The colonization of Caxias do Sul took place amid great sacrifices and material deprivation in a still-wild environment. With scarce government assistance, those who did not work hard faced starvation. Despite the effort, many went hungry in the challenging early days. In this adverse context, there was little time for the settlers to dedicate to cultural activities beyond their folkloric aspects, with the most prominent being religious festivals, those related to agricultural production, and domestic entertainment such as lace-making, games, and songs. Despite their diverse origins and distinct cultures, mutual support in times of hardship was crucial, creating a strong network of cooperation that formed the foundation for the rapid flourishing of a prosperous new city, which became the hub for the circulation of surplus production from surrounding family colonies. The settlers were also united by ties of religion, kinship, and ancestry, forming communities with a conservative and traditional profile in a cultural universe that was essentially pragmatic and functional but dominated, as João Carlos Tedesco described, by the
"ethos" of the settler, the immigrant—foreigners uprooted from their origins but still poorly integrated into the culture of their new country. The immigrants formed a kind of cultural enclave in the region. In the urban core, as initial difficulties were overcome and the community rapidly prospered, it became possible to invest in more refined forms of art. Soon, the production of notable painters, religious sculptors, decorators, and photographers flourished. By the early 20th century, the city center was populated with decorated multi-story buildings, mansions, and imposing structures such as the
Cathedral, the Episcopal Palace, the Central Cinema Theater, the
Clube Juvenil, and various bank headquarters. Elite clubs were formed, operettas were appreciated, and the public became enthusiastic about cinema. Moreover, buoyed by their own prosperity and influenced by the
fascism of
Mussolini, who publicly praised them, the immigrants and their first generation of descendants developed considerable pride. Under the nationalist policies of the
Vargas Era, this ethnic pride and cultural enclave were dissolved through significant government violence and repression. Social reconciliation occurred only in the 1950s, but this forced integration led to the loss of many traditions and valuable community values. The situation today is quite different. Caxias do Sul has opened up to cosmopolitan culture and cultivates the arts in various forms. The municipal government directly maintains or supports a wide range of departments, programs, groups, and cultural institutions, including the Percy Vargas de Abreu e Lima Cultural Center, which encompasses the Municipal Theater, the Public Library, and the Municipal Art Gallery, the Henrique Ordovás Filho Cultural Center, theater, dance, music, and literature units, and the Department of Popular Art and Culture, while also promoting various community centers. The city government also supports culture through the Culture Incentive Law (Fundoprocultura) and annually awards several prizes and trophies in various cultural fields. In 2006, 650,000
reais were spent by the public sector on culture. In 2008, the city was named the Brazilian Capital of Culture.
Traditions and folklore The decline of religion as a unifying social force, new consumption habits, profound changes in the local production system, the standardization of Brazilian education, the indifference of younger generations toward their grandparents' language and customs, the presence of a significant number of recent migrants of non-Italian descent for whom colonial traditions hold no meaning, the widespread popularity of media and entertainment such as radio, TV, and cinema, and the city's progressive opening to the world caused a rapid erosion of the ethnic and traditional characteristics of Caxias' culture, especially in the urban area, between the 1950s and 1960s. Sensing an imminent loss of roots, starting in the mid-1970s, some local intellectuals began to focus on preserving the ancestral cultural heritage. Among them, Loraine Slomp Giron and
