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!
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