{"id":5344,"date":"2025-07-28T13:19:08","date_gmt":"2025-07-28T11:19:08","guid":{"rendered":"https:\/\/semanasantalucena.com\/santeria\/"},"modified":"2026-07-25T10:42:36","modified_gmt":"2026-07-25T08:42:36","slug":"santeria","status":"publish","type":"page","link":"https:\/\/semanasantalucena.com\/en\/santeria\/","title":{"rendered":"Santer\u00eda"},"content":{"rendered":"

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Santer\u00eda<\/h3>\n

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Lucena\u2019s Santer\u00eda Pride, Identity and Heritage<\/span><\/h3>\n

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We, the people of Lucena, are truly fortunate to be the custodians of our most cherished tradition and to have preserved it with dedication and care over the generations. The <\/span>\u2018santer\u00eda\u2019, recognised in 2025 as Bien de Inter\u00e9s Cultural (BIC, Asset of Cultural Interest),<\/b> is the defining feature and princpal hallmark of a <\/span>Holy Week that has held the designation of Festival of Tourist Interest in Andalusia since 2003.<\/h4>\n

It is far more than a style or technique for carrying the Passion and Glory images in procession. It is a model unlike any other in the world, distinguished by <\/span>its own liturgy, a ritualised aesthetic, and a distinctive body language that goes far beyond mere function to become a powerful symbolic and anthropological expression<\/b>. Moreover, rather than following the processional traditions found in neighbouring towns across the Subb\u00e9tica in C\u00f3rdoba, the \u2018santer\u00eda\u2019 has developed as a fully independent tradition, transmitted orally and lived<\/strong> by all those who embrace it throughout the year<\/strong>. The \u2018santer\u00eda\u2019 also has its own distinctive aesthetic codes<\/strong>, evident in the way the processional throne is carried (\u2018santear\u2019)<\/em>, the arrangement of the \u2018cuadrillas\u2019, the gestures of the \u2018santeros\u2019, and the way movement and solemnity are understood in procession, creating a visual identity that is instantly recognisable.<\/strong><\/span><\/h4>\n

The very structure of the \u2018cuadrillas\u2019 also creates deep personal bonds<\/strong> among their members. Although each \u2018cuadrilla\u2019 is formed for a specific procession, the shared effort, companionship, physical commitment, and emotional intensity<\/strong> of \u2018santear\u2019<\/em> together create bonds that, in many cases, last a lifetime<\/strong>. The \u2018santer\u00eda\u2019 is not only a distinctive way of carrying sacred images in procession, but also a way of relating to one another, of belonging, and of building community around a shared experience that is <\/strong> deeply rooted in Lucena\u2019s identity. <\/span><\/h4>\n

The costant enthusiasm and curiosity shown by children and young people<\/strong> for the \u2018santer\u00eda\u2019 and brotherhood life ensure that its traditions, rituals, codes, and forms of participation will continue to be transmitted from one generation to the next<\/strong>. It is a living heritage that continues to be transmitted naturally in the streets, in familiy homes, through the \u2018juntas\u2019 and \u2018cuadrillas\u2019, preserving one of the most distinctive and valuable expressions of Spain\u2019s intangible cultural heritage<\/strong>.<\/span><\/h4>\n

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Origins and History of a Living Tradition<\/span><\/h3>\n

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Like many other Holy Week celebrations in Andalusia, <\/span>Lucena\u2019s Holy Week traces its origins to the 16th century,<\/b> although earlier precedents can be found. <\/span>It became firmly established during the 17th century and the first half of the 18th, when Lucena experienced a flourishing<\/b> of religious and cultural life, marked by the foundation of new brotherhoods and the growth of Passion devotion. This period was followed by <\/span>a significant decline in the 19th century<\/b>, brought about by the \u2018desamortizaciones\u2019 (ecclesiastical confiscations) and the prohibition of public religious celebrations.  <\/span><\/p>\n

In <\/span>1838, the Archconfraternity of Our Father Jesus the Nazarene (Archicofrad\u00eda de Nuestro Padre Jes\u00fas Nazareno) abolished the old carrying system known as the<\/b> \u2018paso a corre\u00f3n\u2019<\/b> \u2014in which broad leather straps attached to the bearer\u2019s chest were used to carry the processional float, and which today survives only in Casabermeja (M\u00e1laga)\u2014 and introduced shoulder-borne carrying. It was this very change that marked the beginning of the aesthetic and symbolic evolution that would eventually give rise to today\u2019s \u2018santer\u00eda\u2019.<\/span><\/p>\n

