The beginnings of Cuban theater can be found in the 16th century, during the Christian festivals of Corpus Christi, also known as the Carriage Festival, where music, song, and dance were combined. From this, we can say that Cuban theater in its beginnings was based on models of Spanish performances. The emergence of theater in Cuba follows the same process as in Spain.

From the beginning of the 16th century in Cuba until after the middle of the same century, representations of sacramental plays and mysteries were carried out.

From the year 1520, we have what constitutes the first theatrical reference in Cuba and in the American continent, date in which a dance was performed in Santiago de Cuba by Pedro de Santiago.

The following information on performances held on the island dates from April 28, 1570, when Pedro de Castilla launched a Corpus Christi dance, for which he received a dozen ducats, exactly 132 reales. Pedro de Castilla was the first European dance composer to work in Havana; between April 10, 1573, and May 25, 1576, he dominated theatrical life for six years. His assistants were free Black people, hence the presence of Black people in Havana’s theatrical performances from these dates onwards.

Seven years later, according to the Minutes of the Havana City Council, on May 18, 1577, Juan Pérez de Bargas offered a fine play for Corpus Christi, replacing the work previously performed by Pedro de Castilla. He is considered Havana’s first playwright. His work was intended to be recited and was reviewed and approved by the Bishop and the Lieutenant. He received a payment of forty ducats for it.

Already during this period, we see that censorship emerged in the Cuban archipelago, since the bishop and the lieutenant were in charge of reviewing and authorizing or not authorizing the work.

A new author emerges when we mention Francisco Mojica on August 20, 1588; we have also found references, on that same date, to the so-called farsantes or actors. Around this time, a theater company already existed, which performed comedies. This company performed at a Corpus Christi celebration, and its farsantes (actors) were paid twenty ducats.

Two years later, reference is made to Jorge Ortiz, author of the auto sacramental offered that same year.

Public festivals such as San Cristóbal, San Marcial, San Miguel, and Corpus Christi were held in Havana. These were enlivened by string and wind musicians; this fact demonstrates a step forward in artistic activity.

Dances and interludes were performed on April 18, 1597. From a contemporary chronicle, we know that on June 24, 1598, the play “Los buenos en el cielo y los malos en el suelo” (The Good in Heaven and the Bad on the Ground) was performed in honor of Governor Juan Maldonado in a barrack located near the Castillo de la Fuerza. It is said that the performance lasted until after midnight, and that the audience demanded a repeat performance. This was the first theatrical performance of a Cuban play, and also the first theatrical show held in Havana.

In 1599, two comedies by Juan Bautista Siliceo were premiered.

References have come down to us to the present day that only seven years after the founding of the town of San Cristóbal de La Habana, the so-called cabildos already existed. In these, Africans performed dances or patakines, which were represented as part of a religious ceremony. These dances were nothing more than certain African theatrical forms of a ritual nature, becoming a form of primitive and ritual theater. African forms of entertainment, in one form or another, spread to all levels of society through the exchange of services, which also brought about a cultural exchange.

Also during this five-year period, the first theatrical manifestations of Black culture emerged in Cuba, albeit for ceremonial purposes, known as Three Kings’ Day. These celebrations were organized by the national councils. Modest dances, plays, plays, interludes, farces, car shows, and games, among others, were also held.