João Spadari Adami conducted significant research that resulted in the publication of several essential books for studying local history. However, during this period, which saw a surge in literature on immigration, not only in Caxias do Sul, the history of the settlers was revisited with new, more candid, objective, and scientific interpretations, unlike the interwar generations of writers who glorified the settler. These new studies presented Caxias' history with its contradictions and conflicts, aiming to make the image of the immigrant less mythical but more real and richer. and in the following decade, the Department of Historical Heritage was created, initiating efforts to preserve and recover intangible traditions, artistic legacy, and Italian architectural heritage, which were rapidly disappearing. The work of these institutions, grounded in the belief that progress can coexist with the past, along with the efforts of artistic groups such as Miseri Coloni, a theater group performing in the region's characteristic dialect,
Talian, are active forces in preserving and revitalizing important aspects of Italian tradition, reinserting them with a critical perspective into the life of an increasingly cosmopolitan city. In the rural areas, traditions dating back to the early days of colonization are still found spontaneously. Among them is the
filó, a gathering of families who socialize in home kitchens or wine cellars. Men talk and play cards,
bocce, or mora, women engage in manual crafts such as
crochet, sewing, and making
dressa, a braid of corn straw used to create hats, while sharing their experiences, and children play with toys. These gatherings are always accompanied by a glass of wine,
salami,
grostoli (a type of sweet dumplings), bread, and cheese. The group eventually starts singing, collectively singing old tunes that evoke the Italian homeland, ancestors, love, and work. During
Christmas, large groups travel through rural communities, visiting friends. Along the way, carrying a torch adorned with a paper star, they sing
canções da stela, announcing the
new star symbolizing the birth of
Jesus. On the feast day of the patron saint of community chapels, the
sagra takes place, another ritual celebration marked by collective music and communal feasts. The same occurs at weddings, New Year's celebrations, and other significant dates in rural culture, such as the grape harvest. Some of these colonial traditions persist even in the urban center, particularly in cuisine and in some religious festivals, such as the "processions of the encounter" and the "kiss of the Dead Lord" during
Holy Week, which still attract thousands of devotees. The figure of Nanetto Pipetta also remains alive, a literary character created in 1924 by Friar Aquiles Bernardi as an embodiment of the utopias cherished by immigrants in contrast to the harsh reality they faced in their colonizing endeavor. His adventures were published in the
Talian dialect, originally as a
feuilleton, in the newspaper
Staffetta Riograndense and achieved immediate success. The stories were compiled into books several times, consistently selling out, with over 150,000 copies sold, including internationally. A continuation was published starting in 1990, written by various authors, also in
Talian, and published by the same newspaper, now called Correio Riograndense. A humorous parody of the settler's image was created by cartoonist Carlos Henrique Iotti,
Radicci, published in various newspapers and awarded the HQ Mix Trophy, Brazil's most prestigious award for
comics. The folkloric memory and official history constructed in Caxias do Sul are still rooted in the celebration of work and the virtues of Italian immigrants, sometimes overlooking or minimizing contributions from other groups. This is also evident in the historical sections provided on the municipal government's website. Although Italians were the predominant initial group, making up 90% of the population in 1898, they were not the only ones who built the city, as other ethnic groups also contributed, nor were they the first inhabitants of the land, which had been populated by indigenous peoples for millennia. For example, the popularization of
gaucho traditionalism, which holds an annual National Creole Rodeo attracting 150,000 people, and the existence of over 20 Centers of Gaucho Traditions in the city, with the
Rincão da Lealdade being the oldest, while only one Italian society remains active. Even amidst the cosmopolitanization the city has experienced in recent decades, the strength of Italian tradition remains significant. An example of this is the community of Criúva's rejection of a proposed indigenous-themed park in the region, with public authorities yielding to the protests. stories about the traditional rivalry with the neighboring city of
Bento Gonçalves, the subject of many popular jokes; and various tales involving Father Giordani, a prominent community leader known for his strict morals and controversial actions.
