Proceedings Abstracts 1st International Symposium

Transcription

Proceedings Abstracts
1st International Symposium
DIALOGUE AMONG CULTURES. CARNIVALS IN THE WORLD
edited by Olimpia Niglio
Florence, February 3-4, 2016 | Viareggio, February 5-7, 2016
PREFACE Paolo Del Bianco | INTRODUTION Claudia Afanador, Olimpia Niglio
ARGENTINA Graciela Silvia Molina, Martina Leonor Zambianchi | AUSTRALIA Tanya Park
BELGIUM Marc Laenen | BRAZIL Alessandro Dozena | CHILE Andrea Chamorro, Andrés
Eduardo Pacheco Sepúlveda | COLOMBIA Ezequiel Álvarez Cuesta, Claudia Afanador H.
Gabriel Francisco Cataño Nieva, Mario Fernando Egas Villota, Carlos Andres Gonzalez H.
Alberto José Herrera Diaz , Fredy Mauricio Hidalgo Insuasty, Jorge Enrique Londoño Pinzón,
Edgar Guillermo Mesa Manosalva, Juseth Palacios Montilla, Eliyahu Eduardo Muñoz
Olimpia Niglio Javier Rodríguez Rosales| CZECH REPUBLIC Petr Adámek | DOMINICAN
REPUBLIC Mauricia Domínguez Rodríguez | GREECE Pepi Birliraki | HUNGARY Melinda
Harlov | ITALY Alberto Alma, Katia Ballacchino, Alessandra Broccolini, Pietro Clemente
Teresa Colletta, Vincenzo Esposito, Sandra Ferracuti, Massimo Guarascio, Riccardo Gionata
Gheri, Giovanni Kezich, Valentina Lapiccirella Zingari, Luca Mancini, Viviana Martini
Andrea Mazzi , Ferdinando Mirizzi, Vincenzo Padiglione, Mario Paffi, Paolo Piccardi, Rita
Porcu, Paola Elisabetta Simeoni, Enzo Siviero, Marta Villa | LUXEMBURG Aleksandar
Cicimov, Eliyahu Eduardo Muñoz | MALTA Francis Ripard | MEXICO Virginia Cabrera
Becerra, Ricardo Campos Castro, Delia del Consuelo Domínguez Cuanalo, Romelia Gama
Avilez, Jaime Silva González, Ana Hurtado Pliego, Agustín López Romero | PERU María
Gracia Nonato Cueto, Rosemary Zenker | PORTUGAL Ana Margarida de Carvalho Miranda
Almeida, José Neves | SPAIN Jonás Armas Núñez, Alberto Darias Príncipe, Mónica EspíPastor, Ignasi Gironés-Sarrió, Vicente Guerola-Blay | SWITZERLAND Cesare Poppi | UKRAINE
Oksana Dmitrieva, Anna Lisova | URUGUAY Elizabeth Alfaro, Laura Ibarlucea
International Symposium
DIALOGUE AMONG CULTURES. CARNIVALS IN THE WORLD
Proceedings Abstracts
edited by OLIMPIA NIGLIO
PREFACE
Per il dialogo tra culture un contributo alla conoscenza
della diversità delle espressioni culturali. Carnevali nel mondo
Paolo Del Bianco
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INTRODUCTION
Dialogue among Cultures. Carnivals in the world
Olimpia Niglio, Claudia Afanador
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La Scena traveste il Discorso
Olimpia Niglio
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ARGENTINA
Argentina Carnivals. Multiethnic and Pluralistic since its origin
Graciela Silvia Molina, Martina Leonor Zambianchi
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AUSTRALIA
The transmission of Intangible Cultural Heritage in Japanese Traditional Architecture
Tanya Park
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BELGIUM
The “cultural biography” of living environments a framework
for Carnival as source for self-knowledge and knowledge of “the others”
Marc Laenen
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BRAZIL
The Carnival in the Biggest Brazilian City
Alessandro Dozena
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CHILE
Nuevas memorias, viejos relatos
Andrés Eduardo Pacheco Sepúlveda
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Carnaval en Arica: danzando con el corazón
Andrea Chamorro
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COLOMBIA
El Patrimonio Cultural Intangible. Recurso para el Fortalecimiento
de las Economías Locales a Nivel Global
Eliyahu Eduardo Muñoz
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El carnaval, escenario para el encuentro intercultural
Edgar Guillermo Mesa Manosalva
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La máscara del pueblo. Memorias de un actor
Juseth Palacios Montilla
11
Procesos socioculturales en el Carnaval del diablo en Riosucio Caldas, Colombia
Jorge Enrique Londoño Pinzón
11
Chair carnival. Assessment of carnival of black and white from Pasto.
Intangible cultural heritage through the academy
Claudia Afanador H., Carlos Andres Gonzalez H.
11
“Vas a jugar Carnavales?” Construyendo imaginarios de futuro desde
el Carnaval de Negros y Blancos de Pasto
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Realismo mágico hecho disfraz
Ezequiel Álvarez Cuesta
12
Identidad cultural y expresión musical en el carnaval de Negros y Blancos
Mario Fernando Egas Villota
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Aesthesis del Carnaval de Negros y Blancos
Javier Rodríguez Rosales
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De Mamá Trini a Piero en el Carnaval de Negros y Blancos de Pasto
Fredy Mauricio Hidalgo Insuasty
13
Los Cabildos en Cartagena de Indias … con sabor a Carnaval
Su papel en la identidad y toma de decisiones de la Ciudad
Alberto José Herrera Diaz
13
La Dramaturgia itinerante del Carnaval de Cali
Gabriel Francisco Cataño Nieva
14
CZECH REPUBLIC
The resonances of Slavic carnival celebrations
in the work of Vavřinec Leandr Rvačovský
Petr Adámek
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DOMINICAN REPUBLIC
Arte colectivo e identidad en los personajes y regiones del carnaval dominicano
Mauricia Domínguez Rodríguez
14
GREECE
The nature of the Rethymnian Carnival
Pepi Birliraki
15
HUNGARY
The Intangible World Heritage Carneval of Hungary and
other winter closing traditions of the region.
Melinda Harlov
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ITALY
Carnevali indigeni del XXI secolo
Pietro Clemente
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Il carnevale come ‘elemento’ patrimoniale,
tra comunità, politiche, antichi simbolismi
Pietro Clemente, Luca Mancini, Valentina Lapiccirella Zingari
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Polifonie del patrimonio culturale: il caso del Carnevale di Satriano di Lucania
Sandra Ferracuti
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Dal folklore alle "comunità patrimoniali":
il Carnevale di Serino (Avellino) e le nuove reti territoriali del carnevale
Alessandra Broccolini, Katia Ballacchino
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I Carnevali contemporanei e il rapporto con la tradizione
Ferdinando Mirizzi
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Della maschera e dei suoi usi politici dentro e fuori il carnevale:
un'etnografia del contemporaneo
Vincenzo Padiglione
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La musica a Firenze in tempo di carnevale e i Libri di Ricordanze
del convento della SS. Annunziata
Paolo Piccardi
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Celebrare la creatività
Paola Elisabetta Simeoni
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Carnival King of Europe: una nuova prospettiva sulle mascherate d'inverno
Giovanni Kezich
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Southern Italy Carnivals and historical towns.
The Carnival festivities as urban collective events in Campania region
Teresa Colletta
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Tracce Persistenti. La Lunga Vita del Carnevale di Montemarano: Note sul FILM
Vincenzo Esposito
18
Lo storico Carnevale di Ivrea
Alberto Alma
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Arte e cultura nelle grandi macchine di cartapesta del carnevale di Viareggio
Andrea Mazzi
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Intercultural dialogue: TUNeIT Mediterranean BRIDGING
Enzo Siviero, Massimo Guarascio, Viviana Martini
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Le maschere di Mamoiada (NU), i Mamuthones,
gli Issohadores e le altre del Carnevale Barbaricino
Mario Paffi
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Carnevale Barbaricino: Fonni e Teti, due realtà a confronto
Rita Porcu
19
The foods of Carnival, in different Italian regions
as a cultural expression of ancient traditions
Riccardo Gionata Gheri
20
Initiation and traditional heritage in the Carnival rites of the Italian Eastern Alps:
the young people of German minority between ancestral rituals and identity.
The case study of Stilfs in Vinschgau (Südtirol, Italy)
Marta Villa
20
LUXEMBURG
Federation of European Carnival Cities
Aleksandar Cicimov, Eliyahu Eduardo Muñoz
21
MALTA
Malta Carnival and Traditions. Carnival is the oldest popular festival in the world
Francis Ripard
21
MEXICO
Tlaltizapán. Un lugar para mirar y querer ser
Ana Hurtado Pliego
21
Danzas tradicionales en Carnaval y otras festividades en Guerrero, México
Jaime Silva González, Romelia Gama Avilez
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Carnavales en las costas de México
Romelia Gama Avilez, Jaime Silva González
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El carnaval, acto festivo, patrimonial y de reapropiación barrial
en la ciudad de Puebla. México
Delia del Consuelo Domínguez Cuanalo
Virginia Cabrera Becerra, Agustín López Romero
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De las cuerdas del violín, a las tecnologías de sonido (sonidero)
Cambio y trasformación en el carnaval de los barrios de la ciudad de Puebla
Ricardo Campos Castro
22
PERU
Carnaval y tradiciones en la Sierra Sur del Perú
en la obra de Manuel Alzamora (1900-1970)
Rosemary Zenker
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Carnavales en la Sierra del Perú: tradición mestiza
María Gracia Nonato Cueto
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PORTUGAL
Carnival of Torres Vedras (Portugal). Carnival and Traditions
Ana Margarida de Carvalho Miranda Almeida
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The Carnival Arts Center, in Torres Vedras: the city, the museum and the square
José Neves
24
SPAIN
El Carnaval en Canarias: variedad e interculturalidad
Alberto Darias Príncipe, Jonás Armas Núñez
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Managing intangible cultural heritage: the CARNVAL project case study
Vicente Guerola-Blay, Ignasi Gironés-Sarrrió, Mónica Espí-Pastor
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SWITZERLAND
Death, Masks and Carnival: ritual practice, metaphor and ‘the real thing’ in Europe
Cesare Poppi
25
UKRAINE
Ukrainian Maslenitsa: rituals, origins, diversity and influence
on contemporary culture Carnival and Intercultural Dialogue
Anna Lisova, Oksana Dmitrieva
25
URUGUAY
De la bacanal al escenario: consolidación del carnaval teatral en Uruguay
Elizabeth Alfaro, Laura Ibarlucea
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COMMITTEES | PARTNERS
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SCIENTIFIC PROGRAM
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Carnevale Viareggio 2015. Quello che non vorrei vedere di Massimo Breschi (carro vincitore 2015) [archivio ©
Fondazione Carnevale Viareggio]
INTERNATIONAL SYMPOSIUM «DIALOGUE AMONG CULTURES. CARNIVALS IN THE WORLD»
FLORENCE, VIAREGGIO. FEBRUARY 3-7, 2016
PROCEEDINGS ABSTRACTS
EDITED BY OLIMPIA NIGLIO
PREFACE
PAOLO DEL BIANCO
PRESIDENT, FONDAZIONE ROMUALDO DEL BIANCO-LIFE BEYOND TOURISM, ITALY
Cultural heritage, both tangible and intangible, represents an opportunity of immeasurable importance to grasp the
attention of the masses in order to direct them towards the exercise of Intercultural Dialogue, a necessity in this day and
age. To put this dialogue into practice people must be put in a position where they can appreciate the context, the size
and the process that creates a cultural expression, starting from the perception of the need for the work, and going on to
search for the resources to design and realize it in the forms and materials visible today, in that specific location, precisely for the function for which it was devised. The proper communication of all this process makes it possible to achieve a
better understanding of the cultural expression that often, in the intangible world, leads to an awareness of the difficulties in knowing and truly understanding cultural heritage - an awareness which prompts respect for diversity. To contribute to intercultural dialogue, increasingly involving the masses in order to get them to appreciate the roots and values of a community and to obtain from them, in turn, a widespread contribution to intercultural dialogue, the Foundation has focused on those activities in which the public is naturally involved.
To date, these activities have been identified in the areas of customs, nutrition, cultural expressions, heritage and religions. Among the intangible cultural expressions, popular traditions performed in public spaces (tradizioni popolari di
piazza) represent a moment of particular importance for the development and communication of cultural heritage and
local identity, thus an opportunity to raise awareness of cultural diversity and to propitiate dialogue.
The creation of moments of encounter and dialogue on these issues, which are widely disseminated and celebrated,
makes it possible to achieve a greater awareness of cultural diversity and consequent mutual respect – the essential basis
for peace in a world that is moving towards a population of10 billion.
