The air in Holguin today not only carries the aroma of this land and the dust of Loma de la Cruz. It carries a rhythm that resonates deep within.
This May 8th, Cuba pauses to celebrate Cuban Son Day. Here, in the “Cuban City of Parks,” the festivities have a double meaning. The closing of the Romerías de Mayo, a festival that is, by right, the epicenter of young art and cultural resistance.
Moreover the choice of this date is no coincidence. It marks the pulse of Cuban musical history. Coinciding with the birthdays of two titans: Miguel Matamoros, the Santiago tailor who dressed the son in elegance with his timeless trio. And Miguelito Cuní, the crystal voice that elevated the genre to the heights of performance.
Officially established in 2020 at the initiative of the late maestro Adalberto Álvarez, the “Gentleman of Son.” So this day commemorates the fact that son is the common trunk of our identity. With the backbone that sustains everything from the most modern salsa to the most urban timba.
While guitars and bongos across the island pay tribute to the masters. In Holguin the Romerías de Mayo reach their climax. Under the motto “There is no today without yesterday.” This edition, dedicated to the thought of Fidel Castro and the 40th anniversary of the Hermanos Saíz Association. It has once again demonstrated why it is the World Festival of Artistic Youth.
The connection is strong. Young art cannot be defended without honoring the traditions that gave it life.
In Holguin’s squares, the “Our Memory” think has been debating identity all week. While on street corners, emerging troubadours and jazz musicians have made it clear that Son is not a museum piece. It is a living entity that is transformed in the hands of new creators.
This Friday, the atmosphere is one of farewell and triumph. The Romerías conclude with the traditional “Planting of the Tree of Fraternity.” And the raising of the Holguin Axe, but the soundtrack is, inevitably, Son.
Also the closing concert, featuring artists like Issac Delgado, is the perfect bridge. The sophistication of contemporary sound supported by the Cuban clave that Matamoros and Cuní defined a century ago. It is the dialogue between the tradition that defines us and the avant-garde that projects us.
As night falls, when the last chord of a tres guitar echoes through the city center. It will become clear that May 8th is more than just a day on the calendar. It is confirmation that, as long as there are young people willing to climb Loma de la Cruz with a project under their arm and a clave rhythm in their hearts. Cuban culture will continue to be that eternal son that never stops evolving.
By: Leannis Berbén Leyva
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