San­tia­go de Cu­ba

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It is the ca­pi­tal of the na­me­sa­ke pro­vin­ce. At­trac­ti­ve on ac­count of its peo­ple, in­com­pa­ra­ble history and mu­si­cal roots en­ri­ched by a mix­tu­re of ra­ces and cul­tu­re that con­ver­ge in the most Ca­rib­bean of all Cu­ban ci­ties. It is the only one that has re­cei­ved the ho­no­rary title of Ciu­dad Hé­roe de la Re­pú­bli­ca de Cu­ba (He­ro City of the Re­pu­blic of Cu­ba.) Se­ven­teen si­tes of the te­rri­tory ha­ve been de­cla­red Mo­nu­men­to Na­cio­nal (Na­tio­nal Mo­nu­ment.) Its foun­da­tion in 1515 mar­ked an im­por­tant mi­les­to­ne in the ex­pan­sion of Spa­nish co­lo­nia­lism in Ame­ri­ca, which ma­de it pos­si­ble for its his­to­ric cen­ter to evol­ve ra­pidly, reaching an area of 2.5 sq km. It has the en­ti­re ne­ces­sary in­fras­truc­tu­re to pro­mo­te tou­rism events, con­gres­ses and al­so has, in its moun­tai­nous and ma­ri­ne en­vi­ron­ment, all con­di­tions to de­ve­lop eco­tou­rism in its forms of ad­ven­tu­re and hiking, as well as nau­ti­cal ac­ti­vi­ties, re­cep­tion of crui­ses and health tou­rism.

Ca­pi­tal: San­tia­go de Cu­ba

Ex­ten­sion: 6 156 Km2 Mu­ni­ci­pa­li­ties: San­tia­go de Cu­ba, San Luis, Pal­ma So­riano, Gua­má, Ter­cer Fren­te, Se­gun­do Fren­te, Con­tra­maes­tre, Son­go la Ma­ya and Ju­lio An­to­nio Me­lla.

Demonym: san­tia­gue­ro/a Li­mits: It li­mits to the north with the pro­vin­ce of Hol­guín; to the east with the pro­vin­ce of Guan­tá­na­mo; to the south with the Ca­rib­bean Sea, and to the west with Gran­ma pro­vin­ce.

Ac­ces­ses: San­tia­go de Cu­ba is con­nec­ted to Ha­va­na and the rest of the country by the Cen­tral High­way and by rail. The Vía Azul and Om­ni­bus Na­cio­na­les bus li­nes con­nect it di­rectly with Ha­va­na, Tri­ni­dad, Va­ra­de­ro, Ba­ra­coa and Ca­ma­güey, and in­di­rectly with the ot­her pro­vin­cial ca­pi­tals. By air, the pro­vin­ce can be ac­ces­sed th­rough the An­to­nio Ma­ceo In­ter­na­tio­nal Air­port whi­le by sea it can be ac­ces­sed th­rough the In­ter­na­tio­nal Crui­se Ter­mi­nal and the Ma­ri­na San­tia­go de Cu­ba al­so known as Pun­ta Gor­da.



It is lo­ca­ted at the jun­ction of Agui­le­ra, San Pe­dro (Ge­ne­ral La­cret), He­re­dia and San­to To­más (Fe­lix Pe­na) streets. It is the main squa­re of the city who­se si­te dates from the six­teenth cen­tury, when the main buil­dings and ins­ti­tu­tions of the newly

foun­ded town around it be­gan to be es­ta­blis­hed. It cons­ti­tu­tes a hub spot whe­re the so­cial, cul­tu­ral and po­li­ti­cal li­fe of the city con­ver­ges. Na­med af­ter the Foun­ding Fat­her of the Na­tion, Car­los Ma­nuel de Cés­pe­des, on its south si­de it has a mo­nu­ment de­di­ca­ted to the me­mory of the he­ro of the in­de­pen­den­ce of the Is­land. In its su­rroun­ding ar­chi­tec­tu­re di­ver­se ar­chi­tec­to­nic sty­les are pre­sent, as well as so­me of the buil­dings that are hall­marks of the city.


Agui­le­ra bet­ween San Pe­dro (Ge­ne­ral La­cret) and San­to To­más (Fé­lix Pe­na) streets.

In 1950, it was de­ci­ded to pro­mo­te the cons­truc­tion of a buil­ding that was worthy head­quar­ters of the town hall. The new Mu­ni­ci­pal Pa­la­ce was the fi­nal pro­duct of a ten­der put out for that pur­po­se on Ja­nuary 31, 1951. The cons­truc­tion of the pro­ject con­clu­ded on Oc­to­ber 18, 1954: the da­te on which it was inau­gu­ra­ted.

The buil­ding re­pro­du­ces the co­lo­nial est­he­tic co­des with a ring-sha­ped floor plan, in­te­rior pa­tio and su­rroun­ding ga­lle­ries, in­cli­ned roofs of lo­cal roof ti­les fi­nis­hed with ea­ves of ti­led roofs, con­ti­nuous bal­co­nies sup­por­ted by mo­di­llions, roofs that rest on right feet, tur­ned woo­den bars, Spa­nish doors of nails and cuar­te­ro­nes, ocu­li and round ar­ches. This was the pla­ce from whe­re Fi­del Cas­tro ad­dres­sed a crowd and an­noun­ced for the first ti­me, the Triumph of the Re­vo­lu­tion on Ja­nuary 1, 1959. It is cu­rrently the seat of the Mu­ni­ci­pal As­sembly of the Peo­ple's Po­wer.


602 San­to To­más (Fe­lix Pe­na) bet­ween Agui­le­ra and He­re­dia, Tel 022 65 2652

It is con­si­de­red the ol­dest pre­ser­ved Spa­nish buil­ding in La­tin Ame­ri­ca and the ol­dest hou­se on the is­land, due to which it cons­ti­tu­tes a va­lua­ble sam­ple of the ar­chi­tec­tu­re of the early days of co­lo­nial ti­mes. Built bet­ween 1516 and 1530, it was the seat of the first go­vern­ment of Cu­ba. It has va­rious ar­chi­tec­tu­ral and de­co­ra­ti­ve Mu­de­jar sty­le ele­ments such as bars and woo­den shut­ters. On the lo­wer floor was es­ta­blis­hed a gold foundry that is still main­tai­ned in the back of the pre­mi­ses. The hou­se cu­rrently hou­ses the Mu­seo de Am­bien­te His­tó­ri­co Cu­bano in who­se rooms are pre­ser­ved the ori­gi­nal fur­ni­tu­re and de­co­ra­tions, as well as ot­her pie­ces of in­va­lua­ble ar­chaeo­lo­gi­cal and his­to­ri­cal va­lue from the six­teenth, se­ven­teenth, eigh­teenth, and ni­ne­teenth cen­tu­ries. Iden­ti­fied al­so as Mu­seo de Ar­te Co­lo­nial (Mu­seum of Co­lo­nial Art,) the­re are peo­ple who ha­ve bap­ti­zed it as Mu­seum of Fur­ni­tu­re.


