Behind a butterfly
( El Indio Naborí
-30 September 1922 -
December 30, 2005 - the tenth and
independence aspirations of the Cuban people
)
Lecture in IV Latin American Meeting of the Tenth
I is not easy to reflect on the life and work of Jesus Orta Ruiz . Among other things because it of a person who makes me very close and intimate. This is something I've said elsewhere, but then those words were blurred and ended up developing the theme with an inexplicable pride of a child in his hands.
from paragraph follows a first conclusion: If anyone here says too much passion in my words, I apologize in advance. Talk or write about my father is a commitment practical sometimes confuse me with the dictates of the soul.
Although I have published several books of fiction, poetry and essays, but I have lectured and taught literature at various sites, I remain, for the most part, the son of Indian Naborí, the great Naborí Indian, the man who renewed the tenth written and sung, the man who, from Cuba, and in the twentieth century, he built a monument to the old verse of Vicente Espinel.
In short, being the son of Indian Naborí is a sort of honorary title I wear and carry with me for life. A great honor, I say today and always say anywhere in the world which mentions your pseudonym, as Cuban country knows when pronounced in Cuba, and as Latin American knows Americas when he pronounces Mexico.
mentioned a moment ago to Vicente Espinel:
There is no good or evil save me,
dark and cramped,
offended for no reason
and offended, coward.
("Different rhymes", 1591)
Espinel is evidence that, rather than inventor, was who revealed the tenth to the classics of the Golden Age But he could never imagine that eminent English poet, came under the sky of
Naborí El Indio in 1940, tells the tenth:
Traveling Peninsular
aplatanado how have you!
What
mockingbird love you gathered at the grove? You left
vineyard and orchard
dreaming cane and coffee,
English and soul was
plow and hoe song
when the sway of a hammock
you did to "The Cucalambé."
Espinel
If such disclosure could never imagine, much less could imagine that after the tenth Indian Naborí used to channel their desire to see a free Cuba then neocolonial yoke. Are almost countless examples could be cited, however, before proceeding, do parenthesis to pay tribute to the Mexican people, which this year celebrates the bicentennial of its independence and the centenary of the Revolution of 1910 be remembered.
I have no doubt that the Fourth Latin American is the ideal place to present some ideas that, somehow, are announced in the subtitle of my speech: Naborí El Indio, the tenth and aspirations independence of the Cuban people, something that is impossible to separate in this poet of popular glitter legitimate, because the tenth, independence and people went their own lives.
social Hence it is a paramount ingredient in all his work, even in poems where, apparently, is not visible any element called "political poetry", a term or concept that, when studying the work of Indian Naborí, not be separated bluntly, and that political engagement and activism was also his own life.
social What is this the same in a love poem a poem that deals with the pains of Cuban peasant. If we are to poetic production naboriana the years, "
His poem "Guajirito, 1953, explains it all:
His eyes
plain drunk shrink sun and wind under the protection
grimy hat of guano.
It imposes a summer sun
all his ruthlessness
clear when his feet in his face,
on your clothes, anywhere,
no land, like a
path to walk.
is a pearl forgotten
hidden in an oyster
rags, and a crust of lunch box
unearthed.
Barefoot, looking
earthy, with a smile
earthy, while the breeze central
salty sweet
is amazed to see poor
about the treasure he walks.
At that time, the tenth of El Indio Naborí succeeded in synthesizing the independence aspirations of the Cuban people and Cuban people, in turn, identified in the tenth Indian Naborí an inherited need struggle, and identify, the rhythms of octosyllable, the gray silhouette of his own hope.
her song algo que estaba como en el aire; y lo mejor de aquella producción poética, lo mismo cantada que escrita, donde también hay que incluir algunos de sus poemas clandestinos, iba pasando de mano en mano sin que mediara el paso del tiempo. Sólo hay que caminar por
Simple y llanamente se convirtió en una leyenda activa, en algo que el más modesto de los cubanos tiene asumido como suyo. Yo logro comprenderlo mejor si I analyze it in this light: Indian country Naborí + tenth + equals Cuban nation
the tenth is a choice, and that is a chosen Naborí Indian people of Cuba, is nothing casual or tax. Quite the contrary: it is identity, locate especially clear when we look at the balance of thought and action that always existed between the poet (the owner of an eco fervent lyrical) and his people (hungry for freedom, justice and progress.)
