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in the picture-concert at the Casa Museo Antonio Nariño

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http://carretaca.blogspot.com
http://4carnavaldepuentearanda.blogspot.com
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EQUIPO DE TRABAJO CUARTO CARNAVAL DE PUENTE ARANDA


advertisement of 4 Carnival Puente Aranda. Designed by: Jose Ricardo Sanchez

FOURTH TEAM CARNIVAL PUENTE ARANDA Mayor

Local: Bertha Judith Rojas Burgos


Chief Local Development Fund:
Carlos Jiménez
Yesid Supervisor responsible
by the Local Development Fund: Jaime Tellez


Auditor: Specialized Cooperative Education
San Blas Eduardo Maldonado


Local Cultural Council Overseer: Adriana Ferrucho

Contractor: Joint Venture
: RED BRIDGE CULTURAL ARANDA (Cultural Association Incognita , Carretaca Cultural Association Theatre) Contract FDL - 16-00-69-00-02
IDCT
Legal Representative: Juan Manuel Piñeros Botero

General Coordinator: Felipe Chávez Gutiérrez.

Manager: Luz Angela Reina Gaitán

Production Coordinator: Enrique Cardenas Jhon V. Press Officer

Video Production: Jose Joaquin Elorza
video
Assistant: Jorge Quesada

Photographer: Pedro Felipe Cortes III

Cultural Fair Coordinator: Carmen Lorena Chavez G.

arts Advisor: Raúl Sierra

Literature Advisory: Freddy Navarro Diogenes

theater Advisor: Edgar Rojas

Music Advisor: Pedro Cortes

Comparsa Advisors Assistant: Angelica Parra, Luzangela Piñeros, Juan Manuel Piñeros

Logistical support: Frank Vela, Duarte Yurany

Counters: Harold Arias, Armando Bernal

Carnival Logo Design 4 Puente Aranda, Carolina Santamaria Uribe.

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INTRODUCCIÓN



Pictured: Pre-carnival carnival of the neighborhood Alcalá

INTRODUCTION
By: Oscar Gutierrez Felipe Chavez

From the First Forum on Carnival [1] on October 21, 2000 with presentations at the carnival [2] Local: Edgar Rojas Cultural Association director Gregorio Fajardo Incognita and director of the Cultural Foundation Zenda and invited speakers: Juan Carlos Moya and Fernando Duque Bureau initiated a process of analysis, reflection and systematization of the experience of the carnival in the town with the aim of harmonizing the implementation of the project "Local Carnival" with the socio-cultural local.

On June 8, 2003 was the second symposium on Carnival [3] under the Fourth Carnival Puente Aranda. On this occasion we had the participation of Jairo Chaparro, university professor of urban sociology and teacher Jorge Veloso, Carranguera dedicated to exalt the national folklore, who brought new elements to the discussion of carnival and festival in Puente Aranda. These two scholars of national culture appreciate the courtesy of allowing the full publication of their papers.

"Memoria de Carnaval" is a first attempt to put on record the process carnival, exalt local cultural heritage and keep alive the roots of the "new tradition" of Puente Aranda. In these pages you will find different views about Carnival and its relationship with the community. This starts with the presentation of Jairo Chaparro who tells us about the indigenous and mestizo ancestors carnival in Bogotá and social fragmentation raises the twentieth century as a factor of disintegration of the carnival Bogota. After Jorge Veloso sympathy we described the festivities of the municipalities in the savanna Cundiboyacense, games and carnival would sting, sacred Catholic parties mixed with the pagan festival and painful extinction.

Next Edgar Rojas as one of the founders of the Carnival of Puente Aranda and Felipe Chavez Gutierrez, Coordinator General of the Fourth Carnival, in conversation, some of the contradictions of the history of Carnival in Puente Aranda.

To support training in cultural management, Chapter 4 develops an exercise on performance indicators for local cultural projects and get a short report on the processes and achievements of the Fourth Carnival.

Finally, appends the first carnival Directory, which serves as a reference and promotion of local cultural services. The text begins and ends with the reading of the Decrees of Carnival. This document

aims to provide different views of the Carnival to contribute to the construction of an authentic identity of the Carnival of Puente Aranda, locality 16 of capital district. It is not intended to reach absolute answers, only to leave a record and raise concerns so that more people take ownership of the project as the Carnival as a creative process in construction requires input from all cultural agents, governors, local artists and carnival people from their daily work contribute to social development in the area and realized a dream: Local Joy, Magic Carnival!



[1] Produced within the framework Project: Local strengthening of Culture, hired by the Cultural Association Carretaca and executed by the Cultural Network Puente Aranda (Incognita - Carretaca). Contract No. 1600690002
IDCT [2] affectionately called "carnival" to people who have participated or contributed to the construction of the Carnival Dream.
[3] Made under the Fourth Carnival project executed by the Puente Aranda Puente Aranda Cultural Network (Incognita - Carretaca). Contract FDL - IDCT No. 16-00-69-00-02

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Bando de Carnaval


In the picture: carnival 2003 elderly

FOURTH ORDER OF PUENTE ARANDA CARNIVAL REPRESENTATIVE SIGNED THE USE OF THEIR DUTIES IN CARNIVAL AND WHEREAS:
bomb
That stunned us and made them slog Japanese china. That
laboratories politicians will begin to use because rats grow attached. BUHS
That is a chimpanzee alcoholic who aspires to rebuild the towers with the desert sand. That
is a sin to believe that others are bad, but rarely is a mistake. That
the traditional festival looming in which everyone should indulge in their own way and as he pleases;
In sum, the world collapses and we rumba.
WHEREAS: It is my duty to issue the necessary measures for the better development of the Carnival, as well says BUHS "if we fail we have the risk of failure"
ORDER: 1 _ Declare in holiday run all these months, prohibiting at all remembrance of death and debts
2 º _ It is worth seeing on the problems a reason to laugh at life 3 º _ He who dares to conjure the spirit of the carnival will be forced to build his own gallows.
4 º _ As the mirrors used to be the face, wear art to be the soul
5 º _ Everybody contributes to the fun, the pachanga, to forget their daily paper worker eternal, housewife, of student. Contact

, publication and enforcement. Viva Carnival!, Joy

local magic of Carnival!

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LOS CARNAVALES DE BOGOTÁ


Pictured: Jairo Chaparro Valderrama Carnival Forum. Board Local Administrator of Puente Aranda, 2003


CHAPTER 1 THE CARNIVAL OF BOGOTA
By: Jairo Chaparro Valderrama [1]

"Applying "festival" as an educational area for the development of heritage consciousness "(Convenio Andres Bello)


Carnival not only alters the gray routine with explosive joy. Not only disrupts the social norms that, in its absurd but powerful strutting formal, often placed heavy stones on the human soul. The Carnival also to allow free flow Talanquera of individual and collective creativity in the wider stage of public space, creates a deep sense of belonging to the City.

The accelerated destruction they have suffered a sense of belonging with Colombia during the second half of the twentieth century, it also has to do, among many other factors, with the loss of its many public holidays and the fragmentation of the same in a narrow range small neighborhood celebrations.

CARNIVAL IN-Laguna
The Muiscas celebrated the arrival of the planting and harvesting times, the arrival of a new chief to the throne of the county or the arrival of the chosen Zipa sacred throne, with long communal feasts. They generally begin with an absolutely solemn act, to continue later with dancing, plenty of eating and drinking, enjoy lovemaking sessions dilated body, athletic competition and practice games like shuffleboard [2] .

prominently in the beginning of the festivities, they held the rites celebrated around the lakes, which were of great sacred value to the citizens and all other groups in the nation muisca. They were deposited gold leaf and precious stones that serve as an ex-votos [3] served to hold the favor of the gods. Around these natural mirrors muiscas monitored by priests, decorated processions were verified with songs and music shells, whistles and drums, lit the initiation rites of chiefs and made representations in which some young people wearing masks of different animals.

"Not yet dawn, and everything is ready for the parade to the deified lagoon. To the sound of flutes, piccolos and drums, the procession to the shrine. Motley crowd wearing costumes, follows the beat of the musicians, singing prayers and prayers. Then the bier come true ... On the sides and behind the sovereign, nurtured Guecho cords or warriors, carrying arrows, spears, they follow the procession ... The cacique. . . to pronounce their heartfelt prayers and excited cast into the bottom of the lake's most beautiful sacred emeralds ... tunjos gold, animals made of the metal ... while the crowd ... released songs and prayers ... the real shack begins to dress party ... outside, the village has also been given to the celebration. Grotesque masks covering their faces ... others shout and sing to the tune of flutes and piccolos ... All is glory, excitement, fun. The people purified by prayer ... Comes now, to the feast and the orgy " [4]

The Muiscas, which formed a sector of first order in the city until the eighteenth century and were fundamental aspect in the flow of urban mixed-je, the festivities moved to public dances, part of their rituals and costumes and unbeatable chicha ethyl contribution has extended its controversial presence to the much-discussed urban modernization-ing today.

The English in turn, brought an irrepressible passion for the game and the practices of festivities as Shrovetide and the Corpus, in which also blended the sacred and profane, for long carnival days. Virgin



Carnival The Carnival is the immediate predecessor of the Carnivals that take place today in different parts of the Western world before Ash Wednesday and repentant recollection of the period of Lent. The Shrovetide

[5] despite producing "... disorder, and moral dissolution of the Gospel ...", as re-cried some chaplains of the city, had the approval of the Holy See through Papal Bulls express [6] that had pragmatic able to place limits tolerable to the medieval festivities before very actively involving the clergy in all kinds of disorders, in addition to take place in their own temples, many of the games and carnival dances.

In the city of Santa Fe, the carnival came to a very early news of them are already in the year of 1,561 through the sense of complaint filed by Chief of Ubaque before the Royal Court stating that if English people were allowed bullfights ... carnival masks and did not understand why they were banned Muiscas pleasures that had traditionally used to rid the hardships of working [7] .

