Diego Leonardo Agudelo Oviedo
Executive Director
Sheyla Lisseth Yurivilca Aguilar
MASSDANZA | Dance Observatory
Principal Investigator
Sheyla Lisseth Yurivilca Aguilar
Tracking Team
Ana María Rodríguez
Ángela Lisseth Medina Villalobos
Karen Sofía Barbosa García
Nikole Lorena Agudelo Agudelo
Quantitative Analysis Team
Karen Sofía Barbosa García
Paula Andrea Ruíz Álvarez
Viviana Carolina Pineda Rivera
Qualitative analysis team
Aidaluz Sánchez Arismendi
Martha Alejandra Sierra García
Sheyla Lisseth Yurivilca Aguilar
Compilation and writing of quantitative analysis
Sheyla Lisseth Yurivilca Aguilar
Editing and Proofreading
Martha A. Sierra García
Cover and publication designer
Edwin Zambrano
Photographers
Juan Fernando Riobó Patiño
Sheyla Lisseth Yurivilca Aguilar
English Translation
Juan José Heredia Fernández
Viviana Carolina Pineda Rivera
Administrative Coordinator
Coordinator
ISBN 978-958-52350-3-8
The work is the product of the project MASSDANZA
+ CONEXIONES, supported by the District Program
of Concerted Support of the Secretariat of Culture,
Recreation and Sports, with the support of the Dance
Management of the District Institute of the Arts -
IDARTES; and the National Program of Cultural
Concertation, of the Ministry of Culture of Colombia.
The work expresses exclusively the opinion of its respective
authors, and therefore does not represent the opinion
of Fundación Integrando Fronteras. Each author has
subscribed, with the Foundation, an authorization and/or
contract of cession of rights over his or her contribution;
therefore, the authors assume responsibility for the content
of this publication.
All rights are reserved.
No part of this publication may be reproduced without prior
permission from the authors.
Todos los derechos son reservados.
Ninguna parte de la publicación puede ser reproducida
sin autorización previa de los autores.
Fundación Integrando Fronteras
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Móvil (+57) 318-7033533
integrandofronteras.org
info@integrandofronteras.org
2022 | Bogotá – Colombia
 Content
Introduction
9
Tracking Results and Analysis 11
Training and Research 12
Formal education 12
Non-formal training 20
Research on Dance 30

Dissemination of the dance 39

Dissemination Platforms 41
Management and/or administration of circulation platforms 44
Public dissemination platforms 46
Registration - formalization of stage dissemination 48
Other ways of dissemination 50
Scenic creation 52
On the administrative management of the groupings 58

Entrepreneurship / Cultural management 60
Public policy and management around dance 65
International Level 71
Dance territories 75
The field of dance in the context of the Pandemic 76

Analysis of the results 95

Dance from a different viewpoint 97
A look at the contexts of dance training and research 114
Circulation and cultural management in the dancistic sector on Bogotá 139

Profiles 181

3
 List of Graphs
Graph 1. Number of formal training programs in Dance active by 2022, by department. 13
Graph 2. Annual percentage of enrollments in dance training programs. 16
Graph 3. Percentage of Enrollments by University per year. 16
Graph 4. Percentage of Graduates per Year. 18
Graph 5. Percentage of graduates by university program between 2018 and 2021. 18
Graph 6. Percentage of artistic genres offered by HEIs 2022. Weighting from 1 to 100% per item. 23
Graph 7. Percentage of the level of training in dance offered by the university cultural centers
or welfare centers 24
Graph 8. Percentage of hours offered in dance, by the university wellness centers. 24
Graph 9. Trajectories of the processes of non-formal dance training in Bogota. 26
Graph 10. Type of organization 26
Graph 11. Dance genres offered by schools, academies, companies and/or dance collectives in Bogotá. 27
Graph 12. Percentage of the level of training offered. 27
Graph 13. Percentage of days offered for dance training. 27
Graph 14. Percentage of ownership of the infrastructure for non-formal training. 28
Graph 15. Percentage of dance teachers linked to the Ministry of Education, by locality for 2017. 29
Graph 16. Years of experience in the field of research. 32
Graph 17. Have you published in books and/or journals about your findings? 32
Graph 18. Percentage of publication of information on the field of dance. 36
Graph 19. Percentage of publications related to dance, between 2015 and 2021, by month 36
Graph 20. Percentage of publications by dance genre. 37
Graph 21. Percentage of topics published in the print versions
of El Tiempo and El Espectador, between 2015 - 2021. 37
Graph 22. Percentage of journalistic genres that were approached for the
publication of information related to dance, between 2015 and 2021. 38
Graph 23. Percentage of Dance Festivals by location 41
Graph 24. Percentage by trajectory of the Festivals. 41
Graph 25. Percentage of dance genres in the Festivals 41
Graph 26. Percentage of festivals by month. 41
Graph 27. Percentage of the number of groups invited by the festivals. 42
Graph 28. Type of groups that take part in the festivals. 43
Graph 29. Types of members of the groups, companies and/or
collectives participating in the circulation platforms. 43
Graph 30. Answers to the question: Does your event carry out contextual activities?
Mention broadly the actions you carry out. 43
Graph 31. Percentage of participation in public calls for proposals for the execution
of the circulation platforms. 44
Graph 32. Percentage of types of admission to events. 44

4
Graph 33. Percentage of types of spaces in which the agendas of the
dissemination platforms are programmed. 45
Graph 34. Percentage Quality or condition of private spaces. 45
Graph 35. Percentage of circulation platforms that pay the groups that are part of their program. 45
Graph 36. Percentage of circulation platforms that make payments to Sayco and Acinpro. 48
Graph 37. Percentage of circulation platforms that register with PULEP. 48
Graph 38. Number of circulation platforms and/or dance shows registered
in Pulep between January 2016 and October 2022. 48
Graph 39. Number of registrations per month. 48
Graph 40. Type of circulation. 49
Graph 41. Type of organizer. 49
Graph 42. Number of circulation platforms registered per year. 49
Graph 43. Number of functions per year. 49
Graph 44. Dance genres. 53
Graph 45. Trajectory of the groups. 53
Graph 46. Number of dancers per scenic creation. 54
Graph 47. Number of dancers in training or with formal training in dance in the performing groups. 54
Graph 48. Percentage of minors involved in stage creations. 54
Graph 49. Type of works presented. 55
Graph 50. Percentage of organizations that have registered their stage creations with the DNDA. 55
Graph 51. Percentage of rehearsal time. 56
Graph 52. Percentage of type of rehearsal space. 56
Graph 53. Percentage of dressing room conditions 56
Graph 54. Percentage of groups that describe in written form,
the proposal and choreographic development of the work. 56
Graph 55. Circulation spaces of the dance scenic proposals. 57
Graph 56. Percentage of groups that have circulated at the national level. 57
Graph 57. Percentage of groups that have circulated outside Colombia. 57
Graph 58. Percentage of groups recognized for their artistic work. 57
Graph 59. Percentage of groups that have administrative and/or management support. 59
Graph 60. Percentage of groups that charge a fee for the circulation of their stage proposal. 59
Graph 61. Percentage of groups that offer non-formal formation. 59
Graph 62. Percentage of the types of training offered. 59
Graph 63. Percentage of clusters that participate in public calls. 59
Graph 64. Percentage of dance initiatives by locality, with baseline of 655 records. 60
Graph 65. Percentage of artistic genres offered by dance initiatives, with a baseline of 655 record. 60
Graph 66. Percentage of the trajectories of dance initiatives, with a baseline of 432 entries. 61
Graph 67. Percentage of active and canceled entities in the CCB, with a baseline of 346. 62
Graph 68. Percentage of dance initiatives registered with the CCB, with a baseline of 201. 62
Graph 69. Percentage of dance initiatives that have an administrative support team. 62

5
Graph 70. Percentage of the type of venue of dance initiatives, with a baseline of 168. 63
Graph 71. Percentage of type of service offered by dance initiatives, with baseline of 425. 63
Graph 72. Percentage of knowledge of and/or participation in public calls for proposals,
with baseline of 272. 64
Graph 73. Do you know how public policies are proposed, baseline 155 records. 65
Graph 74. Do you know what the District Dance Council is, baseline of 253 entries. 65
Graph 75. Do you know how to become a member of the District Dance
Council, baseline of 191 records? 66
Graph 76. Do you know what the District Dance Council does?, baseline of 191 entries 66
Graph 77. Do you know what the Dance Management Department does?, baseline of 177 records. 68
Graph 78. Do you know and understand the relationship between the Dance
Management and cultural public policies?, baseline of 150 entries. 68
Graph 79. Percentage of growth or decrease in the district budget for the promotion
of dance from 2012 to 2022, compared to the previous year. 70
Graph 80. Percentage of support delivered between 2011 - 2019 through the PDE. 71
Graph 81. Percentage of dance in Bogota’s localities. 73
Graph 82. Percentage of activities canceled in the first month of the pandemic
(March-April), with a baseline of 426 entries. 74
Graph 83. Percentage of impact of the pandemic on the exercise of the duties of the
dance in bogota, with a baseline of 523 records. 74
Graph 84. Percentage of ways of reactivation of dance agents in Bogota, with a baseline of 306 records. 75
Graph 85. Mission structure of the Dance Management 2019 160

List of Tables
Table 1. Formal dance programs in progress as of 2022. 12
Table 2. Performing Arts programs that include dance classes in their curriculum 13
Table 3. Tuition cost by program for 2022 for dance programs and/or directly related programs. 17
Table 4. Description of non-formal and/or on-the-job training programs 2022. 20
Table 5. University welfare programs reviewed. 21
Table 6. Stadistics Considerations. 25
Table 7. List of registered research groups 30
Table 8. Winners of public calls for proposals for dance research between 2020 and 2022. 34
Table 9. Listado de plataformas de circulación de la danza analizadas. 39
Table 10. List of Dance Festivals organized by district public entities. 46
Table 11. List of sectors, profiles and requirements for CDD members. 67
Table 12. List of Bogota Dance Managers from 1996 - 2022. 69
Table 13. Presupuesto distrital para el fomento de la danza
2011 – 2022, administrado por la Gerencia de Danza. 70

6
 Dance from a different perspective

The occupation of dance, in the collective imagination, was subjected to the majestic execution of body
and movement techniques, to the rhythm of sounds or silences, within the framework of spectacular scen-
ery, lights and applause. However, the exercise of dance, in a world like today’s, transcends the bound-
aries of the spectacular, because seen from other fields, it is a transmitter of knowledge, object of study,
subject of exchange, tool for transformation, a means of communication, a political action, among others.

Consequently, in 2012, the Foundation Integrando Fronteras, through its “Research for the Arts”
program, created “MASSDANZA, Dance Observatory”, a project with the objective of making dance
visible from other perspectives in the current context. From that initiative, phases of information track-
ing were developed between 2013 and 2022, concluding in “The state of the art of dance in Bogota 2.0.
Dance from other perspectives”, a document that presents an updated diagnosis of the dance sector in
Bogota, which in itself raises new questions and proposes new tracking and analysis processes, which
will continue to advance from the entity and resulted from the collaborative work of several teams of
information gathering and analysis interested in the field.

We hope that this document encourages new ways of understanding the field of dance in the city and
serves as an instrument for planning assertive projects for and from this discipline of the performing arts.

Sheyla Yurivilca Aguilar

General Coordinator
MASSDANZA | Dance Observatory

7
 Introduction

This text is an extended characterization of the practice of dance in Bogota, elaborated based on in-
formation tracked between 2013 and 2022, which allows us to take a look at the work of dance agents
in the last nine years, going through situations and transformations before and during the pandemic. It
aims to contribute in answering the following questions: What are the dynamics of dance today and how
has the field been transformed in recent years? In order to update the information compiled in the State
of the Art of the Dance Area in Bogotá D.C., (Beltrán Pinzón & Salcedo Ortíz, 2006), a document that
served as a basis for the recognition of the different dance agents in the city.

The methodology used included elements of documentary research, rapid ethnography and descrip-
tive and correlational studies, from which seven general categories were defined (training, research,
circulation, entrepreneurship, public policy and management, territorialization and pandemic situation),
which served as the basis for the surveys, interviews and focus groups.

Given the information compiled, the document was divided into two parts, the first directly related to
the figures, which involves data from different tracking exercises of the organization; and the second,
with the analysis based on the data and social contexts around the exercise of dance in the city.

The latter is composed of three documents that articulate and support each other and give an account
of three perspectives on the data found. The first document is a map of the dance agents, according to the
environment in which they develop their practice. It seeks to answer: Who are the agents of dance in Bo-
gotá D.C. Colombia? - What do they do? What could be considered the territories with the largest dance
agenda in the city? What happened to the agents of dance in Bogota in the context of the pandemic?
What is the relationship between cultural public policies and dance agents? among others, which show
the relationship between each link in the ecosystem of this cultural sector, which leads to interpret the
exercise of policy as an action of change and / or take responsibility for the common.

The second is a debate between training and academy in dance, where the emergence of non-formal
learning spaces is observed, as an extension and alternative to traditional forms of teaching, which has

9
somehow reconfigured the ways of understanding learning in dance. This approach considers that people
learn in multiple contexts and diverse situations. Therefore, this reflection focuses on making visible
other training processes within the corporal discipline, therefore, it seeks to delimit and expose the pro-
cesses of non-formal and informal training and the advances in research before and after COVID-19,
with the purpose of making a synthesis of the current state of dance in Bogota.

The third is an analysis of the circulation of dance and cultural management processes in the city of
Bogota, which addresses information related to the tracking of festivals, the understanding of cultural
management in the field of dance and the implications of the Covid-19 pandemic in these processes. It
addresses some background information that allows understanding the ways of circulation and manage-
ment from previous studies and tries to answer questions related to circulation as a field of management
and dance festivals; and the role of public entities in the circulation and management of the sector.

10
 Photograph by Juan Fernando Riobó
Conference “Habitar un mundo que baila. Danza, arquitectura, flamenco
Ponente Lucas Ariza
5to Congreso Nacional - 1er Congreso Internacional de Investigación en Danza | 2019

Tracking Results and

Analysis
 Training and Research
Since 2006 to date, the processes of training and research on dance in Bogota, at different levels, have
been transformed. Today, unlike 15 years ago, there is a greater number of reflective and/or academic
research and publications on dance, as well as formal training processes, specialized and/or crossed by
dance, in addition to non-formal training processes, such as short courses of body training/entertainment
and/or stage specialization in a specific genre.

The following is the data found on the field of training and research around dance in the city that re-
sulted from a continuous exercise of information tracking, carried out between 2015 and 2022.

Formal education
Understanding formal education as that which is carried out in a structured manner and leads to the
professionalization of specialists in a particular field (Ministry of National Education, 2009), it was
found that today Bogotá has three higher education institutions -IES- that offer three specific formal
training programs oriented to pedagogy, creation and/or interpretation in/of dance; which resulted from
the updating, renovation and/or formalization of previous training processes, according to the needs and
demand of the city’s dance sector.

Table 1. Formal dance programs in progress as of 2022.

N° Name of Current Program Name Professional Area SNIES Year of Credits Previous training process Ongoing
University opening
1 Corporación Dance and Dance direction 105210 2016 164 Técnico profesional en Entre 2003 - 2016
Universitaria Choreographic and execution danza contemporánea
CENDA Direction “Cuerpo Creador”
2 Universidad Dance and Theatre Mainly 109815 2020 153 Licenciatura en Educación 1978-2018
Antonio Nariño interpretation Artística (Énfasis en Danza
y Teatro)
3 Universidad Dance Arts Mainly 91140 2011 160 Artes Escénicas 1994 - 2011
Distrital interpretation (Énfasis en Danza
Francisco José Contemporánea)
de Caldas

Own creation. Source (Yurivilca Aguilar, 2018; Universidad Antonio Nariño, s.f.; Guzmán U., 2022).

12
 This has positioned the city as the city with the largest academic offer in the field of dance at the na-
tional level, where there are currently seven formal dance programs.

Graph 1. Number of formal training programs in Dance active by 2022, by department.

VALLE DEL CAUCA 2

BOGOTÁ 3
ATLÁNTICO 1
ANTIOQUIA 1

0 0,5 1 1,5 2 2,5 3 3,5

Own creation, Source (Ministerio de Educación Nacional, 2022)

In this direction, it was also evidenced by the existence of eight programs in performing arts, in seven
universities, which, in their curricular mesh or study plan included dance as part of their formative process,
whose hourly intensity varies according to the needs of each program. In this order, it was found that a min-
imum of four (4) and a maximum of twenty-six (26) credits are allocated to dance throughout the career.

Table 2. Performing Arts programs that include dance classes in their curriculum

Academic Program Dance Cost per semester

University SNIES N° Semestres Faculty Semester Class
Program credits Credits *
Pontificia Performing 103081 153 8 Arts Basic Principles of Dance 1 4 $ 12.604.000
Universidad Arts
Javeriana Basic Principles of Dance 2 4
Basic Ensemble 6
Emphasis Dance 6
Elective Dance 6
Universidad Bachelor’s 106742 150 9 Education Second Zoomorphic Dance 3 $ 3.800.000
Antonio Degree in
Nariño Performing Third Andean Zone Dance 3
Arts Fourth Llanera Dance 3
Fifth Pacific Littoral Dance 3
Sixth Caribbean Dances 3
Seventh Interdisciplinary 5
assembly, Theater,
Party and Carnival
Eighth Dance-Theater 5
Ensemble

13
 Universidad Dramatic 54924 160 8 Creation and Fifth Dance I 2 $ 6.430.000
El Bosque Arts Communication
Sixth Dance II 2
Universidad Bachelor’s 108031 153 9 Education N/E Dance and Theater 2 $ 2.411.500
Minuto de Degree Workshop
Dios in Art
Education
- On site
Bachelor’s 104887 144 10 Education N/E Didactics of Dance 2 $ 1.770.300
Degree
in Art
Education Expression Dance 2
- Virtual
and
Distance
Learning
Universidad Bachelor’s 10922 160 8 Fine Arts Elective Dance contents and N/E Entre $235.000 y
Pedagógica Degree in its dialogues with the $3.500.000
Nacional Performing teaching-learning of
Arts theater.
Universidad Musical 108006 144 8 Creation First Jazz Dance I 2 $ 7.900.000
del Rosario Theatre
Second Jazz Dance II 2
Third Contemporary Jazz I 2
Classical Dance I 2
Fourth Contemporary Jazz II 2
Classical Dance II 2
Fifth Advanced Jazz 1 2
Ballet for musical 1 2
Sixth Advanced Jazz 2 2
Ballet para musical 2 2
Seventh Avant-garde jazz 2
Universidad Musical 106688 128 8 School of Arts First Dance I 2 $6’000.000
Sergio Theatre and Music
Arboleda Second Dance II 2
Third Dance III 2
Fourth Dance IV 2
Fifth Dance V 2
Sixth DanceVI 2
Seventh Dance VII 2
Eighth Dance VIII 2

Note: N/E: Not specific.

Own creation, Source (Pontificia Universidad Javeriana, s.f.; Universidad Antonio Nariño, s.f.; Universidad Pedagógica de Colombia, s.f.; Universidad El
Bosque , s.f.; Universidad Minuto de Dios , s.f.; Universidad Minuto de Dios, s.f.; Universidad del Rosario, s.f.; Universidad Sergio Arboleda, s.f.).

14
 It is worth mentioning that the programs of the Universidad Antonio Nariño and the Pontificia Uni-
versidad Javeriana come from previous initiatives, which specialized in the field of dance. The first was
carried out between 1978 and 2018, under the name Bachelor’s Degree in Artistic Education (Empha-
sis in Dance and Theater); and the second, started in 1996, with courses, workshops, and/or non-formal
processes in dance.

Regarding the training modality, it was found that, given the characteristics of dance, the programs
are developed in a face-to-face manner in different schedules, between day and night. Likewise, only the
Universidad Minuto de Dios offers a training program for virtual or distance education.

In relation to distance and virtual training, it is observed that between 2020 and 2021, as a conse-
quence of the pandemic, the formal training processes in dance migrated to virtual platforms, which
implied forced transformations in the methodologies and/or pedagogies for this type of training, a fact
that led to the advancement of theoretical classes, leaving the practices for when the situation was nor-
malized. Based on these findings, it can be said that the formal dance training process in the city has
grown in the last twelve years, expanding the possibility of professionalization of dance agents, not only
in the city but also in the country.

Relationship to students of formal education

The data described below is based on information provided by the National Higher Education Infor-
mation System on the programs offered by Corporación Universitaria CENDA, Universidad Antonio
Nariño, Pontificia Universidad Javeriana and Universidad Distrital Francisco José de Caldas, corrob-
orated by some representatives of the training programs. According to the data, between 2016 and
2020, a total of three thousand three hundred and one enrollments (3,301) were recorded, increasing
between 1 and 3 points each year, as can be seen in Graph 2, which means an annual increase in 5
consecutive years.

15
 Graph 2. Annual percentage of enrollments in dance training programs.

25 23
20 22
20 19
16
15
10
5
0
2016 2017 2018 2019 2020

Own creation, Source (Ministerio de Educación Nacional, 2022).

Graph 3. Percentage of Enrollments by University per year.

47
51
Universidad Distrital Francisco José de Caldas 51
53
54

10
13
Pontificia Universidad Javeriana 14
11
13

17
18
Universidad Antonio Nariño 19
19
24

25
19
Corporación Uni versitaria CENDA 15
17
10

0 10 20 30 40 50 60

2020 2019 2018 2017 2016

Own creation, Source (Ministerio de Educación Nacional, 2022).

16
 This could mean an average of 330 students enrolled per semester and 83 students per university.

In terms of universities, it was found that the Universidad Distrital Francisco José de Caldas, a pub-
lic higher education institution, had the highest number of dance students throughout the five years of
analysis, as shown in Graph 3, possibly in relation to the value of enrollment per year, which increases
annually (Table 3).

Table 3. Tuition cost by program for 2022 for dance programs and/or directly related programs.

University Academic Program Tuition cost per semester

Corporación Universitaria CENDA Dance and Choreographic Direction $ 3.775.748
Universidad Antonio Nariño Profesional en Danza y Teatro $ 3.689.000
Bachelor’s Degree in Performing Arts (Emphasis $ 3.800.000
Dance and Theater)
Pontificia Universidad Javeriana Performing Arts (Emphasis Dance) $ 12.604.000
Universidad Distrital Francisco José de Caldas Dance Arts Entre
$ 200.000 y
$ 3.500.000

Own creation Source: (Corporación Universitaria CENDA, s.f.) (Universidad Antonio Nariño, s.f.) (Universidad Antonio
Nariño, s.f.) (Pontificia Universidad Javeriana, s.f.) (Universidad Distrital Francisco José de Caldas)

This shows that between 2016 and 2020, higher education institutions recorded significant growth in
enrollments in their programs related to dance training, reflecting the interest of agents in this sector to
professionalize and/or academize their practice.

Graduates
From the study, it was found that between 2018 and 2021 four hundred and eleven new dance agents
(411) graduated, swelling the field each year, with a minimal decrease during 2020, the year of greatest
impact of the Covid-19 pandemic.

17
 Graph 4. Percentage of Graduates per Year.

40 37
35
30 26
24
25
20
14
15
10
5
0
2018 2019 2020 2021

Own creation, Source (Ministerio de Educación Nacional, 2022).

Graph 5. Percentage of graduates by university program between 2018 and 2021.

23,8
ARTE DANZARIO 32,0
31,1
43,9
32,5
ARTES ESCÉNICAS (ÉNFASIS DANZA) EN GENERAL 44,3
42,5
7,0
4,0
LICENCIATURA EN ARTES ESCÉNICAS (ÉNFASIS DANZA Y TEATRO) 1,0

19,2
LICENCIATURA EN EDUCACIÓN ARTÍSTICA CON ÉNFASIS EN DANZA Y 22,7
TEATRO 20,8
36,8

PROFESIONAL EN DANZA Y TEATRO

20,5
DANZA Y DIRECCIÓN COREOGRÁFICA 0,0

TÉCNICO PROFESIONAL EN DANZA CONTEMPORÁNEA

5,7
12,3
0,0 5,0 10,0 15,0 20,0 25,0 30,0 35,0 40,0 45,0 50,0

2021 2020 2019 2018

Own creation, Source (Sistema Nacional de Información de la Educación Superior, s.f.).

18
 Graduate Programs
By university program, in the period reviewed, it was found that a high percentage graduated from the
Dance Art Program, followed by the Performing Arts Program of the Pontificia Universidad Javeriana
and the Universidad Antonio Nariño (see Graph 5). The study showed the non-existence of specialized
postgraduate programs in dance in Bogota. In this context, diploma courses and/or specialized short
courses were found which do not count as formal training processes. In this matter, it was found that
dance agents in Bogota take this type of programs outside the country and in other cases, they pursue
postgraduate degrees in related programs focused on aesthetic analysis, performing arts creation, art
history, artistic pedagogy and/or cultural management (Yurivilca Aguilar, 2018).

Professionalization and job training programs

The information search revealed the existence of training programs offered as semi-formal processes
aimed at professionalization in dance and/or training for work, which could be considered technical
training and have been offered by for-profit or non-profit cultural entities.

In this field are the Academia de Artes Guerrero, a private entity, founded in 1987 (Academia de
Artes Guerrero, n.d.), which in particular, currently offers specialized non-formal courses in ballet, con-
temporary dance and urban dance, and which between 2010 and 2018 offered a professionalization pro-
gram in dance, in alliance with the University of Antioquia, in face-to-face modality (Yurivilca Aguilar,
2018; Academia de Artes Guerrero, n.d.).

In relation to training programs for work, it was found that the Escuela para la Formación de Artis-
tas Íntegros - EFAI, a private entity (Escuela para la Formación de Artistas Íntegros - EFAI, n.d.), offers
the program Composición y Creación de Danzas Tradicionales, approved by the Secretariat of Education
of Bogotá under resolution No. 13-118 of 2018, from which it issues a Certificate of Occupational Apti-
tude, which validates the completion of the specific academic program.

In relation to this issue, there is also the National Learning Service - SENA, a public entity that
offers technical training processes. SENA offers short body conditioning courses for dance, which seek

19
to enhance the skills of dance agents in the city, although it is also a program that is open in other parts
of the country (Servicio Nacional de Aprendizaje - SENA, n.d.), which, being a public entity, offers its
services on a subsidized basis.

The foregoing makes it evident that there are formal training processes around dance in Bogota, that
there is interest in the field to professionalize to enhance their exercise, suggesting the need for further
progress in this area.

Table 4. Description of non-formal and/or on-the-job training programs 2022.

N° Name of entity Training program Intensity Costo ciclo/semestre

1 Academia de Artes Guerrero Dance courses (ballet, contemporary, urban) 3 cycles (4 months per cycle) $ 1.260.000

2 Escuela para la Formación de Composición y Creación de Danzas Tradicionales 3 semesters $ 1.685.000

Artistas Íntegros – EFAI
3 Servicio Nacional de Aprendizaje Body Conditioning for Dance 40 hours $0
- SENA

Own creation, Source (Yurivilca Aguilar, 2018; Academia de Artes Guerrero, s.f.; Escuela para la Formación
de Artistas Íntegros – EFAI, s.f.; Servicio Nacional de Aprendizaje - SENA , s.f.).

Non-formal training
The information gathered shows the existence of non-formal dance training processes, as a comple-
ment to formal training processes and/or as entertainment spaces, offered by formal educational institu-
tions, cultural and artistic entities and organizations, in different conditions and levels.

