The Bridge Generation

 

Four years ago, a few Cuban-American students from Harvard, Georgetown, and the University of Florida, feeling disen-franchised from the Cuba discourse that dominates Miami, started a youth group to focus on the island's future.

The controversy surrounding the tug of war over Elián González, the little boy who was rescued at sea after his mother drowned escaping Cuba, was still fresh in the minds of several of the students. They felt many Americans throughout the country misunderstood Cuban Americans' strong feelings on the issue. Then, in early 2003, Cuba launched one of its biggest crackdowns on dissidents and independent journalists, arresting 75 and sentencing them to long prison terms after summary trials.

Today, Raices de Esperanza, perhaps the largest group of 20-something, politically charged Cuban Americans, is holding its third conference at Princeton University, featuring Gloria Estefan as the keynote speaker. The group, whose name means "the roots of hope," expects about 150 people at the conference, almost twice as many as the first one in 2003.

The group's rise and its message are a testament to the changing dynamics in the Cuban exile community.

Not that Raices' message is much different from that of their elders. They want free-dom and democracy in Cuba. They want to focus on Cuba's human-rights abuses. And they criticize the communist government.

CONNECTED

However, Raices members stand out in two key ways: They talk democracy and politics with youth groups on the island, and they have success-fully taken their message beyond Miami -- to the national and international stage. They have formed affiliate groups in foreign countries to hold protests and vigils abroad on key issues affecting Cuba.

"While our parents and grandparents had their own movimientos and organizations, we wanted to create something of our own to be able to enthuse our generation," said Joanna Gonzalez, 24, one of the group's founders who attended St. Brendan High School in Miami and later the University of Florida.

"A positive way to move forward is to empower the youth -- who are those that will be making decisions and influencing public opinion in the future -- to be educated on the issues going on in the island," she said. "We want the youth in Cuba and out of Cuba to see what life is like in each other's shoes."

Estefan said that, as a Cuban exile and a parent, it has been important for her to keep the Cuba issue alive with her children.

"They have gone beyond the talking phase to taking action," she said of Raices. ‘‘And it needs to be supported and applauded every chance we get because if any change will come in the future, it will come from the youth," Estefan said Friday. "That's the torch they need to carry: commitment to the issue."

Apathy about Cuba was one of the main reasons the students decided to get involved in late 2002. It started small, as an e-mail network of friends and contacts, Gonzalez said. Most of the members today are full-time students or have graduated and have day jobs.

It remains an informal group, with no annual dues, and no official membership list, Gonzalez said. Their most visible activity is the annual conference, which has headlined VIPs, such as former Spanish Prime Minister Jose Maria Aznar.

For some students from around the country, Raices has been a way to reconnect with cultural roots that have long been dormant. Kenneth Sinkovitz, a Princeton junior who has been involved in Raices for more than a year, said he was first drawn to Raices out of curiosity because he was curious about other Cuban Americans.

"Originally, I was most curious to see and meet other Cuban Americans on campus because growing up I never knew any," said Sinkovitz, whose mother is a Cuban exile, and whose father is Austrian- American.

"I'm looking forward to be able to objectively speak to some of these academics and professionals about Cuba, whether they are from the right or from the left."

Raices, which incorporated as a non-profit group this year, has no steady source of income. Donations to put together the conference come from vari-ous sources. One of them is Premier American Bank Chairman Carlos Saladrigas, who also leads the moderate Cuba Study Group in Miami.

To Saladrigas, Raices fills a vacuum in the discourse, now dominated by older exiles.

"It sends a powerful message for the future of Cuba," Saladrigas said. "I think they are going to be the bridge gen-eration. They are going to play a very important role in Cuba's future."

Raices is not without its intrigue. One of the group's co-founders, who asked that his name not be used because he doesn't want to compromise his contacts in Cuba, said he communicates with young Cubans on the island regularly via telephone and e-mail. Raices has mounted launched anonymous letter-writing campaigns to young people in Cuba, for example.

"We want to inspire them to become authors of their own future," the co-founder said. "There is a lot of disillusionment there . . . We are trying to offer support and solidarity."

CROSS-CULTURAL

Not everyone in Raices is Cuban American. Cynthia Romero, 24, is a Princeton University graduate from Puerto Rico who now works for a non-profit in Miami. She became involved in Raices more than a year ago after a friend of hers told her about the group in Washington.

"There's definitely a reevaluation going on among the exile community of what is constructive criticism of the situation in Cuba, rather than destructive," Romero said. "And there's more talk about reconciliation, and a lot more talk about what's happening in Cuba not being a partisan issue, or a local issue, but a human-rights-abuse issue."

