Parque del Ajedrez or Chess Park

 Posted by on July 6, 2016
Jul 062016
 

Santo Tomás and Enramada Streets
Santiago de Cuba

Chess Park Santiago de Cuba

Betancourt follows many of the strictures of one of his mentors “A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if Nature is manifest there.” – Frank Lloyd Wright

This small corner park was designed by American architect Walter Betancourt.

Betancourt was born in 1932 in New York, son of Cuban parents that had escaped to Florida during the Cuban War for Independence.

Parque del Ajedrez, Santiago de Cuba

The park works itself into the contours of the streets starting with an easy entrance at the street level.

As a child of Cubans, Betancourt vacationed often in Cuba. After graduating with a degree in Architecture in 1956 from the University of Virginia, Betancourt entered the US Navy where he served, coincidentally enough, at Guantanamo.  Significantly, Betancourt was in Cuba during the July 26th coup attempt on the Moncada Barracks by Fidel Castro.

Cuban Park

The focal point is a angular fountain that has been turned off.

After leaving the military Betancourt moved to Los Angeles to work with Richard Neutra.  This was an unpaid job and only lasted six months as it is said that the job did not meet Betancourt’s expectations, or live up to his ideals.

During this period of time the revolution in Cuba was growing, so in 1959 after being interviewed by Frank Lloyd Wright and being offered a position at Taliesen, Betancourt, instead headed to Cuba to dedicate his skills to the revolution.

Chess Park in Cuba

One works their way up the park to a nice little cafe that sits under the canopy. This mimics the hills of Santiago de Cuba.

Betancourt arrived in Havana in 1961 but quickly moved to Holquin and eventually settled in Santiago de Cuba. By this time most architects had fled Cuba so the work to launch a new building program by Castro was left to the younger generation.

This building efforts goal was to reapportion wealth after the Bautista regime.  The hopes were high, and architects experimented with new forms and materials to help define the Cuban definition of Modernism.

Park in Cuba

Betancourt is credited with fifteen built buildings, and another 30 unbuilt buildings before his early death at 46 in 1978.  His was the last era of private practice architects in Cuba.  In 1963 the Castro regime abolished the practice of architecture and shut down the College of Architects.

Chess Park, Santiago de Cuba

Interestingly, modern architecture tended to thumb its nose at tradition and tended to stay away from symmetry. The symmetry in this park is striking in its use.

The Knot

 Posted by on March 10, 2016
Mar 102016
 

Santiago de Cuba

El Nudo by Luis Silva

El Nudo (The knot)  by Luis Silva – 2013

In December of 2010, the city of Santiago de Cuba held its first Rene Valdes Cedeño Public Sculpture Symposium, an homage to an artist and teacher who authored works as important as the Cuba’s Abel Santamaria Monument.

Sponsored by the Caguayo Foundation and the Advisory Council for the Development of Public Sculptures and Monuments, the symposium seeks to promote sculpting in marble and metals.

The second Symposium was held in November of 2013, this sculpture is a result of the second Symposium.

 

Mar 102016
 

Traffic Circle at Avenue Manduley and Calle 11
Santiago de Cuba

Jose Maria Heredia

According to Cuba Facts Jose Marie Heredia y Heredia  was born in Santiago de Cuba on December 31 1803, and lived a short thirty-five years, spending most of his adult life in exile.

In 1818 he enrolled in the University of Havana as a law student, and it was about this time that he met Isabel Rueda, to whom he wrote and dedicated erotic poetry. His first dramatic effort (the play Eduardo IV o el usurpador clemente) was produced by a theatre group in Matanzas.

On October 31 1820, his father died in Mexico.

In November 1823 Heredia joined the secret society: LOS SOLES Y RAYOS DE BOLÍVAR (The Suns and Rays of Bolivar, named after the liberator of South America, Simon Bolivar), which sought independence from Spanish rule. The conspiracy was discovered, and Heredia, disguised as a sailor, escaped to Boston. He later spent time in Philadelphia and New York, where he earned a living as a language teacher.

Heredia’s first collection of poetry was published in 1825, and was dedicated to his uncle, Ignacio. Another collection was published in Toluca in 1832.

