10.6092/issn.1973-9494/17322
application/pdf
1973-9494
17322
en
Jorge Albeiro Rivera Rosero
https://creativecommons.org/licenses/by/3.0
Conservation Science in Cultural Heritage
ICT
Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia
Text.Serial.Journal
https://conservation-science.unibo.it/
22
Articles
2023-07-20
2023-06-21
2023-07-20
2023-07-20
271-288
CSCH
Jorge Albeiro Rivera Rosero
2022
10.6092/issn.1973-9494/17322
271
Faculty of Education, Faculty of Engineering, Universidad CESMAG, Pasto, Colombia
1973-9494
ICT
en
288
Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia
https://conservation-science.unibo.it/article/download/17322/16539
22
F   ACTORS THAT AFFECT PARTICIPATION IN THE
    “CARNAVAL DE NEGROS Y BLANCOS” IN COLOMBIA


   Carolina Avendaño Peña
   Faculty of Science and Education
   Universidad Distrital Francisco José de Caldas, Bogotá, Colombia

   Luis Antonio Eraso Caicedo, Jorge Albeiro Rivera Rosero*
   Faculty of Education, Faculty of Engineering
   Universidad CESMAG, Pasto, Colombia

   Keywords: intangible cultural heritage, management, cultural participation, carnival, ICT



   1. Introduction

    The articulation of Intangible Cultural Heritage (ICH), Information and Communica-
tion Technologies (ICT), and education was the central axis of this research from a study
focusing on the “Carnaval de Negros y Blancos” (CNB), the Black and White Carnival
held in the city of San Juan de Pasto, Colombia. The aim was to connect cultural, artistic,
and heritage practices to mediate through digital platforms. Therefore, the following
question was raised: how can a technological tool be generated to train leaders and
manage the processes of different artistic performances linked to the CNB? The answer
could be concretized through the hypothesis that by identifying the factors that affect
artists, artisans, and managers’ participation in registering the CNB’s artistic creations in
the contest, it is feasible to develop a technological tool for training and management.
    The approach carried out in this kind of research is based on the administrative di-
mension and is linked with the educational one. It is essential to notice that implement-
ing a systematization process through ICT in the carnival requires informed decisions
regarding the population and a guarantee to preserve the acquired knowledge. Among
the main achievements and contemporary advances of humanity is the focus on sci-
ence and technology, which was evidenced during the COVID-19 pandemic. The situa-
tion showed that a large proportion of human activity could be measured through ICT, a
factor that also involves cultural and heritage practices such as CNB; it is here where
the educational component becomes a link to articulate both the carnival and education.
Consequently, it is essential to create a space for participation where it is possible to
analyze and validate the technological tools utilized by the carnival agents.
    A bibliographic review was carried out, which included studies related to analytical
approaches, the applicability of ancestral techniques, and their link to education. First,
Merolla linked the Internet with Berber communities in North Africa; it was concluded
that historical memory and innovation are not mutually exclusive; the use of the Inter-
net contributes to local identities through the production of content that reinforces their
artistic and cultural practices; however, in some of their web products, discourses on



   * Corresponding author: jarivera1@unicesmag.edu.co
                                                                                                                                                   globalizing were contradictory to ideas of Berber autochthony [1]. Second, in the car-
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   nival in Trinidad and Tobago, they linked engineering with costume design; in this case,
                                                                                                                                                   the use of qualitative research techniques to understand technological applications in
                                                                                                                                                   artistic creations was highlighted [2]. Also, in the I-Treasures program, an integrated
                                                                                                                                                   project within the European Union and the 7th Framework program for research [3],
                                                                                                                                                   the link was made between heritage, learning, and technology, and the strategy used
                                                                                                                                                   was mediated by ICT in order to keep traditional knowledge and its transmission within
                                                                                                                                                   the educational panorama. Examining these studies allowed us to understand that
                                                                                                                                                   heritage and technology are two fields which, when combined, can provide a great
                                                                                                                                                   many opportunities for investigation since their motivation is to contribute to the protec-
                                                                                                                                                   tion of the heritage.
                                                                                                                                                        From the context of the study, it is pertinent to mention essential data related to the
                                                                                                                                                   carnival. The CNB is held annually from January 2nd to January 6th, and it has an exten-
                                                                                                                                                   sive program that highlights the participation of six different artistic performances divid-
                                                                                                                                                   ed into two moments: on January 3rd, there is “El Canto a la Tierra”, which is a parade
                                                                                                                                                   of large dance and music groups and, on January 6th the Supreme Parade takes place.
                                                                                                                                                   It was declared a Cultural Heritage of the Nation in Colombia in 2001, and in 2009, it
                                                                                                                                                   was included in the UNESCO Representative List of Intangible Cultural Heritage of
                                                                                                                                                   Humanity [4]. In addition, the CNB has had a tremendous historical trajectory in its
                                                                                                                                                   organization, where managers, artists, artisans, and masters have formed relation-
                                                                                                                                                   ships and given transcendence to the carnival.
                                                                                                                                                        The CNB includes six artistic modalities as described in Figures 1 and 2.




                                                                                                                                                   Figure 1. Handcrafted allegories (Courtesy, Corpocarnaval. Photograph of floats by Quique Rosero).


