January 28, 2025
Yeah, we knew her from back when
El Patronato—Havana’s Jewish Community Center
The next day, we visited El Patronato, Havana’s Jewish Community Center and one of the three Havana synagogues. In the library were an embossed portrait and a bust honoring Max Stone, both of which I thought were Jose Martí. I have included a bust of Jose Marti from the foyer of the center, which is one is which?* Max Stone helped found the the Patronato.
Stone was instrumental in helping Jews from Europe immigrate in the 1930s and 40s. Below is a summary of minutes taken by the Hebrew Immigrant Aid Society (HIAS) in the 1930s. Note that Stone reported on the Cuba’s denial of entry to passengers on the S.S. St. Louis, who were fleeing Nazi Germany. Canada and the U.S. also refused to give the passengers asylum and the ship ultimately had to return to Europe.
Minutes, 1939:3/28/1939, 4/25/1939, 5/16/1939, 6/5/1939, 6/20/1939, 7/25/1939, 8/15/1939, 9/19/1939, 10/19/1939, 11/21/1939, 12/26/1939, 1/23/1940, 2/20/1940Included are: Appointment of committee to ascertain the possibilities of obtaining from the federal authorities diplomatic immunity for HIAS representatives to be stationed in Germany. Discussion of fate of 104 refugees on S.S. Flandre denied entry into Mexico. Commitment to continue transport funds for immigrants to Central and South America. Report by Dr. Max Stone, President of the Centro Israelita de Cuba regarding passengers on the S.S. St. Louis. Report on refugees in Shanghai. Text of cables regarding transport of refugees to the United States. Report on trip to Washington regarding missing person searches in Poland. Report on committee meeting to discuss HIAS participation in 1940 United Jewish Appeal. Appointment of Israel Bernstein as HIAS representative in Lithuania. Report on opening Miami office. Appointment of Milton Goldsmith, director of the Joint Relief Committee in Havana, as HIAS-ICA representative in South America. Report on meeting with Alexander Qumansky, Soviet ambassador to the United States. Minutes of the board of directors, January 21, 1936 – September 25, 1944, Reel: MKM 25.2, Folder: 9. HIAS Board of Directors and Steering Committees, RG 245.1. YIVO Institute for Jewish Research.
Hella, the vice-president of the Jewish Community showed us around, and the President, David, also stopped by to talk to us. The community celebrated its 100th year anniversary in 2006. On the wall of the Center’s large, all-purpose room, were pictures of the hostages that Hamas kidnapped on October 7. There were also photos of their youth who had competed in Israel’s Maccabiah Games and who had worked on humanitarian projects with Proyecto Kesher.
We exempted ourselves from State Department’s travel ban by giving medical supplies to Hella. She was especially happy to see the thousand dollars worth of colostomy bags we brought from a generous Rochester donor, because some members of their congregation use them. Tourists? Not us!
In the foyer, we saw a framed display of multiple snapshots of famous people who had met with people from Havana’s Jewish community, including the Pope and Fidel Castro. But they obviously did not compare to the visit that Stephen Spielberg made to the Center.
I wasn’t sure why they had old newspaper ads framed on the walls of the foyer, but when I look at them closely now, I see they must have been businesses that members of Havana’s Jewish community had owned.
This picture wasn’t the right size to fit in the image gallery of the Jewish Community Center above. This stone was also in the foyer.
The sign says,
This is one of the stones of Clodno Street in the then Warsaw Ghetto. One of them remains in the Synagogue of the Hebrew Community of Cuba, and the other is in the Santa Clara Cemetery. Both pieces serve as a historical reminder of the time and place where the terrible events of the Holocaust occurred. This is a donation from the “Holocaust Memorial Museum” Washington DC.
In this way we share the commitment to education and remembrance of the Shoah.
After the Center we went over to the Beth Shalom synagogue, which belongs to the Conservative Jewish denomination tradition, and Hella answered more questions.
After leaving the synagogue, we went to Dawn and Jose’s rented B&B apartment to celebrate Jose’s birthday with cake. The U.S. Embassy lay directly across from their balcony. None of us reported Havana Syndrome at the end of the day. On the way to the Hotel Nacional we passed the Office of the Jose Martì Tribuna AntiImperialista Plaza (Pictures of the Plaza to come later.)