On September 1 1836, Heredia wrote to Captain-General (of Cuba) Tacón and requested permission to return to Cuba, claiming that his ideology had changed in the 12 years of his absence.

After he returned to Cuba, he was not very popular with many who called him a “sell-out.” As a result, he returned to Mexico, where he died in May 7 1839.

Jose Maria Heredia

A fragment of Ode to Niagra.

The sculptor on this piece is not known, however, the statue, erected some time before the Castro revolution, was funded by the Bacardi family.

Ode to Niagara was written n 1824, when Herdia was 20 years old.  It is actually an ode to Niagara Falls. It has been said it is the greatest poem written about the falls.

There is a plaque at Table Rock, near the brink of Niagara Falls on the Canadian side.
It reads: “To the Niagara from the Cuban people, October 1989”. Heredia (1803-1839) was exiled in 1823 for penning his first Cuban revolutionary poem The Star of Cuba. Although banished officially to Spain for agitating for Cuban independence, Heredia continued to work for Cuban freedom. In 1831 he was sentenced to death in Havana for “criminal involvement” in a conspiracy for Cuban independence. He died in Mexico at the age of 35.
While in exile, he visited Niagara Falls and wrote his famous “Ode to Niagara”, which was first published 1825. In 1827 William Cullen Bryant was the first to translate it into English. Lines from the poem are inscribed on the plaque.

Ode to Niagara

Photo from WikiCommons

 

Here is an English translation of the poem:

NIAGARA
My Iyre! give me my Iyre! My bosom feels
The glow of inspiration. O how long
Have I been left in darkness since this light
Last visited my brow, Niagara!
Thou with thy rushing waters dost restore
The heavenly gift that sorrow took away.
Tremendous torrent! for an instant hush
The terrors of thy voice and cast aside
Those wide involving shadows, that my eyes
May see the fearful beauty of thy face!
I am not all unworthy of thy sight,
For from my very boyhood have I loved,
Shunning the meaner track of common minds,
To look on nature in her loftier moods.

At the fierce rushing of the hurricane,
At the near bursting of the thunderbolt,
I have been touched with joy; and when the sea
Lashed by the wind, hath rocked my bark and showed
Its yawning caves beneath me, I have loved
Its dangers and the wrath of elements.
But never yet the madness of the sea
Hath moved me as thy grandeur moves me now.

Thou flowest on in quiet, till thy waves
Grow broken ‘midst the rocks; thy current then
Shoots onward lke the irresistable course
Of destiny. Ah, terribly they rage–
The hoarse and rapid whirIpools there!
My brain grows wild, my senses wander, as I gaze
Upon the hurrying waters, and my sight
Vainly would follow, as toward the verge
Sweeps the wide torrent–waves innumerable
Meet there and madden–waves innumerable
Urge on and overtake the waves before,
And disappear in thunder and foam

They reach–they leap the barrier–the abyss
Swallows insatiable the sinking waves.
A thousand rainbows arch them, and woods
Are deafened with the roar. The violent shock
Shatters to vapor the descending sheets
A cloudy whirlwind fills the gulf, and heaves
The mighty pyramid of circling mist
To heaven. The solitary hunter near
Pauses with terror in the forest shades.
What seeks thy restiess eye? Why are not bere,
About the jaws of this abys s the palms
Ah, the delicious palms-that on the plains
of my own native Cuba spring and spread
Their thickly foliaged summits to the sun,
And, in the breathings of the ocean air,
Wave soft beaneath the heaven’s unspotted blue?

But no, Niagara,–thy forest pines
Are fitter coronal for thee. The palm,
The effeminate myrtle and frail rose may grow
In gardens, arid give out their fragrance there,
Unmanning him who breathes it. Thine it is
To do a nobler office. Generous minds
Behold thee, and are moved, and learn to rise
Above earth’s frivolous pleasures; they partake
Thy grandeur, at the utterance of thy name.
God of all truth! in other lands I’ve seen
Lying philosophers, blaspheming Men,
Questioners of thy mysteries, that draw
Their fellows deep into impiety;
And therefore doth my spirit seek thy face
In earth’s majestic solitudes. Even here
My beart doth open all itself to thee.
In this immensity of loneliness
I feel thy hand upon me. To my ear
The eternal thunder of the cataract brings
They voice, and I am humbled as I hear.

