{"id":64614,"date":"2017-03-02T19:12:59","date_gmt":"2017-03-02T18:12:59","guid":{"rendered":"https:\/\/laindependent.cat\/veus-femenines-a-la-radio-cubana-un-acostament-a-iris-davila\/"},"modified":"2017-03-02T19:12:59","modified_gmt":"2017-03-02T18:12:59","slug":"veus-femenines-a-la-radio-cubana-un-acostament-a-iris-davila","status":"publish","type":"post","link":"https:\/\/laindependent.cat\/en\/veus-femenines-a-la-radio-cubana-un-acostament-a-iris-davila\/","title":{"rendered":"Veus femenines a la r\u00e0dio cubana, un acostament a Iris D\u00e1vila"},"content":{"rendered":"

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\u00a0<\/p>\n

Mar\u00eda Eugenia Mesa Olaz\u00e1bal. Foto Tona Gusi<\/span><\/p>\n

L’autora ha escrit per a La Independent aquest article sobre la seva intervenci\u00f3 feta al Col\u00b7loqui Internacional “Mujeres y Medios masivos de comunicaci\u00f3n en la historia y la cultura de Am\u00e9rica Latina y el Caribe”, celebrat a La Habana del 20 al 25 de febrer de 2017.<\/span><\/strong><\/p>\n

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\u00a0<\/p>\n

\"Cuba-radio1\"<\/span><\/p>\n

Imatge d’Iris D\u00e1vila a la revista Bohemia, La Havana, 4 de juliol de 1993<\/span><\/p>\n

\"Cuba-radio2\"<\/p>\n

\u00a0Revista Caim\u00e1n Barbudo. La Havana, septembre de 1977, p. 7<\/span><\/p>\n

\u00a0<\/p>\n

\u00c9s coneguda la significaci\u00f3 i transcend\u00e8ncia que per a la cultura nacional t\u00e9 la r\u00e0dio des de la seva fundaci\u00f3. <\/span>Mitj\u00e0 idoni per difondre cultura cubana, a m\u00e9s de generar una altra manifestaci\u00f3 art\u00edstica resultada de la difusi\u00f3 d’elements diversos.<\/span><\/span><\/p>\n