San­to To­más (Fé­lix Pe­na) bet­ween San Ba­si­lio and He­re­dia streets, Tel 022 65 4586

It was the first Cat­he­dral of the Is­land. In 1522, the Pa­rish Church of San­tia­go de Cu­ba, ca­lled Er­mi­ta de San­ta Ca­ta­li­na, was de­cla­red a cat­he­dral by Po­pe Adriano VI, and its seat was es­ta­blis­hed in the city. Its cons­truc­tion en­ded in 1526. It suf­fe­red da­ma­ges du­ring the earth­qua­kes of 1678, 1766, 1852 and 1932. In 1882 it re­cei­ves from the Holy See the title of Minor Ba­si­li­ca. Bet­ween 1919 and 1922 it was sub­jec­ted to a ca­pi­tal re­mo­de­ling pro­jec­ted by ar­chi­tect Car­los Se­gre­ra, who en­do­wed it with its cu­rrent ap­pea­ran­ce. It was at this ti­me that the mar­ble ef­figy of Ar­cán­gel Ga­briel was pla­ced on top of the main pe­di­ment, the height of the to­wers was in­crea­sed and the in­te­rior was mo­di­fied with

the pla­ce­ment of drop­ped cei­lings de­co­ra­ted with pain­tings and or­na­ments in plas­ter and pa­pier ma­che. In 1958 it was de­cla­red a Na­tio­nal Mo­nu­ment.


Foun­ded on De­cem­ber 28, 1963, it ex­hi­bits pie­ces co­rres­pon­ding to Cat­ho­lic re­li­gious art and its evo­lu­tion from ar­ti­sa­nal forms to the Pré­cieu­ses with pie­ces of high va­lue. Among the pic­to­rial works that it keeps the­re is a va­lua­ble co­llec­tion of oil por­traits of the bis­hops and arch­bis­hops of Cu­ba. The pre­sen­ce in this mu­seum of the "San­to Ec­ce Ho­mo," ma­de in Car­ta­ge­na de In­dias in 1610 and con­si­de­red the ol­dest re­li­gious pain­ting in Cu­ba, is no­te­worthy. It al­so ex­hi­bits ot­her ob­jects such as staffs, sta­tues, cru­ci­fi­xes and ot­her high-va­lue pain­tings such as "La Virgen del Car­men" by Ni­co­lás de la Es­ca­le­ra; "La Virgen de las An­gus­tias" pain­ted with the tech­ni­que of chia­ros­cu­ro of the Spa­nish school of Ri­ve­ra and Ri­bal­ta; "Ec­ce Ho­mo" from Mu­ri­llo's school; "Cris­to Rey" by Luis De­san­gles, and "La Virgen de la Ca­ri­dad de El Co­bre" by Spa­niard Víc­tor Pa­tri­cio Lan­da­lu­ze.


21 He­re­dia bet­ween San Pe­dro (Ge­ne­ral La­cret) and San Fe­lix (Hart­man) streets, Tel: 022 65 3021

La­be­led by the press at its ti­me as "...a dis­play of mo­dern ar­chi­tec­tu­re," in 1913 they be­gan the cons­truc­tion of the fi­ves­tory buil­ding, which works we­re ma­de in just se­ven months, being pre­sen­ted on Ja­nuary 1,

1914. Es­ta­blis­hed with the Ca­sa Gran­da na­me, the ho­tel was inau­gu­ra­ted on Ja­nuary 10, 1914. It was said to be one of the best ho­tels du­ring The Re­pu­blic ti­mes, moun­ted per­fectly in Eu­ro­pean sty­le. In 1916, ar­chi­tect Car­los Se­gre­ra de­sig­ned the Roof Gar­den, which cu­rrently cons­ti­tu­tes one of its main at­trac­tions. The buil­ding is dis­tin­guis­hed by the ma­jesty and so­briety of its de­co­ra­ti­ve ele­ments that gi­ve it ele­gan­ce and com­bi­ne in per­fect har­mony with the su­rroun­dings of Par­que Cés­pe­des.


San Pe­dro (Ge­ne­ral La­cret) and Agui­le­ra streets

In the su­rroun­dings of the Cés­pe­des Park, be­fo­re the im­po­sing ima­ge of the Cat­he­dral, the buil­ding of the San Car­los Club was the one of grea­test dis­tin­ctions. At pre­sent, it hou­ses va­rious of­fi­ces such as ban­king and tou­rism of­fi­ces, and the Galería Orien­te, an art cen­ter be­lon­ging to the Ba­car­di Mu­seum. Foun­ded on Ju­ne 22, 1962, it has a main hall whe­re tra­ve­ling ex­hi­bi­tions are set, an ex­po-se­lling room that ex­hi­bits the best and most aut­hen­tic art of the city in all its ma­ni­fes­ta­tions and a court­yard of great ar­chi­tec­tu­ral beauty. The Ga­llery al­so of­fers di­rect con­tact with ar­tists, ca­ta­logs and in­for­ma­tion of his­to­ri­cal so­cial and cul­tu­ral cha­rac­ter of the city.


He­re­dia and Ma­riano Co­ro­na streets

Sin­ce its ope­ning, on No­vem­ber 7, 2015, Ca­sa Dranguet pro­mo­tes ac­tions ai­med at sa­fe­guar­ding the cul­tu­re lin­ked to the cof­fee he­ri­ta­ge, es­pe­cially in San­tia­go de Cu­ba and in the eastern part of Cu­ba. The old hou­se of Don Car­los Dranguet Tho­mas, res­to­red as part of the ac­tions for the ce­le­bra­tion of the 500th An­ni­ver­sary of the foun­da­tion of the town of San­tia­go de Cu­ba, is the head­quar­ters of the pro­ject

"Los Ca­mi­nos del Ca­fé." The pro­perty con­sists of two le­vels, with a co­lo­nial sty­le of neo­clas­si­cal in­fluen­ce and a C-sha­ped floor plan. It was built bet­ween 1859 and 1861. Its per­ma­nent ex­hi­bi­tion hall shows the va­lues of the cof­fee cul­tu­ral he­ri­ta­ge of the sout­heas­tern re­gion of Cu­ba, th­roug­hout its history, with spe­cial emp­ha­sis on the ves­ti­ges that are still pre­ser­ved in the moun­tai­nous San­tia­go te­rri­tory.


208 He­re­dia bet­ween San Pe­dro (Ge­ne­ral La­cret) and San Fe­lix (Hart­man) streets, Tel: 022 62 3943 Known as the birth­pla­ce of Son (mu­si­cal gen­re,) it was the official re­si­den­ce of the fa­med com­po­ser Rafael Sal­ce­do. It is the pla­ce whe­re son, bo­le­ro and the tra­di­tio­nal tro­va of San­tia­go ha­ve their ho­me with groups of me­dium and small for­mat. It is the usual mee­ting pla­ce of the Sep­te­to San­tia­gue­ro and ot­her greats of the tra­di­tio­nal tro­va such as He­lia­des Ochoa. With its history it re­veals the vi­si­tor the es­sen­tial me­lo­dies of the tra­di­tio­nal Cu­ban mu­si­cal he­ri­ta­ge.


