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Parte I Lasdimensioneseconó Dra. Tania García Lorenzo Licenciada en Economía. Universidad de la Habana. 1978 Dra. en Ciencias Económicas. Universidad Habana 2005. Investigadora del Instituto Cubano de Investigación Cultural Juan Marinello: Línea de investigación de la Economía de la Cultura. Es colaboradora de la Oficina Regional para América Latina y el Caribe; de la Federación Democrática Internacional de Mujeres (FDIM). Como consultora, autora y ha impartido seminarios y conferencias en numerosos países. Oficina Regional de Cultura para América Latina y el Caribe, La Habana Regional Office for Culture in Latin America and the Caribbean, Havana Organizació n de las Naciones Unidas para la Educación, la Ciencia y la Cultura United Nations Educational, Scientific and Cultural Organization LAS DIMENSIONES ECONÓMICAS DE LAS FIESTAS POPULARES Y EL CARNAVAL. UNA PRESENCIA INVISIBLE I.- INTRODUCCION: fórmulas en defensa de las esencias y las simbolizaciones de este Pocas manifestaciones de la cultura evidencian tan múltiples carnaval que, sin dudas, es la manifestación más importante de la facetas como las fiestas tradicionales en general y carnavalescas en cultura popular dominicana, patrimonio de la nación y un ícono de particular, en tanto involucran a una gama impresionante de actores la identidad vegana y del país”. Ello confirma que, en las sociales de disímiles sectores de actividades y con diferentes dimensiones económicas de las fiestas populares, se manifiestan motivaciones. El Carnaval derrocha sentimiento popular y expresa las tensiones que caracterizan la relación entre la economía y la de forma peculiar las peripecias de la vida cotidiana, al propio cultura. tiempo que la contagiosa alegría muestra la identidad, raíces y autenticidad de la fiesta que la comunidad se otorga a sí misma. Inspirados en la necesidad de mostrar la gran riqueza cultural del Entender que la fiesta es del pueblo y para el pueblo, condiciona la continente latinoamericano y caribeño desde todas las disciplinas, interpretación que desde distintos ángulos se han producido se produjo el acercamiento que hoy se aborda a una arista de alrededor de las fiestas populares de la región. análisis que nos ha aportado visiones y enfoques acerca de las fiestas populares desde una perspectiva novedosa y poco La humanidad ha ido alcanzando conciencia creciente de la explorada. Todas las fiestas populares y las carnavalescas entre necesidad de producir acciones concertadas a fin de asegurar la ellas, necesitan un sostén económico que materialice su promoción, defensa, y el fortalecimiento de la diversidad cultural. aseguramiento. Este se produce gracias a una amplia red de Muestra de esa voluntad fue el largo proceso que culminó con la acciones donde se mezclan lo público y lo privado, lo empresarial y firma de la Convención sobre la Protección y Promoción de la lo comunal con un objetivo conjunto: la celebración de una fiesta Diversidad de las Expresiones Culturales, durante la 33 sesión de la popular de magnitudes tales, que perdurará en el imaginario Conferencia General de la Organización de las Naciones Unidas popular durante todo el tiempo que media desde su fin hasta un para la Educación, la Ciencia y la Cultura (UNESCO) efectuada en nuevo comienzo. Al propio tiempo, es también un espacio de octubre del 2005 que provee de un instrumento jurídico que facilita atracción turística por lo que, es una forma de impulso y demanda a y apoya los intercambios culturales sobre la base de la igualdad de toda la industria cultural. Un suceso donde se encuentran la cultura oportunidades para todos los países, así como del respeto y el y la economía de forma peculiar por su carácter amplio y extensivo, diálogo entre las distintas culturas. La Convención resulta un útil por el empleo que genera y el comercio que impulsa. instrumento para evitar que políticas comprometidas en el seno de múltiples ámbitos, de distinto corte, no se traduzca, en una Diez fueron los estudios realizados, sobre sendas fiestas populares, invalidación de las culturas, ni en el desmantelamiento de las cuyos primarios resultados han puesto en evidencia la necesidad de políticas públicas de apoyo a la creación. continuar ampliando los multiformes vínculos entre la economía, la cultura y las dinámicas que impone. ¿Cómo se financia una fiesta El desarrollo del carnaval ha tenido impactos en la economía local y popular que involucra tanto a participantes como asistentes de toda a su vez la economía ha modificado en algunos lugares la dinámica, la comunidad y de otros lugares nacionales y extranjeros? ¿Cómo símbolos, contenidos y personajes del carnaval, dando paso a se entretejen los múltiples vínculos que se establecen entre fuerzas nuevas expresiones carnavalescas, modificando expresiones públicas, privadas