Deleitosa in Extremadura is an unknown village without any monuments or
places of historic interest but in the 1950s it became know as one of the most
powerful images of Spain, portraying the misery being imposed during the Franco years on rural
communities, especially in Extremadura.
In 1951 Eugene Smith, a member of the Magnum agency,
published a photo essay "Spanish Village" in Life magazine. It reflected
the instability of the time and the consequences of a terrible civil war in a
particularly depressed village.
In the 1951 article that accompanied Smith’s pictures, the magazine told its readers:
The village of Deleitosa, a place of about 2,300 peasant people, sits on the high, dry, western Spanish tableland called Estramadura, about halfway between Madrid and the border of Portugal. Its name means “delightful,” which it no longer is, and its origins are obscure, though they may go back a thousand years to Spain’s Moorish period. In any event it is very old and LIFE photographer Eugene Smith, wandering off the main road into the village, found that its ways had advanced little since medieval times.
Many Deleitosans have never seen a railroad because the nearest one is 25 miles away. Mail comes in by burro. The nearest telephone is 12 miles away in another town. Deleitosa’s water system still consists of the sort of aqueducts and open wells from which villagers have drawn water for centuries . . . and the streets smell strongly of the villagers’ donkeys and pigs.[A] small movie theater, which shows some American films, sits among the sprinkling of little shops near the main square. But the village scene is dominated now as always by the high, brown structure of the 16th century church, the center of society in Catholic Deleitosa. And the lives of the villagers are dominated as always by the bare and brutal problems of subsistence. For Deleitosa, barren of history, unfavored by nature, reduced by wars, lives in poverty—a poverty shared by nearly all and relieved only by the seasonal work of the soil, and the faith that sustains most Deleitosans from the hour of First Communion until the simple funeral that marks one’s end.
Lorenza Curiel, 7, is a sight for her young neighbors as she waits for her mother to lock the door and take her to church for her first communion
At mid-morning the sun beats down on clustered stone houses. In the distance is the belfry of Deleitosa's church.
A peasant woman moistens the fibers of locally grown flax as she joins them in
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