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Today, it’s remarkable the growing
increase of believers linked to the
cultural-religious complexes Santeria or
Regla de Ocha - Ifá, Palo Monte and
Abakuá. An intense exchange of
dogmas, rituals and practices reinforces
the intercultural religious syncretism
that Delgado artistically recreates based
on myths and legends of African
cultural heritage and paleros’ magicalanimist world. He performs these tasks
with respectful courage and sincerity,
while the critics abstain from accurately
appreciate his work in all its conceptual
and formal magnitude.

Delgado has not been recognized as he
deserves because of his original work.
He is a member of the National Union
of Writers and Artists of Cuba
(UNEAC), but neither belongs to the
artistic or favored elites that address
Afro-Cuban topics nor has official
support to carry out her community
projects. He is struggling for life as a
security guard at a state agency. As
many Cubans, he lives in a crammed
house with his family and without
studio-workshop or other suitable space
to work.

Bibliography
Alvarado Ramos Juan A (2016). La Huella Africana en Cuba. Rodes Printing Corp.
Cabrera Lydia. (1994) Paginas sueltas, Ediciones Universales.
Catálogo. (1999). II Salón Nacional África en la Contemporaneidad, Galería Concha
Ferrant. Guanabacoa
González Mandri Flora (2006) Afro-Cuban Women in Literature and Arts, New World
Studies
Ibarra Cuesta, Jorge (2009). Patria, Etnia y Nación, Ciencias Sociales.
Martínez Furé Rogelio (1979). Diálogos imaginarios, Letras Cubanas.
Rubiera Castillo D. et al. (2011). Afrocubanas. Historias, pensamiento y prácticas
culturales, Ciencias Sociales
Valdés Figueroa, Eugenio (1994). “Belkis Ayón. La revelación de un secreto”, en
http://www.ayonbelkis.cult.cu/
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