INTRODUCTION
OLIMPIA NIGLIO, CLAUDIA AFANADOR
ADVISORY COMMITTEE OF THE INTERNATIONAL SYMPOSIUM
The popular traditions, based on disguises, have their origins in ancient festivals, which are very different among
them. In these artistic events there is a large opening to human sentiments and thoughts: they are meetings where all
peoples converge with their social, ethnic, economic, political and religious differences. In these traditional celebrations
the daily life is built on imagination, on games and it allows a continuous enrichment and exchange of cultural
knowledge. These urban festivals allow to build forms of art often unique. Among these artistic events we identify the
Carnival, a city festival that, in the West, has origin in ancient ceremonies of the Greek and the Roman period. These traditions are survivals of ancient purification rituals. However today the Carnival has become a symbol of meetings that
take place in public spaces of the city where you can meet people with different cultural backgrounds. All this allows to
enjoy and share traditional and artistic expressions of different cultures in large festivals with interesting diversities. The
1st International Symposium, Dialogue among cultures. Carnivals in the worlds offers a reflection on the international Value
of Intangible Heritage as defined by UNESCO: practices, representations, knowledge and techniques that facilitate a strong
sense of cultural identity (UNESCO, Declaration of 2003) among the communities, groups and individuals. This Cultural
Heritage can be appreciated in different sectors of human activity: art, economics, sociology, anthropology, architecture,
engineering, etc.. So the Carnival plays an important role in the cultural world because it proposes the protection of an
important traditional heritage and the reinforcement of the cultural and social integration between East and West. Another very important aspect of the Carnival is the education towards the popular culture that can be seen as a fundamental educational process for the new generations to promote knowledge of the history and the value of their local heritage. The academic aim of the 1st International Symposium is the analysis of the issues related to the urban festivals and
masquerades that take place, with different methods, in many countries of the world. The congress was born with the
scope to deepen the knowledge of different and multicultural expressions that occur in public and urban spaces for the
cultural dialogue, for the integration and the respect of differences (UNESCO, Declaration of 2005). For this reason the 1st
International Symposium promotes a space for intercultural dialogue between the scientific community, the local community and future generations, with the aim of sharing different methods to understand the tradition of the Carnival
around the world.
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OLIMPIA NIGLIO
UNIVERSIDAD DE BOGOTÁ JORGE TADEO LOZANO, COLOMBIA; INTERNATIONAL INSTITUTE LBT, FLORENCE, ITALY
La Scena traveste il Discorso
This papers, through the analysis of the reason (Speech) and of the dreams (Scene), intends to leave a message that
concerns respect for human dignity, an indispensible condition of the word that we are handing on to future generation
is to become more oriented towards mutual understanding and collaboration among peoples beyond of their respective
religions, cultural and political convictions.
The main aim is a reflection about the value of the life, of the responsibility and of the authority of human actions.
The art and the theater are the main reference of this reflection.
ARGENTINA
GRACIELA SILVIA MOLINA
INSTITUTO NACIONAL DE ESTUDIOS DE TEATRO, MINISTERIO DE CULTURA, BUENOS AIRES, ARGENTINA
MARTINA LEONOR ZAMBIANCHI
LICENCIATURA EN RELACIONES INTERNACIONALES, UNIVERSIDAD CATÓLICA ARGENTINA, BUENOS AIRES, ARGENTINA
Argentina Carnivals. Multiethnic and Pluralistic since its origin
In the Colonial Hispanic America, Carnival was first held since 1600, a mixture of Spanish heritage, beliefs of indigenous peoples and the Candombe of slavery.
Regions: Northwest, Cuyo, Mesopotamia and Buenos Aires, differ in the expression of festive and collective time,
developed within the urban space. In Mesopotamia, the celebration combines costumes, parades and street parties intended for that purpose, as an urban setting. It is done at night. The participating troupes, for a year, develop a theme
with representative choreography, and competing for the favor of the audience who will choose the best. In them you
can see some influence of culture of Brazil.
Carnivals in northern Argentina, shares characteristics with those made in Peru, and they have taken customs of indigenous peoples mixed with the Catholic miscegenation, representing the colonial syncretism until today. In Jujuy, it is
especially celebrated in the Humahuaca Valley; while the Valley of Lerma, is the main venue in the province of Salta.
The most important landmarks within the carnival ceremonies are the exhumation and burial of the devil.
In the Cuyo area, it is recognized as the main protagonist “Pusllay”. Rag doll natural size with gray head, born on
Saturday before Carnival and his funeral takes place on Sunday ash. In Buenos Aires, Candombe emerged in the neighborhoods of Montserrat and San Telmo. The Candombe, have been created by the slaves and was to use various types of
drums. The sound scheme was accompanied by a song, usually female, or several vocalists in unison. This gave rise to
the “Comparsa”, group of people appeared in the “Corsos”. Carnival celebrations reflected Argentina multiethnic society. The aim of this work is to present, ways to feel the spirit of carnival and its symbolism, in our society.
AUSTRALIA
TANYA PARK
SCHOOL OF ARCHITECTURE AND DESIGN, UNIVERSITY OF TASMANIA, AUSTRALIA
The preservation of historical wooden architecture in Japan is discussed, particularly highlighting the traditional
heritage and culture associated with protection. Japan’s place in any discussion of historic architecture is clear since it
possesses one of the largest collections of enduring notable timber architecture from a large range of historical epochs, as
far back as 600 AD. In Japan, over 80% of traditional structures are timber-framed and connected with complex jointing
systems and intricate bracketing systems providing strength and flexibility. Throughout this paper the process of protection, including how present day cultural properties are identified and preserved, is discussed with special reference to
intangible knowledge and the techniques applied.
Historically, the transmission of associated intangible knowledge was via apprenticeship and live-in type discipline.
After the Meiji restoration, from 1868, the ancient society of transference started to decline rapidly. By mid-20th century
modern governmental institutions were created and have taken on the role of training and safeguarding the transmission of skills. Historical analysis and overview of Cultural Property definition in Japan and the legal system and administration that functions to oversee the protection and preservation of the cultural properties are examined. Details of
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training and access to available necessary materials for the preservation are also discussed. Difficulties include access to
preservation materials for repair and maintenance, access to a skilled knowledge base of craftsmen who hold the understanding and expertise pertaining to not only the material, but also the intricate and complex designs surrounding large
Japanese wooden heritage structures. The craftsmen in Japan society still hold a highly respected position within contemporary society, where the identity and traditions pertaining to their work is revered. Intangible skills are obligatory
for the survival of important historical wooden architecture.
BELGIUM
MARC LAENEN
ICCROM DIRECTOR GENERAL EMERITUS, EXPERT ROMUALDO DEL BIANCO FOUNDATION - LIFE BEYOND TOURISM, ITALY
The “cultural biography” of living environments a framework for Carnival as source for self-knowledge and
knowledge of “the others”
“Cultural biography” reveals the history of changing (heritage-) values, their changing interpretation and implementation over time and their landscaping impact on society and environment. Basically it is a documented narrative construction. Well focused interpretation and presentation of such narratives showed its potential for self - knowledge and
esteem for the local population and knowledge of “the others” by their visitors. The bridge between knowledge to intercultural dialogue leading to mutual understanding and peace lies in the discovery of commonalities and the understanding of differences in value implementation. Carnival is one of the topics that societies cherish and consider as a
component of their cultural personality.
BRAZIL
ALESSANDRO DOZENA
UNIVERSITY FEDERAL DO RIO GRANDE DO NORTE/UFRN, NATAL, BRAZIL
VISITING RESEARCHER UNIVERSITÉ PAUL VALÉRY, MONTPELLIER, FRANCE
The Carnival in the Biggest Brazilian City
This paper attempts to understand the different uses of territory in the context of events, which are associated with
the carnival, in São Paulo city. Given the different territorial uses by the Sambistas, there was a connection between the
theory and the field work that achieved a critical explanation of the territorialities in the “world of Samba” and focused
on a problem that involves both territory and culture. In this sense, the mechanisms through which the Samba occupy
social practices and subjective representations became evident; they act as if “against-finality.” All of these practices benefit experiences and leisure over the whole year, not only at Carnival; they also structure sociability nets that generate
territorialities in an essentially collective sense.
CHILE
ANDRÉS EDUARDO PACHECO SEPÚLVEDA
DIRECCIÓN DE GESTIÓN. CAPANEGRA, CASTRO, CHILE
Nuevas memorias, viejos relatos
A people's Memory is the element of social amalgamation that unites a group of individuals into a Community. The
historical concept of Community –constituted in a particular space and time– with the elements that comprise the
Memory –a cultural, identity and epic origin– will be of crucial importance to enter into this discussion, as it is within
this dimension of the existence of a people wherein the set of variables it uses to know the world either allows or does
not allow the existence of this or that phenomenon or event and wherein the social fabric is made permeable –or not– to
new agents. The paper presents an understanding, through the study of the International Festival of Itinerant Theater
through Deep Chiloé –FITICH– of the incorporation of a new player that begins to form part of the global system by virtue of operating through strategies that are already a part of the local memory, essentially relating to how the community lives, understands and operates in a particular territory. The research has been conducted through a semiotic approach, in which the social narrative is reinterpreted to channel a new agent.
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To enter through an already understood, coherent and consolidated narrative allows this new player to share not only the territory as one more member, but also to participate in the social process of valuation and signification, which is
what the active participation of each individual in a community ultimately implies: to be part of the actual construction
of the social narrative that systematically and organically codifies, in its production, the complexity of its fabric.
ANDREA CHAMORRO
UNIVERSIDAD DE TARAPACÁ, CHILE
Carnaval en Arica: danzando con el corazón
In the far north of Chile, Arica port city has set a social and cultural space that is characterized by maintaining political borders with Peru and Bolivia, in which transit and/or converge actors of diverse origins. Such is the case of the Aymara people, who has a history of migration from the Andean cordillera to the coast from more than four decades; a period during which they have not only strengthened economic, social and cultural relations on the local scene, but also
maintained links with their diverse places of origin (Chilean and Bolivian cordillera). As a manifestation of it, in 2002
Aymara folkloric groups, in negotiation and collaboration with local government, have created the Inti Ch'amampi Carnival, "With the strength of the Sun Carnival", in which participate around 10 thousand dancers and 3000 musicians.
In this context, the carnival sets up a mechanism of representation, articulation and negotiation of schemes of otherness and the difference that gathers the principles of the Aymara cosmovision, Bolivian folklore tradition and cultural
management of a Chilean citizenry with its own characteristics. In particular, I suggest that carnival dancistic practices
form their own descriptive and identity models; such as body, visual and audio languages dramatize and renew the time
through the celebration of a "feeling that- it is said- runs through the veins". Thus, the triad, dances, costumes and music
are experienced as projections of a embodied carnival, through which postures, gestures and skills, place in the heart the
cultural meaning of their memories.
COLOMBIA
ELIYAHU EDUARDO MUÑOZ
FUNDACIÓN ORGANIZACIÓN CARNAVAL NACIONAL DE CARNAVALES-DIVISION COLOMBIA-FOCNC
El Patrimonio Cultural Intangible. Recurso para el Fortalecimiento de las Economías Locales a Nivel Global
As part of participation and our own research, studies, development, presentation that We've been working since
2001 globally on field , just related to “The Intangible Culture Heritage“, I have been raising.
Is the unique sector that converges all sectors, socio-cultural, ethnic, financial and trading into one.
"Sector” that can benefit the local economies to strengthening it, generating more employment opportunities and capital flow through the culture for these troubled financial times, political, social and natural disasters, and we can prepare
for the drastic changes, survive and continue our missions and organizations to preserve and safeguard the Intangible
Culture Heritage worldwide and its all the kind of manifestation.
Conference for the interests of everyone and as a contribution of the experiences and research that may be very important, the name of my participation is:
The Intangible Culture Heritage
Resource for the Strengthening of the Local Economies Worldwide.
2012Ó Eduardo Munoz-Colombia S.A.-USA
o
o
o
Factors affecting the cultural sector does not generates revenue, just expenses, and how to avoid it.
Solutions that will help to self-sustainability of the entities that work with the Intangible Cultural Heritage, and
may be implemented local and autonomously at any place of the world by their self-organizations and individuals.
The Intangible Culture Heritage the Free Trade Agreement FTA, and the Post Conflict
EDGAR GUILLERMO MESA MANOSALVA
UNIVERSIDAD DE NARIÑO, PASTO, COLOMBIA
El carnaval, escenario para el encuentro intercultural
The paper analyzes the value of the Carnival of Blacks and Whites of Pasto, Colombia, as intangible cultural heritage;
assumes the concepts of UNESCO on traditional and popular culture, cultural diversity, safeguarding intangible cultural
heritage to the epistemology of carnival; it proposes the setting for intercultural dialogue as respect for ethnic and cul-
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tural differences of peoples; it states that the education of new generations is crucial to know, recreate and communicate
imprint of carnival.
