VIDEO (Italian)

The territory of Paulilatino in Sardinia has been inhabited since prenuragico period, and continued to be popular especially during Nuragic and even during the Punic and Roman, but age nuraghic remain important evidence in the territory of Paulilatino, in fact there are scattered over a hundred nuraghi, besides the very important site of Santa Cristina, which testify to the importance and the attendance of the territory of Paulilatino even in antiquity.
The documentary explores the myths and cults of the territory in Nuragic.
Produced in 2008 by the Archaeological Museum of Ethnography-Palace of Paulilatino Atzori, director Rossella Sapio, music Rosella Clementi, production and post-production Cromovideo Audiovisual E-Motion, editing and graphics Marco Semproni.

Sardinian dance

The Paulese Sardinian dance is characterized by a fast and cheerful rhythm. The dance that identifies the country in all of Sardinia for its originality is on ballu de sas trubidas . Trubidu in the Sardinian language, with local variations, means tied. They are particular dance steps performed exclusively by men who perform them in five different variations. Seeing the movement of the dancers' legs makes one think of a dance step performed as if the legs were tied at the ankles. Dance teachers teach their students to take the steps in a small space, such as in a tile around 40cm. While the males perform these choreographies, the women accompany them taking the basic step of the Sardinian dance.

Other dances are on pichetto , s 'andanza , sa danza a duas damas , su pass'e tres, su passu' e tres e mesu

Other videos:

Ballu de sas trubidas - Pro Loco Paulilatino

The Paulese Sardinian costume 

Source: web.tiscalinet.it/paulilatino

The use of wearing traditional clothing, in Paulilatino, disappeared between the two world wars, around the 40s: today there is a way of dressing that can be defined as transition, with a coexistence of old and new.

In clothing, the use of the black handkerchief or shawl, of the medium-length pleated skirt, usually black, blue or brown, to which it is combined sa brusa, a kind of heavy fabric blouse (gabardine or velvet) from local seamstresses, embellished with simple embroideries and gathered at the waist by an elastic, and more recently a shirt with a modern cut or a sweater.

The only opportunities that we now have to admire traditional clothing are the religious festivals, processions and carnival events. The Paulilatino costume is also worn by the folk group.


The basic items of women's clothing were:

The headgear that could be made up of:

  • Su mucadore a corru : small quadrangular handkerchief of about 70 cm. , generally made of silk or precious fibers, golden yellow, apricot, brown or black.
  • On mucadore a bettadura : large handkerchief of about one square meter brown or dark green.
  • S'iscuffinu : small red or black wool handkerchief.
  • On tulle : white veil in lace, about one square meter, finely embroidered with floral motifs and trimmed with scalloped edges, sos piccos.
  • S'issalliu : large shawl about one and a half meters long, in silk with a black background and prints in purple floral motifs. The hem is finished with long silk fringes.

The various types of headgear, worn individually or overlapped, distinguish the occasions for which they are worn.

The shirt - sa camisa : in fine cotton or linen, white in color, it had an abundant curl at the neck; in the front on pettorinu, finely embroidered with floral motifs; in the sleeves, very wide, embroidered cuffs.Closed in the neck with "sos uttones de filigrana"

I the bodice - s'imbustu : small stiff bodice in red, green or gold brocade, had motifs

floral arranged symmetrically on the shoulders. It was worn over the shirt and closed with a string under the breast.

The bolero - su zibone : silk bodice with long and tight sleeves, black or dark green, embellished with trimmings on the wrists and along the hem. A high round neck (formerly the Korean type collar)

The skirt - s'unnedda isprimata : long skirt of orbace or fine wool with wide pleats of black.Used daily and to go dancing; adorned along the edge by a flounce of blue satin (45 cm high) and curled at the waist. s'unnedda assetiada : skirt a.

small folds of orbace or fine red wool used as a wedding dress, black with a black satin ruffle and purple flowers, with a high gallon (golden lace), worn for the holidays.

The apron - su panneddu : medium-length apron with a rectangular shape in cotton printed with floral motifs with a black lace frame (formerly yellow, now unavailable).

Jewelery - buttons in the shirt, necklaces, brooches

WORK CLOTHING consisted of:

su mucadore a corru, sa camisa, s'imbustu, s'unnedda Isprata, su panneddu.The paulese daily dress is difficult to find in its entirety, because it was the most used and due to wear there are few specimens. , except for the shirt, it has no embroidery; the less valuable fabrics testify to its use in everyday life consumed in a continuous work. The information that allowed the description of the daily dress, come from the photographic material found and from the oral tradition.

From these sources derives, in spite of the harsh living conditions in which the Paulese population lived, a vision of great integrity, composure in bearing, harmony and refinement in the elements that make up the dress.


Composed of the same basic garments, it was distinguished from the daily one for the most valuable fabrics that were used in the packaging and above all for the headgear that could be made up of two combined pieces: su mucadore a corru and su mucadore a bettadura.

Above the mucadore a corru was fixed with a pin a side de su mucadore to bettadura, consisting of a large handkerchief, a square meter or so, brown or dark green which was then left to fall on the shoulders. Another variant of the cover was that consisting of s'iscuffinu and su tulle.