From 1686, during Carnival are made primarily in the area where now stands the districts of La Candelaria, Egypt, Bethlehem, Guavio, Los Laches and La Peña, being the epicenter of the National Shrine of Our Lady of La Peña . It is precisely in this year for the carnival dates, starting and authorized public veneration of images of the Holy Family carved from heaven and miraculously found in the hills of La Peña. In this year of 1,686, the Shrovetide occur in the Chapel built on top of the hills to worship images and Our Madame de la Peña is proclaimed Queen and Royal Highness Bogota. "

Initially, these parties had a duration of six days and starts with Mass. Upon completion of worship, followed one another interminable-able and gaming enthusiasts, "wars" of flour, essence, tincture or water [8] , skills and cockfights that verified in the many tents erected for dancing and eating well, or in pastures where organized rides and pickets. The people liked to dress up as prominent date wearing brightly colored clothing and masks to Along the streets were decorated with floral arches.

subsequently reduced to three days duration. Let us by way of example, their overall programming during the reign of the Capuchin Fathers in La Pena, 1906-1914:

Saturday: started the celebrations down in Santa Fe, with the novena to the Blessed Virgin in the Monastery La Concepción. This novena was preceded by a picture of Gregory Arce y Ceballos depicting sacred images of La Peña.

In the night, up in the Sanctuary was the night worship of images until dawn on Sunday.

Sunday: Mass
* 3 am
* sacramental procession by the Plaza de La Peña
* Blessing of the capital, with his Divine Majesty
* 6 am Mass * Mass Diaconate
9 pm, which rose and many pilgrims along the 6th Street.
* Presentations of children and singing salves and opening
* Installation of awnings in which they ate, drank, danced, sang and played

Monday / Tuesday:
* Masses of 6 am and 9 pm
* More and more " fojorro "in tents and canteens that were organized around the road leading to the shrine from the Barrios Bethlehem, Egypt and La Candelaria. On Tuesday

already the carnival as outputs evangelical channels, which the Capuchins built three rooms to hold these holiday dates: one had a decent job of hospice, the second was stable, but the third had the embarrassing title of "drunk tank."

Ash Wednesday all concurred with the happiness that leaves the carnival and regret ordering so solemn day, to receive the sign of the cross and reaffirm their faith in Christ.

were so talked about the Fiestas de La Pena during the government of General Reyes (1909), this placed the artillery of the army in the Sanctuary and the city woke up to end of cannon, to warn that were initiated during Carnival of Mary. Found

news of the celebration of Shrovetide in La Peña until the year 1947, the date on which the initiative of the charismatic Father Richard Struve, were replaced by the festivity of Our Lady. The latter have managed to maintain until today and had a time of great splendor, came to last up to 7 days, beginning on August 10 date of discovery of the images. They made pilgrimages to the streets, pilgrimages to the shrine and the Grand Cross which is close to that, kingdoms, bazaars, streets were arranged, was on a stage for cultural performances, fireworks were checked and sold beer, chicha and fried food.

Currently, "the bosses" are three-day prayers, baptisms, first communions, confirmations, marriages, masses, the pilgrimage to the top of the cross, drawing contest, games, sports and recreation for children.

CORPUS let us put

Other parties that stood out among the many that occurred in the city, was the Corpus [9] and subsequent Octave.

As muiscas rites [10] Corpus-like during Carnival, "began with solemn acts of profound mystical content, after which the giving of" inaugurated the holidays. "

The first was the procession that everything froze. In the front is a parade depicting various biblical passages. Next comes the clergy in rigorous training, whereby girls march carrying the ark distinguished [11] , bread, flowers and incense. Then there are the indigenous music and dances. The pompous procession is closed by the soldiers.

pass. Now comes a crowd of matachines representing the devil, tiger, lion, alligator, the shyster, the quacks, the heretic who runs away in horror from the holy procession and multiple characters, with their masks and costumes summon the disorder and bizarre fantasy.

But then there are the giant puppets that soar portentous and fearful, manipulated by an actor hidden visualize what happens around the navel through its disproportionate puppet.

And is there the giant snake bite with deadly threat, leading to the chilly Bogota tachycardia. And, Oh Holy Virgin!, The call Tarasca shape of a turtle with its huge, dangerous and frightening, that managed by a group of boys, rejoice in chasing passersby. And what about the huge whale that opens and closes its jaws on the poor defenseless humanity Jonah or inspire children so tenderly with her dressed as shepherds and their sheep cute.

Meanwhile, all around playful presence of imagination in the streets, develop countless games of chance, stand at the corners arches decorated with flowers, fruits and animals, sold chicha and abundant food, animals are offered odious prisoners in cages, they talk, you run before the onslaught of the fights that have taken their anger and fear to the streets of Santa Fe, pray, rejoice with gunpowder and admire the "havens" raised, by muiscas or neighbors.

latter consist in a uniquely decorated around public water batteries, plants, animals and crafts, evoking the biblical Garden of Eden and the sacredness of water, so dear to the Muisca. Oh, and tents are erected throughout the city: once the party takes place in the Plaza Mayor, will start eight (8) days of revelry in the neighborhoods, organized way to small Corpus: the delicious Octave . ******************

"On the eve of the eighth were placed on doors and windows of colored paper lanterns ... or flashlights enabled windbreaks con sus correspondientes cabos de vela de sebo. En la plazuela se encendían hogueras de frailejón y dondequiera que había garito, venta o chichería, se colgaban faroles cuadrados, forrados en género transparente, en que se anunciaban las comodidades que reportarían los concurrentes de la entrada a esas casas de beneficencia... se empezaba a gozar de los perfumes y vapores de aquel barrio en verdadera combustión: los ajiacos, empanadas, longanizas, morcillas, cuchucos, rostros de cordero, papas chorreadas, chicharrones, tamales, bollos de quiche, encurtidos de la tierra, chicha, pollos a la funerala, pólvora, aguardiente, trementina,etc., etc..., con todo lo demás que no podemos referir... Alas ocho de night .. fireworks began in the act responded thousand shrill whistles from the boys ... The band of musicians broke with the bambuco or whirlwind .. . Was seen feverish movement of people: the fret of the houses .. . With all that was the wardrobe, to pass to function as objects of decoration on doors and windows, no escaping that revolution, but the mattresses and pillows of the bed .. . With paintings and prints of all colors, classes and sizes, covering the walls, heedless of the rules of symmetry and consistency ... (Giving) rather than a. .. major contradictions ... with the impression ... souls in Purgatory, blanket Sancho Panza ... In preparing the Paradise plaza, which was the purgatory of Adam and Eve, figured by two boys half naked and wearing dresses made of feathers, similar to those used by the Indians. With shrubs was an imitation of the park, surrounded with wreaths of laurel .. . From ten o'clock began to move the dancers .. . Had music consisting of drums. panderetay guttural two violins and marching to the beat rigorous six-eight.

Where were compadres or alleged, stopped to dance ... " [12]
was then the Corpus with Octave, prominent party decorating their wondrous manifestations the first fortnight of June [13] . By this time, houses and their inhabitants, were arranged with great care. Were used as garish and gaudy clothes, in the remaining months of the year, when someone was carrying on his humanity, for example, a red scarf on her head, a tangerine blouse, a blue short pants, necklaces, and other quirky accessories personal dressing, shouted: "Corpus dress!". Corpus

Today is only the sacred. However, in some neighborhoods are still rising and floral arches are additional activities to the fervent procession. PROHIBITED

THE POLICE
hit month December
er ~ i in the city, a long succession of Carnival activities, whose most striking moments were the Christmas and the Feast of Three Kings.

During the Ninth, as families gathered around the Nativity scene to pray the rosary and the Joyful Mysteries. Boleros and then danced a dance known as Sanpianito. They also sang to the sound of the guitar. At about 8 pm he took a drink and dinner 10 is as God intended: donuts, pies, chili sauce chicken, steak, turkey, lamb, tender biscuits and cinnamon buns.

Since that time the dumplings were considered emblems Christmas par excellence, even getting used to sending as a gift between friends and neighbors, as well as pies.

After the dinner and went back to playing ball with the quadrille, minuet, the Allemande and Sanpíanito. These gatherings were Christmas "tone", ie everybody had in their best clothes. But after midnight, after dismissing the visitors of etiquette, party a bit more relaxed and couples dances danced before the altar of the time as power inverter, the Paspié and English feet. For the year 1 845, the Nativity epoch of the House of Avila, located three blocks past the Plaza de San Francisco, by the median of Las Nieves to the north, ie, where today is about fa Calle 19. The

crib was in the living room. He had plains, lakes, animals of different species, rivers, waterfalls, cities with houses, streets, men and women, troubadours, roads and hills. A sale or store with thousands of details, was the delight of women and girls. It showed the three wise men walking, followed by 16 carriers with their loads curious and diverse, and three camels with incense boxes, gold and myrrh. He also had the angel of the star, more than 50 pastors, a Roman gladiatorial circus, plantations, mills, a stadium for horse racing a windmill, an ocean beaches and ships and finally there is the cave of the crib with her notorious inhabitants and over it a gold star.