Carnival of Blacks and Whites is a cultural, festive, popular, mixed and unique event for its many manifestations,
"ritual, symbolic, artistic and social skills that are expressed through the Ephemeral Art in individual costumes, parades,
bands, floats and collective game ". The value of the carnival as intangible cultural heritage "contains recreates and
makes visible the festive, oral, musical legacy, ritual, aesthetic of indigenous and Hispanic origin, as living testimony,
has been reappropriated, redefined and the result is condensed today in a joint social and symbolic practices of deep
content, which are related to life and identity. In the dynamics of the carnival involved hundreds of thousands of artists,
farmers, theater people, musicians, dancers, designers, with festive spirit shout with one voice, LIVE PASTO, CARAJO.
Carnival epistemology is based on the concepts of human rights, is an essential part of traditional and popular culture, it
is based on cultural diversity and safeguarding intangible cultural heritage, rooted in aesthetics and thrives horizon of
meaning ethics. Thus, culture is the source of wisdom of a people and is the common heritage of humanity. Intercultural
dialogue as the stage for the meeting of cultures in democratic environments, free, independent and participatory builds
caring, respectful and tolerant social fabric. Educational processes and teaching workshops allow hermeneutical reflection on the present and encourage new ways of perceiving, live and communicate the wisdom of the carnivals in the
world.
JUSETH PALACIOS MONTILLA
CORPORACIÓN ESCÉNICA DE PASTO LA GUAGUA, COLOMBIA
La máscara del pueblo. Memorias de un actor
In the southwestern of Colombia, at city of Pasto. Nariño department capital reborn each year a festive tradition that
began in the early twentieth century. On the first days of January, popular and carnival expression of a people from a
cold land. Expresses the worldview and cultural diversity through folk masks, parades, floats, dance and play as a communication channel for social interaction in the Blancos y Negros Carnival. Recognized as an intangible cultural heritage
by UNESCO in 2009. In this festival the theater group La Guagua (which in Quechua means “child”). We barreling and
transformed as artists from the encounter with the magical and mythical world of the party. From the experience of enjoyment and participation. With this cultural heritage in our bodies the decision to undertake a street theater festival,
created us a boost to bring and transforming the diversity of Carnival expressions. By other esthetic relations. Starting
from the inclusion of diverse audiences. Works of popular character, unrealistic scenarios; intervening places with tradition and history of the city, jugglers, actors, dancers, storytellers, comedians, clowns, cultivating joy of performing party
arts. This whole process made us winners in 2015 of Iberescena support. Entity that promotes Iberoamerican Theater Festival. Giving to the festival an international turn with groups from Argentina, Brazil, Peru, Spain, Ecuador and Bolivia;
as well as national and local groups. Reaching nearly 5000 spectators along its third version.
And so the mask of the actor will die and be reborn every year when the joy of a people invade the streets again and
spirit of the theater turn imagination and fiction on.
JORGE ENRIQUE LONDOÑO PINZÓN
UNIVERSIDAD NACIONAL DE COLOMBIA
Procesos socioculturales en el Carnaval del diablo en Riosucio Caldas, Colombia
In all carnivals, society expresses, with laughter, irony and art, its vision of the objective world, generating
knowledge and proposals to meet notions of equity, inclusion and peaceful social relations. This paper tries to show the
possibilities of the carnivals as a form to recognize the objective world, and as way to meet oneself whit others of the
same condition; also, as a generator of spaces and moments for fraternity, reconciliation and the fixing of broken tides.
CLAUDIA AFANADOR H., CARLOS ANDRES GONZALEZ H.
UNIVERSIDAD DE NARIÑO, COLOMBIA
Chair carnival. Assessment of carnival of black and white from Pasto. Intangible cultural heritage through the academy
The Carnival Chair is formulated under the commitment of the University of Nariño with the community which is
the carrier of the well to be protected, to ensure the future of the festive event. It works as an academic subject, framed
within the program of humanistic education, articulating the knowledge acquired in the research process that has been
underway since 2003.
The strategy is to develop three property competencies: to know, appreciate and protect the unique and exceptional
values Pasto Carnival.
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In the practice, the dance, the collective choreography work, the music and the manipulation of materials, enable
them to recognize the efforts of the Carnival and from the many specific knowledge of each student, ensure the heritage
and safeguarding of the intangible cultural heritage that represents the Carnival of Blacks and Whites of Pasto.
Being part of the parade of January 4, influences the students positively; when they return to the path, they will also
promote respect for the contestants motifs. In the same way, participating in the Carnival allows them to run an assessment from within, observing the flaws in the organization and to take concrete and coherent actions to correct them.
The academic program is constantly renewed, the students change and methodologies are invigorated. Virtual technologies have complemented the processes of training and communication with them is much more stable, as a matter of
fact many return with the intention of staying as active members. With these actions, gradually, recognition by academic
peers who during assessments for institutional accreditation on professorship see an added value for the integral development of the human being, has been achieved.
CLAUDIA AFANADOR H., CARLOS ANDRES GONZALEZ H.
“Vas a jugar Carnavales?” Construyendo imaginarios de futuro desde el Carnaval de Negros y Blancos de Pasto
Carnival is part of the festivities where communities celebrate different events facts and heppening of importance to
their own recognition as a social group or to symbolically renew alliances for protection or gratitude to the tutelary deities. These events are filled of sense from the actions that occur whenever the re-meaning according to the time they are
held. The construction of imaginary future of the population living in the municipality of Pasto, is strengthened by "The
Game", action that taking place over different days and parades of the Carnival of Blacks and Whites from Pasto. The
opportunity to participate and make a motif It leads to children and young people dream of their participation in the
Carnavalito or the parade of the Song to the Earth, taking place on January 3. This dynamic is thanks to the characteristics of this party: takes place in the public space, it is inclusive in all its actions and activities; involving all sectors of the
population and show the possibilities of cultural expressions as is the case of the poorest communities in the municipality of Pasto and people displaced by the armed conflict that has reached the capital of the department of Nariño in the
past 10 years.
EZEQUIEL ÁLVAREZ CUESTA
UNIVERSIDAD DEL ATLÁNTICO, BARRANQUILLA, COLOMBIA
Realismo mágico hecho disfraz
The burning sun of the tropic and the trade winds combine to a host of varied nature multicolored beings: human,
subhuman, mythological, imaginary monsters, galactic beings, showbiz characters, transvestites, beasts, birds, kings,
blacks, Indians, pirates, vampires, guerrillas, politicians. All make their appearance in the space of the Carnival of Barranquilla, in a staging of the world upside down.
The eccentricity, enjoyment, desecration and parody date together in this masquerade, where the transgression
moves the audience to laugh, play and “bacanería” occur. While some costumes engaged in "moonlighting" for money to
enjoy the party.
The transgressor spirit of "currambero" has created costumes to show his Caribbean mamagallista attitude. This is
how the "marimonda" characterized by wearing clothes, backward, his face covered by a phallic mask, is a sign of creativity to enjoy the party for low income men. Similarly, the "monocuco" with its colorful characterization of Catholic
priests´ cassock revives the strategy of the desecration of sacred symbols.
As a sort of climax of the festival, there are the costumes representing the local mythology, as a tangible product of
Carnival actors, recreating beasts, and dressing in feathers and sequins to fantasy characters.
As an epilogue to the transgression, made feast, comes the "burial of Joselito Carnival" where a character representing the pisshead, dies from the excesses of the party; while widows and mourners cry his departure announcing the end
of Carnival.
MARIO FERNANDO EGAS VILLOTA
Identidad cultural y expresión musical en el carnaval de Negros y Blancos
As if it was a multicolor draw, the ancestral music legacy that configures Carnival’s musics, expands into the playful
delight of its new expressive forms. Riding through the times and places over pentatonic melodies incorporated in the
ways of being and feeling of a town singing from its singularities, the threshed chords as liquid crystals describe the
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break up from religiousness ties to release the joy and divertissement. As consequent course, musical sensitivity transforms itself in caress, hug and encounter with the other.
The music in Pasto’s carnival does not only belong to an element that complements the playful framework, since it
constitutes a flow of sounds that set up the language’s overlapping in ways of being in the world. Consistently, a musicological approach to carnival’s sound displays implies not only the study of rhythm, timbral, harmonic and
organological elements; but the study of groups conformation, their expressive genders and verbal language uses from
an identity conformation look.
JAVIER RODRÍGUEZ ROSALES
Aesthesis del Carnaval de Negros y Blancos
According to Lotman, culture as a whole can be viewed as a text, a complexly organized text is broken down into a
hierarchy of "texts in the texts" and forming entretejeduras complex texts. That is, a text which not only transmits the information stored on it from outside, but also transforms messages and produce new messages. Carnival of Blacks and
Whites of Pasto, recognized by UNESCO as Intangible Cultural Heritage of Humanity in 2009, is a manifestation of Latin
American culture, an aesthetic and communicational phenomenon where participants take or transmit communication
codes and behaviors, in the festive context does not necessarily coincide with the normal behavior of everyday life, but
they are decoded and interpreted by the other group. The Special Plan for the Safeguarding of Blacks and Whites' Carnival, includes within its dimensions of protection, aesthetic, for the carnival can be read as art, as the festive scene encompasses all genres: Performing Arts: Dance (choreography collective) and theater (Castañeda Family Parade); visual arts:
sculpture and painting (comparsas and allegoric cars: non-motorized floats and floats); auditory arts: music (street musicians wind bellows, marimba, Andean instruments); arts of speech: speech and writing (stories, legends, sides, carnival
songs). Carnival integrates and articulates these elements together in a dense array is equivalent to the concept of "Total
Art": old utopia of all art, especially in the West. Then the carnival as complex semiotic act generates communication and
information to artists, artisans, murgueros, dancers, comparseros, musicians, poets, bodybuilders, stilt walkers, storytellers, decorators, who throughout the year develop their creativity to stage it during the time carnostoléndica (pre-carnival
and carnival).The artistic genres by force of tradition remained in the soul of Blacks and Whites' Carnival, are the costume, the carnival, murga, choreographic collective, the coach and the coach not motorized. That is, a mix of performing
arts, visual arts, musical arts and crafts oraliterarias. This is referred singing carnival:
With street musicians and costumes,
But also the extras,
The floats and dancers,
Pa'gozarnos this farce.
FREDY MAURICIO HIDALGO INSUASTY
De Mamá Trini a Piero en el Carnaval de Negros y Blancos de Pasto
This text is about a short review which describes all the personal and active participations that the author has had in
the Black and White Carnival in Pasto city, mainly in the performance the author has had in the section of individual costume along ten years. Also, it shows a general summary about all the sections shown in the carnival mentioning different
components. Trying to use more details and more information it talks about the most important experiences the author
has had in his participation in the section of individual costume describing each of the costumes which were worn in the
carnival or themes used along the carnival and mentioning how the participation was done along the carnival parades.
ALBERTO JOSÉ HERRERA DIAZ
INSTITUTO DE CULTURA DEL DEPARTAMENTO DE BOLÍVAR – ICULTUR, COLOMBIA
Los Cabildos en Cartagena de Indias … con sabor a Carnaval. Su papel en la identidad y toma de decisiones de la
Ciudad
The party of the Cabildos in Cartagena de Indias, rescue the essence of popular culture and tradition begun by slaves,
who were dressed in clothes of the masters, to dance the rhythms of them. Thus the mockery of the Spanish Crown and
especially parodies slavery became. After the decline and disappearance of this festival, today, the council is rescued as
the real festival.
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GABRIEL FRANCISCO CATAÑO NIEVA
ESCUELA DE TEATRO DEL INSTITUTO POPULAR DE CULTURA, CALI, COLOMBIA
La Dramaturgia itinerante del Carnaval de Cali
Cali Carnival is an event of "sui generis" celebration, founded in 1922 and closed its cycle in 1936 with its closure
caused by a revolt in one of the clubs celebrating the event. Reborn fun with Cali Fair in 1957, but not before being a
palliative to the tragedy brought about by the explosion of dynamite trucks in eastern Cali at the time. Today, the fair
exhibits Salsódromo. A carnival parade. A parade of classic and vintage cars, a superconcierto Salsa music, a gathering
of music lovers and collectors. A Street Fair where orchestras sound varied rhythms. And at the same Fair Bed and
Comunera develops. Carnival lights are manifested in the people of the districts of south and eastern districts of Cali;
Water also Carnival, which exhibits the Institute of Popular Culture and Carnival Juanchito entrepreneurs organized by
the disk instead has emerged. So, and that the current fair Cali does not make an exhibition of machinery, or
technological innovations, or lectures of one or another issue, it is time to re holding the city needs, the "Carnaval de
Cali" It is a "sui generis" carnival as tradition tells us that the groups have always had different topics in ethics and
aesthetics building carnival show, but not in the traditional carnivals repeat its conception, though with different joy.
Here arises the different looks (drama) that will narrate the event involves a Festiva proposal stage of carnival parades,
billed in Santiago de Cali.