                                                                                                                                                       The CNB’s history, trajectory, and transcendence within the territorial dynamics
                                                                                                                                                   establish a vital link among the inhabitants of southwestern Colombia, which spreads
                                                                                                                                                   joy to the visitors during this celebration. Each edition has faced challenges in search
                                                                                                                                                   of an experience that directly ensures social and symbolic construction. The partici-
                                                                                                                                                   pants’ registration, control, and evaluation processes are carried out manually every
                                                                                                                                                   year, making its organization and management a difficult process. Consequently, the


                                                                                                        272
            Figure 2. Expressions of music and dance (Courtesy, Corpocarnaval).


need for software for the registration, control, and evaluation processes of the artistic
manifestations of the CNB internally affects the efficiency of the selection process and
organization of the Carnival. For this reason, a software called MUNAY YACHAY (in
Quechua, it translates as, to know and to enjoy) was created, a digital tool to facilitate
the process for carnival artists and managers.
    This article is the product of the collaborative exercise between the research team,
Corpocarnaval, the Institution responsible for planning, promotion, programming, and




                                                                                               CONSERVATION SCIENCE IN CULTURAL HERITAGE
organization of the Black and White Carnival in Pasto, and the artists who participate
in this phase. The results show the aspects that strengthen or weaken the creation of
artistic performances based on the actions, requirements, and implications for their
participation in the carnival. The study is divided into three sections: a description of
the methodology, which includes the definition of the epistemological support and the
activities that constitute the method; the presentation of the results and the theoretical
discussion, which are obtained by analyzing the statistical data. The conclusions
served to guide the structure of the application from the ethical point of view, based on
the principles of accessibility and transparency of information. The technical aspect will
be considered in accordance with the interdisciplinary team of the study and the users.


   2. Methodology

    The study is based on the paradigm for mixed research, which comprises the artis-
tic performances of the CNB in two dimensions: the pedagogical dimension and the
management of the creation processes for the artists, artisans, managers, and admin-
istrators who constitute the study population. In addition, a non-probabilistic sample
was taken, based on criteria of convenience, which allowed us to identify aspects that
strengthen or weaken the artistic creation in each of the modalities of the CNB and to
understand management implications as a support in developing artistic proposals.


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                                                                                                                                                        In describing the problem presented in the introduction, it is clear that an epistemo-
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   logical approach is required based on a pragmatism that adheres to the purpose of the
                                                                                                                                                   research and as a conception that complements the scientific methodology. This phil-
                                                                                                                                                   osophical conception is derived from the works of Dewey, Pierce, Mead, and Rorty,
                                                                                                                                                   among others [5]. The purpose of this research is to focus on the problem from its
                                                                                                                                                   epistemological paradigm because since it is a pluralistic approach, it guides the meth-
                                                                                                                                                   odology in the practice and consequences of its actions. This approach also focuses
                                                                                                                                                   on applications and their dynamics to find what solutions already exist to solve the
                                                                                                                                                   problems. In this case, the pragmatic aspect becomes a philosophical confirmation for
                                                                                                                                                   mixed studies, where the problem becomes more important than the methods used
                                                                                                                                                   since decisions are oriented towards the use of plural techniques that address the
                                                                                                                                                   problem and find a solution. The qualitative moment corresponds to the conceptual
                                                                                                                                                   phase, the documentary analysis, and direct contact with the CNB participants, com-
                                                                                                                                                   plemented by a quantitative stage with a survey and a third moment for technological
                                                                                                                                                   mediation related to software construction through the agile software development, XP.
                                                                                                                                                        The methodology started with a survey to investigate the participants’ knowledge of
                                                                                                                                                   the CNB in each of the artistic performances. The survey contained 25 questions,
                                                                                                                                                   some of which needed a single answer and others multiple ones. At the same time, a
                                                                                                                                                   list of participants by category of the contest was completed, thanks to the information
                                                                                                                                                   provided by Corpocarnaval, which is in charge of the artists’ registration, accreditation,
                                                                                                                                                   and control process. The questionnaire was also applied to a non-probabilistic sample
                                                                                                                                                   defined by three criteria: being an artisan, leader, or artist belonging to an artistic cat-
                                                                                                                                                   egory; taking part in the teams that support the enrollment and registration of propos-
                                                                                                                                                   als and lastly, being registered in the Corpocarnaval database. Subsequently, the
                                                                                                                                                   questionnaire was subjected to validation by an expert; this process permitted the ad-
                                                                                                                                                   justment of each question with the characteristics of the target population; the survey
                                                                                                                                                   was published on the site http://centrodeestudiosregionales.org/encmy.
                                                                                                                                                        In order to implement the instrument, two lists were analyzed. The first contained a
                                                                                                                                                   historical record of artists with personal data and the time of participation in the carnival
                                                                                                                                                   contest; the second corresponded to the artists’ registration between the 2020–2021
                                                                                                                                                   carnival, which took place during the COVID-19 pandemic. Thus, these data were
                                                                                                                                                   helpful in identifying names, ID numbers, cell phones, emails, and artistic organization.
                                                                                                                                                   One hundred and thirty-seven artists answered the survey about individual costumes
                                                                                                                                                   (30), troupes (30), the murgas, which are like street bands and use different types of
                                                                                                                                                   musical instruments: metal, Andean, and those made with bellows (30), choreographic
                                                                                                                                                   collectives (15), and motorized (12) and non-motorized floats (20). Consequently, two
                                                                                                                                                   aspects were evident. Firstly, there was a decrease in the number of participants due
                                                                                                                                                   to the pandemic, when the CNB was presented online and on TV, with no audience in
                                                                                                                                                   the streets, and secondly, the limited number of participants authorized by Corpocar-
                                                                                                                                                   naval. Initial contact with artists allowed voluntary registration in an online form. In
                                                                                                                                                   addition, meetings scheduled by Corpocarnaval were used to promote the project and
                                                                                                                                                   invite participants to fill in the questionnaire. These actions served to complement and
                                                                                                                                                   update the information coming from the leaders and their support teams; a total of 269
                                                                                                                                                   artists from 78 organizations were registered. After collecting this information, we pro-
                                                                                                                                                   ceeded with the third step, which consisted of sending links via email and instant mes-
                                                                                                                                                   saging; the survey was completed with the subsequent consolidation of results and
                                                                                                                                                   data analysis. The fourth step resulted in 92 completed surveys, corresponding to 34%
                                                                                                                                                   of the whole population interviewed. Steps five and six collected information from three
                                                                                                                                                   dimensions (which are explained below).


