As Cuba grapples with its most severe energy crisis in decades, a small Havana residence has emerged as a vibrant hub for young artists, activists, and intellectuals seeking cultural expression and political dialogue. The home of 29-year-old David González has become a rare oasis amid widespread blackouts that have shuttered much of the island’s nightlife.

González’s family home, located on a darkened corner in Havana, operates through a single 10-kilowatt-hour battery imported from Spain, powering lights, sound equipment, and refrigeration essential to weekend events. Since last August, his gatherings have grown from film screenings into a multifaceted cultural initiative he calls El Proyecto (The Project), hosting concerts, art exhibits, lectures, dance parties, and increasingly, political discussions.

The rise of El Proyecto coincides with intensified U.S. sanctions aimed at cutting off Cuban oil imports, contributing to rolling power outages that have forced most of the country to endure only a few hours of electricity daily. These blackouts led to the June closure of Fábrica de Arte Cubano, a major cultural venue, leaving spaces like González’s home among the few places sustaining Havana’s cultural life.

The events at El Proyecto serve not only as entertainment but as subtle acts of resistance in a country where government criticism is frequently surveilled and repressed. González frames the gatherings as a way to counter government efforts to induce frustration and anger among citizens. “There’s no better way of being against this government than being happy,” he said, emphasizing the importance of positivity and resilience.

Participating artists and attendees describe the space as a sanctuary. Musician Fatol del Rio likened it to relief in a desert, a place to find water and reprieve amid overwhelming hardship. The predominantly Gen Z crowd engages in lively conversations, often focused on Cuba’s political future, as González moves among them, welcoming regulars and newcomers alike.

González, who earned a master’s degree in political communication in London, draws on studies of nonviolent movements to shape El Proyecto’s growth. On July 11, marking the fifth anniversary of the last mass protest against the Cuban government, he co-curated an event centered on change and freedom, featuring provocative performances and graffiti expressing dissent. The event ended with participants banging pots and pans, a traditional form of protest in Cuba. Government agents reportedly warned González to exercise caution.

Despite the risks, González remains determined not to self-censor. “I believe fearing them would be letting them win,” he said. While the Cuban government maintains strict control over public gatherings and has arrested some street protesters, it has also tolerated sporadic acts of dissent such as the pot-banging demonstrations.

El Proyecto’s base—a nearly century-old family home with a complex history—was confiscated by the government following the 1959 revolution but partially repurchased by González’s grandmother two decades ago. After her death in 2021, González persuaded his mother not to sell the property, choosing instead to return to Cuba in 2024 to nurture the growing movement.

Although many young Cubans have emigrated, González said the persistence of events at El Proyecto reflects a continuing desire among those who remain to participate in Cuba’s future. “We don’t know yet how we’re going to be a part of that change, but someday things inside of us is telling us not to leave,” he said.

Washington views Cuba as a national security challenge, with a White House spokeswoman describing the embattled Cuban government as obstructing reform. In contrast, Cuba’s deputy foreign minister Carlos Fernández de Cossío blamed the United States as an aggressor undermining the country.

Among activists and attendees at González’s gatherings, views on responsibility for Cuba’s crisis are nuanced, with many blaming both governments. González himself has collaborated modestly with European diplomatic missions but expressed skepticism toward U.S. involvement, warning against reliance on external “saviors.”

For now, El Proyecto continues to provide a cultural and political space that many describe as vital amid Cuba’s increasing difficulties, a focal point for optimism and creative resistance in a moment of national uncertainty.