Random thoughts of a tourist in Cuba
Tourism as theatre
“Tourism is perhaps best described as a theatrical production in which the tourists become the audience, the destination becomes the set, and the natives become the actors. In general, the tourist goes to a destination to witness the enactment of another culture, either domestic or foreign.” So said Kurt Cobb of Resource Insights, in his ‘Confessions of a tourist in an energy-challenged age’ (Cobb, Kurt, October 15th 2006, http://resourceinsights.blogspot.com/2006/10/confessions-of-tourist-in-energy.html).
One tourist, perhaps in the guise of an anthropologist living for months or years with a remote tribe, may not make a colossal difference to the tribal way of life, although the very presence of an observer from ‘outside’ changes the context of daily life. When there are more tourists than locals, though, the visitors become the ‘actors’ and the natives become the ‘producers’, the facilitators of the event. The play the visitors have gone to see no longer exists and, instead, they are acting out their own fantasies amidst strange scenery. In Kurt Cobb’s view:
“When the number of tourists increases, certain natives find it profitable to cater to the desires of tourists. These natives, in effect, become the ushers of the theatre and become aligned with the tourists. When the number of tourists overwhelms a particular locale, the performance suffers. This happens when, for instance, those sitting next to the tourists in restaurants are other tourists.”
The locals who minister to the tourist throng inevitably move away from their previous culture, a change process that often breeds conscious and unconscious resentment as “[t]he natives resent being reduced to a servant class whose job is to provide a caricature of their culture consistent with the fantasies of the tourists” (Cobb, as above).
Film-set tourism is the packaging, for sale, of exotic locations, exciting environments, even picturesque poverty. One day in a recent autumn, I was riding a pony called Margareina over rocky terrain in a national park in Cuba, accompanied by a guide for whom people like me represented economic survival. In my mind I was on a set for a cowboys-and-Indians western film, imagining a hold-up over the brow of the next hill, transported back to my rural childhood where my pony-riding friends and I had often played cowboys and Indians, although in the less authentic setting of the green fields of rural Britain.
Margareina and me: riding in Trinidad.
The ghost culture in my mind had nothing to do with Cuba, illustrating Cobb’s point that tourist destinations are stages for the enactment of the traveller’s own fantasies, with two sets of actors, the tourists and those who provide for them, each with their own agendas. When the visitors are wealthy and the locals have become their servants, communications between them are somewhat corrupted. This process is particularly obvious in Cuba, where the Communist Party opposes the accumulation of wealth in private hands, while at the same time relying on hard currency from affluent tourists to shore up the economy against total collapse. The Communist Party does what it can to impede connections between Cubans and foreigners, to the extent of criminalising friendships as prostitution. Rebecca, a recently retired Canadian divorcee who rented a couple of rooms in the town of Sancti Spiritus that she had turned into a small self-contained apartment in which to escape from the Canadian winter, told me that she had shared it with a Cuban man. He risked arrest for prostitution, so they managed to obtain a permit for them both to be resident in the apartment, thinking this would overcome the problem. “He was still arrested,” said Rebecca, “and sentenced to four years in prison for anti-socialist activities.”
In Cuba, the theatre staff – the citizens — are there to take the audience’s money for the proprietor, i.e. the government, not to fraternise nor, according to communist philosophy, to profit individually. This was the backdrop to two months that I spent in Cuba in 2006. Had I been working in Cuba, or living there permanently, I could well have come away with different impressions, but as a tourist I was an economic resource, there to contribute hard currency, nothing more. Tourists are usually regarded as sources of income, all over the world, but in Cuba I was particularly conscious of being the equivalent of a cash dispenser.
