"Cunqueiru" or "tixileiru" handicraft

"Cunqueiru" or "tixileiru" handicraft

The cunqueira or tixileira tradition is an ancient craft with records dating back to the 16th century, associated with a tax linked to this activity in the southwestern region of Asturias, especially in the municipalities of Ibias and Degaña, such as Sisterna, El Bao, Trabau, and El Corralín. This craft was dedicated to wood carving (usually using a lathe) to create domestic utensils, particularly wooden tableware known as "tixelas." Among these objects, the "cachus" (wooden bowls for drinking wine), "tachadeiras" (plates with an elevated center structure for cutting food), "cimbreiras" (airtight containers similar to modern tupperware), and others stood out. As for the denomination, "cunquiero" comes from the proximity to Galicia, where they were known for their work with "cuncos" or wooden bowls. However, in the early days, they preferred to call themselves "tixileiros" because they felt that the term "cunqueiro" referred only to the bowls, which they considered a reductive description. Today, the term "cunqueiro" is more common and widely accepted. Beyond the production process, the cunqueira tradition was characterized by intense commercial transhumance. During the winters, from October to April, when agriculture was less productive and to reduce the number of mouths to feed, the men of the valley formed groups of about seven people, usually family members, who would travel to other towns to sell and produce their pieces. These groups started in Bierzo due to its proximity and then spread throughout the peninsula, dividing their routes towards the Ruta de la Plata, Madrid, Galicia, Catalonia, and even Andalusia. In addition to this mobility, the cunqueiros had their own guild language, which reinforced their cultural identity. However, with the arrival of mining and the industrialization of earthenware and porcelain production, this craft began to decline, disappearing by the mid-20th century. Despite this, in the 1980s, Victorino García, a neighbor from Trabau

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asturiasmap

iain

Asturian,Spanish

Intangible

588

Artesanía cunqueira o tixileira

02/09/2025

02/09/2025

Gavela Sal, R. (2024). Valdeprusia. Tierra de los Tixileiros (Tapa blanda). Rodríguez, C. (1960). El habla de Sisterna. CSIC. Red Asturiana de Desarrollo Rural. (2004). Revista de la Red Asturiana de Desarrollo Rural, (Nº 6, Invierno de 2004). Museo Tixileiro. (n.d.). Tixileiro: Museo de los Cunqueiros. Recuperado de https://tixileiro.com/museo/ La Guarida del Cunqueiru. (n.d.). La Guarida del Cunqueiru. Recuperado de http://laguaridadelcunqueiru.com Méndez, I. (2015). Valdeprusia. A terra dus tixileirus [Documental]. Galán, A. (n.d.). Il Moulin [Documental].

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University of St Andrews

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One related cultural practice to the cunqueira tradition is the trade of the blacksmith (ferreiro). This craft is essential for creating tools and equipment needed for woodworking and other rural tasks. In particular, blacksmiths forge tools such as axes, chisels, and other metal implements that are crucial for the work of woodworkers, basket makers, and traditional shoemakers (madreñeros). These tools are no longer produced industrially because they are not in demand on a large scale. Therefore, the blacksmith's role remains key to the survival of many traditional crafts. However, the blacksmith trade is also facing extinction in Asturias, with few practitioners remaining, such as Alfredo in Arabal, Tineo, who is aging and working less, and a former blacksmith in Posada de Rengos who has significantly reduced his activity. The activity is also reflected in the oral tradition through local songs, where the departure of the cunqueiros, the craft itself, and other related aspects are mentioned. A collection of these songs and melodies, performed by Rosa "Cunqueira," can be found on YouTube: https://www.youtube.com/@rosacunqueira4419 Some examples are: “Los cunqueiros vanse, vanse; las cunqueiras tsoran, tsoran, ¡ay de mí, triste aburrida! ¿con quién voy dormir ahora?”, "The cunqueiros are leaving, they are leaving; the cunqueiras cry, they cry, oh me, sad and bored! Who will I sleep with now?" or "al llegar al alto la collada, di la vuelta a mi sombrero. Adiós pueblo de Trabau, en el corazón te llevo", "When I reach the pass, I turn my hat around, goodbye village of Trabau, I carry you in my heart."

