In those years, the use of drama as a genre pervaded national radio stations and the radio series reflected the life and struggle of revolutionaries who were victims of the Batista’s dictatorship, overthrown by the armed struggle of Fidel and the insurgent rebels in the Sierra Maestra in 1959.
In the early days of the Revolution, the radio program dedicated to the Cuban novel and works of international literature favored the works of Latin America, which soon showed our audience what happened in the regional environment.
They were decades in which radio programming content found talented writers, it was the time when the works of Soviet literature, adapted to publicize the heroism of the people in the fight against fascism, were incorporated.
Many actors and actresses were recognized for their performance in classical and contemporary roles led by brilliant scripts under the wise experience of experienced directors.
These lines are not a longing for that good programming, because times change and with them their audiences and their culture. It is a question of knowing how the new technologies and a public that enjoys the acquisition of new facilities for entertainment, must get together to catch on and to keep the radio as his own life.
We can have all the legal and administrative support that if the products available to the listener are not attractive, then the objectives to be achieved do not materialize and therefore will not justify spending without real support.
Thought and research to know the audience and their communication needs and seeking collaboration on the content especially at the grassroots level should be the first priority.
The attention to the professional training of all those who in one way or another are involved in the creation is essential to raise the level of performance for the interpretation of social roles, scripts that collect with wisdom and creativity that reality that is able to seduce audiences is a requirement that cannot be postponed.
We’re not saying that efforts to achieve higher audience levels are not being taken, but there is still untapped potential for implementation.
On the communication can not forget that from the etymology of the word communication means sharing, means participation. It is a sharing, a horizontal dialogue as equals, where the communicator, especially, to put it more simply does not subject the recipient to their message, but it must be seen in both directions. So it is not vertical dialogue, not a pole sender to a pole receiver.
So, what is needed is to make us feel ready to explore the most suitable format that allows participation in the process of appropriation, the communicative process itself.
Some media do not give the importance that is required to establish this dialogue and silence it with its own structure, blocking their interlocutor ability. From this weakness must reinforce our strength in communication and in the design note that the public wish to participate, be represented, feel protagonists in what we say because they take it into account and become characterized.
We must be clear about the access and participation of the public and not make mistakes with some actions in this regard. Calling the radio and saying things that are lost in a universe, in a sea of impressions will just waste time and talk radio will be irrelevant without motivation and, even worse, brings little information.
All this effort does not come to us spontaneously, we need to find it, catch it in the factory, study center, in the neighborhood, where there is something important to generalize be it positive or something to be drawn on to not repeat experiences. Only then we will be corresponding to the communication requirements of the times.
Translated by: Daysi Olano