Catalina

Historical Facts about its Social Development

1887 to 1945

By Juan Morín Pérez

The author of these sketchy historical notes would like to make clear that although he is a native son of Catalina and was baptized in its parish church under the blessings of its patron saint, Saint Catalina, Virgin and Martyr, he did not have the joy of actually living under its skies until the age of fourteen, during 1887. The brief recollections of the town of Catalina herein are due to the repeated requests of many friends who are aware of the author's dedication to the study of these matters and they have encouraged him to create this document for the archives of the Union Club for the purpose of having a little “something” about social life in Catalina over the years for the benefit of our generation. Therefore, we dedicate this work to this dear institution, the one for which we have worked for most of our lives.

The families that populated the town circa 1987 had a limited view of social life and did not give much thought to fomenting social clubs and their related activities, such as dances and similar functions. Life was simpler then, centered on the extended family. Friends would visit each other much more often than today and would sit together to gossip, sing along the ever present guitars or Spanish lute, enjoying the simple life directly and without the affectations of modern life. One of my first impressions, when I first arrived in this town at the age of fourteen, was the guitar and Spanish lute concerts in the home of Timotea Mederos, where she would play the guitar wonderfully and Pedro Valdés, known as “Perico el Curro,” played the Spanish lute. These occasions would start with singing and end up with a zapateo dance.

In those days, as I have previously pointed out, there were no social clubs and, except for family get-togethers, dances were public events. The major ones took place on November 25, the day of Saint Catalina, the town's patron saint. On this day, there were three and sometimes four dances. A few of the town's businessmen, including Juan R. “Chucho” Trimiño, José Santos Calero and Aquitanio Viera, got together to pay for these dances; however, they were more interested in promoting their businesses than in the social aspects of these events.

The dances always took place in “Salón Marcaida,” where the Paris movie house stands today. Mr. Marcaida built the dance hall directly across his grocery store, near the Parish Church, to promote his business. Later the “Salón París” was turned into a dance hall and it had the advantage that the nave was split in half by a divider that allowed the white and black townsfolk to enjoy the same orchestra, each in its own side of the hall.

Early on, the music played at the private family dances was usually performed by Luis “Piojillo” and his band which included accordions, drums, scrapers, etc. Later, the music was performed under the direction of Luciano Travieso and Patricio Martínez. Very often Nazario Hernández played the “jug” as an excellent stand-in for the bass. “Cieguito Casanova” played the violin and sang, a very popular combination, particularly in the countryside. For the most important dances, the “Nicolás el Güinero” orchestra was the best of its time. Later, Pedro Rojas' Orchestra became just as popular.

It was customary then to adorn the halls with camphor leaves and colored papers. Beautiful, too, were the “liras,” (lyres) the name given to the stands for the kerosene lamps, with their bulbs brightening up the place.

In the evening, the train arrived with passengers from Güines, and it was remarkable how many people came to welcome the orchestra. From the station, the orchestra would play all the way to the dance hall. The dance would start at eight in the evening and last until “the first rays of dawn,” according to the printed program.

The means of transportation at the time were rather picturesque in those “happy” times, when there was an “Illustrious City Hall of Catalina,” even though the roads were not paved nor lit. When a dance took place, particularly in the París dance hall, and it rained to the point of flooding it was impossible to get to the dance; there were not even sidewalks at the time. To remedy the situation, the people of Catalina would get to the dance on Mederos' cart, which was normally used to transport merchandise from the train station to the grocery stores. For the benefit of the ladies, the cart was fitted with benches and thus the problem was solved.

When the cart got to the Salón, it would back up into it and the young men would gallantly and enthusiastically help the ladies and their beautiful daughters alight from the cart and thus the dance would begin. Later on, the cart was replaced with Manuel Forte's coach which was sometime later owned by Antonio Esquivel. Food tables were set up on the street, in front of the dance hall with sweets, pork roast, coffee and the traditional “milk punch.” In the Catalina of yesteryear, not even the rains could stop the celebratory dances. Nothing could prevent the people from enjoying the orchestras as they performed the danzón, then at the height of its Golden Age, the rhythmical slow and Strauss waltzes, the measured habaneras, the energetic mazurkas, and the unique, typical Cuban zapateo.