                                                                                                    274
    a) Participation in artistic performances
    b) Management
    c) Access to ICT


    3. Results

    The data analysis addressed three areas, cultural participation, cultural manage-
ment, and heritage with ICT. Cultural participation is deemed as the action of belonging
to an event and is framed within the exercise of cultural rights, especially the relation-
ship of citizens with cultural policy, as it is contemplated as a regulation in ICH. From
Ramos’ critical perspective, cultural policy has changed its definition over recent years,
especially with the fundamental interests of citizens related to the promotion of compa-
nies; the above is linked to the presence of cultural industries in events of intangible
heritage [6]. This situation highlights the importance of generating actions to strength-
en citizens’ participation as a cultural right.
    In mentioning cultural rights and how to locate those rights in citizens’ participation,
as pointed out by Ramos, culture is diverse and requires different paths, not only those
marked by the market. The relationships between the participants of heritage practices
are essential in the artistic processes of perception, creation, and diffusion. These pro-
cesses require the exercise of citizen presence in order to be more democratic and eq-
uitable in public. In this particular case of the CNB, it is related to administrative decisions
that affect the time for artistic creations, economic resources, and guarantees to meet
the requirements of the contest. For this reason, the actions of the government and cul-
tural institutions organized for such purposes require information and feedback regard-
ing citizens’ access to the resources available for their participation in the carnival.




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
    3.1. Participation in the contest

     Participation is regulated by the Participation and Contest Regulations during the
carnival period. This document establishes rules for artists interested in the contest [7].
It is important to note that the regulation is valid for two years, which corresponds to
the dynamics and mobility of the cultural manifestation in terms of its participation,
which is why the document emphasizes the name Concurso del Carnaval. Among the
data obtained on participation, it was possible to identify that 83% of the registrations
corresponded to organizations and individuals, compared to 17% who were legal enti-
ties. This shows that most of the creative initiatives associated with the carnival modal-
ities register broad participation by persona natural. In Colombia, it is a concept used
for contracting through use of a proper name and identification with legal responsibility.
     Up to 2021, most of the artists in the survey (63%) had participated in 8 or more
editions of the CNB, thus evidencing long-term experience. The category with the high-
est participation in the study was the choreographic collectives, followed by bands of
street musicians and troupes; as for individual costumes, participation is representa-
tive, although lower than the previous two categories; the motorized floats and non-mo-
torized floats have the lowest proportion. In terms of trajectory, these artists have par-
ticipated in different modalities of the artistic performances celebrated at the end of
each year. They include the December 31st parade, known as Años Viejos; the chil-
dren’s parade of artists, called Carnavalito and the parade of representative traditions


                                                                                                   275
                                                                                                                                                   in the Familia Castañeda parade. It is worth noting that the contest rules contemplate
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   that an artist cannot participate in two modalities simultaneously.
                                                                                                                                                       Thus, it was necessary to inquire about the time needed to prepare a proposal for
                                                                                                                                                   the artistic creation; in the survey, it was found that the time invested throughout the
                                                                                                                                                   year by the majority of participants (60%) was more than six months.




                                                                                                                                                              Figure 3. Participants’ agreement according to the stages of the contest.


                                                                                                                                                       Figure 3 shows the participants’ opinions of CNB requirements and conditions and
                                                                                                                                                   whether they agreed or disagreed with them when participating. They are divided ac-
                                                                                                                                                   cording to three regulatory stages; for registration, the great majority agreed (63%) and
                                                                                                                                                   only 33% disagreed; for accreditation, the numbers leveled off with the same percentage
                                                                                                                                                   (44%) and finally, for participation, the majority of participants disagreed with 47%, com-
                                                                                                                                                   pared to 39% who agreed. In conclusion, the participants gave a favorable opinion about
                                                                                                                                                   the document verification process, which takes place at the registration stage. However,
                                                                                                                                                   the level of agreement with the requirements for participation needs to be higher.


                                                                                                                                                      3.2. Management related to the carnival contest

                                                                                                                                                       The concept of management varies according to the context where it is applied; in
                                                                                                                                                   this case, it is within the Intangible Cultural Heritage framework (ICH). The main body
                                                                                                                                                   for cultural policy in Colombia is the Ministry of Culture, which states that management
                                                                                                                                                   has to do with a “set of procedures that are carried out with public institutions, private
                                                                                                                                                   entities or community organizations, among other possible instances, to promote the
                                                                                                                                                   safeguarding of any public event registered in a Representative List of Immaterial Cul-
                                                                                                                                                   tural Heritage (LRPCI in Spanish), through PES implementation” [8]. Management
                                                                                                                                                   around ICH also has specific legal support. The Special Safeguarding Plans (PES) are
                                                                                                                                                   considered “a management instrument, through which actions and guidelines are es-
                                                                                                                                                   tablished, aimed at guaranteeing the safeguarding of the ICH. For cultural events
                                                                                                                                                   which are considered immaterial, it is essential to have protection against threats and
                                                                                                                                                   risks that can distort their main characteristics as a popular carnival and mutate it into
                                                                                                                                                   a fair or show” [9]. In this sense, the PES constitutes a fundamental document for


                                                                                                     276
management because it locates the historical context and characteristics of the carni-
val and presents the chronological evolution of public policy related to carnivals. The
document also describes the carnival in detail, including its central characteristics,
primary days, celebrations, and modalities.
    In this way, the PES acts as a management tool to safeguard carnivals and their
components, in which guidelines and actions are specified should the CNB present
any threats or risks. Consequently, the management of the PES can be comprised of
several areas. First, there is the management carried out by the responsible entities, in
this case, Corpocarnaval; the second has to do with the collectivity that supports the
carnival, such as the artists, artisans, and other people who participate in the Carnival
Contest. Therefore, the second item in the survey asked participants if they met the
requirements needed to take part in the carnival.




