Cuba is living a moment like the one in which Fidel called for saving culture—a force he defined as the shield and sword of the nation. This was affirmed Tuesday afternoon from the Palace of the Revolution by the First Secretary of the Central Committee of the Communist Party of Cuba and President of the Republic, Miguel Díaz-Canel Bermúdez.

Tuesday was no ordinary day, but October 20, Cuban Culture Day. And that is why a meeting took place in the Portocarrero Hall between the country's leadership and a group of artisans of the Island's cultural universe. It was an exchange marked by the essential and the urgent, attuned to the times, and at its close the dignitary explained why today it is also about shield and sword:

"Today culture has to be a shield, because there is hegemonic thought that wants to impose colonial domination on us, and for that it has to break our identity. Therefore, culture has to be the shield that defends our identity."

"And, on the other hand, culture has to be a sword, because today, as a weapon, from cultural creation, we also have to defend the Homeland, we have to defend the Revolution, and we have to defend socialism."

When sensitivity, talent, and commitment set the tone, beautiful and very necessary moments occur. That is what happened Tuesday, on a day that also counted on the presence of Political Bureau member and Organization Secretary of the Communist Party Central Committee Roberto Morales Ojeda; head of the Central Committee's Ideological Department Yuniasky Crespo Baquero; Vice Prime Minister Inés María Chapman Waugh; Culture Minister Alpidio Alonso Grau, among other leaders.

Before the creators shared experiences, concepts, and emotions, the prodigy of music—through Pancho Amat and his inseparable tres, and saxophonist César López—operated as a curtain that deliciously rose through beloved chords, among which "La Bayamesa" was heard, that 1851 creation belonging to Carlos Manuel de Céspedes, Francisco Castillo, and José Fornaris.

"Today is a truly happy day, a great day for Cubans, of great symbolism, which marks the relationship between Homeland and culture," affirmed Alpidio Alonso, who said that Cuba can celebrate October 20 thanks to the fact that "Cubans work, like you, to foster culture."

Since it was the Head of State who convened a meeting like Tuesday's, the Culture Minister wanted to state: "Thank you, President." And he stressed before the representation of the culture sector, before leaders, professors, and artists, and before a thinker of the highest prestige such as Isabel Monal—who received flowers for her 95th birthday—: "This is a precious opportunity to converse."

Alonso Grau reflected that, despite the difficulties that the empire's criminal siege has imposed on the Greater Antilles, "culture remains alive." And he acknowledged: "No one has grown tired; no one has given up."

Words on Behalf of the Beautiful and the Dignified

Principal Dancer Dani Hernández, director of the National Ballet School and considered among the top ballet figures globally, opened the interventions: he referred to October 20 as a symbolic and special day for all Cubans. And he shared his gratitude for the opportunity to converse with the country's leadership.

Despite the imperial war, he said, "culture has not ceased to be the shield and flag of our nation." And he referred to the commitment that dwells in artistic education, where "the future is."

The young man expressed that "our identity, our Cubanness" belongs to the children of Cuba; he brought up the fact that many doubted whether the new school year would begin this year: "And we have shown that that school year has been achieved." Dani added a personal detail: "I come from the countryside, from Remedios, in Villa Clara province." He is convinced that—and he made it known—if it were not for the Revolution, he would not be the dancer he is today, much less would he be at the head of the Ballet School.

President Díaz-Canel then recalled that Cuba has the particularity of having a ballet that reached everyone and has been inclusive.

Another story of growth and fulfillment was told by Marlene Vázquez Pérez, director of the Martí Studies Center: she has her origins on her grandfather's farm, where there was no electricity and where she learned her first lessons to understand the world by the light of a lantern left over from the Literacy Campaign.

In any republic, the sap of life flows through culture, affirmed Marlene, who is convinced that, with all the shortages it suffers, the Cuban project is the most just that exists on a planetary scale.

Attached to the Martí spirit, she referred to the meaning that virtue and honesty must have at the present time. We cannot allow—she added—the distortion of Cuban history, something the war being waged against the Revolution seeks, "with perversity, but also with intelligence."

Luis Enrique Quiñones, rector of the University of the Arts (ISA), spoke about how "we continue to have a great demand from young people who want to study at our University." And he said: "We are focused on the development of everything related to thought." He—also with humble roots—expressed Tuesday: "I believe there is no greater privilege than being able to collaborate in the formation of other people's children."

And Agustín Antonio Villafaña Rodríguez, ceramicist, engraver, painter, designer, and draftsman, added his voice, noting that "we have come precisely from the people," and that, therefore, many must be grateful that a Ministry of Culture exists. "I always remember Fidel's words saying that the first thing that had to be saved was culture," stated the artist, son of "peasants in Yateras," in Guantánamo province, who even came to experience the art of ceramics in Europe.

