Ajiaco y símbolos is a two-movement piece reflecting the culmination of my composition studies in Havana and Chicago. Both movements can be performed independently. Dedicated to Michael Lewanski and DePaul’s Ensemble 20+, it also honors my teachers in Havana and Chicago, respectively. The first movement, Ajiaco, draws inspiration from anthropologist Fernando Ortiz’s 1939 metaphor describing Cuban culture as a grand ajiaco, highlighting its diverse ethnic roots. This movement begins with a brief dialogue between flute and the percussion section, where the latter’s improvisational rhythms evoke the primal energy of Cuba’s indigenous roots. This opening gives way to a vibrant tapestry of Cuban genres, including Zapateo, Rumba, Filin, and others, blending Hispanic, African, and American influences. The second movement, Símbolos, explores Cuban culture through a social lens, using symbols to represent three critical struggles: restricted speech, limited resources, and emigration. This movement incorporates extended techniques and extra-musical elements to challenge the audience’s perception.