The following is a description of the types of non-formal processes found:

University Well being

For several years, as a public mandate, higher education institutions (HEIs) must provide spaces and/
or tools that contribute to the healthy development and good use of leisure time of their university com-
munity (Ministry of National Education, 2009). Based on the above, in the framework of this diagnosis,
the offer of the 48 higher education institutions well being centers were reviewed, which showed, among

20
others, the interest of educational spaces, to include dance as a tool for the physical and mental develop-
ment of their communities.
Table 5. University welfare programs reviewed.
N° Entity
1 Colegio de Estudios Superiores de Administración. CESA (CESA, s.f.)
2 Corporación Escuela de Artes y Letras
(Corporación Escuela de Artes y Letras, s.f.)
3 Corporación JOHN F. KENNEDY
(Corporación John F. Kennedy, s.f.)
4 Corporación Universitaria CENDA
(Corporación Universitaria CENDA, s.f.)
5 Corporación Universitaria de Ciencia y Desarrollo – UNICIENCIA
(Corporación Universitaria de Ciencia y Desarrollo, s.f.)
6 Corporación Universitaria de Colombia – IDEAS (Corporación
Universitaria de Colombia - IDEAS, s.f.)
7 Corporación Universitaria Iberoamericana
(Corporación Universitaria Iberoamericana, s.f.)
8 Corporación Universitaria Minuto de Dios -UNIMINUTO-
(UNIMINUTO, s.f.)
9 Corporación Universitaria Republicana
(Corporación Universitaria Republicana, s.f.)
10 Corporación Unificada Nacional de Educación Superior - CUN
(CUN , s.f.)
11 Escuela Superior de administración Pública
(Escuela Superior de Administración Pública, s.f.)
12 Fundación de Educación Superior “San José”
(Fundación de Educación Superior “San José”, s.f.)
13 Universidad Los Libertadores
(Universidad Los Libertadores, s.f.)
14 Fundación Universitaria Agraria de Colombia
(Fundación Universitaria Agraria de Colombia, s.f.)
15 Fundación Universitaria Área Andina
(Fundación Universitaria Área Andina, s.f.)
16 Fundación Universitaria Autónoma de Colombia
(Fundación Universitaria Autónoma de Colombia, s.f.)
17 Fundación Universitaria Juan N. Corpas
(Fundación Universitaria Juan N. Corpas, s.f.)
18 Fundación Universitaria Monserrate
(Fundación Universitaria Monserrate, s.f.)
19 Fundación Universitaria San Martín
(Fundación Universitaria San Martín, s.f.)
20 Fundación Universitaria Sanitas
(Fundación Universitaria Sanitas, s.f.)
Link
https://www.cesa.edu.co/estudiantes/casa-bienestar-cesa/
https://artesyletras.com.co/bienestar/
https://jfk.edu.co/estudiantes/bienestar/arte-y-cultura/rumba-k/
https://www.cenda.edu.co/servicios-bienestar-universitario
https://uniciencia.edu.co/vive-la-u/bienestar
https://ideas.edu.co/bienestar-universitario/
https://sites.google.com/iberoamericana.edu.co/bienestarvirtual/
experiencias-de-bienestar/arte-y-cultura/grupos-de-
representaci%C3%B3n
https://wwwquas.uniminuto.edu/articulo/el-laboratorio-un-espacio-para-
la-danza
https://urepublicana.edu.co/pages/bienestar/
https://cun.edu.co/permanenciaybienestar
https://www.esap.edu.co/portal/index.php/estructura-organica/
subdireccion-academica-3/grupo-de-bienestar-universitario/#arte
https://sitio.usanjose.edu.co/bienestar-institucional/
https://www.ulibertadores.edu.co/vicerrectorias/vicerrectoria-proyeccion-
social-relaciones-interinstitucionales/bienestar/
https://www.uniagraria.edu.co/area-de-arte-y-cultura/
https://www.areandina.edu.co/bienestar-universitario/cultura-bogota
http://www.fuac.edu.co/arte-cultura
https://www.juanncorpas.edu.co/bienestar/cultura/
https://www.unimonserrate.edu.co/la-unimonserrate/
https://www.sanmartin.edu.co/1/bienestar/deporte-cultura-recreacion/
https://www.unisanitas.edu.co/beneficios
21
 21 Instituto Caro y Cuervo (Instituto Caro y Cuervo, s.f.) https://www.caroycuervo.gov.co/bienestar-universitario/que-es-bienestar-
universitario/bienestar-universitario/
22 Politécnico Gran Colombiano (Polítecnico Gran Colombiano, s.f.) https://www.poli.edu.co/content/actividades-culturales
23 Pontifica Universidad Javeriana https://www.javeriana.edu.co/medio-universitario/centro-de-gestion-
(Pontificia Universidad Javeriana, s.f.) cultural#culturales
24 Universidad Agustiniana (Universidad Agustiniana, s.f.) https://www.uniagustiniana.edu.co/node/2854
25 Universidad Antonio Nariño https://sites.google.com/uan.edu.co/bogota-bienestar-universitario
(Universidad Antonio Nariño, s.f.)
26 Universidad Católica de Colombia https://www.ucatolica.edu.co/portal/vida-universitaria/arte-y-cultura/
27 Universidad Central https://www.ucentral.edu.co/bienestar/pasaporte-bienestar-para-ti
(Universidad Central, s.f.)
28 Universidad Cooperativa de Colombia https://www.ucc.edu.co/inicio
(Universidad Cooperativa de Colombia, s.f.)
29 Universidad de la Salle https://www.lasalle.edu.co/vive-unisalle/cultura-y-estetica/#Formacion
(Universidad de la Salle, s.f.)
30 Universidad de los Andes https://decanaturadeestudiantes.uniandes.edu.co/Table-clases-abiertas
(Universidad de los Andes, s.f.)
31 Universidad de San Buenaventura https://www.usbbog.edu.co/bienestar-institucional/arte-y-cultura/
(Universidad de San Buenaventura, s.f.)
32 Universidad del Bosque https://www.unbosque.edu.co/bienestar-universitario/cultura-
(Universidad El Bosque, s.f.) recreacion?page=1
33 Universidad del Rosario https://www.urosario.edu.co/DMU/Cultura/Grupos-Culturales/
(Universidad del Rosario, s.f.)
34 Universidad Distrital Francisco José de Caldas https://bienestar.udistrital.edu.co/servicios/cultura
(Universidad Distrital Francisco José de Caldas, s.f.)
35 Universidad EAN https://universidadean.edu.co/bienestar-universitario/cultura/espacios-de-
(Universidad EAN, s.f.) aprendizaje
36 Universidad Escuela Colombiana de Ingeniería Julio Garavito https://escuelaing.s3.amazonaws.com/production/documents/Horarios_
(Universwidad Escuela Colombiana de Ingeniería “Julio Garavito”, s.f.) Bienestar_2022-2_dzS7HbV.pdf?AWSAccessKeyId=AKIAWFY3NGTFB
JGCIWME&Signature=bOx8ZY%2BvrzU0swlgQUMYihV7I04%3D&Expi
res=1666989627
37 Universidad Externado de Colombia https://www.uexternado.edu.co/bienestar-universitario/cultura/
(Universidad Externado de Colombia, s.f.)
38 Universidad Incca https://unincca.edu.co/
(Universidad Incca, s.f.)
39 Universidad Inpahu https://www.uninpahu.edu.co/bienestar-universitario/
(Universidad Inpahu, s.f.)
40 Universidad Jorge Tadeo Lozano https://www.utadeo.edu.co/es/bienestar-universitario
(Universidad Jorge Tadeo Lozano, s.f.)
41 Universidad La Gran Colombia https://www.ugc.edu.co/sede/bogota/bienestar-universitario
(Universidad La Gran Colombia, s.f.)
42 Universidad Libre de Colombia (Universidad Libre de Colombia, s.f.)  https://www.unilibre.edu.co/bogota/ul/bienestar-universitario
43 Universidad Militar Nueva Granada https://www.umng.edu.co/bienestar
(Universidad Militar Nueva Granada, s.f.)
44 Universidad Nacional de Colombia http://www.bienestar.unal.edu.co/sistema-de-bienestar/area-de-cultura/
(Universidad Nacional de Colombia, s.f.)

22
 45 Universidad Pedagógica Nacional http://cultura.pedagogica.edu.co/
(Universidad Pedagógica de Colombia, s.f.)
46 Universidad Piloto de Colombia https://www.unipiloto.edu.co/bienestar/cultura/cursos-del-area-de-cultura/
(Universidad Piloto de Colombia, s.f.)
47 Universidad Santo Tomás https://bienestarplus.usta.edu.co/?categ=3
(Universidad Santo Tomás, s.f.)
48 Universidad Sergio Arboleda https://www.usergioarboleda.edu.co/decanatura-de-estudiantes/
(Universidad Sergio Arboleda, s.f.) cultura/#coordinacion_cultural

Own creation, Source (Ruiz Álvarez, 2022a).

From this information gathering exercise, it was found that 87% of the entities reviewed opened
semester and/or inter semester courses and/or workshops related to dance, while 13% of these did not
open any type of process for the practice of this artistic genre. In this direction, 60% of the HEIs that
offer dance classes or workshops focus mainly on providing dance processes of Latin rhythms or orient-
ed to entertainment (salsa, bachata, champeta and Rumba), followed by stage folklore and urban dance
(breakdance, etc.), seeking the interrelation and/or social development of their community. To a lesser
degree, these entities offer basic ballet. However, it should be noted that HEIs offer between one and up
to four dance courses/workshops of different genres, at the same time, with different hourly intensities.

Graph 6. Percentage of artistic genres offered by HEIs 2022. Weighting from 1 to 100% per item.

N/R 13
Tango 6
Sal sa - Bachata - Champeta - Rumba 60
Folklore (Escénico) 52
Danza Urbana 33
Danza Contemporánea 25
Danza Árabe 10
Ballet 4

0 10 20 30 40 50 60 70

Own creation, Source (Ruiz Álvarez, 2022a).

23
 Regarding the level of training provided in this type of process, the survey revealed that although
most of the courses/workshops are basic, there are specialized training processes that do not delve into
theoretical issues on the practice of dance, but they do develop dance technique with specific curricular
structures that generate a moderate level of training. This suggests that they are specialized seedbeds
in the field, which can contribute to increasing the number of agents in the sector (see graphs 7 and 8).

Graph 7. Percentage of the level of training in dance offered Graph 8. Percentage of hours offered in dance,
by the university cultural centers or welfare centers. by the university wellness centers.

24 hours 36 hours N/R

2% 2% 13%
N/R 13
14 hours 2 hours
15% 6%
HIGH (SPECIALIZED IN DANCE) 0
12 hours
6%
MEDIUM (RECREATIONAL AND WITH
SOME ELEMENTS OF SPECIALIZED 19 10 hours
TRAINING)
6%
4 hours
8 hours 27%
BASIC (RECREATIONAL ONLY) 73 6%

6 hours
0 20 40 60 80 17%

Own creation, Source (Ruiz Álvarez, 2022a)

In this item it is worth mentioning that the training processes of the welfare centers are offered to
their communities as a complement to the formal education processes and/or as a way of providing labor
welfare to their employees and/or workers.

Schools
The data described below are the result of the analysis of information collected between 2020 and
2022, which corresponds to information from 305 schools, academies, companies, collectives and ar-

24
tistic and cultural professionals that offer training processes in the field of dance. This is part of a
universe of 519 training offers in this scenic genre, made up of 236 organizations registered and in
force at the Bogota Chamber of Commerce -CCB- and 283 initiatives registered in the Foundation’s
information tracking system, which correspond to instances that are not linked to the CCB (Fundación
Integrando Fronteras, 2020a; Ruiz Álvarez, 2022c; Fundación Integrando Fronteras, 2022; Barbosa
García, 2022a).

Table 6. Stadistics Considerations.

Sample Universe 519

Sample 305
Instrumen Descriptive Probabilistic
Margin of confidence 90%
Margin de error 3%

Own creation, Source

The information described above showed that 53% of the entities consulted were created in the last
10 years. This means a growth in the offer of non-formal training processes around the different dance
genres in Bogota, compared to the record exposed in the State of the Art of Dance in Bogota DC 2006
(Beltrán Pinzón & Salcedo Ortíz, 2006) (Graph 9).

In relation to the above, it should be noted that a high percentage of the organizations that offer
non-formal training are companies, collectives and/or natural persons, and that 37% are institutionally
formalized entities, i.e. they are registered in the Chamber of Commerce and have an administrative and
teaching team with different levels and professional profiles (Graph 10).

25
 Graph 9. Trajectories of the processes of non- Graph 10. Type of organization
formal dance training in Bogota.

over 31 Non-Profit Entity

from 26 to years No Answer No Answer
- ESAL
30 yeards 6% 4% 15%
from 21 to 4% 23%
25 years
5%
From 1 to
5 years
25%

from 16 to
20 years
11%

Simplified
Natural Joint Stock
person - Company -
Collective - SAS /
from 11 to from 6 to Unincorpora Commercial
15 years 10 years ted company Establishme
17% 28% 48% nt
14%

Own creation, Source (Fundación Integrando Fronteras, 2020a; Ruiz Álvarez, 2022c; Fundación Integrando Fronteras, 2022; Barbosa García, 2022a).

On this subject, it was found that Afro-Latin rhythms (Salsa, Afro, House, Kizomba, Samba, Porro,
African dances, Cuban Son, Regueton, Twerking, etc.), folkloric dance and urban dance are the genres
with the greatest training offer in the city. It should be noted that more and more non-formal training
processes are being opened for new genres, such as tap, aerial dance, K-pop, among others.

26
 Graph 11. Dance genres offered by schools, academies, companies and/or dance collectives in Bogotá.

Otros (danza aérea, Tap, KPop, Danza Teatro 10

Tap 3
Tango 10
Ritmos afrolatinos (Salsa, Afro, House, Kizomba, Samba,… 35
Jazz 6
Danza teatro 1
Flamen co 1
Danza Urbana (Street dance, breakdance, etc.) 29
Dan za Folk lóri ca 34
Danza Contemporánea 15
Danza Árabe - Oriental - Indi a 11
Dance hall 4
Competición 3
Ballet 11
0 5 10 15 20 25 30 35 40

Own creation, Source (Fundación Integrando Fronteras, 2020b; Ruiz Álvarez, 2022b; Fundación Integrando Fronteras, 2022; Barbosa García, 2022a).

Regarding the level of training offered by the non-formal dance programs reviewed, it was found that
49% are mainly oriented to basic or entertainment training, while 51% of these programs focus their pro-
cesses on medium and high training, which enables stage creation and/or training for competition (Graph
12). In this order, it was observed that the training processes take place mainly between Monday and Satur-
day, in the afternoon and evening, with a minimum of 2 and a maximum of 12 hours per week (Graph 13).

Monday to Friday Monday to Saturday

Graph 12. Percentage of the level of training offered. Graph Monday
13. Percentage of days offered for dance training.
to Sunday

High
(Specialized
dance training
- Competition) Basic 1 14% 63,90% 22,10%
34% (entertainmen
t only)
49%

Medium
(Sporadic
Stage
Monday to Friday Monday to Saturday
Projection)
17%
Monday to Sunday

Own creation, Source (Fundación Integrando Fronteras, 2020b; Ruiz Álvarez, 2022; Fundación Integrando Fronteras, 2022; Barbosa García, 2022a).

1 14% 63,90% 22,10% 27

 In relation to infrastructure, it was found that only 9% of the entities that offer non-formal training
processes around dance have their own headquarters, while 79% rent spaces in which they develop
their activities.

Graph 14. Percentage of ownership of the infrastructure for non-formal training.

No Answer
12%

Self owned
9%

Rented
79%

Own creation, Source (Fundación Integrando Fronteras, 2020b; Ruiz Álvarez, 2022c; Fundación Integrando Fronteras, 2022; Barbosa García, 2022a; Rodríguez, 2022).

Regarding the commercial value of the classes, it was found that for 2022 training processes were
offered for between five thousand ($5,000) and one hundred and twenty-five thousand Colombian pesos
($125,000) per hour, depending on the dance genre, the facilities (infrastructure of the training process),
the knowledge and/or the trajectory of the artistic trainer. In this order, it was found that the more training
- experience of the trainer and the better the infrastructure, the higher the value of the class.

Now, around this type of training, also, it was evidenced the existence of community initiatives man-
aged by natural and/or legal persons, which supported and/or subsidized by public and/or private enti-
ties, offered dance classes/workshops to different types of population, preferably of scarce resources, for
the period of the study, free of charge.

In relation to this issue, it was found that, in 2017, the Secretariat of Education of Bogota linked 279
dance agents as district plant teachers, which would mean that, in that year, in some district schools in

28
18 of the 20 localities of the city, dance classes were taught, within the framework of the school day.
According to the data found, schools in the localities of Ciudad Bolivar, Bosa and Kennedy are the ones
with the highest number of dance trainers (Secretaria de Educación de Bogotá, 2017) (Graph 15).

Graph 15. Percentage of dance teachers linked to the Ministry of Education, by locality for 2017.

0,0 2,0 4,0 6,0 8,0 10,0 12,0 14,0 16,0 18,0

1. Usaquén 0,4
2. Chapinero 0,0
3. Santa F e 2,9
4. San Cristóbal 9,0
5. Usme 6,8
6. Tunjuelito 1,4
7. Bosa 13,6
8. Kennedy 13,3
9. Fontibón 3,2
10. Engativá 11,5
11. S uba 5,7
12. Barrios Unidos 2,2
13. Teusaquillo 0,7
14. Los Mártires 0,4
15. A ntonio Nariño 1,4
16. Puente Aranda 0,7
17. La Candelaria 0,0
18. Rafael Uribe Uribe 9,7
19. Ciudad Bolív ar 16,5
20. S umapaz 0,7

Own creation, Source (Secretaria de Educación de Bogotá, 2017)

According to the findings, another instance that offers non-formal training processes in dance, free of
charge to the communities of Bogota, is the District Institute of the Arts - IDARTES, through its pro-
grams NIDOS and CREA, which are aimed at children between 0 and 5 years old and those of school
age. These are developed in public spaces, school and cultural environments, in order to provide tools
that allow children and adolescents in the city to make good use of their free time (IDARTES, 2022a,
2022c). On this particular topic, evidence was found that between 2011 and 2019, the CREA program
linked 701 dance agents, of different scenic genres that carried out actions in 14 of the 20 localities of

29
the city. For the same period, it was found that the NIDOS program had 24 dance agents (IDARTES,
2017, 2020).

Another agency that offers dance training processes is the Dance Management of IDARTES, within
the framework of its Orbitante Plataforma Danza Bogotá program. These, unlike those described above,
are specialized processes in technique, management and training in and for dance. These are aimed at
specialized agents who want to deepen their knowledge in this performing art (IDARTES, 2022d).

Research on Dance
The analysis of information regarding research on dance in Bogota considered research groups, publica-
tions and/or research as a result of university graduate work of HEIs that offer formal dance training processes.

Regarding research groups, the study considered 18 groups directly related to formal dance training
programs and/or that cross dance, and from the cultural sector (Table 7), whose processes and/or results
have been made visible as academic, reflective and/or creative products.

Table 7. List of registered research groups

Name of the
Name of Research Group / Semillero
N° HEI - cultural Website
de Investigación
organization
Manusdea
1 Manusdea Scenic Anthropology https://www.manusdea.org/
Antropología Escénica
Corporación Inclusive
2 Inclusive Movement Corporation https://inclusivemovimiento.weebly.com/
Movimiento
3 Cámara de Danza Chamber of Dance https://camaradedanza.wixsite.com/principal
4 Cortocinesis Cortokinesis https://www.cortocinesis.com
5 Dakini Danza Dakini Dance https://dakinidanza.com/
6 Danza Común Common Dance http://www.danzacomun.com/
7 Red de Artes Vivas Living Arts Network http://redartesvivas.com/

8 Concuerpos Concuerpos https://concuerpos.com/sitio/

Corporación
9 Embodying Corporación Embodying Reconciliation https://embodyingreconciliation.com/site/
Reconciliation

30
 Universidad Semillero IE-CUBUN Dance, Pedagogy, Body http://licenciaturaenartesescenicas.upn.edu.co/semillero-ie-cubun-danza-
10
Pedagógica Nacional and Thought pedagogia-cuerpo-y-pensamiento/
Fundación Integrando
11 MASSDANZA | Dance Observatory https://integrandofronteras.org
Fronteras
Fundación Triknia
https://scienti.minciencias.gov.co/gruplac/jsp/visualiza/visualizagr.
12 Kábhelioz Danza Triknia Creación - Dance Investigation
jsp?nro=00000000017484
Contemporánea

Universidad Distrital https://scienti.minciencias.gov.co/gruplac/jsp/visualiza/visualizagr.

13 Dance Arts
Francisco José de jsp?nro=00000000010348
14 Caldas Semillero Dance Knowledge and Practices http://fasab.udistrital.edu.co:8080/unidad-investigacion#info_investigacion
Pontificia Universidad https://scienti.minciencias.gov.co/gruplac/jsp/visualiza/visualizagr.
15 Research and Creation in Performing Arts
Javeriana jsp?nro=00000000017899
Universidad Antonio https://scienti.minciencias.gov.co/gruplac/jsp/visualiza/visualizagr.
16 Didactics of the Performing Arts
Nariño jsp?nro=00000000007479
https://www.cenda.edu.co/la-alternancia-en-los-semilleros-de-investigacion-
Mediating Body Research Seminar
Corporación en-danza
17
Universitaria CENDA https://www.cenda.edu.co/la-alternancia-en-los-semilleros-de-investigacion-
Mediating Body Research Seminar
en-danza
Aesthetics and History of Art in Colombia
Universidad Jorge and Latin America Historiography and https://www.utadeo.edu.co/es/grupo/ciencias-sociales/35/estetica-e-historia-
18
Tadeo Lozano philosophy of the performing arts, dance del-arte-en-colombia-y-latinoamerica
and performance

Creación propia. Fuentes: (Ruiz Álvarez, 2022) (Rodríguez, 2022)

Regarding these research groups, it was found that 63% of them were created in the last 10 years as
a result of the increase in formal training programs in dance and/or that cross it, the number of students
and graduates of these spaces, and the interest in building new knowledge about the field. Of these, it
was found that 62% have publications (books and/or articles) of reflection and/or academic publications,
which shows the continued interest in socializing research around this field (Figures 15 and 16).

On the other hand, it became evident that the research groups, composed of three to ten agents, whether
or not directly related to dance, have been developed with the advice of researchers linked to the dance
practice and coming from various disciplines, mainly from the field of humanities and sociology. Likewise,
it was observed that the investigative exercise of these groups is carried out considering periodic meetings
of up to 3 times a week, depending on the intensity and/or urgency of the group to report their findings
(Manusdea Antopologia Escénica, Corporación Inclusive Movimiento, Dakini Danza, Red de Artes Vivas,
Corporation Embodying Reconciliation, Corporación Cortocinesis, Corporación Concuerpos).

31
 Graph 16. Years of experience in the field of research. Graph 17. Have you published in books and/
or journals about your findings?

6 years ago
13%
More than
8 years ago 11 years no
13% 37% 38%

10 years yes
ago 62%
12%
3 years ago
25%

Own creation, Source (Ruiz Álvarez, 2022c)

Regarding the socialization and visibilization of research in the field of dance, it was found that in
Bogota, in 2016 the Research Network Cuerpo Danza Movimiento was created as a way to circulate
and make visible the processes and the results Currently, this initiative brings together 25 researchers in
the field, from Argentina, Colombia and Mexico, has three academic texts, the first edition of a journal
of reflection and a summary document of its dialogue spaces carried out in 2021.

In this direction the tracking, evidenced the existence of several spaces of circulation and socialization
of research processes and results, among these the National and International Congress of Dance Re-
search1, a project created in 2012 at the Fundación Universidad de Bogotá Jorge Tadeo Lozano, which
was assumed by the Research Network Cuerpo Danza Movimiento since 2017 (Red de Investigación
Cuerpo Danza Movimiento, 2017), and which is held every two years.

In this line, we also found The Scenic Encounter2, organized by the faculties of Arts and Education of
the Universidad Antonio Nariño -UAN- (Universidad Antonio Nariño, 2022); and Art and Academy3,
de la Universidad Distrital Francisco José de Caldas –UDFJC-; academic events that are held every year

1
In 2021, the 6th national and 2nd international version of the Congress was held (Red de Investigación Cuerpo Danza Movimiento, 2017).
2
In 2022, the UAN held the 9th edition of Encuentro Escénico (Universidad Antonio Nariño, 2022).
3
In 2022, the UDFJC held the 3rd version of Art and Academy.

32
and in which the results of the research seedlings of the artistic field of these Higher Education Institu-
tions are socialized.

Regarding research such as degree works and theses, the search corroborated the existence of 794
documents, issued and/or published between 2010 and 2020, according to the virtual repositories of the
Pontificia Universidad Javeriana (Pontificia Universidad Javeriana, n.d.), the Universidad Distrital Fran-
cisco José de Caldas, (Universidad Distrital Francisco José de Caldas, n.d.), the Universidad Antonio
Nariño (Universidad Antonio Nariño, n.d.) and the Corporación Universitaria CENDA (Corporación
Universitaria CENDA, n.d.), which showed a considerable increase, according to the virtual repositories
of the Universidad Distrital Francisco José de Caldas, n.d.). f.), the Universidad Antonio Nariño (Uni-
versidad Antonio Nariño, n.d.) and the Corporación Universitaria CENDA (Corporación Universitaria
CENDA, n.d.), which showed a considerable increase in relation to what was reported in 2006 in the
State of the Art of Dance in Bogotá DC (Beltrán Pinzón & Salcedo Ortíz, 2006).

In relation to the field of training for research around dance, the existence of the Virtual and In-
ternational Diploma “Ways of Researching Dances” coordinated from Bogota by the Cuerpo Dan-
za Movimiento Research Network was identified, which has put in discussion processes and research
results around theory, pedagogy, research - creation, cultural management and dance history (Red de
Investigación Cuerpo Danza Movimiento, 2017).

Regarding support or grants for research related to dance in Bogota, it was found that public sector
institutions such as the Secretariat of Culture, Recreation and Sport, encourage this type of actions
through the opening of specific and/or transversal calls, enhancing their exercise and expanding the field
of knowledge on these issues. In this direction, it was evidenced that the Ministry of Science since a
few years ago, opened an interdisciplinary invitation directed to the arts, from where this type of work
in the field of dance in the city can also be supported.

In this area, it is worth mentioning that sometimes these calls were declared deserted and/or did not
have the participation of dance agents, which suggests that the sector is unaware of the ways to present
their proposals in these fields and/or that they are not yet aware of this type of instances of public support.

33
 Table 8. Winners of public calls for proposals for dance research between 2020 and 2022.

Year Name of the Call for
Proposals
Becas de investigación de
2022 experiencias o procesos de las
prácticas artísticas en Bogotá.
Becas de investigación de las
artes - Investigación disciplinar
2021
en Danza.
Becas podcast para la
circulación de investigaciones
sobre las artes
2021
Becas de investigación –
Bogotá, un espacio para el
conocimiento de las artes
Beca de Investigación sobre las
Prácticas Artísticas y Culturales
de los Sectores Sociales LGBTI
Convocatoria de investigación
en danza
2020
Research Research Group Principal Investigator -
Representative
Escrituras de borde: Resonancias de CONVERSA(C)C IONES Natalia Orozco Lucena
procesos coreográficos y coreopolíticos en
tres creadoras de las ciudad de Bogotá
metroSensus una alternativa incluyente LA CAVERNA Diego Felipe Gaitán Lozano
para los procesos de creación y
enseñanza aprendizaje de la danza en
personas sordas
Danza Contacto en Bogotá: Tu piel es mi EL SIGUIENTE PASO Adriana Paola Carvajal Tarazona
piel, escucha confía PODCAST
La ficción dorada: la construcción de una PESQUISA, DANZA E Raúl Hernando Parra Gaitán
identidad dancística nacional HISTORIA
Festival Folclórico Nacional del Bambuco AGRUPACIÓN Edgar Alfredo Ruiz Bautista
Gay “Patrimonio LGBTI de la Ciudad” FESTIVAL FOLCLÓRICO
DEL BAMBUCO GAY
BOGOTÁ
El Tango como Fuente de Conocimiento N/A* Edis Aleida Villa Martínez
Sensible. Entre la sensibilidad y la
racionalidad del cuerpo
EXPANDIR/DESBORDAR EL CUERPO Grupo de Investigación Cristian Albeiro Pulido Melo
¿Acción, performatividad y danza en Artes del Movimiento
contemporánea? Tres estudios de caso de - Blackbox Producción
agrupaciones de danza en Bogotá, Cinco Multimedia
capítulos para webserie documental
Danza Común - Memorias Y Prácticas De N/A* Rodrigo Estrada
Resistencia
Experiencias de la vertical en danza N/A* Haike Irina Stollbrock Trujillo
#ELBAILENOSUNE: Experiencias N/A* Andrea Ramírez Rojas
corporales e interacción social en la
academia son de habana, antes y durante
la crisis del covid-19

N/A: Not Applicable

Own creation, Source (Secretaria de Cultura, Rerecreación y Deporte, 2022) (Secretaria de Cultura,
Recreación y Deporte, 2021) (Secretaria de Cultura, Recreación y Deporte, 2020)

In this matter, it was found that the Dance Management, a dependency of the District Institute of
the Arts, since 2010, published its own research such as “La casona de la Danza” (Gerencia de Danza,
2017), “Programa de mano. Colombian choreographies that made history” (Massa, 2012) and “Cuerpo
entre líneas” (Reyes et al., 2010). In addition, it has been periodically publishing “Tránsitos de la inves-
tigación en Danza” where analyses, reflections and/or research articles on the field are published.

34
 Likewise, it was learned that as part of the aforementioned stimuli, this unit published several docu-
ments by independent researchers, among these are “Entre tradición y contemporaneidad - Análisis de
las tendencias escénicas de la danza tradicional en Bogotá y su relación con las políticas distritales de
estímulos” (Vargas Núñez & Toledo Aranda, 2021), “Cartografía de las danzas de matriz africana en Bo-
gotá” (Ladino Rodríguez & Rosero Gómez, 2019), “Reconstruyendo la experiencia: A systematization
of the unfiltered work” (Buitrago Echeverri & Avellaneda Ramírez, 2019), and “Exposed, expiated and
rebelled: cartographies of the baroque body in colonial dance” (Lozano, 2019; Reyes, 2017).

Dissemination of the dance

For this characterization, the dissemination of dance was understood as the way in which it is made
visible and known in the city and beyond, for this reason, this section was subdivided into three com-
ponents. The first gathers information related to the circulation of the agenda around dance. The second
component provides information on dance festivals and/or meetings organized in Bogota as platforms
for stage circulation; and the third component provides information on the dynamics of some of the
agents of dance in the field of creation and circulation.

Circulación de la información
Dance in the printed press with national coverage
The information for this item was collected with the aim of understanding the topics in the field of
dance, which were relevant for El Tiempo and El Espectador, between 2015 and 2021, in its printed
version. This considering that these are mass media of information with national coverage and that both
are media of incidence and/or social recognition.

In the period analyzed, the tracking revealed that these media, together, recorded 423 publications about
dance, including news, information notes, chronicles, reviews and/or interviews, of which only 34% corre-
sponded to information on dance actions, products and services offered and/or performed in Bogota (Graph 18).

35
 Graph 18. Percentage of publication of information on the field of dance.

34%

66%

Own creation, Source (Fundación Integrando Fronteras, 2022).

Likewise, it was reported that these media published more information related to the field of dance in
the months of February, June and October. In this regard, it is worth mentioning that the study highlights
that before the pandemic (2015-2019), at least one type of information related to dance was published
monthly, but with the arrival of the pandemic (2020 - 2021), the media prioritized other types of infor-
mation, decreasing to zero the number of publications in this field of culture (Graph 19).

Graph 19. Percentage of publications related to dance, between 2015 and 2021, by month

4,0
3,0
2 ,0
1,0
0,0
October

November

December
September
January

February

April

May

July

August
March

June

2 015 2 016 2 017 2 018 2 019 2 02 0 2 02 1

Own creation, Source (Fundación Integrando Fronteras, 2022).

36
 Regarding the contents of the publications, it was found that these were mainly focused on providing
information related to Folklore, followed by Ballet, Contemporary Dance and Salsa (Graph 20). Like-
wise, they referenced actions linked to stage circulation, showing that training and/or research processes
are not considered relevant for the printed version of these media (Graph 21).

Graph 20. Percentage of publications by dance genre.

35,0
30,0
25,0
20,0
15,0
10,0
5,0
0,0
Danza - Teatro

Tap
Danza Árabe

Zumba - Rumba
Ballet

Danza Contemporánea

Danza Urbana

Salsa
Reg uettón , Capoeira, Samba )
Jazz
Folklore

Pole Dance

Varios Gén eros

Flamen co

Tang o

Teatro - Musical
Danza Acrobática

Opera

Ritmos Latinos (Bachata,

Own creation, Source (Fundación Integrando Fronteras, 2022).

Graph 21. Percentage of topics published in the print versions of El Tiempo and El Espectador, between 2015 - 2021.

20
20
18
18
16
16
14
14
12
12
10
10
8
8
6
6
4
4
2
2
0
0 Showcase Classes Analysis - Reflection Spaces - infrastructure Research - publications
Showcase Classes Analysis - Reflection Spaces - infrastructure Research - publications

2015 2016 2017 2018 2019 2020 2021

2015 2016 2017 2018 2019 2020 2021
Own creation, Source (Fundación Integrando Fronteras, 2022).
37
 Finally, the information published corresponded mainly to chronicle-type documents followed by
journalistic notes, which indicates that some texts were prepared with more research work than others.
In this framework, the existence of critical documents in 2015, which were not considered again until
the end of this study, stands out.

Graph 22. Percentage of journalistic genres that were approached for the publication of information related to dance, between 2015 and 2021.

1% 9%
7%

23%

60%

Own creation, Source (Fundación Integrando Fronteras, 2022).

Specialized media around dance

El cuerpoeSpín
This is a specialized magazine-type publication that focuses on the analysis of dance performance
proposals. Its first edition was published in 2008, in Bogota, under the direction of Adriana Caro, edited
by Rodrigo Estrada and with the editorial support of Margarita Roa, Natalia Orozco and Juan Fernando
Mejía. It is currently configured as a virtual medium that enables the dissemination, criticism and anal-
ysis of stage creation (El cuerpoeSpín, 2022).

