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If a mass-casualty accident were to occur in Camagüey tomorrow, blood probably wouldn’t be there “listening to the conversation.” It would eventually appear, of course. Blood already earmarked for other patients would be redirected, and by the following day many Camagüey residents would likely be lining up outside the Blood Bank, rolling up their sleeves as they have done in the past.

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There was a time when world powers waited for Cuba to fall like ripe fruit. By June 2026, the fruit was no longer an apple, nor a geopolitical metaphor. It was a half-eaten guava, pecked away by a cheeky parakeet who watched from her cage as humans kept inventing new ways to make it through another day.

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 The first time someone told Yemán Arias Rovirosa he was not allowed to trim his beard, he realized that a singer is also built through image.

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Evening settled gently over the courtyard of Hotel El Colonial by Mystique, setting the tone for a concert that invited listening rather than spectacle. In that intimate atmosphere, Yicel Acosta delivered a performance that became less a tour of repertoire and more a personal statement.

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For the second consecutive year, Camagüey once again becomes a stage for laughter, wonder, and imagination with the Fiñe Fair, held from February 12 to 15. The event is dedicated to children and serves as a tribute to the anniversary of the Guiñol de Camagüey, one of the longest-running and most beloved theater companies in Cuba.

When the girls of Sangre Gitana were rehearsing for their 24th anniversary gala, they could not have imagined that just weeks later the news would be very different: they had won the Grand Prize in the Children’s category at the Provincial Dance Festival. The award confirms the strength of a project built patiently from the community, with childhood at its core.

Fui tu querer (I Was Your Desire) reached my hands by following an intimate, warm path, built more on affection than on protocol. Margarita Polo sent it to me through a cousin, as someone passes along a cherished secret, and that gesture closed a circle that had begun long before.

My daughter came home from school with a seemingly simple request: to bring something to donate to the children in eastern Cuba who have lost everything after Hurricane Melissa. At home — still carrying the fragility of recent days, when almost all of us were sick as the storm hit — that request had a different weight.

The dramatic story of a boy expelled from his home for wanting to become a dancer —and the silent battles that shaped his life— forms the heart of the documentary “Chávez: In Body and Soul,” which premiered on October 24th at the Nuevo Mundo Video Hall in this city.

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