             Figure 4. ICT-supported actions to meet participation requirements.




                                                                                              CONSERVATION SCIENCE IN CULTURAL HERITAGE
    Figure 4 shows that CNB artists used ICT tools to consolidate different aspects of
their application. Consequently, it was found that most respondents used ICT for relat-
ed activities, such as those in the response options shown in the graph.




           Figure 5. Actions carried out by participants to meet entry requirements.


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                                                                                                                                                       Figure 5 complements the data that was consulted regarding management; it is
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   necessary to note that this chart shows the manual work carried out by the artists to
                                                                                                                                                   participate in the carnival. Among the categories shown, there are items such as mod-
                                                                                                                                                   el design, photocopying, and scanning documents; two tasks (shown in green) are not
                                                                                                                                                   mediated by ICT.




                                                                                                                                                   Figure 6. Relationship between the percentages required in time to prepare the documents and
                                                                                                                                                   the necessary human resources.


                                                                                                                                                       A relevant aspect is the time for preparing the documents (indicated by the blue
                                                                                                                                                   bars) required to register with Corpocarnaval, compared to the human resources
                                                                                                                                                   needed to accomplish the task, evident in the red line of Figure 6. As can be seen, the
                                                                                                                                                   majority of artists (48%) say they require two weeks or more; when the process is car-
                                                                                                                                                   ried out individually, the data show that a more significant amount of time is needed.




                                                                                                                                                                       Figure 7. Materials and supplies used for prototypes.


                                                                                                     278
    Another aspect consulted in the survey was the source of financing used to cover
the expenses to meet the requirements for registration and accreditation, a significant
71% comes from personal resources. Otherwise, for resources coming from organiza-
tions, sponsorships, or donations, respondents mention that they must resort to other
sources, such as loans or credit.
    In relation to the materials and elements that artisans use most in designing their
prototype or model, seven specific materials were identified, and additional ones were
also indicated (Figure 7). As a result, it is recognized that the most used materials are
fabrics; secondly, glue or paste, and thirdly water-based paints. The less essential mate-
rials include iron, aluminum, or steel, and styrofoam. Other materials that were used
included foam, polymer clay, porcelain, wood, and soft materials such as plasticine,
craft foam, lace, resins, and fibers.


   3.3. Information and communication technologies (ICT)

     ICT tools are part of a scientific-technical revolution; they are essential due to the
socio-historical effects of their use [10]; their presence in different environments and
contexts is unquestionable [11], including cultural manifestations, in which ICT is also
seen as a culture [12]. Therefore, for those artists who take part in the CNB, the inter-
action, and incorporation of ICTs is very relevant, as it is a technological system with a
wide field of action involving the acquisition, storage, processing, evaluation, transmis-
sion, distribution, and dissemination of information [13]. In this case, ICTs are used for
safeguarding the CNB. The primary purpose of this research was to develop a soft-
ware tool to support the registration, control, and evaluation processes for the artists
who participate in the contest carnival; the results show that it is possible to strengthen
its organization and management through digital tools. Therefore, it is a priority to know
how familiar the artists are with the use of ICTs when participating in the CNB. Thus,
information, such as the artists’ perception of ICTs, was collected, as well as the pos-




                                                                                                CONSERVATION SCIENCE IN CULTURAL HERITAGE
sibility to access and use digital platforms. Finally, they were asked about access to
electronic devices and the use of social networks.




                    Figure 8. Type of support to access digital platforms.


                                                                                              279
                                                                                                                                                       After the survey, it was found that 93% of respondents confirmed that they were
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   knowledgeable about the handling of these technological devices, while 7% said
                                                                                                                                                   they do not possess any device, indicating that most of the population is, however,
                                                                                                                                                   familiar with managing the technology and can access information through digital
                                                                                                                                                   tools. We also enquired about how each artist learned to handle technological devic-
                                                                                                                                                   es; their answers showed that 57% had learned autonomously, 23% relied on people
                                                                                                                                                   close to them to access this type of media and digital information, and 20% achieved
                                                                                                                                                   access through training. Access through third parties, as expressed by some artists,
                                                                                                                                                   indicates a relationship with prevention, prejudices, or doubts about the handling and
                                                                                                                                                   usefulness of technological devices, which ratifies the need for assistance to soften
                                                                                                                                                   the effect of these factors.
                                                                                                                                                       Although the percentage of artists who have yet to gain knowledge of managing
                                                                                                                                                   electronic devices is minimal (7%), Figure 8 shows that it is essential to provide assis-
                                                                                                                                                   tance in managing digital platforms by trying to include the artists’ relatives and their
                                                                                                                                                   work teams.




                                                                                                                                                                            Figure 9. Availability of electronic devices.


