The spark of appreciation for folk art in Cuba has been ignited in Mella, a village in the southeast part of the island. Here, the Grupo Bayate, eight self-taught artists who have banded together for spiritual and economic support have discovered their working together fits their needs both as artists and Cubans in the 1990's.

Working collectively is part of the political revolution, but it is also a longtime Cuban tradition. It makes sense economically in a time of scarcity to share resources, art materials, and even gasoline, to transport artworks to exhibitions, plus, there is a better chance of getting space, town support, and recognition both as a collective and as individual artists. Above all, these artists enjoy working as a collective to preserve cultural values. First, they want to be a link between their community and the greater world in a non-commercial way, but the current economic crisis now makes it important that they promote and sell their works too.

Luis Rodríguez (Luis Joaquín Rodríguez Ricardo) paints from his experience and from his heart. Through his perceptive depictions of the Cuban countryside and rural dwellings we are given a window to the daily activities in the village of Mella, and perhaps to the soul of the artist. Trained in construction, he is a member of the Grupo Bayate officially formed in 1994 out of a previous collective of painters in Mella. The others include his father, Luis Joaquín Rodríguez Arias, a baker; Roberto Torres Lameda, a driver; Rolando Alvarado Lamorout, a fisherman; Luis Alberto Villalón Rades, a photographer; Felipe Reyes Merino, a doctor; Angel Yópiz Martinez, a policeman and Daniel Alvares Arias, an accountant. Luisa María Ramírez Moreira, an art historian and wife of Luis Rodríguez, writes about the Grupo. Most are in their 30's, born with the revolution. Although they have individual styles, their work is linked by the subject matter of village life and in the unpretentious presentation, detailed ornamentation, bright color and narrative aspects. As the most visible in the group, Luis has had one-man exhibitions in Santiago de Cuba, and in Oxford, Mississippi at Southside Gallery. All of the Grupo were part of an exhibition in New York City in 1997, organized by the Center for Cuban Studies.

In many of Luis' works, viewers become privy to seemingly simple stories of everyday life--baseball games, a railway train chugging through the village, preparation of food-- although some spirited paintings evoke slightly chaotic overtones hinting at life in flux. The sense of turbulent activity achieved with diagonals, vibrant palette and angles replacing curves, is in contrast to the serene demeanor of Luis himself. Some of his most interesting works draw on memories of the Haitian vodou ceremonies which he often witnessed in the tiny town of Paso Estancia where he spent his childhood. Most of its population had emigrated from Haiti, and Luis' neighbor was a priest/healer (curandero). In one painting four men lift a table with their teeth holding up a celebrant who whirls in the center to the clapping and cheering of onlookers. The sense of movement, sound and rhythm are heightened with brilliant colors punctuated with graphic darks and whites. Some works capture the lively, expressive gestures that are reminiscent of Bill Traylor figures.

Asked if he considers not having attended art school a disadvantage Luis replies no, it is an advantage. He explains eloquently: “It is because the spontaneous, natural flow of naive art allows one to express sentiments freely without worrying about technical knowledge that could limit ways of reflecting feelings.” While he draws inspiration from his life and the landscape of Mella, his most important inspiration and source of encouragement has been his father, Luis Joaquin Rodríguez Arias, the founder of Grupo Bayate. In homage to him, Luis, the son, signs his works “El Estudiante” (the student).

His father, the elected leader of the Grupo, could not go to art school, and, unlike his son, perceives this as a loss. “There is so much to learn. Talent is something people are born with, but no one in his own life can accumulate the knowledge that humanity has accumulated throughout history.” Arias thinks his art is particularly Cuban because “I was born here and have loved here. I don't know if there is anything that distinguishes Cuban art from others except that what I paint I do with my soul, and because of that I consider it sincerely Cuban.”

Rolando Alvarado believes that being born with the sensitivity to appreciate the world is better than any school. “I paint what motivates me with no commitments to anyone but myself.” They agree that much of what is Cuban about their art is reflected in their depiction of Cuban life. “Our art is Cuban,” says Felipe Reyes, “It is our landscape. None is more beautiful.” What they would like most right now are art materials and more time to do art. Mainly, they would like to have the Mella style become recognized and appreciated.

In their manifesto, the Grupo states the overriding goal is, “To stimulate and maintain values of naive art in the region as well as to recapture its artistic traditions, and to facilitate an exchange with all who are interested in working in and promoting this art.” It is unusual to have this desire to protect the self-taught aspect of art put forth so deliberately. In the United States we tend to think of most pre-twentieth century folk painting as the vigorous creations of untrained artists who put forth much of our early art in lieu of trained artists. Here in a tiny Cuban town, however, we find that there is a real value put on the qualities of a direct, untutored style as well as a recognition of its fragility. It is amazing in that since the revolution in Cuba, all schooling through graduate and professional training is free and encouraged, as is diversity of expression with no government imposition of an official style (such as socialist realism). When someone is recognized as having artistic talent, he or she is sent to art school.

Cubans are introspective about their politics, and also, their art. They have to overcome isolation in the international art world by keeping abreast of current trends, and partly because of this, self-taught art has not always been highly regarded. How can we account for the success of the Grupo Bayate and the pride they take in their goals? One reason may be related to the economic necessities brought about by the double setbacks of the tightened trade embargo and the collapse of the Soviet bloc resulting in a new appreciation for the simpler ways of doing things. Adversity has brought with it a challenge to be “low-tech,” reflected in the use of bicycles, alternative medicine and ecological farming. The counterpart may be increased respect for an art which dovetails with the return to the countryside to work the land. Cubans are searching for their roots and their own expressions, and Grupo Bayate, with its detailed visual descriptions of a simpler life give viewers a chance to share their expressive vision of Cuba. As Santiago artist Suitberto Goire has written about the Grupo, “They bring with them a soft breeze, the smell of wet earth and the sweetness of sugar.... We are always grateful to them.”

Special thanks for helping gather information for this article to Luisa Maria Ramirez Moreira, Cuban art historian.

Joan Crystal Pearlman teaches at the American Folk Art Museum Institute in New York City, and has organized exhibitions of Cuban art. She has a master's degree in folk art studies from New York University.