CZECH REPUBLIC
PETR ADÁMEK
MASARYK UNIVERSITY BRNO, NATIONAL INSTITUTE OF MENTAL HEALTH (NIMH) CZECH REPUBLIC
The resonances of Slavic carnival celebrations in the work of Vavřinec Leandr Rvačovský
Cultural phenomena have, to a greater or lesser extent, a tendency to seep into works of art. The carnival and the
fasting, which belong to these celebrations inherently, are no exceptions. The echo of these traditions can be found in
various forms across the European continent throughout the late Middle Ages and the early modern period. These
matters will be illustrated using the example of the preachy publication Massopust and its accompanying woodcut
illustrations, which originated in the Bohemian provenance in 1580. The book, which strongly resonates
with carnival traditions and the general phenomenon of a "world turned upside down", is a great example of how
contemporary high and low culture was linked, but it also illustrates urban and rural carnival festivities. The books
visual accompaniment is so closely linked with the text, that its creation clearly had to be specifically ordered and
therefore it is possible to deem the whole publication unique.
DOMINICAN REPUBLIC
MAURICIA DOMÍNGUEZ RODRÍGUEZ
UNIVERSIDAD NACIONAL PEDRO HENRÍQUEZ UREÑA UNPHU, SANTO DOMINGO, REPÚBLICA DOMINICANA
Arte colectivo e identidad en los personajes y regiones del carnaval dominicano
Carnival celebrations have accompanied man since time immemorial, associated to other cults, life fertility, and became part of Christian life as a reminiscence of pagan festivities, now converted into a preparatory act to the recollection
after Lent. The necessity of liberation from the ties and anguish imposed by society in daily life give a feeling of permanence to the carnival festivities. It's origin on Dominican Republic goes as far back as the arrival of the Spanish settlers in
the 16th century, who brought their predominant customs from the age in the celebration of Shrovetide. These celebrations would have a larger hold on the people with mayor Hispanic roots, but by combining with the customs brought by
the African slaves during the colonization, created a magic-religious syncretism that finds a freedom of expression without restriction in the carnival. The carnival's effects are reflected in almost all national territory with an uncountable
number of very creative variations of the traditional characters of the local carnival, it would be then that the Diablo
Cojuelo would become the central figure of the Dominican carnival with many other derivative figures that have enriched the characters with their own identities, and the festivities. It has become one of the carnivals with the largest
quantity of characters represented in relation to the size of the territory, and it's celebration is not limited to Shrovetide
festivities, but instead replicated multiple times linked into patriotic celebrations or other religious types.
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GREECE
PEPI BIRLIRAKI
VICE MAYOR OF TOURISM - CULTURE OF THE MUNICIPALITY OF RETHYMNON, CRETE (GREECE)
This presentation will attempt to communicate the Rethymnian Carnival with the world on the basis of a healthy dialogue that we hope will be the springboard for fruitful cultural exchange oriented in promoting Culture as a peace and
joint creativity treaty between people. The Rethymnian Carnival counts more than 100 years of existence. It has survived
in times of strong political and social unrest, inside and outside Greece, it has evolved, transforming according to the situation and needs of each era and was integrated by the city functions and the lives of its residents, as an institution. Utilizing the island’s rich history and tradition and the impulse of people to offer and share experiences, every year and
throughout the entire year, it mobilizes all the healthy forces of the area, in a collective and creative partnership. Its
achievements include the effective promotion of the history and cultural tradition of Rethymnon, the spectacular attraction of participants to the organization - which is a great expense in time and money. Despite our country’s economic
crisis, it contributes to maintain social cohesion, to boost the economy of Rethymnon during winter time and, in general,
promotes Rethymnon in Greece and abroad as a popular tourist destination, even during winter time. It’s main objective
is to maintain authenticity, which results from the balanced connection of its modern identity and its traditional roots.
HUNGARY
MELINDA HARLOV
PHD CANDIDATE AT ELTE, HUNGARY
The Intangible World Heritage Carneval of Hungary and other winter closing traditions of the region
The Carpathian Basin of Europe has been a multiethnic region since its early period, but people form their traditions
and reactions to nature similarly. Accordingly, it is a very interesting research to look at the diverse carnivals of that
region, and compare the different images, storylines and performed acts at these occasions. In my research, I concentrate
on the winter ending carnival in Mohács, Hungary and its uniqueness and similarities with other festivities by focusing
on the costumes, the acts and the participants. Fortunately, these carnivals are passed over to the next generations, and
are still practiced, however in a folklore manner. This paper also includes the related theoretical questions such as the
folklorization or heritagization of human traditions and their consequences such as the loss of transnational
consciousness of the tradition. By contextualizing the presented cases, the paper aims to clarify a deeper understanding
of the given cases as well as the targeted abstract concepts.
ITALY
PIETRO CLEMENTE
UNIVERSITÀ DEGLI STUDI DI FIRENZE, ITALY
SOCIETÀ ITALIANA PER LA MUSEOGRAFIA E I BENI DEMOETNOANTROPOLOGICI, ITALY
Carnevali indigeni del XXI secolo
PIETRO CLEMENTE, LUCA MANCINI, VALENTINA LAPICCIRELLA ZINGARI
Il carnevale come ‘elemento’ patrimoniale, tra comunità, politiche, antichi simbolismi
We are the Carnival: Carnival is a social, ritual, complex ceremonial of complex societies. The origin and development of the Carnival of Viareggio is deeply embedded in the economic and social life of this Tyrrhenian maritime town.
Many of the techniques applied in the preparation of the gigantic allegorical floats come from the craftsmanship of
caulker- and boat-makers of an ancient maritime tradition. Today a kind of detachment between the communities of Viareggio and the important “Factory of the Carnival” is perceive by some people, but is that the case? In fact, a relevant
process of “reframing tradition” is underway. The Convention for the safeguarding of intangible cultural heritage is
providing and supporting some key social and cultural changes. These changes are impacting the national “heritages regimes” but also the mentalities and shared visions of heritage. The process of “invention of tradition” is a crucial chal-
15
lenge for the safeguarding of cultural heritage as living and transformative reality, in a global world. Some communities
of heritage’s anthropologists (as the members of the Italian Association Simbdea), active in the international dialogue
supported by the Unesco Convention with the ONG accreditation system, are working to explore the boundaries and
bridges between different actors, visions and values emerging under the umbrella of intangible cultural heritage. The
narratives of Viareggio Carnival speaks the languages of some other carnivals in other regions of our global world, as we
can see in the Unesco nomination files and ICH anthropological literature, mainly in Latin America.
SANDRA FERRACUTI
UNIVERSITÀ DEGLI STUDI DELLA BASILICATA
Polifonie del patrimonio culturale: il caso del Carnevale di Satriano di Lucania
Based on the case study of Satriano di Lucania’s Carnival, which is animated by a variety of individuals and heritage
communities that engage in quite different strategies while all sharing the desire to promote and grant the vitality of the
town’s “traditional” masks, this paper wishes to share reflections and dilemmas especially related to 1) the current difficult coexistence of the heritage paradigm focused on preservation (born to be applied to historical and artistic artifacts)
with the one centered on safeguarding (inspired by the anthropological notion of culture and born to especially concern
intangible cultural heritage “elements”); 2) contemporary intergenerational dialogues that are (re)activated by the vitality of the global debate on cultural heritage in times of deep economic and occupational crisis.
ALESSANDRA BROCCOLINI
UNIVERSITÀ SAPIENZA DI ROMA
PRESIDENTE SOCIETÀ ITALIANA PER LA MUSEOGRAFIA E I BENI DEMOETNOANTROPOLOGICI, ITALY
KATIA BALLACCHINO
UNIVERSITÀ DEL MOLISE, SOCIETÀ ITALIANA PER LA MUSEOGRAFIA E I BENI DEMOETNOANTROPOLOGICI, ITALY
Dal folklore alle "comunità patrimoniali": il Carnevale di Serino (Avellino) e le nuove reti territoriali del carnevale
This article is based on research that was initiated in 2010 in Serino, a town in Bassa Irpinia in the province of
Avellino, investigating the traditional carnival celebration and the ways it has changed within the context of local and
global patrimonialization processes. Folklore scholars are familiar with this area (which covers Serino as well as several
other municipalities, including Montemarano, Bellizzi, Mercogliano, etc.) as the site of carnivals featuring masks as well
as the symbolic and performative elements typical of folkloric carnivals in Europe, with which Serino-area celebrations
share multiple aesthetic and formal features. Over the last half century these carnivals, locally organized within small
communities, have alternated between periods of revitalization (with the studies by Roberto de Simone and Annabella
Rossi conducted in the 70s), decline and subsequent local revival, beginning in the 1990s. These local carnivals involve
theatrical enactments and moments of social interaction among the people as well as the sharing of musical and dance
practices; today, they represent expressions of “intangible cultural heritage” that are rooted in the present thanks to their
ability to generate “heritage communities" and become expression of cultural creativity and social cohesion in public
space. At the same time, they are also the site of conflict and competition among different groups. In recent years this
area has been involved in a move to patrimonialize carnival that has given rise to multiple networks within the larger
carnival “heritage communities”. One of these networks is Carnevale Princeps Irpino, an experiment in dialogue among 9
different villages built by civil society actors with an awareness of the intangible cultural value of local carnivals. The
network’s goal is the safeguarding of musical, dance and theatrical expression while respecting diversity, but to do so
with an eye to broader dialogue and intergenerational transmission.
FERDINANDO MIRIZZI
UNIVERSITÀ DEGLI STUDI DELLA BASILICATA
I Carnevali contemporanei e il rapporto con la tradizione
Contemporary Carnivals that are claimed to make reference to a specific, more or less longstanding or historically
verified, local tradition appear to be the outcome of a process of “retraditionalization” based on means of relearning local
traditions: a necessary prerequisite for them, which used to be social practices, to resurface today as cultural heritage.
Such process is partly based on the assumption that actions and behaviors are persistent and partly – if not especially –
on the authority and foundational power of writing, and its outcome is the acquisition of awareness of their being the
signs of a traditional style that marks a distinction. Thus, within the scope of today’s prevailing picturesque, theatrical,
and playful character of Carnivals, they acquire the meaning and value of cultural symbols that assist the redefinition of
16
local identities. From this perspective, contemporary Carnivals have the striking tendency to be timely by referring to the
untimely, namely by drawing on the archaic and revitalizing it through communication, picking it as the topic of a discourse of and about the contemporary. This way, they have in many cases contributed, also thanks to forms of cultural
creativity seen as the ability to innovate pre-existing models that have become objects of heritagization, to the construction
of local identities and their exhibition within the scope of politics that focus on alternative and cultural tourism.
VINCENZO PADIGLIONE
SAPIENZA UNIVERSITÀ DI ROMA, SOCIETÀ ITALIANA PER LA MUSEOGRAFIA E I BENI DEMOETNOANTROPOLOGICI, ITALY
Della maschera e dei suoi usi politici dentro e fuori il carnevale: un'etnografia del contemporaneo
Comics, literature, and cinema heroes prove that masks may well convey protest. They hide the face of individuals
who are frightened by the power establishment but do not renounce to reveal the aggressive facie of those who intend to
challenge it. The contemporary novelty lies in the fact that terror and irony are once again combined in the same expression. This was also one of the underlying themes of the exhibition StraVolti. Maschere abitate ed altri eccessi sociali
[StraVolti. Inhabited Masks and other Social Excesses], which I designed and installed in the castle of Roccasinibalda
(www.castelloroccasinibalda.it).
PAOLO PICCARDI
ACCADEMICO D’ONORE, ACCADEMIA DELLE ARTI DEL DISEGNO DI FIRENZE, ITALY
La musica a Firenze in tempo di carnevale e i Libri di Ricordanze del convento della SS. Annunziata
The music chapel of the sanctuary of the SS. Annunziata of Florence has been the reference point for the Florentine
musical life through the ages. The memories contained in his books of memories allow us to describe the representations
at carnival.
PAOLA ELISABETTA SIMEONI
UNIVERSITÀ LA SAPIENZA DI ROMA, ITALY
Celebrare la creatività
Starting from field ethnological research, the carnival floats and masks building performances will be examined in
Bassa Sabina (Latium-Italy). This part of the festival, where relationships are consolidated and creativity burts out, is
considered the most important part of carnival.
GIOVANNI KEZICH
MUSEO DEGLI USI E COSTUMI DELLA GENTE TRENTINA, ITALY
Carnival King of Europe: una nuova prospettiva sulle mascherate d'inverno
An international project co-financed by the EU, Carnival King of Europe, headed by the Museo degli Usi e Costumi
della Gente Trentina («Museum of Folkways of Trentino») involving the participation of 9 European countries from 2007
to 2012 (see site www.carnivalkingofeurope.it), has allowed through extended comparative fieldwork to open a new
perspective on winter masquerading in our continental context. This has permitted to ascertain the breadth and width of
the European diffusion of the kind of masquerading that, throughout rural Europe at a village level, is found to stand as
a specific historical background to the medieval emergence of «carnival» as a separate festivity in some specific urban
contexts. On these grounds, from the ethnographic record, following the pathway of certain epitomal customs such as
that of ritual ploughing, a number of new inferences could be drawn as to the great similarities that are found in the
structure, features and characters of European masquerading across wide geographical distances, from the Balkans to
Iberia, as well as on their specific diaspora across calendric time and social space. On line with the early, half-forgotten
insights of sir James G. Frazer, a completely new picture has thus emerged, which can now trace with some degree of
precision the roots of European masquerading far beyond their Medieval manifestations under Christian rule, way back
into Europe’s remote agrarian past, at least as far as the ritual customs of the sacred fraternities of archaic Rome. In this
specific perspective, the paper will recount the project’s progress as well as give some evidence on the new findings.