                                                                                                                                                       On the other hand, the survey asked about which mobile devices the artists in the
                                                                                                                                                   carnival use the most; the result is shown in Figure 9, evidencing a high use of smart-
                                                                                                                                                   phones (51%) and computers (40%).
                                                                                                                                                       As regards the frequency of use of electronic devices, Figure 10 shows that 82% of
                                                                                                                                                   artists use smartphones very frequently. In contrast to the frequency of use of digital
                                                                                                                                                   tablets, it was determined that this tool is only sometimes used by carnival artists. In
                                                                                                                                                   the section concerning internet access, it was seen that 90% have an internet connec-
                                                                                                                                                   tion at home, and 55% have mobile data service on their cellphone. The previous in-
                                                                                                                                                   formation indicates that slightly more than half of the population can access informa-
                                                                                                                                                   tion at any time and place, but almost half of the artists could not do so, having to resort
                                                                                                                                                   to places that offer this type of internet service. In the same context, they were asked
                                                                                                                                                   about the most frequent uses they made of their devices; findings revealed that 49%
                                                                                                                                                   use digital tools for work, 27% for studies, and 24% as a hobby. It is important to note
                                                                                                                                                   that this question was a multiple choice one.


                                                                                             280
              Figure 10. Frequency of use of a computer, cell phone, and tablet.

    Figure 11A shows the computer tools they use, resulting in 27% using email, 25%
using word processors, such as Word, 19% using web pages, 15% using PowerPoint
presentations, and 14% using Excel. Several options, moreover, could be marked simul-
taneously; although the question was related to the use of media and social networks, the
use of word processors, presentations, and spreadsheets was also evident. Figure 11B
reflects the type of social networks used; it can be seen that 29% use WhatsApp and 29%




                                                                                                  CONSERVATION SCIENCE IN CULTURAL HERITAGE
are on Facebook, being the two most widely used platforms by CNB artists; likewise, 22%
access YouTube and to a lesser extent 13% Instagram, 4% Telegram and 3% use Twitter.
This shows that WhatsApp and Facebook are the most used social networks.




     Figure 11. A) Computer tools (left) and B) social networks (right) used by participants.


                                                                                                281
                                                                                                                                                        Finally, it was asked if the artists considered it worthwhile to implement software
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   that registers their participation in the carnival; 98% of the respondents answered yes,
                                                                                                                                                   and only 2% did the opposite. Among the reasons that justify their answers is greater
                                                                                                                                                   agility when processing data, ease of access, a more ecological means, and greater
                                                                                                                                                   clarity in the information. Besides, they serve as tools to support the work, the models
                                                                                                                                                   in designs, as well as comfort and, to promote activities and entrepreneurship inside
                                                                                                                                                   and outside the carnival. Finally, it contributes to improving the organization of docu-
                                                                                                                                                   ments and favors the economy. Among the negative aspects, there are those partici-
                                                                                                                                                   pants who, needing equipment and access to the Internet or digital media, have to pay
                                                                                                                                                   for these services, which increases their expenses, and would therefore, prefer to do it
                                                                                                                                                   manually. Another question regarded the participants’ device of preference to access
                                                                                                                                                   the software; 49% preferred to do it through a cell phone, 45% from a computer, and
                                                                                                                                                   6% from a tablet. This ratifies the type of equipment to which they have access and the
                                                                                                                                                   use of given technological tools, finding that artists prefer to access information through
                                                                                                                                                   smartphones and rely closely on computer equipment.


                                                                                                                                                      4. Discussion

                                                                                                                                                        This section explains the theoretical connections with the empirical elements found
                                                                                                                                                   in the previous section. Participation is the ultimate goal of all processes because it
                                                                                                                                                   implies and requires a series of procedures that finally determine the conditions in
                                                                                                                                                   which the artists get approval to be an active part of the CNB, and it is duly registered
                                                                                                                                                   in the Participation Regulations. However, the carnival as a cultural manifestation goes
                                                                                                                                                   against everyday norms due to the exaggeration generated by the artistic designs and
                                                                                                                                                   expressions representing it [14]; paradoxically, the carnival has its own regulations.
                                                                                                                                                   The contest has rules which determine the processes of registration, accreditation,
                                                                                                                                                   and descriptive aspects of the different artistic representations of the CNB, as well as
                                                                                                                                                   the evaluation, scoring, and award criteria used in the carnival. Cooperation between
                                                                                                                                                   Corpocarnaval and the artists made this article possible and was ratified by the board
                                                                                                                                                   of directors. In order to comply with the regulations, participants follow a contracting
                                                                                                                                                   process, which acts as a tool to establish legal conditions between officialdom and the
                                                                                                                                                   participating artists, who must meet specific requirements expressed in the description
                                                                                                                                                   of the work (quality criteria and time, among others). In addition, the contract is sup-
                                                                                                                                                   ported by a compliance policy that guarantees this commitment. However, it should
                                                                                                                                                   also be considered that participation goes beyond formality and is a commitment to
                                                                                                                                                   self- or professional liberation as a principle of motivation, desire, taste, and challenge,
                                                                                                                                                   the primary motivators for both the experienced and the novice artist and other protag-
                                                                                                                                                   onists of the carnival.
                                                                                                                                                        According to Avendaño and Eraso [15], as expressed by Bataille and Bajtin, the CNB
                                                                                                                                                   is something that ruptures the order of society and generates chaos; however, this type
                                                                                                                                                   of “transgression” introduces a new form of order which imposes its own rules, forms of
                                                                                                                                                   organization, and times. Therefore, in controlled spaces such as school, the festive com-
                                                                                                                                                   ponent is recognized as a vital act because it generates a break in the daily routine,
                                                                                                                                                   giving way to a certain freedom based on the celebration. In addition, the carnival places
                                                                                                                                                   people generally controlled by the rules of the working world and offers them a space of
                                                                                                                                                   freedom to interact with strangers and with the city. Carnival is playful and, like any
                                                                                                                                                   game, has its own rules that provide another form of social regulation. The concept of the
                                                                                                                                                   paradoxical presence of “norm” is reiterated by Bakhtin, M. M., Forcat, J., & Conroy, C.