In 1892, four hundred years after the discovery of America by Cristóbal Colón, the anniversary was called “the centennial” and in its honor there were big and grand celebrations in Havana to welcome Princess Eulalia de Borbón who visited the Cuban capital with her entourage. These events reverberated throughout the Island and in our town, Catalina, the first social club was enthusiastically organized. To fit the occasion, it was named “Cristóbal Colón” (Christopher Columbus) to honor great Almirante and the anniversary of his discovery.

Among the founders, the distinguished Dr. Francisco Larrea, a local physician was elected its first President; the Directors were from the most distinguished citizens of the town. The social club was inaugurated on October 27, 1892 in the “Salón París” dance hall. A stage was built soon thereafter and the "Recital Section" begun its performances. I remember with respect, a group of young men from Güines performed in the very first play staged in Catalina, Vital Aza's “Parada y Fonda.” (Stop and Boarding House) A masterful performance was delivered by Santiago Soto, José María Heredia and Manuel Jane. The vivacious Ñica Abad, also from Güines, gave a rendition of the “Tirar la Llave” monologue.

Afterwards, the Club's "Recital Section" presented a number of plays, including “El Judío Errante” (The Wandering Jew) by Sue and “Flor de un Día” (Flower for a Day) by Camprodón, and variety shows dominated by songs because as it so happened, many of the Section members were excellent young singers. Most distinguished among them were the young women Cristina Alonso and Amada Santos and the young men Manuel Jane, José Santos, Aquitanio Viera, Emilio del Río, Arana and others.

Shortly after the Club was established in the “París”, there were several disagreements with the owner of the building, Dr. Miguel, to the point that at one of the Board of Directors meetings it was decided to cut all ties with him. Later during the meeting, after Dr. Miguel had left, Laureano González offered of his own volition to construct a building solely for the use of the Club. The Board approved and soon thereafter construction begun on the very building that houses the Club to this day, along with many, many pleasant memories. The new building was inaugurated on May 14, 1893. It would be out of place to narrate the details of the inaugural party; suffice to say that it was grand. This was a very significant and important event in the development of Catalina's social life. Moving from a makeshift site to one built ex profeso, was a marvelous development. It allowed the youth of Catalina to grow up with an established Social Club that catered to their needs.

Many social functions were celebrated at the Club. New styles were introduced at the Club's dances, including piezas de cuadro, lanceros and cuadrillas, very popular at the time. At these dances we could appreciate the beauty and pose of the young women of Catalina as they performed the complex dance steps, the curtsies, the promenades at the hand of the young men, all in step with the music and their partners. It was as if a showcase for the beauty of the young women and the elegance of the young men. It was then that we could call ourselves “a grand society”.

Not to forget to give credit where due, these social events were rehearsed and planned under the direction of Josefa Alvarez de Fernández, a local teacher, who generously opened her own home every night for such purposes. The Club included distinguished families from town and from the surrounding countryside, including the brothers José María and Rafael Fundora, Pancho Rodríguez, Felipe B. de Lima, Francisco Reyes, José Sánchez, Justo Pérez, Ramón Lastra, Laureano González, Diego A. Blanco, Raimundo Morín, Ramón Jane, Mr. Verdeja, Nicasio Alfonso and many others.

By 1893 the political situation of the time was making itself felt throughout the Island. The struggle between the yearning for independence among Cubans and the resolute Spanish intransigence was at a boiling point. From the start, the Club's membership was overwhelmingly Cuban. Even though the President, Dr. Larrea was a Spaniard (Basque), he was also the President of the local Autonomista Party; most other distinguished members of the Club were Cuban-born, including the brothers Fundora, Pancho Rodríguez y Nicasio Alfonso. Spaniards were divided into reformistas and the members of Unión Constitucional. Perhaps because the Club was dominated by reformistas and the Cuban-born, the mayor (i.e., Catalina had a City Hall at that time), Antonio Alonso de la Lastra, a rabid anti-independence Spaniard was a declared enemy of the Club along with his staff.