Let's say it is a cultural event that occurred as a result of a process of mutual harmony, much more understandable when the fact is analyzed with a solid approach of historical interpretation.
Then it is a fiction that the Indian pilgrim Naborí be considered the poet of the Revolution
I close eyes and I listen to his voice when he said: nothing strange in my house than a book ... If anything, an old
I must confess that I, as a child, I still find it shocking to hear testimony from people who say: "I grew up with Indian tenths Naborí", "I was brought up with Indian poems Naborí "" I became a revolutionary Naborí Indian poetry. " How is it possible?, I wondered at first. But then I realized that poetry, country and revolution, to the Indian Naborí were always the same thing, becoming a man who, until the end of his days was consistent with the consequence of his life.
Listen to this tenth:
July 26:
wounds where the dawn will come, high
avenging date
offended dates . Hot
blood
lives broken by the heroism
treachery and cynicism because
today dancing on a Calvary
Oh, dew necessary
the flower of patriotism!
had to be very consistent to sing these ten verses
Ah, yes, every time a tenth as social criticism, all the time the tenth to sing the pain of the dispossessed, every time a tenth as taken from the bowels of the earth to say what he could not shut up. I see it as one tenth and emancipation, a wonderful alchemy that years later would become the total emancipation of the tenth.
tough in those days,
that I just bread,
walked these streets
child with bare feet.
was my winters, my school
truncated and barren.
But thanks
day that made broom honey
the children of San Miguel
not have my childhood.
But there again, who really study it, you can find more: death, love, frustration, memories, landscapes, flora, fauna, words, Cuban, anniversaries, heroes, martyrs, say everyone inside Cuba riding in the verse of ten admired verses, a truth which now makes me remember what an afternoon of 2005 in February to be exact, said the illustrious Eusebio Leal:
El Indio Naborí sought-to-find traces of the first blood shed ... He never used his word to serve no other cause was social justice. Therefore, peasants and workers were on the edge of Jesus Orta Ruiz the most legitimate expression of one's feelings ... It is the will and testament of the poet.
exaggerating if I say I do not think in this room who can learn the history of Cuba, looking out the verses of Jesus Orta Ruiz. From the Indian Hatuey to Fidel Castro, and from Fidel Castro to the Cuban Five who are suffering in prison United States. Which explains why his poems, despite the time, still populate the murals in factories and farming cooperatives, schools and vibrate are recited by young people in public places, thereby fulfilling an irrefutable Martí's thought: extol heroes heroes ago .
But there is a danger any theorist, with good or bad intentions, you can raise your voice to say, "pamphlet-poems," poems on demand "," poems of circumstances, "tenth-hand ". The four expressions are legitimately questionable. Sure, for a good exchange, analysis or debate on this issue, we should ask in the first line: who is the author?, To whom the poem is addressed? That said, let it be your own Naborí Indian whom we explain their views on the subject:
... the task is no taxation when what is sought is in the heart of who pleases. Sometimes there is no such request, but a match between the applicant and the operator, which is also part of the masses and feel like them ... oral poetry, quick understanding, emphatic thumb is that agrees to these new spaces. Another thing was not poetry in its origins ... Someone might ask why this return to origins in a revolution of the twentieth century? And I answer, because denial is not absolute, and because, according to the law of development, the dialectic spiral returns to its starting point, Degree, of course ... The well-known popular acceptance of these poems, some memorized and recited by generations, is the best proof that when we talk about poetry and time do not forget the space and time.
This is a poet highly committed to the historical moment in which he lived, to a poet who had an intensely creative life, to a very unusual poet. In one person join the revolutionary and intellectual, journalist and folklorist, but just join the cult poet and popular poet, and like the poet who writes the poet who sings and improvises tenths of why it is good complex independent analysis of each party without the final echo of everything we do is significant that in the case of Indian Naborí, words mean poet, poem and poetry.