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[16], who consider that “The (medieval) carnival is characterized mainly by the real logic
of things such as ‘upside down’ and ‘contradictory’, or the constant permutations of the
high and the low (the “wheel”) or, the front and backside, and several forms of parody,
inversion, degradation, desecration, coronations, and buffoonish representations.” Thus,
it is a clear manifesto for the carnival to grant a license for an “orderly disorder”, an up-
side-down world that generates freedom for the body’s thoughts and actions.
     On the other hand, the policies of the Colombian State have been aligned towards
the formalization of the creative and cultural sector since 2019; the government pro-
posed strengthening and formalizing the cultural production sector through the Orange
Economy policy, led by the Ministry of Culture in Colombia. This action aimed to ex-
pand opportunities through the validation of the cultural sector and artistic production.
     In this sense, the following question arises: Why is the highest percentage of CNB
participants registered as individuals, in contrast to the trend of formalization of the
cultural sector in organizations? In this case, the number of artisans registered as per-
sona natural who develop artistic activities in the informal sector is significant. Howev-
er, this limits the possibility of dignified conditions for the realization of work as creators
of the carnival and access to public and private invitations to finance their artistic work.
In addition, for some artists’ initiatives, the carnival is a temporary event involving ac-
tive participation for only two or three months of the year, while for the rest of the year,
they have no funding or other resources to sustain their artistic creation to consider it
as a constant economic alternative.
     Consequently, the fact that most participation is informal, or individual, is related to
the fact that some artists consider the carnival to be popular and spontaneous. In rela-
tion to the trajectory of the artists in the CNB, although there are conditions that affect
sustainability in accessing economic resources, additionally, the contribution made by
the carnival administration only covers some months during the year. This demon-
strates the existence of another source of resources, which does not refer to monetary
funding; this is observed in the fact that the participation of carnival artists has been




                                                                                                     CONSERVATION SCIENCE IN CULTURAL HERITAGE
linked to several editions, despite the difficulty of maintaining a constant financial
source. However, there is evidence of increased interest in generating formal organi-
zations visible in the most recent version of the carnival, as in the case of the choreo-
graphic collectives, which became formalized as legal organizations, a condition which
allows them to explore and mobilize resources in other areas of cultural management.
     The next topic addressed in the research was the management of ICH. Undoubtedly,
management is the primary action required for the maintenance, safeguarding, and sus-
tainability of events deemed as the intangible cultural heritage of humanity, specifically
regarding the CNB. Therefore, there are two perspectives: the first supports the anthro-
pological vision of the carnival as a manifestation and practice of the socio-cultural sig-
nificance it has for a community; the second corresponds to the discourse of the admin-
istration of culture, which emphasizes the value of heritage as a cultural industry. These
positions could be considered contradictory due to the tensions generated by the institu-
tionalization of cultural practices; this aspect is raised by Tobar in the relationship existing
between marketing and cultural expressions, as in the case of the CNB [17].
     The Carnival is considered an event and a traditional practice in San Juan de Pasto
and allows us to recognize the principle of pluriversality, identified by Tobar, as a variety
of practices with a multiplicity of presences. Thus, it is necessary to recognize the pur-
pose on which this study is based. In this sense, Cejudo [18] identifies several dimen-
sions in the value of ICH, but once they are classified or named as heritage, they enter
the field of the cultural industry. Therefore, Cejudo points out that the approach and the