S'iscuffinu, a small handkerchief tied tightly around his head, had the function of keeping hair in place and prevented the tulle from slipping.Tulle was a square of white lace folded along the diagonal. S'iscuffinu and on tulle were worn by unmarried girls mainly to participate in religious processions. Even the skirt had some variations compared to the daily one, in fact, as well as black, like the sheer skirt, it could be red; the fabric was more valuable; other than the creation of the folds, there was a satin ruffle about fifty centimeters high, with small floral motifs printed in green or purple, embellished in turn by a golden gallon. It was called s'unnedda assetiada, a small pleated skirt.

As s'unnedda isprata, was tied at the waist with two ribbons of the same cloth and could present one or two vertical slits on the sides not exceeding thirty centimeters, which hidden by the folds, housed below a pocket tied at the waist and separated from the skirt .

S'unnedda assetiada as well as being made with a precious material required special care for its packaging: in fact, to give shape to the folds, so that they do not open when it was worn, during the preparation phase, between a fold and the other stalks of rush were sewn, sa zinniga.The stems, which have a circular section, allowed a perfect accordion folding of the narrow folds, and, once the operation was completed, all the cloth with the satin and the sewn hem was placed for a few days, under a uniform weight, usually a slab of marble, so the trim of the folds was definitive and could not be easily discarded. Only later was applied a narrow strip of fabric sa chinzera which held the skirt firmly at the waist.

On the shirt it was worn, perhaps during the cold season, on zibone, a sort of short black or green long-sleeved bolero, which gave it a particularly elegant appearance. The occasions to wear the good dress s'istimentu bellu were related to the official calendar, to religion and to the festive moments not linked to the cult, and to fixed periodicities, as sa missa cantada, the sung mass of Sunday, in which mostly young people participated, boys and girls, boyfriends, newlyweds.

The festive dress corresponds, in principle, to the costumes that today are worn by folkloristic groups on the occasion of fashion shows and costumed performances, on the occasion of local festivals and country festivals.



The traditional festive dress, for ceremonial occasions, in particular for marriage, was further enriched. The embroidery on the front of the shirt became more elaborate and the use of golden threads was used to embroider the bodice. pieces: one, the handkerchief also present in festive clothing and the other, the silk shawl, with a black background with floral motifs printed in purple; it was quite long, about a meter and a half, and was finished with long silk fringes.

This was the most sumptuous element, distinctive of ceremonial clothing. The skirt was always that of thick pleats that could also be in red cloth, finished with a white satin or silk flounce. This clothing was completed with an apron of the same color and fabric. of the cliff.

The singing

Polyphonic choir by Paulilatino San Teodoro (VIDEO) - The traditional Sardinian song in Paulilatino has never had local expressions that have taken care of this art form neither as a song to poetry, although poets the country has had some very good, neither as song "in re "or tenor.

Since 1981, thanks to the initiative of some Sardinian song lovers, the Paulilatino San Teodoro polyphonic choir association has been set up, which, trying to resume the harmonization characteristic of Sardinian singing, through study and research activities, proposes sacred songs in its repertoire. uninitiated.

The bread

We have decided to include bread, the primary food in human nutrition, in the traditions section. In Paulilatino it is still produced according to the ancient tradition using semolina flour or durum wheat semolina, it is produced in variations of Zichi with different processes that also vary according to the occasions for which it will be used, of Crivazu and pistoccu.

Thanks to the collaboration of the artisan bakery Firinu Stefano & C. snc of Paulilatino (whose technical sheet you can find in the exesione food excellency of this site) we give you some indications on the different types of bread produced in Paulilatino

Denomination : CRIVAZU

Type : Semolina bread and durum wheat semolina

Ingredients : Durum wheat semolina (50%), durum wheat semolina (50%), water, salt, natural yeast.

Characteristics : It is a focaccia with a soft and dark crust, lightly floured and sufficiently softened crumb.

It can assume a well-inflated round shape on the top, a slightly flattened elongated shape, or a flattened crown shape.

Being a dough of durum wheat flour and a medium size it can be consumed even after three days from cooking.

Average size 650 grams.

Denomination : ZICHI or COCCOI

Type : Durum wheat semolina bread

Ingredients : Durum wheat semolina (100%), water, salt, natural yeast

Characteristics : Crisp and golden crust, markedly irregular on the upper part due to the typical "pintapane" process ( It is a small metal tool, similar to a miniature lance, with which it is possible to sculpt different floral motifs on the top of the bread or of imagination that the leavening and the baking put in relief .) and cut with scissors. It can have a more or less elaborate external processing with a sure choreographic effect.

The crumb is soft and compact with a slight hollow.

Even if it loses its initial softness it can be kept tasty even after 2/3 days from cooking.

Average size 350 grams.

1 It is a small metallic tool, similar to a miniature spear, with which it is possible to sculpt on the top of the bread different floral or fantasy motifs that leavening and cooking put in relief.

Denomination : PISTOCU

Type : Durum wheat semolina bread

Ingredients : Durum wheat semolina (100%), water, salt, natural yeast

Features : It is a thin and crunchy sheet of tubular bread; the crumb is absolutely not present.

Being a dry bread it has a rather high durability. In the absence of humidity it can be consumed even after one month from cooking.

Average size 70 grams.