A night of December 1 8 77, the third party Florian Street was invaded from very early not because hundreds of people were pushing to enter a small room where the crib would work Don Antonio Espina, spectacle which had paid 4 reales the ballot. The first tasks were completed with a comedy by Tirso de Molina (one of the great singers of Christmas), entitled "Don Pedro lockers." The role went wild with enthusiasm to all the citizens for their overall performance and virtuosity in handling the puppets. The various scenes were splash-ed by clowning, jokes fine acting talent and great joy. The theater room was this: in the center was the scene on the left side on an artificial hill where there was a saw mill and rural scenes from which were interpreted bambucos. On the right side was a chichería in which some of the scenes represented. Finally, they had houses, castles, huts, rivers, bridges, mills, bridle paths and shady groves that surrounded the stage and from which came the devil to advertise the program.

was a giant puppet operated by six artists so admirable that journalists then could not believe what they saw as the doll appeared live person. The comedy in this show were joking Manger "as the one entitled" A groom as a cake "or criticisms as those representing the National Congress sessions. The seminar, the military school, the parish office, the characters life and miracles of Bogota. School exams were equally represented and interspersed with bambucos and couplets.
dying earlier this century, perhaps in the aftermath of civil wars, the holidays declined significantly, to the point that it was necessary to create a rescue Organizing Meeting in 1922, which was the need to dispatch in the month of December, the following bands:

"statements of public rejoicing and elegant antics the hours between 6 pm and 1 am on Fridays from 22 Saturday 23and Sunday 24, the merry month of the castanets. May be used Triqui-tracheids, totes, pumps, buscaniguas, sparklers, streamers, confetti eggs, flour or fine perfumes.

using explosives is strictly prohibited Series B. .. is also forbidden to hit the policemen. " [14]

Meanwhile the popular Feast of Three Kings who had and thanks to God, have even-as the populous neighborhood epicenter where loved the picture of the Flight of Our Lady of Egypt, bore some resemblance to the runaway Carnestolendas of Our Lady of La Peña.

In the square opposite the church, departed matachines troupes, with outlandish costumes. Leading the parade was the popular Indian Antonio, sweep profession that assaulted the audience with a well inflated bladder beef. The children thought they were a personification of the devil and parents to call to order the boys said "here comes the Indian Antonio." The dancers chicherías pausing in the industry where they were treated to large gourds, so that ended terribly drunk.

A] near the Fiesta, were assembled large white tents decorated with the national flag. The awnings were covered wood enclosures with bay and they are "staying" as santafereños families coming up to participate in the holidays and enjoy the food that the owners of the sheets prepared for the occasion. Unlike today, the Festival had a duration of three days in which they danced and bambuco whirlwind, ate, drank Mistela and Chicha is made excursions into the hills, bonfires were made, they watched the troupe of Kings, prayed, and there were huge fireworks improvised bullfighters were running around the LCCA Vaca (reed-lined armor cowhides whose horns were lit torches of fire.)

sector houses were decorated with laurel, moss and flowers. The citizens had for the occasion guitars, tiple, Bandol and violins, to liven up the dances as by thousands of people in tents, houses and yards. On the day of Egypt Hill looked like a nest. Walks in the surrounding hills, families out on the hunt for grapes and other fruits mortiño wild. Riders in the valleys bathed by that time were still clean water and pickets were in the meadows. To complete this Table of happiness and contentment, everything was very cheap.

AND WHERE ARE THE HOLIDAYS?

Carnestolendas in February, Corpus in June, Aguinaldo in December, Reyes in January and other festivities [15] of urban life made a nice string of changes to social norms, it is almost inconceivable for those who inhabit the city badly today.

What happened to all this delicious cacophony? Where did it go? At what point we lost the carnival vocation?
In the last years of its existence, the carnival delaron be a festival that involved the whole de ¡a ciudad y se circunscribieron mayoritariamente a los pobladores de los barrios aledaños al santuario y a los fervorosos devotos de Nuestra Señora. Igual ha venido ocurriendo con las Fiestas de Reyes Magos en Egipto.

Al parecer, la inestabilidad y el dolor ocasionados por las guerras civiles del siglo pasado, influyeron notablemente en el decaimiento progresivo de los distintos Carnavales bogotanos, llámense carnestolendas, corpus, navidad o reyes. Pero quizás jugó un papel más definitivo la intolerancia alentada desde los partidos y sus distintos gobiernos y desde la iglesia.

Es conocida la oposición que en diversas coyunturas ejerció la curia en contra. de las carnestolendas. Es conocida también the force that made the "truchimán" [16] Santander to tone down the celebrations of August 7, arguing that they served to exalt the memory of Bolivar.

Moreover, the slow and gradual thinning of the Carnival, we talk about unfinished identity as a nation and city.

The existence of such festivals was inextricably linked to two major cultural influences: the English and muisca [17]

Independence was not the creation of a project culture! alternative mode of being English. This way of being that had sustained much of the idiosyncrasy santafereño, has been diluted to this day as the wick of a candle, without any other paradigm to guide us in building a city. On the other hand, culture muisca was a mixture of denial and indifference, which led to their extinction as a way to be clearly distinguished, before falling e! nineteenth-century backdrop [18]

This castration tip and tip, coupled with political violence which had its highest expression in the city during the terrible events of April 948 - and social injustice significantly restricted the hearing of the public holidays and we were deposited in the twentieth century mostly contemplative amusement (though no less fascinating), such as theater, film, television, horses, bulls, football, cycling, etc.

However, despite the dilapidation of cultural capital we had in our hands, to citizens, priests, nuns, the promoters of culture were able to make use of various resources to maintain or recover at the neighborhood level and guild, what the city has denied us as a whole. This is what happens with the parks, the courts, solidarity, and of course, with public holidays. Today

subsist after more than two hundred years, the Festival of Kings in Egypt and also survive the Feast of Our Lady of La Peña. Develop, although intermittently, festivals and carnivals, such as the Food Pantry. Victory, Athens, Perseverance, San Fernando. And they come every year, new parties such as Tibabuyes, Jerusalem, the district Girardot, Teusaquillo. etc.

And, well, we also had over forty years of this century, from 1 922, the Carnival of Students.

AND CAME SEPTEMBER

"In this month .. . Suspending virtually all teaching duties, as college and university students were engaged to prepare the student holiday, with promotion of candidates among the most beautiful of the distinguished families of the capital. Social clubs organized dances, the Committee will work towards their favorite and the whole city went into this cheerful game in a friendly environment, conducive for a day of carnival, once voted the prom queen . Troupes, floats, costumes, streamers, confetti, street musicians and of course plenty of liquor were the ingredients of the festival, which had always required as extras typical family Castañeda [19] and final came the solemn burial of carnival between pantomime feigned weeping. So again and again, with their queens Olga, Elvira, Emilia, Helena, Cecilia and the other for a day that took the scepter in the country of the chimera ephemeral Bogota " [20]
emerged
Students carnival closely linked to the process of their organization as a movement. In fact, the first carnival will be decided in a National Assembly of university students.

They, also involved parents of students, bankers, rñédicos, farmers, journalists, which gave extensive coverage to the festivities that were praised as an example of order and civility and came to be established for more than four decades in the Carnival City.

However, in these days the participation of the majority of common people was limited to a watching happy and pleased, but the observer at the end. SALVE

WITHOUT PAR CARNIVAL

It is time to think about giving back to Bogota for a carnival that identify, encourage the explosion of imagination and creativity to help create sense of belonging to city \u200b\u200bas a physical process, cultural and environmental and ourselves as inhabitants of it. Returning

experience Carnival in the city that existed for over 400 years, considering the strengths and limitations of the wide range of neighborhood festivities still in force, analyzing the moods that pass through and electrify the city, we owe it to life, design Carnival celebrations we project towards the city of the future.

Imagine for a moment of reflection lúdicay one week: how nice it would be seen to transit the groups of guilds and towns, know the neighborhood g ~ unadorable carnival contest "My neighborhood is a note" to attend Mass preceded pitched martial parades, go to the retrospective "Film de Bogotá" which is organized in different neighborhoods, all after the workshop disguise masks and matachines that will encourage you eatretos in different parts of the capital, the tournament santafereños sayings and anecdotes, left to get to the Fair "Crafts of My City", linked to to day cleaning and grooming of lawns that takes place in the days of pre-carnival, run with the dancers in the streets and malls, go on a hygienic gourds of chicha or beer with a plate of cooked attend santafereños gatherings being organized in the neighborhood to decide how they will participate in the Carnival ... In short, many individual and collective energies Carnival has only a massive power capacity.

Yes of course, violence. i Carnival could become a bloodbath.

That depends, among other things, our capacity to engage with as many forces of the city, so that is not going to make a claim like that to the Cacique of Ubaque back in 1561 and could not understand why some do have the right and others not.

Exclusions of this kind are unthinkable, by definition, a real carnival, which everyone should be able to greet the manner of their wondrous dawns riosuceños:! Salve, salve pleasure of life, save, Hail unparalleled Carnival!.


1
BATTLE JOHN: Would you like coffee?
Joan: No, my nerves. JUAN
: Tea? JUANA
: Anyway, thanks.
JUAN: (drinking the last sip.) Today these very elegant.
Joan: Thank you, very kind of you.

(Pause. all continue working on their sites, only the sound of machines computer printers)

Joan: John you have a dirty neck, dress.
JOHN: This is the morning traffic, everything is spoiled.
Joan: The red spots are like flea bites.

(each up the view from her "armchair" work and laughs on the sly.)

John's face has gone from red to purple, is troubled and broken.

was at that moment that suggest the possibility - after all these years - to annihilate Juana, a woman who never wanted to promote him at work.

Press later confirmed by a later identified as Juana NN lay beside the road, the purple one day on the floor 42, saw his friends working in the face of John.


[1] President of the Community Corporation "Roots" Professor of Urban Sociology at the Universidad Nacional de Colombia.

2 According to some versions of the mythology muisca the puck would have been initially after God Fú lagoon dweller Fúquene addition to being the protector of the painters of blankets, was the God of carousing and drunkenness, which is why he behaved with stupidity funny.

[3] Ex-votos: figures made of different materials like wax, copper, aluminum, gold. ... silver, through which it represents a body part (arm, leg, eye, sinus, ear, lungs ...) or a situation, regarding which thanks or request a miraculous intervention of a character in the Catholic calendar. For example, the ex-voto to Our Lady of La Peña, in the historical area of \u200b\u200bBogota.

