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In Latin America, the radio was of fundamental importance to the
development of this new “verbal feuilleton” (Hippolyte-Ortega,
1988; Gambaro, 1996; Martín-Barbero, 1992). The radionovela
(radio soap opera) initially appeared in Cuba and Argentina in the
form of radioteatro (radio theater), embracing the melodramatic
recipe once more.
Initially in Argentina radionovelas were called radioteatros, because
the circus brought the stories to the theatrical stage. The "circo
criollo" (Creole circus) was a combination of circus ring,
acrobatics, and dramatic performances, which traveled the country
retelling the stories of myths and legends of the Argentinean cowboys
(Franco, 1985; Seibel, 1993). The gaucho theme incorporated in newspaper
serials merged with the melodramatic antics of the circus and found
its way into the radionovelas. Radio actors would tour the country
enacting the same melodramas they once broadcast in the radio format
in order for the radionovelas followers to be able to see what they
had previously heard (Martín-Barbero, 1992).
Cuban radionovelas had great impact in Latin America, having Havana
as the major exporter of radio programs to the entire region (Mendonza,
1996, Sinclair, 1999). The historical progression of the radionovelas
in Cuba goes back to the practice of reading aloud to tobacco factory
workers. Originating in European prisons and convents, this custom
of reading books and serialized stories was first introduced in
the middle of the nineteen-century to Cuban prisoners who worked
rolling cigars and later it spread to the tobacco factories (Ortiz,
1973). The radio language incorporated the same rhythm and tones
utilized by the factory lectors to emphasized the emotions of the
stories, giving Cuban radionovelas a characteristic accent (Martín-Barbero,
1992). The airwaves soon began to compete with the readings, and
many lectors went on to work for the radio. Eventually, in the cigar
factories, the readings were substituted by the new broadcast medium
(Ortiz, 1973).
To understand the reasons behind Cuban radionovelas dominance throughout
the Latin American region, we need to review the structure of this
country's radio broadcast system. American companies such as RCA,
General Electric, and Westinghouse provided the necessary technical
equipment to its neighbor. However, the United States’ influence
went beyond technical support. Cuba also adopted the U.S. model
of privately owned commercial radio broadcast (Schwoch, 1990). Since
the1920's when the Cuban Telephone Company implemented the local
radio system, listeners tuned into American radio stations. There
were no training centers to form professionals knowledgeable in
radio technology, programming, or advertising. There was also a
lack of specialized radio literature, which made American books
the most sought after resource on the subject. Audience potential
was impressive, with the estimation that, in 1933, Cuba was the
fourth country in the world in the number of radio sets, coming
right after the U.S., Canada, and the USSR (Lopez, 1981). Therefore,
Cuba built a radio broadcast system that mirrored the US’
most advanced commercial model, staffed by highly specialized technical
and artistic personnel (Ortiz, 1991).
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