugar mill owner Carlos Manuel de Céspedes and his followers proclaimed independence. This was the first of three liberation wars that Cuba fought against Spain, the other two being the Little War (1879–1880) and the Cuban War of Independence (1895–1898).  The painting behind the velvet rope represents the Constitutional Assembly of Guáimaro, in which representatives of areas that joined the uprising met and decided what they wanted their government to look like. One decision that they overwhelmingly agreed upon was the separation of civil and military powers with the latter being subordinate to the former. They elected Céspedes as president of the assembly and reconstituted themselves as the House of Representatives.

From 1929 to 1933, the Cuban people rose up to resist the dictatorship of dictatorship imposed by Gerardo Machado, the “Donkey with Claws.”

In 1952, former president Fulgencio Batista overthrew the government in a coup. While some criticisms of the Cuban government’s human rights abuses since Castro took over in 1959 are legitimate,* we do not typically hear about the human rights abuses under the Batista’s regime. The death toll of dissidents killed under his regime ranges from hundreds up to 20,000—the uncertainty lying in the fact that many were disappeared by Batista’s security forces and never heard from again. Hundreds were tortured to death. Batista also had warm relations with U.S. organized crime personalities, like Meyer Lansky and Lucky Luciano. Together they turned Havana into what playwright Arthur Miller called, “”hopelessly corrupt, a Mafia playground, (and) a bordello for Americans and other foreigners.” For all these reasons, Castro’s rebels had broad popular support when they toppled Batista’s government. Some of those who fought with him and were hoping for democratic elections were later dismayed when the elections never took place. And of course, it did not matter to the Cuban elite that Castro’s reforms helped the great majority of Cuban people become better educated, healthier, and food-secure after these elites fled the country.

Amnesty International, in its reports on the state of human rights in Cuba, will describe the harassment and imprisonment of dissidents.† But it usually includes a paragraph on the U.S. embargo on Cuba:

IIn other words, the embargo creates a siege mentality in Cuba. If the U.S. lifted the political and economic pressure, as it began to do under the Obama Administration, the government would feel more comfortable expanding some democratic structures that are already in place.

Also, Cuba, Laos, and Vietnam are the only Communist countries left in the world. (China has vast wealth disparity amongst its citizens, which means it cannot be Communist, and a fascist monarchical clan rules North Korea.) The U.S. trades with both Laos and Vietnam. It punishes Cuba only because it can.

La Colmenita

In the evening we went to attend a performance of La Colmenita, which I mentioned in the last post. I probably should have looked up how to take pictures in the dark with my fancy iPhone camera, but these were the best I have, after a lot of editing. “La Colmenita,” means “the little beehive” which explains why the children dress in bee costumes. Founded by Carlos Alberto Cremata, this children’s theater group has traveled all over the world. When Michael and I were here with the Witness for Peace delegation nine years ago, we learned that on their one and only tour of the United States, La Colmenita performed at one of the most impoverished schools in Los Angeles. After seeing the dilapidated state of the building and learning that the school could not afford music or art programs, the children decided to donate the money they earned touring California to that school so the children there could have music and art again.

The performance we attended was dedicated to the ground-breaking Afro-Cuban jazz band, Irakere. It began with all the children singing and dancing on state, followed by a Teen Bee narrator explaining events that followed, with intermissions of Afro-Latin, and Latin Jazz music, including a tribute to Irakere. In the first play, a little girl in a Heidi dress appeared (circled in black below) and watched a procession of animals each claiming that they were the best dancers. After that, a Cuban version of Goldilocks unfolded, with the little girl eating the baby bear’s soup, instead of oatmeal, and lying in his bed. Predictably, the bears came home, a chase ensued, but the play ended with everyone dancing on the stage (the adults sitting on the stage behind music stands were the people who voiced the characters in animal costumes.)