Festa da Uva The Festa da Uva is the main festival of Caxias do Sul, dedicated to celebrating Italian colonization and reviving the community's historical traditions. Held every two years since 1931, it enlivens the entire city with a variety of events over its fifteen-day duration. At the Exhibition Park, hundreds of stalls showcase the region's typical agricultural products, highlighting grapes, while other sections display local activity in cuisine, industry, and commerce. The festival includes music shows, theater, dances, free grape distribution, thematic, artistic, and historical exhibitions, and traditional colonial games such as cheese-throwing, grape-crushing with feet, and tractor races. Wineries and cellars open to tourists, but the most iconic event is the parade of allegorical floats, which illustrate various aspects of the theme chosen for each edition. The parade features the queen and princesses of the Festa, considered true ambassadors of the city, promoting it elsewhere. Although Italian immigrants are the protagonists of the Festa, other ethnic groups that contributed to the city's development are also represented and honored. and a public art collection, the Municipal Fine Arts Collection, housed at the Dr. Henrique Ordovás Filho Cultural Center, which conducts a regular program of exhibitions and educational projects. In addition to the city government's efforts, the field of
visual arts is particularly driven by two private entities, the most important being the Caxias do Sul Visual Arts Nucleus (NAVI), which brings together many artists and systematically offers practical and theoretical courses. This is followed by the University of Caxias do Sul, which maintains a regular arts degree program, an exhibition gallery, and a variety of community-oriented extension activities. Associated with UCS is the most prominent name in Caxias' visual arts today,
Diana Domingues, who coordinates a research group linked to the university for advanced studies in art associated with
technology, ARTECNO, which brings together researchers with master's and doctoral degrees, has held numerous exhibitions, and published a large number of books and articles on the subject. Diana also has a significant role as an independent artist and thinker, considered by
Oliver Grau one of the most notable artists in
South America, serving on editorial boards and avant-garde art committees of international repute.
Photography has been consolidating its presence in the city, although notable photographers such as Júlio Calegari and Ulysses Geremia left their mark since the early 20th century. The active Caxias do Sul Photographers' Club celebrated its 30th anniversary in 2010, the year it organized the XXVI edition of the Brazilian Black and White Photographic Art Biennial, with a record number of entries. Photography is the subject of a higher education course offered by UCS, there are numerous active professional studios, and exhibitions in this medium are frequent. In terms of
classical music, the two most important ensembles are the Caxias do Sul Municipal Wind Orchestra, maintained by the city government, which performs both classical and popular repertoires and offers a series of
Didactic Concerts addressing the
History of Music, featuring commented performances of works by renowned composers from the past, and the Caxias do Sul University Symphony Orchestra, which has performed for over 90,000 people. In terms of
popular music, various bands enliven the scene with styles for all tastes, notably
Apocalypse, formed in 1983, Noisekiller, a
thrash metal band, and The Trippers, a
rock band reinterpreting the aesthetics of the 1960s, which was a finalist in the Pepsi Music 2010 festival and whose song
As Coisas São como São won the SESI Discovering Talents 2009 award. The Descarrilhado Rock Festival, an independent event, provides a platform for original music and attracts bands from across the state and beyond, the city government celebrates
World Rock Day with the Rock On festival, showcasing various rock genres such as
rockabilly,
hardcore,
indie,
punk,
surf,
electronic, and innovative works, and supports the Gravaêh Project, promoted by the
NGO Cirandar, dedicated to recording local music production across various genres. The city has several
samba schools, and there are spaces for
MPB with local performers, supported by official projects such as
Ordovás Acústico and
Série Grandes Nomes at the Henrique Ordovás Filho Cultural Center. Additionally, there is a considerable audience for
gaucho music,
Sérgio Reis, and
Apocalypse. and several authors, either born or active in the city, who have achieved national prominence. These include
Fabrício Carpi Nejar, a poet who has published over 15 books and received several prestigious awards, such as the Olavo Bilac National Prize from the
Brazilian Academy of Letters; José Clemente Pozenato, author of
O Quatrilho, a work adapted into a film directed by
Bruno Barreto and nominated for the
Oscar for Best Foreign Language Film; and Jayme Paviani, a poet and philosopher with numerous published titles and extensive teaching activity at the
UCS. The city hosts a vibrant Book Fair, now in its 26th edition, which grows annually and features hundreds of parallel cultural attractions, such as author meet-and-greets, thematic roundtables, autograph sessions, music, storytelling, workshops, lectures, and theater performances. In 2009, the fair sold 71,200 books and attracted approximately 300,000 visitors. There are several venues for theatrical performances throughout the city, including school auditoriums and private cultural centers. The city also has well-equipped theaters, including one at the House of Culture, though modest in size with 286 seats, named the Pedro Parenti Municipal Theater, and another at the University of Caxias do Sul, with 750 seats. Both venues provide space for local and national theater groups, including performances by renowned actors such as
Paulo Autran,
Fernanda Montenegro,
Cristiana Oliveira,
José Wilker,
Patrícia Pillar, and
Edson Celulari. Another theater, the Moinho da Estação Theater, with 250 seats, was recently inaugurated in the historic Aristides Germani mill building, located opposite the former Railway Station, now transformed into a cultural center. The municipal government, through its Theater Unit, organizes or supports various local groups and events, such as the Student Theater Festival, which in 2009 featured 34 plays produced by students for an audience of 5,600 spectators, the Caxias em Cena, an event with international reach, and the Women's Theater Festival. The Miseri Coloni group is also notable, having developed theatrical works in the
Talian dialect since 1987. Their productions recreate situations experienced by early settlers with a critical approach that recovers ancestral memory while connecting to modern life.
