In pieces of aboriginal ceramics there are printed traces of fiber fabrics created by our first settlers. This testifies to the antiquity of the technique. Jabas, hats, mats, wallets, and many other wonders are made by generations of Trinidadians who offer their products in workshops and fairs in the areas of the historic center.
The rich history of pottery in Trinidad dates back to the mid-19th century with the establishment of a workshop owned by Don Segundino Santander. Variety of utilitarian and decorative objects left the skilled hands of artisans, who transmitted their knowledge to successive generations. Currently, the Santander family keeps the tradition alive. Beautiful pieces in baked clay can be purchased in the workshops of a new generation of artists.
It is one of the traditions inherited from the Spanish metropolis, practiced by women in the family, rather than to mitigate leisure, to fulfill urgent domestic requirements. It was the time when garments for domestic service and clothing were not received with the necessary fluidity from the peninsula. The Trinitarian lingerie presents characteristic or distinctive features as one of the expressions of the city's traditional popular culture, which makes it part of its intangible heritage. Several artisan galleries and markets are found in the city, where garments in randa, mesh, frivolite, made by local artisans are offered.
Traditions and Customs in Sancti Spíritus
Emporium of legend and traditions, the city treasures an arsenal of historical centers, buildings, sites, objects and artistic manifestations that have become part of the Cuban cultural heritage.
The Santiago Spiritist.
Santiago is possibly the oldest and most dynamic of festive traditions, distinguished in the broad spectrum of popular expressions enhanced by more than three centuries. Since the nineteenth century it has been defined as an urban festival, however, the characteristics that distinguish it are exactly the same that identify rural festivals.
Music was undoubtedly one of the most proliferating manifestations in this Villa. With the foundation in Sancti Spíritus of the first typical Cuban orchestra in 1806 by Pedro Valdivia, known as Pedro Gálvez, a new musical stage begins that continues to rise with the organization of other orchestras, including that of Pablo Cancio.
In 1872, a moment arises when the patriotic spirit spirit rises through the tenth song, that although poetry and the rules of the metric shine by its absence, its patriotic soul vibrates in all its energy. Thus arises in the land of Yayabo the "lira manigüera", Mambí pride.
Another important moment in the development of the Cuban song in Sancti Spíritus in the nineteenth century, is the contribution of the rhythmic pattern based on the dances and habaneras that so proliferated in the Villa. The spirit serenade will constitute, together with the troubadour rocks, the social artistic event where the song will be developed and particularly the bolero.
The city of murals
The muralist spirit has very particular features by not responding to a movement or homogeneous ideo-aesthetic trend that qualifies it. Rather, these are intermittent pulsations caused by a group of artists from different promotions that add to the construction boom of the city that in the last two decades of the twentieth century has revitalized its urban and real estate structures. Based on personal experiences and differentiated tastes, we have managed to weave a network of murals scattered throughout the city breaking every logical scheme of location.
The repeated use of construction materials underlines the sense of belonging of the artists who, given the impossibility of applying adequate mural techniques, preferred to resort to what abounds in the town. Sancti Spíritus has, since the colonial period, a local industry of construction materials made essentially of mud, the foundation of its construction system.