To highlight a city where ceramics are heritage (+ Photos)

Camagüey, Cuba, Jul 2.- Due to the efforts of a group of members of the Agramontina branch of the Cuban Association of Artisan Artists (ACAA), among others, the journalistic compilation La piel redjiza del Camagüey enriches the historical memory of the organization. The ceramics, heritage of the city.

The text has been translated by several European publishing houses into German
In the compilation (20 chapters and 140 pages), more than a hundred photographs are included to highlight the work of the group of artists affiliated with the ACAA and collaborators; they become notes for the history of ceramics in what is also known as the City of the Tinajones.

It is a selection of works published in different digital sites in Cuba and abroad, among which are the UNEAC national portal, Primicia Diario, CamaguebaxCuba, Prensa Latina, Turismoencuba.com, Radio Nuevitas and Radio Camagüey.

Camagüey is a region, in which ceramics have a major letter of presentation, several creative generations masterfully developed a craft of aboriginal heritage and retaken by Spaniards -fundamentally Catalans- with which they took advantage of the benefits of the existing clay deposits in the region .

The book proposes an encounter with those men who today make the mud skin of the reddish city of roofs and bell towers that defy the infinity of time.

In the introduction to The Reddish Skin of Camagüey… the prestigious ceramist Nazario Salazar, states: “Converted into a container for solids or liquids, the usefulness of clay became evident simultaneously on a date lost in time, since, in its degree more simply, ceramics do not need sophisticated instruments for their elaboration: necessity, ingenuity and the dexterous hands of man are enough”.

Pre-Columbian Cuba also possessed artifacts made by workers from different agro-pottery cultures, of which the Iberian colonizer left few traces when introducing, in parallel with their predatory interests, habits, tastes, ancestral crafts and customs that made the town of Santa María of the Port of the Prince in simile of the various cities in the style of the European 16th century.

The also member of the Union of Writers and Artists of Cuba (UNEAC) specifies that on March 13, 1516, the first peninsular potter arrived at Santa María del Puerto del Príncipe aboard the Osado carabelón, coming from Seville. In the demographic and socio-economic census of 1519, the native pottery of Puerto Príncipe is already indicated and since the end of 1522 it has been exported through the Casa de Contratación de Sevilla.

Nazario Salazar points out: “At present, women and men of the clay, direct fruit of the seed planted by the self-sacrificing master potter of yesteryear, offer to the most dissimilar facilities and squares in all of Cuba, the gallant presence of the most significant piece of our ceramics: the tinajón, the starting point for the makers of current Camagüey ceramics, an assessment of whose work accurately reflects this selection of journalistic works”. (Text and photos Lázaro David Najarro Pujol/Contributor) (Translated by Linet Acuña Quilez)

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