Loaded with words, the 15-meter-high consortium is a hymn to freedom and the power of literature.
14ymedio, Natalia Lopez Moya, Havana, 18 November 2024 — El árbol de las Mil Voces extends its branches in the centrally located space and, instead of leaves, displays an endless number of book pages. The collection, loaded with words and measuring 15 meters high, is a hymn to freedom and the power of literature. But its foliage, with fragments of Lorca, Proust or Goethe, takes on another meaning in Cuba, a country marked by censorship and editorial dogma.
The writings, on pages that hang like fruits of human knowledge and creativity, include a wide catalog of Poetry, Narrative, Art History and Philosophy. The wind can stir the structure, shake the steel pages that creak and rattle, creating a unique symphony on each occasion, but it cannot bring down the thick trunk that supports human creation. The gusts can barely batter the flowers, just as intolerance can barely hit literature but never uproot it.
‘The Tree of a Thousand Voices’ arrives amid an artistic wasteland where much of the diversity that Cuban culture once displayed has been lost
Standing near the base, it is sufficient to glance up to read names that Cuban editorial policy in recent decades has looked down on, such as Octavio Paz and Milan Kundera. But there are also many other works that readers on the Island have missed because the economic crisis has reduced the publication of international authors, while resources continue to be allocated to supporting propaganda. More than a thousand voices, Hourdé’s tree seems like a chorus of cries that remember the unpublished titles, the stories not disseminated and the gaps left in so many bookstores and libraries.
The piece has also landed at a very complicated time for freedom of expression in Cuba. The 15th edition of the Havana Biennial could not take place in a worse context, with hundreds of political prisoners and artists, such as Luis Manuel Otero Alcántara, having been sentenced to prison for pushing the limits of the narrow cultural policy. The intensification of repression, the tightening of censorship and the lack of opportunities for creators have also contributed to the especially dramatic exodus among painters, sculptors, actors and writers.
The Tree of a Thousand Voices arrives in the middle of an artistic wasteland where much of the diversity that Cuban culture once displayed has been lost. If the piece symbolizes freedom of expression, as its author has stressed on numerous occasions, it only remains to read it as a wake-up call in Cuba. Its branches and leaves, full of words, grow and expand in a restored square for tourists, in the framework of an event that functions as a showcase for a plurality that does not exist, and surrounded by people who have been deprived of the right to decide what they can read and what voices they can listen to.
Translated by Norma Whiting
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