After La Colmenita, we went to Danielle’s Bed and Breakfast to welcome her, and the eight of us had dinner. Judy, Ken, and I went back to sleep. Camila, Danielle, Dawn, Jose, and Michael went to El Floridita, so that a Danielle could listen to the live music—that night, the bar featured a female singer. Michael et al. were unsuccessful in their efforts to convince Danielle to sing

Miscellanea

Other important aspects of the day: A perfect cup of latte and a cart decorated with old newspapers. Roughly translated, the phrase written on the bottom ridge of the cart says, “What a tremendous source of pride it is to be Cuban!”

I’ll close with Jose Martí’s most famous poem, Guantanamera, later turned into a song made famous in the U.S by Pete Seeger.

*A lot are illegitimate. For example, in the first couple of years after overthrowing Batista’s dictatorship, Castro’s government practically eliminated illiteracy. His detractors claim this was a bad thing because the now-literate peasants could read the government’s propaganda.

†But compare this report to some of Amnesty’s reports on places where Community Peacemaker Teams (formerly Christian Peacemaker Teams) works: The West Bank, Colombia, Iraqi-Kurdistan, and the Aegean Islands.

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AAARGH! I can’t believe I missed the Bellwether Prize deadline!

Probably the biggest “triumph” of my literary career was my selection as a finalist inpeanuts-aargh-baseball Barbara Kingsolver’s Bellwether Prize a decade or so ago.  The prize has since morphed into the PEN/Bellwether Prize for Socially Engaged Fiction.  That, dear reader, is the fiction that I write.  So far, it is the only fiction that I know how to write, the only fiction that emerges from that deep compelling place, the stories that push and butt inside me until my only choices are to write them or become mentally ill.

My second novel, Because the Angels, at 50,000 words ended up being too short for the Bellwether Prize, and I was sad about it, but I didn’t really grieve for long, because the novel was really as long as it was supposed to be, and I thought that by the next time the Bellwether Prize rolled around, I would have another novel ready.

And it was, and I missed the deadline.  And I missed the deadline because I was working with my human rights organization in Hebron for the month of October and mid-December through mid-February, so I didn’t see the Poets and Writers listing.  But really, that’s no excuse.  If I had been wanting to submit this novel for the Bellwether Prize, I should have been paying attention to the deadline, and I didn’t and now it’s too late.

AAAAARGH! Stupid! Stupid! Stupid!

I am trying not to lapse into magical thinking about this, as writers are wont to do.  You know, like, “Well maybe God wanted me to miss this opportunity, so that the novel will have more of an impact in another situation.”  (I confess I had plans involving clemency for Leonard Peltier.) Or “Just you wait writer-friend-who-didn’t-like-it; Ms. SuperAgent was thrilled to pull it out of the slush pile and is already optioning it off to Hollywood.”

As a spiritual discipline, I keep telling myself that neither God nor the publishing world owes me a thing.

But I also need something to keep me away from the spiral of self-loathing.  The fact that my novel might very well not have sold in another two years and I can enter it then?  Not super comforting.  That the next one I’m beginning work on might be better?  At this point it’s in such nebulous shape–in my head and a collection of notes, I have no way of knowing how good it’s going to be—it hasn’t reached the place that my other three did where everything begins to click.

I do pray that God will use my novels for good.  Since they have secular as well as religious characters and some of those characters use profanity and follow sexual mores frowned upon by most religious publishers (and I’m pretty much fine with them the way they are), I know that some people might think that strange.  But it’s true.  I really do want God to use what I write to transform situations of oppression and sadness.  I guess that prayer is the only comfort I have; it’s something I can do.

But still, AAAAARRRRRGH!  (Really there’s nothing I can do.)

*******

In January, I wrote a Facebook post about my grief over losing Pete Seeger and the wise comments of a colleague (a young Palestinian woman from Ramallah who had never heard of him) about why I was grieving.  I felt a little “smiley hurt” reading an article in the February issue of Rolling Stone, that echoed her comments

Mikal Gilmore referred to Seeger singing at Barack Obama’s inauguration this verse from “This Land is Your Land”:

Nobody living can ever stop me,
As I go walking that freedom highway;
Nobody living can ever make me turn back
This land was made for you and me.

