Stradivarius as an example of a natural homeland

WITHThe figure of Del Riego occupied the foreground, among the most recent voices, due to his political, student and cultural activity in the central years of the Republic, the figure of Álvaro Cunqueiro had indisputable protection for his originality and the poles of his literary values. The year 1933 — which is mentioned as the publication of equally fundamental books by Iglesia Alvariño, Bouza Brey or Manuel L. Acuña — came to light Cantiga nova which is called Riveira and yes and no songs; a year before, North Sea. With this baggage, her presence was a constant presence in numerous written media, requested by the media and needed for various activities and cultural associations, also outside Galicia.

In this sense, in June 1934, Cunqueiro traveled, unknown, to the city of Barcelona, ​​presented as one of the indisputable figures of Galician poetry. In this cultural mission, Cunqueiro shared an open program together with various performances by the choir Toxos e Froles and an important exhibition by the painters Souto and Colmeiro.

There were three interventions by the poet from Mendoza, enthusiastically welcomed by the Catalan press, in which he starred in a short space of time. First of all, register in the Society of Friends of Poetry and have a place in the book Catalonia under the title, so Cunqueirosque, Poetry, me and other news. Second, they will sue the cultural and youth organization Palestra e celebrouse in Galerías Layetanas, where the theme is being developed A new cultural movement in Galicia and finally, it is not called Pazo Galleguista, Cunqueiro falou de natural homeland.

The latter recreated the concept of a natural homeland as a meeting place of mythology, geography, language and culture. This is how he defined us – Atlantic and island – because he “fixed cousas humble and marabillosas e ben feitas”. He said he exemplified this by referring to the secret that the two Stradivarius continue to be built and that it was none other than… or they were ben feitos. On the other hand, considering the threat of losing the homeland, that is, its dissolution through standardization, he assured that it would be like a painter losing his heart: “The culture of the world is not so rich in nuances that it cannot be despised”, a delusion or a writer. It was Cunqueiro’s voice that represented our script, our culture, our thirty years of the 20th century.