Amid so many complexities, organizing an event like the Cucalambeana Fiesta is a real challenge. But the province, with the support of its top officials and the dedication of many people, stood by its most outstanding cultural event, and that is a source of pride.

The fact that the Theme Park hosted the bulk of the activities —rather than El Cornito, as we’re accustomed to— did not detract from the festivities’ value. On the contrary, it was a venue well-received by artists and the public at large, who turned out in significant numbers.

Starting with the opening parade on Sunday, June 28 —which ran from the El Mambí market to the Theme Park— leaders, residents, and various artists supported the festivities, alongside the Clásicos de Cuba motorcycle club and a delegation from the local Carlos Leyva School for Introductory Sports (EIDE in Spanish).

Once at the venue, the rural spirit came alive through folk songs, recitals, competitions, and much more. The Handicrafts Hall, located in Ranchón 3, returned with a showcase of various yarey garments, textiles, and a wide range of materials. In this category, young Ruth Morales, from the municipal seat, took first place, followed by her fellow townswoman Yorlany Batista García and Elaymis Echemendía, from Jobabo.

Also in this ranchón, as part of the Catauro de la Décima, the Guateque’s main competitions took place. Edelmis Anoceto Vega, from Villa Clara, won the Cucalambé National Prize (written décima) with his collection "Las palabras en la hoguera". Meanwhile, Lioneski Buquet Rodríguez (Camagüey) received an honorable mention for "Cuarta pared", and honorable mentions were awarded to "Metamorfosis del equilibrista", "El último discurso del escriba", "Como un adiós al desgaire", and "Mía canción", by Maikel Santiesteban (Holguín), Domingo Peña González (Camagüey), Yamil Díaz Gómez (Villa Clara), and Jorge Luis Ponce (Las Tunas), in that order.

The jury, composed of Ricardo Riverón Rojas, Carlos Téllez Espino, and Ronel González Sánchez, evaluated 27 works in this competition, which —as they acknowledged— sparked “an enriching debate.”

Ranchón 3 also hosted the Justo Vega National Improvisation Contest, featuring competitors from various provinces. Sindy Manuel Torres, from Pinar del Río, won this contest for the sixth time, reaffirming his status as one of the most significant voices in young improvisational poetry in Cuba. Rainer Nodal, for his part, took second place, followed by Brayan Alejandro Iglesias in third and Yordan Quintero in fourth. Additionally, Eduar Rodríguez won the People’s Choice Award.

Speaking of competitions, we cannot overlook the National “Canto Alrededor del Punto” Glosas Contest, whose prize was won —from among some twenty entries— by the young Mayabeque native Yerandy Silvio Castiñeira Márquez with “Alma que se va de mí". Meanwhile, Aleido Rodríguez from Las Tunas won the Décima de Cordel category with "Mío problema", and Sindy Manuel received an honorable mention for "Fe de erratas".

OTHER BEAUTIFUL HIGHLIGHTS

This time, a standout feature of the Cucalambeana’s program was the inclusion of expressions that also reflect our Cuban identity. Such was the case with the traveling Guaracha performance, led by musician Gaspar Esquivel, a tireless cultivator of that genre. Likewise, “ground” music was represented by the Estrella de Oriente organ, which has been a fixture in Las Tunas for over a century.

The typical sounds of Raíces Soneras (Majibacoa) and other authentic ensembles were once again heard at the Guateque Mayor, specifically in the Bohío Campesino area, located in Ranchón 1 of the Theme Park. Children also had their traditional Cantos de Colibrí segment in Ranchón 2, demonstrating their deep connection to our cultural identity from an early age.

In the evenings as well, the festivities featured events honoring their main themes: the 197th birthday of Juan Cristóbal Nápoles Fajardo (El Cucalambé), the centennial of Fidel’s birth, a tribute to rural women, and a tribute to the unforgettable improviser Tomasita Quiala. During one of these events, the “Flor de Birama” was chosen —Brigni Salet César Zamora from Majibacoa—, while the “petals” were Lilianet Rivera Peña (“Jesús Menéndez”) and Jessica Daylet Lemed Hernández (“Colombia”). Local and visiting artists, including Emiliano Sardiñas and María Victoria Rodríguez, joined in these celebrations.

The Plaza de la Revolución Mayor General Vicente García, meanwhile, hosted the academic event “Diversity, Essence, and Identity,” organized by the Provincial Center for Houses of Culture, featuring a dozen presentations. This event offered an engaging, research-based exploration of topics including traditional folk crafts, oral literature, Haitian folklore, and more.

Likewise, the esplanade surrounding that plaza hosted traditional games (for both children and adults), which saw a resurgence compared to previous years.

BEYOND THE THEME PARK

Various institutions throughout the city also hosted activities. The Nicolás Guillén Foundation headquarters hosted the Decima Women’s Gathering, featuring guests such as Evelin Queipo from Agramonte. The Casa de la Décima presented a rich panel in tribute to Tomasita, featuring anecdotes, quotes, journalistic works, and other highlights.

Likewise, the Tomasa Varona Cultural Center served as the venue for the Landscape and the Illustrated Décima Contests, with Ángel Yusdenis López González winning top honors in the first category. In contrast, Orlando Velázquez Puig (illustrator) and Antonio Luque (décima poet) took first place in the second category with their work "Tirapiedras."

There was also a celebration of the community, extending all the way to Adolfo Villamar Street, home to the Zabaleando project with its many initiatives; meanwhile, at the hub of the artistic avant-garde, the festivities concluded with the Fiesta del Bardo, celebrating the name day of the greatest bucolic poet of 19th-century Cuba, El Cucalambé.

FINAL THOUGHTS

Overall, the Jornada Cucalambeana left a pleasant impression, especially given the times we live in. It was gratifying to witness the camaraderie among sectors and organizations such as Commerce, Gastronomy, and the National Institute of Sports, Physical Education, and Recreation (INDER in Spanish), among others, because this is an event that extends beyond culture alone —a fact that must never be forgotten. Attention to detail was also evident, such as the decor featuring quotes from *El Cucalambé* inside the “Temático.”

However, there is always room for improvement. For future editions, we suggest further enhancing the food offerings —which, although varied (such as *caldosa*), could be more substantial by featuring corn, cassava, coconut, and similar items.

Likewise, a persistent Achilles’ heel of this celebration remains the failure to adhere to the schedules for the artists’ and staff’s lunches, as well as the start times for some activities, which were delayed by up to an hour beyond the scheduled times.

But, despite any minor flaws, we reiterate our delight that the Supreme Festival of the Cuban Peasantry was held with quality and variety —that is what matters most.