That moment heartened many of us, perhaps discomfited others, but both reactions were validations: Pete Seeger was finally singing to all of America as its redeemed native son, as a loved and revered hero. The day he died, we immediately understood, we’d never see anybody like him again.

For those interested, I also wrote a blog post about Seeger in January: http://www.kathleenkern.net/human-rights/hearing-about-pete-seeger-in-palestine/

 

 

 

 

Hearing about Pete Seeger in Palestine

I was imagining Pete Seeger’s death almost four decades before his mortality finally caught up withindex him.  Given as I was to melodrama and pathos in my teenage years, I imagined myself making a pilgrimage to his grave, via a freight train box car with my guitar, and then laying on top of his final resting place, weeping, at which point some like-minded devotees and possible family members would take me in and I would begin a new life as a folk musician/activist.

Why did I think such a scenario was likely to happen? Well apart from my being delusional, I’m sure part of it came from the Seeger persona arising from the albums I listened to until the grooves had worn thin.  I remember staring at the cover of The Children’s Concert at Town Hall album on which he is serenading a little girl in a pinafore on high stool and wishing with all my heart that I were that girl.  That he was singing to me.  I’m sure many children and adults felt that he was doing exactly that.  When he performed, when he led singing, he gave of himself in a way that eliminated the distance between performer and audience.  And when you read about his relationships with the various people he met as part of activism for civil rights and the environment, it wasn’t a far stretch to imagine that if you stopped by to see him while he was chopping wood, he might very well treat you as a friend. (And I guess my teenage delusions extended that to friends and family members.)

Many years later, after I started working for Christian Peacemaker Teams, I was listening to a tribute album put out by Appleseed Records in which various recording artists sang songs he had written or made famous.  One of them “Those three are on my mind,” about the murders of civil rights activists Schwerner, Chaney, and Goodman I found particularly haunting.  He wrote in the liner notes about what it was like to be performing in a small southern church when news arrived that the bodies had been found.  And it hit me that at that time, no one in that church knew that the struggle for voting rights and an end to segregation would be successful.  In fact, it probably looked very far away.  But Seeger and the people in that church chose to keep moving forward anyway, even though they didn’t know how the struggle would end.

I wrote a column about this experience for the Mennonite Weekly Review and sent it to Appleseed records.  Months later, I received in the mail his songbook, where have All the Flowers Gone: A Sing-a-long Memoir, autographed with a message “Keep on…”  (And I’m embarrassed to say I don’t remember the rest.)

My husband, knowing my affection for Seeger, bought tickets for the annual Western New York Peace Center banquet at which Seeger performed this fall.  He looked very frail, and his memory gave out a couple times when he was singing some of his old standards.  One delightful thing he remembered and sang as a tribute to his late wife, Toshi Seeger were the additional verses to “Turn, Turn, Turn” she had added for their children:

A time for work, a time for play
A time for night, a time for day
A time to sleep, a time to wake
A time for candles on the cake.

A time to dress, a time to eat
A time to sit and rest your feet
A timer to teach, a time to learn
A time for all to take their turn.

A time to cry and make a fuss
A time to leave and catch the bus
A time for quiet, a time for talk
A time to run, a time to walk.

A time to get, a time to give
A time to remember, a time to forgive
A time to hug, a time to kiss
A time to close your eyes and wish.

A time for dirt, a time for soap
A time for tears, a time for hope
A time for fall, a time for spring
A time to hear the robins sing.

It was Pete Seeger’s time to die; it was his time for peace.  I am writing from the Israeli-Occupied Palestinian Territories, and I do not see an end to the daily assaults on human dignity this occupation imposes happening any time soon.  But I choose to believe that those who care about justice and peace will overcome the efforts of short-sighted politicians who think only in terms of control and personal gain. I choose to “keep on. . .”

And I will remember that singing helps.

(Oh and just when you thought you couldn’t love him any more, you should know he donated royalties from “Turn, turn, turn” to the Israeli Committee Against House Demolitions.)