38
 Escénika
This magazine promises to promote and circulate documents of analysis, reflection and/or research
results of new researchers and writers of the performing arts, with emphasis on dance. Its first edition
(printed and digital) was issued on September 10, 2022, under the direction of Edgar Laiseca Rodríguez
and the editorial group Kálamo Danza (Laiseca, 2022).

Dissemination Platforms4
The study recorded information from 31 platforms of circulation around dance, organized as indepen-
dent social initiatives, which may or may not have public support.

Table 9. List of dance circulation platforms analyzed.

Date of
Circulation platform name Duration completion*
Organizer

Between May “Artistic and cultural foundation - Ars Nova

Open Salsa Bogotá Champion Chip 3 days
andJune Didier Muñóz”
Bailes Zapateados Festival y Congreso
3 days July Llanero Cultural Center
Internacional
Bogotá Bellydance Festival (BBF) 3 days October Vanessa Mancipe
World Congress “Bogotá en su Salsa” 3 days August Capital Dance Foundation
Dunkan Dance Fest 3 days November Dunkan Dance School
Alternative encounter Danza Bosa 3 days November Bosa Dance Network
National Intercollegiate Meeting of
2 days September ESARTEC
Traditional Dances
Dance in the Act Festival 5 days June Theater and Culture Corporation “Acto Latino”.
Interdisciplinary Art Festival “Cuerpo
5 days September Parentela Collective
Estado” **
Break Dance Festival REDANZA 2 days September REDANZA Corporation
Arabian Dance Festival - Luxor in Bogota 3 days November Luxor Dance Academy
Bogota Flamenco Festival 5 days July - August Red Distrito Flamenco, Casa VALHALLA and The Reyes Diaz Flamenco School
Temporada –
Golden Dragonfly Festival June La Libélula Dorada Theater
1 mes
Festival de la Performancia y los Actos Temporada –
October Theater and Culture Corporation “Acto Latino”.
Libres 1 mes

4
For the research, circulation platforms are those projects and/or actions resulting from collaborative work and/or the interest in making dance productions visible.

39
District Festival of Oriental Dance
5 days September Oriental Dance District Groupings
‘Oasis’**.
Iberoamerican Festival of Traditional
5 days July Fesnasol International
Dance
Festival Indígena de Danza y Artes
Mediales SIE (Indigenous Festival of 10 days April Coopdanza INC
Dance and Media Arts)
America Nuestra International Festival 5 days August Folkloric ballet and Colombian Dance
America Nuestra International Festival
International Folkloric Dance Festival 10 days June - July Carlos Chaparro
“Tierra de Cóndores”.
International VideoDance Festival 5 days September Imagen en Movimiento Foundation
International Festival ESTILOS partner Temporada –
August Los Danzantes Cultural Industry
dance 1 mes
Festival Los Niños y Adolescentes de
América Bailan (The Children and 7 days November Los Danzantes Cultural Industry
Teenagers of America Dance)
Solo and Duets Festival “Detonos”. 8 days October Scenic Alchemy
Festival Suba Vive la Danza 3 days November Marcela Pardo Barrios
University Festival of Contemporary
12 days October Jorge Tadeo Lozano University
Dance
Hysterya Fest 3 days May Dance Company and Integrando Fronteras Foundation
La Gran Hafla Bogotá 4 days October Laura Phoenix
Lockombia 3 days November Lucy Cobaleda
International Performing Arts Showcase September -
8 days Sueño Mestizo Corporation
- Continuous Movement October
Seasonal - 1
Move Your Senses August Kálamo Dance
month
Diferentes
Gala Dance Night 1 Day Bosa Dance Network
periodos

* The date and duration varies according to the criteria of the organizer of the circulation platform.
**This festival no longer takes place
Own creation, Source:(Barbosa García, 2022)

In this regard, it was found that the festivals are held in different localities, mainly in Santa Fe,
followed by Bosa and Teusaquillo (Graph 23). In addition, 42% of these are spaces that were created
between 2018 and early 2022 (Graph 24), which leads to account for the increase of spaces for the cir-
culation of different scenic proposals in the city.

40
 Graph 23. Percentage of Dance Festivals by location Graph 24. Percentage by trajectory of the Festivals.

3% 3%
3%
10% 1 - 3 years 42
14%
7% 4 - 6 years 15

3% 7 - 10 years 15

7% 10 - 15 years 8

3% 16 - 20 years 27
34% 7%
More than 21 years 8
3%
3%
0 10 20 30 40 50

Own creation. Source (Barbosa García, 2022b).

The circulation platforms show scenic works derived mainly from folk and/or traditional dances, fol-
lowed by contemporary and urban dance proposals. On the other hand, the opening of articulating spaces
involving various dance genres became evident (Graph 25). The study also confirmed that the circula-
tion platforms take place mainly in the second half of each year, specifically in September (Graph 26).

Graph 25. Percentage of dance genres in the Festivals Graph 26. Percentage of festivals by month.

45
Danza Contemporánea,… 21 40 38
Danza Orienta - Árabe 12 35
Danza Urbana 12 30
25
Flamenco 3 20 19
Folklore 27 15
10 12 13 12
Salsa 6 8
5
Varios Géneros 12 0 0 0 0 0 0 0
Tap 3
June

September
May

July
Mach
April

November
October

December
August
January
February

Video Danza 3
0 5 10 15 20 25 30

Own creation, Source (Barbosa García, 2022b)

41
 Regarding the scenic composition and/or call for dance groups of the dance circulation platforms
in Bogota, the results show that they call for, coordinate and program groups, collectives and/or local,
national and/or international companies. In fact, it was recorded that 80% of the festivals consulted pro-
gram the presentation of more than 11 groups.

Graph 27. Percentage of the number of groups invited by the festivals.

Menos de 5 4
Entre 6 y 10 8
Entre11 y 15 20
Entre 16 y 20 4
Entre 21 y 30 4
Entre 31 y 40 19
Más de 41 27
No se realiza 15

0 5 10 15 20 25 30

Own creation. Source (Barbosa García, 2022b).

In this regard, it was observed that the festivals bring together amateur and professional groups, com-
panies and/or collectives, mainly made up of children, young people and adults. This evidences the exist-
ing articulations between dance agents and the community following this type of scenic manifestations,
of different generations. On the other hand, it was shown that there are festivals that expressly convene
professional groups in the field of dance (23%) (Graphs 28 and 29).

From another perspective, the study identified that 96% of the circulation platforms include in their
programming, in addition to staging, actions of reflection, analysis and/or practical specialization in the
field of dance, from which conferences, lectures, workshops and/or classes related to the performing arts
are programmed (Graph 30).

42
Graph 28. Type of groups that take part in the festivals. Graph 29. Types of members of the groups, companies and/
or collectives participating in the circulation platforms.

0% 0% 0% 4%

15% 23%
23% 30%

3%

5%

40%
Childish Juvenile

57%
Childish and Adults Childish and Juvenil e
Childish, Juvenile and Adults Juvenile and adults
Older Adults Adults

Own creation, Source (Barbosa García, 2022b).

Graph 30. Answers to the question: Does your event carry out contextual activities? Mention broadly the actions you carry out.

Talleres relacionados con entrenamiento escénico (creativos),

4% Talleres relacionados con entrenamiento físico,
Conversatorios, charlas escénicas, Conversatorios, charlas gestión cultural,
Académicas / Pedagógicas / Investigativas: Como foros o seminarios y/o laboratorios
de investigación/creación.

96%

Yes No

Own creation, Source (Barbosa García, 2022b).

43
 Management and/or administration of circulation platforms
In relation to the management and administration of dance meetings and/or festivals in Bogota, 54%
of those consulted submitted their initiative in public calls for proposals to obtain support for their real-
ization (30). In fact, it was found that some of the platforms consulted were winners of this type of sup-
port, making it possible to involve a greater number of agents in its realization. On this point, it is worth
mentioning that, according to the study, those who did not apply for public support for their initiatives,
executed their circulation proposals through the management of private resources and/or the develop-
ment of strategies for the exchange of products and/or services (Barbosa García, 2022c). On this subject,
it was found that 37% of the events were held in open and public spaces, so they are free of charge, and
that 54% of them had some contribution from the public sector (Graph 31).

Graph 31. Percentage of participation in public calls for Graph 32. Percentage of types of admission to events.
proposals for the execution of the circulation platforms.

0%

37%
46%

54%
63%

Yes No Tipo de ingreso Con pago Gratuito

Own creation, Source (Barbosa García, 2022c).

The study revealed that 46% of the actions programmed in the festivals take place in public and private
spaces. In the latter, mainly spaces rented or rented under alliances, agreements and/or arrangements.

44
 Graph 33. Percentage of types of spaces in which the agendas Graph 34. Percentage Quality or condition of private spaces.
of the dissemination platforms are programmed.

Publics 12 Private - Own 15

Space of other organizations 58

Private 42

Both 27

Publics and Priv ate 50

0

0 10 20 30 40 50 60 0 20 40 60 80

Own creation, Source (Barbosa García, 2022c)

In turn, it showed that 81% of the circulation platforms, given their management and internal policies,
pay the groups that participate in their stage and/or context programming. It is worth mentioning that the
spaces that do not make specific payments and have a communitarian and/or meeting character, so that
instead of remuneration, exchanges of products and/or services are managed.

Graph 35. Percentage of circulation platforms that pay the groups that are part of their program.

0%

30%

70%

Own creation, Source (Barbosa García, 2022c)

45
 Regarding copyrights and registration in the Single Portal of Public Performing Arts - Pulep -, the sur-
vey revealed that 19% made the corresponding payment to Sayco and Acinpro, and 31% of these were
registered in Pulep. This shows that most of the circulation platforms still require more knowledge on
these issues in order to strengthen the sector and the exercise of artistic circulation.

Graph 36. Percentage of circulation platforms that Graph 37. Percentage of circulation platforms that register with PULEP.
make payments to Sayco and Acinpro.

0% 0%

19%

31%

69%
81%

Own creation, Source (Barbosa García, 2022c)

Public dissemination platforms

Within the framework of the study, in addition to the circulation platforms described above, there are
others specialized in dance, designed, organized and executed by public entities. By 2022, 9 were regis-
tered, largely under the leadership of the Dance Management of IDARTES.

Table 10. List of Dance Festivals organized by district public entities.

Name of the Circulation Platform Duration Date of completion* Organizer

Bogota City of Folklore 20 days July - August Gerencia de Danza

Bogota Ballet Encounter 1 day June
Dance in the City 15 days November
Major Dance Gala 1 day July
Live Archive Exhibitions 1 day July

46
 Orbitante Samples Cycle I 3 days June Instituto Distrital de las Artes
Orbitante Samples Cycle II 3 days October
International Break Battle - BIVA 2 days October - November
CreSer Dance Festival 4 days October Secretaría de Integración Social

* The date and duration varies according to the criteria of the organizer of the circulation platform.
Own creation, Source (Instituto Distrital de las Artes - IDARTES, 2022) (Secretaria de Integración Social, 2022)

In this context, the study confirmed the existence of platforms for the circulation of other artistic
disciplines, which are managed from instances such as the Music and Literature Management, which
in alliance and/or strategic coordination with the Dance Management, open spaces for the visibility of
scenic dance proposals (District Dance Council, 2022). Hence, in the Hip Hop al Parque District Fes-
tival, the International Break Battle - BIVA (IDARTES, 2022b), in the Salsa al Parque Festival, the
winning dance groups of the salsa scholarship are presented (Dance Management, 2022), and in La Feria
del Libro, a space is opened for dialogue and circulation of knowledge of this artistic field.

In this regard, it was also corroborated that in the public environment, platforms and/or spaces for
circulation around dance are created in the form of co-production, which means the signing of a legal
contract in which a public entity and a private entity agree to jointly carry out an activity under specific
conditions in which the roles, responsibilities and profits around this type of actions are detailed. This is
subscribed, mainly, between the sub-directorate of cultural facilities of Bogotá and/or its dependencies
and the legal entities of the private sector interested in these issues (IDARTES, 2021b; Consejo Distrital
de Danza, 2022).

Some initiatives that were carried out under this format were the Bogotá en su Salsa World Con-
gress held at the Centro Cultural Mediatorta (IDARTES, 2021a), the presentation of the play Desnudez5,
held at the Teatro Jorge Eliécer Gaitán (Teatro Jorge Eliécer Gaitán, 2022), among others.

5
Desnudez was a contemporary dance piece, co-produced by the Jorge Eliécer Gaitán Theater and the Spanish Embassy in Colombia.

47
 Registration - formalization of stage dissemination
From the surveys and interviews, conducted for the development of this study, it was confirmed that,
from January to December, between 2016 and 2021 and until October 2022, multiple spaces had been
opened for the circulation of dance in the city, at different times, concentrating particularly in the 2nd
half of each year, but very few or none were formally registered. According to the reports of the Single
Portal of Public Performing Arts Public Shows - Pulep-, between 2016 and October 2022, 344 dance
performances were registered in Bogota, which means between 49 and 50 on average per year (Ministry
of Culture of Colombia, 2022) (Graph 38).

In this regard, it was found that the formal registration of events and/or stagings around dance before
the pandemic (until 2019) was increasing, falling sharply in 2020, showing its recovery between 2021
and 2022. It should be noted that the data confirms that the circulation of this type of performing art takes
place mainly between July and November of each year (Graph 39).

Graph 38. Number of circulation platforms and/or dance shows Graph 39. Number of registrations per month.
registered in Pulep between January 2016 and October 2022.

35
100
30
90
87 25
80
20
75
70 15
60 62 10
50
54 5
0
40
July
March

April

June

September

October

November

December
January

February

May

August
30
34

20 21
10 11
2016 2017 2018
0 2019 2020 2021
2016 2017 2018 2019 2020 2021 2022 2022

Own creation, Source (Ministerio de Cultura de Colombia, 2022)

48
 The review of this field also revealed that the activities registered correspond mainly to circulation
platforms (festivals, meetings, etc.) and, in this sense, to those organized by private entities (cultural and/
or entertainment industries, etc.).

Graph 40. Type of circulation. Graph 41. Type of organizer.

50 70
47
45 45
43 60 59
40 42
35 50 49
30 29 40 40
28 40
25 25 37
20 21 30
18 19 26 28
15 24
13 20
10 11 17
10 10 10 11
5 11
3
0 0 0 0
2016 2017 2018 2019 2020 2021 2022 2016 2017 2018 2019 2020 2021 2022

Showcase Creation Plarforms Public Private

Own creation, Source (Ministerio de Cultura de Colombia, 2022)

There was a wide fluctuation per year, with a minimum of 3 and a maximum of 16 of these spaces. On
the other hand, a minimum of 30 and a maximum of 137 functions per year were recorded.

Graph 42. Number of circulation platforms registered per year. Graph 43. Number of functions per year.

20
35
15 16
14 137
13
Showings

109
10 124
9
30
5 106
3 4 99
0 0
2016 2017 2018 2019 2020 2021 2022 0 50 100 150

Own creation, Source (Ministerio de Cultura de Colombia, 2022)

49
 Other ways of dissemination
Performances and/or stage shows
In relation to the circulation of dance stage proposals in Bogota, the survey revealed the existence of
spaces other than the aforementioned platforms, focused on the realization of performances, occasional
and/or sporadic shows, whose particular characteristic is the return on investment. In this field, there
are performances organized and carried out by theaters and / or auditoriums, dance schools-academies,
entertainment companies, performing groups, among others, which are carried out mainly with the col-
lection of box office.6 and are not associated with economic contributions from the public cultural sector.

On the other hand, in this direction, there are artistic shows that are purchased as stage shows by pri-
vate instances and that are directed to their community, this is the case of organizations such as Pontificia
Universidad Javeriana (Pontificia Universidad Javeriana, 2022), Universidad de los Andes (Universidad
de los Andes, 2022), Teatro Cafam (Cafam, 2022), Colsubsidio (Colsubsidio, 2022), Compensar (Com-
pensar, 2022), among others.

Virtual media of circulation of information of the dance

Danzaenred.com
It was created in Bogota in 2014 as a virtual community or social network, self-managed, which
sought to make visible an updated agenda of the exercise of dance in Colombia. It was created by Mon-
tenegro Agencia de Comunicaciones, based on an investigation by Joaquín Joya on the need for the
dissemination Those interested only had to register for free and publish the information they were inter-
ested in sharing. By 2022, the information subscribed to the website is outdated. Given its dissemination
characteristics and in relation to moral and patrimonial rights, the site developed privacy policies, which
allowed the session of the rights of the contents to be published on the virtual platform (Montenegro
Agencia, 2014; Montenegro Agencia, 2020).

6
Ticket prices for performances with these characteristics range between $10,000 and $150,000 thousand pesos, depending on the stage, the group, among

50
 Danza.co
The initiative was developed as a project of Los Danzantes Industria Cultural, coordinated from Bo-
gota and launched in 2020. It was structured as a social network, allowing the publication of events,
photographs, audios and video links. Currently, it has the registration of 319 dance agents nationwide,
90 video records of scenic proposals, 71 documentary videos, 60 dance videos, 882 dance articles, 78
researches, 19 books, 44 magazines, 1065 theses, among other types of content, uploaded from the
administrator and/or the agents registered on this platform. Currently, the link to this space is free (Los
Danzantes Industria Cultural, 2020).

Tubaile.com
This is a virtual platform launched in 2018 that offers non-formal training classes in dance, for ex-
ercise and/or entertainment, in a collective and/or personalized manner, in addition to dance shows of
different genres, in classroom and virtual versions. Users/clients can register to organize the services
they acquire.

This can be understood as a virtual platform, where specialized services can be acquired and/or spe-
cialized dance services can be offered (class and/or stage show) (Tubaile, 2018).

Palco.danza.co
This is an initiative of Los Danzantes Industria Cultural that aims to circulate virtually the staging of
groups and/or dance companies, recorded on the stages of the city. Currently, 7 stagings of 7 companies
from Bogota are registered. This platform acts as a virtual theater and allows access to stage proposals
for a fee, so that groups can monetize their artistic services. The projection logic consists of activating
the videos of the choreographic proposals, at a specific time and for a specific duration (Los Danzantes
Industria Cultural, 2020).

51
 Teatro Digital – Teatro Mayor Julio Mario Santo Domingo
This is an initiative that makes it possible to circulate different performing arts proposals, as if they
were transmitted in real time, created to be projected through audiovisual media. Since 2020, it has been
developed by the Teatro Julio Mario Santo Domingo, as a virtual circulation space with free access, to
which users have access only on Thursdays. The scenic proposals projected on this platform, which are
produced in HD format, were purchased by the Theater for a specific period of time, which means that
they cannot be reproduced after the authorized period. In accordance with the technical conditions and
the interest of the audiences of this type of proposals, the works presented through this platform are pro-
tected by national and international copyright regulations (Teatro Digital, 2020).

Danza Escrita
This is a digital platform that stores information related to research on dance, which currently has an
extensive record of theses and / or academic publications. It is recognized in itself as a digital repository
of dance in Colombia. This was conceived in 2019 as a result of the research “Written movement com-
munities: university research on dance in Colombia”, which was the winner of the 2019 Dance Research
Grant of the National Incentives Program of the Ministry of Culture. The initiative is managed from
two cities (Bogotá and Medellín) under the leadership of Angélica Gamba Pinzón and Juliana Congote
Posada. (Danza Escrita, 2019).

Scenic creation
Around the circulation, the creative processes of 41 dance initiatives of different scenic genres were
reviewed, from which different findings were found.

On the one hand, it was revealed that the scenic creation of dance has diversified even more. Today,
there are no longer only Colombian folkloric dance proposals (in traditional and/or stylized modalities),
contemporary dance or classical dance, but also creations based on international folkloric-popular danc-

52
es (Argentine, Arab, Bolivian, Brazilian, Indian, Spanish, Mexican, Peruvian, Venezuelan, etc.), danc-
es with Afro-Colombian rhythms (Afro-Peruvian, Venezuelan, etc.), and dances with Afro-Colombian
rhythms (Afro-Peruvian, Venezuelan, etc.). ), Afro and Latin rhythm dances (salsa, rumba, reggaeton,
samba, calypso, etc.), urban dances (breakdancing, popping, locking, waacking, voguing, house dance,
jazz fusion, cheer, etc.), theater dance, somatic, aerial dance, among others (Graph 44). It was also ev-
ident that most of the groups tracked have a maximum trajectory of 15 years, which would mean the
opening of spaces for dance creation and exponential growth since 2007 (Graph 45).

Graph 44. Dance genres. Graph 45. Trajectory of the groups.

25 24
21
5%
20
12% 13 13
29% 15 11 11
10 8
15% 5
0
10% 1 to 5 6 to 10 11 to 16 to 21 to 26 to More
22% years years 15 years 20 years 25 years 30 years than 31
7% years

Own creation, Source (Barbosa García, 2022b)

Regarding the composition of the creative proposals, it was found that most of the groups involve an
average of between 11 and 20 dancers, but samples are prepared with fewer or more members according
to the genre, event, activity and/or circulation platform where they will be presented (Graph 46). Of
these, it was found that 90% of the groups involve at least one dancer who studied or has studied dance,
and that 34% of these are mainly composed of dancers in the process of training or with formal training
in this performing genre (Graph 47).

In this regard, it was found that 43% of the groups involve minors in their artistic proposals, while
57% do not have the participation of dancers under 18 years of age, so that, in comparison with the
above, it could be said that there is already a % of groups composed entirely of professionals in the field

53
of dance, understanding as professional those with more than 10 years of experience in the performing
field and/or who have completed a formal training in dance.

Graph 46. Number of dancers per scenic creation. Graph 47. Number of dancers in training or with formal
training in dance in the performing groups.

2%
Ente 1 and 2 2,4
7%
between 3 and 4 2,4
between 5 and 6 7,3
between 7 and 10 22,0
between 11 and 15 14,6
between 16 and 20 14,6 37%
between 21 and 30 9,8 54%
More than 31 14,6
Permanent Change 12,2

0,0 5,0 10,0 15,0 20,0 25,0

Graph 48. Percentage of minors involved in stage creations.

43%

57%

Own creation, Source (Barbosa García, 2022b)

Regarding the creative act itself, the study showed that most of the groups (89.5%) create their own
stage proposals, which may be based on and/or inspired by others, but which are structured with differ-
entiating components in their choreography, dramaturgy, scenic design, etc. In fact, it was recorded that

54
only 2.6% of 100% of the groups surveyed reproduce stage creations of other groups or artists and that
28.9% make adaptations (Graph 50).

In this context, it was found that only 17% registered their work with the National Copyright Office
(Dirección Nacional de Derechos de Autor -DNDA-). This means that, although in a small proportion,
artistic works of dance in Bogota have begun to be registered, but further literacy and accompaniment
on these issues is also required (Graph 51).

Graph 49. Type of works presented. Graph 50. Percentage of organizations that have
registered their stage creations with the DNDA.

1. Reproduces dance samples

15,8
as a result of tradition 17%

2. Reproduces dance samples

2,6
created by other arti sts.

3 . Makes adaptations 28,9

4. Create entirely new works 89,5

83%
0 20 40 60 80 100

Own creation, Source (Barbosa García, 2022b)

In relation to staging, the study revealed that in addition to creation, the groups develop rehearsal
cycles to ensure the quality of their presentations. On this subject, it was found that 55.3% of the groups
spend more than 11 hours a week for this purpose. It was also revealed that only 18.4% have their own
headquarters for their creative activities.

With regard to clothing, it was observed that 97% of the groups have their own clothing, made and/or
purchased, which shows the existence of a considerable number of resources for circulation (Graph 53). On
this subject, only 32% of the groups prepare a written descriptive document on the scenic proposal and/or

55
the choreographic development, an exercise required for the registration of the work with the National Copy-
right Office, which makes possible the protection of the moral and patrimonial rights of artistic creation.

Graph 51. Percentage of rehearsal time. Graph 52. Percentage of type of rehearsal space.

21% 18%
32% 26%

18%
24% 61%

Graph 53. Percentage of dressing room conditions Graph 54. Percentage of groups that describe in written form,
the proposal and choreographic development of the work.

3%
0%

32%

68%

97%

Own creation, Source (Barbosa García, 2022b).

Once the dance works have been created, they are programmed and circulated. In this regard, the
research on the groups revealed that most of them seek local, national and/or international circulation
spaces, according to the characteristics of their stage works and their organizational capacities. In this

56
regard, it was revealed that 84% of the groups have presented themselves in specific circulation plat-
forms (festivals, meetings, etc.); and 70% have shown themselves in private spaces, seeking a collection
or a return on their investment (Graph 55).

In this context, 81% of the groups have circulated their works nationally, in artistic and cultural spac-
es, mainly in the departments of Tolima, Boyacá, Cundinamarca, Valle del Cauca and Antioquia (Graph
56); likewise, 61% have been able to circulate internationally, making their stage work visible mainly
in Mexico, Ecuador, Peru, Venezuela, Chile, Spain and Argentina (Graph 57)

Around these spaces for visibilization, 85% of the groups received specific recognition for their work
and stage creation (Graph 58).

Graph 55. Circulation spaces of the dance scenic proposals. Graph 56. Percentage of groups that have
circulated at the national level.

Public open spaces in alliance or under

59,5
contract with public and/or private… 19%
Enclosed public spaces in alliance or under
56,8
contract with public and/or private…

In an auditorium or specialized theater 70,3

At a cultural event (Festiv als, meetings, etc.) 83,8

81%
0 10 20 30 40 50 60 70 80 90

Graph 57. Percentage of groups that have circulated outside Colombia. Graph 58. Percentage of groups recognized
for their artistic work.

14%
39%

61%
86%

Own creation, Source (Barbosa García, 2022b).

57
 On the administrative management of the groupings
In terms of management, the study revealed that only 32% of the groups have a support team for these
issues, that is, a team dedicated to the organization of information and/or the search for resources for the
development of their initiatives (Graph 59). It was also observed that 68% of the groups circulate their
works, sometimes with payment and sometimes without, depending on different circumstances, which
highlights the intermittency of their income (Graph 60).

According to those surveyed, the charge depends on the interest in circulating and the conditions
under which the circulation platforms are opened. Sometimes, presentations are made free of charge
because they are subject to the execution of projects that cover the general expenses of the groups. In
this direction, circulation spaces are also opened so that the groups have experience in the scene and/or
so that the dance exercise is made visible. Some agents mentioned that many groups do not charge for
their performances because they are not considered professional, because they are made up of children,
adolescents or older adults, or because their dancers do not have formal dance training.

With regard to obtaining resources, it was found that most of the groups offer non-formal training
(84%), which is mainly oriented toward specialized training, that is, high-level training (67%), which
can lead students to continue their dance studies in a formal manner (Graphs 61 and 62).

In this context, it was observed that 80% of the groups, in order to obtain resources, participated in
the district and/or national calls for proposals for stimuli - concerted action for creation. On this issue,
the remaining 20% responded that they did not participate in these calls, because they were unaware of
their existence, the management of the platforms enabled for this purpose and/or because they did not
understand the management of this type of actions (Graph 63).

58
 Graph 59. Percentage of groups that have Graph 60. Percentage of groups that charge a fee
administrative and/or management support. for the circulation of their stage proposal.

Yes
32%

Sometimes No
68%

Graph 61. Percentage of groups that offer non-formal formation. Graph 62. Percentage of the types of training offered.

Low
16%

Media

High

84%

Graph 63. Percentage of clusters that participate in public calls.

21%

79%

Own creation, Source (Barbosa García, 2022b).

59
 Entrepreneurship / Cultural management
For the analysis of this section, a total of 655 records corresponding to Fundación Integrando Fron-
teras tracking exercises between 2020 and 2022 were considered. This sample varies according to the
sub-themes described, considering that an average of 250 initiatives were reported that did not respond
to all the questions asked.

The review and quantitative analysis of the data emphasizes that dance initiatives in Bogotá can be
found in the different localities of the city, mainly in Engativá, Kennedy, Suba and Teusaquillo (Graph
64), which offer different types of products and/or services around the different genres of dance, mainly
folklore, urban dances, Latin rhythms and contemporary dance (Graph 65).

Graph 64. Percentage of dance initiatives by Graph 65. Percentage of artistic genres offered by
locality, with baseline of 655 records. dance initiatives, with a baseline of 655 record.
0 2 4 6 8 10 12 14 0 10 20 30 40 50 60
1. Usaquén 6,7
Ballet 24
2. Chapinero 7,5
3. Santa F e 1,8 Con temporary Dance 27
4. San Cristóbal 2,9
5. Usme 4,7 Dance Theater 4
6. Tunjuelito 1,5 Danza Urbana (St reet dan ce, breakdan ce,
etc.) 37
7. Bosa 7,8
8. Kennedy 10,7 Dance Hall 13
9. Fontibón 5,8
10. Engativá 12,4
Flamenco 3

11. S uba 9,6 Folklore (Scenic) 54

12. Barrios Unidos 4,9
13. Teusaquillo 9,3 Folklore (On ly tr ansmission of knowled ge) 29
14. Los Mártires 0,8 International Folklore (Indian, Arabic,
Peru vian, Bo livian, Ecu adorian, etc.) 26
15. A ntonio Nariño 2,1
16. Puente Aranda 4,7 Sals a 20
17. Candelaria 1,5
18. Rafael Uribe Uribe 2 Tango 14
19. Ciudad Bolív ar 2,3 Other (Aer ial dance, Other Latin rhyth ms
(Rumb a, B achat a, Afro, Hous e, Kiz omba,… 49
20. S umapaz 0,2
No respondió 0,8 No Ans wer 33

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022)

60
 On the other hand, with a sample of 432 initiatives tracked, it was revealed that in the last 20 years the
dance offerings have been increasing, registering a small decrease in the last 5 years. In this context, it
was observed that today there is a large number of organizations, collectives, groups and/or companies
(34%) that were created in the last 10 years, which leads us to think about the relationship between the
strengthening of the field of formal dance training and the opening of initiatives in this sector of the
performing arts (Graph 66).

Graph 66. Percentage of the trajectories of dance initiatives, with a baseline of 432 entries.

20 19
15
15
11
10 7
4 5
5 3

0
from 1 to 5 years from 6 to 10 from 11 to 15 from 16 to 20 from 21 to 25 from 26 to 30 More than 31
years years years years years years

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

Regarding the formalization of the dance initiatives, the search showed that in the Bogota Chamber of
Commerce - CCB-, 346 commercial initiatives (belonging to the simple and/or common regime) were
registered in 2022, which in their name specify the words dance, folklore and/or dance, which are related
to the exercise of the field studied. Of these, 66% are active, i.e., they have updated their commercial
registry for that year (Registro Único Empresarial y Social -RUES-, 2022).

Through a survey of 201 dance initiatives, it was found that 54% of these are not formalized or reg-
istered with the CCB, so they offer their services as a natural person, which implies that the registration
of their products and / or services around the dance, are subject to the International Standard Industrial
Classification - ISIC - that these artists have reported to the Directorate of National Taxes and Customs
- DIAN-, in the creation of their Unique Tax Registration - RUT.