Dance has also received significant attention, with the municipal government playing a key role by promoting various programs in this artistic genre, bringing in international names, fostering local production, and maintaining a stable dance company. Other active groups include the traditional Dora Ballet school, with 50 years of activity and several awards, the Ney Moraes Dance Group, the Ballet Margô Brusa, awarded at prestigious events such as the Joinville Dance Festival, and the Serra Gaúcha College Dance Nucleus, which received the Desterro Prize at the Florianópolis Dance Festival.
Handicrafts Handicrafts in Caxias do Sul hold a significant position due to their considerable economic, artistic, touristic, and social impact. Over 2,000 artisans are registered with the municipal government, many of whom are organized into associations. Mayor José Ivo Sartori, when opening the main events dedicated to the sector, the International Culture and Handicraft Fair "Mãos da Terra" and the Caxias Artisan Exhibition, held concurrently, emphasized the importance of integration among artisans, stating that ''"hands are the symbol of work, construction, and friendship. Handicrafts are not just a product but a way of experiencing a people's beliefs and culture. Make this fair an opportunity for good sales, exchange of experiences, and strengthening this activity as a source of income."'' The 2009 edition of these events brought handicrafts from 20 countries and 11 Brazilian states to the city, alongside 81 local exhibitors, attracting over 70,000 visitors. Thus, the city's artisans not only work with themes and techniques inherited from immigrants, such as
basketry,
crochet, and
knitting, but are also in a phase of expanding their horizons, leveraging such events to internationalize their craft, including items made from recycled waste.
Architecture and historical heritage Official interest in preserving the historical and architectural heritage of the city is relatively recent, beginning only in the mid-1970s and progressing slowly until the last decade. As a result, few buildings survived the urban modernization from the mid-20th century onward, with significant and sometimes irreplaceable losses, Another example is the Casa de Pedra, a typical 19th-century colonial construction and the only building of its kind, once common, that survived in the urban area. Although converted into a museum since 1975, it was only listed as a heritage site in 2003. However, in recent years, the municipal government, in partnership with other institutions, has begun identifying, listing, and restoring various buildings of historical and architectural value, both in urban and rural areas, and has also started protecting intangible historical heritage. Among the
listed buildings in the
eclectic style, built between the late 19th and early 20th centuries, are the Saldanha Bookstore, the
Carbone Hospital, the
Eberle Palace, the Scotti House, the Agricultural Patronage House, and the Sassi House. The
Chapel of the Holy Sepulchre is an interesting
neo-Gothic structure, and the historic buildings of the Abramo Eberle Metalworks are fine representatives of
modernist industrial construction. Although not listed, the
Caxias do Sul Cathedral is of great interest and importance. Built starting in 1895 in the neo-Gothic style, it features a series of German stained glass windows, side altars with statuary by local artists such as Pietro Stangherlin and
Michelangelo Zambelli, and a richly carved large
high altar, the work of Francisco Meneguzzo. The cathedral forms a complex with the Canonical House, an eclectic-style palace serving as the bishop's residence. In addition to heritage listing protection, according to the 1999 Municipal Organic Law, no building or work over 50 years old—whether public or private buildings, churches, chapels, monuments, statues, squares, or cemeteries—can be demolished without prior authorization from the Municipal Historical and Cultural Heritage Council. Other institutions linked to the Department of Memory and Cultural Heritage of the Culture Secretariat are dedicated to recovering, studying, systematizing, preserving, and disseminating relics of the past in various forms. Among them, the following stand out: • The
Municipal Museum of Caxias do Sul, focused on preserving material records of the immigration and civilizing process in the region. Housed in the former Otolini residence, it holds a large collection of tools used by early farmers, items related to various urban trades, a section of
sacred art, and a wide variety of other pieces. The museum is well-structured and offers a range of community-oriented activities. • The