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                                                                                                                                                   demands on the types of management must have ethical support. He does not deny
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   the presence of control actions resulting from institutionalization processes, but they
                                                                                                                                                   must come from the internal dynamics of specific cultural practices and not from glob-
                                                                                                                                                   al requirements. Consequently, the web application does not intend to standardize the
                                                                                                                                                   requirements for the registration of artists, since each artistic carnival modality has
                                                                                                                                                   specific requirements to participate in the contest. That is why, in order to acknowl-
                                                                                                                                                   edge the CNB’s management process as a particularity of the carnival, it was neces-
                                                                                                                                                   sary to examine the requirements the artists had to comply with to be able to partici-
                                                                                                                                                   pate in the contest and how they were addressed; these included the time spent to
                                                                                                                                                   complete the registration of their proposals, the presence of funding sources and the
                                                                                                                                                   use of materials that were used to develop their artistic proposals and prototypes.
                                                                                                                                                   The data we obtained allowed us to confirm that each modality has its specifications in
                                                                                                                                                   terms of the time required to present the proposals, the efforts to fill out the Corpocar-
                                                                                                                                                   naval forms, and the preparation and design of the models and prototypes according
                                                                                                                                                   to their particular characteristics.
                                                                                                                                                       Thus, among the actions which require effort and time from artists and artisans, is
                                                                                                                                                   the transcription of proposals to Corpocarnaval formats. In this step, it was observed in
                                                                                                                                                   the statistics from the survey data that the most significant use of ICT was in this ac-
                                                                                                                                                   tion, indicating the importance of digital programs in this phase. The design of logos
                                                                                                                                                   and slideshows is considered to a lesser extent. The objective of the research was to
                                                                                                                                                   identify which aspects of the management of the CNB may pose a threat or risk to this
                                                                                                                                                   festival, an aspect that is in line with the interests of the Carnival PES and, consequently,
                                                                                                                                                   this identification of factors in the participation of carnavaleros is an essential input for
                                                                                                                                                   the construction of the Munay Yachay web application under development. It is a chal-
                                                                                                                                                   lenge to propose an application to manage all the data, which, on the one hand, facili-
                                                                                                                                                   tates the process and, on the other, decreases outsourcing activities related to project
                                                                                                                                                   design at the time of responding to a solicitation. It is, therefore, necessary to ensure
                                                                                                                                                   this type of technology is developed as a strategy to simplify procedures, reduce bu-
                                                                                                                                                   reaucracy and prevent the carnival from becoming a business. In relation to this last
                                                                                                                                                   aspect, there have been some situations of subcontracting by artists and artisans for
                                                                                                                                                   the design of projects at the time of the contest. Appropriate technology would ensure
                                                                                                                                                   the implementation of strategies to simplify paperwork, avoid bureaucracy and mini-
                                                                                                                                                   mize the promotion of financial services underlying the implementation of information
                                                                                                                                                   systems, such as the outsourcing process related to the design of projects in respond-
                                                                                                                                                   ing to a call for proposals.
                                                                                                                                                       This means that all those actions performed through ICTs are recognized as part
                                                                                                                                                   of the evolution of ICH, an aspect that evidences contradictions between keeping
                                                                                                                                                   traditions alive and innovation through the insertion of technologies. Therefore, it is
                                                                                                                                                   crucial to review alternatives to present creative proposals based on formats other
                                                                                                                                                   than project writing; through transmedia, it is possible to contemplate alternative ways
                                                                                                                                                   to present ideas of artistic creation. Oral and visual stories are closer to artists and
                                                                                                                                                   artisans. Also, it is necessary to promote strategies, so that the registration process
                                                                                                                                                   does not involve extra expenses or the need to resort to alternatives, such as the
                                                                                                                                                   aforementioned subcontracting of services by artists and artisans to meet contest
                                                                                                                                                   requirements. In the relationship carnival artisans and artists have with ICTs, it was
                                                                                                                                                   demonstrated that they possess skills in handling mobile devices, such as smartphones,
                                                                                                                                                   and terminal equipment, such as computers, for personal use. These aspects high-
                                                                                                                                                   lighted interaction with the Internet, making the implementation of software that can
                                                                                                                                                   be accessed through technological tools a feasible solution to facilitating the various


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phases in the organization of the carnival. This is possible through the recognition of
the capacity of individuals for self-learning or guided learning on technological tools,
which justifies the viability of developing the application to support the processes of
participation and knowledge in the CNB. The participants’ disposition and skills are
proportionally related to the level of connectivity of the study sample, because it is
the starting point to develop a software tool, which generates positive effects regard-
ing the registration and participation processes in the contest, and is also agile and
transparent in its evaluation, providing an essential value in the intrinsic logistical-ad-
ministrative activities of the CNB. In addition, the 2021 virtual version of the CNB
demonstrated, to a certain extent, the contributions and benefits of ICTs. During this
period, when live events were limited, some artists displayed or performed their work
through videos and other digital media, enabling viewers to enjoy the carnival through
the use of ICTs.


      5. Conclusion

     The CNB is a multiversal manifestation in which considerable knowledge converg-
es, but it also diverges according to the interests of different professions and fields of
science. Therefore, this study acknowledges that information management can act as
a support to safeguard ICH. This perspective does not dilute the contradictions and
tensions that sustain this event since they are considered to be part of the same festi-
val. Any interaction with the participants of the carnival must take into account these
particularities in relation to the times, dimensions in space, designs of the artistic pro-
posals, and the efforts that entail presenting ideas through models and prototypes.
     This research mentions some aspects, such as modernization, information man-
agement, and data administration, which are considered fundamental instruments to
propose a web application. Therefore, the Munay Yachay tool aims to manage infor-




                                                                                                CONSERVATION SCIENCE IN CULTURAL HERITAGE
mation about intangible cultural heritage, starting from the consultation of participants
and guaranteeing ethical conditions in its development, in the management of informa-
tion and the systematization of historical data related to the carnival; it will be easily
accessible and made available on technological platforms at the service of manage-
ment based on inclusive and transparent democratic principles.
     Almost all CNB artists recognize the usefulness of ICT because they have the
knowledge and the disposition to learn; these are all elements that allow participants
to recognize and handle these technologies easily. Finally, it was demonstrated that
software to support registration and participation processes in the CNB is necessary.
In addition, accessing carnival statistics for academic studies and for creating public
policies is an essential contribution to enhancing the future of ICH. In summary, it is
possible to recognize that the information systems will allow for consolidation and fa-
cilitate the management of data related to each edition of the ICT-mediated Carnaval
de Negros y Blancos.


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   Biographical notes

     Carolina Avendaño Peña holds a Master’s in education from the Pontificia Univer-
sidad Javeriana de Bogotá. She studied Performing Arts at the Universidad Pedagógica
Nacional and was a Social Assistant at the Universidad Colegio Mayor de Cundinamar-
ca. She is currently a research professor at the Universidad Distrital Francisco José de
Caldas in the program of Artistic Education. Her work revolves around research in edu-
cation and its link with the fields of culture and art. Her academic work also includes
journal articles, book chapters, and a book. Her bibliographic materials cover questions
from researchers related to the link between carnival and artistic education, the consti-
tution of subjectivities between master-artist, and the configuration of knowledge in the
field of arts education. In addition to her academic production, she has explored the
world of animation and dramaturgical creation in the field of performing arts.