61
 Graph 67. Percentage of active and canceled Graph 68. Percentage of dance initiatives registered
entities in the CCB, with a baseline of 346. with the CCB, with a baseline of 201.

Canceled YES
44% Active NO 46%
56% 54%

Own creation, Source (Registro Único Empresarial y Social -RUES-, 2022).

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

However, based on 107 surveys of representatives of dance initiatives, it was found that 80% of these
initiatives have administrative and/or management support that allows them to maintain and offer their prod-
ucts or services in a coordinated manner, recovering the investment made for these purposes (Graph 69).

Graph 69. Percentage of dance initiatives that have an administrative support team.

0 10 20 30 40 50 60

Yes, we have a multidisciplinary organizational team. 18

Yes, there are few of us and we are dedicated to administration only . 1

Yes, we are few, so we do the administrativ e, formativ e and/or artistic part. 51

Yes, I am an artist and I have a manager. 10

No, it's just me 20

Own creation, Source (Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

62
 On the other hand, based on 168 reports, it was observed that 75% of the dance initiatives carry out
their activities in rented spaces, while 13% carry them out in spaces managed as a result of alliances,
agreements and/or specific agreements (Graph 70).

Regarding the type of activities, they carry out to obtain resources, on a base of 425 respondents, the
survey showed that a high percentage (83%) offer non-formal training services and stage creation, and
that in general only 2% carry out and/or develop the management of cultural projects (Graph 71).

Graph 70. Percentage of the type of venue of Graph 71. Percentage of type of service offered by
dance initiatives, with a baseline of 168. dance initiatives, with baseline of 425.
0 10 20 30 40 50 60 70 80 90
Other Only to scenic creation… 2
Self Owned
13%
12%
Training 10

Training and stag e creation 83

Logistic production 0

Cultural project management 2

Costumes 1

Rented Photography 0
75%
All of the above 3

Other 0

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

In this field, it is worth mentioning that the study revealed the existence of initiatives and/or under-
takings that, although they do not develop dance actions for the stage, do use dance as a tool. This is the
case of organizations specialized in Dance Therapy, whose action is oriented to use dance as a means for
body recognition and/or treatment of mental deterioration conditions. In this direction, we also found
organizations that use dance for the reconstruction of tissue and/or social reintegration; and companies
that propose dance as a tool for physical conditioning, which do not always carry in their name the words
dance, dance or folklore, so for this study they were not traced in depth.

63
 Regarding the management of cultural projects, of a base of 272 records, it was observed that 71%
know and/or have participated in district and/or national public calls for proposals, which does not mean
that they have been granted any support, but rather that they know about this type of public actions for
the promotion of artistic and cultural activities in the city.

Graph 72. Percentage of knowledge of and/or participation in public calls for proposals, with baseline of 272.
No Answer,
0%

No, 29%

Yes, 71%

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

Regarding the open question “Why did you start in the field of dance in Bogota? The survey gathered
different arguments, among which the following stand out:

• Because it is a growing sector, attractive to the community in general.

• Because dance, given its versatility, allows one to articulate various disciplines to manage social
projects aimed at different types of population. In this direction makes it possible to accompany
psychological processes for the treatment of mental illness, therapeutic and / or body training,
among others.

Public policy and management around dance

For the analysis of this topic, data from different tracking exercises conducted by Fundación Integrando
Fronteras and the principal researcher between 2020 and 2022 were considered. Therefore, each subtopic
discussed in this section corresponds to different baseline records, which are specified in each analysis.

64
 In this context, it was found that a high percentage of the surveyed dance agents, 55% of a baseline
of 155 records, are unaware of the ways in which public policies are designed, planned and executed in
general, a fact that can be counterproductive in the event that this community wants to promote public
policies aimed at their sector, since they will not understand and apply the routes and/or opportunities
and guidelines to do so (Graph 73). Taking into account that public policies go beyond the proposal of a
law, as they have to do with the formalization of commitments of the public sector in the short, medium
and long term to contribute to reduce a need and/or problem of the society, which can be evidenced in a
law, decree, norm, resolution, plan, etc.

On this issue, it also became evident that a percentage of the surveyed dance agents are aware of the ex-
istence of the District Dance Council (CDD), however, they do not know the mechanisms for its formation
and its functions and actions, so this space is not recognized as an instance of mediation and communica-
tion between the dance sector and public entities, therefore, they do not understand its scope in and for the
construction, promotion, monitoring of the management and / or public policy for dance in the city.

Graph 73. Do you know how public policies are Graph 74. Do you know what the District Dance
proposed, baseline 155 records. Council is, baseline of 253 entries.

60 80
No; 55
70 Yes; 68
50
Yes; 45
60
40
50

30 40
No ; 32
30
20
20
10
10

0 0

65
 Graph 75. Do you know how to become a member of the Graph 76. Do you know what the District Dance
District Dance Council, baseline of 191 records? Council does?, baseline of 191 entries

60 70
No ; 55 No ; 63
60
50
Yes; 45
50
40
40 Yes; 37
30
30
20
20

10 10

0 0

Own creation, Source (Yurivilca Aguilar, 2020, 2021; Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

Regarding the CDD, it was identified as a formal participation space, which must be guaranteed by
the Dance Management of IDARTES. This is part of the District System of Art Culture and Heritage,
which is governed by Decree 627 (2007), Decree 480 (2018) and Resolution No. EP 305-2022 (2022).
In this order, it is a member of the District Council of the Arts and the District Council of Art, Culture
and Heritage. As a collegiate body, it is invited as an interlocutor to the National Dance Council, so it
has participated in national meetings on this matter (Secretary of Culture, Recreation and Sports, n.d.).

Similarly, it was noted that its members are elected for a period of four years, through a public elec-
tion process, in which those interested in the field can participate, as representatives of subsectors of the
dance community. In case of declared vacant representations, atypical election processes can be man-
aged, which consists of the opening of a short election process, managed by the Council itself.

Within the framework of the study, it was found that the members of the CDD, assume their func-
tions Ad honorem, that is, without any payment for their functions and/or for the development of their
actions around these, since it is understood that the Council is a space in which agents participate who
in themselves and before being elected, lead, convene and/or mobilize the different communities they
represent. Therefore, they are not elected to represent specific dance genres, but rather roles and/or ac-

66
tions transversal to the dance exercise. As such, by 2022, the CDD should be composed of 13 members,
including 11 representatives of the dance sector in general, the representative of local dance councils and
the representative of public entities.
Table 11. List of sectors, profiles and requirements for CDD members.
Sector Profile
Natural person or legal entity, and/or
networks or collectives with experience in
leading and managing independent dance
festivals or a dance circulation platform
that is not managed by the public sector.
Two (2) representatives
At least four (4) years of experience in the
of dance circulation
dance sector.
platforms (festivals).
The Representative of Natural person with links to any of the
formal higher education entities of higher education of dance in
institutions with dance the city, as a teacher, student, researcher
training programs, which or other that is endorsed by the university
have the approval of the body. Minimum experience of 4 years in
competent entity. the dance sector.
Representatives of Director, choreographer, or performer of
independent dance independent dance companies in any
companies in the area genre of dance, with a minimum of 3
of dance. years of seniority of the group to which
he/she belongs.
Two (2) Representatives Director, representative or trainer of non-
of non-formal schools in formal schools. in dance, in any of its
the field of dance. genres with a seniority of at least four (4)
years of existence of the school or schools
he represents.
The Representative of Independent researcher or “associated
dance researchers with any educational entity with research
work in the area of dance or related,
with experience in research in the arts or
related areas of at least four (4) years
Independent dance manager in any of
its genres with at least four (4) years of
experience in this field.
The Representative of Independent dance manager in any of
independent dance its genres with at least four (4) years of
experience in this field.
El/la Representante Directors, programmers or leaders of
de espacios independent cultural spaces in which
independientes de dance circulates, meetings, training and
circulación en danza socialization spaces are held, among
others.
Requirements
“Natural person: Format of the profile, with supports and brief description of the
circulation platform he/she represents and his/her motivation to be a representative
of this sector.
Networks or collectives: Format of the profile, with supports and brief description of
the circulation platform it represents and its motivation to be a representative of this
sector. Submit articles of incorporation, letter of delegation and photocopy of the
delegate’s identity document.
Legal entity: Chamber of Commerce whose object is related to circulation
activities in dances Profile format, with supports and brief description, of the
circulation platform it represents and of its motivation to be representative of this
sector. Submit letter of delegation and photocopy of the document of the legal
representative and the delegate.”
Over 18 years of age, Profile format and Letter of designation of the body, directive
of the educational institution he/she represents, which allows to identify his/her
interest in participating as a candidate for this sector.
Over 18, Profile format, with supports and brief description of the process you
represent and your motivation to be a representative of the independent dance
companies in the city.
Over 18 years of age, profile form and letter of designation from the governing
body of the educational institution you represent, which identifies your interest in
participating as a candidate for this sector.
Over 18 years of age Profile format, with supports and brief description of your
research career and motivation to be - representative of dance researchers in the
city.
Older than 18 years old Profile format, ‘ with supports and brief description of the
process that represents and of the motivation to be a representative of dance
managers in the city.
Over 18 years of age Profile format, detailed description of the space that applies
with supports of the circulation and. spaces of meetings carried out in the last two
years, and brief x description of the motivation to be representative of. the spaces of
circulation in dance of the city.
67
The Representative of Director, manager or leader of Format of the profile, with supports that certify the experience and brief description
networks or collaborative collaborative or network processes in of the process that represents and of the motivation to be representative of
processes in dance. dance in any of its genres, with more than collaborative processes in dance of the city.
3 years of experience in this field.

The / the Director, manager or leader of community Senior of age. Profile format, with support and brief description of the process it
Representative of processes in dance in any of its genres, represents and the motivation to be a representative of community dance processes
community processes with experience of more than 3 years in in the city.
in dance this work.

Source (Secretaria de Cultura, Recreación y Deporte, 2018)

With respect to the Dance Management -GD-, it was observed that a percentage of respondents
know the agency (Graph 77), but do not really understand its scope, so they assume that it is an entity
that in addition to managing state resources, defines and projects public policy for dance in the city. The
truth is that it is the entity that manages and implements cultural public policy for the benefit of the ex-
ercise of dance. In this order does not propose or design public policy itself, but it can contribute to its
design and approach (Graph 78).

Graph 77. Do you know what the Dance Management Graph 78. Do you know and understand the relationship between the
Department does?, baseline of 177 records. Dance Management and cultural public policies?, baseline of 150 entries.

80 80

70 Yes; 67 No ; 68,29
70

60 60

50 50

40 40
No ; 33 Yes; 31,71
30 30

20 20

10 10

0 0

Own creation, Source (Yurivilca Aguilar, 2020; Barbosa García, Own creation, Source (Yurivilca Aguilar, 2021).
2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

68
 In this context, it is important to clarify that the DG is a unit that was created in 1996, and that,
throughout its 26 years, was installed in different public sector entities, as a result of district adminis-
trative changes, hence it changed its name from Dance Area to Dance Management. In this context, it
was dependent on the District Institute of Culture and Tourism - IDCT- (1978 - 2005), the Secretary of
Culture, Recreation and Sports - SCRD - (2006 - 2008) (Agreement 257, 2006), and the Philharmonic
Orchestra of Bogota (2009 - 2010) (Agreement 1, 2008), an entity attached to the SCRD. Since 2011, it
is an area of IDARTES (Agreement 440, 2010).

To date, there are nine (9) dance managers, who have led and coordinated this unit, linked to a large
team of professionals in different disciplines, who manage the programs, projects and actions of the entity.

Table 12. List of Bogota Dance Managers from 1996 - 2022.

Año Dance Manager Institution

1996 - 2003 César Augusto Monroy Bocanegra Instituto Distrital de Cultura y Turismo
2004 - 2006 Sonia Abaunza Galviz
2007 - 2008 Ángela Marcela Beltrán Pinzón Secretaría de Cultura, Recreación y Deporte - SCRD
2009 - 2010 John Henry Gerena Orquesta Filarmónica de Bogotá – Adscrita a la SCRD
2011 - 2013 Atala Bernal Chaparro Instituto Distrital de las Artes – DARTES – Adscrita a la SCRD
2013 - 2016 Lina María Gaviria
2016 - 2019 Natalia Orozco Lucena
2020 - 2021 Ana Carolina Ávila Pérez
2021 - 2022 María Paula Atuesta

Own creation, Source (Parra Gaitán, 2020; IDARTES, 2020).

In relation to the public budget managed by the Dance Management, it was found that between 2011
and 2022, a total investment of approximately $23,600,000,000,000 million pesos was projected, dis-
tributed as described in Table 13, which also shows an annual growth in the public budget (Graph 79).

69
 Table 13. Presupuesto distrital para el fomento de la danza 2011 – 2022, administrado por la Gerencia de Danza.

Year 2011 2012 2013 2014 2015 2016

Presupuesto General $ 1.114.779.000 $ 1.387.817.342 $ 1.719.229.416 $ 1.488.100.000 $ 2.016.400.000 $ 2.228.500.000
proyectado

Year 2017 2018 2019 2020 2021 2022

Presupuesto General $ 2.121.411.000 $ $ 2.512.000.000 $ 2.352.528.000 $ 2.063.480.000 $ 2.260.481.000
proyectado

Own creation, Source (Gerencia de Danza, 2020; Consejo Distrital de Danza, 2022).

Graph 79. Percentage of growth or decrease in the district budget for the promotion of dance from 2012 to 2022, compared to the previous year.

40
35

30
24 24

20

10 10 9
10 8

0
2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022
-6
-5
-10 -13
-12

-20

Own creation, Source (Gerencia de Danza, 2020).

Regarding the support and/or recognition of the Dance Management, to the dance sector in the city,
it was evidenced that between 2011 and 2019, 1,444 incentives were given through 70 contests and/or
scholarships, exposed in the District Program of Stimuli - PDE (Dance Management, 2020) (Graph 80).

70
 Graph 80. Percentage of support delivered between 2011 - 2019 through the PDE.

35
29
30 28
25
25

20

15

10
4 3 3 3 3
5 2

0
2011 2012 2013 2014 2015 2016 2017 2018 2019

Own creation, Source (Gerencia de Danza, 2020).

International Level
Review of public policy on dance
For this study, public policies for dance were reviewed, expressed in national and/or regional plans
in Germany (Federal Cultural Foundation, 2005), Australia (Australian Dance Council & Ausdance
Victoria INC, 2017), Canada (Canadian Dance Assembly, 2014), Chile (Ministry of Culture of Chile,
2011), Spain (Ministry of Education and Science, 2019) and England (Arts Council England, 2015; Arts
Council England, 2018), issued between 2005 and 2019.

From this exercise, it was observed, among others, that the approach of public policies specialized in
dance, has been proposed from state entities, promoted by dance agents who came to lead these instanc-
es (since 2004), as a result of social, economic and political contexts that enabled this type of actions.

Likewise, it was confirmed that this type of guidelines is established as an institutional strategic plan,
oriented to the satisfaction of cultural rights, in which possible responsible persons are designated, but
without specifying their ways of action, so they are left to the interpretation of the executing agents.

Around this topic, initiatives for the approach of public policies for dance were found in Argentina
(Movimiento por la Ley Nacional de Danza, 2021), Mexico (Consejo Nacional de Danza de México,

71
2019) and Uruguay (Instituto Nacional de Artes Escénicas - INAE, 2020), which have been including
parameters for their cultural management, responding to the recommendations of the sector.

National and local level

In the national context, we found the existence of the National Dance Plan, For a Country that Danc-
es 2010 - 2020 (Ministry of Culture of Colombia, 2010), a public policy that resulted from the partici-
pation and advocacy of the dance sector in public spaces (since 2002), which recognizes the diversity
of dance genres and provides guidelines for strengthening dance through its dissemination, training,
practice and enjoyment. Since 2020, the document has been updated through the opening of spaces
for national socialization and compilation of specialized and transversal information on the exercise
of dance in the country, with the aim of postulating a new public policy for the sector (Fundación In-
tegrando Fronteras, 2021).

On the other hand, but in this direction, from the tracking of information, it was learned that, on
the initiative of some dance agents in Bogota, Bill 158 of 2007 or Dance Law was presented to the
Colombian House of Representatives, which sought to create the National Dance Fund, but did not
reach the second debate due to lack of votes from parliamentarians, so the proposal was shelved (Silva
Gómez, 2007).

In relation to these issues, in Bogota, between 2006 and 2022, in the context of tracking information,
no other evidence was found to account for the existence of actions around the design, planning and / or
implementation of district public policies specialized in the field of dance. It should be clarified that there
were cultural public policies framed in the government plans of the mayors of Bogota elected on the
dates of review (District Secretariat of Development, 2008, 2012, 2016; Agreement 761, 2020), which
incorporate culture in a transversal way to the development of the quality of life of citizens, under the
paradigm of the democratization of culture, which do not necessarily respond to national policies and/or
the needs of the cultural sector of the city.

72
 Dance territories
The analysis of this item has a baseline of 1,017 records, which correspond to information collected
between 2018 and 2022 by the Fundación Integrando Fronteras and the principal researcher.

In this regard, the information collected shows that dance in Bogota is developed in all parts of the
city, i.e. it manages, circulates, undertakes, researches, rehearses, creates, and articulates throughout the
territory. It should be emphasized that there are some territories with more dance agenda than others, this
is the case of the localities of Engativá, Kennedy, Teusaquillo, Suba and Chapinero. Those with a lower
dance agenda are Sumapaz and Los Mártires.

Graph 81. Percentage of dance in Bogota’s localities.

81

0 2 4 6 8 10 12

1. Usaquén 6,5
2. Chapinero 8,67
3. Santa F é 4,74
4. San Cristóbal 2,71
5. Usme 4,2
6. Tunjuelito 1,36
7. Bosa 7,32
8. Kennedy 10,03
9. Fontibón 5,15
10. Engativá 11,25
11. S uba 9,21
12. Barrios Unidos 5,01
13. Teusaquillo 9,76
14. Los Mártires 0,68
15. A ntonio Nariño 1,9
16. Puente Aranda 4,34
17. La Candelaria 2,44
18. Rafael Uribe Uribe 1,76
19. Ciudad Bolív ar 2,17
20. S umapaz 0,14
21.No Answer 0,68

Own creation, Source (Yurivilca Aguilar, 2020; Barbosa García, 2022b; Ruiz Álvarez, 2022c; Pineda Rivera, 2022; Secretaria de Educación de Bogotá, 2017).

73
 The field of dance in the context of the Pandemic
The analysis of this item is based on the information collected between 2020 and 2022, through data
tracking exercises of the Fundación Integrando Fronteras, therefore, different baselines are recorded,
which are specified in each Graph.

With respect to the above, it is identified that the dance community surveyed, within the framework
of the first wave of the Covid-19 pandemic, saw the normal development of their activities affected,
in fact, a considerable percentage (86% of a baseline of 426 records) cancelled and/or postponed their
actions (Graph 82). In this regard, out of a baseline of 523 records, the pandemic reduced the income
of 86% of respondents.

Given the circumstances, the dance agents were adapting to the situation by migrating their activities
to the virtual world, which led to changes in their organizational methods (Graph 83).

In 2021, 58% of respondents, out of a baseline of 306 records, reactivated their actions in a complete-
ly face-to-face manner, while 42% did so in a hybrid manner, i.e. alternating between face-to-face and
virtual (Graph 84).

Graph 82. Percentage of activities canceled in the first month Graph 83. Percentage of impact of the pandemic on the exercise of the duties of the
of the pandemic (March-April), with a baseline of 426 entries. dance in bogota, with a baseline of 523 recordss.

Canceled 100 Yes; 91

100 Yes; 86 Yes; 87
Activities; 90
90 86 80
80 70
60
70 50
60 40
30
50 Did not No ; 14 No ; 13
20 No ; 8,8
40 cancel 10
Activities; 0
30 14
¿La pandemia generó Después de la ¿La pandemia modificó
20 disminución en sus pandemia usted su organización?
10 ing resos? ¿Adaptó su gestión
administrativ a a la
0
virtualidad?

Own creation, Source (Yurivilca Aguilar, 2020). Own creation, Source (Yurivilca Aguilar, 2020; Barbosa García,
2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

74
 Graph 84. Percentage of ways of reactivation of dance agents in Bogota, with a baseline of 306 records.

70
In person; 58
60
50
Hybrid; 42
40
30
20
10
0

Own creation, Source (Barbosa García, 2022a; Ruiz Álvarez, 2022c; Pineda Rivera, 2022).

On the subject and around the answers to the open-ended questions of the tracking instruments con-
sidered for this study, it was observed that although the pandemic generated social and economic uncer-
tainty in the dance sector, it also made opportunities visible, which should be considered in the medium,
short and long term.

In this order, according to the respondents, the pandemic made it possible:

• To make visible the field of dance, and in general of the arts, as a tool that enables the building
of the social fabric.
• To understand the exercise of dance as a field that contributes to physical and mental health, in
situations of confinement and/or low mobility.
• To project local dance to national and/or international spaces through virtual environments.
• To train the dance community around specific, specialized and/or cross-cutting themes.
• Migrate the circulation and training of dance to virtual platforms.
• Expand the field of creation, pedagogy and management for virtual environments.
• Undertake creative actions with and for virtual tools and/or virtual reality.
• To promote research on the relationship between dance and the technological and virtual field.
• To learn about the possibilities of virtuality for the creative monetization of dance initiatives.

75
 • To generate and/or strengthen knowledge, creative and management networks at the local, na-
tional and international levels.
• To create strategies to improve the creative, pedagogical, etc., face-to-face processes.

In this regard, the survey also revealed the challenges for the field of dance. According to the respon-
dents, it is necessary that the agents of the dance:
• Be trained and/or specialize by integrating different components of their environment, and/or
link with professionals from other disciplines to enhance their creative, pedagogical and/or man-
agement proposals.
• To understand and make use of digital and/or virtual tools for their actions.
• They are able to join or at least understand that they are part of a specific community and that,
likewise, they are part of society, so they share the responsibility of transforming it.
• Know the social dynamics that surround them, in relation to politics, economy, etc., as they are
affected by them and at the same time, their actions affect these fields.

76
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93
 Photograph by Sheyla Yurivilca Aguilar
interpreters: Jimena Alviar Guzmán, Juana Ibanaxca Salgado y Gabriela Pardo.
Ja Compañía de Danza
Hysterya Fest, 1era Edición, 2019

Analysis of
Results
 Dance from a different viewpoint

Sheyla Lisseth Yurivilca Aguilar

Who are the dance agents in Bogotá D.C. Colombia? - What do they do? What could be considered
the territories with the greatest dance agenda in the city? What happened to the dance agents of Bogotá
in the context of the pandemic? These are some of the questions we try to answer in this document,
which gathers and analyzes the data collected from the continuous and rigorous tracking undertaken in
2012 by the Fundación Integrando Fronteras, which is concentrated in the first section of this document
and aims to give an account of the dance sector beyond the scenic and aesthetic exercise.

Dance beyond the stage

Dance is commonly understood as a creative corporal exercise framed by lights, costumes and music; as a
product for visual and/or corporal entertainment. In fact, it has been considered as a hobby and not a profes-
sion, because, in the imagination of many communities, dance does not require professional studies, so it is
reduced to an everyday exercise that anyone can do. However, if dance is understood as part of the culture,
and in turn as a network of relationships, in other words, a system of signifying systems (Williams, 1981),
it can be said that is the result of the articulation of different fields7and in itself, is a component of others.

In this order, dance would be the result and would shape fields of cultural life, economy, politics,
among others, through its exercise; in this sense, of those who act as its performers (dancers), and those
who focus on its production, management, etc., cannot be understood only as a scenic exercise (Pérez
Soto, 2008), but must be understood as a broad field - in bidirectional relationship-, and, therefore, a field
in permanent transformation.

In this scenario, dance is understood as an artistic field, a means of communication, a political act, an
economic resource, scientific object and result, a sporting style, a tool for health, the transformation of
social realities, education, among others (Corrales Salguero, 2010; Mills, 2017).

7
The field is understood as the space in which agencies develop (Bourdieu, 1996).

97
 The agents of dance in Bogota
Understanding the complexities described above, it became evident from the research that the dance
field in Bogota is made up of several types of agents8, which are identified according to the field in which
they perform their practice.

In this context, the following are:

• The stage agents, who are directly related to the exercise of dance on stage in a professional
manner (in specialized theaters or non-conventional spaces). In this group are dancers -
performers, choreographers and dance directors, in addition to video dance makers (Guzmán
Corrales, 2018; Yurivilca Aguilar, 2018, 2020).
• The training agents, who provide formal training processes9, non-formal10 and informal dance
(Ministry of Education, 2009), in public or private entities, in basic, secondary and higher
education and/or in specialized cultural organizations. In this field can be found teachers, trainers
and / or instructors.
• Research agents, who are mainly engaged in researching dance from its different relationships
and approaches, within the framework of its link with training entities and / or culture. In this
group can be found agents from other disciplines, particularly social sciences, heritage, fine arts,
among others (Ministry of Education, 2009; Yurivilca Aguilar, 2021a).
• Cultural managers, who are those who mediate between dance agents, the community in
general and public or private entities, from strategic and expanded perspectives. Therefore, they
are the ones who guide the ways of circulating the different dance products and/or services,
manage cultural projects, coordinate and/or administer the sector’s initiatives, among others.

8
Defining the agents as those who have the ability to act on the structures, which implies a state in constant and permanent transformation (Giddens, 1995),
i.e. the agents directly involved with the exercise of the work of dance, in this order that live from their exercise in this field.
9
Formal training refers to structured processes that lead to professionalization, i.e. those provided by Higher Education Institutions (HEI) or universities,
through educational programs for that purpose (Ministry of Education, 2009).
10
Non-formal training refers to structured training processes that do not lead to professionalizing exercises and are carried out to enhance some skill, as a
way of transmitting knowledge and/or as an exercise for the good use of free time (Ministry of Education, 2009).

98
 Here managers, public officials, coordinators of training programs, entrepreneurs around dance,
cultural project managers, etc. stand out.
• Production agents, who are in charge of supporting the actions of the previous groups, from
the technical point of view. Here we can describe the executive and field producers, lighting
technicians, photographers, communicators, videographers, costume designers, makeup artists,
infrastructure coordinators, processors, logistical support, accountants, administrative support,
etc., specialized in the development of actions in the field of dance (Guzmán Corrales, 2018;
Yurivilca Aguilar, 2018, 2020)
• The agents of psychosocial impact, who are those who use dance as an accompaniment to
therapeutic treatments, resocialization and / or reconstruction of the social fabric. In this group
we can find psychologists, social workers, sociologists, among others; linked to social and/or
therapeutic organizations, that beyond the non-formal training, develop articulations with and
from dance for the achievement of their main objectives (Pineda Rivera, 2022a, 2022b).

This does not mean that the exposed agents are exclusively dedicated to one of these subfields, but
that they prioritize their actions and/or identify themselves more with one of these. In fact, in their day-
to-day work, they move from one role to another, depending on the circumstances and contexts in which
they find themselves (Ministry of Education, 2009). This will depend on the dedication of the dance
agents in their different roles, their experiences, interests, needs and ages.

Now, what type of training background do these agents have? The information collected between
2018 and 2022, suggests that the above agents come from one or more, of the following training process-
es11, according to the period and circumstances in which they became involved with the field of dance:

1. Proceso formativo base: Aquí se ubican los agentes que fueron aprendices de sabedores de la cultura
y las artes12, entre los años cincuenta y noventa, en Colombia y/o el extranjero, que dedicaron su vida
al campo de la danza y que, actualmente, son considerados maestros de este género artístico. Mu-
chos de estos oscilan entre los 50 y más de 70 años (Guzmán Corrales, 2018; Parra Gaitán, 2020).

11
The training processes were so denominated considering their incidence and relationship with dance agents.
12
From Bogota or from Bogota from different territories.

99
 2. Base external training process: In this are those who were academically trained in other disci-
plines, but adopted dance as their main activity, through their articulation with non-formal train-
ing processes, but structured in dance and/or those who advanced postgraduate studies directly
and/or indirectly related to that artistic genre (Guzmán Corrales, 2018).

3. Formal training process: Here are those who were trained and/or are being trained in special-
ized dance programs in Colombia (from 1996) or abroad.

4. Non-formal training processes: Here are those who were trained in the field in specialized schools
and/or academies, public and/or private, without having a formal degree around these topics and/
or in other disciplines.

5. External training processes: Those who come from other disciplines and nurture the field from
their knowledge, which may or may not be performers of dance. Here are those who are sensitized
to dance performance but who specialize in its management, entrepreneurship, production, etc.

Fields of work for dance agents

The data found in the tracking allowed recognizing and confirming that the main field of action of
dance agents, and through which they obtain higher income, at least in Bogota, is training, whether for-
mal, non-formal or informal, offered directly or through public and/or private entities, to the sector and
the community in general (Guzmán Corrales, 2018; Yurivilca Aguilar, 2018; Parra Gaitán, 2020). This,
conceivably, is a result of the increase in professional training processes, and the interest of some dance
agents to open more and new spaces for non-formal training specialized in the field and/or as amusement
and/or body training (Yurivilca Aguilar, 2018; 2020).

These, also, revealed that dance agents - AD-, for their income perform in the administration of ini-
tiatives and/or management of cultural projects, which have been understood as the only roles of cul-
tural management. As regards to their exercise, it was found that it has been performed, mainly, in an
empirical way, which means that much of the dance community has executed this work without prior
knowledge, leading it, on many occasions, to reprocesses that have affected their resources (Fundación

100
Integrando Fronteras, 2018b; Yurivilca Aguilar, 2021b; 2022; Pineda Rivera, 2022a). Considering the
above and understanding cultural management as a social task, a role of mediation between culture and
other fields (Martinell Sempere, 2001; Nivón Bolan & Sánchez Bonilla, 2012), it can be said that its
development, in the city’s dance sector, is still incipient in that it is limited to the procurement and/or
administration of resources for culture, leaving aside its potential in creative, economic, commercial,
social, political processes, among others.

Now, independent of income, the analysis also revealed that, in the scenic field, DAs in Bogota,
perform as: a) dancers: who may be students and/or graduates of professional dance programs and/or
students of non-formal dance processes. b) Choreographers, who have extensive experience in the dance
exercise and have knowledge in the construction of choreographic structures for different types of sce-
narios; and, c) directors, who have extensive experience and knowledge of dance, choreographic and ad-
ministrative techniques (Guzmán Corrales, 2018). These are linked to unipersonal or collective creative
initiatives, resulting from individual or group artistic undertakings and/or depending on different types
of social, cultural and/or training organizations, which present different creative-dramaturgical levels.13,
technical14,scenic15-aesthetic, staging16and administrative17 aspects of its productions, depending on the
background and knowledge of its members.