Perhaps the phenomenon of \u2018santer\u00eda\u2019, which took shape in the closing years of the 19th century and became deeply rooted in popular tradition, served as a genuine bulwark against the misunderstanding \u2015and even hostility\u2015 that public religious expressions faced in many other parts of Spain.<\/p>\n

The <\/span>term <\/b>\u2018santero\u2019<\/i><\/b> \u2015which the people of Lucena aptly adopted to refer to the former <\/b>\u2018insignieros\u2019<\/i><\/b> or <\/b>bearers of the processional \u2018pasos\u2019<\/i><\/b>, descendants of the earlier <\/b>\u2018correonistas\u2019\u2015<\/i><\/b>, first appeared in print in 1907, in an article published in the issue no. 99 of the local newspaper <\/span>\u2018La Alianza\u2019<\/span><\/i>, reporting on a procession with the image of Saint Teresa, referred to \u00ab<\/span>the so-called \u2018santeros\u2019 who carried her\u2026\u00bb<\/span>. The word \u2018santer\u00eda\u2019 derives from the act of carrying the \u2018santos\u2019,<\/em> the colloquial name given in Lucena to the processional thrones. <\/span><\/p>\n

From the 1970s onwards, Lucena witnessed a remarkable revival, with the re-establishment of several brotherhoods, the expansion of its processional heritage, and the gradual consolidation of the \u2018santer\u00eda\u2019 as the exclusive way of carrying the processional thrones. Today, processional images take the streets of Lucena on every day of Holy Week, following a tradition that has become the town\u2019s defining hallmark and one unlike any other in the world.<\/strong> Alongside the \u2018santer\u00edas\u2019 of the Passion, those of the Glory celebrations take place throughout the year<\/strong>. The most renowned is that of Mary Most Holy of Araceli (Mar\u00eda Sant\u00edsima de Araceli), Patroness of Lucena and of the Andalusian countryside, whose principal procession is held on the first Sunday in May. <\/span><\/p>\n

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A Processional Tradition unlike any other in the World<\/span><\/h3>\n

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La santer\u00eda en Lucena es el <\/span>modo excepcional de procesionar los tronos sobre el hombro, a cara descubierta y al ritmo del tambor, cuyo valor antropol\u00f3gico, etnogr\u00e1fico y emocional trasciende lo estandarizado.<\/b> Es un rito \u00fanico en el mundo repleto de se\u00f1eros valores est\u00e9ticos y profundamente humanos, siendo particular el hecho tambi\u00e9n de que no existen relevos y no se ensaya: se vive en plenitud en el instante procesional. Adem\u00e1s del tambor, instrumento esencial para el desarrollo de la santer\u00eda, existe tambi\u00e9n otro toque caracter\u00edstico y propio de Lucena, el torralbo, una corneta que anuncia la llegada de determinados pasos con una melod\u00eda met\u00f3dica. <\/span><\/p>\n

Bajo las \u00f3rdenes del <\/span>manijero<\/b>, santero designado por la cofrad\u00eda para dirigir el paso al toque del timbre, la cuadrilla (compuesta por 24, 26 o 28 varones, 36 en el caso del trono de Mar\u00eda Sant\u00edsima de Araceli en la procesi\u00f3n el d\u00eda de su onom\u00e1stica) gu\u00eda sus pasos al son del tambor variando en funci\u00f3n de la imagen, dramatizando con ello la escenificaci\u00f3n pasionista. Suelen portar cada uno entre 40 y 50 kilos de peso, dependiendo del trono.<\/span><\/p>\n

El <\/span>santero<\/b> no interpreta un papel: encarna una herencia. Su paso firme y su disciplina compartida son expresi\u00f3n de un patrimonio inmaterial que se transmite de generaci\u00f3n en generaci\u00f3n, no existiendo reglas escritas<\/strong>. <\/span>En este modelo se resume la forma de entender la religiosidad de un pueblo<\/b>. Las <\/span>cuadrillas se componen temporalmente para cada santer\u00eda<\/b> y sus miembros se eligen por afinidad, respeto y experiencia, sin que una misma cuadrilla se reproduzca para diferentes santer\u00edas m\u00e1s de una vez en la vida.\u00a0Esta singularidad otorga a cada estaci\u00f3n penitencial un car\u00e1cter \u00fanico e irrepetible, cargado de emoci\u00f3n y de un valor especial para quienes la viven.<\/strong><\/span><\/p>\n