In 1895 the War of Independence exploded into the scene and this triggered a number of intrigues and accusations implicating the Club of subversive acts. Although it may appear off topic, below we will detail some of the political developments that affected the Club during the closing colonial days.

From 1893 until 1895, the Autonomista Party put up an intense campaign against the separatist ideals that were developing under the leadership of José Martí during his stay in North America. The Party promoted the establishment of autonomy for Cuba along the model of Canada. Among its members were the Cubans Montoro, Govín, Figueroa, Lanuza, Giberga, Fernández de Castro and others who hoped to this form of government, but still under the Spanish flag. Also in the Party were Cuban separatists like Juan Gualberto Gómez, who had joined the Party for its advanced ideals but was all along waiting for the right time to promote the separatist cause. As it turned out, the Autonomista campaign had the effect of educating the Cuban population to the possibility of political change and thus readied them for the War of Independence.

At an Autonomista meeting which took place at the Club in 1894, there was a huge turn out of people who came to listen the Cuban orators and afterwards there was a celebration, including music and dancing. During a zapateo, Pancho Rodríguez danced with his daughter Polonia and among the enthusiasm and clamoring that followed a powerful voice from the crowd yelled VIVA CUBA LIBRE! In those days, that was tantamount to a death sentence. However, it was never revealed who had made the call, even though there the police and even the Lieutenant of the military police was at the party. NOBODY EVER TOLD! Due to this and similar incidents it was necessary to shut down the Club temporarily until 1903.

We should not close this section without mentioning and honoring the beautiful women of the Club. In particular, we remember and honor two women, native daughters of this town, who were the pride and joy of our parties, paramount examples of the enchantment and grace of the women of yesteryear. We are referring, of course, to Micaela Surís and América Yáñez. Their exceptional beauty could be said to be “natural” since during those days cosmetic science had not yet advanced to the point it is today when Max Factor and the like can work miracles.

Once the War of Independence ended and things calmed down, negotiations started to reopen the Club, although under a new name: “Liceo Artístico Literario.”

This time, the founders included Dr. Fernando López Muro, chosen as President, Manuel Jane, José Sánchez, Severino Fundora, Julio and Andrés González, Facundo Farrés, Federico and Carlos Carreras, Federico “Conde” Alvarez, Horacio Pérez, Fermín Ferradás, Manuel Fortes, Rafael López, “Tatao” Fragas, Joaquín Lastra, José A. Rocha, Nazario Hernández, José Travieso, Gonzalo Balbín, Otilio Morín and Juan Morín, yours truly and a Founding Member with a membership fee of one centén. Also among the founders, Francisco R. Martell, a local public school teacher, was elected Secretary.

The inauguration was celebrated with a remarkable party. There was more than plenty of energy, happiness and elegance throughout the event. The ladies, in the best of dresses, brightened the halls of the “Liceo” as it opened its doors to the best and brightest of Catalina's society. Among the functions that followed, the Beauty Pageant was a remarkable display of the young women of Catalina, including the finalists Fragas, María de los Angeles Riverón, Carmela Carreño and María Riverón and, of course, the beautiful Adelaida López who was elected Queen. For the coronation, a sumptuous throne was built on the stage where the Queen and her Ladies displayed their grace and beauty. This event came through flawlessly thanks to the diligence of the Board under the leadership of its President Dr. López Muro and its Secretary, Mr. Martell.

A short time after its reopening, politics intruded again and the Club nearly collapsed and had to close its doors again. But a group of members decided to avoid such a disaster by eliminating politics from the charter. Accordingly, the Board was open to any and all members, regardless of their external political affiliations. Under the new rules, Julio González was elected as President and for the next two years he demonstrated his planning and managerial skills as well as his devotion to the Club.