Tourists’ cash is desperately needed. Marisa taught me Spanish in Santiago de Cuba, the bustling if dilapidated stage set of the second city, on the east coast. Her grandparents, like Fidel Castro’s parents, had emigrated from Galicia in north-west Spain. She lived with her engineer husband, her daughter and son-in-law, both doctors, and toddler granddaughter in a two-bedroom flat on the middle floor of a nondescript, unmodernised five-story block, six or seven kilometres from the city centre. Marisa relied on public transport, which was overcrowded and unreliable. “I need to leave home at least two hours before I start work in the city,” she said, “and it takes me another two hours to get home again.” The pesos convertibles (hard currency) with which I paid for lessons helped the family a little, but could not overcome the stresses of living in a crowded flat, travelling on crammed buses, trying to find medicines, trying to vary the beans and rice diet a little, lacking time and money to enjoy any hobbies. If Marisa did not work with foreigners like myself, the family would be struggling to survive. The more unofficial the transaction, the better it is for the entrepreneur, because state-sanctioned private enterprise for tourists is taxed ferociously. The Cubans who opt out of the state structure, as far as they can, and live off the tourists, are acting rationally in their own economic interests, although in the long term, the tourism industry will suffer if visitors feel too harried and threatened by hustlers.
The police force is fundamental to the maintenance of safe strolling areas for tourists. I wondered how the state manages to pay all the police, who seemed to have smart new uniforms, and arms. Wandering one afternoon in Santiago, I noticed lots of police patrolling at crossroads and two policemen, armed with what looked like sub-machine guns, were standing guard outside the Hotel Casa Granda, the most upmarket place to stay in central Santiago. In Havana the presence of law enforcers was even more overwhelming: I seemed to see a policeman every few seconds as I walked around the old city, Habana Vieja.
One day in Santiago, in the Casa de Té near the town hall, a tall man of past African origin, like the majority of Santiagueros, leapt in and sat down at my table. He said his name was Angelo, and told the waitress to bring him a beer. This is a good wheeze, because when he had drunk it, and had realised I was not about to go with him to listen to a band/ buy CDs he stood up and walked out, leaving me with the bill. He was replaced by an elderly woman who came and asked me for money and soap. Angelo, who I think was in his early 20s, had let me ask him a few questions, on the understanding that knowledge is a tradable commodity. He said he lived with his parents and brother in the Tivoli district. The conversation, in translation, went something like this:
Me: “What work do you do, Angelo?”
Angelo: “I promote Cuban music. Would you like to come and listen to a really good group?”
Me: “Well not today, thank you Angelo, I’ve got to go to my Spanish class in a minute.”
Angelo: “I’ve got some CDs as well, really cheap.”
Me: “Sorry Angelo, I haven’t really got room in my luggage.”
Angelo: “I can take you to a good restaurant, you can have lobster.” (Few Cubans get the chance to eat lobster legally, because by law it is available in state-owned restaurants only.)
Me: “Thank you Angelo but I’ve already asked for a meal at the house where I’m staying.”
— Angelo was now deciding that I’m a dead loss.
Me: “What’s life like in Santiago?”
Angelo: “There isn’t enough food, especially meat. Hardly any meat. Here in Santiago I’m sure we are worse off than people in Havana.”
Me: “I think some big celebrations are coming, I’ve seen notices around the city. Are you looking forward to them?
— Angelo snorted.
Angelo: “There’ll be police all over the place, lifting people off the street.”
Me: “Surely not?”
Angelo: “Yes there will, it happens. No, I’m not looking forward, there’s not much to celebrate.”
Quite probably, Angelo was not an ace member of the Communist Party, but I met many loyal and highly qualified Cubans like Marisa who highlighted the important health and educational achievements of the Communist regime since the Revolution in 1959, but who moonlighted doing mundane jobs like teaching me elementary Spanish, for the hard curency I would provide. Currency is a critical problem in Cuba, of which more another time.
When university lecturers teach elementary Spanish to tourists, doctors become taxi drivers, and pharmacists run bed-and-breakfasts, how much are the tourists undermining the medical and educational achievements of the Revolution, while at the same time providing income flows that enable the state’s Communist structures to survive? Quite a paradox, I thought.
If the tourists are the paying audience in the theatre that is Cuba, and the local population are the theatre staff, selling them snacks, ice creams, translations, and taxi rides after the show, then what, I wondered, is the show intended to be? The tourists in the audience are watching the staff, the staff are watching the audience: perhaps the stage itself is empty, and any performances (apart from those imagined in individuals’ heads) are films from the historical archive.

