The ancient Tejar de Carrasco turned those years into the ambience designated to "concentrate" the workshops of the mud, up to the implementation of La Tradición workshop, of Local Industries, in the share-out San Miguelito.

“Miguelito“, the oldest, and teacher of the other two, obstinate and persistent, manages to make the new ¨tinajones¨ of big freightage, of the XXth century in the city.

“Angelito“ highlights for his friendliness, joviality and for being capable of making the best miniaturized tinajones.

Manolo or “Manolito the potter” enjoys the recognition of the whole union, like "maker" of the transformation produced in the ceramic work of the city.

Although Miguel Báez Álvarez (with the support of several technologists) rescues a tradition lost in the negligence, Manolo Barrero possesses the merit of having supported with his attitude the transformation of the traditional utilitarian piece, in the “New Camagüeyan Ceramics”, like artistic support.

The artists' presence with pretensions beyond the common and without deep experience in a media as singular as it turns out to be a craftsmen's workshop, caused curiosity, surprise and up to professional jealousy.

Manolo, the most receptive, could perceive that although it may require non common solutions, it might turn out to be interesting.

Innumerable disasters accompanied by “important losses of materials and time” by the administration of then, were convincing reasons as to put ourselves “in the street”.

This is the moment in which Manolo and his inseparable Eneida opened the doors of their heartss, house and workshop, so that we continued “breaking pieces” up to obtain the target that from this moment turned into an intention of four.

With over eight decades on his thick shoulders, “Manolito” still surprises us with the pieces of exquisitely wraped up and bells sound.

Translated by BA in English Language, Manuel Barrera Téllez

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