Cuban culture has a priviledged position in all spheres where it comes to its expressions. The tireless Decima (ten-line stave) takes root and develops itself through the guajira cubana, winding the countryside, borrowing the praires, the duststorms and the gleams, in order to construct a screen of verses in the density of both the suffering and the pleasure. Its exponents, men and women, constitute a decisive link in the musical evolutionary process that takes place in hispanic countries, enrichening the extensive heritage of international creation and interpretation.
The Encuentro de Decimistas y Versadores de America Latina y el Caribe ( Ten-Line Stave and Writers of Latin America and the Caribbean), that was held in Mexico (in 1997 and 1999), has been a steping stone to know and admire virtuous exponents of the everyday task of making cuban music. It so happens in the case of Juana Tomasa Quiala, Emiliano Sardiñas, Jorge Luis Mesa, Jesús Cruz Miranda, and Luis Quintana, who have devoted to the research and interpretation of genders and popular styles, and who currently dedicate this tribute to tradition making it possible for the singing of the lute to flirt with the requinto veracruzano, universalizing, once again, the music and its creators. The wouden dream of the grate Nicolás Guillén.