Humor Promotion Center : from subsidized institution to cultural cooperative

After being subsidized with a special treatment which allocated a considerable part of the gains to CNAE, the Center claims to be a pioneer, in the cultural sector, in the implementation of the philosophy: to each according to his work. “The remuneration from personal income makes us a new type of enterprise, comedian Luis Enrique” Kike “Quinones, director of the institution, said and added this is a task that does not seem a joke.

“We operate as a sort of cooperative from a catalog of 115 artists, who are chosen by the Centre. Previously, a project was delivered, then it was evaluated by a board made ​​ up by prestigious art people, and finally was assumed to be performed. In the new scenario, contracts have a time frame, which promotes creation, encourages artistic development and raises the quality of humor. The Centre was not created as a collection company, but with the aim of tracing a development policy from humor, consistent with our culture.- How has it worked the “experiment”?

–          We have been fortunate to be directed always by comedians, Osvaldo Doimeadiós, Ivan Camejo. We understand how the creator’s thought operates and that facilitates communication. The new changes have made easier a group of things we were about to change for some time ago which had not been possible due to bureaucratic mechanisms. Anciently, we were obliged to deduct 40 percent of box office revenues for theatrical presentations, now the taxes are lower (20 percent). We really are a company of supply and demand, where even the quality or popularity of an artist and his proposal determine the rates. And this is also the way we use when entering into contractual relations with other institutions.

–          Do you think that these changes influence the way to make humor?

-Yes, people need having their financial problems solved, but paradoxically I do not consider the economic problems to condition the creative process. The best humoristic work was made during the Special Period despite it was a tough stage for Cubans. By improving income opportunities, requirements also rise and we can offer the public what they really want to see. That prevents them from watching less prepared works. Normally the shows cost ten Cuban pesos (CUP), we try to make it affordable for the average Cuban who can not afford a nightclub, because humor has an important social function. So the theater is the space we idolize, that we all respect, where people still dresses up and go with their family. We defend it because it approaches to the goal for which the Centre was created: taking to the scene the best of Cuban humor.

–          Do you assume then that space also condition humor?

–           Yes, in nightclubs is impossible to think of a high quality proposal because of the schedules or type of audience, who are enjoying the show, but they went there not only to laugh . That is done to raise money. There has been no criteria communion between the responsible ministry and what we stand for as institution. There are people who do nice things but nothing significant. In the theater I give my proposal, in a nightclub I perform according to the public response, it is like “everyone for himself”, you must have the wisdom to dominate the audience.

-Maybe that’s why it is not feasible to measure humor for the decibels of laughter

-Not at all. Cubans enjoy humor, but neither are we the most humorous. As Les Luthiers say a proposal can provoke laugh, create a smile or a state of grace. For Cubans that last step that is so delicious, suggested, does not exist. People go to the theater and you can make them think, reflect, but they do not forgive you if leaving without laughing. In the world you can stage a show of an hour and a half on that state of grace where there is laughter, or can be witty, but not here. Here, they have to laugh.

–          Is the Cuban public difficult?-A lot, because it has referents, they subject you to constant comparisons. Our audience evaluates the comedian from what they saw and liked and for what they believe that’s what matters. But mostly people prefer things of further elaboration. Today Cuban humorists care about working their show and provide decent proposals.