The provincial branch of Matanzas collected 257 million pesos in 2024: “The money enters the box office and the talent is forgotten.”
14ymedio, Pablo Padilla Cruz, Matanzas,15 July 2025 — Various voices of the cultural guild linked to Artex S.A. -the State trading company responsible for marketing Cuban culture- complain about delays of three to six months for delivery of their salaries. According to the statements of artists from different provinces, the payment they should receive for concerts in venues, hotels and festivals simply does not materialize.
“Three months of waiting, and they say the money is there, but it never arrives,” says José, a night club worker in the city of Matanzas. “There are colleagues with six months in this situation. Imagine, a salary is never enough to live on, much less without receiving tips.”
Joseph’s testimony is no exception. Efrén, a musician hired by a hotel in Varadero, says that he worked his shifts on time, but he has not been paid anything. “I started playing at the agreed time, but if I ask for my salary and they say ’not yet’. That’s how it’s been for two months.”
Artex’s branch in Matanzas closed the year 2024 with more than 257 million pesos in gross revenues.
In the annual balance sheet of the provincial Artex branch in Matanzas, it was announced that the entity closed the year 2024 with more than 257 million pesos in gross revenues. This positioned the territory as the second highest-earning branch in the country. For these results they received the status of “national vanguard” for the thirteenth time. If the profits were so significant, many question, where is the salary for the artists?
The same is true in Havana. The persistence of these defaults has led artists like Yanairis Fernández, director of the metal band Bonus, to warn that they will stop performing in centers such as Submarino Amarillo and Jardín del Mella if they do not receive their remuneration before July. His decision has also affected rock bands like Pyra and Green Beans, who have been claiming arrears since March. On social networks like Facebook, some directors have announced the sending of open letters calling on musicians to stop their performances until Artex complies.
The president of Artex posts more political propaganda on his social media than artistic promotion
Artex is a complex State trading company with headquarters, agencies, divisions and branches throughout Cuba. Its commercial network includes shops, cultural centers and promotion of products and services in both Cuban pesos and foreign currency. Its catalogue includes entities such as Bis Music (recording and publishing), Ediciones Cubanas, Clave Cubana, Musicalia, d’Arte, Paradiso (cultural tourism) and Soy Cubano (export of cultural products and services). Artex manages festivals, hotel events, tours and contracts with Cuban artists.
A glance at the X profile of Artex’s national president, Eladio Marrero Florido, reveals an extensive campaign to promote political figures such as Fidel Castro and Miguel Díaz-Canel, as well as attacks on Marco Rubio and Donald Trump. But it is almost impossible to find promotions, comments or allusions to the work of Cuban artists, much less a report on the fulfillment of payment dates for their work.
Artex “has money,” but the concept of “paying for talent” does not seem to be part of its priorities.
Musicians, sound technicians and artistic directors consulted by 14ymedio report that Artex “has money,” but the concept of “paying for talent” does not seem to be part of its priorities. “They promote festivals in Varadero paid in dollars and have huge advertising campaigns, but those of us who work directly at these events are waiting, without a clear explanation,” says Efrén. Sound technician Yoangel, in another hotel in the same area, says that signing a contract with Artex is like “playing Russian roulette.” After two months without pay, he decided to quit to avoid getting trapped in an endless wait.
“How many more months do you plan to leave us without pay?” asks a musician who threatens to boycott performances in venues linked to Artex. The proposal for a standstill is presented to a company which, without issuing official apologies or explanations, continues to operate and sell culture without paying the creators. The pressures extend to requesting the intervention of the Ministry of Culture and the Public Prosecutor’s Office, denouncing a supposed structural exploitation: “The money enters the box office and the talent is forgotten.”
In a country where the average wage barely covers the basics, these defaults are a daily tragedy. Artists like José, Efrén and Yoangel divide their time among concerts, private classes and informal jobs to survive. “I live on what I sell to tourists, records and tips; but I can’t go on like this anymore,” one admits. For families who depend on their work in culture, these unpaid months mean losing shelter, food and medicine.
Bars, restaurants and even small private cafes have become the alternative for artists.
Others have begun to present themselves in private venues, aware that the State is increasingly lacking in resources to meet its commitments. Bars, restaurants and even small cafes have become the stage for singers, magicians and comedians, who, tired of waiting for their salary, prefer to close a deal with an entrepreneur and support themselves with tips from customers.
Artex’s reputation is faltering under the shadow of this wage crisis. The question that resonates in the guild is clear: can a sustainable culture maintain itself on broken promises? Artists and workers demand immediate payments, transparency in financial management and a genuine commitment from the institution. If not, they warn, the silence could become louder than any song.
Translated by Regina Anavy
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