Dread torrent! that with wonder and with fear
Dost overwhelm the soul of him that looks
Upon thee, and dost bear it from itself,
Whence hast though thy beginning? Who supplies,
Age after age, thy unexhausted springs?
What power hath ordered, that, when all thy weight
Descends into the deep, the swollen waves
Rise not, and roll to overwhelm the earth?
The Lord hath opened his omnipotent hand,
Covered thy face with clouds, and given his voice10.
To thy down-rushing waters; he hath girt
Thy terrible forehead with his radiant bow.
I see thy never-resting waters run
And I bethink me how the tide of time
Sweeps to eternity. So pass of man–
Pass, like a noon-day dream–tbe blossoming days,
And he awakes to sorrow. I, alas!
Feel that my youth is withered, and my brow
Plowed early with the lines of grief and care.

Never have I so deeply felt as now
The hopeless solitude, the abandonment,
The anguish of a loveless life. Alas!
How can the impassioned, the unfrozen heart
Be bappy without love? I would that one
Beautiful,–worthy to be loved and joined
In love with me,–now shared my lonely walk
On this tremendous brink. ‘Twere sweet to see
Her sweet face touched with paleness, and become
More beautiful from fear, and overspread
With a faint smile, while clinging to my side!
Dreams–dreams! I am an exile, and for me
There is no country and there is no love.

Hear, dread Niagara, my latest voice!
Yet a few years, and the cold earth shall close
Over the bones of him who sings thee now
Thus feelingly. Would that this, my humble verse,
Might be like thee, immortal! I, meanwhile,
Cheerfully passing to the appointed rest,
Might raise my radiant forehead in the clouds
To listen to the echocs of my fame.

 

Monumento al Cimmarón

 Posted by on July 31, 2015
Jul 312015
 
Monumento al Cimarron by Alberto Lescay

Monumento al Cimarron by Alberto Lescay

The Monumento al Cimarrón, by Alberto Lescay, or Monument to the Runaway Slave is in the Cuban town of El Cobre.  El Cobre is home to the cathedral that houses Cuba’s patron Saint the Virgin on Caridad.

DSC_4526

Lescay has said “I feel the spirit of that work in others and I think I’ve found a road, because it is a very open proposal, not at all schematic or dogmatic and those are very universal codes that are expressed in it.”

DSC_4551Lescay goes on to say that being a cimmarón is an attitude toward life, and will continue to exist as long as any trace or expression of slavery exist in the world, because “being free, never being fettered, is the most humane attitude there is.”

Cimmaróns were enslaved Africans who had escaped from their Spanish masters and lived together as outlaws. The term Cimarrón comes from the Taino word ‘si’maran’ meaning “the flight of an arrow”.

The sculpture requires an approximately 400 step climb after traveling for approximately 1/2 mile on a dirt road, but is well worth the visit.

Lescay has been in this site before with a piece in Santiago de Cuba.

Iris Jazz Club

 Posted by on April 22, 2015
Apr 222015
 

Iris Jazz Club Cuba

Music: breathing of statues.
Perhaps
Silence of paintings.
You language where all language ends.
You time standing vertically
On the motion of mortal hearts.

by poet Rainer Maria Rilke

Iris Jazz Club

 IRIS Jazz Club is a cultural complex located in front of  in the city of Santiago de Cuba. The space, originally a cafeteria, was turned into a jazz club with the specific purpose of promoting jazz in the area.

DSC_2482Santiago de Cuba is celebrating their 500th year in 2015. These bronze panels were the work of Santiago born artist Alberto Lescay’s Caguayo foundation to mark this celebration. The program costs 125,400 Cuba Pesos or approximately $5000US.
DSC_2485A group of about 20 Cuban and German visual artists work with Lescay on the project.
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DSC_2483*DSC_2486

*Iris Jazz Club

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*Iris Jazz Club

 

 

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