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Among the excerpts the Camagua Folkloric Company will perform this Saturday, April 11th, at the Avellaneda Theater is Chancleteando. Today, part of the group’s established repertoire, the piece also serves as a symbolic bridge to an unexpected image: a young Fernando Medrano dancing. For decades, Medrano has been publicly defined by his leadership—the director, the researcher, the guide—rather than the performer. And yet, a photograph shared during the recent theoretical session returns him to that origin: a teenager, still in secondary school, performing the very dance of the chancleta.

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  Even amid rehearsals at its headquarters on Lugareño Street No. 128, Rumbatá’s director, Wilmer Ferrán, has a clear sense of direction: the group is navigating a period of artistic redefinition, international expansion, and renewed recording ambitions. At the heart of this new phase lies a defining goal—getting their upcoming album into the Grammys’ consideration process.

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  Recetofilia is a book that overflows with passion. Those of us who know its author, Camagüey-born writer Evelin Queipo, understand that everything she creates is shaped by the pursuit of perfection that defines her.

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 The folkloric company Camagua will mark its 15th anniversary with a program that, while shaped by the constraints of Cuba’s current economic situation, offers a broad look at the different facets of its artistic work.

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Sed Infinita (Infinite Thirst) is not the kind of book you simply read and place on a shelf. Even though some of its poems speak of forgetting, Camagüey-born author Jesús Aismar Zamora has crafted a volume you’ll want to keep close—one to share with those friends who carry impossible longings.

At the Biblioteca Provincial Julio Antonio Mella, during Camagüey’s Culture Week, a panel marked the 95th anniversary of the birth of Jaime Sarusky. For me, speaking about someone I barely knew, yet who left a profound imprint, always stirs a mixture of gratitude and tremor.

Although the Havana International Book Fair has been postponed due to Cuba’s complex current situation, the Camagüey-based Editorial Ácana continues its work. That persistence was evident at the Camagüey Writers’ Meeting, where several authors previewed completed projects and others still in progress.

A few days ago, the extracurricular reading assignment arrived: The Little Prince. My daughter, who is 11, found herself facing a book I had already read to her before. Because it’s small and slim, it didn’t seem overwhelming or intimidating.

At times, it felt as if the entrance to the Julio Antonio Mella Provincial Library was no longer in Camagüey but at a crossroads of centuries: ancient Greece, nineteenth-century Cuba, Dickens’s Europe, Eva Perón’s Argentina, Gaitán’s Colombia. As Félix Julio Alfonso López spoke, time seemed to open like a fan.

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