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TERESA COLLETTA
DIARCH, DEPARTMENT OF ARCHITECTURE, UNIVERSITY OF NAPLES "FEDERICO II", ITALY
Southern Italy Carnivals and historical towns. The Carnival festivities as urban collective events in Campania region
The Carnivals festivities are characterised by significant ritual presences in public urban spaces in Campania Region,
therefore Carnival in the South is chiefly an urban feast with a very old tradition and is strictly linked to its social context. The article put in evidence the itineraries of the Carnivals in the Southern historical towns public spaces since their
foundation until today and how these feast becomes attractor element to knowledge the values of the Mediterranean urban heritage, tangible and intangible, and urban territory’s history with its ancient traditions with the richness of the
festivities symbolic components for local people, visitors and tourists. The Carnivals, as intangible cultural values, are
an opportunity for recovery and/or consolidation the social-cultural identity in our Southern historical towns and of
their genius loci. The aim is to preserve, today in the integrated urban conservation, the spirit of the Carnival rituals in the
towns not only as tourist attraction, but as safeguard of the cultural routes of the parades and processions and as urban
identity and authenticity of the values of our Southern historical cities.
VINCENZO ESPOSITO
DIPARTIMENTO DI SCIENZE DEL PATRIMONIO CULTURALE, UNIVERSITÀ DEGLI STUDI DI SALERNO, ITALY
Tracce Persistenti. La Lunga Vita del Carnevale di Montemarano: Note sul FILM
Summary of my film that tells the story of ethnographic research on Carnival in Montemarano, a small town in the
province of Avellino in Southern Italy. The ritual is famous for its carnival dance called “Montemaranese”. The
“Montemaranese” is a dance of carnival in which Pulcinella, the famous mask of Campania, conducts with a stick the
other dancers. The musical instruments used are accordions and clarinets. In the past it was used the shawm. Researchers were ethnographers and students of the University of Salerno.
ALBERTO ALMA
PRESIDENTE FONDAZIONE DELLO STORICO CARNEVALE DI IVREA, ITALY
Lo storico Carnevale di Ivrea
The Historical Carnival of Ivrea is a unique Italian event of international importance, as acknowledged in the communication by the President of the Council of Ministers of 27.09.1956 (Sheet No. 02999/894 File 02999/894.).
It comes to life every year, bringing history, tradition, excitement and high ideals into Ivrea city streets and squares.
Interweaved, these together engender a spectacular sequence passing smoothly across the centuries. Ivrea Carnival as
we see it today is the outcome of a complex series of transformations that have taken place over the years and for the city
it has taken on a distinct, special meaning, a great festival for the people, during which the community celebrates its
right to choose for itself, recalling an episode when Ivrea was freed from tyranny back in the Middle Ages.
In fact, according to legend, a baron who starved the city was banished thanks to a miller’s daughter who, engaged to
be wed to Toniotto, refused to undergo jus primae noctis, stirring up the people to revolt against the liege lord. Its focal
characters are the Mugnaia (Miller’s Daughter), carnival heroine and Risorgimento symbol of freedom, the Generale
(General) with his Stato Maggiore (Napoleonic General Staff), the Sostituto Gran Cancelliere (Assistant Grand Chancellor), the Podestà, guarantor of freedom, the Parade with the flags of the quarters represented by the Abbà (Priors) and
the Pifferi e Tamburi (Fifes and drums). Filling the city with colour and scents there is also the famous, spectacular Orange Battle, so involving and exciting, re-enacting the towns people’s rebellion against tyranny. To show their engagement in the carnival, from the last Thursday before Lent all inhabitants and visitors take to the streets wearing a Phrygian hat, a red sock-shaped hat, representing their allegiance to the uprising and therefore aspiration to freedom (French
Revolution).
ANDREA MAZZI
FONDAZIONE CARNEVALE VIAREGGIO, ITALY
The Carnival of Viareggio was born in 1873 when there was the first parade of festively decorated carriages in the
historic Via Regia, the heart of the old town. It was transferred to the Promenade at the beginning of the twentieth
century and it has grown in size and popularity year after year. In 1954 the newly RAI sent his first outside live TV just
from the Carnival of Viareggio, making it a big media event. In 1958 the report of the parade was broadcast in
Eurovision. This paper analyzes the evolution of history of Carnival in Viareggio and proposes a space of reflexion about
the cultural value of the craftmens and their experiences in the world.
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ENZO SIVIERO
IUAV UNIVERSITY VENICE, ITALY
MASSIMO GUARASCIO
LA SAPIENZA UNIVERSITY, ROME, ITALY
VIVIANA MARTINI
PHD UNIVERSITY OF NOVA GORICA, SLOVENIA
Intercultural dialogue: TUNeIT Mediterranean BRIDGING
The idea that accompanies TUNeIT, the stable connection between Tunisia and Sicily, is far more than a project and
an engineering challenge, insofar as it leads us to think about a process of composition, definition, re-aggregation of historic, social, economic and cultural elements that, on the one hand imply the involvement of a multitude of competences
that need to interact with each other and with all the players concerned, and on the other requires special attention to the
different relations between existing and future systems. This is a complex operation that involves not only technical aspects, but also a look connected with the poetic interpretation of the context aiming to go beyond the mere practical purpose of the work. It is thus that words such as identity, conservation, development and management can find full implementation within the vast design process that involves the matter of the connection between Italy and Tunisia in all
its possible declinations. The opportunity offered by TUNeIT allows us to analyse the contents connected with the protection and valuation of the cultural heritage and the sustainable development of these areas so filled with history, enabling us to assess the possibility of including new architecture in the Mediterranean landscape, maintaining the meaning,
and is aimed at the in-depth examination of the relations and possible effects that this new infrastructure may generate
within the consolidated context of values in which it has been conceived. The Mediterranean in fact has an extremely full
regional heritage, history and potential that are well worthy of being protected, developed and managed in such a way
as to reinforce the cooperation and promote trust between the coastal states. This cultural heritage, which is also universally recognised by UNESCO and included on the List of Intangible Heritage, comprises traditions, uses and customs
connected with folkloric events and carnival in particular. The strengthening of the cultural wealth of these areas must
be a continuous process in which knowledge, dissemination and valuation become the keyword. The spirit that accompanies Mediterranean Bridging and the motto Bridging Cultures and Sharing Hearts is enclosed precisely in these concepts.
MARIO PAFFI
PRESIDENTE COOPERATIVA VISERSAS MAMOIADA E MUSEO DELLE MASCHERE MEDITERRANEE, ITALY
Le maschere di Mamoiada (NU), i Mamuthones, gli Issohadores e le altre del Carnevale Barbaricino
Carnival in Sardinia is a matter of euphoria. A colorful event of dances, grotesque masks, live performances that
shake the everyday life in Sardinia, with no limits. The Sardinian Carnival has no religious meaning, and its roots refer to
very ancient times and uncertain origins.
Carnival begins the 17th of January when, small villages host big fires in every neighborhood (so-called Fuochi di
Sant’Antonio Abate), and it goes on until late February, with a peak on the so-called Giovedì and Martedì Grasso (Thursday
and Mardì Gras ). The gatherings involve the whole island, with different peculiarities according to the traditions in
place in each location. In Barbagia there are three villages (Mamoiada, Ottana and Orotelli) that have kept alive the tradition of Carnival Masks, In Mamoiada there are the masks so called Mamuthone and Issohadores, with no doubt one of
the island’s most important carnival masks and represents a thousand-year-old tradition. Merdules and Boes are two
carnival masks from Ottana. Merdule comes from Mere de Ule and it means chief of the flock; so the Merdule is the
shepherd while the Boe is the cow. Also, during the parade it may happen to see an old, ugly and dark-dressed woman
hanging around: the so-called "FIlonzana" is considered to be in charge of the humans’ destiny. The typical mask of
Orotelli is the Thurpu. Unlike the other masks, the Thurpu doesn’t wear a sheep-skin, but a sort of overcoat made by raw
–black-wool (orbace). These masks are representing some scene of the farming life making a pantomime of the agrarian
world. The shepherds and farmers who owned these masks realized the power they had on influencing the destiny of
the farming year; thus, despite their frightening appearance, their visit was awaited and welcomed, and was an opportunity to befriend them with offers of food and drink.
RITA MARIA PORCU
RAPPRESENTANTE FECC – SARDEGNA
Carnevale Barbaricino: Fonni e Teti, due realtà a confronto
From the heart of Sardinia, the black face masks, the impenetrable enigma of faces, sounds of bells, sheepskins, the
echo of ancient pagan rituals that have been repeated for centuries and are lost in the mists of time. Is the Sardinian tra-
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dition that is measured in the life force of Urthos and Buttudos, in their eternal struggle, in a symbolism rescued from a
past still alive, where evil is exorcised and the man dominates the forces of nature. It 'also the expression of masks linked
to ancient emblems of our Fathers, the soul of our Mother Earth and its great treasures, masterfully brought to the traditional scene from Su Sennoreddu' e S'Iscusorzu.
RICCARDO GIONATA GHERI
ROTARY CLUB FIRENZE “AMERIGO VESPUCCI”
The foods of Carnival, in different Italian regions as a cultural expression of ancient traditions
The foods of the Carnival were the expression of colors, joy and fun of the tuesday preceding the beginning of Lent.
In this day there was a celebration of food “fat”: it was the party of the excesses!
In this event, every Italian region had its typical dishes; among the first courses, they are still in use the “bucatini”
omelette (from Irpinia region, South Italy), the potatoes “gnocchi” with mushroom sauce from Verona town and
“pappardelle” with rabbit sauce from Tuscany region. In Napoli there are the typical “lasagne” of the Carnival period,
with sausage and salame. Among the main courses, tradition recalls the “fat” beans: this ancient dish is made of beans,
fat of pork, pork rinds and sausage. In Firenze you find “arista”: this pork loin name “arista” has a beatiful history. During the Ecumenic Concilium in Firenze (1439) the greek Cardinal Bessarione during a banquette, eating the pork loin,
said: “Aristos” that in Greek language means “The best”! From that day, Florentine people gave this name to the pork
loin. At the end aubergine stuffed with meat and cheese are the tipical main dish in the south of Italy. There is even more
fantasy for the carnival cakes. Since 1400 in Tuscany, during Carnival period, the cakes were made with egg and pork
lard like Berlingozzo and the Florentine sweet “schiacciata”. But the real master of carnival cakes are the fried cakes: in
all Italian region we can find a large range of typical carnival fried cakes, but only one is the boss of all! It has got different name in every region (bugie, cenci, frappe, sfrappe, crostoli, fiocchi, lattughe, manzole…) but it is always the same
mixture, extended and cutted like small ribbon and then fried in olive oil. All these cake tasted with a glass of an Italian
sweet wine (like Vin Santo!) did the family carnival party!
MARTA VILLA
CULTURAL ANTHROPOLOGY – FOOD, ALPINE ED IDENTITY RESEARCH
UNITÀ DI RICERCA VADEM – VALORI APPARTENENZE DEMOCRAZIA, DIPARTIMENTO DI SOCIOLOGIA E RICERCA SOCIALE
UNIVERSITÀ DEGLI STUDI DI TRENTO, TRENTO, ITALIA
Initiation and traditional heritage in the Carnival rites of the Italian Eastern Alps: the young people of German minority between ancestral rituals and identity. The case study of Stilfs in Vinschgau (Südtirol, Italy)
From the ethnographic work, three moments are indispensable to understand the complexity of the carnival in the
neighborhoods of the city. Introduce huehues (dancers) and their music defined periods reflect a methodological necessity rather than a local characterization, and accentuates the processes of change that have shaped the ritual, in its various
dimensions, as we know it today. Audio trucks following the dancers; a "sonidera aesthetic" applied to advertising carnival; musical pieces of other genres integrated into choreographic repertoire; voice effects manipulated to present the
dancers; selling recordings, audio and video presentations Carnival; use social networks (Facebook and YouTube) to disseminate and evaluate practice; the diversity of characters that go beyond the "traditional" representations -huehues,
maringuillas and diablos-; the modification or replacement of the traits of the masks; the integration of women and
transvestites to the dance; and carnival music with rhythm of cumbia, are some of the changes that have not yet been
registered because not conforming to the criteria of seniority and originality that institutions expect of tradition and what
is going to In the Italian Eastern Alps, where three minority groups (Italians, Germans, Ladins) live togheter, the german
community of a little village, Stilfs (Vinschgau), still performs a lot of carbival rites. The rituals, now included into catholic ceremonies, have certainly a pre-Christian ancient origin. The ritual of Carnival started in winter with a initiation that
takes place in the church’s square: the neophites are swirled and then thrown down by monstrous figures (the Klaubaufs).