[4] "Myths. Chibcha legends and gods ", Jesus Arango Cano. 1965
[5] From "carnis" and "tollere" which means to remove or leave the meat

[6] The Bull was originally a medal and also a Lead Seal , which is accustomed place in the written orders and other indulgences the Holy Father.

[7] Quoted by Julian Vargas in "The Santa Fe colonial society, Cinep. 1990

[8] In 'Prints Santafereño', Guillermo Hernandez de Alba, and these tournaments citizens rebuild "soft ball of wax or clay, egg shells filled with flour or paint, are the projectiles going to crash into the dudes that make heroes these days of madness. " And goes on to quote the famous French Chronic Moyne: "The individual out of respect for the cleanliness of their clothes, because it suits you wet or the bitterness of his character does not want exposed to these mishaps, you have to stay home days or more, tightly enclosed ... True then down fighting between street people and the ladies entrenched in their homes ... The bite is elegant ... . (A) change of the bullets ... (Of) the fine members, (I sent) confetti and bouquets (flower). "

[9] Corpus: Latin for body. Day that the Catholic Church celebrates the Eucharist, or thanksgiving to the Lord our God.
[10] entanglement that is Fascinating muisca symbols are the English thanks to some common elements: tunjos of some and the ex-votos from the others, the veneration of the Zipa on one side and the King on the other, the procession to the lake and those processions to the temple of these, the costumes are common to both, the mixture of the profane and the sacred in every party that respected the cruelty of the English justice and severity dei Nemequene Code together with penalties and sacrifices that tremble with terror disproportionate privileges of commissioners and viceroys and amazing attributes Zipa and Chieftains, the Virgin mother and mistress "and Bachué mother and counselor ...

[11] Arca: originally deposit box or tightly closed, in which were kept among other symbolic elements given by God to men, the ten commandments of the Holy Mother Church
[12] "From the Life of old,. José Maria Cordovez frloure, in "Reminiscences of Sarna Fe and Bogota .."

[13] Just one of the first-as the national cinema film was "The Feast of Corpus Christi and San Antonio, . held in Bogotá by the brothers Domenico Di in the year AD 1915.

[14] ~ HIistortade Cited in Bogotá. Volume lll., MLSI Colombia. 1988. Hitting the police and citizens is widespread custom in the municipal parties cundiboyacense plain and other regions, such as the Department of Nariño. in which the goat bladders matachines aggressive or "powder day ~ in white, purposely target the law enforcement officials baffled.

[15] is celebrating the " [16] VWR " The General in His Labyrinth. " Gabriel García Márquez. Gabo says amid the desolation of the text, which Bolívar was amazed with Cold Blood of Sanrander to manipulate and plan actions petty reason referred to him as "truchimán" or "dead fish, ~.

[17] In the case of Bogota. the black influence that existed but did not play leading role he had and has in other parts of the national territory.

[18] such criminal activities as the prohibition of a faith or the pursuit of chicha, comparable only to prevent. Today, the cult of the Virgin to impose devotion to Satárt or abolish by decree the chocolate and cheese and bread, the bureau capital.


[19] Castaneda's family is central to the Carnival of Blacks and Whites held in Pasto, Nariño and Putumayo part. Represents a lineage of slaves in the eighteenth century freed their slaves in Antioquia and travel every year ha.sta the south of the country to commemorate this event.

[20] "In that city ...", Rafael Serrano Camargo. 1981

Real Housewives Of Orange County Monokini

comparsas



Meligante Cultural Foundation in the parade Carnaval de Puente Aranda 4, 2003

Palmers Cocobuter Cream Blemsishes

Carnaval de Rock

Pink Box Pregnancy Test

A SAN ANTONIO Y LOS MATACHINES SE LOS LLEVO EL PATAS

Pictured: Jorge Ruiz Veloso Carnival Forum. Local Management Board of Puente Aranda, 2003


A SAN ANTONIO AND TOOK THE Matachín IS THE LEGS
By: Veloza Jorge Ruiz

Maximo interpreter type of music or peasant. His work of creation and research has been presentaso Colombian folklore in the most important in the world.

(Published by the Journal Melusina)

"(...) the defense of local and regional cultures threatened by cultures with global reach must not transform the cultures thus affected into relics deprived of their own development dynamics "(Stockholm Action Plan)


ran fifty years and people knew where the moon would fill, when the men ¬ glove and when increased, also knew the exact date of each of the pilgrimage. The Our Lady of Chinavita those Monguí, Morea and Candelaria, Carmen de Leyva, let alone the greatest of all: that of our Lady of Chiquinquirá ¬ work. Being just a chirrimplín and being sentenced to work for ¬ zados father's house, I could never enjoy even unitary and had to settle down just to see the pilgrims on the road in such excitement and days after seeing them up on the same but with the party under his belt. I had it the reassurance that everything would come to know through the mouth of Maria Valbuena, not maimed or over and in his spare time officiating as day laborers on the farm of my shamans, because despuesito five o'clock, when the laborers labor rose The Valbuena to its language other party and we learned of all that had happened and what not too.

said Ráquira our parties were a bazaar at the foot of the big man elsewhere. But could not be more and her forgiveness for my little God who must have his right hand around a happy life seemed to me a blessing: and as the day of the week was more than expected Sunday payment of "rent" with the uncles and grandfather that I soco ¬ RRIAN to visit a black culebrero who called himself Professor Agualongo, months rattled me most was in June and December. The pri ¬ served on a platter simply because the carnival in San Antonio and another, rosaries and the dancers. These feasts still exist but will, almost took them matachines the legs.

When big a hole appeared in the middle of the plaza as those that today are made to remove oil, were signs that the festival of San Antonio of the Wall is coming. We get into the story. The aforementioned broken, nee ¬ Jero, hollow or cleft foramen was not alone, almost at the same time the Board of parties led by the pastor began to take in the shops and guaraperias voucher to the sweet and bitter beer, chicha and the ¬ guandiolo safe to mind that had no shortage of desire also to the Columbian and garbinches, but to the divine ¬ pron niño intercedió por nosotros los mu¬chachos pecadores y le cayó mugre a la idea. Las adoradoras del Santo se encargaban de la cade¬na, que por cierto no era una vil cabuyita de ama¬rrar gallinas, sino toda una guaya atada a dos señores palos de lado a lado de la carretera, has¬ta que el que quería entrar o salir del pueblo tenía que bajarse de su peaje “voluntario” o quedarse ahí orillado hasta que pasaran las fiestas.

De los bazares pro-Fondos de San Antuco tam¬bién se encargaban otros feligreses y así, de una y otra cosa iba saliendo la marmaja para ayudas de la parroquia y para la propaganda, la pólvo¬ra, los toros y los toreros, los palos y la cabuya, para la barrier, vacaloca, balloons, festoons, band, folk festivals and dawns, the awards for donkeys and encostalados racing, the championship of yew, the competi ¬ couplets and resources related to the space we know.

In case of contributions, the one that had the bul ¬ was prior to the party, who was distinguished by the gold key that hung from his holy breast, about the size of a big one and the Inga I could go where he wanted inclusion ¬ going the kingdom of heaven. It was a Christian prior ¬ that no promise to San Antonio with this special little favor some, such as a cheap property, a half-price ganadito and thus undertook to meet with him all expenses of the divine part of the fun, you understand one parish and another of the "human na ¬" because where the prior ¬ chi also came to us goteriar arrimábamos. Being prior ¬ mo was the maximum but also an honor that cost. More than one had to make up their little bit of land to pay debts of their parties. I know someone who gave him a box land and agricultural credit that have earned him nothing to ¬ ¬ tions give the explanations he has given to the entity ¬ Dad, putting God for TES ¬ ishment and the sponsor to justify saint the transfer of funds. ¬ Any way as you remain cu ¬ brir six installments of the party. There were four days and nights of partying healthy, feasting and rejoicing. Eve had to do these: first that the Coetan, after the castle, almost always co ¬ cin, one in each corner of the square and to ¬ san in the middle. This was the last to be burned and had a trick for when I was more illu ¬ mined, let loose a barrage of thunder and colored lights everywhere and the Saint made his solemn appearance in a fabric that was clear of the blue from a reed Transverse even Polvero not like hiding in the top: This was the culminating moment, the maximum of the mo ¬ mystery, we all clipping the appearance of the Holy and right there he did the second lap to go leaving us where we picked up the mo ¬ ment. There was no way to find a little room at home if it had to be there and then fell don ¬ fall and above what it was, to take advantage spiritual ject to the act, and right around the roof, win points with the man . Finished

pyrotechnics tore the festival with the band or the murga and smaller parties that were assembled where any set rattled the sticks or guabineras guabineros and gave them to challenge themselves to take dog ¬ TAS or verses that call in which could last three to four days to run and no one duck down. When they did, they paid the girls on board and were cases for the party the following year.

And if that was the day before, imagine the day. On June 13 the house was put through the window. From what was called dawn, until dawn the next day, the rumba was co ¬ Derrida. Powder Venti mass, called ¬ do to the side of the joy Thurs ¬ risks, procession, chub, ¬ sos contests, sketches and now they roto: the pole award. ¬ It is picked up in time with the highest suit the neighborhood, was snuggled up with two or three yoke of oxen, plunged into the co ¬ hue we know, the ram and then the linesman Don Pedro put on his telegraph is ¬ Puel and cintuera and stick up a rose to loved ¬ rrar's sack suit awards and is low ¬ Nla smearing grease to put it more difficult to try to get to that story. For one thing, my paisa ¬ told us it was easier to catch a soapy pig to get to the cone of the rod, but Maneas tip, sand and sawdust no ¬ false tobacco which the crown.