Let's see this: poetry is psychic content then in the hands of the receiver, should become a psychic impression that favors immediate communication between both sides. And that is something that is true to the letter with the Cuban poet, especially when we see the powerful impact that produced his poems, as readers than listeners, which is also unusual and rare.
I ask you aesthetic pleasure? Absolutely, aesthetic pleasure!, The Indian Naborí transmit it succeeds because the expression of his thinking is clear, accurate and economical. In addition to wit, emotion verse, metaphor timely, travel descriptions and the actual image. This makes the aesthetic pleasure aesthetic joy. This last phrase belongs to Jean-Paul Sartre (1905-1980), not by existentialism, but their sensitivity and ability to understand the psychological processes of art. But hey, at this moment I prefer to leave and continue Sartre Naborí Injun, whose poetry is anything but communication, perception of emotions and serene evocation of a particular print or fullness of life.
Although not intend to develop an intervention too theoretical, above forces me to define more clearly why Naborí Indian poetry is nothing but communication. Read here a possible answer: because if the communication is synonymous with excitement, because if not the topic you are looking for excitement, the emotion which finds the subject.
I come to remember and bring into the ring "The controversy of the century in impromptu verse," starring the Indian Naborí and Angel Valiant in 1955. The thousands of people crowd the stadium in Havana "Field Army" vibrated with emotion several times. The applause, flowers and standing ovation at end of each stanza, multiplied the excitement of independence of the poet, who, without fear of reprisal potential, then sings the great hero of American independence:
steel Bolivar and honey,
I tremble when I call: Captain
Orinoco
headquarters in the Andes.
your horse's hoofs were dropping
sparks,
and leaving no traces
of slaves and tyrants,
you out of the hands
free people as stars.
After 1959, the Indian Naborí becomes the singer par excellence of the Cuban revolutionary epic. A truth that can be understood better if I use the words of everlasting Cintio Vitier: "Awareness of poetry to the poetry of consciousness."
and to achieving social justice, the poet becomes the tenth in a gun that day, and the word newspaper is not exaggerated, argues
Now go through my mind another famous Cuban: Angel Augier, who, referring to the Indian Naborí in November 2004, he wrote:
... ... that Jesus Orta Ruiz in the smithy of his admirable inspiration has shaped the burning feeling of the country ... and at the tenth master, as in the classical sonnet, and in so pure romance of popular expression, has expressed the infinite sorrow of the people, but also the sentence, charged with historical force invincible, of heroic revolutionary tradition of our country, Cuba.
revolutionary poetry Naborí Indus to the Cuban people, was transfigured into a symbol of sovereignty, dignity and independence gained, and was also a spur, and strength, and reason, and motor resistance face winds unsettled and brutal north, always threatening and willing to endorse to the rebellious island of the Caribbean:
No, not dead captain
Village, because her idea
continues, with his fight for redemption
hurricane.
land and bread thieves, murderers
discovered, you do not see
heavens opened when we bury medals
the people
win battles with his army of dead.
imperative tone or emphasis , banished from poetry written for reading one-person and small upper room, revive in verse the Indian Naborí between the clamor of crowd noise through the speakers and the company of political oratory, and not bad to revive. Why has the tone tribunician object to a poetry that is said in gallery?
If we consider all this, we conclude with a statement: Naborí Indian poetry, especially through the tenth, did represent, first, the independence aspirations of the Cuban people, and after represented the national interest, against all odds, to defend the independence gained in 1959, summary and glory of a struggle that had begun on October 10, 1868.
the times are troubled times. So the people of Cuba, which is neither will ever be free of seizures, still needs Naborí Indian. His poetry can be spear and shield, dagger and armor can be can be light and flag in the voice of millions of men and women who every day dream of a better tomorrow.
Naborí El Indio! Within a few days it will be five years after his death. For let this speech a tribute to his life past and present. Come on, poet,
And so, using his immense love sky Cuba, I feel in my soul the cadence of a sacred crystal tenth:
White
little way open between the flood mauve
you went out with the dawn
towards an uncertain future.
In my walk I discovered
more than one avenue
beautiful pine, laurel and pink
but I never felt so
air as you
behind a butterfly.
eron 