This indicates that the scenic field in Bogota is made up of initiatives integrated by dance profession-
als; that is, who make a living from their exercise in dance; whose creative-dramaturgical, technical,
scenic-aesthetic, staging and administration/management quality have greater development (Ministry of
Education, 2009; Yurivilca Aguilar, 2018; Barbosa García, 2022c), so they could be called professional
initiatives, which are increasing, considering the dynamics of formal training. In this direction, the city,
also, would count with artistic proposals conformed by some dance professionals and agents of other
disciplines that are not dedicated or live from dance, although they perfect the technique, and count with

13
Creative-dramaturgical refers to the communicative proposal, of content.
14
Technical refers to the techniques of dance movement and the use of planimetry in the scene.
15
Scenic-aesthetics refer to the interpretation of the dance performers, the communication that is approached from the costumes, makeup, scenery, music,
among others in relation to the creative-dramaturgical approach.
16
Staging refers to the relationship of the performers to the use of the stage.
17
Administration has to do with the relationship between the artists and the agents of circulation of this type of proposals

101
some creative-dramaturgical, technical, scenic-aesthetic, staging and administration/management ele-
ments. These could be called semi-professional initiatives. Likewise, it would congregate dance initia-
tives formed by agents of other disciplines that see dance as a secondary work, developing it as a hobby,
a way to maintain their identity connection and/or as a social mediator, so they propose artistic proposals
with a low creative-dramaturgical, technical, scenic-aesthetic, staging and administration/management
level. These would be called amateur initiatives.

Furthermore, evidence pointed that artistic production, associated with the exercise of scenic circu-
lation, is a specialized area that has recently been recognized as a field of action of DAs, in which they
perform as field producers, logistical team, costume designer, makeup artists, set designers - lighting de-
signers, photographers, videographers, among others (Fundación Integrando Fronteras, 2018a; Guzmán
Corrales, 2018).

In direct relation to the growth of the field of training, according to the tracking, academic research is
increasingly being recognized as a place to perform professionally. In this they act as researchers of, for
and within dance independently, linked to university training 18 institutions and/or cultural entities, from
where they participate due to economic incentives from private and/or public entities and from which
they have been able to expand the field of knowledge of the sector (Yurivilca Aguilar, 2021b; Ruiz Álva-
rez, 2022b). On this topic, the study revealed that research-creation, theoretical approaches, pedagogy,
history and historiography, have been the lines of research of greatest interest (Yurivilca Aguilar, 2021b).

The function and/or public management, according to the analysis of the data, is also a space in
which the DAs can perform by linking themselves as staff19 or contractors20 of public cultural entities
of the city, mainly in the Secretariat of Culture, Recreation and Sports, District Institute of the Arts
-IDARTES- the Secretariat of Education, the Secretariat of Social Integration, the Dance Area of the
Ministry of Culture, among others (Fundación Integrando Fronteras, 2018).

18
In this context, one can find undergraduate, master’s and doctoral theses, as well as research on the academic processes of the universities.
19
Civil servant refers to those state employees linked to an indefinite term, enjoying all the social benefits inherent to their position (IDARTES, 2021a).
20
Contractors are those who are linked to perform specific activities at a specific time and have an agreed salary with which they must assume the social
benefits payments; these may or may not be freely removable or appointed (Instituto Distrital de las Artes - IDARTES, 2021a).

102
 In relation to entrepreneurship, the tracking revealed that dance agents, perform, in this field, as for-
mal and non-formal entrepreneurs0,21mainly of non-formal training processes and commercialization of
inputs for the exercise of dance (Fundación Integrando Fronteras, 2021; Yurivilca Aguilar, 2018, 2020;
Pineda Rivera, 2022a). In relation to this, in the formal sphere it was evidenced that there is interest in
the sector to create and register their ventures before the competent entities (Chamber of Commerce of
Bogota), however, not all of them can be sustained in this regime. Some, after a period of time (1 to 3
years), start a path to inactivity and/or cancellation of their initiatives due to the administrative costs
involved (permanent payment of an accountant, accounting organization, etc.).

Other fields of labor action of the DAs are sports, where they have become involved as body train-
ers and/or competition coaches, which is why in Bogota the Liga Bogotana de Baile (Liga Bogotana
de Baile, 2013) is registers and contemplated mainly salsa and urban dance competitions. In addition
to health, in which they work as professionals and/or support orthopedic professionals, psychologists
and/or psychiatrists, among others, independent and/or linked to social, cultural and/or medical entities,
using their knowledge to complement their work. It should be clarified that these may have been profes-
sionally trained in dance, or have undergone non-formal training processes in this scenic genre (Paredes,
2017; Rosales, 2020; Asociación de Danza Movimiento Terapia Colombia, 2020; Hogar Día mi Casa,
n.d.; Fundación Integrando Fronteras, 2018b).

With regard to the above, it only remains to clarify that, although the survey revealed the specific labor
fields of the DAs, it also showed that they are not concentrated in only one, but circulate between two or
more, which shows that an agent in this field is a multitasker. Thus, a dance teacher can be a dancer in
a company, be in charge of designing the costumes for its stage proposal, and sell tickets for the show,
or be a cultural manager, work in public institutions in charge of dance, and dance in a dance company,
among other multiple combinations (Fundación Integrando Fronteras, 2018b; Yurivilca Aguilar, 2021b;
2022; Pineda Rivera, 2022a).

21
Formal means that the initiative is registered with the competent entities, and non-formal means that it is not registered and therefore does not respond to
oversight and/or public control parameters.

103
 Labor conditions
While working conditions in the city and the country - and in general in all fields of society - are pre-
carious due to the socioeconomic and political conditions of context, in dance - and in general in the field
of the arts - this is even more complex, according to the analysis of the data from the tracking conducted,
due to different situations that are listed and described below:

a. Insofar as in the imaginary of a large part of society, those who practice dance are not profession-
als, as they consider that their exercise is only a hobby (Guzmán Corrales, 2018) (Pineda Rivera,
2019) (Fundación Integrando Fronteras, 2018; 2021a) (Yurivilca Aguilar, 2020).

b. Inasmuch as, a large part of dance agents still do not have formal and/or specialized training
processes in fields of action other than stage performance.

c. Because there is a wide ignorance on behalf of the sector about the ways of contracting, which
means that dance agents do not know the minimum characteristics of and for contracting, their
duties, rights and obligations as contractors and / or contractors (Ministry of Education, 2009).

d. Because there is a wide lack of knowledge about the institutional obligation to affiliate to the
Social Security System and professional risks.

e. Because there is a high level of informality in the sector, which implies an increase in dance
initiatives, without administrative structure and/or registration before the competent entities
(Chamber of Commerce, Superintendence of Industry and Commerce, among others).

This has led to various scenarios, among others, such as the following:

• There are organizations that hire services offered by dance agents with minimal and/or sporadic
knowledge of dramaturgy, technique, aesthetics, staging and administration/management,
seeking to reduce costs, risking stage quality and continuing the imaginary of dance as a hobby.
• Dance classes are given by dance agents with no knowledge of pedagogy, but who are paid

104
 as teachers, without taking responsibility for the injuries they may cause to their students -
considering the risks involved in an erroneous execution of dance movements, for beginners
and/or bodies in training, or, in the worst case, that the class is directed by other types of agents
of the arts.
• Contracts are made by word of mouth between the agents of the dance, without the corresponding
clarifications, leading to misunderstandings that escalate into legal and / or personal conflicts.
• The agents of the dance do not have affiliation to social security and professional risks or are only
affiliated to health and pension, but not to professional risks, so that, in case of an accident in
the workplace, they do not have the corresponding care for such situations, considering that the
field of dance performance can be understood as high risk as that of high-performance athletes.
• The agents of the dance are linked to an organization as service providers, but have to meet a
schedule and, in addition, must perform actions outside those agreed in the contract.
• The agents of the dance accept any work for any type of remuneration.

The above shows that, although the field of dance in Bogota, has been strengthening in the last nine
years, it still requires more maturity to advance in the aspects inherent to employability. This means,
among other things, finding ways to change the paradigms established by social imaginaries to enable
greater recognition of dance agents as professionals in their field, which requires that dance agents
strengthen their knowledge regarding their dance practice itself, and expand their inquiries to issues of
formalization, employability, accounting, among others.

Prices / costs of the sector

Regarding the issue of prices and costs, the information gathered revealed that the dance sector in Bo-
gota does not have a standard price or cost of products or services offered, as this depends on different
conditions. The field of training, for example, is subject to the infrastructure conditions, the academic
background and trajectory of the trainers/teachers and/or dancers, the geographic location, the dance
genre, and the hourly intensity. In the scenic field, the costs depend on the type of members that are

105
part of the artistic proposal (professionals, semi-professionals and/or amateurs), if it is a new creation,
by order and/or if it is a creation with trajectory, the number of members, the scenography conditions,
among others. In the field of research, they result from the duration of the research, its degree of depth,
the object of study, the information gathering tools, among others (Guzmán Corrales, 2018; Barbosa
García, 2022).

In the same vein, it also revealed that there is interest from some agents of the sector to propose a
price standardization process, in order to recognize the professionalism of the agents in the field, over
the improvised work of some who are just starting their linkage in the sector (Idem).

This leads us to think about whether it is really necessary to establish a table of costs and prices for
the field, because to achieve it would require standardizing elements of the field, which would restrict its
exercise, limiting it in different senses, since it would be giving guidelines for its development, where
there would be no room for innovations or changes, which could translate into a creative stagnation.
Perhaps, beyond standardizing prices, it is necessary to strengthen the knowledge of its agents and thus
improve their working conditions, as discussed in the previous section, thus changing the paradigms
about the field.

Territorialization and dance genres

The analysis of the data revealed that dance agents in Bogotá, in a high percentage are from the city,
that is, they were born in Bogotá, and in a lower percentage come from other territories, nationally main-
ly from Cundinamarca, Tolima, Boyacá, Meta and Huila; and from abroad, Germany, Argentina, Boliv-
ia, Spain, France, Sweden, Peru and Venezuela (Fundación Integrando Fronteras, 2018b). This suggests
that the sector is being nourished by the knowledge coming from other territories, which strengthens its
artistic, technical, etc. diversity.

On the other hand, it was discovered that the dance agenda is active throughout the district territory,
however, a greater number of activities are concentrated in Engativá, Kennedy and Teusaquillo, which
suggests a greater volume of dance agents in these territories. In this sense, it stands out that Sumapaz
and Los Mártires converge the lowest number of dance-related activities, in relation to the number of

106
inhabitants and/or to the physical characteristics of these territories (Yurivilca Aguilar, 2020, 2021a,
2021b) (Barbosa García, 2022; Ruiz Álvarez, 2022c; Pineda Rivera, 2022b; Secretaria de Educación de
Bogotá, 2017).

Regarding the dance genres performed in Bogotá, the data revealed that in the city today one can find
a number of dance subgenres that are becoming more diversified every day, as a result of local and ex-
ternal influences, in relation to internal and external migration and the information that arrives through
the different media.

For example, in the scenic field, that is to say, where dance is created for its circulation, we can see
samples with conventional techniques (national and international traditional dance, contemporary dance,
tango, urban dance22, etc.) and others as a result of creative hybridizations where styles and movement
techniques are articulated (dance-theater, folkloric-urban dance, contemporary-urban dance, etc.). In the
social field, that is, in spaces in which dance is performed as an exercise of relationship and/or social
integration, one can find, in addition to folk dance, urban dances and salsa; champeta, K-pop, reggaeton,
calypso, son, samba, among others (Fundación Integrando Fronteras, 2018b; Barbosa García, 2022).

On the public and participation

The data found showed that there are no district cultural public policies for dance, and although there
are national public policies for the sector, no records were found on how they were implemented in the
city. What is evident is that dance management has been strengthened in recent years, as the agency re-
sponsible for the administration of public resources for this sector, which has a multidisciplinary team,
which seeks to respond to the needs of the field and comply with district cultural policies, from the dia-
logue with the agents of dance, through different spaces for participation.

In relation to the latter, the survey showed that this is an incipient issue. According to the data collect-
ed, although the DAs are interested in participating in issues related to public policy and/or management,

22
Including hip hop, reggaeton, electronic performance and K-Pop performance

107
they do not have the necessary knowledge to exercise it. In this order, although a percentage of dance
agents are aware of the District Dance Council, they do not know it in depth, which implies that they do
not understand its dynamics and relations with the District System of Art, Culture and Heritage. There-
fore, they do not know their role in the District Council of Art, Culture and Heritage, the District Council
of Art, the Local Dance Councils and the National Dance Council; which are spaces of participation
from where ideas can be proposed for the design of public policies for the sector, and public management
understanding their scope, those of public entities and the routes for this purpose, also considering the
ecosystem of the field and the prioritization of their needs.

From the above several questions arise that involve further research such as Why the sector is not
involved in knowing and participating in these instances? What would it take for the sector to become
more involved in the issues of management and / or public policy focused on this field? Among others,
which suggest the importance of these issues for the strengthening and growth of the exercise of dance
in the city.

The dance sector during and after the pandemic

The pandemic transformed the daily lives and realities of society, revealed and made visible the social
value of the arts and, in this sense, it could be said that its exercise was positioned as a tool to maintain
the social fabric.

In Bogotá, this was no different, according to the analysis of information from the survey, contrary to
what was thought at first23 a large percentage of the dance agents did not stop their actions, in fact, they
increased their actions. What did the sector do to continue? In this regard, the data showed that dance
agents - like everyone in the world - took between 15 days and 2 months, according to their age, their so-
cial conditions and their needs, to adapt to the ways of being and doing, in a new reality that was oriented
to virtuality. In this context and during this period, although the execution of the dance technique was

23
Many of the dance agents thought they were going to be cut off, without work and unable to continue with their creations, formative processes and/or
undertakings (Yurivilca Aguilar S. L., 2020).

108
somewhat limited, the sector was mobilized to transform its methodologies and to understand the virtual
platforms to transmit its actions. This meant that, at first, the sector’s circulation stopped and in a second
moment, it registered peaks of massive circulation of artistic proposals (amateur, semi-professional and
professional) in all visible social networks in Bogota (Yurivilca Aguilar, 2020; Fundación Integrando
Fronteras, 2020, 2021a; Barbosa García, 2022; Pineda Rivera, 2022b).

However, this does not mean that the city’s dance sector has not been negatively affected by the pan-
demic situation; on the contrary, according to the study, it was one of the hardest hit by the measures tak-
en by public institutions to mitigate the risks of contagion. This is because the initiatives of this sector,
had to close their training spaces, cancel their artistic shows, among others; which meant the dismissal
of dance agents - AD-, involved in the processes of training, production, etc.; the non-payment of their
salaries; that a high percentage of dance initiatives assumed 100% of the costs and expenses of their
physical facilities (lease payments and utilities), leading to the reduction of income in the sector and in
the worst case, to bankruptcy, among others (Ibidem).

These situations corroborated the existence of precarious working conditions in the sector, which, as
discussed in a previous section, is characterized by the lack of formal contracts, unbalanced payment
in relation to the assigned responsibilities, informality in the contracting processes, etc. Likewise, they
made evident the disarticulation among dance agents, which initially prevents the exercise of aggrega-
tion and/or collective work for the common good. In this order, they revealed that a high percentage of
DAs are unaware of issues related to the management of cultural projects, public policy, participation,
management and/or public administration, among others, and their importance in the development of the
sector (Yurivilca Aguilar, 2020; Fundación Integrando Fronteras, 2020, 2021a; Barbosa García, 2022;
Pineda Rivera, 2022b).

After the first waves of the pandemic, in 2021, according to the survey, the main challenge of the
sector was to return to the presence, because according to its agents, on the one hand, there were still
limitations that did not allow the opening of their workspaces and / or circulation in a normal way. On
the other hand, many of the users, audiences and/or clients of dance were still reluctant to return to them,
for fear of catching the virus, a situation that by 2022, was largely transformed, as a result of the decrease
in the risk of infection.

109
 Today, the challenges for the field of dance in the city are different, according to the data, they are
aimed at the sector to structure and expand their knowledge around the roles they play and / or involve
agents from other fields in their work. Also to understand the languages and dynamics of the virtual
world, and to try to recognize each other among peers, in order to build networks from that recognition
that make it possible to make the dance field visible, in addition to a means of communication of culture,
as a professional field.

Conclusions
In comparison with the State of the Art of the Dance Area in Bogota (Beltrán Pinzón and Salcedo
Ortíz (2006), as a first overview of the sector, it can be said that the dance field in Bogota has diversi-
fied, expanded and structured. In other words, it has grown and strengthened, but still requires efforts
to consolidate to transform the social imaginary that suggests that the exercise of dance in any case is a
professional exercise. In this order of ideas, it needs to be understood as a link in society with social, po-
litical, economic, etc. rights and duties. That is to say, that is called to be co-responsible with the society
in which it is, to foster the change it seeks.

There is still a long way to go for its maturity, in which the sector must take on several challenges,
among these, to understand that it is integrated and is part of other social fields and to develop it requires
inputs from other disciplines, therefore, it needs to continue strengthening its formal training in relation
to their labor fields and the needs of society; perform, internalize and use research on and for the field,
enabling improvement of its practice, from different perspectives and / or approaches; to recognize one-
self as an agent of dance and recognize one´s peers as such in order to collectively strengthen the sector.

In this way, in a pandemic situation, social crisis or any other catastrophe, they can have the tools that al-
low them to shape themselves efficiently, effectively and transform themselves according to their contexts.

110
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 A look at the contexts of dance training and research

Martha Sierra García

The training and the academy in dance has been an ongoing topic of debate, its consideration within
the technique of the dancers involves various appreciations that may be cause for analysis. The role of the
academy in recent years has been changing. The emergence of non-formal learning spaces, as an extension
and alternative to traditional forms of teaching, has somewhat reconfigured the ways of understanding
dance learning. This approach considers that people learn in multiple contexts and diverse situations.
Therefore, this reflection focuses on making visible other training processes within the body discipline,
therefore, it seeks to delimit and expose the processes of non-formal and informal training and research
progress before and after COVID-19, in order to make a synthesis of the current state of dance in Bogotá.

Pedagogy, technique and discipline of formal, non-formal and informal training.

Pedagogy has been widely approached from different areas of knowledge, some assume it as a disci-
pline focused on the systematic and rigorous knowledge of the educational phenomenon (Lindo, 2015),
as a science that is responsible for the study of teaching and learning processes (De Zubiría, 1997), or as
a set of systematically structured knowledge, susceptible of being articulated with each other (Bernsteín,
1993; Guedez, 1987). In all cases, the basis on which it is built is related to educational knowledge.

Hence, the pedagogical component is the pillar on which the educational processes are based in schools,
colleges, primary, middle and higher education institutions; where the meetings between students and teach-
ers take place within certain customs, in terms of time and space, which in turn give rise to learning and
routines, as well as relationships between the different educational actors and the development of a type of
academic program, classroom projects, curriculum and methodologies. These configure a type of student/
graduate, in accordance with an educational project that establishes the guidelines and policies that are drawn

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up to achieve this end. But, just as in formal education, they are also present in the fields of non-formal and
informal education in which equally important processes are carried out, especially those related to dance.

Understanding the role of institutions for the training of professionals in dance, may involve various
approaches, since when speaking of “dance training in Colombia” issues and debates are related even
questioned in its foundations: on the one hand, the educational-training ranging from the informal to the
highly structured (also diverse) and regulated educational system based on the domain of the technical;
on the other hand the artistic, with its diversity of languages, levels and traditions.

Within this debate, technique in dance is regularly integrated as a means for bodily development, ad-
hering to diverse perspectives that relate in general to the body and its use. It can be said that the notions
of dance and its professional teaching continue to formulate possibilities and transform indefinitely its
composition. Under its own criteria, dance can be and do in its uniqueness, however, its implementation
in formal, non-formal and informal education can generate discrepancies.

In distinguishing between these types of training, Smitter (2006) considers two criteria: on the one hand,
the criterion of the organization of education in a sequence of officially recognized levels and degrees and on
the other, a criterion linked to the programming of educational actions (pp. 243-245). The first criterion makes
it possible to differentiate between formal and non-formal contexts; the second criterion makes it possible to
differentiate between formal and non-formal contexts on the one hand, and informal contexts on the other.

Along the same lines, Trilla (2003) considers that formal and non-formal contexts differ from infor-
mal contexts because the former have the attributes of systematization and organization, and to distin-
guish between the two scenarios he proposes two criteria, a structural criterion and a methodological
criterion. From the structural point of view, formal and non-formal contexts are distinguished by their
inclusion or not within the formal education system; that is, formal education would be that which goes
from the first years of education to university studies; and non-formal education would be that which
is presented in the form of organized proposals of extracurricular education (for example: workshops,
dance courses, among others).

From the methodological point of view, the formal would be the school “inside” and the non-formal
“outside” the school. The form of school would refer to styles that structure the school experience. Thus,

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it would be characterized by certain determinations such as: the organization of times and spaces, the
system of distribution and grouping of subjects, its own space, the face-to-face form of teaching, forms
of organization of knowledge for teaching purposes, asymmetric roles defined by the positions of know-
ing and not knowing, and a set of practices that obey highly stable rules (Avila, 2007; Trilla et al, 2003;
Trilla,); that is, non-formal contexts would be developed through procedures or instances that deviate to
a greater or lesser extent from the canonical or conventional forms of the school (Trilla et al., 2003). In
these terms, from the structural criterion, formal learning refers to a highly institutionalized, chronolog-
ically and hierarchically ordered (by levels) educational system, which is planned by accredited public
and private organizations that, as a whole, are part of the country’s educational system (Coombs &
Ahmed, 1975, p. 27).

Non-formal learning contexts also result from institutionalized and planned processes, which are de-
fined as systematic educational activities, organized and carried out outside the framework of the formal
system (Coleman & Husen, 1989). These contexts are considered important for facilitating learning in
particular groups of the population. Likewise, non-formal contexts are distinguished by their final char-
acter, in the sense that they do not lead to educational levels or grades -like the formal system- but rather
to the social and productive environment; by their potential flexibility and functionality with respect to
programs and methods (Coombs, 1968).

It represents an alternative or complementary training to that acquired in the formal system. It caters
to all age groups and is generally provided in the form of short courses, technical courses, seminars or
workshops. The characteristics frequently attributed to non-formal education are: the existence of decen-
tralized decisions and the integration of education into daily life; the orientation of objectives towards
the short term and the voluntary nature of participation (Rogers, 2004; Torres & Pareja, 2007; Touriñán,
Rodríguez & Olveira, 2005; Trilla, 1993).

Both types of education, formal and non-formal, share pedagogical intentionality, systematization and
organization (Riaño, 2009). In contrast to these two modalities, informal education is understood as “the
set of factors and processes that generate educational effects without having been expressly configured
for that purpose” (Trilla, 1993, p. 17). It is thus understood as a type of non-institutionalized learning, not
programmed or intentionally acquired, although it may be oriented, among which we can highlight the

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experience gained in daily life, in the family circle, at work or in the local environment. Thus we learn
to speak, for example, to move, walk or interact.

To this extent, the differentiated educational environments (formal, non-formal and informal) can and
should be interrelated for the benefit of a comprehensive training of the individual, since there are many
more spaces available to educate and learn dance than the classrooms themselves. This leads to consider
the need to coordinate between both contexts, without forgetting that the teaching/learning of dance
should take into account the experiences and knowledge acquired in informal contexts (Parra, 2014).

Institutionalization of Culture - dance, and the trainings processes

Dance as a concept implies a multiplicity of genres, aspects and interests that, when understood as a
social practice, blurs the barriers and gives way to find links that allow us to see in it a body of knowl-
edge. On the one hand, categories of practice and common to all genres: body, movement, space, time,
perception and communication, all flowing with richness and diversity of languages and, on the other
hand, training, creation, research, management, circulation and appropriation, territories that build the
field of dance as a knowledge and a discipline.

Understanding dance as a discipline and profession is focused on promoting the study and knowledge
of its language, techniques, principles, objectives, cultural, artistic, social, bodily and aesthetic knowl-
edge that it entails, by assuming a reading of the field that can look at dance in its integrality and from
the different components that define its action (research, training, creation, circulation, information,
appropriation), circulation, information, appropriation), by defining scenarios for its professionalization
that recognize the dignity of its practice and position its importance in the construction of quality of life,
by implementing principles that regulate its practice and its relationship with the market, and by estab-
lishing conditions of quality in its exercise, equity and democratization of the actions for its promotion

Articles 7 and 8 of the 1991 Political Constitution of Colombia establish the legal framework for what
would later become the National Dance Plan, since in these articles the State recognizes and protects
the ethnic and cultural diversity of the nation and determines as its obligation and that of the people, to
protect the cultural and natural wealth of the nation. This became an important precedent for the estab-

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lishment of the General Law of Culture 397 of 1997, which for the concrete analysis, articles 32 and 64
would be fundamental in the training processes. In the first one, the Ministry of Culture, in coordination
with the Ministry of National Education, will define the criteria, requirements and procedures and will
carry out the pertinent actions to recognize the character of the artists as qualified professionals. In the
second, it defines that it is the responsibility of the Ministry of Culture to guide, coordinate and promote
the development of non-formal artistic and cultural education as a social factor, as well as to determine
the policies, plans and strategies for its development.

Also, Article 23 of Law 397 of 1997 states that:

“The State, through the Ministry of Culture, will support the houses of culture as primary cen-
ters for non-formal artistic education, as well as for the dissemination, projection and promotion
of cultural policies and programs at the local, municipal, district, departmental, regional and na-
tional levels. Likewise, the houses of culture will have to support permanent processes of cultural
development that interact between the community and state entities for the optimal development
of culture as a whole. For the purposes set forth in this article, the Ministry of Culture and the
territorial entities shall enter into the necessary agreements” (p.35).

Faced with this objective, recognizing the cultural dimension of dance and the current state of this
practice, the policy for dance includes the objective of broadening the social base of art, but “redefines its
focus by giving priority to strengthening dance organizations and artists” (Ministry of Culture, 2006, p. 5).
The training actions to be developed will be aimed at audiences as well as at performers, trainers, creators,
producers and managers. The training must contribute to the quality of the practice, to its valuation and
resignification, to the redefinition of the existing social imaginaries about it, positioning it as a scenario of
knowledge and a space that integrates the languages of art by having the body as its medium and principle.

This background led to the creation of the Dance Policy from the voice of the agents, organizations
and institutions that, in 2009, were convened by the Ministry of Culture for the realization of dance
dialogues at the municipal, departmental, regional and national levels, which were given the task of re-

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flecting on the subject and building the directions of a policy aimed at strengthening this artistic practice
(Ministry of Culture, 2009, p. 126).

The construction of a cultural public policy for dance in Colombia implied recognizing that tradition-
al, folkloric, contemporary, classical, modern, ballroom, integrated dance -which designates that which
favors the expression of the disabled population-, the rituals of indigenous peoples, sports dance, urban
dance, dance theater, among many others, coexist. All these expressions support and constitute, in a
permanent dynamic, the identities, the national, the popular, the youthful, the urban. The purpose of the
policy, beyond establishing small compartments that strengthen divisions, makes visible and empowers
a large community that recognizes their commonalities and the common thread that links the life of
dance with the trade and professional knowledge of dance. In this way it seeks to

“... broadening the social base of art, by strengthening dance organizations and agents, train-
ing actions for audiences as well as for performers, trainers, creators, producers and managers.
This policy involves valuing the body, the habit and cultivation of its energy, courage, audacity
and freedom, essential elements of its poetry” (Ministry of Culture, 2009, p. 130).

In development of the purposes emanating from the National Culture Plan 2001 - 2010, the Plan for
the Arts 2006 - 2010 and existing cultural policies, in October 2009, a historic step was taken in the
country with the creation of the National Plan for Dance 2010-2020, a plan that seeks to respond to the
more than 5,000 thousand organizations and dance schools in the country. It is the first time that a spe-
cific line and a national category for the dance sector is defined. The central objective was to

“to value and strengthen the production of the artistic field throughout the country, as a mode
of knowledge, creation and production, both symbolic and economic, articulating creation with
processes of research, training, circulation and appropriation within a framework of pluralism,
inclusion and cultural dialogue. The aim is to consolidate values of coexistence and democracy

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 and to promote the preservation and renewal of diversity and the sustainable development of
Colombian society” (Ministry of Culture, 2009, p. 50).

This plan and the cross-cutting policies were structured in major cultural definitions for action (Bel-
trán & Salcedo, 2006; Parra, 2014), which cut across its various sectoral policies, the different areas of
the Ministry and compose fields in which they converge with the instances of society. Thus, the themes
and strategies presented by the lines of action of the training processes stand out:24:

• Education and Training: For cultural development, with aspects to be considered such as the
professionalization of artists or specialized training projects, the qualification and recognition of
empirical artists and the creation and training of audiences, value formation programs, creation
of methodology and coordination with training institutions. In turn, promotion of dance and
culture through cultural seedbeds, incentives (scholarships for training), prizes or district or local
competitions.
• Organization: Promotion of organizational forms, alternative forms of learning, adaptation of
organization to identities, strengthening of cultural institutionality (councils, collectives, academies).
• Creation: Encouragement of creation, recognition of creators, promotion of new talents, presence
in new fields of creation, support of institutions that promote creation, generation of equitable
opportunities towards the exercise of creation, attention to the creation of diverse social sectors/actors.
• Research: Conducting research, stimulating research, linking with research institutions/groups.

As culture and, in particular, training processes become institutionalized, techniques are constituted as
a basis. It is necessary to distinguish that speaking of technique in the singular constitutes another cate-
gory that continues to generate tensions between the various training spaces and languages (what is or is
not what defines dance), because, as in the case of identity, it is often associated with foreign practices
and is assumed as something established and exclusive to some genres. While speaking of techniques in
the plural, as a policy approach, it refers to identifying the multiple techniques that exist and that support
the act, expanding its definition, delocalizing the concept and “recognizing the techniques themselves

24
See diagnosis of artistic education (formal and non-formal) and organization of the sector of the Plan for the Arts 2006 - 2010.

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as the set of actions that systematically lead to the generation of a result, in this case the movement, the
interpretation, the construction of the modes of execution for each specificity and that is susceptible to
configure knowledge” (Ministry of Culture, 2009, p. 128).

From this perspective, in dance, each place - genre poses a discourse, a power relationship in which
there are inclusions, exclusions and representations, which in sum, set a “ ought to be “. It is the task of
the policy construction process to make evident the assumptions from which each discourse is based and
thus establish a mediation to find those transversal aspects that support the practice (Ministry of Culture,
2009, p. 35). The policy for the arts of the Ministry of Culture assumes artistic training as its fundamen-
tal axis, the guarantee for the democratization of practices and the promotion of their competitiveness.

Characterization of non-formal, informal and investigative processes be-

fore and after COVID-19
Characterizing non-formal and informal processes implies highlighting the distinctive features that
make it possible to understand the nature of this form of learning, taking into account the common and
differential aspects. It is necessary to take into account the initial section where it is discussed, at the
concept level, what differentiates between these, since the characterization will take these elements
transversally to focus on the current processes of non-formal and informal training in the city of Bogota.
However, in order to build the updated State of the Art and make visible the growth of the sector, the
progress before COVID-19 (2020) and the transformations after it (2020 to 2022) will be taken. To do
this, studies, reports and information collected by the Foundation are correlated with the quantitative
analysis (discussed above) on the areas of training and research in dance.