They encircle the young people and lift up them with long and heavy chains. The neophytes are subjected many times to
the ritual by all the monsters. The day after the neophytes become members of group of only men, who organize the carnival or fertility rituals. These very important rituals are unique in this alpine area and are related to farming community’s world view. In December the Klosen ritual takes place: diabolic masks catch people with chains, donkey masks pinch
the women and they make an acoustic paroxysm to reach a trance state. In February the Pflugziehen ritual takes place: a
plough is conducted ritually along the streets and the battle of good against evil is performed (the peasant family fights
the witches and peddlers). At the end of February the Scheibenslagen ritual takes place: at the village’s edge, people gather to throw some hoops of fire (karsuntascheib) over the forest, so they can forecast about seasonal trend. It can explain all
the rituals through the research about identity and need of social recognition of the german minority group, who live in
the italian territory of Südtirol. The rituals separate the German people from the Italian, the rite of passage is a basic part
of identity of the young people who use several strategies to emphasize their ethnic group’s belonging to stand apart
from the others. The author collected a lot of photos and videos for this research. The subject matter is original and has
not been previously studied.
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LUXEMBURG
ALEKSANDAR CICIMOV
INTERNATIONAL TREASURER OF FECC
ELIYAHU EDUARDO MUÑOZ
FECC GENERAL DEPUTY OF COLOMBIA, APPOINTED TO REPRESENT FECC
Federation of European Carnival Cities
The FECC is an international carnival association with over 500 members representing Carnival organizations in
more than 42 countries with members from Eastern and Western Europe, America, Africa and the Caribbean isles.
The Federation of European Carnival Cities (FECC) was founded in 1980 and has been registered in the Court of
Luxembourg. Member cities, organizations and individual members are engaged in producing popular celebrations or
carnivals which represent an authentic masquerade or parade of a people's cultural identity. The General membership
meets twice each year generally at the end of May (FECC convention) and in October (FECC Dies Natalis).
MALTA
FRANCIS RIPARD
MEMBER OF THE MALTA CARNIVAL COMMITTEE, MALTA
Malta Carnival and Traditions. Carnival is the oldest popular festival in the world
It is said that Carnival dates back to 10,000 BC. The first ever recorded Malta Carnival goes back to 1470. Grand
Master Pietro del Ponte boosted the first three Carnival festivities with extravagant celebrations. In 1752 Carnival festivities were extended to five days. Between 1974 to 1987 Carnival was held in May instead of February. Since 2014 the
main Carnival events were once again held in Valletta’s centre square St. George’s Square in front of the President’s Palace.
MEXICO
ANA HURTADO PLIEGO
COLEGIO DE ESTUDIOS LATINOAMERICANOS, UNAM, MÉXICO
Tlaltizapán. Un lugar para mirar y querer ser
The main objective of this paper is a description of the festival, focused mainly in the forms of interaction of people in
the party trying to open a preamble theatrical carnival philosophy within: who builds whom? The theater is in the
demonstrations of collective identity, which in turn delineate a festive memory that allows and encourages preserve this
tradition. Thus, this work would have as an ulterior motive to address the importance of seeing the theater from other
events that are not necessarily linked with artistic training.
JAIME SILVA GONZÁLEZ, ROMELIA GAMA AVILEZ
UNIVERSIDAD AUTÓNOMA DE GUERRERO, MÉXICO
Danzas tradicionales en Carnaval y otras festividades en Guerrero, México
In Mexico, the process of transculturation from the so called colonization, brought as consequences, among others,
the assimilation of customs fetched from Spain. In the case of other carnival’s festivities, with the adaptations got from
the observation of Hispanos’ ways of dressing, attitude and body language. For that reason local people, with religious
fervor, and with resentment at the same time towards their oppressors, created different ways of representation of their
perception of good and evil, of the saints, of catholic devotion in frank syncretism with their prehispanic beliefs, of the
characters who came from far-off foreign lands, of nature’s inhabitants and of the local people of these places, in a scenario where the imaginary exalts to represent part of the repressed they have in, whether it is spiritual, human, carnal,
hellish, or the combination of them. These are the dances that are shown in Mexico, and in the State of Guerrero, in the
south of the same country, particularly.
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As example of the subject matter of the wide range of dances, we can mention some of them: Los doce pares de
Francia, moros and cristianos, las pastoras, gachupines, tecuanes, diablos, tres potencias, tortuga, maromeros,
tlacololeros, santiagos, to mention a few of them.
The objective of this project, is to make public this kind of representation in carnivals and in other festivities related
with the Catholic saints in established dates, in this state of the country, which are permeated by the inhabitants’ festive
nature of those places, who demonstrate great energy to exploit their repressed feelings during a large part of the year in
which they do their hard labors.
ROMELIA GAMA AVILEZ, JAIME SILVA GONZÁLEZ
UNIVERSIDAD AUTÓNOMA DE GUERRERO, MÉXICO
The tradition of the carnival in Mexico came with Hispanic customs, adapting to the ones in the new continent: old
traditions, kings, mythological beings and of the underworld that are in force in the imaginary, and they still get along
with the representations of the carnival with the European characters known in this continent from the XVI century.
Seaports were the gate to new customs, mixing with the native culture in a process of responsiveness through the
transition towards the evangelization. Subsequently, these enclaves, as points of economic and cultural exchange, in a
natural way they became more receptive to the phenomena of human relationships, besides of their geographic
peculiarity, the weather and a more relaxing environment, they have the distinctive feature that their people are more
cheerful and “fun-loving”, which comes about in the success of these festivities of the carnival that represents the own
cultural identity. For their splendour and brightness Veracruz’s, Mazatlán’s and Campeches’s port carnivals stand out;
which were born before the XIX century, and they keep the boom these days. Generally, carnivals in Mexico begin with
getting rid of bad mood, which is represented with figures of undesirable characters; for these festivities a queen of the
carnival is chosen, who heads up the parades of floats, troupes and cultural activities. It is also accustomed to see
combats with decorated eggshell filled with unimaginable surprises. After three days of party, the carnival ends with the
ritual of Juan Carvanal’s burial. The objective of this project is to present in general the characteristics that the
representation of the carnival took in Mexico considering the intercultural features that belong to them.
DELIA DEL CONSUELO DOMÍNGUEZ CUANALO, VIRGINIA CABRERA BECERRA, AGUSTÍN LÓPEZ ROMERO
BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA, MÉXICO
El carnaval, acto festivo, patrimonial y de reapropiación barrial en la ciudad de Puebla. México
The aim of the research is to understand how the celebration of Carnival takes place in the neighborhoods of indigenous roots that gave rise to the city of Puebla, not only by their ancestral heritage cultural roots, but with high symbolic
content which implies territorial appropriation and reappropriation of life niches that are continuously threatened by the
overwhelming implementation of public policies to modernize at all costs against the structure and traditions of the historic center neighborhood's. The Carnival is a festive event through which neighborhoods yell at dance rhythms, chromatic diversity and unique costumes, its syncretism outlines the neighborhood boundaries; neighborhood identity related to each other who shares their traditions and respect regarding watching, enjoying, but without understanding its
complex meaning.
For their study there are considered processed like: Urban, architectural, anthropological, historical, through interviews and field observation. As a preliminary result the Carnival is a festive tradition anchored into religion that keeps
alive the sense of neighborhood belonging, redrawing the neighborhood territory with the return of actors, symbols and
imaginary
RICARDO CAMPOS CASTRO
CENTRO DE ESTUDIOS DE LAS TRADICIONES / EL COLEGIO DE MICHOACÁN A.C., MÉXICO
De las cuerdas del violín, a las tecnologías de sonido (sonidero). Cambio y trasformación en el carnaval de los barrios
de la ciudad de Puebla
From the ethnographic work, three moments are indispensable to understand the complexity of the carnival in the
neighborhoods of the city. Introduce huehues (dancers) and their music defined periods reflect a methodological necessity rather than a local characterization, and accentuates the processes of change that have shaped the ritual, in its various
dimensions, as we know it today. Audio trucks following the dancers; a "sonidera aesthetic" applied to advertising carnival; musical pieces of other genres integrated into choreographic repertoire; voice effects manipulated to present the
dancers; selling recordings, audio and video presentations Carnival; use social networks (Facebook and YouTube) to disseminate and evaluate practice; the diversity of characters that go beyond the "traditional" representations -huehues,
maringuillas and diablos-; the modification or replacement of the traits of the masks; the integration of women and
22
transvestites to the dance; and carnival music with rhythm of cumbia, are some of the changes that have not yet been
registered because not conforming to the criteria of seniority and originality that institutions expect of tradition and what
is going to be heritage. In recent years, the link between huehues and sonideros is trying to unravel through various institutional projects to give back its purity; however, the link is so narrow that its presence and influence remains considerable. This dynamic approach requires new questions around three main concepts: carnival, tradition and cultural heritage. It also highlights the need for alternative approaches that go beyond a static folkloric look and understand the
dance-musical phenomenon as a social-full dynamic event. At the same time, change the approach to the study of traditional and understand that "change" is intended to achieve permanence.
PERU
ROSEMARY ZENKER
MUSEO NACIONAL DE LA CULTURA PERUANA, PERÚ
Carnaval y tradiciones en la Sierra Sur del Perú en la obra de Manuel Alzamora (1900-1970)
This research is focused towards the work of the Cuzco painter born in 1900 in the District of Sicuani, Cusco Province
of Canchis. Representation and understanding of peoples embodied in the painting of Alzamora, shows the trend of an
art purely our detailing us the printing of a distinctly Peruvian painting, which meant the emergence of a new pictorial
trend which gave beginning to an interesting activity in regional painting located within a realism - localism, rather than
entirely manners. It is one of the first artists to undertake the arduous task of the social.
MARÍA GRACIA NONATO CUETO
UNIVERSIDAD DE PIURA. LIMA, PERÚ
Carnavales en la Sierra del Perú: tradición mestiza
Carnivals in Peru are great popular festivals held in all regions. It is planned with much enthusiasm and organization
by local authorities, business, dance schools, among other groups, who spare no effort and expense to ensure that the
party be better than the last one. As in many places and also in Peru, the carnival is associated with festive music, elaborate costumes, traditional dances, lavish costumes and typical food; all on a crowded background of excitement and color. However, the uniqueness of the Peruvian carnival is its mixed character that emerges as fusion of the original European carnival features with those of the pre-Hispanic celebrations held in the same season.
Another aspect to consider in relation to Peruvian carnivals is the diversity of events organized inside the same country; therefore, although the forms of celebrating the carnival are similar, each region maintains and expresses own
unique styles in their music, dance, food and performances. Considering these aspects, it should be noted that the most
traditional Peruvian carnivals are held in the highlands, where many elements that expose the cultural and religious mix
between Andean and Spanish societies are preserved. That is why many Peruvian carnivals have been declared Cultural
Heritage of the Nation, as it should be valued as a substantial aspect of the living culture of the country that reflects the
mix that defines national identity.
PORTUGAL
ANA MARGARIDA DE CARVALHO MIRANDA ALMEIDA
TORRES VEDRAS CITY COUNCIL, PORTUGAL
Carnival of Torres Vedras (Portugal). Carnival and Traditions
The Carnival of Torres Vedras is a ritual, performative and social expression, which provides a strong sense of
identity and symbolic meaningful to community, being transmitted from generation to generation. The feast is
structured by three key moments: King and Queen's Enthronment; Carnival Parade and Judgment and Burial of
Carnival (ash Wednesday). We can highlighting singular features as: reign's dynasty of Torres Vedras’ s Carnival, which
role is played by men from the community; “matrafonas” as a collective social phenomenon and a deep involvement of
inhabitants in feast.
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JOSÉ NEVES
ISCTE-IUL, DEPARTAMENTO DE ARQUITECTURA E URBANISMO, PORTUGAL
Carnival is celebrated in Portugal since the thirteenth century and occupies a central position in the collective imaginary of the city of Torres Vedras. In this particular case, Carnival has become, moreover, very important for the local
economy, becoming an organized urban feast since 1912.
In 2011, the Municipality promoted an international architecture competition for the Carnival Arts Center (CAC),
therefore creating a unique chance to materialize this collective reference. Our winning proposal is expected to be built
soon. The site chosen for CAC is located in a marginalized residential district, and is characterized by two powerful elements: a slaughterhouse and a quarry.
The remains of the currently disabled slaughterhouse preserve its iconographic value, which reflects, in some way,
the identity of the place. The quarry, also disabled, is now a platform embraced by an escarpment that gives a dreamlike
character to the site. The slaughterhouse will be rehabilitated to serve as entry and temporary exhibition room. The platform, encircled by the escarpment as well as by the new part of the building (permanent exhibition, deposits, documentation center, workshops, cafeteria) will be transformed into a public square. This square, designed to hold parades, invokes archetypal memories of the Roman arenas which, curiously, had its origin in death, just like this one. Places like
Piazza dell'Anfiteatro, in Lucca, or Arènes de Lutèce, in Paris, were once arenas that became civic squares, just like this
quarry-slaughterhouse, becoming again part of space and time of their cities.
