Zona escolar, imaginación comunicativa de la escuela en la radio. Programa: "Carnaval y la fiesta como espacios de encuentro, celebración y crítica social"

Abstract

Through a mix of music segments, interviews, and student participation, the program analyzes how cultural expressions break down hierarchies and build identity. The show begins with songs by Nelda Piña y La Boa and Juan Piña, musicians who symbolize Colombia's carnival and festive spirit. The segment "Piedra de Página" features journalist John Jairo Rodríguez interviewing the Danish band Vampire Blow. The band, who visited Colombia, expresses their amazement at the country's musical culture. They highlight the role of independent festivals, like the one organized by the group 1280 Almas, in creating cultural bridges. The program reflects on how carnivals, such as the Carnaval de Blancos y Negros in Pasto, are spaces where people can critique those in power playfully and without fear of reprisal. It's emphasized that culture and politics are intrinsically linked, and popular festivals are fundamental for building a collective identity and expressing social criticism. The discussion then turns to the nature of parties in Bogotá, contrasting them with the idea of a traditional carnival. While Bogotá doesn't have a massive carnival, its festive spirit is more sectoral and familial, manifesting in neighborhood gatherings where people share with their neighbors. However, a loss of this tradition is observed among higher social classes, where celebrations are more private and exclusive. The concept of Mikhail Bakhtin is mentioned, according to which the carnival is a space where the sacred and the profane coexist. In carnival, roles and hierarchies are broken, allowing people to express themselves freely. Alcohol and masks (sometimes symbolic) create an "other" that facilitates interaction and criticism. The program interviews leaders of the collective "El Callejón del Hip Hop" from the Suba area of Bogotá. This collective aims to create a space for expression and empowerment for young people in their community. The Hip-Hop Festival: The collective organizes an annual festival that serves as a platform for local artists. It also integrates popular education to foster political and social awareness. The importance of creating spaces for training and culture that focus not only on art but also on the real needs of the neighborhood is highlighted. The festival has managed to attract national and international artists, demonstrating its impact and ability to create networks. The program concludes that even though the official concept of carnival has been modified in Bogotá, neighborhood parties and community festivals like the one organized by El Callejón del Hip Hop keep the essence of carnival alive. These events are seen as acts of resistance and tools for building identity and social criticism from the grassroots.