At three o'clock came the bullfight, rather the corral of guarapiados, that the least with his head Anatol thought the Thebes of bullfighting and alcohol as cum ¬ ple with its duty logic would not be without a good whack or else the run had been Maluco and feast on them when there had been a few Bifulco, roughhousing and polifulcas per hour. Bulls finished off with the other festival. Shimmy everywhere, love affairs into account small shadow lend, especially on the banks of the river by offering caches and have it at hand in case of emergency, which were not few. More than one preferred running the risk of drowning than expected to a fanatic interest in turn "will be of interest to the pylorus" some artifact of age grinding stones and left him talking with San Antonio in a blink of an eye .

The auction was a day like that when I say strong, with more wins. Everyone enjoyed their remains and arrests and then as Tomasa said, everyone for your home, including San Anto ¬ NIO which a year return to its two altars of the church near the front of San Isidro and the wall at the corner of Dona Transit. Certainly, from there he advanced in years to modern banking as their faithful and admirers could enter alms to any twenty-four hours a day, that to avoid being a temptation to demonic imp ¬ gun, reached timber through a funnel straight to the parish office so that the Lord is ¬ cure, his attorney, invest in the best if you could. Roll around a truck that was still in its bow. And again

counting the months and to bar arrived in December with joy pa ¬ RRAND month and animation, Christmas gifts, feasts and a half days dusty, not because the wind ¬ Vantas even a little bit of land mincha of, but by the reventadero of gunpowder. And was that depending on the amount loteara known as would be the string of night, and hence the priors of each day will be devoted to it and occasionally put up to six ¬ tions raise polvoreros bursting firecrackers and bedrooms at least one quarter of an hour. They said some former combatants, the battle they had in Quimba Peralonso. This operation was repeated when the bell gave the first, second and leave for the rosary, yes, which lasted barely touch on is otherwise would have been converted into a village pirosordomaniacos.

And the carols are the rosary came to such a procession bellezura woven by the lights of colored lanterns, torches stick, jar, cloth and oil, parpadeadera of candles and the candles that family of the respective priors rosary, gave to Mr. Ray and everyone is entitled to take the stub for the home or for lighting the road. At each corner was a break for adventure ¬ tar salves and more carols with all things that noise ra ¬ IIH. And songs and recitations and dances and so the procession was among one another pinch and hand cogidita, including one that another appointment or declaration of love, reaching back to the church where the priest after another migajita indoctrinate finally let us go out into the courtyard to enjoy the dancers. They appeared as

wasps everywhere. There would come across one with a devil, back with a three-headed armadillo, now with a cove ¬ vera, now that the carramana, or the vacaloca, or the crown of handing out hijuemadrino cowhide with both hands and as far as he reached his arm biter or the devil who was with his girlfriend of the bladder inflated to crash beef that were left and where they fell, with the aggravating factor that deformed sand and water inside, so that each was like getting lamparazo a ball kicked by a mule. Everything you put a mask, or disguise or pintorreteara was torearles Matachine and the desire and seek game one said: - Matachín, cachiparao, I run and gun, and run or pay hiding. A whole crowd to vent, armed of all against all, without limits and po ¬ TIME tiples tip, requintos, riolinas, castrator, quiribillos, ocarina, whistles, tambourines and tambourines, stingrays and other miscellaneous style.

They danced three and two, the glass braid, blanket, Whirlpool, partridges, cane, is ¬ coba, the bows, burning the devil tail and fall to fall and as the was made to dance, get into the story entucarse joy. ¬ Mu rights were the men who enlisted in advance their masks and dressed as women can enjoy the rumba ¬ banking already cute as well, which encouraged more, excited and ruffling was a man also named as Ma ¬ Valbuena estuary Manuel called him and no one can ever identify precisely when transformed into Matachine, not even his wife. Only death, really, that one night taking advantage of overdose chirrinches that Manuel had in his head, gave them in playful and hit a ground empujocito atrium, the man who did not expect, he fell ill and left us ¬ mu rights greetings and memories. Suddenly

That day began the death of those parties who fortunately managed to find in Ráquira and unfortunately now existing only in Tarabita ¬ ten, people who invented me to keep on living.

Cons Of Sunflower Seeds

Jovenes


Young enjoying the carnival of Puente Aranda 2003

Hiring Tim Horton In Brampton

Adultos mayores



Seniors participating in the Pre-carnival

Does Stds Live In Urine'

UNA HISTORIA DEL CARNAVAL EN PUENTE ARANDA


CHAPTER 3 STORY CARNIVAL IN PUENTE ARANDA

By: Edgar Rojas Vasquez Felipe Chávez Gutiérrez


"The appropriation of property through any of its multiple use should produce the pleasure of meeting with the other, thereby enriching the community values" (Convenio Andres Bello)

In tiredness
after coordinating the events of the Fourth Carnival of Puente Aranda, with that melancholy flavor by the process ends and the illusion of the future party, we met Edgar Rojas and Felipe Chavez with the intention of talking to generate a document - process memory carnival in the town of Puente Aranda. I took a proposed structure with cross tables variables: institutional, organizational, aesthetic and holiday in each of the versions of Carnaval, Edgar noted that such information is fragmented, it is preferable to a narrative where there are on the process but the findings are made by the reader ... Combining the two proposals decided to record the conversation and then transcribe the important passages. We paused to take a coffee and get batteries for the recorder and the floor.

REC:

Felipe: I'm interested in commenting on the process, how the Carnival has evolved with each release, how the carnival has been an excuse to generate a local tradition and this has allowed the emergence of organizations, artists, actors and cultural managers in Puente Aranda.

Edgar: Yes, but let's start with the initial search of the Carnival. It is curious that the first carnival in 1996 was part of a project called "Opportunity for youth and leadership workshops." The context of the decentralization of government processes such as "Localízate" allowed a first meeting of the artists who inhabit the area but we did not know, there appeared professional artists and other laymen who began to turn on each other. At that time only knew we wanted a space of expression for young artists professionals no longer needed to go to Candelaria to feel a cultural environment for culture could be given from our town. Felipe

: At that time the investment was ten million dollars to be spent mainly on cultural events.

Edgar: Although there was a very important educational component in the workshops of dance, stilts and theater troupes performing allowed, although that's saying a lot because the groups were a parade of makeup people dancing to music, I remember a choreography that was two steps forward and three back, not moving and the workshop owner wanted to keep.

Felipe: What was the structure of events?

Edgar: In proposing the name of Carnival, we wanted a space holiday for everyone enjoyed it, we wanted at the bottom to imitate the traditional carnivals of Colombia, so he raised a Pre-carnival events as the battle of flowers, reading side, the cries of carnival. These activities allowed out every week the same group of people with new extras. It was not the expression of the people in general but a group of people interested in the carnival.

Philip: But there were also big events like rock concerts and the Momposina Toto.

Edgar: These were important moments for the cultural history of the town but our event production ignorance was such that the concert included groups of Andean music and rock, they even stole the battery and the Momposina Toto concert is just a bad photo taken without any regard to age or locality.

Felipe: The organization was in its infancy, I think you handled pocket money and who are committed to the project components did not really have the ability or knowledge, I mean the production, registration, management to the company Private. At that time had very good will but little knowledge in terms of artistic production and events. I think that is reflected in the quality of products.

Edgar: But things were just beginning, the party with broad popular participation was a claim, the important thing was the dialogue between artists with empirical experience, some professionals and a number of young and grandparents for the first time I had an opportunity to express That differs greatly from what is now talking about management or performance indicators project.

Felipe: The formulation of the project was in its infancy.

Edgar: Yes, because the project was to build the project itself was to build a party with which they were. Now the terms of reference of the projects make the party come prefabricated.

Philip: I think that the wording of the following projects have been allowed to maximize resources in order to see investment and improve quality.

Edgar: Yes, but when current projects are coming to UEL tasteless because the proponents do not spend a project as such but a mere roadmap. No longer poses a rationale, objectives, some alternative solutions, simply answer how they will spend some resources.

Felipe: That started learning in 1999 with the "neighborhood on the threshold" of the Administrative Department of Community Action DAAC and the District Institute of Culture and Tourism IDCT and by that time there was talk of co-financing - many words, less - was that the community work for free and gave the state the materials. This allowed us to formulate the Second Carnival would cost fifty million but we were given twenty-five, we put all the work.

Edgar: There contractual factor began affecting the Carnival as the DAAC from his inexperience made us a contract for services rather than services, we paid out a week before the final event of the project which led to accounting problems as actions and materials had already been invested.

Felipe: The project design workshop with the DAAC I remember that deepened a kind of cultural division in the locality. The "Barrio on the Threshold" was intended to integrate all local cultural actors in the development of a single project. But Puente Aranda was one of the few places where they developed two: A project called "artistic pedagogy joints in town 16", implemented by the Network of Local Culture Puente Aranda "who claimed to be 80% of attendees workshop, but fell apart at the end of execution. And two, the "Second Bridge Carnival Aranda" executed by the "Red Bridge Cultural Aranda (Incognita - Carretaca)" who had begun work solidarity to the call for "Comparsa to Bogota in 1999 with that name and keep active four years after the job integrating different local and district cultural processes. I say this because I think the network work to consolidate the identity of the Carnival, facilitating logistics, credibility and social mobility.

Edgar: That year allowed the broad dissemination of Puente Aranda and cultural city as the Carnival Comparsa Base participated in many events in other locations: Bosa, Kennedy, Ciudad Bolivar and lived Tunjuelito cultural circuit in November and December every week troupes were the same in different parts of these integrated local events such as: The Festival of Popular Art and Cultural Invasion in Bosa, Carnival Torch and Kennedy's Birthday and cultural week in Ciudad Bolivar and Tunjuelito carnival. That allowed the final parade of Second Carnival parades Puente Aranda was eighteen, a memorable event.