y comunitarias, para los cuales, las dimensiones tradicionales y redefiniendo su identidad, dentro de un proceso económicas desempeñan un papel diverso? Las preguntas realiza- dialéctico de transformación. Es un proceso cargado de resis- das a los expertos consultados recibieron respuestas de diferente tencias recíprocas y donde el sentido de pertenencia al territorio es corte, porque el carnaval es el reflejo de un acumulado de lo que ha demostrado mayor eficacia para la preservación de las costumbres, necesidades, obligaciones y restricciones por lo que fiestas y su identidad. Al decir del destacado intelectual domini- no pueden parecerse, incluso, dentro de un mismo país. cano y autor de diversos estudios realizados, entre ellos, acerca del carnaval de La Vega, Dagoberto Tejeda, “la comercialización no Es necesario destacar que fueron muchas las dificultades para la puede eliminar la originalidad y los organizadores deben buscar elaboración de algunos de estos estudios, especialmente en lo que a 1 información económica se refiere, por la carencia de estadísticas que matara la vegetación”. Según Dagoberto Tejeda, “De acuerdo sistémicas y sistemáticas o limitaciones en el acceso a las con el historiador dominicano Manuel Mañón de Jesús Arredondo, existentes, lo que resulta congruente con lo ausencia del tema en los el primer carnaval de América fue celebrado antes de 1520 en la ámbitos de reflexión y planificación, necesaria para extraer las ciudad de Santo Domingo. Los antecedentes del Carnaval de experiencias y conclusiones. Si en las políticas culturales está aún Veracruz se remontan a 1789 y según María Teresa de Rojas, se recóndita o insuficientemente focalizadas las dimensiones tienen noticias de que en La Habana, se celebraron las económicas de la cultura, mucho más lo están las dimensiones Carnestolendas desde mucho antes de 1585. Marcelo Lara económicas de la vida cultural en las comunidades. Por ello esta Barrientos narra en su trabajo los antecedentes prehispánicos del serie de trabajos, ha sido un intento de acercarnos al impacto carnaval que tuvo lugar en Oruro, vinculados a un sistema de económico y su potencial, al propio tiempo que pone en evidencia creencias y prácticas religiosas en torno a las actividades agrícolas la necesidad de continuar estas reflexiones en diversos planos y de los pueblos andinos y como con la llegada de los españoles estos espacios para preservar el carácter popular de las fiestas. rituales y símbolos fueron reinterpretados en función de los intereses evangelizadores de los misioneros coloniales. No es II.- LAS FIESTAS CARNAVALESCAS. objeto de este trabajo pero resulta inevitable destacar que las fiestas carnavalescas van manifestando la evolución de todas las Para la Dra. Virtudes Feliú “el carnaval se define como una fiesta sociedades porque son, precisamente su propio reflejo. Por ello es que se produce en grandes espacios al aire libre, la cual es celebrada que, en algunos casos, tuvieron sus orígenes en los ritos y por el pueblo en general sin distinción de clases, credos o razas. Se festividades religiosas pero en otras asociadas a tradiciones orales y desplazan constantemente los elementos participantes que la de diversa índole imbricando las tradiciones prehispánicas con las caracterizan, a saber: comparsas, grupos musicales, carrozas, importadas a partir del proceso de colonización. personajes y otros. Al mismo tiempo es la expresión de casi todas las manifestaciones de la cultura popular tradicional que ya han La cultura popular tradicional es una forma primordial y pasado por un proceso de transculturación y desarrollo, las cuales determinante de la comunicación de la civilización humana en constituyen rasgos característicos de la idiosincrasia de la todas las modalidades. Ejemplo fehaciente de la diversidad comunidad.” cultural, las fiestas populares forman parte del patrimonio cultural identificado como “el conjunto vivo y en perpetua recreación de Las fiestas populares son una reafirmación de la identidad y del práctica, saberes y representaciones que permite a los individuos y sentido de pertenencia. A decir de los expertos, “no se trata de una a las comunidades, en todos los niveles de la sociedad, expresar las legitimación legal o institucional, el carnaval es expresión de sí y maneras de concebir el mundo a través de sistemas de valores y para sí”. Preservar el arte popular y las fiestas populares y referencias éticas. El patrimonio cultural inmaterial crea en las comunitarias instituye una defensa de la identidad nacional. Esto comunidades un sentido de pertenencia y continuidad y es es un elemento de suma importancia para evaluar su desarrollo considerado como una de las fuentes principales de la creatividad y debido a que el carnaval se puede y debe apreciar
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