El manijero lidera la cuadrilla y el porrillas<\/b>, siempre desde fuera del trono, le asiste. Tambi\u00e9n destacan en la cuadrilla los esquineros (quienes ocupan las esquinas del trono) y el cuadrillero<\/b>, figura responsable del nombramiento del manijero que, a d\u00eda de hoy, solo se conserva en las cofrad\u00edas de Nuestro Padre Jes\u00fas Nazareno, Nuestro Padre Jes\u00fas en su Entrada a Jerusal\u00e9n y Nuestra Se\u00f1ora de la Soledad. En los restante casos, es la propia cofrad\u00eda o hermandad de Pasi\u00f3n o Gloria la que designa al manijero seleccionado entre los aspirantes a tal honor que hacen saber su intenci\u00f3n de mandar<\/em> el paso mediante una carta remitida a la instituci\u00f3n, siendo su Junta de Gobierno la encargada de nombrarle con una antig\u00fcedad m\u00ednima, en la mayor\u00eda de los casos, de un a\u00f1o.\u00a0<\/span><\/p>\n

Importante resaltar tambi\u00e9n que la santer\u00eda ha generado un vocabulario propio que la define y que acumula centenares de expresiones propias, muchas de ellas provenientes de t\u00e9rminos ligados al campo.<\/strong>No debemos olvidar que la econom\u00eda de Lucena ha estado hist\u00f3ricamente vinculada al mundo agr\u00edcola. De ah\u00ed que la santer\u00eda se articule en torno a una cuadrilla de santeros \u2014<\/span>en clara analog\u00eda con las cuadrillas de jornaleros del campo\u2014<\/span>, organizadas y dirigidas por un manijero \u2014<\/span>figura equivalente al capataz que ordenaba y coordinaba las faenas de los trabajadores\u2014<\/span>. Tambi\u00e9n recoge t\u00e9rminos relacionados con el trabajo en las veloner\u00edas y en las tinajer\u00edas, de clara importancia en el municipio, e incluso del mundo taurino, como pase\u00edllo<\/em> o cortarse la coleta<\/em> (o el capirote).<\/span><\/span><\/p>\n

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The Journey to Santer\u00eda Day<\/span><\/h3>\n

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Once the \u2018manijero\u2019 has been appointed, the annual cycle of the \u2018santer\u00eda\u2019 begins with the <\/span>\u2018recogida del timbre or campana\u2019 (the receiving of the bell)<\/b> which takes place at the end of the \u2018santer\u00eda\u2019 immediately preceding his own. This ceremony symbolically marks the beginning of the manijero\u2019s commitment and is usually followed by a celebration known as the \u2018mojar el timbre\u2019 or \u2018remoj\u00e1 de la campana\u2019 (the ceremonial toast of the bell)<\/em>. <\/span>From that moment on the \u2018manijero\u2019 begins to <\/span>\u2018aviar\u2019 (assemble)<\/b><\/em> his \u2018cuadrilla\u2019, carefully selecting each \u2018santero\u2019. The \u2018manijero\u2019 personally visits the \u2018chosen santero\u2019 \u2015usually without prior notice\u2015 to invite him to become part of the \u2018cuadrilla\u2019. The commitment is sealed with a handshake and a toast with a glass of local wine, a gesture that symbolises mutual respect and the value of one\u2019s word. Nor document or contract is required: the spoken word alone is enough, upheld by tradition, trust, and honour<\/strong>.<\/span><\/span><\/p>\n

