The Roseta of Tenerife has travelled to Madrid through an exclusive workshop led by Tenerife artisan Antonio Rodríguez. The Museum of Popular Art and Traditions at the Autonomous University of Madrid hosted this training session on Thursday and Friday for fifteen people to bring closer the history and techniques of this traditional needle lace originating from the Canary Islands.
This initiative, promoted by the Cabildo of Tenerife through the Island Craft Company, forms part of efforts to publicise and preserve the island’s rich cultural heritage, especially with regard to its most representative artisanal crafts, as noted by the island corporation in a press release.
Antonio Rodríguez, a natural lace maker from Los Realejos and expert in this technique, guided participants through both a theoretical and practical journey. The 10-hour workshop was spread over two days, starting with an introduction to the origin, evolution, and ethnographic value of the roseta, before moving on to the practical part: from preparing the base material to executing the various stitches and designs characteristic of this textile art.
Efraín Medina, island councillor for Employment and Education, highlighted the importance of this activity: “Being able to showcase the roseta beyond our island borders is a significant achievement, as it allows us to establish links with other textile traditions and continue spreading a technique that is part of our cultural identity”.
The councillor recalled that the roseta, along with lace making, saw a notable rise at the end of the 19th century, transitioning from a domestic activity to becoming a source of employment for many families, preserved to this day thanks to the work of artisans like Rodríguez.
About the Roseta of Tenerife
Known as roseta or Tenerife roses, it is recognised worldwide as a type of lace characterised by its circular flower-like shape. It is one of the most emblematic needleworks of the Canary Islands, which saw significant development in the southern regions of Tenerife such as Vilaflor, Arona, Granadilla, or San Miguel; in the north like La Orotava and other islands.
These laces achieved great development throughout the 16th, 17th and 18th centuries in various parts of the peninsula, particularly in Salamanca, Soles de Salamanca; Cáceres Soles de Casar; Catalonia Puntos de Cataluña and in the Canary Islands, Soles Canarios. Over the years, this craft has gained its own identity through the creation of unique models and techniques.
Since its inception, the making of rosetas was the work of women, usually housewives from rural areas. However, commercialisation at the end of the 19th century led to large-scale production, employing paid labour for lace manufacturing.