Va comen\u00e7ar el 10 d’octubre de 1922 amb un concert de la cantant Rita Montaner<\/strong> i la locuci\u00f3 de Zoila Casas Rodr\u00edguez<\/strong>, pionera en aquest quefer; altres el van continuar en diverses emissores del pa\u00eds. No obstant aix\u00f2, van passar diversos anys sense que interess\u00e9s col\u00b7locar dones com locutores. Despr\u00e9s, a Santiago de Cuba, l’estaci\u00f3 Radio Hora<\/em>, va ser ocupada nom\u00e9s per dones; aquesta no va tenir m\u00e9s transcend\u00e8ncia i va continuar el locutor com a amo i senyor de l’\u00e8ter.<\/span>
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Diverses institucions van acudir al mitj\u00e0 per difondre activitats que les identifiquessin com la revista Bohemia<\/em> que va crear el programa: Hora Revista Bohemia<\/em> (1931) amb la participaci\u00f3 d’intel\u00b7lectuals com la narradora d’avantguarda i lluitadora feminista Ofelia Rodr\u00edguez<\/strong> Acosta<\/strong>. Abans de concloure 1932 i fins a 1956, quaranta veus femenines d’un grup de professionals de diferents disciplines es van escoltar a trav\u00e9s del programa Universidad del Aire. Les dissertants van portar coneixements generals a les dones a qui van alertar de les seves capacitats per a inserir-se i orientar-se en la societat.<\/span>
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En fracassar la vaga general pol\u00edtica de 1935, va sorgir l’Hora Cubana de la Cultura Popular<\/em>, i despr\u00e9s l’ Instituto Popular del Aire<\/em> per portar cultura a la majoria de la poblaci\u00f3; es van destacar Camila Henr\u00edquez Ure\u00f1a<\/strong> i Vicentina Antu\u00f1a<\/strong>. Similar prestaci\u00f3 va tenir Mirta Aguirre<\/strong> quan escrivia per a l’emissora Mil Diez<\/em>. El 1958 durant la lluita insurreccional Ernesto Guevara<\/strong> (Che), crea Radio Rebelde<\/em> emissora identificada amb la veu de la locutora i actriu Violeta Casals<\/strong>.<\/span>
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Amb l’adveniment de la televisi\u00f3 (d\u00e8cada del 50), comencen a sentir-se altres noms de dones en el medi visual que les popularitza anunciant articles per a l’\u00fas de les dames. Criteri que va limitar a la locutora radial, mentrestant a la televisi\u00f3, la model la despla\u00e7ava amb freq\u00fc\u00e8ncia.<\/span>
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La novel\u00b7la radial va ser introdu\u00efda, en la d\u00e8cada del 40, mitjan\u00e7ant obres dramatitzades de tall rom\u00e0ntic i melodram\u00e0tic. El 1947 la RHC, va transmetre la novel\u00b7la Tierra adentro<\/em>, de Dora Alonso<\/strong> (1910-2001), la qual va marcar una pauta en el seu g\u00e8nere; adaptada en forma seriada va quedar definida la tem\u00e0tica camperola.<\/span>
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Al seg\u00fcent any, Iris D\u00e1vila<\/strong> (1918-2008) redacta i estrena per a l’espai As\u00ed es nuestra vida<\/em>, de la CMQ, la seva primera novel\u00b7la Teresa Maderal<\/em>, l’argument el desenvolupa en un poble proper a la capital. Les dues escriptores entre 1948 i 1949 es consoliden en aquest quefer. Dora a la tem\u00e0tica rural i Iris en l’extra de la capital. Dora mant\u00e9 durant anys el desenvolupament de les seves novel\u00b7les muntanya endins, Iris les desenvolupa tant al camp com a la ciutat. De la tasca realitzada per totes dues en el maneig de la literatura radial, es generalitza el realisme.<\/span>
<\/span><\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

\"Cuba-radio3\"<\/span><\/p>\n

\u00a0Bohemia. La Havana, 4 de juliol de 1954, p. 48<\/span><\/p>\n

\u00a0<\/p>\n

Iris D\u00e1vila, advocada, publicista, dramaturga, redactora, editora, assagista, va crear una extensa obra. A la revista Vanidades es registren articles on apareixen les seves preocupacions sobre la funci\u00f3 femenina en la societat. Atreta per la r\u00e0dio va concebre el programa: El placer de leer<\/em>, que va enviar al director de Programaci\u00f3, aquest va ser rebutjat per: “massa intel\u00b7lectual”; per\u00f2 li va oferir doble treball: advocada i redactora de comercials.<\/span>
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Aix\u00ed va ingressar a CMQ Radio el 1944 i, el 1948 estrena -com abans he dit- Teresa Maderal, la seva primera aportaci\u00f3 a la radionovel\u00b7la seguida d’un prol\u00edfer cabal que s’escampar\u00e0 per la r\u00e0dio i despr\u00e9s per la televisi\u00f3. Cap el 1949 ja era una guionista professional de la dram\u00e0tica radiof\u00f2nica. En lloc de l’exotisme i la simple hist\u00f2ria d’amor imperants, privilegia els ambients dom\u00e8stics ciutadans, personatges femenins i altres de classe baixa aix\u00ed com, metges o advocats que ajuden els desvalguts. Amb aquest aval integra el grup d’escriptors i escriptores que reflecteixen crues realitats socials en relats que les cadenes radials nacionals difonien.<\/span>
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Els espais Divorciadas y Por los caminos de la vida<\/em> de la CMQ aix\u00ed com els d’altres estacions van transmetre d’Iris m\u00e9s de seixanta radionovel\u00b7les, gaireb\u00e9 totes amb gran \u00e8xit; cada novel\u00b7la era una hist\u00f2ria que, en el cas de Divorciadas<\/em> (1949) estava centrada en un personatge femen\u00ed que tenia l’estatus civil “divorciada” o estava a punt de ser-ho, condici\u00f3 generalment valorada per la societat com “dona f\u00e0cil”. La causa de la sent\u00e8ncia de divorci generalment era “la incompatibilitat de car\u00e0cters”, la m\u00e9s convenient per encobrir l’home.<\/span>
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El 1951, estrena Por los caminos de la vida<\/em>, aquest va obtenir, el 1954, un \u00e8xit rotund amb “Dos contra uno”<\/em>, obra profundament humana on els personatges es van arrelar de tal manera en l’audi\u00e8ncia que Iris rebia per milers les cartes demanant que no acab\u00e9s la novel\u00b7la, la sol\u00b7licitud va ser complaguda. <\/span><\/p>\n