The experiences—unforgettable for him because of their formative value—of Miguel Iglesias, director of Danza Contemporánea de Cuba, were heard; of Lea Cárdenas, musicologist, singer, and composer—who thanked preceding generations for the defense they have made of culture—. And Igor Corcuera Cáceres, director of the National Symphony Orchestra of Cuba, added his voice: "Our art is not for an elite, it is for the people, and that must be thanked to the revolutionary process."

Igor did not want to overlook that in his family "no one is a musician" and that, despite this, he studied "the most expensive music degree" and has become the director of the National Symphony Orchestra.

Of Sacred Symbols, of Love and Projects

Guille Vilar, journalist, cultural promoter, music critic, and director of important Cuban radio and television programs, made a request to the country's leadership: "The national flag must have a greater presence in our daily lives," because—he said—when the mambises made the machete charge, there was always a Cuban flag.

For Guille—as so many affectionately call him—the flag is an "element of combat, of resistance." That is why he also stressed: "Wherever there is a flagpole, there must be a Cuban flag, and the bigger, the better."

The Cuban President noted, subsequently, that Guille is right. And that moment gave way to the intervention of the prestigious writer and essayist Enrique Ubieta, who spoke of his trench: "a cultural magazine that will turn 65 in December," a magazine "that has had six different stages" and whose name reflects a content of pure history: "Revolución y Cultura."

He wanted to share a message: "We Cuban intellectuals are willing to die facing the sun and something even more difficult: to live facing the sun, to build the Homeland, the Revolution, and socialism, under conditions of siege."

Ana Nora Calaza, Cuban actress, choral singer, composer, musicalizer, and music advisor, referred to the value of work in communities: "Very happy to be here today and that community work does not stop." And along the same line of thought, Lizette Vila, filmmaker and head of the Palomas Project, evoked Commander in Chief Fidel Castro Ruz and made explicit a choice: "We have never closed, nor will we close."

Voices continued to add: troubadour Silvio Alejandro Rodríguez reflected on cultural enterprises and on the importance that they not renounce the socialist essence no matter how many changes they may experience today.

For his part, Pedro Pablo Rodríguez, Doctor of Historical Sciences, Senior Researcher, and general director of the Critical Edition of the Complete Works of José Martí, recalled two "exceptional men" the Island has had: Martí and Fidel, whose legacies, he said, are being studied in more than one latitude.

About the "culture of work" spoke writer Adelaida (Laidi) Fernández de Juan, and also about the success of the most recent Book Fair, which, despite the adversities caused by the empire's "medieval punishment," had many books and also a large audience.

"What we have come to call the cultural blackout is not going to happen. We are going to continue," affirmed Laidi, who added another beautiful idea: "Since we writers have a culture of work, we are going to keep creating."

Dancer David Frank Acosta brought up the importance of rescuing traditions such as the Havana comparsas. His reflection was not superficial, since the arguments had the substance of deep studies on capital identity and events that will one day have to be revitalized, such as the "Havana carnival," because beneath it, he affirmed, "there are strong cultural roots, symbols that must be defended," because "there is a neighborhood history there, there is a collective unity."

Next, filmmaker Aramís Acosta said he had the satisfaction of counting on "all the necessary support for the development of audiovisual literacy for children and young people," in an experience that already has seven years. It is a fact that has traveled "all over Cuba" and has allowed knowledge to be transmitted. There are already young people—he assured—who create their own works.

Toward the end of the interventions, troubadour Nelson Valdés Viera returned to Fidel's legacy and to everything the leader did for young people. And he asked to send a big hug to a man who has been a promoter of culture: Raúl. By the way, he asked the country's leadership to convey to the Army General the message that "we are also at his side and that we will defend the Homeland at whatever price is necessary."

Alpidio Alonso Grau recalled, almost at the close of the day, "the responsibility that culture has in the resistance of this people." And in the words he shared with everyone, President Díaz-Canel highlighted:

"You have been extremely eloquent—and on the basis of personal stories, on the basis of explaining the content of projects you are defending, many of them in that space so vital and so necessary in these times, where we all spend more time, which is the community—."

The dignitary praised how the protagonists of culture have been above all adversities. And he valued: "This also gives one a confidence, a security, an energy, based on the commitment you have expressed, and what I want to ratify is that we are convinced that there will be no cultural blackout in Cuba, even if there is a hardened blockade, even if there is an energy siege."

Díaz-Canel stressed that with that culture of work that Laidi spoke of, "and facing the sun—as Ubieta asked—," the Homeland, the Revolution, and socialism will be defended—from culture.