260 He­re­dia bet­ween San Fe­lix (Hart­man) and Pio Ro­sa­do, Tel: 022 62 5350

It is the pla­ce whe­re Jo­sé Ma­ría He­re­dia and He­re­dia was born on De­cem­ber 31, 1803 and li­ved his first two years, who is con­si­de­red the First Ro­man­tic Poet of the Spa­nish Language. The buil­ding, des­cri­bed as one of the ol­dest hou­ses in the city, is a sig­ni­fi­cant exam­ple of the co­lo­nial ar­chi­tec­tu­re of the mid-eigh­teenth cen­tury with a mar­ked in­fluen­ce of Moo­rish or Ara­bic art. The hou­se has been pre­ser­ved un­til our days, thanks to the ma­na­ge­ment of the He­re­dia Board, an as­so­cia­tion of­fi­cially crea­ted in 1889 by illus­trious pa­triots who wat­ched over the pre­ser­va­tion of this his­to­ri­cal cul­tu­ral trea­su­re of their city. In 1979 it was de­cla­red a Na­tio­nal Mo­nu­ment. It is cu­rrently an im­por­tant cen­ter pro­mo­ting na­tio­nal li­te­ra­tu­re and art.


303 He­re­dia bet­ween Car­ni­ce­ría and Cal­va­rio streets, Tel: 022 62 6955

The cons­truc­tion of the buil­ding dates from the end of the 18th cen­tury, con­ser­ving still va­lua­ble ele­ments of its ori­gi­nal car­pentry. Sin­ce 1983 it has been the head­quar­ters of the Car­ni­val Mu­seum and its halls ex­hi­bit the history of this fes­ti­vity di­vi­ded in­to th­ree sta­ges, the car­ni­val in the co­lony, the Re­pu­blic, and the Re­vo­lu­tion. By tou­ring its rooms, you can ap­pre­cia­te the history of the San­tia­go Car­ni­val that was ori­gi­na­ted in the re­li­gious pro­ces­sions of July 25, de­di­ca­ted to San­tia­go Após­tol. The mu­seum trea­su­res im­por­tant ob­jects that cons­ti­tu­te ele­ments of this tra­di­tion such as mo­dels of floats, trop­hies, ban­ners, cos­tu­mes, ca­pes and street de­co­ra­tions. It al­so has a room de­di­ca­ted to the mu­si­cal ins­tru­ments of the groups par­ti­ci­pa­ting in the­se fes­ti­vals: the Ca­bil­do Ca­ra­ba­lí, the Tum­ba Fran­ce­sa and the con­ga san­tia­gue­ra.


358 San Ba­si­lio (Bar­to­lo­mé Ma­só) and Car­ni­ce­ría streets, Tel 022 62 8884

On Ju­ne 24, 1996, it ope­ned its doors as the Mu­seum of Rum, with the mis­sion of pre­ser­ving and sprea­ding the history of the San­tia­go rum in­dustry, who­se ori­gins da­te back to the end of the 18th cen­tury. The mu­seum trea­su­res mo­re than 80 ty­pes of dis­ti­lled rums in Cu­ba and in ot­her coun­tries of the re­gion. It has six ex­hi­bi­tion rooms th­rough which you can re­view the history of the Cu­ban su­gar in­dustry, the ap­pea­ran­ce of brandy and rum as a by-pro­duct of it. Among its main at­trac­tions are old ma­chi­nery used in the bottling pro­cess at the be­gin­ning of the 20th cen­tury, and a room with aging ba­rrels and the tools used in its cons­truc­tion and re­pair. Its main room, ca­lled San­tia­go, is di­vi­ded in­to two ex­hi­bi­tion areas. The first one ex­hi­bits mo­dels of the Ca­ney and Ma­tu­sa­lem rum fac­to­ries, pho­to­graphs of the main fac­to­ries be­fo­re 1959 and a co­llec­tion of pro­mo­tio­nal la­bels. The se­cond one shows a per­ma­nent ex­hi­bi­tion of the de­ve­lop­ment of the rum in­dustry in San­tia­go de Cu­ba from its be­gin­nings to the pre­sent.


Car­ni­ce­ría bet­ween Agui­le­ra and He­re­dia streets, Tel 022 64 8402

Foun­ded in 1899 by Don Emi­lio Ba­car­dí Mo­reau, the first Ma­yor of San­tia­go de Cu­ba, it is the first ins­ti­tu­tion of its kind in Cu­ba. It trea­su­res an ama­zing co­llec­tion with sam­ples of the pre-co­lum­bian cul­tu­res, na­tio­nal and in­ter­na­tio­nal art, as well as the history of the country, be­lon­ging to its crea­tor. On the first floor, it shows ob­jects re­la­ted to sla­very on the Is­land and a co­llec­tion

of an­cient wea­pons. Among its his­to­ri­cal pie­ces of great va­lue, it has a coat be­lon­ging to Jo­sé Mar­tí, Na­tio­nal He­ro of Cu­ba, and va­rious ob­jects be­lon­ging to the Foun­ding Fat­her of the Na­tion Car­los Ma­nuel de Cés­pe­des. The mu­seum has an Egy­ptian mummy and Pa­ra­cas mum­mies from Pe­ru, as well as a sh­run­ken head. The art ga­llery lo­ca­ted on its se­cond floor ex­hi­bits a co­llec­tion of Cu­ban co­lo­nial pain­tings, as well as works of the Spa­nish Renaissance and pie­ces by im­por­tant Cu­ban crea­tors such as Wil­fre­do Lam and Re­né Por­to­ca­rre­ro.


Lo­ca­ted in the in­ter­sec­tion or Agui­le­ra, Cal­va­rio (Por­fi­rio Va­lien­te), En­ra­ma­das (Jo­sé An­to­nio Sa­co), and Re­loj (Ma­yía Ro­drí­guez) streets

As the se­cond most im­por­tant squa­re of the city emer­ged in the early years of the se­ven­teenth cen­tury, it was in­ten­ded for re­li­gious ac­ti­vi­ties. Un­til 1776 it cons­ti­tu­ted one of the li­mits of the city and the­re­fo­re the en­tran­ce by land of the agri­cul­tu­ral pro­du­ce co­ming from El Ca­ney. This is the reason why it was tur­ned in­to a mar­ket, com­bi­ning this fun­ction with the re­li­gious one. In 1910 it was re­no­va­ted re­pla­cing the cen­tral foun­tain with a sta­tue of the pa­triot Fran­cis­co Vicente Agui­le­ra. In 1994, a re­mo­de­ling pro­ject adap­ted to its to­po­graphy was initia­ted. It is cu­rrently an area of strong pe­des­trian

cir­cu­la­tion and busy ac­ti­vity, as it main­tains a cons­tant in­flux of pu­blic, gi­ven the exis­ten­ce around it of res­tau­rants and com­mer­cial fa­ci­li­ties


Agui­le­ra and Re­loj (Ma­yía Ro­drí­guez) streets, Tel: 022 62 4623

Nues­tra Se­ño­ra de los Do­lo­res church, cu­rrently con­ver­ted in­to the Do­lo­res Con­cert Hall, is lo­ca­ted south of the na­me­sa­ke pla­za, at­ta­ched to the Je­suit Do­lo­res School, whe­re Fi­del Cas­tro stu­died in his youth. As of Ja­nuary 1, 1989, it was con­ver­ted in­to a con­cert hall. This pla­ce is not only ap­pre­cia­ted for its ar­chi­tec­tu­ral attributes, but al­so for its ex­ce­llent acous­tic qua­li­ties put to the test in con­certs of symp­ho­nic, ly­ri­cal and cham­ber mu­sic, as well as in the in­ter­na­tio­nal choir fes­ti­vals that it hosts an­nually. It has a Rie­ger-kloss or­gan, ma­nu­fac­tu­red by a pres­ti­gious Czech firm that has ma­nu­fac­tu­red mo­re than 400 units of its kind in the world.