Alex Burgos, a graduate of Miami's Belen Jesuit Preparatory School and the University of Florida, is Raices' offi-cer in charge of networking among young professionals. He said Raices also has members from many Latin American countries, including Mexico, Venezuela and Peru. Last year, for example in fact, Raices co-hosted the launch in Mexico City of the Interna-tional Youth Committee for Democracy in Cuba, attended by 800 young people.

"When we left Miami and went to schools outside of Florida, we realized that nobody knows about the Cuba issue," Gonzalez said. ‘‘We are trying to get the word out of what s wrong, and what can be done to fix it."

 

Posted on Sat, Jan. 14, 2006

Gloria Estefan

honored by Berklee

Another accolade for Gloria Estefan: The Miami singer -- along with other distinguished musicians including Paul Simon, Juan Luis Guerra, Michel Camilo, Herbie Hancock and Gary Burton -- will be honored by Berklee College of Music with a Presidential Scholarship awarded to students in her name.

Each scholarship will provide all college tuition, housing and fees for one exceptional student annually for the next 10 years.

In celebration of the scholarship fund and Berklee's 60th anniversary, the eclectic group will perform Jan. 28 for Three Score: The Berklee 60th Anniversary Concert at The Wang Theatre in Boston, produced by 12-time Grammy Award-winner Phil Ramone and hosted by Bill Cosby.

The honor came as a complete surprise to Estefan, who got her start with the Miami Sound Machine in the mid-'80s.

''It was totally unexpected,'' she told the Miami Herald. ``I imagine that they're trying to choose artists who encompass different genres. But it was a real honor because they could have chosen from so many people.''

The news comes at a particularly busy time for Estefan. In addition to finishing her second Noelle book, she's back in the studio.

''We're working on a Spanish album now -- it's more sparse, roots-oriented, more folkloric,'' she said. ``And I just finished a screenplay with Connie Francis based on her life story -- we've been working on it for four years. She's been through a lot -- she was brutally raped after a concert, her brother was killed by the Mafia, and her father had her committed a few times to try to control her.''

Posted on Fri, Oct. 06, 2006
REVIEW
Stars made special night but it didn't sound right
By EVELYN McDONNELL
Gloria Estefan opened Thursday's Concert for Miami at the Carnival Center for the Performing Arts with a cheeky, slightly raunchy warning/apology: ''Think back on your first time.'' Chuckle, chuckle. ``There were interruptions.''
First times are not perfect. Sometimes they're not even good. But hopefully, they're memorable. As far as black-tie art galas go, the Concert for Miami was certainly special. It captured many things the Carnival Center and Miami are -- ambitious, loud, joyous, sprawling, elitist, populist, rhythmic, multilingual, classy, brassy, sad -- and left some things to be desired.
The half-billion dollar question, of course, was how did it sound. Well, not great. The John S. and James L. Knight Concert Hall is a spectacular venue visually. But on Thursday, there were serious acoustic problems. The high notes sounded bright and sometimes piercing, the middle tones were flat, and the lows lacked definition.
Some of the sonic problems were a result of the program's overreach. Executive producers Emilio Estefan and Frank Amadeo shot the moon, loading the stage and the risers behind it with a full orchestra (directed by José Antonio Molina) and two choirs for the opening numbers, which were sung by Gloria. Amplification compounded the problem. From the seats behind the stage, according to one attendee, it sounded like mud.
When such artists as Alejandro Sanz (whose new song, A la Primera Persona, was a show-stopper), Bernadette Peters (hitting a home run on her first time performing Fever), and Carlos Vives (irrepressibly fun) sang with smaller bands, the sound improved considerably. Then the problem became that much of this is dance music, and the stiffs wouldn't leave their seats for most of the show.
Most performing arts centers would program their money night with venerable, boring performers. As Gloria said, ''Miami is many things but never boring.'' (With her easy rapport and simple elegance, Miami's biggest pop star would have made a great emcee, but unfortunately her medley of Latin styles and rendition of America the Beautiful were a little, um, boring.) Host Quincy Jones saluted the nearly three-hour program -- which also featured Albita, Arturo Sandoval, Andy Garcia, Cachao and José Carreras -- for its diversity. ''Jazz and R&B: That's [America's] classical music,'' the storied producer said.
Actually, R&B and its offspring hip-hop were noticeably absent; where was Betty Wright? Still, the Concert for Miami proposed a perhaps even more radical notion: That in our multicultural city, salsa, vallenato, tango, son, and boleros are classical music. The Knight Concert Hall is a potentially stunning forum for further development of this idea. If they could just get the sound right.

 

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