Philip, The Second Carnival continued to rock, it was a concert in a warehouse with nine bands. The carnival was launched from 31 October with roles in different neighborhoods as well as the day of the candles, the First Exhibition of Plastic Arts at the Casa Museo Antonio Nariño and 18 December was the big parade. Logistics and production was improving but los medios publicitarios fueron escasos por ejemplo no hubo afiche -aunque en ese sentido se debe diferenciar la publicidad de la convocatoria- ya se empezaba a delinear una identidad propia del Carnaval en Puente Aranda como escenario para las diferentes expresiones culturales locales y como proceso vivo, no como eventos sueltos.

Edgar: Por ese tiempo llegó la U.E.L. (Unidad ejecutiva de Localidades) a coordinar la contratación. El plan de desarrollo Local ya contemplaba un proyecto denominado “Segundo Carnaval Sectorial Cuatro”

Felipe: Ese sectorial casi corresponde a lo que hoy es la UPZ 43 San Rafael.

Edgar: Los términos de referencia daban continuidad al proceso del Segundo Carnaval, con el problem in that sector were not rooted cultural groups, so they run in the first half of 2000 primarily with the school population in a very interesting process that included features carnival, theater, dance, puppets and educational concerts of the Orchestra Bogota Symphony in schools, in addition to the pedagogical process where the young extras who had been prime beneficiaries of Carnival and carnival participants Imaginary Threshold (1999) as members of the Cultural Association Incognita advisers were already in comparsa schools and this was reflected in the bill of production.

Felipe: On that time created a very interesting debate between local cultural base. Some said the Carnival "was made by foreign artists, when the Symphony came at no cost to expand the Pre-carnival schedule, it was said that this had been a" parade of children dressed, with no impact, "plus other confused the obligations of projects Second Carnival (DAAC, 1999) and Second Carnival Sector Four (UEL 2000)

Edgar: The important thing was to continue the process of carnival involving the school sector and to community groups of older adults and youth. Since the first carnival was discussion about the quality, but it is always easier to criticize than to construct.

Felipe: I'm sorry that happened to the Third Carnival 2001 term project executed in 2002 by the Film Foundation Tunnel Study. The proposal included activities like a parade with the prisoners at the Modelo prison and bring the best extras of the feast of Bogotá, but seeing the final parade was difficult to determine where investment had been material for carnival, including members of a Community Action Board were in cars adorned with inflatable pump, with the radio blasting and guacharaca in hand.

Edgar: As it put us in the conceptual extremes of the local carnival.
Felipe
: We at the Puente Aranda Cultural Network believe in the festival but do not believe in the "community" abstract, or that "culture of it," we believe in the organized community, in a few artists who represent an organized manner the community, why we believe that the groups should have a level of aesthetic development, which is not simply march in costume and believe gay. And this would not conflict with the fundamental concept of the carnival that is where it breaks the barrier between "artist" and "the public" as a simple meal mask allows uninhibited and starring in the party.

Edgar: That is demonstrated by the Rio carnival de Janeiro, Pasto, Barranquilla Riosucio or artistic expressions that are refined, high quality which function to motivate the party and in such shows artists and spectators are one carnival show, but Who is encouraging artistic quality the party?,

Philip, the carnival does not occur spontaneously, requires a process of organization. Pause



Already at that time was needed a break. The taste of memories mixed with a new cafe. We were in the plane of the definitions that we tried to avoid as we consider the Carnival as a work in progress, we agreed not set to give greater breadth to the debate, we reviewed the criticisms identified and value this opportunity to raise their own conceptual positions despite being aware that it takes the voices of other local carnival. Hopefully the next versions of carnival allow further systematize this experience. Fold in the sugar back to the topic. Rec



Edgar: I think the third Carnival was carried out with a concept far removed from what had been built in the First Forum on Carnival with Juan Carlos Moya and Fernando Duque Mesa in 2000 and history advanced.

Philip: Yes, we begin to perceive a great conceptual distance compared to the identity of the carnival. Radically for us Puente Aranda carnival is not to make a carnavalito in the town of Barranquilla. The slogan, the image of the poster and the overall dynamics should aim at building a carnival party for festive and cultural needs of Puente Aranda.

Edgar: the bands and artists Puente Aranda Cultural Network decided not to participate by the conditions offered, was a political decision to keep the debate that is raised about the quality.

Philip, as an audience I expected a huge carnival as it had 35 million investment, but a parade after the bike path for 50 race does not generate greater impact, is a very broad way that does not call. I do not think a local event has the ability to attract the public, on the contrary I think that must be the events where the public.

Edgar: The parade is just one component of the entire project, which reports the pedagogic work, that's what we claim: Carnival as a process that has enhanced the cultural organization in the locality. Fourth Carnival for example strengthened neighborhood theater groups, dance for senior citizens, writers, artists even began their process of organization.

Philip: So we arrived at Fourth Carnival. That itself was a dream come true first because it already had an investment of forty-five million pesos which allowed for quality resources for production, consultancy, logistics, coordination and memory. Each component of the project was a quality production, appropriate consultants, good spread, even with its flaws and modesty aside, I feel that the fourth Carnival has been a cultural project with greater impact, positioning, credibility and presence in all UPZ, which was conducted in the locality.

Edgar: I would not be as safe as if it were, it would maintain a similar scheme for next versions, but the wording of the Fifth Carnival leaves lose processes as valuable as the Hall of Space Photography and the Arts Salon that it would go for its third version.

Felipe: Here is another conceptual difference with other local cultural agents. Planning for local cultural projects should be made from research on local cultural reality ...

Edgar: Do not think you should remove the Fine Arts Hall on the grounds that the proposed incentives to form another room, as are exhibitions that meet different needs. The Creation of Incentives for merely competitive but Carnival Hall is a place of encounter, dialogue, again Carnival as an excuse to meet and have the party of coexistence.

Felipe: The local carnival has three main components: One: the educational process for the preparation of extras, two: Pre-carnival programming which presents the different expressions of the arts and three: the great carnival parade with parades and popular festivities. In that sense, art must have its own stage in the framework of a Hall of Fine Arts, as well as crafts in the fair, music in various concerts, dance, theater and literature in their own scenarios and all Pre-carnival together as a large. And the educational component raises the concern integrate different artistic disciplines in the assembly of extras. I mean the carnival allows the expression of each discipline in context and at the same time invited to the theater, dance, literature, music and visual arts to mingle and live together in that language inclusive and itinerant troupe. Each discipline has a right to their stage at both times. Stop



While stopped to flip the cassette we imagine the reaction to this document, which will be felt in question, which I did not know this version of history and in particular we imagine readers to identify a new cultural reality in the locality, which are the difference in thought an opportunity to grow, those who have seen the process of the carnival, expect a conceptual justification of the project and finds an open debate in which they can participate are artists, managers or public. We discover that these people produced this document, which they share with us the spirit of building a different location with scenarios for the expression, criticism and discussion to improve the living, productivity and artistic expression of Puente Aranda.

understand that we are privileged to produce the first document about the Carnival of Puente Aranda that covers much of the cultural dynamics and history of the town. So prepare a final coffee and continue the conversation:

Rec

Felipe: If you approach the history, quality, aesthetics and participation, we lack the institutional element.

Edgar: No, we said that the context of decentralization and participatory democracy enabled the birth of the Carnival.

Philip, but also the consolidation process as framed Citizen Encounters in the Agreement 13 allowed prioritization of Culture Local System in its line of action "Dissemination and events" have the draft Local Carnival as traditional event, ensuring their completion for three years running, we hope you can give that continuity now.

Edgar: The institutions also has to do with the perception of local mayors and the Local Management Board on the process. In this we have gained much in the last three years, the cultural sector has made visible with the Local System of Culture and quality in project implementation. Mardi Gras funding also depends on the ability of political dialogue that has the sector ... But here and we skip the history of Carnival to the Local System of Culture.

Philip: Maybe, but everything is related, so it's a system. The Carnival was a milestone that led to a cultural process in the town that became Culture Local System and now is the system that should ensure the permanence of the Carnival.

Edgar: That is the systemic vision that we have tried to arrange with the local cultural base, the Local Council for Culture and Local Government. Now comes something more interesting, the participation of students in the School of Education Artistic EFAP Puente Aranda in the Carnival, in the end it is they who must take ownership of local cultural dynamics.

Philip, in that sense I am concerned about the recruitment process, if local organizations are not competitive, there is the possibility that any contractor is local or not, come to execute a contract, take your winnings and leave the process in the air.

Edgar: But if the community truly has appropriated the process, the contractor must require the continuity and quality. The trouble is that every day are neighborhood or professional groups are more funding problems and it does not motivate them to participate in activities "For the love of art." There is more awareness of the economic process to maintain a cultural process and participation does not occur spontaneously.

Philip: This is a final element of the great contradiction of the Carnival. The state pays a feast for the enjoyment of the people.

Edgar: Yes, in King paid the old drunk and then squeeze over the holding, for example black and white carnival of Grass celebrates the day of freedom that were given each year to the slaves and then return to "normal set": follow the slavery. Felipe

: Theoretically, no alteration of the authority there is no Carnival.

Edgar: the carnival of modern state authority is not the same which meant the monarchy. In modern power is not only represented in the state and its leaders ... The important thing is to differentiate the festival of consumption that is part of the routine of working every weekend, the popular party disorderly as the street is the setting, the park's stage, the young man is magic, the old is a dancer, the difference is the meeting point ...

Felipe: And so it is the carnival in Puente Aranda, with its limitations, love and resentment.

Edgar: With this contradiction between the contractual formalities and the party that people enjoy.

Philip, through the efforts of some leaders who put the overalls to organize the party where everyone dance and enjoy.