It is lo­ca­ted in one of the most po­pu­lous and hig­hest points of the city, oc­cup­ying about 5000 sq m. It pays tri­bu­te to the Li­be­ra­tion Army of Cu­ba with the “Co­lum­na de la Li­ber­tad” (Co­lumn of Free­dom) de­di­ca­ted to Cu­bans who fought for free­dom in the 19th cen­tury. In the sa­me spa­ce it oc­cu­pies to­day, the sol­diers and vo­lun­teers of the Spa­nish army we­re trai­ned, and the young re­vo­lu­tio­na­ries cons­pi­red against ty­ranny in the Re­pu­blic. The pla­za and the sta­tues of Pe­ru­cho Fi­gue­re­do, aut­hor of the Na­tio­nal Ant­hem stand out in the pla­za; that of Ma­jor Ge­ne­ral Fran­cis­co Sán­chez He­cha­va­rría, first elec­ted go­ver­nor of the then pro­vin­ce of Orien­te, and that of Bri­ga­dier Ge­ne­ral and dis­tin­guis­hed sur­geon and re­sear­cher, Joa­quín Cas­ti­llo Duany, the first Cu­ban ex­plo­rer of the North Po­le and a sup­por­ter of in­de­pen­den­ce; as well as ot­her mo­nu­ments de­di­ca­ted to Jo­sé Mar­tí and the he­roes of the Re­vo­lu­tion.


The Ca­lle de las En­ra­ma­das, one of the ol­dest in the city, has been known over ti­me as the smi­le of San­tia­go de Cu­ba or the city's girl­friend. It joins the east and west end of the Ur­ban His­to­ric Cen­ter, lin­king the Pla­za de Mar­te with the Pa­seo Ma­rí­ti­mo. The road had, un­til the eigh­teenth cen­tury, se­ve­ral na­mes at the sa­me ti­me de­pen­ding on the sec­tion. Du­ring co­lo­nial ti­mes, the street was the transit si­te of the pro­ces­sions of va­rious fes­ti­vi­ties, so in 1790 it was wi­de­ned and ad­ded a Bal­zac stone curb and it is po­pu­larly ca­lled Ca­lle An­cha. Its most po­pu­lar na­me is due to a tra­di­tion es­ta­blis­hed du­ring the Cor­pus Ch­ris­ti fes­ti­vi­ties. The well-to­do neigh­bors pla­ced aw­nings at the en­tran­ce of their hou­ses so that the pro­ces­sion would not be dis­tur­bed by the sun or the rain, and tho­se not ha­ving an aw­ning would pla­ce a palm tree bo­wer. This road was the first to be pa­ved in 1899 du­ring the North Ame­ri­can in­ter­ven­tion.

Un­til the ni­ne­teenth cen­tury the street was mostly re­si­den­tial, so­met­hing that chan­ged in the first de­ca­des of the twen­tieth cen­tury when it was po­pu­la­ted with shops. The va­rious banks that are still ope­ra­ting and the pre­sen­ce of a tram route from 1908 ga­ve grea­ter pro­mi­nen­ce to the street and rein­for­ced its use as a com­mer­cial tho­rough­fa­re. An ideal pla­ce for re­crea­tion, it of­fers lu­xu­rious ac­com­mo­da­tions such as the Ho­tel Im­pe­rial, as well as nu­me­rous res­tau­rants, ca­fes and shops.


Clo­se to the bay, it re­mains li­ke a walk of trees, pa­ved in so­me of its parts, in ot­hers of po­lis­hed gra­ni­te, with foun­tains and banks. In 1830 the idea of buil­ding a walk aro­se, but it was not un­til 1859 that La Ala­me­da was built and na­med Té­llez, in honor of the go­ver­nor Don Juan Té­llez. To­day the ima­ge of Pa­seo de La

Ala­me­da is due to the pro­ject exe­cu­ted by Ma­yor Luis Ca­se­ro Gui­llén bet­ween 1949 and 1951. In ad­di­tion, com­me­mo­ra­ti­ve mo­nu­ments we­re erec­ted to the me­mory of Ger­mán Mi­chael­sen and Jo­sé Mar­tí. Around it im­por­tant city ar­te­ries con­ver­ge, mo­dern mi­xed shops and re­gal buil­dings of the early twen­tieth cen­tury such as the one cu­rrently hos­ting the Puer­to del Rey Bre­wery, an in­ter­es­ting oa­sis in which one may quench thirst in hot San­tia­go nights.


Fe­lix Pe­na (Hart­man) and Ma­riano Co­ro­na streets

As a na­tu­ral balcony of the city lo­ca­ted on the top of a hill, it was on­ce an old Spa­nish fort. At the mo­ment, it works as a small cul­tu­ral pla­ce that of­fers the vi­si­tor a beau­ti­ful pa­no­ra­ma of the city as well as the pos­si­bi­lity of pur­cha­sing tou­rist pu­bli­ca­tions and sou­ve­nirs.


Ma­riano Co­ro­na bet­ween San Ba­si­lio (Bar­to­lo­mé Ma­só) and J. Cas­ti­llo Duany streets, Tel 022 65 2095

The ela­bo­ra­tion of the mo­del be­gan in the 90s. It is a pro­ject in exe­cu­tion and the ins­ta­lla­tion that ex­hi­bits was inau­gu­ra­ted on Au­gust 1, 2003. In the sam­ple of the mo­del of the city it will con­ti­nue re­pre­sen­ting the ur­ban area of the city of San­tia­go de Cu­ba, with an ex­ten­sion of 91 sq km. The His­to­ric Cen­ter stands out with an ex­ten­sion of 3.2 sq km, de­cla­red a Na­tio­nal Mo­nu­ment in 1978, as well as the bay with the For­tress of Mo­rro at its en­tran­ce.


It is lo­ca­ted in the old Lo­ma de Cor­va­cho, na­med af­ter the sur­na­me of a shop­kee­per who had his bu­si­ness in the next cor­ner. The stair­way was built by or­der of the ma­yor of the city Emi­lio Ba­car­di and Mo­reau who,

de­cli­ning the honor of len­ding his na­me to this work, de­ter­mi­ned to de­di­ca­te it to the one who was Dean of the Cat­he­dral, Dr. Ber­nar­do An­to­nio del Pi­co y Re­din, for his exem­plary li­fe and the lo­ve he had for his pa­ris­hio­ners and peo­ple in ge­ne­ral. To­day, the Pa­dre Pi­co stair­way, along with the ot­her four­teen that the city has, of­fers tho­se who climb them a great view and the sa­tis­fac­tion of ha­ving go­ne th­rough so­met­hing in­dispu­tably San­tia­go.