This is followed by the <\/span>\u2018juntas<\/b> de santeros\u2019, highly symbolic gatherings where food and drink are shared in a spirit of fraternity, with everyone drinking from the same glass and eating from the same \u2018perol\u2019 (traditional pan). During these gatherings, <\/span>bonds between the \u2018santeros\u2019 are strengthened, trust in the \u2018manijero\u2019 is reinforced, and the oral traditions of the \u2018santer\u00eda\u2019 are kept alive.<\/b> They are accompanied by the sound of the drum (and, where appropiate, the \u2018torralbo\u2019) and by the \u2018saetas de santer\u00eda\u2019, renowned for their power, intensity, and irony. Typically, between four and six \u2018juntas\u2019 are held, mainly during the final months of the year and throughout Lent, while those of the Glory \u2018santer\u00edas\u2019 take place at other times of the year. Among the most important are the following \u2018juntas\u2019: he \u2018junta oficial\u2019<\/em><\/strong> (attended by members of the brotherhood, local authorities, and \u2018saeteros\u2019); the \u2018junta de esquina\u2019<\/em><\/strong> (held exclusively for the \u2018santeros\u2019 assigned to a particular corner of the processional throne); the \u2018junta de sitios\u2019<\/em> <\/strong>(during which the \u2018manijero\u2019 assigns each \u2018santero\u2019 their position beneath the throne); and the \u2018junta de marca\u2019<\/em> <\/strong>(where an experienced \u2018marcaor\u2019<\/em> \u2014usually a retired \u2018santero\u2019\u2014 measures each \u2018santero\u2019 so that, using wooden wedges, the shoulders of all the \u2018santeros\u2019 are brouhght to the same height beneath the procesional throne). At one of these \u2018juntas\u2019, the \u2018cuadrilla\u2019 traditionally presents the \u2018manijero\u2019, as a gesture of courtesy, with the \u2018timbre\u2019 or \u2018campana\u2019 (bell) that will be used to signal the beginning and end of each \u2018horquillo\u2019. This bell, of M\u00e1laga origin, was first introduced in Lucena in the late 19th century for the processional thrones of the Brotherhood of the Vera Cruz and the Christ of Humility (Cofrad\u00eda de la Veracruz y del Cristo de la Humildad). The \u2018galleta del timbre\u2019 is often especially significant, as its design reflects the identity of the brotherhood responsible for the processional throne. At every \u2018junta\u2019 \u2015and especially during the \u2018junta de marca\u2019\u2015<\/em>,  the \u2018manijero\u2019 explains to his \u2018santeros\u2019 how he wishes the \u2018santer\u00eda\u2019 to be carried out. He also emphasises one of these defining characteristics: the \u2018santer\u00eda\u2019 is never practiced. It comes to life only on the day of the procession, with no opportunity for prior practice<\/strong> beyond the experience that each \u2018santero\u2019 has acquired over the years.  Although it is not considered a \u2018junta\u2019, it is customary for the \u2018manijero\u2019 and his \u2018esquineros\u2019 to walk the route<\/em> in the days leading up to the procession. This allows them to visit the streets along the itinerary, discuss and assess different aspects of the forthcoming \u2018santer\u00eda\u2019, and identify any street furniture, overhead cables, or other obstacles that might affect the procession.<\/span><\/p>\n

Finally, it should be noted that, although the \u2018cortejos de mantillas\u2019<\/strong> do not follow the same ritual as the \u2018juntas de santeros\u2019, they have their own distinctive protocol, organisation, and ceremonial practices. The \u2018manijero\u2019 appoints the \u2018manijera de mantillas\u2019<\/strong><\/em> \u2014usually his wife, mother or sister\u2014 who is likewise responsible for assembling (\u2018aviar\u2019)<\/em> her group of \u2018mantillas\u2019 and coordinating the brotherhood\u2019s female procession. In some cases, such as the procession accompanying Our Lady of Solitude (Nuestra Se\u00f1ora de la Soledad), it can number as many as one hundred women.<\/strong><\/p>\n

During Lent, it is customary to hold gatherings popularly known as \u2018juntas de mantillas\u2019<\/strong>, during which guidance is given on dress, protocol, and conduct during the penitential procession. In addition, the \u2018manijera\u2019<\/em> traditionally presents each \u2018mantilla\u2019 with a small gift and the identifying sash in the brotherhood\u2019s colours, which they will wear on the day of the procession.<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/santeria-5-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”santer\u00eda 5 – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”-103px||||false|false” custom_padding=”106px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/santeria-4-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”santer\u00eda 4 – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”-74px|||||” custom_padding=”103px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/santeria-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”santer\u00eda – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”-72px||||false|false” custom_padding=”103px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2026\/05\/20260504_214130-scaled.jpg” title_text=”20260504_214130″ _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”-72px||||false|false” custom_padding=”103px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/santeria-3-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”santer\u00eda 3 – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” _builder_version=”4.27.2″ _module_preset=”default” custom_margin=”-29px||||false|false” custom_padding=”33px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/Junta-de-santeros-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”Board of \u2018santeros\u2019 – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”23px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2026\/02\/1-Santeria-15-scaled.jpg” title_text=”1 Santer\u00eda (15)” _builder_version=”4.27.2″ _module_preset=”default” custom_padding=”41px|||||” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.2″ _module_preset=”default” min_height=”101px” height=”135px” custom_margin=”0px||||false|false” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” header_3_font=”Poppins|600|||||||” header_3_font_size=”27px” custom_padding=”53px|||||” locked=”off” global_colors_info=”{}”]<\/p>\n

