In a recent television appearance, Lis Cuesta, the spouse of Cuba’s leader Miguel Díaz-Canel, participated in a panel discussion on the cultural economy. Despite her background as an events coordinator in tourism, Cuesta was introduced as a Doctor of Sciences and an expert in cultural economics. The program, titled “Cuadrando la Caja,” aimed to explore the impact of cultural activities on the Cuban economy. However, the panelists, including Deputy Minister of Culture Fernando León Jacomino and host Michel Torres Corona, lacked the necessary expertise to provide detailed economic insights. This raised questions about the validity of their claims regarding the financial contributions of culture to the national economy.

The debate centered around the role of culture in driving economic growth in Cuba. Cuesta emphasized that cultural events are crucial for attracting tourists and generating revenue. She highlighted the importance of these activities as a significant source of income for the country. However, critics argue that the discussion lacked concrete data and specific figures to support these assertions. Instead, it relied heavily on broad statements without delving into the complexities of the cultural economy.

One of the key points raised by Cuesta was the "human factor" in cultural and economic development. She stressed that creators play a vital role in the government’s economic model. Yet, this assertion contrasts sharply with the realities faced by artists and workers in the sector. Many experience funding difficulties, irregular payments, and censorship, which hinder their ability to contribute effectively to the cultural landscape. The disconnect between official rhetoric and the lived experiences of those in the field has become increasingly apparent.

Cuesta also defended the organization of luxury events by the government, arguing that they are integral to the nation's identity. These events, however, have been criticized for their exclusivity and limited public access. While they target a privileged audience, much of the population struggles with food shortages and limited access to basic services. Examples such as “Le Diner en Blanc” and music festivals in Havana illustrate this divide between the elite and the broader populace.

Despite Cuesta's advocacy for strengthening the cultural sector as an economic driver, the daily challenges faced by artists and workers reveal a different picture. The cultural economy in Cuba is hampered by inadequate funding, bureaucratic obstacles, and limited business vision. Government control further restricts its potential for real and sustainable development. As a result, many people find themselves unable to afford even basic cultural experiences, as their salaries fail to cover essential living expenses. The discourse presented on “Cuadrando la Caja” left unresolved the structural issues that continue to plague the cultural sector in Cuba.