266 Ban­de­ras bet­ween Ge­ne­ral Por­tuon­do and Ha­ba­na streets, Tel 022 65 2710

It shows the vi­si­tor pho­to­graphs, do­cu­ments and per­so­nal be­lon­gings of the brot­hers and the País Gar­cía fa­mily. It was de­cla­red a Na­tio­nal Mo­nu­ment on Oc­to­ber 10, 1978. The hou­se was built du­ring the se­cond half of the 19th cen­tury. The­re li­ved the brot­hers Frank and Josué País Gar­cía, bra­ve young peo­ple who pla­yed a very im­por­tant ro­le in the strug­gle against the dic­ta­tors­hip of Ful­gen­cio Ba­tis­ta. Frank, a pri­mary school tea­cher, or­ga­ni­zed and directed the ar­med upri­sing of No­vem­ber 30, 1956 in San­tia­go de Cu­ba, in sup­port of the lan­ding of the Gran­ma yacht; and la­ter he was de­sig­na­ted by Fi­del Cas­tro as the chief of ac­tion and sa­bo­ta­ge of the July 26 mo­ve­ment.


268 Car­ni­ce­ría bet­ween Ha­ba­na and Tri­ni­dad streets, Tel. 022 66 9440.

It is a mu­sic-dan­cing tra­di­tion. Ha­ving the me­rit of pre­ser­ving up to the pre­sent, han­ded down from ge­ne­ra­tion to ge­ne­ra­tion em­pi­ri­cally and orally, their songs, tou­ches, drum beats, lin­guis­tic phe­no­me­na, cu­li­nary he­ri­ta­ge, the res­pect for their an­ces­tors and the need to main­tain their ori­gins, is what ma­kes it worthy of re­cog­ni­tion as a ca­rrier group of tra­di­tio­nal Cu­ban and universal po­pu­lar cul­tu­re. De­cla­red a masterpiece

of the In­tan­gi­ble and Oral He­ri­ta­ge of Humanity, on No­vem­ber 3, 2003, it is a group that bears a 150-years old aut­hen­tic tra­di­tion. Emer­ged as an ex­pres­sion of the fu­sion of the Afri­can rhythms from the Daho­mey re­gion and French dan­ces, it bears socio-cul­tu­ral va­lues that cha­rac­te­ri­ze this group sin­ce its crea­tion on Fe­bruary 24, 1862 to our days, main­tai­ning an unin­te­rrup­ted work.


207 Ma­ceo bet­ween Co­ro­na and Ras­tro streets, Tel 022 62 3750

It is the hou­se whe­re the “Ti­tán de Bron­ce” was born on Ju­ne 14, 1845, bap­ti­zed with the na­me of An­to­nio de la Ca­ri­dad Ma­ceo Gra­ja­les. The Mu­seum has four ex­hi­bi­tion rooms that, by the­mes, ex­po­se the mi­li­tary ca­reer of Ge­ne­ral An­to­nio, the history of the Ma­ceo-gra­ja­les fa­mily and the po­li­ti­cal thought of the pro­ta­go­nist of the firm “Pro­tes­ta de Ba­ra­guá.” The per­so­nal ob­jects of the fa­mily stand out in the ex­hi­bi­tion of the ins­ti­tu­tion and the prin­ting hou­se whe­re the news­pa­per "El Cu­bano Li­bre" was reis­sued in 1895.


25 Abel San­ta­ma­ría His­to­ri­cal Com­plex

Tri­ni­dad bet­ween Ca­lle Nue­va and Ca­rre­te­ra Cen­tral streets, Tel. 022 62 4119

It is com­po­sed by the Abel San­ta­ma­ría Mu­seum, the Mu­ni­ci­pal Li­brary, the mo­nu­ment de­di­ca­ted to the re­vo­lu­tio­nary lea­der from San­tia­go de Com­pos­te­la Abel San­ta­ma­ría Cua­dra­do, and the ins­ti­tu­tion lo­ca­ted on the si­te of the ruins of the for­mer Sa­tur­nino Lo­ra Hos­pi­tal.

26 Abel San­ta­ma­ría Squa­re Park

In its cen­ter the­re is a gi­gan­tic gra­ni­te cu­be-sha­ped foun­tain who­se fa­ces are car­ved with the fa­ces of Abel San­ta­ma­ría and Jo­sé Mar­tí. At the ba­se of the foun­tain you can see a beau­ti­ful and com­plex geo­me­tric la­yout in the form of an eight-poin­ted star that har­mo­ni­zes with the straight li­nes of the scul­ptu­ral set in ge­ne­ral.

27 Abel San­ta­ma­ría Mu­seum, for­mer Sa­tur­nino Lo­ra Hos­pi­tal,

Tel. 022 62 4119.

The mu­seum oc­cu­pies the re­mains of the for­mer Sa­tur­nino Lo­ra Hos­pi­tal, an ins­ti­tu­tion that on July 26, 1953 was as­saul­ted by Abel San­ta­ma­ría along with twenty-two young re­vo­lu­tio­nar-

ies, in or­der to open fi­re from the­re against the Mon­ca­da Ba­rracks. They we­re cap­tu­red in the ac­tion and in the­se sa­me fa­ci­li­ties they we­re tor­tu­red and ki­lled. On Oc­to­ber 16 of that sa­me year, the­re took pla­ce the trial against Fi­del Cas­tro, on ac­count of the events of the Mon­ca­da, whe­re he de­li­ve­red his his­to­ric speech La His­to­ria me Ab­sol­ve­rá (History Will Ab­sol­ve Me.) It was ope­ned to the pu­blic as a mu­seum in 1973 and its ni­ne rooms show the history of the hos­pi­tal, per­so­nal be­lon­gings of the com­ba­tants of the afo­re­men­tio­ned ac­tion and the room whe­re the afo­re­men­tio­ned trial took pla­ce.


This pro­perty was de­cla­red a Na­tio­nal Mo­nu­ment on July 10, 1998. The buil­ding was de­sig­ned in the 40s of the twen­tieth cen­tury and in­si­de the­re we­re two pu­blic hea­rings re­la­ted to trials num­ber 37 of the year 1953 and num­ber 67 of the year 1956. The first was the trial of the sur­vi­vors of the ar­med re­vo­lu­tio­nary ac­tion of July 26 whe­re 30 as­sai­lants of the ba­rracks of San­tia­go de Cu­ba and Ba­ya­mo we­re pro­se­cu­ted. In the se­cond, tho­se in­vol­ved in the ar­med upri­sing of No­vem­ber 30, 1956 in sup­port of the di­sem­bar­ka­tion of the Gran­ma Yacht we­re ac­cu­sed.