João Spadari Adami Municipal Historical Archive, established in 1976 and currently housed in the former Carbone Hospital building. It studies and preserves a variety of written and visual documentation from public and private sources. • The Zambelli Atelier Memorial, which preserves and displays the remnants of the sculpture studio of the important family of sacred image makers and decorators, who worked not only in the municipality but throughout the Italian colonization region. • The Primo Slomp Grape and Wine Museum. Focusing on one of the municipality's most characteristic productive activities, the museum was established in 2002 in the historic Forqueta Wine Cooperative building, with a varied collection of objects used in grape production and winemaking, including items related to associated activities such as
cooperage and
basketry. • The Caxias do Sul Railway Site, listed by the IPHAE since 2001 and dedicated to preserving the memory of the railway and trains in the city. The site includes the following structures: the Caxias do Sul Railway Station, the VFRGS (later
RFFSA) railway yard, passenger platforms, the restroom building, the cargo depot, the locomotive depot, the water tank, and the Administrator's House. Under the administration of the
Order of Capuchins, the Capuchin Museum operates, hosting temporary thematic exhibitions and housing an important collection of sacred art gathered from across the state. It also preserves other objects, such as liturgical vestments, books, paintings, photographs, manuscripts, musical instruments, agricultural tools, household items, and furniture, all related to the history of the Capuchin Province of Rio Grande do Sul. Despite the existence of municipal legislation protecting historical heritage, a series of buildings, many of them listed or inventoried, have been altered in "revitalization" or "
retrofit" projects. These projects primarily aim to adapt buildings for new uses but rarely follow the rules established by international heritage charters, of which Brazil is a signatory. These charters advocate for minimal and reversible interventions and the preservation of the authenticity and documentary value of buildings. Many of these interventions have been extensive, introducing new elements and volumes while eliminating original ones, radically altering the assets. However, they have been authorized by the city's Historical Heritage Council, responsible for evaluating and approving such projects. Among the historic buildings that have undergone such "revitalizations" are the Eberle Metalworks complex, the Antunes Winery buildings, the São Victor Wine Cooperative, the Rio Grande Winery, the Caxias Pasta Factory, the Alfred Clothing factory, the Marumby factory, and the Germani Mill complex, among others. According to Costa, Moraes, and Stumpp, most of the so-called "restoration" projects recently carried out in the city are not true restorations but rather renovations lacking theoretical grounding and/or recognition of the historical or aesthetic value of the object, disregarding international principles and prioritizing questionable practical needs and speculative interests.
tourism in Caxias do Sul has been relatively underexplored but has seen growing attention in recent times. In 2010, the Tourism Secretariat launched the
Municipal Tourism Week project, featuring programs and tours for the public and discussions among experts. In addition to established routes such as
La Città,
Caminhos da Colônia,
Estrada do Imigrante, and
Ana Rech, where visitors learn about the city's and immigrants’ history while enjoying traditional dishes and characteristic landscapes, a 2008 partnership between the municipal government and
Sebrae/RS identified other regions with tourism potential, including the rural districts of Fazenda Souza, Santa Lúcia do Piaí, Vila Cristina, Vila Oliva, and Vila Seca, revealing possibilities unknown even to the local population. This study led to new proposals for invigorating the sector. Between 2005 and 2008, the city received an average of 350,000 tourists per year, with projections indicating an 11% growth by December 2011. In 2007, there were about 20 hotels and 30,000 beds across establishments of all categories, from inns and park hotels to traditional houses. In recent years, several older hotels closely tied to local history, such as the Alfred Hotel and the Real Hotel, have closed, but larger ones, such as the Blue Tree Towers, Norton Hotel, and Intercity Hotel, have entered the market. Other well-known attractions include the São Pelegrino Church, with a significant series of paintings by
Aldo Locatelli and notable bronze doors crafted by Augusto Murer; a replica of part of the original urban core built in the Grape Festival exhibition park; the
National Monument to the Immigrant, a work by Antonio Caringi; the Casa de Pedra Museum; the
Caxias do Sul Cathedral; and the
Municipal Museum of Caxias do Sul.
