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Anyone walking behind a Cuban woman on the street could easily compare the experience to watching the rhythm of a rumba or the sinuous flow of honey.
And when they give us the gift of a splendid smile, there is nothing that can compare.
Recent dance music keeps on singing the praises of women.
I only need to mention Juan Formell’s “Marilú” to find one such example.
None of those questions, however, had much to do with getting laid.
They were stale, older questions about revolutions and socialism and bearded men in berets.
These women are protected in many ways and so they have the luxury of being more relaxed, chatting about what can be found in the market, their grandchildren’s graduations and how crazy the house becomes during vacations when everyone gets together.
Composers have penned songs immortalizing women and their special qualities starting with Trova authors who entitled their pieces with names of women, like “Guarina” and “Ferminia” by Sindo Garay, and “Mercedes,” “Aurora,” “Santa Cecilia” and the most popular one of all, “Longina” by Manuel Corona.
When the Nueva Trova appeared decades later, the same thing happened and songs such as Pablo Milanes’ “Yolanda” and “Sandra” became part of our national songbook.
Have you noticed how Cuban women always add a bit of spice to fashions originating in other countries?
This gives their style a unique look, something we could call “tropicalization.” Those women who have more pronounced curves tend to wear the most striking figure-hugging fashions, inevitably attracting appreciative exclamations from their admirers.