Ge­ne­ral Por­tuon­do bet­ween Mon­ca­da and Ave­ni­da de los Libertadores streets, Tel 022 66 1157

The going down in history of this mi­li­tary for­tress oc­cu­rred af­ter the as­sault ca­rried out by the youths of the so-ca­lled Ge­ne­ra­ción del Cen­ter­na­rio (Cen­ten­nial Ge­ne­ra­tion) that, gui­ded by Fi­del Cas­tro on July 26, 1953, tried to ta­ke the for­tress, and then hea­ded to the hills of San­tia­go de Cu­ba and from the­re wa­ged the fight against the ty­ranny of Ful­gen­cio Ba­tis­ta. Af­ter the re­vo­lu­tio­nary triumph of 1959, it was tur­ned in­to the Ciu­dad Es­co­lar 26 de Ju­lio. Part of the fa­ci­li­ties of the for­mer

ba­rracks hou­se the Mu­seo His­tó­ri­co 26 de Ju­lio (His­to­ri­cal Mu­seum July 26,) al­so known as the Mu­seo de la Re­vo­lu­ción (Mu­seum of the Re­vo­lu­tion, Tel 022 66 1157), which shows in its rooms the history of the events of July 26, 1953 and its con­se­quen­ces for the de­ve­lop­ment of the re­vo­lu­tio­nary strug­gle. The mu­seum trea­su­res an im­pres­si­ve co­llec­tion of wea­pons, among which are so­me be­lon­ging to Fi­del Cas­tro and ot­her re­vo­lu­tio­nary figh­ters, as well as uni­forms, mi­li­tary plans, pho­to­graphs, and a mo­del of the mi­li­tary fa­ci­lity.


Lo­ca­ted to the south of Ave­ni­da Pu­jol, it cons­ti­tu­tes a sym­bo­lic spa­ce, which fun­ctions as the ver­du­re of the city. On the hill two works stand out for their his­to­ri­cal sig­ni­fi­can­ce: the ins­crip­tion that ex­pres­ses why this con­flict should be ca­lled Spa­nish-cu­ban-ame­ri­can War and the mo­no­lith un­vei­led on the cen­te­nary of the event, whe­re its trans­cen­den­ce for the Cu­ban peo­ple is evi­dent. Al­so, in a sug­ges­ti­ve triad, the re­pre­sen­ta­tions of the th­ree ar­mies are gat­he­red: the Unk­nown Ame­ri­can Sol­dier (1926), the Vic­to­rious Mam­bí (1929) and the Spa­nish Sol­dier Fa­llen in the Pur­suan­ce of his Duty (1929), pie­ces of re­mar­ka­ble va­lue This is an art that in­ter­wea­ves with ins­crip­tions, tren­ches, forts and can­nons.


154, 13th Street, Tel 022 64 3609

Crea­ted in Ju­ne 1982, it stands out in the hos­ting of events and aca­de­mic works­hops whe­re folk art is re­flec­ted on, as well as fam cour­ses about the history of the guest coun­tries in the Ca­rib­bean Fes­ti­vals. It spon­sors every year, from July 3 to 9 in San­tia­go de Cu­ba, the Fes­ti­val del Ca­ri­be (al­so known as the Fi­re Fest).


Ave­ni­da de las Amé­ri­cas and Ave­ni­da de los Libertadores.

A mo­nu­men­tal com­plex com­po­sed of se­ve­ral ele­ments that ma­ke up the Pla­za de la Re­vo­lu­ción An­to­nio Ma­ceo Gra­ja­les. The gi­gan­tic bron­ze eques­trian sta­tue by the San­tia­go ar­tist Alberto Les­cay, which re­pre­sents the Ge­ne­ral Lieu­te­nant of the wars of in­de­pen­den­ce of the XIX cen­tury, An­to­nio Ma­ceo, an illus­trious son of this city, stands out in this pla­ce. Su­rroun­ding the sta­tue are twenty-th­ree giant steel ma­che­tes ma­de by plas­tic ar­tist Gua­rio­nex Fe­rrer. To the north of the squa­re the­re is an eter­nal fla­me com­me­mo­ra­ting the fi­gu­re of this fa­mous pa­triot. At the ba­se of the mo­nu­ment is the Sa­la de Ex­po­si­ción Ho­lo­grá­fi­ca (Tel 022 64 3053) who­se ex­hi­bi­tion is ba­sed on ho­lo­grap­hic re­pre­sen­ta­tions of the li­fe and re­vo­lu­tio­nary strug­gle of An­to­nio Ma­ceo.


Ave­ni­da de Las Amé­ri­cas and Ave­ni­da de los Des­fi­les

It is lo­ca­ted on the east si­de of the Pla­za de la Re­vo­lu­ción An­to­nio Ma­ceo and on its front it has a giant mu­ral that re­pre­sents the re­vo­lu­tio­nary com­man­der Juan Al­mei­da Bos­que. Con­si­de­red the most im­por­tant cul­tu­ral cen­ter of the city of San­tia­go, it is na­med af­ter the illus­trious San­tia­go poet Jo­sé Ma­ría He­re­dia. It is the only thea­ter de­sig­ned and built in Cu­ba af­ter the Triumph of the Re­vo­lu­tion.


Cal­za­da de Crom­bet, Tel 022 63 3522

On April 22, 1868, the San­ta Ifi­ge­nia ce­me­tery be­gan to ope­ra­te, con­si­de­red one of the ol­dest

in Cu­ba that is still ac­ti­ve. Its mo­re than 9.4 hec­ta­res in length keep the re­mains of per­so­na­li­ties lin­ked to history, cul­tu­re, scien­ce and sports. As the si­te of fi­nal rest of se­ve­ral ge­ne­rals and figh­ters of the dif­fe­rent sta­ges of the re­vo­lu­tio­nary strug­gles for the in­de­pen­den­ce of the Is­land, is cu­rrently one of the main pla­ces of pil­gri­ma­ge for tho­se who vi­sit the city of San­tia­go. Sin­ce Oc­to­ber 10, 2017, next to the mau­so­leum that keeps the mor­tal re­mains of Jo­sé Mar­tí,

Na­tio­nal He­ro, and the fu­ne­rary mo­no­lith of Fi­del Cas­tro, the fu­ne­rary mo­nu­ment of Car­los Ma­nuel de Cés­pe­des, Foun­ding Fat­her of the Na­tion, was re­lo­ca­ted and in an im­pres­si­ve scul­ptu­ral fu­ne­rary com­plex and the re­mains of Ma­ria­na Gra­ja­les, mot­her of the Ma­ceos and Mot­her of the Na­tion we­re pla­ced.


7 ½ km Ca­rre­te­ra del Mo­rro, Tel 022 69 1569

Al­so known as Cas­ti­llo del Mo­rro, it was built bet­ween 1638 and 1643 by the fa­mous mi­li­tary en­gi­neer Bau­tis­ta An­to­ne­lli, in or­der to pro­tect the city from at­tacks by cor­sairs and pi­ra­tes. In 1664, af­ter the at­tack to the city by the pi­ra­te Henry Mor­gan, it was ne­ces­sary to re­cons­truct it al­most in its en­ti­rety be­cau­se it was in ruins. Af­ter this re­pair, it has been re­cons­truc­ted on nu­me­rous oc­ca­sions, being the most im­por­tant the one ma­de by the mi­li­tary en­gi­neer Juan Mar­tín Cer­me­ño, af­ter being al­most des­tro­yed by two earth­qua­kes in 1758 and 1766, which re­mo­de­ling ga­ve it its cu­rrent ap­pea­ran­ce. It was de­cla­red a Na­tio­nal Mo­nu­ment on July 25, 1998 when the si­te was pro­clai­med as a World He­ri­ta­ge Si­te. No­wa­days, it hou­ses the Mu­seo de la Pi­ra­te­ría (Pi­racy Mu­seum,) whe­re you can see an­ti­que wea­pons, plans and ot­her ob­jects re­la­ted to this the­me. The Fa­ro del Mo­rro (Mo­rro Light­hou­se,) built in 1920 and main­tai­ning its ori­gi­nal ma­nual me­cha­nisms, can al­so be vi­si­ted in the for­tress.


