Years ago I wrote a novel set in Kenya in 1950 and the major characters drive from Nairobi toward Lake Victoria. The heroine avoids talking to the hero and stares out the window. I inserted one sentence to enable readers to sense the authentic setting: "Kikuyu women toiled up steep, red paths, bending forward under the heavy loads of firewood strapped on to their backs."
That's all. A few pages later, I slipped in a one-sentence description of a tea plantation, which she pointed out to him to cut off personal conversation.
Good writers don't stop the action to provide background.
The setting becomes part of the story.