Sports There is significant
sport activity in the city, with some clubs boasting a long tradition. In terms of
football, the
Sociedade Esportiva e Recreativa Caxias do Sul, based at the
Francisco Stédile Stadium, won the
Gaucho Championship in
2000, and the
Esporte Clube Juventude, with its
Alfredo Jaconi Stadium. In 2020, Juventude secured promotion to the
2021 Série A. The club has also won a Brazilian Championship - Série B (
1994), a Gaucho Championship (
1998), and a
Brazilian Cup (
1999). In terms of
basketball, the Caxias do Sul Basketball team has won six titles in the Gaucho Basketball Championship and participates in the
NBB, with the Vasco da Gama Gymnasium consistently packed, achieving significant results, including reaching the quarterfinals in 2018. Several other teams compete in the Municipal Championship. The city has also hosted the Brazilian Master Basketball Championship and, in 2010, the men's adult competitions of the South Brazilian Club Basketball Championship. In terms of women's
handball, the APAHAND/UCS/Prefeitura de Caxias team has achieved strong results in the National Handball League and had players called up to the
Brazilian national team, which won a bronze medal at the
Youth Olympic Games in
Singapore. In terms of
volleyball, the UCS team has participated in several editions of the
Brazilian Volleyball Super League. In terms of
tennis, the
Recreio da Juventude competes in the S.C.A. Gaucho Tennis Circuit, and the city hosts the Caxias do Sul Tennis Open. Traditional recreational clubs, such as Recreio da Juventude and
Clube Juvenil, also have robust sports facilities, offering opportunities to practice various sports, including football,
futsal,
artistic gymnastics,
handball,
judo,
swimming,
tennis, and
volleyball, and earning awards in various state and national competitions. The municipal government, through its Sports and Leisure Secretariat, supports and funds a range of other associations, championships, and sports clubs across various categories and age groups, including
athletics,
squash,
motocross,
running,
nine-pin bowling,
canoeing,
swimming, and others.
Cuisine The foundation of Italian folk cuisine in Caxias do Sul includes roasted
galeto (
galeto al primo canto), soft or fried
polenta, and
pasta dishes such as
bigoli (
spaghetti) and
tortei (dumplings stuffed with
pumpkin purée seasoned with
nutmeg), but other dishes are also popular, such as
agnolini soup (stuffed pasta filled with chicken meat),
radicci salad with
pancetta (a variety of
chicory with narrow, bitter leaves seasoned with fried
bacon),
canjica,
crem (a type of grated horseradish preserved in red
vinegar and used as a meat condiment), homemade breads and biscuits,
chicken soup,
risotto, preserves and sweets, notably
uvada,
salami,
fortaia (
omelette with cheese or salami), and
cheese, along with many varieties of
wine. However, influenced by other ethnic groups and local conditions that necessitated cultivating crops better suited to the region's climate, the city developed a cuisine with more varied and, in many ways, unique characteristics. From the Germans, the
potato was incorporated, and from the gauchos, locals adopted
jerky,
barbecue,
beans,
rice, manioc,
sweet potato,
chimarrão,
cachaça, native wild fruits such as
gabiroba,
blackberry, and
pitanga, and
pine nut from the araucaria tree. and November 2,
All Souls’ Day. ==Sister cities==