One sign of the Kingdom of God unveiling itself on earth will be when countries that colonized Africa, the Americas, and Asia also have anti-Imperialism monuments and plazas.
Hotel Nacional
The National Hotel wants you to know about ALL the famous people who have stayed there, including sports figures, celebrities, actors, musicians and and presidents. I didn’t see a real pattern to the notable persons, unless it was by date. For example, Paris Hilton is on the same framed display as Andrew Cuomo and the Prime Minister of Jamaica.
The room of photos was so crowded the establishment even hung some of the framed ensembles from the ceiling. I have outlined Pete Seeger in a yellow circle, because he was the only one I really cared about.
In the foyer of the hotel, they had a display of employees who had lived to the age of 100 or more, which I thought was cool. They also had a display of the rooms in which notable people had stayed. The establishment had decorated the outdoor area for Chinese New Year.
View of the Hotel from the outside and the classic cars parked across the street.
The graffiti we saw in Havana wasn’t quite as orchestrated as the street art we saw in Bogota, but these examples were still impressive.
Havana’s AfroCuban Neighborhood
After the hotel, we headed over to Calle Ejon de Hamel, the center of AfroCuban culture in Havana. On the way, we met an AfroCuban couple, who I’d say might have been in their 60s or 70s. It was hard to tell. Let’s just say they were a vigorous pair. When we told them we were heading to the AfroCuban neighborhood, they said they lived nearby and offered to show us around. This warmth and hospitality I should say, is not uncommon in Cuba.
It turns out that they run a little center for AfroCuban culture in the neighborhood. As we walked toward it, they pointed out what the art on the walls of the neighborhood—and ALL the walls were covered with art and poetry—signified.
The neighborhood demonstrates how much Cuba values the arts. Much of the visual art had to do with AfroCuban religions, the primary one being Santería, but Palo Monte, and Abakuá are also Cuban religions rooted in West African traditions and syncretized with Catholicism. I could have sworn I had a picture of Judy sitting in a chair specifically intended for menopausal women—there’s a god for that—but I can’t find it.-
One new thing I can do with this upgraded operating system is copy text in a photo, and then paste them into another application. You have to do some cleanup in the paste, but it’s useful. Here’s the first example of poetry on the wall of the AfroCuban neighborhood. An actual Spanish translator who understands poetry, of course, would do a better job
I want to mutilate you, black shade of the unknown,
I want to laugh in your claws of intense blue, of distant sea.
I want to sit in your shadow and continue onward,
I want to describe you in spaces so that you may be known.
You are the inert pace of distant time,
You are the light and song that calls more, but I cannot describe you.
Like my hand, you escape like water between small stones.
What is your enigma at the far front?
What is your back that smiles inertly?
I know you return every night.[…] morning
After I’m dead I neither want an apology
nor gifts.
I come from a
hidden reality to
an open reality
so that you know me
Anonymous
The top two ruminations by Salvador say,
“All that sell love
are as miserable as
They who buy it.”
Salvador
“The fish doesn’t know
that water exists.”
Salvador
I actually was able to translate those myself! Here’s an AI translation the anonymous poet below Salvadors:
It is not my street
It is not anyone’s street
It is our street
Compelling Spirit of a single mystery that emitted colors one morning to conquer
With its old man it wins the battle
At the door of your mantle
I wrote your name
As distant as history
Distant land, stone, fire, and water here is the gift so that you
Learn
Because profane is the one who
Hides the true word
Finally, I was haggling with this boy on the left about how much it would cost me for him to move away from the wall, when an older gentleman ordered him to get lost. The wall appears to be a tribute to the art in the neighborhood, and in particular, the artist Salvador. I realized that the problem with my comprehension toward the end wasn’t the fault of the AI translator. The author was using academic art jargon. I have linked some of the jargon-y words to definitions.
Don Fernando Ortiz
To the neighborhood of Cayo Hueso
To the people of Cuba
In this alley of Centro Habana named Hamel, on April 21, 1990, the first mural was born in the public street dedicated to Afro-Cuban culture.