Pro­mon­to­rio de San­tia­go del Pra­do, El Co­bre, Telf.022 34 6118

The La Er­mi­ta de El Co­bre, a dis­tant tem­ple 19 ki­lo­me­ters from San­tia­go de Cu­ba, and built in 1927, be­co­mes a des­ti­na­tion that tra­ve­lers should in­clu­de in their agen­da. It is the main

en­clo­su­re of the Virgen de la Ca­ri­dad de El Co­bre, the pa­tron saint of Cu­ban Cat­ho­lics, elec­ted as such by the ve­te­rans of the wars of in­de­pen­den­ce in 1936. Her al­tar was built in mar­ble and her sil­houet­te is usually fa­cing the chapel of the san­ctuary, which is ac­ces­sed th­rough the back, lo­ca­ted on the "Ca­pi­lla de los Mi­la­gros” (Chapel of Mi­ra­cles,) whe­re the­re lay the me­mo­ries and vo­ti­ve of­fe­rings brought as an of­fe­ring by thou­sands of pa­ris­hio­ners. A very spe­cial do­nor was the Ame­ri­can no­ve­list Er­nest He­ming­way, who in 1956 ga­ve the Cu­bans the me­dal that ac­cre­di­ted him as the 1954 No­bel Pri­ze for Li­te­ra­tu­re. On De­cem­ber 30, 1977, Po­pe Paul VI sent the Afri­can Car­di­nal Ber­nar­dín Gan­tin as an emis­sary, in or­der to pro­claim the Her­mi­ta­ge, "Minor Ba­si­li­ca." The Holy Fat­her John Paul II re­tur­ned to crown this Vir­gin du­ring his vi­sit to Cu­ba in 1998. La­ter Po­pe Be­ne­dict XVI ho­no­red the ima­ge with two gifts: a ro­se and a gol­den ro­sary. Du­ring the 400th an­ni­ver­sary of its discovery in 2012, a pil­gri­ma­ge was ma­de th­roug­hout the en­ti­re is­land, cul­mi­na­ting in the fes­ti­vi­ties in the main abo­de of the Vir­gin in Cu­ba, its San­ctuary in El Co­bre.


A scul­ptu­ral work of gi­gan­tic pro­por­tions, ma­de by the ar­tist from San­tia­go Alberto Les­cay, pays ho­ma­ge to cen­tu­ries of sla­ve re­be­llion in La­tin Ame­ri­ca and the Ca­rib­bean. It can be seen from al­most any point in the town of El Co­bre. From its top you can see the beau­ti­ful tur­quoi­se co­lor of the La­gu­na Azul, who­se wa­ters ha­ve ac­qui­red this co­lor due to the oxi­da­tion of the cop­per con­tai­ned in the soil of the re­gion.


Ave­ni­da de los Már­ti­res

Ope­ned in 2013 at the si­te whe­re Com­man­der Juan Al­mei­da Bos­que foun­ded the III Fren­te Orien­tal Ma­rio Mu­ñoz, du­ring the last sta­ge of the re­vo­lu­tio­nary strug­gle, to­day it hou­ses the mau­so­leum whe­re the re­mains of Al­mei­da and 216 ot­her gue­rri­lla figh­ters rest. The mau­so­leum is com­ple­men­ted by the Mu­seo del III Fren­te Gue­rri­lle­ro (Mu­seum of the III Gue­rri­lla Front,) which shows the history and ac­tions of the com­ba­tants of this front by way of ori­gi­nal pie­ces re­la­ted to the events that took pla­ce the­re.


Ave­ni­da de los Már­ti­res, Ma­ya­rí Arri­ba, Tel 022 42 5749

Lo­ca­ted 23 km nort­heast of the city of San­tia­go de Cu­ba, it was the si­te cho­sen by Raúl Cas­tro to found the Se­gun­do Fren­te Orien­tal on March 11, 1958. The com­plex lo­ca­ted on the nort­hern si­de of the town of Ma­ya­rí Arri­ba in­clu­des a mu­seum that ex­hi­bits photos, maps, mi­li­tary equip­ment, a he­li­cop­ter, mo­dels of war­pla­nes and heavy wea­pons. The mu­seum fo­cu­ses mainly on

the re­vo­lu­tio­nary ac­ti­vity of Raúl Cas­tro, Vil­ma Es­pín and Frank País, in the li­be­ra­tion of the Ba­tis­ta troops from the re­gion and the es­ta­blish­ment of a sys­tem of pu­blic ad­mi­nis­tra­tion in 1958.

Mau­so­leum of the II Fren­te

It is a ma­jes­tic mar­ble mo­nu­ment su­rroun­ded by ro­yal palms and ador­ned with red ca­liph gar­dens re­pre­sen­ting the blood shed by the figh­ters in the fight. In­si­de the com­plex the­re is a mo­no­lith that keeps the as­hes of the re­vo­lu­tio­nary figh­ter Vil­ma Es­pin and whe­re the fu­ne­rary ni­che of Ge­ne­ral Raúl Cas­tro is pre­pa­red.


De­cla­red a biosphere re­ser­ve by UNES­CO in 1987, it has 32 400 hec­ta­res and is lo­ca­ted 40 km east of the outs­kirts of San­tia­go de Cu­ba on the bor­der with the pro­vin­ce of Guan­tá­na­mo. De­cla­red a Biosphere Re­ser­ve due to the bio­di­ver­sity it trea­su­res, it is ho­me to se­ve­ral en­de­mic spe­cies of the re­gion. The re­ser­ve is lin­ked to the city th­rough the Ca­rre­te­ra Si­bo­ney, bor­de­red by 26 mo­nu­ments de­di­ca­ted to the fa­llen he­roes in the Mon­ca­da As­sault. The re­gion has bea­ches, which are po­pu­lar among the lo­cal population, mainly on warm wee­kends.


Km 14 Ca­rre­te­ra Si­bo­ney and Ca­rre­te­ra la Gran Pie­dra roads

It is ba­rely 30 ki­lo­me­ters from San­tia­go de Cu­ba, al­most on the ed­ge of the Sierra Maes­tra Na­tio­nal Park and co­vers an area of 3 357 hec­ta­res. The gi­gan­tic

rock sits 1,225 me­ters abo­ve sea le­vel with an es­ti­ma­ted weight of 70,000 tons and di­men­sions of 51 me­ters long, 26 me­ters high and 30 me­ters wi­de, so­met­hing unu­sual that has ma­de it pos­si­ble to in­clu­de the pla­ce in the Book of Guin­ness Re­cords. Ar­chaeo­lo­gi­cal and his­to­ri­cal stu­dies re­veal this area as the main fo­cus of the settle­ments of French emi­grants in the ni­ne­teenth cen­tury, due to the exis­ten­ce in the area of the ruins of cof­fee plan­ta­tions pro­clai­med by UNES­CO World He­ri­ta­ge.