Olaya Alonso López

The practice of creating wooden bowls requires a combination of traditional craftsmanship, an understanding of natural cycles, and knowledge of wood behavior. First, the craftsman needs to observe the lunar cycle, as it is believed that cutting wood during the waning moon (cuarto menguante) results in better quality wood. The lunar phases affect the sap movement in the tree, with the sap concentrated in the roots during the waning moon, making the wood more durable. The craft requires knowledge of tree types, particularly deciduous trees, and the ideal time to cut them—during the winter when the trees are in their vegetative rest phase. The wood is then left to "bleed" or expel sap for 2-3 months to make it more resistant to damage and pests. The process of working the wood involves using basic tools like a chainsaw to cut the tree, an axe to shape the wood, a lathe to turn it, and gouges to refine the shape. Additionally, skills in drying the wood, avoiding cracks, and knowing the appropriate finishing techniques are necessary. The creation of different pieces requires varying levels of skill and time. For example, making a standard bowl might take 30-40 minutes, while more intricate pieces like "tachadeiras" or "cimbreiras" can take hours to complete. The craft requires patience and attention to detail, especially in the preparation and drying of the wood, as well as understanding the specific characteristics of different trees and their wood. The tools used are relatively simple, including a chainsaw, axe, compass, pencil, tape measure, lathe, and gouges.

This craft technique used to be passed down orally and through practice within the community itself. The practice gradually disappeared by the mid-20th century, with a pause between the 1970s and 1990s. Valdovinos Gabela was the last traditional "Cunqueiro" who had participated in transhumance in his youth, and after retiring from herding, he still made some bowls as a hobby in the 1980s. In the 1990s, Victorino García self-taught himself to revive this practice, and in 2005 he began an activity more associated with tourism and experiences through "El Rincón Cunqueiro." Víctor García, his nephew, became interested in the craft and learned from his uncle in the 2000s at the age of 12-13, later dedicating himself professionally to the trade as a freelancer from the age of 18. Víctor's mother, Rosa "Cunqueira," was a tour guide at the Muniellos Natural Reserve and started offering guided tours of the workshop and learning the craft, primarily making tambourines, drums, and castanets. Unfortunately, Victorino passed away in 2020 and Rosa in 2024, leaving Víctor as the last "Cunqueiro" knowledgeable about this practice. Following his mother's sudden passing, Víctor temporarily ceased his activities. He plans to reopen the workshop and resume his work soon, offering workshops and courses, and is willing to collaborate with the university (he previously taught five years of university extension courses) in the dissemination, promotion, and, above all, training to enable a dignified living from the craft (profitability-sustainability), helping the positive development of his land, Degaña, which he considers the most important aspect for the preservation of this traditional craft. In brief, the transmission of this craft depends on Victor Garcia's voluntary efforts to pass on this technique and, more importantly, its significance to the region.

Currently, there are no established roles or division of responsibilities based on importance or gender roles (although in the past, the craft was practiced by men in a transhumant way, as an extra source of income during the winter months, due to the difficult geography that made it hard to maintain crops and livestock to survive the cold months). This is because there is only one remaining "Cunqueiro," which is Víctor García (33 years old).

Originally, the craft was particularly important during the colder months (from October to April) when agricultural work was less productive and the need for self-sufficiency was most critical. During this time, men would form groups to travel and sell their handmade goods, which helped supplement family incomes and reduce the burden of feeding their families, as the winters could be harsh and food scarce. Nowadays, the craft has lost much of its practical function and is valued more for its cultural significance, social appreciation, and as a tool for regional promotion by local administrations. For Víctor, the last practitioner, it has become an economic resource, one that he combines with other means to make a living.