Processes before COVID-19

As evidenced above, until recently, Colombia began to recognize and promote culture, dance and their
respective spaces. Since the way in which dance training has developed in Bogota is recent, it is still
in the process of consolidation, artists and training groups that have been able to develop their scenic

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proposals from a multiplicity of stimuli (Parra, 2014), so their work has been consolidated in the city in
spaces of exchange of both dance, academic and research proposals, which allows a reception of numer-
ous perspectives that give rise to an interdisciplinary work, so to speak, from the art.

Non-formal and informal training processes, being an emerging learning movement from the institu-
tional level, enable both the exploration of artistic currents and the formulation of new lines of action for
the creation and management of the same projects (Ministry of Culture, 2001; 2006; 2009; 2010). This
allows the dance genre in the city to be filled with certain contents and also establishes specific ways of
doing it. The training methods are multiple and each institution, organization or group has its own way of
doing it. Thus, the teaching-learning process occurs in many ways, from improvisation and imitation, to
conscious, programmed and planned action, as occurs in entities specialized in this type of training (pro-
fessional artistic companies, universities), or in recreational groups, which manage their own training
dynamics, often built within the framework of a clearly defined pedagogical experience or constructed
on the basis of daily life (Escudero, 2012, pp. 45-48).

A fundamental event that manifests the state of dance before COVID-19, was the V ENDANZA Meet-
ing, executed at the Jorge Tadeo Lozano University on July 24, 2018, where a balance of the scopes of
the National Dance Plan 2010 - 2020 is made. The general lines of the plan sought to strengthen dance
practice in the country through the implementation of programs and projects that contribute to its con-
solidation as a professional field. To this end, dance is determined as a sector in the country consisting
of the following components (principles that are shaped from the National Culture Plan 2001-2010,
discussed above): Training, Creation and Production; Circulation, Entrepreneurship and Associativity;
Endowment and Infrastructure; Organization, Information and Research.

The plan was built on each of these components, reflecting on each of the dialogues held for dance in
the country. Initially the shortcomings and needs of the sector were recognized and based on these, pol-
icies were built to generate strategies that empower and strengthen the sector. Taking this into account,
from the training, information and research areas, a general report of activities and strategies implement-
ed throughout this year is made:

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 • Training
The Promotion of training and professionalization of dance practice National Dance Training System
designs and implements strategies for the valuation and qualification of dance as a field of knowledge,
professional option and cultural right in the country. The description focuses on the design of actions
to strengthen the relationship between education and culture, build communication vessels between the
different levels of training with a view to the qualification and positioning of dance and its benefits, de-
fine strategies that promote the valuation of dance artists in the educational environment and establish
synergies between grassroots organizations with a view to building the basic content of the practice
necessary in the training processes (Ministry of Culture, 2009, p. 53; Ministry of Culture, 2010, p. 125).
The strategy is to implement projects that contribute to the articulation between groups, organizations
and identities, establishing communicating vessels between the different levels of training (Ministry of
Culture, 2009, p. 53); to this end, the National Training System proposes the following lines of action:

• Colombia Creativa: Program for the professionalization of Colombian artists and accompaniment
to local management initiatives for the generation of new cohorts in the country. Through the
SENA and the Sectorial Table of Performing Arts, it will accompany and promote the creation
of programs at the technical and technological levels and the creation of labor competencies that
allow the certification of the knowledge of dance artists.
• Training of trainers: With the objective of “building on what has been built”, the PND will
continue to support the important actions that have been strengthened by the National Plan for the
Arts and which have had a significant impact on both the professional sector and the community:
– “Caminar hacia adentro”: Transmission of knowledge in music and dance advanced by
indigenous communities and research-creation processes of Afro-Colombian communities).
– “Pasos en la Tierra”: Recognition and appreciation of the artistic, pedagogical and research
knowledge of Afro-Colombian dance. Program for the qualification of performers, teach-
ers, directors and choreographers. Development of national and international alliances for
the qualification of dance professions (technical and technological programs, internships,
residencies and exchanges).
– “Expedición sensorial”: Research laboratories - interdisciplinary creation.

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 – “Danza integrada”: Dance with communities with disabilities.
– “Danza Viva”: Program that seeks to strengthen schools and training processes through the
development of didactics and pedagogies that contribute to improve the quality of training.
The program implements training activities for trainers through diploma courses, consul-
tancies, workshops, residencies and meetings at the national level.

• Danza y educación: It contemplates the development of guidelines for dance training schools,
the consolidation of research teams and the construction and implementation of a chair that
positions the importance of knowledge and appreciation of the body and its integral conception
in educational environments. It is expected that, from this line, in the medium term there will
be lines of research in the area, consolidated research teams, guideline documents for dance
schools, for the training of trainers and for the implementation of a chair articulated with the
educational sector MEN-ICBF.
• Training for dance entrepreneurship: This line promotes the processes of associativity and
institutionalization of dance groups through support for the formulation and development of
projects, strategic plans, management, business, financing and support for the sustainability of
the beneficiary institutions of the process by institutions in partnership, such as the Chambers of
Commerce and SENA, through the actions undertaken by the sectoral table of the performing arts.

• Information and research

Consolidation of information on the field of dance from the National Dance Information System (Si-
Danza): Showcase of movement. The description proposes processes and activities for the organization,
planning and promotion of the production and dissemination of information on dance in the country,
its philosophy, its location, its processes and the services it offers and demands, with special attention
to the beneficiary organizations of the plan; thus constituting an observatory and a tool for registration,
characterization and follow-up that allows the permanent monitoring of the developments and impacts
of the policy, guaranteeing timely and permanent information between the sector and the users of the
system (Ministry of Culture, 2009, p. 53). Regarding the strategy, it is materialized in the construction

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of an interactive platform, put into circulation since 2010, which makes visible the developments of the
plan and the sector (Ministry of Culture, 2009, p. 53).

For the promotion of research, incentives are granted for the promotion of research to consolidate the
production of knowledge regarding the processes of dance in Colombia, of which the following stand out:

• Seven publications in physical and digital:

1. Cierta época para danzar.

2. Pensar con la danza.

3. Programa de mano: Colombian choreographies that made history.

4. Huellas y tejidos.

5. La Esquina desplazada, memorias.

6. Pasos en la tierra, formación. Creación, danza, comunidad.

7. El potro azul, vestigios de una insurrección coreográfica.

• Seven cultural television series with audiovisual and multimedia content on regional channels
and ANTV.
• Fifteen thousand copies distributed in the National Network of Libraries and cultural centers.
• Develop the SiDanza dance information system (mentioned above) as a tool for monitoring and
evaluating the development of dance policy in Colombia. Among the results of SiDanza are:
237 records of schools out of 930 identified, of which 53 are private, 184 publics, present in 24
departments and 97 municipalities.

Taking into account the progress made during this period, it is pertinent to recognize that the school
system is no longer the only resource for meeting social expectations of training and learning (Trilla, et
al., 2003). It has long been difficult to imagine daily life without the presence of the school institution,
but nowadays, and increasingly so, it is also difficult to imagine it without extracurricular activities and
assistance services or other non-formal educational environments (Avila, 2007, pp.137-138). Conse-

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quently, it is relevant to catalog the most prominent training processes to have an overview of the orga-
nization and instances of non-formal and informal learning of dance in Bogota.

Non-formal education centers, today training centers for work or human development
In Colombia, under Law 1064 of 2006, states that: “The denomination of non-formal education con-
tained in the General Education Law and in the Regulatory Decree 114 of 1996 is replaced by Education
for Work and Human Development”. In this sense, it is stipulated that training centers for work with
those that do not offer a professional degree, but do offer certificates of labor technician or occupational
aptitude in dance, in the case of institutions that offer these programs. Within the Capital District, the
following stand out: the career in Dance and the program of Contemporary Studies in Dance/Labor
Technician of the Guerrero Arts Academy in Bogota; Technician in Dance Performance of the National
Learning Service (SENA), the Professional Technician in Contemporary Dance of the National Educa-
tion Corporation of Administration (CENDA), the free courses offered by the ASAB such as the prepa-
ratory of Dance Art, among many others.

Private or public institutions that offer dance programs as part of welfare projects.
Universities or public or private institutions among their policies and programs create spaces for
non-formal training from the university welfare and extracurricular training that are aimed at ensur-
ing the development of adequate recreational, social, creative and good use of leisure time among
its beneficiaries, offering different training and cultural programs, from courses and workshops to
the opportunity to be part of the dance groups of the institution. The welfare centers of the Universi-
dad Nacional, Central, Externado, La Gran Colombia, Militar, Sergio Arboleda, Inpahu, Uniminuto,
among others, stand out. Another example is the case of Zajana Danza, the academy is also established
as a company from the need of the university welfare group of the Universidad Jorge Tadeo Lozano to
generate a space that allows them to continue complementing their knowledge of contemporary dance.
In this way, these spaces work in a pedagogical way that stems from two specific lines: salsa, urban
dance; which is complemented with dance classes for children, acrobatics, jazz, yoga, pilates and

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ballet (Ministry of Culture, 2010; Guevara, 2018). It also functions as a space for artistic creation and
exploration and they have a line of special projects with population such as laboratories, workshops
and pedagogical activities.

Dance Academies and Dance Companies

The term “academy” serves to distinguish both any entity dedicated to the study and dissemination of
academic subjects and novelties; as well as those that primarily promote the study and practice of dance
arts and scenes. The latter, academy is synonymous with school and, as such, they offer dance cours-
es and workshops of specific genres (Lindo, 2015). The academy classes “are for corporal formation
and the company classes are for the maintenance of those movement skills that the dancers count on”
(Guevara, 2018, p. 29). It is important to note that, although some academies have companies and the
latter have classes and workshops, they cannot be classified in the same category since they function in
different ways.

The formation of these collectives, not only occurs due to the need of dancers to generate spaces open
to creation and performance (as happens in academies), but also occurs as a result of the fact that in the
city “there are no spaces or companies that hire dancers, which implies that people dedicated to exer-
cising the dance profession must manage their own groups and resources to implement artistic projects”
(Guevara, 2018, p. 46). The above generates that the companies play a fundamental role in the construc-
tion of the dance guild. Another fundamental point that materializes in the work of the companies are the
bonds of solidarity that are established between dancers and collectives in the city. This evidences a need
for dialogue, so that dancers must consolidate ties that allow dance to position itself, which generates the
functioning of a logic of solidarity characteristic of the dance sector in Bogota.

Transformations after COVID-19

The profound impact of the COVID-19 pandemic on all areas of culture has highlighted both the fragil-
ity and resilience of the cultural and creative industries. The health crisis affected the entire creative value

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chain: training, creation, production, distribution and access, which had serious consequences on the work
and income of artists, professionals and cultural entrepreneurs. Due to the prohibition of meetings in large
groups and social distancing measures, it has meant the postponement of a large number of public perfor-
mances, live performances, the suspension of training spaces, on-site classes, workshops at all levels.

Given this emergency situation, MASSDANZA, Dance Observatory, a project of the Fundación In-
tegrando Fronteras in its Research for the Arts line, opened an area that would allow observing the
transformations of the sector in the areas of training and research. To carry out this process, it developed
a measurement instrument (questionnaire), where information was collected on the impact of the State
of Health Emergency - EES - on the dance sector in Colombia. The results not only provide a charac-
terization of the sector, but also the initial impact, in commercial and economic terms, of the state of
emergency declared by the Colombian authorities in response to the spread of the COVID-19 virus, to
individuals and organizations whose main source and livelihood comes from dance.

The findings highlighted in the report was that 81% of the canceled activities correspond to dance
classes in relation to non-formal training processes (teaching classes) and informal (creative activities).
Next, 48% of the participants reported cancellation of management, commercial and administrative ac-
tivities; 45.5% of the cancellation of performances, shows and/or stage tours. On the other hand, it should
be noted that 75% of the participants stated that they had cancelled more than two categories of activities
due to the health emergency situation, which has had repercussions in different areas, as specified below.

One of the consequences of the cancellation of spaces is that 93.3% of the participants (most of whom
were teachers, trainers, professors, instructors) presented a decrease in income, in addition to having
economic losses due to the payment of the logistics corresponding to the development of the samples,
presentations or tours, which were reimbursed. Likewise, losses are evidenced by the payment of phys-
ical spaces for rent and/or services of the establishments, which could not be used for the development
of their activities.

With regard to the organizations, it is evident that the actions that were most affected were dance
classes, followed by activities for stage creation and the realization of shows, performances and/or lo-
cal tours, fundamental actions that allow the sustainability of the organizations (Fundación Integrando

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Fronteras, 2020a). Consequently, the organizations/groups/collectives/companies report economic loss-
es, due to the acquisition of unavoidable commitments inherent to their activities, therefore, a decrease
in their income.

The spaces of the non-formal and informal dance training sector were forced to adapt their way of
teaching from the virtuality to continue with their activities. It was proposed the development of classes,
workshops, diploma courses, meetings, etc., and other training activities from digital platforms that can
be charged and have validity of their training processes. In this context, the creation of a specific digital
platform for dance schools and/or trainers was sought, with a projection of mass dissemination, allow-
ing them to reach diverse audiences, which facilitates the programming and digital charging of training
activities (Fundación Integrando Fronteras, 2020a).

Other strategies to address this context proposed the circulation of dance works through digital plat-
forms with a specific fee. Others opted for the sale of artistic works that can be programmed in the long
term, but paid for in the short term. And others proposed to generate a National Roundtable, Union and
/ or Association of dance to be the interlocutor between the agents of dance and public institutions, to
seek the development of a dance fund and / or a support network to help those who are affiliated. It is
also proposed a network of contacts to generate knowledge circulation after the emergency situation.

The following actions taken by the academies to deal with this situation can be specified25:

1. Communicate dance: Where virtual activities were disseminated and promoted about dance
in general terms, its companies, groups and projects; which were published on social networks
through videos, announcements and photographs of past events.

2. Transmitting knowledge: Through the sending of formative, informative, individual training

material, sequences to practice, planimetric graphics, warm-ups, tutorials, didactic guides, study
material, choreography reviews, reviews, etc., on topics such as dance, aerobics, stretching,
makeup, dance, training, yoga, aeroyoga, dance pedagogy, meditation, pilates, body expression,
physical activity set to music, physical conditioning, singing and languages.

25
See Fundación Integrando Fronteras (2020a). Mapping “Situación del Sector de la Danza en Colombia en el Marco del Estado de Emergencia por COVID -19”
(pp. 26-27).

129
 3. Train the body: Classes, workshops, rehearsals, rehearsals, presentations, both theoretical
and practical.

4. Reflect and analyze: Where meetings, consultancies, talks, conversations, academic accompa-
niment, seminars, socializations and teleconferences that have been carried out, through social
networks, video calls, Youtube and platforms such as Zoom.

5. Search for opportunities: Review and interest in participating in the search for Ministry of Cul-
ture Calls for Proposals and/or local programs to support cultural projects.

6. Acquire New Knowledge: Where trainers were encouraged to search for information about their
work through research articles, academic guides, books on dance, etc. Likewise, research-cre-
ation processes, research projects, information gathering, surveys, systematization of experienc-
es of festivals and companies were also carried out.

7. Carrying out other activities: Focus on carrying out leisure and entertainment activities, ther-
apies, talks and spiritual help, consultations, customer service, training on virtual platforms,
customer acquisition, administrative work, exchange of materials with other regions, costume
making, articulation with colleagues, video editing, managing opportunities for future tours, cre-
ation of virtual works, company management, advancing work proposals, editing songs, design
tasks for performing arts companies, recreational-pedagogical and interactive activities, inven-
tory of elements, accessories and paraphernalia, design and elaboration of plans and models of
lighting for shows, construction of content for virtual classes, training challenges to maintain the
connection as a community process, among others.

It should be noted that the activities described in items 3 and 4, of those who perform activities online,
were carried out on a voluntary, free or trial basis with the aim of maintaining their presence in the work
of dance. On the other hand, it is important to consider that some agents have offered their services on-
line at half price, in order to obtain a minimum income, considering the public’s perception of virtuality.

However, it is necessary to consider the difficulties presented by the activities through the Internet. It
highlights the need for physical presence, physical interaction of those who practice dance to achieve the
objectives of the processes that are developed in this context, whether creative or training (rehearsals,

130
personalized and/or group classes, festivals or mass events). It also highlights the differentiating dynam-
ics since the population groups served by dance agents have particular needs that cannot be covered by
the opening of virtual spaces because not everyone has the same skills (older adults) and connectivity
tools (permanent internet connection, computer, camera, cell phone with connectivity, etc.), which in-
crease in rural areas. The drawbacks in receptivity are shown in that many of the clients considered that
virtual classes should not be paid for because the classes do not have the same quality. Likewise, due to
this situation, they consider that dance activities are not a priority household expense, considering it an
“entertainment” product (Fundación Integrando Fronteras, 2020a, p. 26).

Profiles in the Culture Sector

This situation shows that the practice of dance is a very young process as a field of work, as it has yet
to be built as a space for development, not only from leisure. This characteristic of the emergence of
dance and its lack of institutionalization, involves a multiplicity of problems that individuals are faced
when exercising the profession to the impact of the pandemic. As a profession that is poorly recognized
in the formal dynamics of the country, dancers must exercise their dance work on a blurred line between
informality and formality (Guevara, 2018).

Based on this context, the following profiles of people or productive units that presented greater vul-
nerability in the dance sector in the face of COVID19 affectations can be identified:

1. Self-employed persons or duly registered (formal) companies that provide cultural/artistic

goods or services and to whom, in the framework of the pandemic their goods or services were
canceled. For example, academies, dance companies, dancers, cultural managers, among others.

2. Self-employed persons or informal enterprises. As is the case in the cultural sector, people in
this condition find it difficult to access decent work and contracting. They suffer from labor pre-
cariousness both in the private or independent exercise of their activities, as well as on the part
of the State, when they are hired for professional services without guaranteeing contributions

131
 and other benefits. It is recognized that an important part of the workers associated with artistic/
cultural production in the country work in this situation with a diversity of profiles:

a. Artists and managers who, regardless of their trajectory, age and even income, have not
been formalized and have entered and left formality. This happens for various reasons both
specific to the sector and external: intermittent work, income below the minimum wage,
multiple employers or contractors, rigidity of the social security system, among others.
b. Creators who belong to groups with recognized social vulnerability. For example, impor-
tant groups of bearers of traditional trades either in indigenous and Afro-descendant com-
munities in coastal areas, internal or external migrants in urban-marginal settlements.
c. This also includes artists or managers belonging to other population groups that are
vulnerable and are served by institutions specially dedicated to their situation: people
with disabilities, the elderly, mothers who are heads of household, among other vul-
nerable populations.

This situation shows the need to welcome the agents of dance as a sector of high vulnerability, as it
becomes visible dissatisfaction and discomfort of the artistic sector towards the presence / absence of the
Government, so requests for permanent and long-term actions for the sustainability and growth of dance
in the country are made. Among these is the creation of savings and pension funds appropriate to the
sector; injection of capital for the generation of new audiences, aggregate and connect the entire dance
sector; the creation of a dance council; access to job opportunities with fixed contracts that offer payment
of parafiscal; finally, the creation a contingency plan to cover needs in situations such as pandemic or a
possible bankruptcy and to make payroll.

Status of academies, university welfare and dance research

From the data collected in the results obtained from the research sub-line “Training Dance Acade-
mies” of the foundation to generate an overview of these instances during and after the pandemic in the
city of Bogota (Fundación Integrando Fronteras, 2020c), it can be said that of the 52 academies linked to

132
training processes around dance, the locality of Suba is the one with the largest number of dance acad-
emies, followed by Kennedy, Chapinero, Usaquén and Teusaquillo. This is due to the fact that most
of the academies participate in public calls, which has allowed them to finance projects and training
processes, while most of them have extensive experience between 1 to 5 years to 11 to 15 years.

This trajectory has allowed them “High” training levels where specialized training in dance seeks
to increase the promotion of the dance sector. With respect to the trainers, there is evidence of flexible
working hours, both in terms of space and schedules, and they have a large teaching staff. However,
a factor that hinders the stability of the processes is that most of the academies do not have their own
spaces since they are rented, which correlates with the general lack of infrastructure and equipment.
Regarding the situation of training activities in the context of the pandemic, it was identified that one
third of the participating academies were severely affected in their training processes, having to adapt
to the circumstances through the development of home-based and virtual activities (such as those de-
scribed in the previous section). However, as they are officially constituted, high levels of indebtedness
were observed in order to cover tax expenses.

From the data collected in the results obtained from the sub-line of research “Formation of Uni-
versity Wellness Centers” located in the city of Bogota, it is shown that of the 12 university wellness
centers linked to training processes around dance, half are located in the town of Teusaquillo, fol-
lowed by the localities of Santa Fe and Candelaria. Regarding the levels of training in dance, half of
the participating centers claimed to have a “Medium” level of training, while the other half claimed
to have a “Basic” level of training (Fundación Integrando Fronteras, 2020b). This corroborates the
importance of these centers in shaping non-formal and informal training strategies; however, in terms
of training time, it is equal to that of the academies with an average of fourteen hours for the develop-
ment of the processes. In terms of experience, it is much greater than the academies with an average
of 21 to 25 years in the total of the sample and, in terms of space for the development of activities, it
can be seen that they have specialized areas and are owners; which shows greater support from the
institutional, economic and equipment points of view. With regard to the teaching and administrative
staff, there is a higher turnover of personnel, but there is the same number in the administrative area
and in the training area.

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 The status of the sub-line of research “Research in dance” emphasizes that of the eight organizations
linked to the dance sector that indicated that they were legally constituted, all stated that they were
linked to the line of “Research - Creation” and had a research group or study group with between 3 and
11 years of experience (Fundación Integrando Fronteras, 2020d). Half of the organizations indicated
that they have a headquarters for conducting research and that their publications and research processes
could be understood as a documentation center. All the organizations are related to research processes
that highlight the exploration of dance and the demand for training for its advancement at the district and
national levels. In turn, the research groups linked to dance, expressed to be formed by researchers who
spend less than 40% of their time in research approaches, which after the pandemic situation adapted to
the circumstances along with the development of activities.

This data reflects that the Research-Creation area has become a generator of relationships between
different knowledge, practices and between cultural, academic and artistic institutions in the region.
They seek to establish more lively links between non-formal and formal education; this relationship is
proposed as a dialogue of knowledge, in which the university is not conceived as the only place for the
production of knowledge and the construction of meaning of reality.

Final considerations
Through this analysis, the needs identified in the field of training are demonstrated. As a central as-
pect the need for articulation between the education and culture sectors is manifested, it is found that
the weakness of dance is directly related to the disarticulation of the sectors; The weakness of dance
is directly related to the disarticulation of the sectors, since it has a direct impact on the coverage of
the policy, the social valuation of dance as a fundamental element for human development, the scarce
linkage of experts to the education system, the disarticulation and lack of interest of higher education
institutions in the practice and processes that promote non-formal and informal grassroots organizations,
which translates into few exchanges outside the university bienestares.

With regard to informal education, it is observed that there are no guidelines to orient the training
processes, which results in the repetition of learned schemes without the construction of thinking about

134
the trade, which trivializes the practice. Very few institutions obtain resources for providing training,
which has made it subsidiary to events, weakening the area and its valuation. It was found that there are
no mechanisms to validate the knowledge acquired in cultural or sector entities, neither in education nor
in the workplace, which directly affects the development of organizations that have solid processes in
the area, as well as the interest in making dance a professional option.

Faced with the challenges in the field of research is still considered weak. In spite of the advances that
have been achieved in the consolidation of seedbeds and work groups, the centers of documentation on
dance are scarce and those that exist are not fully identified reason why the information is not acceded,
additionally these centers do not count on a place where the material of consultation with which they
count is disclosed. Traditional research does not validate the work of the creators or the culturists who
develop processes that safeguard and transmit the intangible heritage and the incentives for research are
insufficient, the incentives provided by the ministry remain in the process and the research that has been
developed in dance is not disseminated, is not evaluated, and there are no spaces for its socialization.

Another deficiency is related to Information and Dissemination, since there has not been a national
census to identify existing groups, there are no diagnoses on dance at the national level (organizations,
schools, people dedicated to this art, living conditions, employment), this situation hinders the planning
of actions and the demand for more resources for the area. The SINIC information system is not easy
to access and does not have adequate coverage; the registration of artists and organizations needs to be
supported by the area in the ministry, which would allow the information to be validated and visible.

Finally, with regard to the field of infrastructure, because of the pandemic, it is shown that all the
agents of the sector (academies, groups, schools, managers, producers, etc.) require support for the
improvement of or access to physical infrastructure for the development of their activities. Not all orga-
nizations in the sector have sufficient connectivity to allow them to keep up to date with the information
produced in the area. Artists and organizations do not make use of the information systems created,
which makes it difficult to carry out diagnoses and dissemination of information. The infrastructure for
the professional practice of dance is scarce and generally belongs to private organizations that do not
benefit community processes.

135
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 Circulation and cultural management in the dancistic sector on Bogotá

Aidaluz Sánchez Arismendi

Introduction

The task of tracking the circulation of dance and the processes of cultural management around it in
the city of Bogota is a challenge and a great responsibility. To present a description of what happens in
an area that stands out for its large number of social dynamics, cultural practices with different body
languages, demands and needs associated with specific contexts and varied conceptions of dance cir-
culation, implies recognizing that the generation of documentation, registration and reflection on what
happens in the city, not only in terms of quantity and frequency, but also in terms of conception, achieve-
ments, processes and difficulties, is part of a long term task, which requires to be built from several ap-
proaches. In this order, the following survey is understood as a contribution to this purpose, rather than
a description that contemplates all the perspectives of the agents involved in the sector.

In order to achieve this purpose, we relied mainly on the documentation and some interviews conduct-
ed by the Fundación Integrando Fronteras in the framework of its Dance Observatory MASSDANZA,
which has been interested in generating spaces for dialogue with different actors in the dance sector on
certain issues, as well as building documentation and knowledge of the sector, mainly focused on the
construction of public policy for dance. Similarly, the publications and reports produced by the Dance
Management of the District Institute of the Arts (IDARTES) between 2014 and 2020, requested by the
Observatory for the analysis process, were reviewed.

In that order, one of the characteristics to consider is the type of existing sources from which this
tracking is built, texts that mostly respond to very specific purposes such as evidencing public spending,
investment, impacts, etc. Thus, the sources do not always express in a broad manner the implications
of the processes of circulation and management, and not all of them necessarily show with greater clar-

139
ity the perspectives of other actors or intervening agents (understood as institutions, networks, artistic
groups, dancers, directors, programmers, etc.).

It is necessary to indicate that, upon being invited to carry out this research, it was given as a guideline
to consider three aspects: to carry out a trace focused on the circulation of festivals, to explore the
understanding of cultural management in the field of dance and to consider the implications of the
pandemic of the COVID-19 coronavirus disease in these processes.

In relation to the first item - circulation (festivals) - in the very exercise of reviewing the information,
even with the precise nature of the management reports, there are clues that indicate that the understand-
ing of circulation and its processes takes on various dimensions. Thus, even when the review focused
on the circulation of festivals, other dynamics that account for broader circulation processes were not
overlooked. For this reason, some independent initiatives were taken into account, which qualitatively
allow us to understand some of the dynamics. However, as the information gathered in this regard is
scarce, this is one of the dimensions that requires further study.

With regard to the second - understanding of management - given the type of information from which
we start, we sought to demonstrate the perspective of dance management, from what happens mainly
from the institutional vision (as indicated from the public sphere such as the Dance Management) or
from the spaces that the institutionality provides to know the positioning of different agents that are part
of the dance sector. Similarly, some ideas on cultural management by dancers are explored, but as in the
previous item, this is an area that requires further study.

In both cases, both for the institutional sphere and from the dancers’ point of view, a close relationship
was identified between the importance of circulating artistic expressions and management, a relationship
that has had nuances over time. This made it possible to relate what is understood by managing in certain
sectors of the dance field and some particular ways of doing things.

Regarding the third point, this is related to what is presented in the year 2020, pointing out some
modifications in the management processes.

140
 It is worth noting that, in general terms, the understanding of cultural management and of those
who perform it turns out to be quite broad and, in that order, although it is increasingly an area
and an activity that is building a whole professional field; as Yañez (2013) points out, Latin Amer-
ica is in search of the identity of management and the manager, to respond to the challenges and
political tensions about the positions that are assumed in relation to the understanding of culture
and management.

Of course, the idea of cultural management has its own history and various positions on what is con-
ceived as such. For the purposes of this diagnosis, it is important to note that the presence of cultural
management in Latin America during the 1980s began to emerge in government institutions, especial-
ly in public administration, as well as in community cultural groups, and its origin was in practice, so
the process of becoming a manager did not begin as a result of a university training course. Likewise,
part of its visibility at the global level began to be greater in the 1990s, when social demands and state
visions associated with decentralization, purposes of inclusion of marginalized sectors from the scope
of cultural citizenship, processes of implementation of multicultural policies, as well as the linking
of arts and cultures understood as traditional and popular (referring both to a population group, as a
massive dimension of circulation) as part of the interests of different social sectors, the state and the
market were expressed (Yañez, 2013; Yúdice, 2002).

In this context, one of the lines that is outlined from the state sphere of the cultural manager is that
he/she should be a person “with administrative tools and techniques, planning and with the ability to
monitor and evaluate cultural processes through plans, programs and projects formulated for commu-
nities such as institutions and organizations” (Yañez, 2013, p.113), thus, for example, the manager’s
action is understood as an administrator of resources, means and people. While this is one perspective,
it is also conceived as a mediator, as a social agent that promotes the creative act of generating cultur-
al processes, understanding the political dimension of culture (Yañez, 2013), i.e. processes in which
it is recognized that cultural practices, whether thought of as art or not, are also intersected by deep
inequalities, social demands are mobilized and the possibilities of building social which are not alien
to the interference of political powers and models.

141
 Although these approaches are somewhat schematic and reduce many discussions on the understand-
ing of cultural management and the role of its maker, which may or may not be stated as such, it serves
as a reference to approach what, from the evidence in the documentation analyzed, is understood as
management, from the practice of those who do it.

The foregoing is an invitation to address in future research, analyses that allow to deepen the dynam-
ics identified in this mapping-diagnosis; considering the same conception of culture and dance, which
operates or is put into practice in the field of public entities, different social sectors and the market -
interrelated areas; as well as the same perspectives of cultural management that are materialized in the
different practices of its makers (not only the state, which is the look that prevails in this diagnosis) and
that are not alien to an increasingly accelerated process of formalization, which responds to establish
what is manageable and measurable, considering the relevance it has acquired for the construction of
alliances, networks, promotion, scholarships, access to a labor market, generation of cultural policies
and social recognition; evidence of the economic, political, social and human contribution of everything
that takes place in and around the practice of dance.

