So I feel like an aggrieved party, for example when I go abroad and people speak negatively of Cuban women. It hurts, because I am a part of that, I am a part of the Cuban nation, a nation in the greater sense. And that is also why the subliminal language, part of the subliminal message of the orchestra, is that in Cuba there has always been a music for listening, salon music. That is a process carried out by the composers themselves. Each one creates the Cuban landscape of sound.
Composers create that landscape of sound of a people, but it is a process internal to each composer.
We also have composers who draw closer to the European part, the European inheritance of Cuban culture. But you have to take it case by case, because that's the language of each composer. Our discourse, although you may hear it as very Cuban, is really eclectic, because what it draws closer to depends on each composer. Now, certainly they draw from popular or folkloric roots. And what you hear, what you hear from outside, is a completely national discourse, with its different variants.