    Luis Antonio Eraso Caicedo holds a Master’s in teaching from La Salle Universi-
ty and a BA in Physical Education from the Universidad Pedagógica Nacional; he is a
specialist in learning difficulties, an expert in Colombian dance, and an artist in the
CNB. He is a full-time professor at CESMAG University and President of the Interna-
tional Network of Researchers of Arts and Cultures; a Member of the International
Council of Organizations of Folklore Festivals; winner of the Prize-Scholarship for Re-
search in Dance, National Incentives Program, Ministry of Culture 2018; he has been
a member of the National Dance Council (2006-2008); President of the Departmental
Council of Culture in Nariño (2008-2010-2012). He is the Author of the book Munay
Yachay: Research and Didactics of Dances in the Black and White Carnival Munay
Yachay and of articles in indexed journals. He has been a speaker at international
meetings on social sciences, education, and arts, in Colombia, Ecuador, and Brazil.

    Jorge Rivera Rosero graduated as a systems engineer. He is a specialist in soft-




                                                                                               CONSERVATION SCIENCE IN CULTURAL HERITAGE
ware construction and a master’s candidate in Systems Engineering and Computing at
the University of Nariño, Colombia. He is a full-time professor at CESMAG University.
He has been involved in the public and private sectors in the financial, educational, and
cultural fields as a software developer and teacher. He is a programmer in the project
“El llamado de Inti”; he was a winner in the Crea Digital contest in 2016; he obtained
the Policarpa prize on good institutional practices at the University of Nariño in 2019.
He has been a speaker at regional, national, and international events. His main area
of work and research is software engineering and others, such as programming lan-
guages, process management, and work with LMS.


   Summary

    The Black and White Carnival in Pasto (Carnaval de Negros y Blancos) is a cultur-
al event that is deemed Intangible Cultural Heritage by UNESCO (2009). It takes place
the first week of January every year in southern Colombia. In this event, artists and
artisans display their creativity and compete in six different modalities: individual cos-
tume, troupe, band of street musicians, choreographic collective, non-motorized float,
and emblematic motorized float. In each edition of the carnival, there is an accredita-
tion process that grants official permission to compete and be part of this event from
an artistic viewpoint. There are three stages: registration, accreditation, and participa-


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                                                                                                                                                   tion, which are addressed to relate the factors that affect each phase and determine
C. Avendaño Peña, L. A. Eraso Caicedo, J. A. Rivera Rosero - Factors that affect participation in the “Carnaval de Negros y Blancos” in Colombia



                                                                                                                                                   the options to participate in the CNB. For this reason, the data obtained for this re-
                                                                                                                                                   search are related to variables of registration, management, and the influence of Infor-
                                                                                                                                                   mation and Communication Technologies (ICT), which show the modernization of ad-
                                                                                                                                                   ministrative processes through the implementation of information systems and digital
                                                                                                                                                   tools. The results presented arise from the systematization of statistical data on deter-
                                                                                                                                                   mining factors that affect the decisions and actions that artists must undertake, such as
                                                                                                                                                   adhering to the guidelines and complying with the regulations established by Corpo-
                                                                                                                                                   carnaval. In this phase, valuable information was obtained relating to registering the
                                                                                                                                                   categories and providing the required documentation; the human and economic re-
                                                                                                                                                   sources that were needed; the materials used for the models or prototypes; and the
                                                                                                                                                   sources of financing, as well as the tools, frequency of use and ICT management skills.


                                                                                                                                                       Riassunto

                                                                                                                                                        Il Carnevale di Neri e Bianchi di Pasto (Carnaval de Negros y Blancos) è un even-
                                                                                                                                                   to culturale dichiarato Patrimonio Culturale Immateriale dall’UNESCO (2009). Si svol-
                                                                                                                                                   ge la prima settimana di gennaio di ogni anno nel sud della Colombia. In questo even-
                                                                                                                                                   to, artisti e artigiani mostrano la loro creatività e competono in sei diverse modalità:
                                                                                                                                                   costume individuale, troupe, banda di musicisti di strada, collettivo coreografico, carro
                                                                                                                                                   non motorizzato e l’emblematico carro motorizzato. In ogni edizione del carnevale, c’è
                                                                                                                                                   un processo di accreditamento che concede il permesso ufficiale di competere e far
                                                                                                                                                   parte di questo evento dal punto di vista artistico.
                                                                                                                                                        Ci sono tre fasi: registrazione, accreditamento e partecipazione, che hanno lo sco-
                                                                                                                                                   po di mettere in relazione i fattori che influenzano ciascuna fase e determinare le op-
                                                                                                                                                   zioni per partecipare al CNB. Per questo motivo, i dati ottenuti per questa ricerca sono
                                                                                                                                                   relativi a variabili di registrazione, gestione e influenza delle tecnologie dell’informazio-
                                                                                                                                                   ne e della comunicazione (TIC), che mostrano la modernizzazione dei processi ammi-
                                                                                                                                                   nistrativi attraverso l’implementazione di sistemi informativi e strumenti digitali. I risul-
                                                                                                                                                   tati presentati nascono dalla sistematizzazione di dati statistici sui fattori determinanti
                                                                                                                                                   che influenzano le decisioni e le azioni che gli artisti devono intraprendere, come l’a-
                                                                                                                                                   desione alle linee guida e il rispetto delle regole stabilite dal Corpocarnaval. In questa
                                                                                                                                                   fase sono state ottenute preziose informazioni relative all’iscrizione delle categorie e
                                                                                                                                                   alla fornitura della documentazione richiesta; le risorse umane ed economiche neces-
                                                                                                                                                   sarie; i materiali utilizzati per i modelli o prototipi; e le fonti di finanziamento, nonché gli
                                                                                                                                                   strumenti, la frequenza di utilizzo e le capacità di gestione delle ICT.




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