Above all, it is expected that CAC and its square together will have a place-making capacity: on the one hand, as a
stage for the daily practices of citizens, on the other hand, as an urban-theater for the celebration of Carnival, thus contributing to the urban rehabilitation of this part of the town and its civic life.
SPAIN
ALBERTO DARIAS PRÍNCIPE, JONÁS ARMAS NÚÑEZ
UNIVERSIDAD DE LA LAGUNA, CANARIAS, ESPAÑA
El Carnaval en Canarias: variedad e interculturalidad
In the Canary Islands, the Carnival has a considerable range of rites in comparison with the small size of the region.
The two factors that have influenced its diversity are: the fact that there are different islands and their inter-continental
situation.
The old rituals can be divided into two sets: fertility rituals and investment rituals. We can divide the five centuries of
history of these festivities in the Canary Islands into three periods:
1. from when the Canary Islands became part of the Crown of Castile until the Enlightenment, with the most ancestral rites;
2. from the Enlightenment to the 1960s, with a clear dichotomy between the carnival of the lounge and the carnival of
the street, and recent years, when globalisation has led to a loss of many of its unique features, especially in the large cities.
VICENTE GUEROLA-BLAY, IGNASI GIRONÉS-SARRRIÓ, MÓNICA ESPÍ-PASTOR
UNIVERSITAT POLITÈCNICA DE VALÈNCIA - INSTITUTO DE RESTAURACIÓN DEL PATRIMONIO
Managing intangible cultural heritage: the CARNVAL project case study
In this paper we discuss and assess different ways and existing instruments to manage the intangible cultural heritage as the CARNVAL project does.
The main goal of the CARNVAL project ,“Ephemeral heritage of the European Carnival rituals”, funded with support from the European Commission within the CREATIVE EUROPE Culture Sub-program, is the promotion of the varied historical and social European realities through the dissemination of some of its most relevant festive carnival events.
These events are an important part of the European intangible heritage.
Our project, thus, aims at disseminating the events and at creating links between them –and ultimately at disseminating the idea of a common European cultural area and at increasing the feeling of a common European identity.
The dissemination of this part of the intangible material may be a very important factor for a dialogue between cultures. On the one hand, it will help to reveal a rich cultural and historical diversity, as opposed to increasing globalization trends. On the other hand, it will contribute to an emerging feeling of European common cultural identity, as the
many cultural and historical links are emphasized or made obvious.
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SWITZERLAND
CESARE POPPI
SUPSI, LUGANO (CH)
UNIVERSITÀ DELLE SCIENZE ENOGASTRONOMICHE, POLLENZO (I)
Death, Masks and Carnival: ritual practice, metaphor and ‘the real thing’ in Europe
The close relationship between Death, the Dead and Carnival is a well known feature of European Carnivals at least
since the classic work of Karl Meuli’s on Swiss masks. Henceforth this link has been extended both to include and to integrate youth initiation rituals, practices such as the Charivari and the complex relationship of Carnival with the Procession of the Dead/Wild Hunt at crucial junctures of the yearly cycle. Less well known – and perhaps more controversial are the instances in which the representation of Death (and occasional subsequent Resurrection) were not simply a matter of carnivalesque ritual play, but implied the ‘real’ execution of a ‘real’ human scapegoat. The paper will examine the
available evidence towards an integrated view of Carnival – and related events – as a complex interplay of fictional as
well as ‘real’ ritual occurrences.
UKRAINE
ANNA LISOVA
ART MANAGER, UKRAINE
OKSANA DMITRIEVA
KHARKIV NATIONAL UNIVERSITY OF ART, UKRAINE
Ukrainian Maslenitsa: rituals, origins, diversity and influence on contemporary culture Carnival and Intercultural
Dialogue
The popular rites form the integral part of the history, culture and mentality of the people. Their study is important
for the further formation of national culture and sharing it with other nationalities.
Maslenitsa is ancient Slavic celebration of winter farewell and spring invocation, carried out with the entertainment,
singing and preparing of some traditional dishes. Our research studies the Ukrainian national carnival rituals and their
relationship with the celebrations of the other Slavic peoples, the peoples of Eastern and Western Europe. Presenting examples of rites known in the different communities (as burning the effigy of winter, attribution of the signs to unmarried
young people, prepare varenyky (dumplings) and pancakes, etc.), we examine their similarities and differences, areas of
use, consider the habits and local characteristics. We also study the influence of Maslenitsa to modern culture (popular
carnival songs as sources of Tchaikovsky’s music), actual customs in urban areas and in the countryside.
The data shows that the Ukrainian Carnival has much in common with the corresponding ceremonies of other nations, both in period (celebrated a week before Lent), and the activities of.
We are able to discern and present the characteristic features of the Ukrainian version of the holiday, its diversity and
originality, ethnic colors and, at the same time, to trace the similarity of Carnival in Ukraine and other countries that
promotes an effective intercultural dialogue.
URUGUAY
ELIZABETH ALFARO
UNIVERSIDAD DE LA REPÚBLICA, URUGUAY
LAURA IBARLUCEA
CENTRO LATINOAMERICANO DE ECONOMÍA HUMANA Y UNIVERSIDAD DE LA REPÚBLICA, URUGUAY
De la bacanal al escenario: consolidación del carnaval teatral en Uruguay
As in many other societies, the carnival is the most significant popular celebration in Uruguay. Therefore, all activities linked to the carnival celebration constitutes a fundamental collective identity reference, and at the same time, an element of attraction for regional and international tourists. The particular nature of the Uruguayan carnival is associated
with its strongly theatrical condition, acquired throughout its history, as well as with the mechanism of competition as a
regulatory system. The current study aims to review the process by which the "upside down world" popular celebration
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became in a scenical and controlled by the codes of theater and contest celebration. For this analysis it was necessary to
identify which actors promoted changes operated in that configuration and how they did it. In this process, public policies were as significant as private actions. The paper presents a brief description of the Uruguayan carnival and its history, analyzes how was formalized these eminently scenic character, in a careful reading of the way in which carnival's
transformation articulates with other historical processes, and reviews the characteristics of current carnival.
CARNAVAL DE NEGROS Y BLANCOS, PASTO, COLOMBIA
INTANGIBLE CULTURAL HERITAGE OF HUMANITY UNESCO [2009]
by Carlos Eduardo Benavides Diaz [© 2016]
Universidad Tecnológica de Pereira, Colombia
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COMMITTEES
SCIENTIFIC PROMOTERS
Centro Congressi al Duomo, Fondazione Romualdo Del Bianco – Life Beyond Tourism, Florence,
Italy; University of Nariño, Pasto, Colombia; University of Bogotá Jorge Tadeo Lozano, Fondazione
Carnevale Viareggio, Italy.
ADVISORY COMMITTEE
Claudia Afanador, University of Nariño, Pasto, Colombia
Olimpia Niglio, University of Bogotá Jorge Tadeo Lozano, Bogotá, Colombia, Colombia; Kyoto University, Graduate School of Human and Environmental Studies, Kyoto, Japan; International Institute
LBT, Italy
ORGANIZING INTERNATIONAL COMMITTEE
Claudia Afanador, University of Nariño, Pasto, Colombia
Maurizio Bossi, Board Member Fondazione Romualdo Del Bianco, Italy
Paolo Del Bianco, President, Romualdo Del Bianco Foundation, Florence, Italy
Emma Mandelli, University of Florence and International Institute Life Beyond Tourism by Romualdo
del Bianco Foundation, Florence, Italy
Olimpia Niglio, University of Bogotá Jorge Tadeo Lozano, Bogotá, Colombia, Colombia; Kyoto University, Graduate School of Human and Environmental Studies, Kyoto, Japan; International Institute
LBT, Italy
Marc Laenen, ICCROM Director General Emeritus; Board Member Fondazione Romualdo Del Bianco
Gerardo Sanchez, University of Nariño, Pasto, Colombia
INTERNATIONAL SCIENTIFIC COMMITTEE
Luca Baraldi, Istituto Superiore di Scienze Religiose “Santa Maria di Monte Berico”, Vicenza, Italy
Mirtha Buelvas, University of Atlántico, Colombia
Alberto Escovar Wilson White, Ministery of Culture, Colombia
Vincenzo Esposito, University of Salerno, Italy
Fabrizio Galli, President, Associazione Costruttori Carnevale Viareggio, Italy
Marcos Gonzalez Perez, Intercultura Colombia
Riccardo Gionata Gheri, President, Rotary Club Firenze “Amerigo Vespucci”, Italy
Susan McIntyre-Tamwoy, President, ICOMOS Scientific Committee for Intangible Cultural Heritage,
Australia
Eliyahu Eduardo Muñoz, Fundación Organización Carnaval Nacional de Carnavales, Colombia
Stefano Pozzoli, University Parthenope of Naples, Italy
Francesca Sbardella, University of Bologna, Italy
Javier Tobar, University of Cauca, Colombia
Isabel Tort, UNESCO Chair UPV Forum UNESCO - University and Heritage, Universitat Politècnica
de Valéncia, Spain
ORGANIZING SECRETARY
Michaela Zackova Rossi, Stefania Macrì
Centro Congressi al Duomo - CCAD – Firenze, Comi S.p.A.