The Club continued to operate steadily, and at one point the author had the unwarranted honor of leading it as President for almost three years sustained by good intentions and the support of his friends and members of the Board, including Federico Carreras, Treasurer, a Catalina native, Félix Reyes, Secretary, and Gonzalo Balbín, Andrés Salazar, Andrés González, José A. Oramas and Genadio Macareño, as Directors.

By sheer luck, our turn at the Presidency coincided with one of the most prosperous periods Cuba has had, known as “las vacas gordas.” (The Fat Cows) During that time the Club grew to over 300 members, each paying a fee of one dollar, and that made relatively easy to expand our social functions including four theatrical plays per year. There was such an enthusiastic demand for this type of function that we ended up presenting, in our tiny stage no less, works of such caliber as “The Merry Widow” by Franz Lehar, “Maruxa” by Maestro Vives, and “El Pobre Valbuena” (Poor Valbuena) by Quinito Valverde. We also underwrote other functions like a children‛s intelligence and charisma competition, organized by Mrs. Modesta Morín de Casuso. In 15 days she planned and executed this competition which resulted in one thousand, one hundred and thirty seven dollars for the Club. With that profit we were able to purchase a pianola, one of the most modern musical equipment at the time available for the enjoyment of the membership.

At the end of our term in office, on September, 1920, we left a surplus of twenty three hundred dollars. We point out these facts as a historical detail and not to feed our vanity; it was our duty to improve the Club.

Many other figures have taken the helm of the Club since, too many to mention by name, but it must be said that every one of them discharged its duty to grow and improve the Club at every turn.

In 1928, there were, according to many members, irregularities in its election process. Due to this the Club membership split and a new Club was organized named “Progreso” (Progress). Things continued this way for a few years. During this time both Clubs made great accomplishments, in particular the Liceo managed to acquire and remodel the Club building.

Eventually, the Clubs reunited under the name “Unión Club,” as it is called to this day, and the name “Liceo Artístico y Literario” was retired. There were strong opinions about the Club's name but in the end the new name was accepted by all for the love to the institution and for the sake of social progress of Catalina.

It is worth remembering with gratitude the contributions made by the "Recital Section" throughout the years, including the work of Julio González along with the young Piedad and Consuelo Hernández, Cachita Trimiño, María Esquivel, Josefina Tomé, Zoila Carreras and others, accompanied by Benito Jane, Andrés González, José Travieso, Bruno Mederos, Jesús M. Pérez, Oscar Trujillo… and, so many others! It would be impossible to name them all. To this day, the work of the Section is renowned throughout Catalina and its surrounding areas. Currently, Juan Fragas leads a select group of young women, including the Rocha sisters, Leila Fragas, Hilda Pérez, and the Reyes sisters among others and the young men Orlando Jane, a consummate actor, Antonio Fragas, Gustavo O’Hallorans and José Viera.

The work of the "Recital Section" has earned wide praise for its cultural and artistic contributions and also for its readiness to help the needs of Catalina whenever necessary. For these reasons, the author, who has been intimately associated with the Section throughout its history, is proud to proclaim these facts that so honor them.

Given the fact that today Catalina does not have a City Hall, the Club has stepped in as the representative of the people. This institution has been instrumental in addressing and resolving many town issues, including the issues with the settlers, with the cattle ranchers, the problems with the original power plant, the support and backing of the local festivities and celebrations, etc. This institution has provided many a benefit to the town of Catalina. For this reason and for the significance of its actions, we feel proud to be natives of Catalina and life-long members of this Club.

Presently, the Club is lead by young members with great hopes for the future. If these hopes are met, this institution will be enhanced, with sports facilities, a complete overhaul of the physical plant, and, in general, many other modern improvements.

Finally, after a long exposition of the history and accomplishments of this Club, we wish it a long and productive life hoping that its new leadership will be guided by the maxim, “MEN WILL PASS, BUT INSTITUTIONS ARE FOREVER.”

Havana, October, 1945