D’ella la cr\u00edtica va apuntar: “Iris D\u00e1vila aixeca un \u00edndex acusador a la societat corrompuda que amb els seus vicis i xacres, perverteix a la joventut”.<\/span>
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Tamb\u00e9 van ser populars els seus llibrets per a l’espai La novela de las ocho amb: “Hu\u00e9rfanos del hogar”<\/em>, “Los hijos de la casa cuna<\/em>” i, unes altres amb t\u00edtols similars denoten els or\u00edgens de criatures sense empara filial deixades o abandonades a les “Casas cunas”<\/em> per raons diverses i prejudicis, el m\u00e9s recurrent, era amagar el “fruit del pecat” de la dona-mare. Totes aquestes dramatitzacions es basaven en fets reals en els quals la imatge de la dona era poc edificant, esquema t\u00edpic d’una societat masclista i subdesenvolupada.<\/span>
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La televisi\u00f3 va estrenar diverses hist\u00f2ries. Els seus guions van visualitzar unitaris, relats epis\u00f2dics i les novel\u00b7les: Rosa Mar\u00eda<\/em> y Rumbos opuestos<\/em>, sobre treballadores ciutadanes. Va assessorar r\u00e0dio-televisi\u00f3 i va impart\u00ed cursos de Teoria i Composici\u00f3 Liter\u00e0ria. Va escriure sobre la novel\u00b7la radial com a g\u00e8nere literari. <\/span><\/p>\n

A la publicaci\u00f3 digital d’Am\u00e8rica Llatina “Destacadas”, s’adverteix: “Iris D\u00e1vila va ser l’\u00fanica creadora de ficci\u00f3 radial-televisiva que posse\u00efa l’ofici d’escriure amb \u00e8xit provat en els mitjans de comunicaci\u00f3 durant d\u00e8cades i al mateix temps podia disseccionar te\u00f2ricament per identificar les seves preced\u00e8ncies i singularitats dins de la cultura massiva universal i de la nostra pr\u00f2pia hist\u00f2ria”.<\/span><\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Mar\u00eda Eugenia Mesa Olaz\u00e1bal. Foto Tona Gusi L’autora ha escrit per a La Independent aquest article sobre la seva intervenci\u00f3 feta al Col\u00b7loqui Internacional “Mujeres y Medios masivos de comunicaci\u00f3n en la historia y la cultura de Am\u00e9rica Latina […]<\/p>\n","protected":false},"author":87,"featured_media":33198,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[26529],"tags":[],"class_list":["post-64614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mitjans-de-comunicacio-tics"],"yoast_head":"\nVeus femenines a la r\u00e0dio cubana, un acostament a Iris D\u00e1vila | La Independent<\/title>\n<meta name=\"description\" content=\"\u00a0 Mar\u00eda Eugenia Mesa Olaz\u00e1bal. 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