Edgar: where we understand that being different can live together and build a better site, productively and creatively.

Philip, in a country where few seek to institutionalize the sadness, the town 16, Bogotá: Puente Aranda build transformative moments of joy ...

STOP - EJECT

The track is initiated, we would like to address the number of anecdotes at every carnival, carnival to list that have fueled the process, make a directory of local cultural agents present, we wish to address the local cultural history beyond the carnival, we would ultimately leave an input to local cultural diagnosis will we all need, but space is running out and the coffee too. As we parted, with the confrontation between what has not been done and all that is to be built, we looked at and a smile repeat the cry that accompanied us the last few months: Joy Local Carnival Magic!

Trip Evaluation Verbiage

Carnaval de Rock.


Carnival Rock. Columbus Park Dalias. 2003

Vba Saves For Gpsphone

ACERCAMIENTO A LOS INDICADORES DE GESTIÓN CULTURAL LOCAL

APPROACH TO THE LOCAL CULTURAL MANAGEMENT INDICATORS

By: Felipe Chávez Gutiérrez [1]

"We in culture ... we must make them understand that we are only to create social cohesion ... when we are able to convince our management politicians that we are the only elements that generate a permanent wealth and stable development, they will realize that we must have a budget more in line with reality and stop being so poor children in the family. "(Fernando Vicario)


With increased public investment in cultural activities, the proliferation of cultural agents in the town, with the intention of making oversight and monitoring of projects motivated from the Local Council of Culture and especially the value of assessing the strengthening of Local Culture System Puente Aranda, a couple of years ago started a debate against indicators cultural management in the locality. This document is a proposal to build collectively approach these performance indicators that allow us to evaluate, reflect and rethink, if necessary, cultural policies and development projects in the area 16 of Bogotá. It leaves open the debate to that from other areas of the nation build monitoring and evaluation methodologies to strengthen the National System of Culture bringing the country's social development.

Accepting the definition of culture of the General Law of Culture:

In its broadest sense, culture may now be the set of distinctive spiritual, material, intellectual and emotional features of society or social group. It includes not only the arts and literature, lifestyles, fundamental rights of human beings, value systems, traditions and beliefs. (Act 397 of 1997)

begin with the recognition of different levels of organization and expression of local culture without addressing the dimension of values \u200b\u200band beliefs, we will focus on people and organizations that develop artistic and cultural activities as otherwise it is they who represent the local cultural feel. With these people, there are two areas of work: one, the self, that of independent creation that does not have any private or state funding and to that extent is an expression of the popular. And two, the level of institutional, public projects, where some local leaders and organizations are able to be contractors of the State to develop a social investment project in culture.

In the foreground has a wealth of bands, artists and leaders, some stakeholders in the local dynamics and other district or national projection with no interest in the local. The second plane has about five organizations with the capacity to contract and implement projects under the current legal status.

Although there is no diagnosis or a comprehensive inventory account of local cultural offerings - that this should be a priority in the line of Research and Encouragement of Culture Local System, which would involve an arduous research methodology update variable constant at the diagnosis - this exercise is to propose a methodology for evaluating and monitoring of cultural projects that are part of the Development Plan of the town, although it can be applied to self-managed projects, as well:

PROCEDURES INDICATORS FOR THE CONSTRUCTION OF LOCAL CULTURAL MANAGEMENT

1. Knowing the integral formulation of the project, its aims and objectives, assessing the performance or achievement of objectives.
2. Identify: activities, difficulties, achievements and recommendations for each of the objectives of the project, applying a continuous improvement scheme as a strategy for evaluation.
3. Provide documents of activities: pictures, videos, publications and support activities, especially as the memory of cultural development.
4. Make a matrix with four variables: coverage, quality, sustainability and positioning, in each variable must provide quantitative data and their respective qualitative analysis.

With these four simple procedures can generate a document that yields comprehensive report on the implementation of a cultural project.

These assessment procedures can be performed from the perspective of an agent in the execution as a contractor or staff member or external supplier, each one you have your point of view but these procedures are used to establish meeting points evaluation, ie to look the same item from different angles.

WHERE DOES THIS SCHEME TO BUILD SURGE OF MANAGING CULTURAL INDICATORS?

This proposal is experience in the implementation of cultural projects that have detected the need to be quantitative management reports to various entities, authorities and the community, but as cultural brokers are reluctant to quantify the trade, we oppose any ideological attitude to participants in the cultural dynamics are treated as "beneficiaries", "clients" or a simple "number of coverage," at the bottom keep the hope that the dehumanization does not infiltrate in the implementation of the processes with human beings . But at the same time as managers and administrators of public funds are aware of the importance reports "targets" that support the importance of social investment, reconciling between these two extremes is this proposal.

Another element that gives rise to this scheme is the diversity and lack of systemic processes in the evaluation of cultural projects. For each contractor, auditor, advisor, leader or cultural agent posed as to assess and evaluate themselves and meet the other, dialogue is difficult because different items are evaluated with different criteria and there are generated disagreements in the relationship between agents local cultural.

For example, when talking about diffusion of an event the contractor says having distributed 50 posters and 500 leaflets two days before the event in addition to a carnival parade two hours before you and say they have informed at least two thousand people in the neighborhood. But the inspector replied that the neighborhood can live ten thousand people of which 80% did not even know the realization of this event. In that case what is the rate applied?.

Regarding the spread always generate these discussions it is said that the town has about 360,000 inhabitants How many people are informed of the realization of cultural events, how many are involved?. In a project as Artistic Training Local School Cultural and Puente Aranda EFAP with an investment of $ 72,000,000 = only 300 people being trained are certainly not representative in comparison to the total population of the town, but on the other hand are 300 people who previously were not able to participate in the dynamic local culture. The same applies to attendance at events, among other things because the town does not have adequate scenarios that can bring more than two thousand people - These are real limitations of social investment projects - This point of debate is clarified by taking as example mass culture where 40,000 people attend the concert stage for singer-fashioned but the media say that "everything Bogota - Over six million people - was in concert (¿?).

In that sense it is important to differentiate the advertising of the summons, although the two procedures are part of the broadcast, the call has to do with the assistance of public or beneficiaries to a specific activity and publicity open information given the whole community. Can occur if an event with much publicity (posters and brochures) with very few assistants and other hand an event with little publicity and many assistants, for example a card or poster in a school that ensures many attendees.

The last element that gives rise to this proposal is the dynamic that generated the Law 80 contract system, the contractor comes to town with a working plan based on your criteria for the terms of reference for technical clarity is a very broad framework of activities where the specific conceptual and methodological is given by the contractor. This creates a great social responsibility for people and organizations that develop cultural projects.

ORIGIN OF PROCEDURES

The first procedure to know the integral development of the project, is a prerequisite in the process of evaluation and monitoring. He has performed for people who do oversight, even interventoría, without knowing project formulation, then "measured" from what is inferred from the title.

The second procedure for continuous improvement refers to the effective monitoring and evaluation, to the contributions of the beneficiaries, providers and participants to apply coordinated during implementation and not remain as a lament when the contract is settled and in fact no improvement.

The third procedure refers to the need to leave a memory of the cultural projects, in that sense it requires a cultural documentation center administered by the Local Council of Culture or in agreement with a public library, which preserve and disseminate information, reflections, videos and photographs of projects and the living history of the town.

The matrix of fourth case seeks to expand the idea of \u200b\u200bthe cost benefit as a cultural project can not be evaluated simply by attending an event. The variables of coverage, quality, sustainability and positioning give the possibility to assess in a harmonious and systematic development of a project. Then expand the understanding of each variable in the array. COVERAGE


coverage means the number of people, institutions and organizations that are part of the project, the public, participants and beneficiaries. Is the main indicator of project scope. Depending on the objective coverage of the activity may be direct or indirect.

For example, in a project of artistic training the young participants are the direct beneficiaries while the audience in the samples are indirect beneficiaries. But in a cultural programming project as a carnival, the public is the direct beneficiaries and indirect beneficiaries artists.

always generates debate coverage is considered as the indicator of the cost - benefit. We understand that the cost benefit is not an elementary division of the value of an event divided the number of spectators, it is not the same as a hundred people attending a good artistic function or five hundred people attend a malfunction. With the intention of mass culture has believed that valid measurement is the number of attendees, what we call "counting heads." While attendance is an important indicator of cultural activities, we believe that there may be the only evidence to analyze the development of a cultural process factors as quality, sustainability and impact position on the implementation and evaluation of cultural processes. QUALITY


Variable is more difficult to determine because it touches the fields of aesthetics. Areas could be established in the artistic quality (the work as such), production (the technical and logistical) the staging of events (installation, animation, identification) and the quality of pedagogy.

is possible that the quality of cultural projects is determined by the taste and enjoyment of the beneficiaries. Although the viewer can decide to participate in an activity or not, his mere attendance at an event not an act of approval. It also appears the quality of participation, if the public is integrated with the event, if you go to criticize, if you go just by looking and goes, if it goes off guard a few minutes but it is not interested. On the other hand, when the cultural offer is so little compared to the number of inhabitants, the community may attend an event mass of poor quality. In that sense it is the responsibility of the organizers and cultural managers ensure quality parameters based on their cultural and social training. SUSTAINABILITY


in local cultural processes has become a tradition, the eternal home, such as workshops that start at a zero level of training and terminating at the zero level, as some neighborhood groups born each term of a project and dismantle when there is no contractual reasons. Therefore we consider very important factor of sustainability as an indicator of cultural management, understood as the real capacity of consistent quality process for a period of time and opportunity to achieve their objectives.