Km 14 Ca­rre­te­ra de la Gran Pie­dra

De­cla­red as World He­ri­ta­ge Si­te by UNES­CO on No­vem­ber 29, 2000, it is part of the set of cof­fee plan­ta­tions es­ta­blis­hed in the re­gion by Fran­co-hai­tian im­mi­grants. It is an ex­ce­llent exam­ple of the agro-in­dus­trial cof­fee he­ri­ta­ge that re­crea­tes the fa­mily li­fe of the foun­der of this plan­ta­tion Víc­tor Cons­tan­tin Cou­son, who left Hai­ti in 1792, th­rough an ex­ce­llent dis­play of fur­ni­tu­re and de­co­ra­ti­ve arts of the ti­me, as well as tools for em­plo­yees in the cof­fee in­dustry.


km 13 ½ Ca­rre­te­ra Si­bo­ney

A small hou­se with red ti­les, lo­ca­ted one km in­land from Si­bo­ney beach, is the pla­ce whe­re the group of young peo­ple led by Fi­del Cas­tro left for the Mon­ca­da Ba­rracks at 5:00 am on July 26, 1953. It ser­ved as the ge­ne­ral ba­rracks for the trai­ning of the young peo­ple who ca­rried out the ar­med ac­tion. It is cu­rrently ca­lled Mu­seo Gran­ji­ta Si­bo­ney

(Tel 022 39 9168) and ex­hi­bits wea­pons used in the ac­tions of the 26 de Ju­lio, bloody uni­forms be­lon­ging to com­ba­tants fa­llen or woun­ded in the­se ac­tions, as well as the 1950 Olds­mo­bi­le used by Abel San­ta­ma­ría.


Tel 022 39 9119

Lo­ca­ted 100 me­ters east of the Gran­ji­ta Si­bo­ney, it is de­di­ca­ted to the events of the Spa­nish­Cu­ban-ame­ri­can War that took pla­ce in 1898. It ex­hi­bits an ex­ce­llent co­llec­tion of his­to­ri­cal photos, plans and maps of battles, fortifications and ships, sca­le mo­dels of the ships in­vol­ved in the battle, ori­gi­nal can­nons and ot­her wea­pons in­clu­ding two Spa­nish torpe­does. The de­tai­led mo­dels of the battles du­ring this war stand out in its sam­ple.


Ap­pro­xi­ma­tely 22 km away from the city of San­tia­go de Cu­ba is the Va­lle de la Prehis­to­ria, a scul­ptu­ral com­plex com­po­sed by mo­re than one hun­dred li­fe­si­zed pie­ces, mostly ma­de with the me­tal struc­tu­re tech­ni­que co­ve­red with iron-ce­ment co­rres­pon­ding to an­cient ani­mals.

It is a very in­ter­es­ting vi­sual por­trait of ani­mal evo­lu­tion on the pla­net, in which spe­cies that span the Pa­leo­zoic, Me­so­zoic and Ce­no­zoic eras, in­clu­ding the Ter­tiary and Qua­ter­nary, ha­ve been re­pre­sen­ted. It is an un­pa­ra­lle­led ex­pe­rien­ce to walk th­rough the areas of this park, whe­re a di­ver­sity of li­ving bo­ta­ni­cal spe­cies seem to ha­ve not evol­ved and sha­re the spa­ce with the Di­me­tro­don, a car­ni­vo­re that had a hu­ge dor­sal fan and the Di­plo­do­cus, a her­bi­vo­rous di­no­saur of the Me­so­zoic era, of mo­re than 27 me­ters in length. A good way to put an end to this walk is to vi­sit the area se­lling han­di­crafts lo­ca­ted un­der hu­ge trees, and to buy re­pro­duc­tions of the­se ani­mals from the Valley as a sou­ve­nir, or to go vi­sit a ca­vern cons­truc­ted with the sa­me tech­ni­que as the scul­ptu­res in or­der to re­gain strength in the small ca­fe­te­ria be­fo­re con­ti­nuing on the road.


Pho­ne 022 35 6176

Lo­ca­ted about 50 km east of the city of San­tia­go de Cu­ba, it has a small but in­ter­es­ting mu­seum with va­rious ob­jects used in nau­ti­cal ac­ti­vi­ties and sam­ples of ma­ri­ne li­fe. Its ex­hi­bi­tion of ma­ri­ne li­fe has uni­que fa­ci­li­ties in the country with an un­der­wa­ter glass tun­nel from whe­re you can see spe­cies such as sharks, sea turtles and mo­ray eels. The aquarium of­fers dolp­hin shows daily at 10.30 am and at 3.00 pm.

CÉS­PE­DES PARK The cen­ter of the so­cial and cul­tu­ral li­fe of the city

HOU­SE OF DIE­GO VE­LÁZ­QUEZ Mu­seum of Cu­ban His­to­ri­cal En­vi­ron­ment



LA TRO­VA HOU­SE “Tem­ple” of son and the tra­di­tio­nal tro­va

SAN­TIA­GO CAR­NI­VAL Tra­di­tio­nal folk fes­ti­val


RUM MU­SEUM The first rum mu­seum foun­ded in Cu­ba

CON­CERT HALL “DO­LO­RES” It is lo­ca­ted in the old church of Nues­tra Se­ño­ra de los Do­lo­res

PLA­ZA DE MAR­TE The Co­lumn of Li­berty stands out in its su­rroun­dings

CUS­TOMS BUIL­DING Lo­ca­ted at the be­gin­ning of the Pa­seo Ma­rí­ti­mo

PA­DRE PI­CO STREET The most fa­mous stair­way in San­tia­go de Cu­ba



LO­MA DE SAN JUAN His­to­ri­cal Si­te of the Spa­nish­cu­ban-ame­ri­can War

CUAR­TEL MON­CA­DA It cu­rrently host Ciu­dad Es­co­lar 26 de Ju­lio


AHERITAGE CE­ME­TERY OF SAN­TA IFI­GE­NIA A Fi­del Cas­tro´s fu­ne­ral mo­no­lith B Mau­so­leum to Jo­sé Mar­tí



MAU­SO­LEUM OF THE II FREN­TE ORIEN­TAL The fi­nal res­ting pla­ce of the figh­ter Vil­ma Es­pín

LA GRAN PIE­DRA The se­cond lar­gest rock in the world

LA ISABELICA COF­FEE PLAN­TA­TION The Isabelica Ethnographic Mu­seum

GRAN­JI­TA SI­BO­NEY The si­te from whe­re the as­sai­lants left for the at­tack of the Mon­ca­da Ba­rracks

VA­LLE DE LA PREHIS­TO­RIA Ex­hi­bi­ting li­fe-si­ze di­no­saur scul­ptu­res

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