The cunqueira (or tixileira) tradition has roots that date back to the 16th century in the southwestern region of Asturias, particularly in the municipalities of Ibias and Degaña. This craft, initially focused on wood carving, was primarily used to create domestic utensils ("tixelas"), particularly wooden tableware like "cachus" (wooden bowls), "tachadeiras" (plates), and "cimbreiras" (airtight containers), etc. The materials and tools used to create the tixelas have remained stable over time. The materials include wood from deciduous trees such as birch, walnut, ash, maple, and chestnut—native woods from the local forests, mainly from living trees. The tools are simple, including axes, compasses, pencils, rulers, the lathe, and chisels. The work has always been and remains essentially manual, relying on skill. The only modern innovations are the use of chainsaws, planers, and sanders, which ease some processes in obtaining the wood and improve the finish for sale, but the carving with the lathe and chisels remains exactly the same. Another difference is that while the craft originally focused primarily on creating tixelas, which are now less useful, Víctor, Victorino, and Rosa have diversified their products. They now also create and sell musical instruments (tambourines, pandeiros, and castanets), "madreñes" (traditional Asturian wooden shoes), and other souvenirs such as magnets and keychains.

None. There is only a small "homemade" interpretation space dedicated to this practice at the Hotel El Tixileiro in Sisterna (Ibias).

Currently, the only place is the workshop of Victor Garcia, called "La Guarida del Cunqueiro," which is located in Trabau, Degaña (temporarily closed).

Industrial production,Use of modern materials

Substitution with other materials that are easier to work with, more ergonomic and hygienic to use than wood, and cheaper to produce on an industrial scale, such as earthenware.

Reduced practice

The age of the practitioners is not a significant issue, as the current practitioner is 33 years old. However, the real concern is that there is only one person remaining who possesses this traditional knowledge, which poses a risk to the survival and continuity of the craft.

Lack of conservation policy

It doesn't seem that there is any conservation policy for the craft driven by public institutions, beyond the private initiative of Víctor García, who uses and promotes the craft as a driver of territorial development.

Rural-urban migration

It's a vicious cycle; it's a remote rural area with poor communications, no public transportation, and few basic services (medical, supermarket, etc.), which leads people to migrate to the main cities in the area (Gijón, Avilés, Oviedo, Ponferrada, etc.). This results in a lack of sufficient population to invest in the sustainable development of services and infrastructure in the area. Without a population, which typically comes for the first half of August for the local festivals, it is difficult to make collective efforts to transmit and preserve the craft in relation to its logic within the territory.

Loss of ancestral language,Loss of knowledge,Loss of cultural significance

What is being lost is the guild language they used (tixileiro or cunqueiro), as well as the knowledge of the techniques involved in the craft (such as when and which trees to fell, the drying time of the wood to improve its quality, the carving technique, how to create the lathe, etc.). There is also a loss of the significance linked to the territory, including the forests, transhumance, etc., that were integral to the practice.

Degaña, located in southwestern Asturias, has historically been linked to mining and rural life. Since Roman times, the territory was exploited for its gold deposits, and later, in the 19th and 20th centuries, coal became the main economic driver. Popular architecture and traditions reflect both Asturian and Leonese influences, and the municipality maintains a strong cultural identity based on language, music, and local festivities. The municipality is nestled in the Cantabrian Mountains and is part of the Fuentes del Narcea, Degaña, and Ibias Natural Park. Its mountainous landscape is home to beech and oak forests, with notable wildlife including the Cantabrian brown bear and the Iberian wolf. Nature is one of its main attractions, promoting rural and ecological tourism. Until the early 21st century, Degaña maintained a stable population and even stood out as one of the youngest in Asturias, with positive natural growth. However, the closure of mining operations has led to a sharp demographic decline, with the population decreasing by approximately 40%. Emigration has primarily been directed towards Oviedo, Gijón, Madrid, and other areas with better economic prospects. As a rural and historically isolated municipality, Degaña's economy was based on subsistence agriculture and livestock farming, with trade exchanges with the neighboring region of Laciana (León). Additionally, vaqueiros (nomadic herders) rented pastures for transhumant grazing. With the arrival of coal mining in the 19th and 20th centuries, the economy underwent a radical transformation, becoming the municipality’s main economic driver. However, following the decline of mining, livestock farming, forestry, and rural tourism have gained prominence in the local economy. Hunting and ecotourism are emerging as sustainable alternatives, although the municipality still faces challenges in curbing depopulation and generating economic opportunities. Regarding the tangible cultural heritage of Degaña, som