When Lucena Takes to the Shoulder: The Day of the Santer\u00eda<\/span><\/h3>\n

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El <\/span>d\u00eda de la santer\u00eda<\/b> comienza con el ritual de vestir al santero, <\/strong>quien debe contar con ayuda de una persona experimentada: pantal\u00f3n de medio ancho, botas negras, camisa sin cuello, faja (ropa de algod\u00f3n de dos metros que, sobre la camisa, se l\u00eda en la cintura para salvaguardar los ri\u00f1ones del peso), cinto (correa de varias cinchas que, colocada sobre la faja y bajo la t\u00fanica, refuerza la funci\u00f3n protectora), capirote sin cubrir el rostro, pa\u00f1uelo blanco al cuello y t\u00fanica del color de la cofrad\u00eda o hermandad, a lo que se suma cord\u00f3n en algunos casos. Siempre bien aseado y afeitado, sin lucir pulseras ni relojes aunque s\u00ed gemelos, mostrando gran elegancia. <\/span>Las t\u00fanicas de los santeros (entonces correonistas) fueron, en origen, las mismas que las de los hermanos, ya que en 1688 el cardenal Salazar impuso, mediante decreto, que penitentes, disciplinantes y cofrades en general procesionaran con el rostro descubierto. Es en este contexto donde puede situarse el origen de la t\u00fanica tradicional lucentina,que, probablemente, se configurar\u00eda de manera definitiva en fechas posteriores. Ya en la d\u00e9cada de 1920, se introduce para los penitentes un atuendo de clara inspiraci\u00f3n sevillana, incorporando el cubrerrostro. Sin embargo, los santeros permanecen fieles a la tradici\u00f3n, procesionando siempre a cara descubierta<\/strong>. A lo largo del siglo XX, la indumentaria y la disposici\u00f3n del cortejo ir\u00e1n perfil\u00e1ndose progresivamente, incorporando detalles que hoy se consideran caracter\u00edsticos como el acortamiento de la t\u00fanica, el uso de camisa blanca bajo esta, o el pa\u00f1uelo blanco al cuello.<\/p>\n

Tras este emotivo momento solemne e \u00edntimo, en el que suele participar la familia m\u00e1s cercana y que habitualmente se realiza en el hogar, <\/span>el santero acude a la casa de su manijero<\/b> (y del cuadrillero en el caso de las cofrad\u00edas que mantienen esta figura) para compartir un caf\u00e9, regado con an\u00eds y dulces t\u00edpicos de la \u00e9poca como pesti\u00f1os o magdalenas. Aqu\u00ed el manijero dar\u00e1 las \u00faltimas indicaciones a su cuadrilla antes de iniciar <\/span>el <\/span>tradicional pase\u00edllo<\/b> de todos los santeros hacia el templo, acompa\u00f1ados de un toque caracter\u00edstico de tambor y del torralbo, en el caso de los pasos que llevan este acompa\u00f1amiento musical. Tambi\u00e9n participa en este pase\u00edllo el cortejo de mantillas, en los pasos que van acompa\u00f1ados de esta figura. A la llegada al templo, los santeros amarran<\/em> sus almohadillas<\/strong> (saco rectangular de tela relleno de lana o borra) al varal y a los asones<\/em> (asideros que tienen los tronos en los varales)<\/span> para envolver la cu\u00f1a de madera (previamente dispuesta tras la marca) y que ayuda a amortiguar el peso del trono en el hombro. En ocasiones, se ayudan de otra persona para esta tarea.\u00a0<\/span><\/p>\n

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The Ritual Takes to the Streets: When the Processional Throne is lifted onto the Shoulder<\/span><\/h3>\n