To analyze the information, two perspectives are taken as a starting point. On the one hand, what has
been done by public sector agents such as the Dance Management and, on the other hand, some initiatives
from the dancers, which although they have been able to have articulations with the Dance Management
and other areas of the institutional spaces of the public sector such as the Ministry of Culture, they still
have attained a certain degree of autonomy. In this order, the diagnosis presented here is more descriptive
and is structured under questions that are answered based on the information already reviewed.

The text is organized as follows. First, some background information is presented to help understand
how dissemination and management have been understood from previous studies and to provide a com-
parative reference of those aspects that persist and others that have been modified.

Subsequently, four questions are presented to be answered: 1) Why the relevance of dissemination as
a field of management and festivals by dance genre? 2) What has the Dance Management Department
done over the years in relation to dissemination and management? Around this question some continu-
ities are identified and later certain particularities are mentioned by year, which make it possible to show

142
some perspectives of the dissemination and management 3) Have other initiatives of dissemination been
built? 4) How do the dancers understand management? Finally, some conclusions are presented.

Precedents

An important point of reference of the processes around how the dissemination and management are
understood in the field of dance as well as the identification of continuities, changes and challenges is
the state of the art in the area of dance carried out by Ángela Beltrán -current dance coordinator at the
Ministry of Culture- and Jorge Enrique Salcedo (2006).

In relation to the dissemination, the authors identify that the production of knowledge is centered
mainly in the institutions of the State or in association with the State, mainly to report the growth of a
sector, impacts and orientation of policies “maintaining the vision about the State and its institutions, as
a regulating entity that circulates the artistic production” (Beltrán & Salcedo, 2006, p.61). In this order,
and in relation to cultural management, it can be indicated that, from this perspective, what is mainly
conceived within management, that is, as an interest to be managed, are the artistic products.

With this, it does not go unnoticed the similarity on the type of sources and interests of the existing
analysis and information for this review, therefore, although there is a greater amount of analysis or
sources regarding audiences and circulation, part of the contribution of all the research MASSDANZA
+ CONEXIONES is to join efforts in the process of consolidation of analysis that allow a more robust
characterization for decision making and public policy foundation for dance. It is indicated that existing
studies are necessary and important for the dance field, as are different approaches to the dynamics sur-
rounding the dance field.

On the other hand, the authors point out that the State is solely responsible for artistic production,
although it the interest of public institutions is necessary in ensuring access to dance in its various di-
mensions (not only as staging), what draws attention to this, is how problematic it is to perpetuate ideas
of dependency relationships to the ways in which government entities resolve or propose to disseminate

143
or manage dance and related processes, an aspect that as distinguished at times in this analysis remains a
problem in the sector. On the other hand, sixteen years later, there is still a need to have more sources and
different perspectives of analysis regarding dissemination and management, as well as the discussion
and the socialization of the same.

Beltrán and Salcedo (2006) point out that knowledge of dissemination is limited to the realization of
events, surveys and very specific measurements that, given their specificity, make it difficult to identify
processes and projects that occur in the field of dance. Additionally, they mention that one of the diffi-
culties is that the information on dissemination does not reach other stakeholders other than institutional
ones, so much so that it is only intended to support certain actions within public policy, but is not import-
ant to be discussed and evaluated with other agents in the dance field.

For 2006, the authors identified that:

Knowledge about the current state of dance in Bogotá is a field whose development and dis-
semination is mainly supported by public investment, more specifically by projects (festivals,
competitions, scholarships, memorials) granted by the District Institute of Culture and Tour-
ism through the Dance Management. The activities of particular organizations, the proposals
of groups or individuals lack impact, their transcendence is minimal, they are made invisible...
Rather, as indicated in the interviews and surveys recorded in the different reports, the desire of
the organizations corresponds to the linking of particular intentions in the projects of the entity,
which translates into the constant search for continuity of state support for private projects (Bel-
trán & Salcedo, 2006, p. 61).

It is recognized that the field of dance has achieved greater visibility and recognition from the staging,
in which a horizon of possibility is the approach to new audiences and, with it, a greater appropriation
and demand of citizenship. At the same time, there is a lack of union organization to overcome distinc-
tions between expressions of high and low culture, such as initiatives that “seek to generate collective
proposals and to organize and self-regulate the activity of dance in Bogota” (Beltran & Salcedo, 2006, p.

144
62) or there are collective initiatives that result from political situations or very specific spaces of asso-
ciativity, which are created and disintegrate without achieving a joint work. This does not disregard the
processes that has strengthened specific genres or styles.

This is related to the fact that, as expressed by the authors, a perspective on dance that can generate
meeting points and in turn an approach to the body that recognizes different dimensions is not only fo-
cused on “a purely corporal-physical practice, which results in good technical conditions for execution”
(Beltrán & Salcedo, 2006, p. 62). 62), which does not mean disregarding the need felt by the different
genres to achieve a high technical level, which explains why dancers demand from the State training
spaces that, according to the analysis referred to, are understood as a constant and specific training for
each modality.

The authors identify three main causes of the problems in the dance sector: scarce production of
knowledge with different approaches and that are discussed; the absence of policies by and for the sector
that are the result of shared interests; and as a third point, although dance is a mainly collective practice,
in relation to group organization and management, its dynamics as an area responds more to individual
efforts that are unfortunately disjointed.

The above panorama points out some important routes to consider in order to identify certain prob-
lems and dynamics of the 2000s, which in some way have begun to transform, but in other aspects are
reiterative. During the presentation of the findings, a relationship is established between the panorama
presented by the authors mentioned above and the current situation.

Results

The following four questions allow us to make a general diagnosis of what is happening in terms of
management and dissemination.

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 Why the relevance of dissemination as an area of management and festivals by
dance genre?

Based on the document “Events-processes as cultural policy. Policies and actions of the Dance Man-
agement, 1996-2004”, the objective of which was to present what was done by the management from
1994 to 2004. Beltrán and Salcedo (2006) as Claudia de Greiff (2013), point out that the Dance Manage-
ment -existing since 1996- proposes from its beginnings “to strengthen the construction of the identity of
the different dance genres of the Capital District, creating a sense of belonging and recognition towards
this artistic sector” (Greiff, 2013, p. 22). This connects with the relevance that has had since the begin-
ning of dance management, the strengthening of each of the dance genres, which has had an impact on
the way in which the dynamics around dance began to be organized, concentrating the interest in staging,
as well as organizing festivals or events by genre.

In 2004, in addition to a change of management, there was a transition between the development plan
“Bogotá para vivir todos del mismo lado 2001-2004” under the mayoralty of Antanas Mockus, and the
development plan “Bogotá sin indiferencia 2004-2008” under the mayoralty of Luis Eduardo Garzón in
which the District Institute of Culture and Tourism would disappear and the District Secretariat of Culture,
Recreation and Sport would appear. Likewise, district cultural policies 2004-2016 were proposed, from
which, according to Greiff (2013), the approach presented in relation to dance is somewhat problematic:

Dance is conceived as an area that has a series of numerous products that must be put into dissemina-
tion for the city to recognize its strength, quality and diversity. But precisely because the products are not
the result of a well-founded process in the training of its agents and reflection on the activity, they give
rise to subjective readings, whether by dancers or choreographers, regarding the creation, dissemination
and production of the works (p. 22).

The above allows us to point out that, in this political and temporal framework, the outlook on dance
and its relevance is focused on the dissemination of products (it could be inferred that of stagings), which
refers us to the idea of what is of interest to manage from the cultural policy. In addition, Decree 627 of
2007 formalized the District System of Art, Culture and Heritage, of which the District Dance Council is

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a part, and linked sectoral tables by dance genres or specific population groups (e.g., senior citizens) that
had been operating previously and that, as noted by the dance management for 2004, were not regulated
(De la Rosa, Varón, Sánchez, 2019).

Faced with this panorama, it is necessary to point out the tension that exists between proposing man-
agement processes that recognize the interests and dynamics of each aesthetic and cultural expression;
and on the other hand, identifying, both by state institutions and by the dancers, choreographers, etc.,
that which is common to the entire dance community, in order to manage not only resources or spaces for
creative processes and disseminate performances, but also to build other types of management initiatives
of a structural nature, such as a cultural policy, The other is to identify what is common to the entire
dance community, in order to manage not only resources or spaces for creative processes and dissemi-
nate performances, but also to build other types of structural management initiatives, such as a cultural
policy, so that the initiatives of dancers, groups or collectives can strengthen their processes, without
always having to rely on state directives.

What has Dance Management done over the years in relation to dissemination
and management?

To answer this question, first some general elements are indicated during 2014 to 2020, to later make
more specific mentions of the management and dissemination processes during this period on an annual
basis, which make it possible to point out some particularities.

General information

In addition to a preponderant organization by dance genre, the Festival Danza en la Ciudad (FDC) has
been a constant since 2008 to date. It is a festival that is currently considered a large format, it manages
to link different styles and proposals around corporeality at the district level, with guests from other
regions of the country and internationally.

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 About this festival it is important to mention that a turning point in its realization was the year 2013,
from which a campaign “For the pleasure of paying a ticket” was made, considering that in previous
versions it had been free access for its attendees. According to IDARTES (2013), this strategy “seeks the
recognition of the dancer’s work through informing the public about the importance of paying a ticket,
resources that contribute to the artists’ ability to make dance a sustainable way of life” (p. 100).

On that occasion, tickets were charged in two of the theaters (Jorge Eliecer Gaitán and Teatro Mayor
Julio Mario Santo Domingo) and in other theaters such as Teatro al Parque (open space), Teatro Varas-
anta, Teatro Camerín del Carmen, admission was free to the public. According to the audience survey
conducted by the Fundación Centro Cultural Colombo Peruano (2013) for this festival, attendees were
concentrated in areas of stratum 3 (46%) and 4 (24%), of the total number of attendees half have uni-
versity studies (50%), 67% of attendees had not attended a previous version of the Festival, 45% of at-
tendees accessed through paid ticketing and 55% through unpaid ticketing. Of these 55%, 97% said they
would pay for a special dance performance. Since that year, some of the works presented at the festival
have a box office fee.

This raises an ongoing debate on whether or not to charge for a dance performance in order to ensure
access to different social groups, not only those who can pay for it. The question of who should assume
the financing costs and how they should be assumed (private entities, the state, the general public, the
dancers themselves, who assume a large amount of expenses to achieve the completion of their proj-
ects...), and the urgency of a recognition of dance as a profession, in which the payment for the work
done by dancers, producers, costume designers, among others, is not relegated.

Particularities

The following are some of the highlights throughout the years considered. Recalling again that the track-
ing carried out focused on festivals and some aspects related to management ideas, so it is not intended
to make an exhaustive description of all activities and initiatives carried out by each of the managements.

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 2014

According to the Dance Management (2014) its duty to be is:

(... ) manage and carry out the formulation, implementation and evaluation of plans, programs and
projects for the promotion and appropriation of dance in Bogota, in order to consolidate the work
of this artistic practice, so that both artists and spectators find in dance a space for the exercise of
cultural rights, the strengthening of the sense of identity, enjoyment, coexistence, tolerance, respect
and recognition of the artist’s profession, thus contributing to the formation of an audience for dance,
professionalization and improvement of the quality of life of dancers and citizens of the Capital
District (p. 1).

According to what has been mentioned in relation to the purpose of the manager, the roles of both the
resource manager and the one who advocates for cultural rights, from what is officially stipulated, are
detailed according to the perspectives proposed by Yañez (2013).

For 2014, the management works under four dimensions: training, creation, dissemination and re-
search in dance. For the Circulation area this is understood as “the one in charge of staging the produc-
tions and co-productions of the Dance Management, as well as the creations of the dancers in the city of
Bogota through strategic alliances” (Gerencia de danza, 2014, p. 3).

For that year there was no urban dance festival, but the urban dance award was developed “Compe-
tition that seeks to select through audition, the best proposals in different styles of Urban Dance such
as Break Dance and Street Dance, among others, that integrate conventional elements of Hip Hop with
new trends and aesthetics. The winning proposals will be disseminated in different scenarios of the
city” (Dance Management, 2014, p. 5), these selected artists participated in the “VI Colombian Urban
Arts Festival - Vialterna”, and a new category All Style was included “where the different styles and
techniques of both Bboying and Street Dance converge” (Dance Management, 2014, p.6). This festival
responds to “alliances widely concerted with active agents of the urban dance sector” (p. 6) in which
festivals managed by several dance academies participate.

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 For that year, the sectoral roundtables resulted in the following innovations in relation to dissemi-
nation: 1) the participation of salsa dancers in the Salsa al Parque festival through a selection process,
which had not been carried out in previous years. 2) “the First Flamenco Week in Bogota La Alianza de
Flamenco, in agreement with the Dance Management of IDARTES”, 3) “Festival de Tango Ciudad de
Bogota 2014. The Tango Sector Alliance, agreed to carry out in 2014 the First Tango Festival - City of
Bogota” (Dance Management, 2014, p. 9). 4) the Break dance sectorial table, proposed to carry out the
international battle Vialterna, in which “the best Break Dance groups of the “Vialterna” Festival, repre-
sented Bogota” which was held within the framework of the Hip Hop al Parque Festival 2014 and partic-
ipated for a prize calculated in dollars. From then on the festival has been maintained and strengthened
with the work of various management and organizational processes of the network of Break festivals
and has had a great reception over several years with participations from countries such as Chile, Spain,
Peru, United States, Brazil, Panama, Guatemala, Puerto Rico, Argentina, among others.

2015

In 2015, the dance festival was maintained in the city and it was highlighted by the management as the
largest economic investment since its creation in 2008 with a large number of strategic allies (see Annex
2), as well as an increase in the collection of the box office for the theaters. It is worth noting that ticket
sales began to be charged for certain shows in 2013. Similarly, the festival includes other formats such
as videodance, as well as dance research workshops, dramaturgy workshops focused on the elderly, to
name a few, expanding the training and research processes that take place around dance and at the same
time extending the concept of “dissemination” of dance.

The initiative to consolidate the academic component of the dance festival in the city is indicated,
including “an entrepreneurial strip for emerging dancers and dance companies” (Gerencia de Danza,
2012, p. 12). It also achieves a dance season in agreement with the Gilberto Álzate Avendaño
Foundation (FUGA) and the District Institute of the Arts - IDARTES with three dance seasons; at the
same time it proposes to build a table for oriental dance, expand projects focused on the recognition
of dance as a generator of health, despite having some activities related to that dimension. The

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above, although not specifically focused on festivals, allows the identification of other areas of
dance dissemination of interest to management, which are not associated purely with theaters and
the stage.

Similarly, both in the dimension of creation and dissemination of Dance Management, although it
does not refer to a festival as such, it is necessary to mention two projects that had support from other
state sectors such as the Ministry of Culture and that are intertwined with that of dissemination. The “res-
ident dance company of the Jorge Eliecer Gaitán Theater” project sought to have a professional company
at the district level that would allow the dancers/creators to be paid and become an employment oppor-
tunity. It was established that every year open invitations are made to link dancers and choreographers
to this initiative. For 2015, two large-format works circulated, one aimed at children’s audiences, with
some difficulties in the adaptations to circulate in smaller formats.

The other project is “Recital Colombia Project” which had support from the Ministry of Culture, the
Cali Dance Biennial, R101, the Creteil Choreographic Center, the French Embassy and IDARTES “
Choreographic montage aimed at hip-hop dance under the choreographic direction of Mourad Merzou-
ki” (Dance Management, 2015, p.7). Said project circulated in the Cali Dance Biennial and the Festival
de Danza en la Ciudad.

The relevance of hip hop and street dance culture in the city’s dance dynamics does not go unnoticed,
and its presence does not date back to the 2000s, but it was not until this period that it achieved greater
recognition in dissemination scenarios. This invites us to evaluate its role and prominence not only at the
stage level, but also in terms of training and research processes.

2016

In 2016, under a new management and within the framework of the development plan “Better Bogota
for All”, the investment project that contemplates the management is “Art for social transformation:
Inclusive, decentralized artistic practices at the service of the community.”

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 The above is related to the slogan of the Dance Festival in the city, which changed from “Bogota in
Movement” to “Territories in Connection.” The slogan was maintained, seeking to decentralize cultural
offerings by having a greater presence in more localities (it was achieved in 12 of 20), as well as holding
the festival not only in conventional theaters and reaching other audiences. At the same time, it devel-
oped the idea of the body as a territory, as expressed in the program “Dance inhabits the body as the first
territory to build, know and feel”.

In this version, the Afro Festival organized by the Corporation, Body and Mind, is linked to the festival,
making visible issues and proposals for society, which can be addressed in dance. Through this festival:

It is intended to make visible, disseminate and appropriate traditional Afro and contemporary
Afro dance, in scenarios of encounter and peaceful coexistence around the appreciation and en-
joyment of these artistic practices through workshops conducted by five guest teachers, a closing
meeting with them and an art Jam “Wheel against Racism” (Dance Management, 2016, p. 24).

Improvisation, composition and creation workshops also participated. As well as Indian dances, the
Seminar on content, meaning and pulse of movement, Panel body and conflict, Cycle dance and cinema,
Conversatory Dance and childhood, to name a few, in which the emergence of other topics of interest
and national relevance (e.g. armed conflict, fight against racism), and increasingly greater articulation
between training, research and dissemination processes is evidenced. Thus, an important role of manage-
ment as a mediating manager of processes and not only of services is identified.

Another element to highlight is one of the activities carried out in the framework of the celebration of
the Dance Day: “Expodanza 2016”. This fair held in one of Bogota’s shopping malls, had the purpose
of making visible the existing dance academies and university programs in the city. Four university pro-
grams and 46 academies from Bogotá participated in it. A directory was made with the participants of
the fair, a workshop on how to make a portfolio of services (which is presented as training in entrepre-
neurship). There were also continuous workshops throughout the day such as workshops on Hatha Yoga,
Kundalini Yoga, Jazz Dance, Street Jazz, Afro contemporary, a class on rueda de casino (Cuban dance),
along with the elaboration of a big wheel and the invitation of La Timba Underground.

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 Also in that year, as part of IDARTES’ transversal activities, in the area of entrepreneurship, partici-
pation in the second version of MICSUR (Cultural Industries Market and PALCO - Strategic Platform
for the Dissemination and Internationalization of the Performing Arts of the Country) in which the rep-
ertoire of the works of the resident company of the Jorge Eliecer Gaitán Theater was offered.

It may be that in that year these initiatives, conceived from the standpoint of entrepreneurship, were
not central to the management’s activities, and in this review they are presented as outstanding. How-
ever, two aspects stand out: on the one hand, the way in which visions of art for social transformation,
such as the Dance Festival in the city, are presented in conjunction with strategies from the field of art
as an industry. This implies views on management and the very idea of “sector” that sometimes do not
always coincide. On the other hand, in relation to the above, it is necessary to investigate in more detail
from other sources, the way in which both management managers and dancers, creators, communities,
mediate with such perspectives, what challenges they have faced, as well as to assess the effects that
this approach is having in the field of dance. The identification of those beliefs, political positions and
contradictions that arise in the management and the idea of entrepreneurship would be necessary for a
better understanding of the sector.

No information was found on what resulted from the participation of dance companies in this plat-
form, nor is it known about the impact that Expodanza could have had on schools, for example, if in
fact they made a portfolio of services, if it was useful for their internal management processes or if they
managed to increase the number of people interested in their academies or groups.

Likewise, although concepts such as entrepreneurship appear in the reports of both the Dance Man-
agement (2016) and IDARTES (2016), it is not known how this approach proposed by other agencies
is assumed or understood by the Management, as well as by other agents of the dance field. The above
would be interesting to investigate, to the extent that as indicated by the study conducted by the Ministry
of Culture (2014) to several organizations and individuals in the cultural sector who took training pro-
cesses in entrepreneurship in different institutions in the country, there is not always a positive reading of
business language or entrepreneurship. For example, implementing strategies in the framework of entre-
preneurship, which in training processes generally link to a business approach of economic profitability,

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such as the realization of a business plan, a media plan, internal organizational management processes,
financial management and knowledge of the sector, among others; generates a conflict of perspectives
on the relationship between the market and culture, and sometimes limits the idea of undertaking an
initiative. The study notes that:

One of the interviewees states that the academy’s concept of entrepreneurship is that of “a
trader of culture” and not of an entrepreneur. For this interviewee, being an entrepreneur does not
refer only to the commercialization of a cultural good or service, but is part of the daily practice
of an artist given the recursion that he/she must have in order to maintain an artistic project, re-
gardless of whether it is economically sustainable (Ministry of Culture, 2014, p. 71).

The above example is useful to indicate the importance of deepening on those postulates that support
a task, to see other edges that affect how a creative and transformative field is valued or not, which in
turn also moves within a market.

2017

Within the framework of the investment project “Art for social transformation: Inclusive, decentral-
ized artistic practices at the service of the community” of the development plan “Better Bogota for All”,
it is proposed that attendance to artistic activities in the 20 localities of the city be focused on the social
transformation of the territories. In this year, even in the way the report is organized, the interconnection
between the dimensions of creation, dissemination, training, research and appropriation in the same pro-
gram is sought to be evidenced.

This year turns out to be a year of “transit and learning of a new way of participating in associativity
processes, understanding that, from 2018, these processes will be convened through the entity’s promo-
tion program (Stimuli or Concerted Support)” (Gerencia de Danza, 2017, p. 16).

As noted in the background of the state of the art, one of the problems has been focused on the
generation of networks and collective work. Regarding this, a networking exercise mentioned by the

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management is the Network of Festivals of World Cultures Evoé. (Tango, Tap, Flamenco and Arab
Dance). Said network “was born in the framework of the sectorial dance alliances whose fundamental
commitment is to strengthen and empower the sector’s associativity processes and networking that, in
a joint manner, contribute to the human, cultural, artistic and economic development of the society and
culture of Bogota.” (Dance Management, 2017, p.16). Under the network were made Bogotab, the Tan-
go Festival, Flamenbo and the Oasis Festival and the management recognizes “an excellent capacity for
artistic direction administrative management and all that this implies manages to elude them” (Gerencia
de Danza, 2017, p.19).

While highlighted by the management, the fruits of networking that allowed staging four different
genres, the difficulties of the achievement of the festivals are also exposed when it falls on a single per-
son, or there is no redistribution of tasks among the participants or stakeholders in achieving it, which
generates an overload in some and for others it is read as hoarding by individuals or specific groups and
with it, exclusion from the spaces of dissemination.

The disparities in the experiences of the festivals are also evident in terms of the audiences interested.
For example, in the case of tap, part of its participants were concentrated in school students who were
initially part of the festival and their participation was not as expected, and others such as danzas de
Oriente, a festival that has a wider audience and dancers, a degree of involvement by several of the par-
ticipants of the sector, as well as the inclusion of different groups (children, major dance, among others).

In the case of the Ballet, the Ballet Alliance is being continued, with the aim of creating a collective
work, as was the case in the two previous years. The Bogota Folklore Festival, which had not been held
two years ago, was retaken and the folklore gala was linked to it.

The retaking of the festival results from “a mixed initiative organization (public and sectoral)” and it
is emphasized that “Folklore managers have a potential management and organization capacity. It is nec-
essary to provide them with sufficient tools for these efforts to be successful. Also to highlight the ability
to integrate to work as a team” (Gerencia de Danza, 2017, p. 24). But other types of problems external to
the staging itself began to interfere in the management, such as not having a legal status, which hindered
more autonomous management processes for the execution of the festival.

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 In the case of the dance festival in the city, it had the support of many sectors and expanded the presence
of the festival to other locations from 12 in 2016 to 14 in 2017, continuing with decentralization initiatives
and also involving international guests. However, difficulties are identified regarding the processes of
dissemination and marketing strategies of the festival - an aspect that is mentioned again in 2018 -, in that
some theaters such as the Jorge Eliecer Gaitán and the Roberto Arias Pérez, did not have the expected at-
tendance. The importance of “developing marketing strategies with the entity’s alliance advisors to work
not only with the citizens and the dance sector of the city but also with the welfare area of the companies
that are potential clients of the festival” was mentioned (Gerencia de Danza, 2017, p. 26).

In the case of the salsa sector, there was double participation, both in the closing of the dance festival
in the city and simultaneously in the salsa al parque festival, with the performance of Danza con la Sal-
soteca, held at the Teatro al Aire Libre la Media Torta. Also present were salsa dancers who were winners
of the World Salsa Congress organized by Espacios de Vida, as well as those selected from auditions
held by the Dance Management. In addition to the previous versions, the largest rueda de casino in Bo-
gota was held, a process that was coordinated with the city’s rueda de casino academies.

The relevance of the whole salsa culture and its different expressions, have made the different
management offices realize the importance of providing a space to reflect on the training processes in
salsa, as it is a broad movement that, besides being present in the capital’s rumba spaces, its teaching
is mainly concentrated in the dance academies and not in university programs at the professional level.
This does not indicate, of course, that there are no professional dancers and hence, the need to generate
spaces for dialogue, research on the approaches that are present in the training and research process-
es, and even the particularities in which these expressions circulate, not only in festivals, but also in
events such as “social” in which there are presentations of dancers, samples of training processes and
practice space for all attendees, which generates other types of audiences, ways to circulate and build
a whole salsa community.

As can be noted in what has been presented up to this point, although the sectoral roundtables initially
made possible the consolidation of certain spaces for dissemination, as indicated by the management

156
itself, the division by gender has also made it difficult to build networks and identify common interests,
so in addition to the structural modifications of the participation system indicated in another section of
this diagnosis, the spaces for participation were reorganized in an expanded dance roundtable focused
on issues necessary for the achievement of a policy for dance, such as: networks, employability, appro-
priation and community building through dance. Likewise, a University Roundtable was convened, con-
sidering the increase of technical and professional training programs in dance, focused on graduates and
the professional field. This indicates part of the actors that influence the way in which the dance sector
expands and thus the ways to manage it.

Finally, although it does not constitute a specific festival, and responds more to research initiatives
in relation to the appropriation of dance, in relation to its audiences and transformation in the city, there
are processes that help to think about the relationship between the dissemination of stage production
and other processes. For example, in relation to dissemination, we can mention the initiative “Dance
and Mediation” in which the management promotes an inter-university laboratory in which some of the
works participating in the Festival Danza en la Ciudad are dismantled in order to address what is behind
what comes to the stage. In that order, the criticism made by Claudia de Greiff (2013) in terms of the
disconnection between what comes to the stage and other processes such as research and training, could
indicate that initiatives have been generated to achieve more connections between these dynamics. This
is not to say that there has been a complete transformation and that management is solely responsible or
the only agent that fosters these interconnections.

On the other hand, reference can also be made to the process of Cuerpos Consagrados a la Escena,
which seeks to build a living archive of teachers and artists over 60 years of age, in order to generate
a collective and scenic memory during 2018. The above, it is reiterated, although it does not respond
directly to the dimension “festivals” invites to consider that those who feed those festivals have been
people who have dedicated their lives to the scene, and in that order are those who have enabled the
dissemination to exist, so it is important to identify these connections and of course the relevance of the
contributions of these dancers.

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 2018

For 2018, as mentioned in the generalities, a change was made on the forms of participation that are
related to the forms of dissemination. Thus, in order to obtain grants and support, the District Stimulus
Program (PDE) is used, which, according to the management, “Strengthens initiatives, projects and pro-
cesses developed by artistic, cultural and patrimonial agents:

Strengthens initiatives, projects and processes developed by artistic, cultural and heritage
agents of the city in the dimensions of creation, research, dissemination, training and appropria-
tion, through the delivery of incentives through public calls. The dance management has devel-
oped a rotation of stimuli in accordance with the dynamization and permanent transformation of
artistic practices (Gerencia de danza, 2018, p. 10).

These transformations are linked to the management’s interest in strengthening and making networks
visible, as well as meetings of specific sectors in small format. The changes in obtaining spaces and re-
sources through the Concerted Support Program generated discomfort and reluctance in some sectors, so
the management worked with some tables, highlighting the need to build networking, strategic alliances
and dissemination of leadership. In this exchange between some agents of the sector, several initiatives
were carried out:

From the alliance with the Bogotap Festival, the International Tap Day was celebrated, from master
classes, schools meeting and the tap ensemble in which professional tap dancers participated, which was
invited to the Festival Danza en la Ciudad (FDC).

Likewise, a public invitation was made to the flamenco and Spanish dance sector, which initially had
difficulties in convening, but finally managed to hold meetings with actors leading or training processes.
A sample of these meetings was also invited to the FDC.

Regarding folklore, the festival was maintained in its sixth version, and its participants were chosen
“selected through various participation mechanisms such as the district portfolio of stimuli, the folklore

158
gala, public invitation, the artistic residencies program and the participation of the university wellfare
integrated to the State University System SUE” (Dance Management, 2018, p. 16).

Within the strategic line “Territorial Appropriation / Dance and Community” which focuses on fos-
tering both economic resources and qualification, dissemination and infrastructure for dance, there is the
realization of dance dissemination in medium format programmed by the Dance Management: 1) Inter-
national Dance Day; 2) Afro-Colombian Day, which was not mentioned explicitly before; 3) VI version
of Folklore City; 4) BIVA in the framework of Hip Hop in the Park together with the Urban Dance Gala;
and 5) participation of dancers in the framework of Salsa in the Park.

Although it is not directly related to the realization of Festivals, but in the interests of dance man-
agement, it is important to evaluate the project “Compañía de Danza del Teatro Jorge Eliécer Gaitán”,
in which one of its interests was to manage creative processes and thus the dissemination of their works,
which would allow to account for the professional exercise of the dancer. Considering this, an evalua-
tion was carried out to replicate, in some way, this process to more choreographers and dancers with the
Plataforma Danza Bogotá program, which precedes what would be known in 2019 with the Orbitante
program. This is relevant to point out, considering that creative processes and the dynamization of festi-
vals and dissemination spaces are closely related.

Finally, in relation to dissemination and management processes, the management indicates two as-
pects that turn out to be recurrent:

The low dissemination capacity of dance events produced by IDARTES, in which there are no strat-
egies to reach new audiences and also the need to optimize the use of digital platforms available to the
management and focus initiatives to stakeholders.

A dissatisfaction felt by the sector about the limited availability of venues for artists, in which the
management proposes to work from co-production dynamics rather than dependencies or assistance.

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 2019

For 2019, some transformations that had already been carried out since 2018 are presented in a cohe-
sive manner, responding to the same development plan “Better Bogota for all”. In that order, the man-
agement presents the following as an outline of its mission structure:

Graph 85. Mission structure of the Dance Management 2019

Priority processes: Participation and management of knowledge

DANCE MANAGEMENT STRUCTURE - IDARTES

Articulating actors

Strengthening the professional field Dance, Territory Community

Program Orbiting Program Project Actions to promote dance

Dancing in the City Diffusion Bogotá Dance Platform Dance and community - All directions-
- Emphasis on dissemination and - Emphasis on creation and - Emphasis on training and research -
appropriation - appropriation -
Lines of actions Lines of actions Lines of actions Lines of actions

International Dance Day Artistic residencies Live archive Stimuli

Afro-Colombian Week Exchange projects Inhabiting my body Grants
Bogotá City of Folklore Qualification plan Dance and health Awards
Festival Dissemination circuit Updating knowledge Residencies
Meeting of Ballet Schools Feedback laboratories Sector research Strategic Alliances
VíaAlterna International Battle La Casona programming Concerted support
Salsa al Parque Dancers
Dance in the City Festival

Premises: Casona de la Danza

Source: Gerencia de Danza (2019, p.3).

