THE CRAFT LIKE A CULTURAL PRACTICE THAT CONFIGURES SOCIOCULTURAL PROCESSES: THE BASKETWORK IN THE TUNAS AT THE PRESENT TIME

Abstract

The presence of the handmade movement in The Tunas is an important cultural fact in which has left condensing the conserved information and renovated in the cultural memoirs of the tunero, as long as it is identity that reflective characteristic that distinguish it and very authentic revealing knowledge and specific creation of a societal group. The years ninety represented a stagnation in the popular craft, it altered and it confused the true sense of the handmade production. The market entered as an element of deregulation of the qualities. He fell in the temptation of the commercialization without control. The art is confused with something easy, the legitimate and necessary commercialization of the productions with the marketing of the candongas, the artisan with the worker self-employed, the promoter with the merolico. The institucionalization of the culture starting from the revolutionary victory with the cultural politics's application in Cuba, together to the economic crisis in the decade of the 90 are sociocultural factors that condition to the craft as that it configures of sociocultural processes that are evidenced in the inherited cultural practices or institutionalized, remunerated (professionals) or not remunerated (fans), as approaches that it configures of groups. The types of craft, the techniques, the ethnic composition of the representative groups, the professional formation, the origin (field, city, periphery), and composition of the groups for gender and number (grupal or singular) they are indicative that allow to conceptualize the characteristics and types of the craft as cultural practice in The Tunas.