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Cuando el reloj marca la hora y el paso (que en Lucena se denomina santo<\/em>) se ubica en el atrio del templo<\/b>, transportado desde los <\/span>asones<\/span><\/i> al son del Himno de Espa\u00f1a<\/em> interpretado por la agrupaci\u00f3n musical o banda de cornetas y tambores que espera en la plaza, tiene lugar la ech\u00e1<\/em> al hombro<\/em> en tres tiempos (muslos, sangr\u00eda y hombro) o de un tir\u00f3n<\/em> (directo al hombro desde el suelo), a las \u00f3rdenes del manijero \u00ab\u00bfEst\u00e1is?\u00bb<\/em>\u00a0y tras responder el santero de la esquina mala \u00ab\u00a1Puestos!\u00bb<\/em><\/strong>, confirmando as\u00ed que cada\u00a0 santero ocupa su lugar: esquina, contraesquina, pata, contrapata, varal, repis\u00f3n y cimbra (en algunos casos).<\/span><\/p>\n

Aqu\u00ed comienza la santer\u00eda cuyo paso, siempre al son de los tambores que se ubican tras el trono (en grupos de entre tres y cinco, normalmente), difiere si se trata de Cristo, Virgen o paso de misterio \u2014existiendo el <\/span>macetea\u00f3<\/b><\/em>, el <\/span>reposa\u00f3<\/b><\/em>, el <\/span>bota\u00f3<\/b><\/em>\u00a0o el <\/span>pinga\u00f3\u2014<\/b><\/em>, dejando atr\u00e1s la santer\u00eda de contras<\/em> protagonista del pasado siglo XX. Dentro de unos c\u00e1nones establecidos, el manijero adapta a su gusto personal el paso<\/strong> que, salvo en las im\u00e1genes marianas o crucificados, suele tener diferencias en su ejecuci\u00f3n entre los santeros de la delantera y la trasera del trono. En los pasos acompa\u00f1ados por el torralbo, la persona que lo interpreta (a quien tambi\u00e9n se denomina torralbo) se ubica delante del paso para anunciar su llegada, ataviado con la misma t\u00fanica de santero que el resto de la cuadrilla<\/span><\/p>\n

El santero debe santear con el cuerpo y el cuello erguido<\/strong>, por est\u00e9tica y como prueba visible de que cumple su funci\u00f3n en su sitio y lleva<\/em> el peso que le corresponde, siempre abrochao<\/em>\u00a0a su sitio<\/span>. <\/span>Las \u00f3rdenes del manijero para comenzar a andar (llamado tom\u00e1<\/em>) se emiten, tras un siseo, con el toque de campana. Mientras el trono no est\u00e1 en movimiento, se sustenta sobre unas horquillas<\/em><\/strong> realizadas en madera o metal y rematadas con una pieza de hierro en forma de u<\/em>. Esta acci\u00f3n se denomina ahorquillar o ajorquillar<\/em>. Por su parte, el tiempo que el trono permanece sobre los hombros de los santeros, se denomina horquillo<\/em>. Cuando se interpreta alguna saeta, muy habitual en la Semana Santa de Lucena, el trono suele realizar el movimiento sin ir hacia delante, hasta que \u00e9sta termina y el manijero dice \u00ab\u00a1V\u00e1monos!\u00bb y contin\u00faan su trayecto. Es habitual que familiares y personas allegadas a la cuadrilla permanezcan cercanos al trono durante todo el recorrido, por si surge alguna necesidad y para suministrarles agua.<\/span><\/p>\n

El proceso de encierro del paso se ejecuta de manera inversa al de su salida.<\/strong> Tras la indicaci\u00f3n del manijero para que los santeros retiren las horquillas con ayuda de personas allegada a la cuadrilla \u2014\u00ab\u00a1Fuera horquillas!\u00bb\u2014, el paso desciende de forma ordenada hasta reposar, siguiendo siempre la secuencia tradicional de sangr\u00eda, muslos y suelo, y ejecut\u00e1ndose invariablemente en tres tiempos. Al t\u00e9rmino, es habitual que una persona muy allegada al santero le entregue en la iglesia una pelliza<\/em>, prenda de abrigo para resguardarse del cambio de temperatura al t\u00e9rmino del esfuerzo realizado.<\/p>\n

Una vez finalizada la santer\u00eda, tiene lugar el <\/span>refresco<\/b>, comida de cuadrilla celebrada el mismo d\u00eda y a la que acuden los santeros, a\u00fan con su t\u00fanica, junto a sus esposas y donde se comenta la santer\u00eda reci\u00e9n vivida. Semanas despu\u00e9s, el manijero organiza el <\/span>gasto<\/b>, \u00faltimo acto simb\u00f3lico de los santeros y con el que se disuelve la cuadrilla.<\/span><\/p>\n