Tools: The traditional tools used in this craft are quite simple and include axes, compasses, pencils, rulers, the lathe, and chisels. These are essential for shaping and carving the wood by hand, requiring a high level of skill. The lathe plays a key role in this process, allowing the practitioner to shape the wood into various forms. Machinery: The lathe, a crucial piece of machinery, can also be portable. It typically consists of a pedal made of leather strips and a flexible wooden branch. The lathe used by Victor Garcia was custom-made for him during his youth. It features a rectangular frame with several holes to place tools for convenience. The key component is the leather strap that connects to the flexible branch, allowing the piece of wood to rotate back and forth (like a seesaw). Additionally, there is a section with a hole and a fitting piece to secure the wood using pins, holding it in place while it is carved with chisels. Objects: Initially, the craft focused on creating tixelas (wooden tableware), but as these have become less practical today, the practice has diversified. Victor, Victorino, and Rosa now also create and sell musical instruments such as tambourines, pandeiros, and castanets. They also produce madreñes, traditional Asturian wooden shoes, and various souvenirs like magnets and keychains, reflecting the adaptation of the craft to contemporary needs and market demands.

N/a. There is only one person alive with this knowledge.

The practice contributes to environmental sustainability in several ways. The materials used are natural, renewable, and locally sourced. The wood comes from local forests, and efforts are made to avoid overexploitation, ensuring that only trees that are not optimal for other purposes are cut down. The practitioner is mindful of the type of wood needed for their work and prioritizes sustainable practices by cutting the "worst" trees, which are not expected to grow to their full potential, thus allowing healthier trees to thrive. The waste generated, including shavings and sawdust, is composted and repurposed for agricultural use or as fertilizer for reforestation projects, such as planting trees in degraded areas. In this way, the practice helps improve soil quality and encourages sustainable land management. In addition to these practices, the practitioner’s work does not require electricity for the crafting process itself, except for basic lighting to see while working. Natural light is usually sufficient during the day, reducing energy consumption. When electricity is needed, it comes from a standard power supply, and there is no need for energy-intensive machinery. The lack of a heating system in the workshop also reduces energy usage, supporting a low-energy, environmentally conscious approach to craftsmanship. This minimal reliance on electricity aligns with sustainable energy practices and reduces the carbon footprint of the work.

The practice does not significantly contribute to economic sustainability at present. The traditional craft of creating tixelas is no longer widely used, and as a result, these pieces have shifted to being more decorative rather than functional. In response to this decline, practitioners have diversified their products to include musical instruments, souvenirs, and other items. However, in order to sustain the craft, as noted by Víctor García, it is necessary to integrate it into other practices, adapt its uses, and particularly diversify income sources. This could include offerings such as tourism (workshops, tours, and classes), agriculture and livestock, and even tourism accommodation. By creating a multifaceted economic model, it would be possible to ensure a balance between sustainability and profitability for this craft in the specific region.

Quality Education,Sustainable Cities and Communities,Responsible Consumption and Production

El Bao (Il Bau) and Sisterna (Astierna) in Ibias; El Corralín (El Curralín) and Tablado (Trabáu) in Degaña (Asturias, Spain)

endangered

ESPTOR_CP_01