Sometimes we tend to believe that a project must generate as many groups as leaders or organizations involved in it, but the reality suggests otherwise. It would be important to ask about the economic means of survival for local cultural groups and neighborhood against public investment, be aware of the cultural front of real demand.

ultimately Sustainability is not based on the work capacity of a leader or in the presence of a name in different areas of cooperation, sustainability would be represented in the quality and projection of cultural and economic factors, motivational, creative and knowledge which revert to the cultural development of a proposal. POSITIONING


is a concept borrowed from the theories of marketing that refers to the perception of the market (public) versus a product. In the case of local culture, refers to the level of acceptance of the people against the cultural service because there would be no culture without the ownership of their community. Here come

variables as the credibility of the organizer, advertising, media efforts and the approach chart. The diffusion-based positioning is relative, has recently generated interest for local projects appear in the mass media and tend to believe that the quality of the project depends on its appearance on television. Experience has shown that coordination or broadcast news media covering that allows but that is not an indicator of the quality of the event, sometimes events are transmitted with low coverage and sometimes the events relevant to cultural history local no han sido registrados por los medios.

Aunque la difusión por los medios masivos de comunicación es importante –además de ser parte de su deber social - nadie asegura que una nota de treinta segundos en un canal nacional contribuya a la convocatoria para un evento; pero es obvio que esa difusión permite un alto posicionamiento del proyecto y de la localidad como espacio cultural.

INDICADORES DE GESTIÓN DEL CUARTO CARNAVAL DE PUENTE ARANDA

A manera de ejercicio desarrollaremos el esquema propuesto con el proyecto cuarto Carnaval de Puente Aranda:
1. La formulación integral del proyecto reposa en el fondo de Desarrollo local de Puente Aranda available to the public.
2. The final report of the contractor develops obligation liability: activities, achievements, challenges and recommendations.
3. It features a selection of 100 photographs and a video documentary of 25 minutes on the project. You can see copies of these reports in the Executive Advisory Office locations IDCT, the Local Development Fund of Puente Aranda, the Council of Culture Local Puente Aranda and Cultural Network file Puente Aranda (Incognita - Carretaca)
4 . The proposed matrix can be as specific as you want, but then we will report on a page Fourth project implementation Carnival Puente Aranda in 2003.


PROCESS QUALITY COVERAGE

SUSTAINABILITY POSITIONING


CALL 1000 posters handbills
7000 5000
invitations
half sheet poster in polychrome with the best design among 22 proposals.
Graphics Unit in all advertising pieces
programs and invitations hand has a very short lifetime (a couple of weeks) the poster remains more in private collections and institutions.
It achieved a high recognition of the poster and logo for the carnival and was distributed in the places of greatest concentration of people in all UPZ.
The community is appropriately informed. CARNIVAL CONSULTING

205 hours of advice from literature, visual arts, theater, dance and music troupes troupes
6 consultancies result
3 troupes with older
3 troupes with youth groups and children assembled
The groups have good level of processing.
are Qualified, dance and literature.
artists group communicated with other local processes, began their process of organization in the locality.
The extras are a pretext for strengthening neighborhood groups.
The professional level of credibility allowed advisers counseling process.
The writers and artists are projected to other district activities. MEETING

10 Puppet Theater puppet shows
average 250 people per show. 3 local groups

7 groups visiting professionals
Nine functions performed with professional groups.
A local group made an impaired function.
Each role had professional technical resources
There is a demand but short supply of puppet theater in the town.
educational institutions and community action boards recognize the importance of the functions of puppet theater for children.
MEETING WRITERS
10 writers participating
4 recitals
200 spectators
There are quite a creative level. The concerts counted
implements quality logistics.
There are serious concerns of young people in literary expression.
Literature is not recognized as a public event convened in quantity.
II ARTS HALL OF "THE GAME OF VISION"
20 artists 20 days
exhibitors hall open to the public
There is a marked difference between professional artists and empirical, both with good level of development.
The room was installed in the Casa Museo Antonio Nariño feeds quality.
There are several artists with the aim of presenting their works to local audiences.
The public has started to attend art salons.
The show is seen as a meeting and dialogue on the local arts
III ARANDA BRIDGE CULTURAL FAIR 60 artisans exhibitors

10 days of an open fair
There was a selection process that allowed high level of development and variety of products
artisans are willing to make financial contributions to the realization of the fairs as a matter of financing.
The show was broadcast with cultural events and media mass allowing the large crowds.
For the location, the park dahlias colon ensures profitability for exhibitors. CARNIVAL ROCK

12 local bands in concert 1200 spectators

hearing was conducted to establish the order of the bands.
There were different trends in rock music and scenic high
The rock is very popular among young people, this ensures the public and new groups that contribute to the development of different genres
The concert featured professional technical production and quality bands allowed a high position. CARNIVAL ROOM PHOTO
Puente Aranda
15 registered, 6 photographers exhibitors
6 days of public exhibition
Although there is a level of professional photography, photography interest of the participants perceived creativity to take on the carnival theme
Several young people from community sector and consider it important to record the memory of the cultural processes
The exhibition in the corridor of the city government allowed widespread at the local public, both the exhibition and the Carnival. Pre-carnival PARADE

150 artists troupes parading
6 2 troupes invited advised

The groups advised and made the EFAP a colorful parade
The commitment of local advisory groups and enabled a further parade
A parade is a cultural event that breaks the daily places

GRAND CARNIVAL 450 artists troupes parading
16, 6 counseled, 4 local, 4 guests. 5000 spectators

professional troupes are featured with large deployments. The extras advised achieved a good level of development.
The tour hit a cross section of the town. It has created a tradition of parades by 56 career
The parade produces a high level of recall in the community. Had TV record. FIESTA DE CARNAVAL

2 1500 spectators
professional orchestras
The two orchestras with young musicians have a very professional level of performance and animation.
For the bands it is important to be in open environments. The festive atmosphere that demands the community is energized with orchestras
By providing quality professional groups, the community feels committed to participate in events.



PROCESS QUALITY COVERAGE

SUSTAINABILITY POSITIONING


CALL 1000 posters handbills
7000 5000
invitations
half sheet poster in polychrome with the best design among 22 proposals.
Graphics Unit in all advertising pieces
programs and invitations hand has a very short lifetime (a couple of weeks) the poster remains more in private collections and institutions.
It achieved a high recognition of the poster and logo for the carnival and was distributed in the places of greatest concentration of people in all UPZ.
The community is appropriately informed. CARNIVAL CONSULTING

205 hours of advice from literature, visual arts, theater, dance and music troupes troupes
6 consultancies result
3 troupes with older
3 troupes with youth groups and children assembled
The groups have a good level of development.
are Qualified, dance and literature.
artists group communicated with other local processes, began their process of organization in the locality.
The extras are a pretext for strengthening neighborhood groups.
professional level allowed advisers credibility in the process of consulting.
The writers and artists are projected to other district activities. MEETING

10 Puppet Theater puppet shows
average 250 people per show. 3 local groups

7 groups visiting professionals
Nine functions performed with professional groups.
A local group made an impaired function.
Each role had professional technical resources
There is a demand but short supply of puppet theater in the town.
educational institutions and community action boards recognize the importance of the functions of puppet theater for children. WRITERS MEETING

10 writers participating
4 recitals
200 spectators
There are quite a creative level. The concerts counted
implements quality logistics.
There are serious concerns of young people in literary expression.
Literature is not recognized as an event to convene groups in quantity.
II ARTS HALL OF "THE GAME OF VISION"
20 artists 20 days
exhibitors hall open to the public
There is a marked difference between professional artists and empirical, both with good level of development.
The room was installed in the Casa Museo Antonio Nariño nurturing quality.
There are several artists with the aim of presenting their works to local audiences.
The public has started to attend art salons.
The show is seen as a meeting and dialogue on the local arts
III CULTURAL FAIR PUENTE ARANDA
60 artisans 10 days
exhibitors open fair
There was a selection process that allowed high level of development and variety of products
artisans are willing to make financial contributions to the realization of the nature of trade fairs co.
The show was broadcast with media and cultural events which allowed the large crowds.
For the location, the park dahlias colon ensures profitability for exhibitors. CARNIVAL ROCK

12 local bands in concert 1200 spectators

hearing was conducted to establish the order of the bands.
It showed different trends in rock music and scenic high
The rock is very popular among young people, this ensures the public and new groups that contribute to the development of different genres
The concert featured professional technical production and quality of the bands allowed high positioning. CARNIVAL ROOM PHOTO
Puente Aranda
15 registered, 6 photographers exhibitors
6 days public exhibition
Although there is no level of professional photography, photography interest of the participants perceived creativity to take on the issue Carnival
Several young people in the industry Community important to consider the record and memory of the cultural processes
The exhibition in the corridor of the city government allowed widespread at the local public, both the exhibition and the Carnival. Pre-carnival PARADE

150 artists troupes parading
6 2 troupes invited advised

The groups advised and the EFAP made a colorful parade
The involvement of local advisory groups and enabled a further parade
A parade is a cultural fact breaking local daily

GREAT CARNIVAL 450 artists troupes parading
16, 6 counseled, 4 local, 4 guests. 5000 spectators

professional troupes are featured with large deployments. The extras advised achieved a good level of development.
The tour hit a cross section of the town. It has created a tradition of parades by 56 career
The parade produces a high level of recall in the community. Featured record TV. FIESTA DE CARNAVAL

2 1500 spectators
professional orchestras
The two orchestras with young musicians have a very professional level of performance and animation.
For the bands it is important to be in open environments. The festive atmosphere that demands the community is energized with orchestras
By providing quality professional groups, the community feels committed to participate in events.


COMMENTS

is difficult to specify the number of people attending events or outdoor mass. But there is a range or average attendance. The task of counting would require a people devoted to this task.


[ 1] Director Carretaca Cultural Association. Undergraduate Student in Philosophy, University of St. Thomas Aquinas. Professional Technical Student Human Resource Management, Coordinator of the Fourth SENA Carnival Puente Aranda.