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Santer\u00eda and the Town: Heritage and Cultural Impact<\/span><\/h3>\n

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The <\/span>\u2018santer\u00eda\u2019<\/b>, in both its <\/span>Passion and Glory expressions<\/b>, not only shapes Lucena\u2019s confraternal calendar but also stands as a genuine <\/span>driving force behind the town\u2019s cultural economy<\/b>. A wide network of traditional crafts and specialist skills revolves around it: workshops dedicated to <\/span>religious sculpture, embroidery, gold and silversmithing, bronze work, and woodcarving<\/b>; the composition of <\/span>processional music<\/b>, the craftsmanship behind the floral decorations for the processional thrones; the upkeep of <\/span>\u2018casas-hermandad\u2019 (brotherhood houses) and confraternity museums<\/b>; as well as sectors such as hospitality and retail, all of which find a vital source of activity in these celebrations. Together, these elements make the \u2018santer\u00eda\u2019 a <\/span>living heritage that fosters community<\/b>, whrere tradition, culture and development are inextricably intertwined.<\/span><\/h3>\n

Lucena Today: <\/span>A Model of Authenticity with Global Reach<\/b>. From the solemn <\/span>presentation of the \u2018campana\u2019 to the \u2018manijero\u2019<\/b> to the <\/span>final roll of the drum<\/b> making the end of the penitential procession, the \u2018santer\u00eda\u2019 beats as a <\/span>collective identity<\/b>, as <\/span>a shared inheritance<\/b> and a unique way of <\/span>living and understanding the world<\/b>. It is far more than an inherited ritual: it is a way of life transmitted from one generation to the next, an <\/span>intangible and universal legacy<\/b> that cannot truly be explained in words: <\/span>it must be lived, felt, and shared<\/b>.<\/span><\/h3>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.27.2″ _module_preset=”default” border_width_all=”0px” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/Nuestro-Padre-Jesus-Nazareno-Fotografia-de-Jesus-Canete-Fernandez-scaled.jpg” title_text=”Our Father Jesus the Nazarene – Photograph by Jes\u00fas Ca\u00f1ete Fern\u00e1ndez” align=”center” _builder_version=”4.27.2″ _module_preset=”default” width=”80%” border_radii=”on|20px|20px|20px|20px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/semanasantalucena.com\/wp-content\/uploads\/2025\/08\/Sitios-santeria-scaled.png” title_text=”Santer\u00eda positions” _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

The \u2018santeros\u2019 assigned to each corner of the processional throne occupy the following positions: \u2018esquinero\u2019, \u2018contraesquina\u2019, \u2018pata\u2019, \u2018contrapata\u2019, \u2018varal\u2019, and \u2018repis\u00f3n\u2019 Each group is led by its own \u2018esquinero\u2019, although all remain under the authority of the \u2018manijero\u2019. For the purpose of coordinating the movement of the processional throne, it is divided into two sections: the front (\u2018delantera\u2019)<\/em>, comprising the \u2018santeros\u2019 at the manijero\u2019s corner and the left corner; and the rear, (\u2018trasera\u2019)<\/em>, comprising the \u2018santeros\u2019 at the corners known as the \u2018esquina mala\u2019 and the \u2018esquina de la salud\u2019. The \u2018manijero\u2019, the left corner and their two \u2018varales\u2019 together form what is known as the \u2018escaparate\u2019<\/em> or \u2018frent\u00e1\u2019<\/em>. <\/p>\n

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Document source of the text: Book \u2018Nota para la historia de las cofrad\u00edas lucentinas\u2019 (\u2018Notes for the History of Lucena\u2019s Brotherhoods and Confraternities\u2019) by Francisco L\u00f3pez Salamanca, Lucena\u2019s official chronicler (2022) \/ Article \u2018Algunas notas sobre la santer\u00eda lucentina\u2019 (‘Some Notes on Lucena\u2019s Santer\u00eda\u2019) by Manuel Guerrero Cabrera.<\/span><\/p>\n

Photographs: Jes\u00fas Ca\u00f1ete Fern\u00e1ndez<\/span><\/p>\n

Processional throne infographic: DIEV Dise\u00f1o Evolutivo<\/span><\/p>\n

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