Iremes, Orishas, legends of black gods in the great thicket of the jungle and the woods to say: Today I have my first public temple for everyone, where the branch covered the bare body to ward off the evil that suffers, the evil that ends. To fill with colors those mute and bare walls that waited so long, and with my time, which is mine, just as from yours you are the owner,
To give through the sentiment of being to be a trace of the known without fragments of words. Songs of my drums, songs of my white garments.
Without being a sentence, I am word by word.
I am the one who painted walls and sent messages at dawn.
Forgive me critics and intellectuals, I speak my word.
I seat the beggar in the chair, I embrace the frank smile.
I enjoy the juice of my blood, which is African blood,
but I also breathe deeply to fill my life and soul
with a Spanish smile that bore mixed-race blood.
Spirits of the day and the consecrated night, may all be present
to send messages at dawn.
The coward flees from the truth because the lie is like him.
The work of Salvador González Escalona exposes the purist equation of a context that now, as a solitary fact, as a historical definition presented as an artistic assistant of a nation of our cultural reality, and as such, becomes a source of knowledge and expression of the social being. It is in this concept that his artistic work makes tangible demystifying aspects of an analogy and increases the gnoseological value. It’s worth noting that, as art, it also refers us to a form of knowledge that challenges to stretch its own boundaries in time.
Salvador’s art shows us not only all the techniques and styles of the old art of the Islanders, clear santero houses where the most elaborate and beautiful ceremonial pieces are crafted. Salvador, with intelligent function, has refined these techniques and created, on a protean platform, his own style.
*Miguel Barnet
The Afrocuban Spirit as It Is Called,” Miguel Barnet
Despite knowing other painters and visual artists in general who have ventured into this field, Salvador has not been influenced by the superficial and deceptive snobbery or by the aesthetic intellectualism of the West in approaching these topics from the outside. Or “from above,” that is, from the analogical picturesque view that might exist between Haitian voodoo and the rituals that occur in Cuba, treated from a European capital or from the morphological aspect of Dahomeyan cloth or the pictorial decoration of the Yoruba widely publicized through art books, to extrapolate to Cuba for the simple fact of being “African” and thus being in international fashion.
Jesús Guanche 1986**
Although certain corners of Havana’s neighborhoods were heaped high with rotting piles of trash, if someone painted, “No Trash” or “Don’t throw trash” on a wall, Habaneros obey the order scrupulously. I was so intent on getting the trash warning, I didn’t notice that the gang graffitied next to it were holding band instruments until I prepared to upload the photo.
In the evening, we finally reached our Apex Event—Danielle singing at the Havana Jazz Festival. I’ve never seen her give a bad performance, and that night continued the streak. She got a ticket for our cook/cultural advisor Dayamí, and we had some time to sit in a place outside the concert hall that served drinks and snacks. I had a reasonably good 5 minute video of Danielle singing, “Poor Man’s Pain,” which followed two bad attempts of me learning the video feature on my phone. Turns out, WordPress can’t handle a 5 minute video. Anyway, here’s a video of Danielle singing “Poor Man’s Pain,” at NPR’s Tiny Desk Concert.
While we were in the room where Danielle was singing, Dawn thought she saw Camila and motioned her over. Turns out it was a Turkish diplomat who wanted an introduction to Danielle, and they talked about Danielle coming to Turkey.
A pianist from Azerbaijan performed immediately after Danielle in the same room. A few peoplein our group decided to stay.
In the evening we went to a famous restaurant in Havana: San Cristobal Paladar. The Obamas ate here when they visited Cuba. The manager had a lot of their photos prominently displayed. Although we had made reservations, the manager made us stand for a long time while an empty table fitting the size of our party was clearly available. Then the wait for our food (at that very table} was also long. Truthfully, we were not all that impressed. The piña coladas were meh. I ordered fried lobster, an appetizer, for my entree, but they brought it out early anyway. However, it was delicious. Imagine eating a a basket of fried clams, but it’s lobster. Caribbean spiny lobsters are a lot smaller than Northern lobsters, but also cheaper.
After a long day, we went home to sleep
*The one in the middle is Marti, who sits in the foyer of El Patronato.
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