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Por Jorge Domingo Cuadriello

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El conjunto de Platanito no era la mejor agrupación musical del pueblo, ni siquiera el más popular, pero sin lugar a dudas era el que mayor número de actuaciones realizaba. Siempre se podía contar con él, lo mismo para amenizar una fiesta de fin de zafra que una boda o el triunfo en la emulación de una cooperativa. Allá iba el grupo de Platanito a interpretar canciones campesinas, guarachas y sones. Con aquel conjunto el baile estaba garantizado.

Todos le decíamos Platanito y nunca llegué a conocer su nombre; era de baja estatura y macizo como un remache. El bigote canoso le hacía aún más grande la cara colorada y gustaba de repetir con su voz aguardentosa: “¡La música mexicana! ¡Esa es la mejor música del mundo!”. Admiraba a Jorge Negrete y a Miguel Aceves Mejía, pero nunca cometió la torpeza de intentar imitarlos y prefirió ser fiel al repertorio tradicional de los campos cubanos.

Como casi todos los fines de semana, un sábado al atardecer subieron los integrantes del grupo a una camioneta con los instrumentos, las bocinas, los cables y el micrófono. Unos se apiñaron en la cabina y otros se sentaron detrás, sobre unos cajones. En esa oportunidad irían a ofrecer su actuación en la fiesta popular de La Cabuya, un humilde y apartado batey situado a varios kilómetros de distancia. Allá arribaron después de recorrer algunos terraplenes y fueron recibidos por los guajiros con gritos de alegría como si hubiera llegado la orquesta Los Van Van. En dos grandes termos ya se vendía cerveza y alrededor de una docena de kioscos ofertaba pan con lechón, tamales y chicharrones. La noche era fresca y se respiraba una general alegría. Platanito y sus muchachos estaban descargando los instrumentos cuando ocurrió un apagón y el batey quedó casi a oscuras.

La consternación fue unánime y no escasearon las maldiciones. De pronto se echaba a perder la fiesta colectiva tan esperada. Los pobladores sabían que ese corte de la electricidad podía prolongarse hasta el amanecer. Pero de pronto alguien señaló hacia el hospitalito cercano y grito: “Allí hay una planta y se pueden conectar las bocinas. Total, ahora solo están ingresadas tres barrigonas en espera del parto y hasta se van a animar con la música”.
Todos estuvieron de acuerdo con esta propuesta y marcharon hacia el hospitalito. Bejuco, el utilero, estiró los cables y comprobó que las bocinas y el micrófono funcionaban. Platanito echó una mirada entorno y en medio de la penumbra distinguió una placa de cemento en un plano un poco más elevado. “Vamos a ponernos allí”, ordenó, y todos le obedecieron. Minutos después, sobre aquel escenario improvisado, rompían a tocar y el júbilo se hizo presente.
Había transcurrido alrededor de una hora y la fiesta se encontraba en su cúspide, las parejas bailaban sin cesar y los compadres se abrazaban y hacían brindis. Bajo la luz de la luna llena ya nadie se acordaba del apagón. En aquel momento, el grupo de Platanito comenzó a interpretar uno de sus números preferidos, que tenía como estribillo reiterativo y pegajoso: “¡Ábrete tierra y trágame!”. Los bailadores se entusiasmaron aún más y los músicos, contagiados con la emoción colectiva, empezaron a saltar sobre la placa y a corear: “¡Ábrete tierra y trágame! ¡Ábrete tierra y trágame! ¡Ábrete tierra y trágame!”.

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