27
MAIN SPONSOR
with the collaboration:
VIAREGGIO
SCIENTIFIC PROMOTERS
SCIENTIFIC PARTNERS
INSTITUTIONAL PARTNERS
INTERNATIONAL
CULTURAL PARTNERS
International Airline Main Partner
28
1ST INTERNATIONAL SYMPOSIUM
«DIALOGUE AMONG CULTURES. CARNIVALS IN THE WORLD»
Florence, February 3-4, 2016
Viareggio, February 5-6, 2016
Scientific Program
29
30
Wednesday, February 3, 2016
Foyer
Auditorium al Duomo
8.00 am
Anfiteatro
Andrzej Tomaszewski
9.00am – 10.30am
FLORENCE
OPENING OF THE SECRETARIAT DESK, REGISTRATION AND SLIDE CENTER
OPENING OF THE SYMPOSIUM
Paolo Del Bianco, President Fondazione Romualdo Del Bianco
Stefano Pozzoli, Special Commissioner Fondazione Carnevale Viareggio
Juan Sebastian Betancur, Ambassador Colombia in Italy
Luigi Dei, Rector Università degli studi di Firenze
Eugenio Giani, Consiglio Regionale, Regione Toscana
Dario Nardella, Mayor of Florence
Giorgio Del Ghingaro, Mayor of Viareggio
Luigi Zangheri, President Accademia delle Arti del Disegno, Firenze
Olimpia Niglio, Scientific Coordinator of International Symposium
Claudia Afanador, Scientific Coordinator of International Symposium
Anfiteatro
Andrzej Tomaszewski
10.30am – 12.30pm
SESSION I – STARTING FROM 11.00AM
Chairman: Emma Mandelli, Università degli studi di Firenze, Italia
10.30am Keynote
Carnevali indigeni del XXI secolo [IT]
Pietro Clemente, Università degli studi di Firenze, Italia
11.00am Keynote
FECC – Federation of European Carnival Cities (EN]
Eliyahu Eduardo Muñoz P., FECC General Deputy of Colombia and appointed to represent the FECC by board directors
11.30am Keynote
Lo Storico Carnevale di Ivrea [IT]
Alberto Alma, Fondazione dello Storico Carnevale di Ivrea, Italia
12.00pm Keynote
Intercultural dialogue: TUNeIT Mediterranean BRIDGING [EN]
Enzo Siviero, IUAV, Venezia, Italia
Massimo Guarascio, RMEI Réseau Mediterranéen des écoles d'ingenieurs, Francia
Viviana Martini, University of Nova Gorica, Slovenia
1.00pm – 2.00pm
FREE TIME AT DISPOSAL FOR A LUNCH
Anfiteatro
Andrzej Tomaszewski
2.00pm – 6.00pm
SESSION II - STARTING FROM 2.00PM
Chairman: Gerardo Sanchez, Universidad de Nariño, Colombia
2.00pm Keynote
Carnevali del Sud d'Italia e città storiche. Le festività del Carnevale in Campania celebrazioni collettive come eventi urbani [IT]
Teresa Colletta, Università di Napoli “Federico”, Italia
31
2.30pm
Argentina Carnivals. Multiethnic and Pluralistic since its origin. [SP]
Graciela Silvia Molina, Instituto Nacional de Estudios de Teatro, Ministerio de Cultura,
Argentina
2.50pm
El Carnaval en Canarias: variedad e interculturalidad [SP]
Alberto Darias Príncipe, Jonás Armas Núñez, Universidad de La Laguna, Canarie, Spagna
3.10pm
Pepi Birliraki, Vice Mayor of Rethymno, President of Carnival Committee, Greece [EN]
3.30pm
Il carnevale come ‘elemento’ patrimoniale, tra comunità, politiche, antichi simbolismi
Pietro Clemente, Luca Mancini, Valentina Lapiccirella Zingari, Società Italiana per la Museografia e i Beni DemoEtnoAntropologici, Italia [IT]
3.50pm
Malta Carnival and its traditions. Carnival is the oldest popular festival in the world
Francis Ripard, Malta Carnival Committee Member which falls under The Arts Council
Malta' [EN]
4.10pm
Romelia Gama Avilez, Jaime Silva González, Universidad Autónoma de Guerrero,
México [SP]
4.30pm
Iniziazione e patrimonio tradizionale nei riti di Carnevale delle Alpi orientali [IT]
Marta Villa, Università degli studi di Trento, Italia
4.50pm
La máscara del pueblo Memorias de un Actor [ES]
Juseth Javier Palacios Montilla
Corporación Escénica de Pasto La Guagua, Colombia
5.10pm
Carnaval y tradiciones en la Sierra Sur del Perú en la obra de Manuel Alzamora (19001970)
Rosemary Zenker, Museo Nacional de la Cultura Peruana, Peru [SP]
5.30pm Discussion and conclusions
32
Thursday, February 4, 2016
FLORENCE
SESSION III - STARTING FROM 9.00AM
Chairman: Olimpia Niglio, Scientific Coordinator of International Symposium
Auditorium al Duomo
Sala Vasari
9.00am – 12.30pm
9.00am Keynote
“Vas a jugar Carnavales?” Construyendo imaginarios de futuro desde el Carnaval de
Negros y Blancos de Pasto [SP]
Universidad de Nariño, Colombia
9.30am Keynote
Carnival King of Europe: una nuova prospettiva sulle mascherate d'inverno [IT]
Giovanni Kezich Antonella Mott, Museo Usi e Costumi della Gente Trentina, Italia
10.00am
The Carnival in the Biggest Brazilian City [SP]
Alessandro Dozena, University Federal do Rio Grande do Norte/UFRN, Natal, Brazil
10.20am
Carnival in Arica: dancing with the heart [SP]
Andrea Chamorro, Universidad de Tarapacá, Chile
10.40am
Realismo mágico hecho disfraz [SP]
Ezequiel Álvarez Cuesta, Universidad del Atlántico, Barranquilla, Colombia
11.00am
Celebrare la creatività [IT]
Paola Elisabetta Simeoni, Scuola di specializzazione in beni demoetnoantropologici, Università “Sapienza”, Roma, Italia
11.20am
Carnival of Torres Vedras. Portugal. Carnival and traditions [EN]
Ana Margarida de Carvalho Miranda Almeida
Torres Vedras City Hall, Portogallo
11.40am Discussion and conclusions
12.00pm – 12.30pm
FONDAZIONE ROMUALDO DEL BIANCO - LIFE BEYOND TOURISM
12.30pm – 3.00pm
VISIT OF MUSEUMS
33
SESSION IV - STARTING FROM 3.00PM
Chairman: Claudia Afanador, Universidad de Nariño, Colombia
Auditorium al Duomo
Sala Vasari
3.00pm – 6.30pm
3.00pm Keynote
El Patrimonio Cultural Intangible. Recurso para el Fortalecimiento de las Economías
Locales a Nivel Global [SP]
Eliyahu Eduardo Muñoz P., Fundación Organización Carnaval Nacional de Carnavales,
Colombia
3.30pm
The foods of Carnival, in different Italian regions, as a cultural expression of ancient traditions [IT]
Riccardo Gionata Gheri, Rotary Club Firenze “Amerigo Vespucci”
3.50pm
Le maschere di Mamoiada (NU), i Mamuthones e gli Issohadores, e le altre
del Carnevale Barbaricino [IT]
Mario Paffi, Museo delle Maschere Mediterranee, Mamoiada, Nuoro
4.10pm
The Intangible World Heritage Carneval of Hungary and other winter closing traditions
of the region. [EN]
Melinda Harlov, Eötvös Loránd University, Budapest, Hungary
4.30pm
Death, Masks and Carnival: ritual practice, metaphor and ‘the real thing’ in Europe [EN]
Cesare Poppi, SUPSI, Lugano, Switzerland
4.50 pm
De la bacanal al escenario: consolidación del carnaval teatral en Uruguay [SP]
Elizabeth Alfaro, Laura Ibarlucea, Universidad de la República, Uruguay
5.10pm
Identidad cultural y expresión musical en el carnaval de Negros y Blancos [SP]
Mario Fernando Egas Villota, Universidad de Nariño, Colombia
5.30pm – 6.30pm
Round Table discussion with all participants
8.00pm
GALA DINNER with the collaboration “Saperi e Sapori” International Event
ICLAB – Intercultural Creativity Laboratory
Viale Alessandro Guidoni, 103, Firenze
34
Friday, February 5, 2016
VIAREGGIO
Conference Center
Palace Hotel
Salon A
10.00am – 1.00pm
Session V - Starting from 10.00am
Salon A
Chairman: Olimpia Niglio, Scientific Coordinator of International Symposium
10.00am Keynote
Managing intangible cultural heritage: the Carnval project case study [SP]
Vicente Guerola-Blay, Ignasi Gironés-Sarrrió, Mónica Espí-Pastor, Universitat
Politècnica de València
10.30am
Ukrainian Maslenitsa: rituals, origins, diversity and influence on contemporary culture
[EN]
Anna Lisova, Art Manager
Oksana Dmitrieva, Kharkiv National University of Art
10.50am
Andrea Mazzi, Fondazione Carnevale Viareggio, Italia
11.10am
Tanya Park, School of Architecture and Design, University of Tasmania [EN]
11.30am
Nuevas memorias, viejos relatos. [SP]
Andrés Eduardo Pacheco Sepúlveda, Agrupación Cultural CapaNegra, Chiloé, Chile
11.50am
Polifonie del patrimonio culturale: il caso del Carnevale di Satriano di Lucania (PZ) [IT]
Sandra Ferracuti, Società Italiana per la Museografia e i Beni DemoEtnoAntropologici,
Italia
12.10pm
José Neves [EN]
José Neves, ISCTE - Instituto Universitário de Lisboa, Departamento de Arquitectura e
Urbanismo, Portugal
12.30pm
De las cuerdas del violín, a las tecnologías de sonido (sonideros). Cambio y
trasformación en el carnaval de los barrios de la ciudad de Puebla [SP]
Ricardo Campos Castro
Centro de Estudios de las Tradiciones. El Colegio de Michoacán A.C., México
12.30 pm Discussion and conclusions
12.30pm – 2.00pm
35
Conference Center
Palace Hotel
Salon A
2.00pm – 6.00pm
Session VI - Starting from 2.00pm
Chairman: Eliyahu Eduardo Muñoz P., Fundación Organización Carnaval Nacional de
Carnavales and General Deputy FECC, Colombia
2.00pm Keynote
Tracce persistenti. La lunga vita del Carnevale di Montemarano (Movie) [IT]
Vincenzo Esposito, Università di Salerno, Italia
2.30pm
Della maschera e dei suoi usi politici dentro e fuori il carnevale: un'etnografia del contemporaneo [IT]
Vincenzo Padiglione, Società Italiana per la Museografia e i Beni DemoEtnoAntropologici
2.50pm
Traditional dances in carnival and other festivities in Guerrero, México [SP]
Jaime Silva González, Romelia Gama Avilez
3.10pm
Carnavales en la Sierra del Perú: tradición mestiza [SP]
María Gracia Nonato Cueto, University of Piura, Peru
3.20pm
Los Cabildos en Cartagena de Indias…con sabor a Carnaval. Su papel en la identidad y
toma de decisiones [SP]
Alberto Herrera Diaz, Instituto de Cultura del Departamento de Bolívar – ICULTUR
3.40pm
The resonances of Slavic carnival celebrations in the work of Vavřinec Leandr
Rvačovský [EN]
Petr Adámek, Masaryk University Brno, National Institute of Mental Health (NIMH)
Czech Republic
4.00pm
Dal folklore alle "comunità patrimoniali": il Carnevale di Serino (Avellino) e le nuove
reti territoriali del carnevale [IT]
Alessandra Broccolini, Katia Ballacchino, Società Italiana per la Museografia e i Beni
Demo Etno Antropologici, Italia
4.20pm
Arte colectivo e identidad en los personajes y regiones del carnaval dominicano [SP]
Mauricia Domínguez Rodríguez, Universidad Nacional Pedro Henríquez Ureña
[UNPHU], República Dominicana
4.40pm
I Carnevali contemporanei e il rapporto con la tradizione [IT]
Ferdinando Mirizzi, Società Italiana per la Museografia e i Beni DemoEtnoAntropologici, Italia
5.00pm
De Mamá Trini a Piero en el Carnaval de Negros y Blancos de Pasto [SP]
Fredy Mauricio Hidalgo Insuasty, Universidad de Nariño, Colombia
5.20pm
Carnival and sociocultural processes [SP]
Jorge Enrique Londoño Pinzón, Universidad Nacional de Colombia
36
Saturday, February 6, 2016
Conference Center
Palace Hotel
Salon A
9.00am – 1.00pm
SESSION VII - STARTING FROM 9.30AM
Salon A
Chairman: Isabel Tort, Cátedra UNESCO Forum Universidad y Patrimonio, Universitat
Politècnica de Valéncia, España
9.00am
Chair carnival. Assessment of carnival of black and white from Pasto, intangible cultural heritage through the academy [SP]
Claudia Afanador H., Carlos Andres Gonzalez H., Universidad de Nariño, Colombia
9.20am
The revenge of the ratchet: the festival of Purim and the carnival in Jewish tradition
Luca Baraldi, Istituto Superiore di Scienze Religiose “Santa Maria di Monte Berico”, Vicenza [EN]
9.40am
La Dramaturgia itinerante del Carnaval de Cali [SP]
Gabriel Francisco Cataño Nieva
Escuela de Teatro del Instituto Popular de Cultura, Cali, Colombia
10.00am
El carnaval, acto festivo, patrimonial y de reapropiación barrial, en la ciudad de
Puebla. México. [SP]
Delia del Consuelo Domínguez Cuanalo, Virginia Cabrera Becerra, Agustín López
Romero, Benemérita Universidad Autónoma de Puebla, México
10.20am
Aesthesis del Carnaval de Negros y Blancos [SP]
Javier Rodríguez Rosales, Universidad de Nariño, Colombia
10.40am
Carnevale Barbaricino: Fonni e Teti, due realtà a confronto [IT]
Rita Maria Porcu, FECC, Sardegna
11.00am
Tlaltizapán. Un lugar para mirar y querer ser [SP]
Ana Hurtado Pliego, Universidad Nacional Autónoma de México, México
11.20am
Festival Folclórico Colombiano: identidad como símbolo de libertad [SP]
Natalia Acuña Betancourt, Fundación Con-ciencia, Ibagué, Colombia
11.40am
El carnaval, escenario para el encuentro intercultural [SP]
Edgar Guillermo Mesa Manosalva, Universidad de Nariño, Colombia
12.00pm Panel Discussion with the members of Scientific Committee
Conclusions of the 1th International Symposium
1.00pm – 2.00pm
Cittadella Carnevale
3.00pm – 5.00pm
MUSEUM OF THE PAPER AND FONDAZIONE CARNEVALE VIAREGGIO
Laboratories
5.30pm – 6.30pm
GALLERY OF MODERN AND CONTEMPORARY ART, VIAREGGIO
37
DIGITAL EXPOSITIONS AREA
Palazzo Coppini, Florence, Italy
Carnaval de Negros y Blancos de Pasto, Colombia
Carlos Eduardo Benavides Diaz, Universidad Tecnológica de Pereira, Colombia
Gerardo Sanchez, Universidad de Nariño, Colombia
San Basilio de Palenque -Espacio y cultura. Colombia
Ana Patricia Montoya Pino, Esteban Solarte Pinta, Jose Mendoza Villamizar
Universidad de Bogotá Jorge Tadeo Lozano, Facultad de Artes y Diseño, Programa Arquitectura
Carnaval en la República Dominicana
Gabriel Castillo & Pogen Fung
Santo Domingo
Carnival Rio de Janeiro, Brazil
Lucia Judice, Social Responsability Consultant, Carnival Rio de Janeiro, Brazil
Photographer: Lucia Judice (56) was director of two Samba Schools of the Special Group in Rio Carnival -GRESU Inocentes de
Belford Roxo and GRESU Porto da Pedra. Her performance has deserved a prize for Marketing in 2014 .
38
www.esempidiarchitettura.it
EDA ESEMPI DI ARCHITETTURA
International Journal on.line
ISSN [electronic version]: 2035-7982
EdA on.line is member DOAJ
This work is licensed under CC BY-SA

Proceedings Abstracts 1st International Symposium

Transcription

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