As can be seen in the image those activities that were concentrated as “dissemination”, are included
in the program “Diffusion dance in the city” related to strengthening the professional field, an aspect
that is evident has resulted since the period under analysis a permanent interest within the management.

Within these interesting activities, medium and large format festivals are articulated. For example,
for the day (week) of dance, spaces were provided for dialogue around: the interdisciplinary nature of
dance between body, dramaturgy and literature in the framework of the Book Fair; the intergenerational

160
nature of dance, facilitating the meeting of current dance students in university spaces with teachers
who have participated in the project “Cuerpos consagrados a la escena” (Bodies consecrated to the
stage); meetings about what they do as dancers; reiterating the idea of dance as a professional profes-
sion with the Orbitante program (focused on promoting creative processes in the city), and a meeting
space between local dance advisors on the dynamics of dance at the local level. Unfortunately, there
is no further information about this meeting, and only highlights the relevance that is increasingly
acquiring informal training in different dance processes and languages.

For example, it is worth asking what is happening in terms of dissemination, training and research
on dancehall, twerk, reggaeton, bachata, or other expressions that have an important place in different
informal training spaces and their relationship with a professional activity, understanding that being a
professional in this does not necessarily refer to having a university degree but in the centrality of its
practice as a qualified vital activity that allows an economic income to satisfy some vital minimums.

On the other hand, since 2018, activities have been carried out in the framework of the Afro-Co-
lombianity Day. Continuity was given to the “Afro Forum ‘’ held since 2018. On this occasion in
articulation with the culture division of the National University of Colombia, it was based on the
question about the idea of “celebration”, (what when and who celebrates it), which also facilitated
the meeting of different experiences and approaches to Afro-Colombianity that would allow ad-
dressing “perspectives around intersectionality, diasporas and migrations of black populations in
the country” (p.12).

Additionally, the relevance of repertoires or interests on Afro dances stand out, not only in events
already highlighted in the Festival Danza en la Ciudad, as well as publications in relation to the dis-
semination of these dances in the city financed by the management, but also in small-format events
such as the meeting “Dance or Die” with Master Elsa Wollinston- a reference in contemporary Afri-
can dance-, developed by the organization Arte sin Pausa “organization that promotes the dissemina-
tion and research of Afro dance in the city of Bogota” (Gerencia de Danza 2019, p. 14). The man-
agement was articulated to this proposal, together with the area of populations, of the subdirection of
the Arts to convene and ensure the presence of the Raizal community in Bogota.

161
 Before continuing with the presentation of some initiatives related to the dissemination of small and
large format for this period, it is necessary to clarify that the aforementioned initiatives are not the only
ones developed in the city that are linked to artistic practices such as dance considering an ethnic differ-
ential approach. This is because both the Ministry of Culture and IDARTES manage specific financial
resources to carry out projects with a differential approach in the city. IDARTES, for example, has the
area of populations of the subdirection of arts, who, for the execution of projects, in turn must have the
endorsement of the advisory councils of each population group.26.

Bearing in mind this caveat, what we seek to emphasize here is that this type of dissemination spaces
give rise to more questions in relation to the ways of circulating, investigating and experiencing dance
considering, for example, an ethnic-racial reference. To learn about the interests in relation to the stag-
ing, repertoires, and representations that circulate there, as well as the readings they have of their dance
practices in contemporary times.

In relation to this type of concerns and breaking a little with the chronological diagnostic review, initiatives
such as the indigenous art roundtable in 2022 developed by IDARTES, to respond to concerns and requests
from indigenous communities, as well as festivals supported by the Ministry of Culture and IDARTES such
as the Festival Danza indígena y artes mediales SIE organized by Coopdanza, can be referenced.

Now returning to the festivals or spaces for medium and large format dissemination, the II meeting of
ballet schools is held based on the needs identified in the 2018 meeting which were mainly “Contribute
to the exchange of knowledge and the qualification of the same through a meeting around Ballet training
(...)[and]Facilitate scenic spaces to recognize and make visible the various ballet processes in the city of
Bogota” (Gerencia de Danza, 2019, p.15).

In the case of the VI International Battle ViAlterna, they sought to adjust the judging processes of the
battles, an aspect that had been pointed out as necessary in previous versions. Meetings were held to
discuss the presence of women in Bogotá’s hip-hop culture.

26
For the 2022 period, the understanding of the differential approach in relation to the arts can be seen in (Grupos Étnicos Idartes, 2022).

162
 As for salsa al parque, for the participation of dancers in it, it sought the “articulation between four
salsa festivals in the city (World Salsa Congress, Salsa World Competition Kids, Punta al Pie Festival
and the Ars Nova Festival) with the purpose of initiating a networking process of the festivals, generat-
ing joint actions that allow advancing in the visibility of Bogota as a city of salsa” (Dance Management,
2019, p.16).

Other types of sectors within the practice of salsa were also incorporated, such as university salsa
groups, as well as a call to the different Rueda de Casino schools for their participation in Salsa al
parque. Thus, the management recognizes the importance that has acquired the participation of the Rue-
da de Casino in the festival and the need to start articulating between the different schools or organiza-
tions dedicated to their teaching in order to achieve networking.

Finally, in relation to the large-scale festival, Danza en la Ciudad “Un lugar de lo distinto”, for this
version, the fruits of the work that has been developed in different management areas are recognized.
Thus, the Dance Management states that:

This year [2019], it was possible to see the result of the loyalty of audiences that the festival has been
making since its inception, full, sold-out and ticketed halls, they realize that every time there is an audi-
ence that expects the festival and is willing to pay a ticket in the independent halls of the city. It is not the
same situation in the main hall of the Jorge Eliecer Gaitán theater, which, it is perceived that and without
being able to affirm, being a public theater, and the festival as well, citizens perhaps expect this access
to be free (Gerencia de Danza, 2019, p.17).

2020

Undoubtedly one of the most notorious changes in the dynamics of dissemination and management
of dance in the city had to do with the coronavirus disease pandemic (Covid-19). This situation implied
several adjustments at the level of calls for proposals, awarding of incentives and organization of fes-
tivals. One of the main modifications was the inclusion of the virtual stage as a space both to manage

163
and disseminate staging and staging of outdoor events, when the guidelines on public events allowed it
(Gerencia de Danza, 2020).

Thus, for example, for the celebration of Dance Day, its activity was concentrated in a virtual meet-
ing with representatives of the Cali Dance Biennial, Festival Danza MEd and the Dance Manager of
IDARTES. Similarly, the dissemination of dance was taken to homes, with initiatives such as “Dancing
in the Cave” in which citizens, regardless of their dance experience, could participate in the creation of
an audiovisual dance piece, as well as virtual workshops of dances such as salsa, contemporary, Afro
dance; a discussion of dance and diverse abilities was held, among other activities.

As stated by the dance manager in the socialization of calls such as Orbitante (Dance Management,
2020a), although this call is focused on creation, which reflects the modifications in understanding the forms
of dissemination, it is not only thought of as a scenic moment, but as an audiovisual production, which is
why it was necessary to provide tools to qualify the dancers and be able to generate their creative pieces.

The above highlights other areas of dissemination, as well as other skills and knowledge to be de-
veloped in the artistic field of the dancer, and that evidences the articulation with other disciplines to
build creative languages. The above, in terms of management, also implied challenges around taking
into account more explicitly artistic interconnections, which, although they had already had a space in
the development of dance festivals in the city, such as video dance, again the context recalls the validity
of other ways of communicating and circulating.

Similarly, several of the activities were in a hybrid format, between face-to-face and virtual, depend-
ing on the season of the year and the existing restrictions in the city. For example, in the case of Danza en
la Ciudad, this festival was developed over several months and staged outdoors, seeking to adapt spaces
such as parks for the functions, allowing to reach different areas of the city, the salsa choke battle was
transmitted virtually to account for contemporary expressions that are also present in the city and several
works of companies in the city were projected through platforms such as Zoom, to name a few examples.

One of the benefits recognized by the management was the ability to access both trainers and dance
pieces through virtual platforms, which would not have been possible in person due to logistics and costs.

164
 Have other dissemination initiatives been built?

As indicated in the background, one of the elements that generates concern for analysts is the de-
pendence of different agents of dance with the spaces provided by the management. Although public
institutions are not entirely absent (for example, the Ministry of Culture or Idartes), there are initiatives
that have mobilized other spaces for dance dissemination in the city.

Thus, for example, in the field of contemporary dance, one of the networks that focused on promoting
contemporary dance in Bogota was Red Urdimbre, which was founded in 2012 and dissolved between
2016 and 2017. This network aimed to bring together programmers of contemporary dance and new
scenic trends in the city of Bogotá to promote its dissemination at different scales (local, national, in-
ternational) and to articulate both management and dissemination of dance in the city and nationally
(Urdimbre Danza en Red, 2013).

By 2013 the network was under the coordination of Espacio Ambiental, the Festival Universitario de
Danza Contemporánea, the Festival de danza contemporánea de la Libélula Dorada, Video Movimiento
Festival Colombia and Festival Internacional Grado Cero -Teatralidades expandidas.

Among the festivals and events disclosed for 2012-2013 were: The Impulsos Festival, the National
Dance Research Congress, Casa Baila, Espacio Ambiental, Libélula Dorada Contemporary Dance Fes-
tival, Young Creators Meeting, Grado Cero Festival, University Contemporary Dance Festival, Video
Movimiento Festival, International Performing Arts Showcase “Movimiento Continuo”, and for the
2012 version the Dance Festival in the city organized by the Dance Management (Urdimbre Danza en
Red, 2012, 2013).

In the field of contemporary dance, the importance of university festivals is well known, as Raúl Parra
(2012) points out, especially the one led by the Universidad Jorge Tadeo Lozano, which is now in its
24th version.

The contemporary dance festival of the Teatro Libélula Dorada began in 2001 and is still going
strong. This theater has been relevant in the city since its creation in 1992, initially focusing on the art

165
of puppetry and consolidating itself as a cultural center for the city. The festival is still maintained, it is
based on medium and small formats and the box office income is divided in half between the theater and
the participating dancers (Teatro Libélula Dorada, 2022).

Other spaces for dissemination have also been generated, such as the Continuous Movement Festival
organized by the Cultural Corporation of Dance and Theater “Sueño Mestizo”, a festival that began in
2010 and is still in force, and in one of its versions had the support of the Iberescena program. For this fes-
tival it has been of interest to disseminate not only in the city of Bogota but also in neighboring scenarios.

The Festival Mueve tus sentidos organized by Kalamo Danza Contemporánea existing since 2013,
which is still in force, rotates the scenarios where it takes place and during the pandemic held its festival
virtually, El Festival Impulsos, and more recent initiatives such as the Festival Hysteria Fest that began
in 2018, focused on women choreographers, all of them are examples of other dissemination initiatives
in the artistic field.

With the above information it would seem that existing festivals focus on contemporary dance. It is
pertinent to consider that, although contemporary dance is constituted as a dance genre, the way it has
developed in the city welcomes different lines of formation and has allowed the interconnection with
other languages (Urdimbre, 2015). On the other hand, for several of these festivals it is possible to in-
clude within their stages those initiatives that are present in the city, which in this case plays with the idea
of contemporaneity rather than with a specific dance genre.

It is undeniable that the information presented here is condensed in festivals that have an imprint of
contemporary dance, as it has been one of the lines of inquiry of the foundation itself, given the same
initiatives of some contemporary dance managers to begin to make analysis and data collection on dance
in the city. Similarly, as shown in the survey of festivals conducted for this project MASSDANZA +
CONEXIONES, the genres with the greatest presence in the city are folklore, tropical rhythms, urban
dance and contemporary dance (Fundación Integrando Fronteras, 2022).

Additionally, one of the great difficulties in data collection is the great dispersion of information,
in which there is not always documentation on the processes carried out by different dance initiatives

166
in terms of festivals. This may be due in part because there are no processes of systematization of the
processes, and, on the other hand, these initiatives do not always manage to endure over time, precisely
because of the difficulties in the permanence of the processes in the management, lack of knowledge
about access to other sources of funding and achieve a break-even point that allows to maintain. Thus,
for example, of the 31 festivals registered for the MASSDANZA + CONEXIONES project, almost half
of the festivals are in their first version (10). This can also have another reading, which is that there is
interest in generating other types of dissemination spaces, which is important. But, once again, it high-
lights the need to analyze what processes are carried out so that all these initiatives are sustainable.

Finally, regarding the effects of the pandemic coronavirus disease (Covid-19), with respect to the dis-
semination seen from the dancers, as noted in the quantitative study, the linkage of other media, the use
of virtual platforms, the need to adapt the classes to outdoor spaces - when possible - as well as adapt
the spaces to the standards that were stipulated as biosafety, was part of the adjustments that several of
the dance academies faced. Likewise, they were confronted with a reduction in the number of attendees,
which implied a risk in funding possibilities.

How do dancers understand management?

Taking as a reference some interviews with dancers belonging to dance groups, some of them state
that the idea of dance management is focused on the search for dissemination spaces or projects. Thus
we return to the idea of management, in terms of access to resources. Rafael Acero Director of Cuerpo
Mestizo (2022) states:

In different ways, there is one thing that is management, writing projects for calls such as
those issued by IDARTES, the Secretariat of Culture, the Philharmonic Orchestra, the Gilberto
Alzate and the Secretariat of Culture, as all these entities like a way to do management, which is
to participate in those calls that give scholarships, incentives, internships, awards, recognition,
that is one way to do management, the other way is to go to Universities (. ..) is to know how to
get there and how to sell your product, where is there such an event? write to festivals, meetings,

167
 exhibitions, all this is different ways to name festivals and it is to start like that, then I manage in
festivals, exhibitions, meetings, I also manage in universities, in schools and I am aware of calls
and if somewhere they need this or that thing, then we knock and send an email, we send dossier
and it is like knowing where they are moving and in what concept things are moving to be able
provide (p. 28).

Similarly, in these management processes (of resources, access to spaces for dissemination,
etc.), in some groups this process is concentrated in the group’s management figures and in others
it changes according to the skills of the members, or the type of call or festival to which they want
to apply. What is a constant is that the income received by a group or dance company is variable,
they are the result of a creation grant of a specific duration, a function with a payment, which
means that the time of work dedicated for an assembly, the contributions made by the different
members for the attainment of resources and the expenses in which they are incurred, do not
manage to be solved or it is recognized that the income does not correspond to the work carried
out. Thus we find the following descriptions by some of the dancers:

Well, when there are some presentations that are paid, we do have a budget and we divide it,
then 50% of what we earn is given to the dancers as a help, 30% is worked on the administrative
management part and 20% is left as for group funds. We work in this way because it is not a
payment, it is more significant than what the dancers should be paid, because we know that the
process and the whole question of the effort that is made is great, but we do this: one, so that
they value the effort they make and also to make them understand that it is not free (José Luis
Gutiérrez, Academia Expresión Viva).

Let’s say that when we have presentations or we participate in calls or events that represent a
monetary income for the staging, yes, a distribution of the money is made and within that distri-
bution there is a remuneration (...) but if it is a question of giving remuneration to the dancers,
even if it is little (Keith Orozco, Compañía Artística y Cultural Sintana).

When there are paid events and there are contracts that we have contracted with payments,
the dancers are paid according to the contract, but if we go as guests and there is no monetary

168
 recognition, or if we go as participants of a festival, there is no compensation for any of them,
not even for the academy that also goes on behalf of the festival. In that part o dance we are still
very raw, culturally we are still at the point of dancing to be recognized in the environment, so
no, it is not so easy, however, if there are business events, cultural events that are supported by
municipalities or by other festivals that have monetary resources, there is usually a payment and
the work of the dancers is recognized, because we all spend time, money on costumes and money
on training (Ingrid Sarmiento, Awalim Academy).

Actually in Colombia, I think that in general, very few companies could tell you that they
have salaries for administrators, directors, dancers and others, I think I could count them on one
hand and less Cortocinesis (...) we work through the functions, the projects we win, the things
we sell, the training. We try to give recognition to the administrative people, but it almost never
happens, it almost never happens, that is, none of us who have been in charge during these years
have received what it is worth, let’s say, to do this organizational work, it is not possible (Ángela
Bello, Cortocinesis).

From what has been exposed so far, it can be noted on the one hand, that dance management from the
dancers, is mainly focused on strategies that enable their work or dissemination. Although the interviews
did not directly inquire about what they consider would improve working conditions and the relation-
ship with management processes, in some of the interviews they expressed concern about the increase
in training offers both at universities and academies, so that gaining access to a position as a teacher, to
calls or festivals, would be increasingly complicated. For others, the scenario of formalization of dance
in universities would lead to its recognition as a profession and to that extent there would be a social
recognition of the dancer’s practice.

169
 Conclusions

From this overview, it can be concluded that in terms of management, it can be identified that in sev-
eral of its commitments there is receptiveness in relation to the cultural rights of both the general public
and the dancer, as evidenced in the processes of decentralization of the practice and supply of dance in
the city, inclusion of other areas of dance important to the public, as well as discussions related to the
realities of the country; there are bets for the professionalization of dance, strengthening networks to
reduce dependence on the state itself, aspects that go beyond a purely supply of services to citizens and
thus the work of management is not constrained to be an administrator of resources. However, according
to each government plan, they have had to adjust these initiatives and purposes.

In relation to the panorama presented by the 2006 study and what was identified in the period ana-
lyzed, there is greater articulation between the management processes in the spheres of dissemination,
creation and research, based on what was officially presented by the management.

The management processes from the beginning of the management focused on strengthening dance
genres, under the dynamics of sectoral alliances. Although this allowed some progress in the achieve-
ment of festivals, during the 2000s it became evident that this brought difficulties in terms of achieving
self-management processes and networks between groups of the same genre, and to identify meeting
points between all the makers of dance. In this order, the changes in the system of participation and
access to scholarships and resources, promises to be a way to invite dancers to organize themselves in
other ways and likewise, on the part of the management to respond to other dynamics of the sector. It
would be important to review in the future the way in which this initiative fulfilled this objective.

A challenge for management is to maintain spaces for dissemination that respond to the dynamics of
each aesthetic and cultural expression, and at the same time make those points in common visible.

The concern for fostering collective work through networks and promoting self-managed spaces con-
tinues to be part of the management’s concerns, as some network initiatives have been started, but have
not achieved greater continuity.

170
 Alliances with private sectors, embassies and other organizations have been identified that allow
for the dynamization of resources and spaces so that dance can disseminate in the city and abroad.
However, in the local case, all the efforts to have a greater presence in different areas of the city,
feeding a process of creation, research and dissemination, are affected by the difficulties in the cre-
ation and execution of a media plan that allows to connect with more public and with it, that the
different bets of the management have better reach.

For the dancers, part of the challenges is to achieve self-managed spaces, in which they have
greater autonomy with respect to the spaces offered by public entities, without saying that the
role of the state loses relevance in guaranteeing cultural rights. In this order, it is not desirable
to perpetuate relationships of dependence on the ways in which government entities resolve or
propose dissemination or management of dance. And likewise, the dancers have mechanisms to
influence decision-making that affect the dance sector, which go beyond the festivals or events
that are offered.

Similarly, the fluctuation of income for choreographers, dancers, subject to events or scholarships
is part of the “normalized” dynamics within the sector. Thus, the centrality of “doing management”
is concentrated on more immediate access to resources than to other types of instances that may have
an impact on the structural dynamics of the sector itself.

It is necessary to investigate in greater depth the ways in which the different actors in the sector
understand management as an idea of entrepreneurship. It is necessary to know the transits that
managers, managers’ dancers make to get along with different approaches to art, culture and their
relationship with the market, the state and management.

In terms of the dissemination itself, the dynamism of the practices in the city is identified as other
languages have begun to be linked (e.g. break dance, street dance, rueda de casino...), the interest in
articulating reflections on social realities (racism, gender violence, among others) with the spaces of
dissemination in the festivals.

171
 Similarly, the dissemination of dance in the city is also energized by the contributions and reflec-
tions being led by Afro-descendant and black and indigenous organizations, which are beginning to
address reflections and proposals around the staging, in the way of presenting themselves and being
represented in dance.

On the other hand, considering the scope of this diagnosis, it is recognized the need to broaden the
perspectives, voices and inputs to have broader views of what happens in terms of management and dis-
semination of dance in the city. It is important that there be an interest on the part of different actors in
the dance field to discuss the results of this type of diagnosis so that they can be fed back and developed.

172
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175
 Annex 1. Circulation events held and reported by the Dance Management (2014-2020)

Year / Festival circulation events              

2014 2015 2016 2017 2018 2019 2020

            (Pandemic)*

Festival Danza en la Ciudad VII version VIII version IX version X version XI version XII version XIII version
(FDC) Bogotá en Bogotá en Territorios en Territorios en Diálogos en Un lugar de lo Poéticas de la
(Since 2008) Movimiento Movimiento Conexión Conexión Movimiento distinto proximidad y el
encuentro
(presencial y virtual)

Celebración Día Internacional ✓ Homenaje Expo danza ✓ Participación ✓ Los Festivales de

de la danza José Barrios FILBO Danza frente a la
(No se precisa desde cuándo crisis del COVID-19
se celebra en Bogotá por parte (virtual)
de la Gerencia de Danza).

Participación bailarines “Salsa (primera ✓ ✓ Linked to FDC ✓ ✓ Not specified

al Parque” vez)

Bogotá Ciudad Folclor ✓ Not Not V version VI version ✓ Not specified

(Since2011) performed performed
Gala Lo mejor de la danza ✓ ✓ ✓ Linked to Linked to Bogotá ✓ Not specified
folclórica Bogotá Ciudad Folclor
(Since2011) Ciudad Folclor
Congreso Mundial de Salsa IV version V version VI version Organized: In-kind resources Not specified Not specified
Espacios de
Vida
Encuentro Ballet Bogotá III versión ✓ ✓ ✓ Meetings with II Encuentro Not specified
the dance de Escuelas de
sector and small Ballet
performances
Festival Colombiano de Artes VI version ✓ ✓ ✓ ¿? ¿? Not specified
Urbanas ViAltern (Since 2009) Include
All Style
Category
Batalla Internacional Via I version ✓ ✓ ✓ ✓ ✓ Not specified
Alterna (BIVA)
Semana Flamenca en Bogotá I version ✓ Mention of Flamembo Meeting spanish Not specified Not specified
workshops fulfilled on the dances and
and events EVOÉ red. flamenco.
Festival Tango Ciudad I version II version Mention of fulfilled on the   Bogotá Not specified
workshops EVOÉ red. Ciudad Folclor
and events included tango
performings
Festival de danza Oriental ¿? ✓ ✓ fulfilled on the Not specified Bogotá Ciudad  
Oasis EVOÉ red. Folclor included
(There arent´s specific date Oriental Dances
of start) performings

176
Gala Danza Mayor or --- ✓ ✓ ✓ Changed and it´s ✓ ✓
performings of winners of part of the Beca
Danza Mayor Premio Danza Mayor
(Included in
theTaikatawatos
project)
Recital Colombia Project --- Be part of In the Colón --- --- --- ---
the Danza Teatre
en la Ciudad
Festival
Dance Season FUGA-IDARTES --- ✓ Not specified Not specified --- ---- ---

Circulation Compañía residente --- ✓ ✓ ✓ Reformulation Reformulación Orbitante

TJEG (Plataforma of project.
Danza Bogotá) Beginning
Orbitante
Festival Regional de Salsa y --- --- ✓ Not specified --- Not specified Not specified
Tango ASCUN (support)

Gala de danza Urbana Not Not specified ✓ Not specified ✓ ✓  

specified
Red de festivales de culturas --- --- --- ✓ Accompaniments Not specified Bogotá Ciudad
del Mundo Evoé. (Tango, Tap, of some events Folclor included
Flamenco y Danza Árabe) some Dances
performings of
these genre
Celebración día de la Not Not specified Not specified Not specified ✓ ✓ ✓
afrocolombianidad specified

* The management report corresponds to the first quarter of the year. Not all events are referenced.

177
 Annex 2. Registered organizations in the management report of the dance manager (2014- 2020)
2016
2014 2015 2017 2018 2019 2020*
(Not specified)
Embassy of Israel,
Embassy of Israel,
Embassy and Embassy of France, Embassy of
Embassy of France
international Embassy of Canadá, Arts General mention Francia, other
and Alliance
organizations Council of Canadá, Goethe mentions
Française
Institute.
Jorge Eliécer Jorge Eliécer Gaitán Jorge Eliécer Jorge Eliécer Jorge Eliécer
Gaitán Theatre Theatre Gaitán Theatre   Gaitán Theatre Gaitán Theatre
Colsubsidio Colsubsidio --- ---
Colsubsidio Theatre
Theatre   Theatre
--- ---
Colón Theatre Colón Theatre Colón Theatre
 
--- --- Julio Mario Santo --- Julio Mario
Julio Mario Santo
Domingo Major Santo Domingo
Domingo Major Theatre
Theatre Major Theatre
--- --- --- ---
Nacional Theatre  
--- --- --- --- El Parque
Libre Theatre
Theatre
--- --- --- --- Sala E de la
Casa Ensamble Cinemateca de
Bogotá
--- --- --- --- ---
Fundación
Theatres Gilberto Alzate ---
Avendaño
(FUGA)
--- --- --- --- --- Centros
comunitarios
(programa
cultura en
Común)
--- --- --- --- ---
Teatro Estudio
--- --- --- --- ---
La Factoría Theatre
--- --- --- --- Villa Mayor
Villa Mayor Theatre
Theatre
--- --- --- Cafam Theatre --- ---
Bellas Artes
--- --- ---
R-101 Theatre R-101 Theatre R-101 Theatre

178
 --- --- --- University
Academia Superior Welfare -
Universidad
de Artes de Bogotá Sistema
Católica
(ASAB) Universitario
Estatal SUE
--- Jorge Tadeo Jorge Tadeo ---
Jorge Tadeo Jorge Tadeo
Lozano Lozano
Lozano University Lozano University
University University
--- --- Javeriana Javeriana Javeriana ---
University University University
--- --- --- National National ---
Pedagógica Pedagógica
University University
--- --- --- --- ---
Universities Central University
--- --- --- El Bosque --- ---
University
--- --- --- ---
Cenda Cenda
--- --- --- --- University ---
Welfare -
National
University
--- --- --- --- La Gran ---
Colombia
University
--- --- --- --- Antonio Nariño ---
University
--- --- --- --- --- Cesmag en
Pasto University
District Institute --- --- ---
of Recreation and
Sports
--- --- ---
Culture and
Culture and
turism Institute
turism Institute
of Bucaramanga
of Bucaramanga
- Alcaldía de
-
Bucaramanga
--- --- --- ---
Culture and
patrimony
Institute of
Antioquia
--- --- ---
Publics entities International
and others relations office of --- ---
Alcaldía Mayor de Bogotá
dependences Alcaldía Mayor de
Bogotá
--- --- --- Alcaldía de ---
Sibaté
--- --- --- --- Universities
Board
--- Ministry of --- ---
Ministry of Culture
Culture
--- --- --- Crea
Alcaldía Local Programme
de Engativá (Subdirection of
Training)
--- --- ---
Strategic line of
National Library business - Arts
Subdirection

179
 CABILDO,
Corporación CABILDO, Cultural
Cultural
Cultural CABILDO Corporation
Corporation
--- ---
Gilberto Alzate Avendaño
Organizations Foundation
(corporations, La Futileria, Topofilia
--- CIOFF Colombia ---
foundations, ONG, Fundación Creation space Corporation
etc.) Sociocultural EOS  
  ---
Fundación
Centro Cultural
Colombo Peruano
FAPROCOP
Bienal de Danza Bienal de Danza --- --- Bienal de Danza ---
Bienal de Danza de Cali
de Cali de Cali de Cali
--- --- --- Festival Art, Dance --- --- ---
School
--- --- --- --- --- ---
Festival Bogotá
--- --- --- --- ---
Centro de
Festivals and Desarrollo
others artistics Centro Coreográfico de
Coreográfico
events Creteil (France)
“La Briqueterie”
(Francia)
--- --- --- --- Academia Artes --- ---
Guerrero
--- --- --- --- --- ---
Red of Sistema
Universitario Estatal
-SUE-
Other --- --- --- --- Colsubsidio --- ---
organizations organizations

* The management report corresponds to the first quarter of the year. Not all events are referenced.

180
 Photograph by Juan Fernando Riobó
Workshop Taller Cuerpo en movimiento
5to Congreso Nacional - 1er Congreso Internacional de Investigación en Danza | 2019

Profiles
 Research team profiles 2022

Ana María Rodríguez Pinzón

Psychologist with 2 years of experience mainly in clinical and community areas, designed and imple-
mented projects in mental health, individual and group psychological intervention with adult population,
children and adolescents. Has general knowledge in Dance / Movement Therapy, the Hakomi method of
somatic psychotherapy based on mindfulness.

Aidaluz Sánchez Arismendi

Researcher in social sciences with experience in university teaching in qualitative research methodol-
ogies and social theory. With experience in research focused on processes of cultural globalization, eth-
nic-racial identifications, representations and performative processes in social/artistic practices, as well
as in the area of cultural management and policy. Dancer. Member of the Body, Dance and Movement
Research Network. PhD candidate in Social Sciences.

Karen Sofía Barbosa García

Anthropologist and historian with general knowledge of arts and culture management. With experi-
ence in the management of focus groups, guided interviews, ethnographies and other methodological
tools for recording and collecting information.

Lisseth Ángela Medina Villalobos

Cultural manager, professional in SmartBeemo digital marketing and in tourism and hotel manage-
ment. Teacher and director of Peruvian folkloric dances in Colombia.

183
 Martha Alejandra Sierra García
Sociologist with strengths in project formulation, evaluation and management, as well as in the research
field. With experience in conflict management and psychosocial support to mothers, children and adoles-
cents. With experience in editing, proofreading, academic writing, essay writing and editorial coordination.

Nikole Lorena Agudelo Agudelo

Psychology student, with experience in typing technical documents, application and tabulation of
surveys, interviews and assignment of scales. With knowledge of urban dance.

Paula Andrea Ruíz Álvarez

Psychologist with training in Gestalt therapeutic theater and studies in art therapy, currently studying
for a master’s degree in Human Development with emphasis on public policies at FLACSO Argentina.
She is linked to processes of psychosocial accompaniment and research in cultural studies and peace
building. She has experience in community work with a gender and differential approach with grassroots
communities and ethnic populations, and also in restorative and transitional justice processes with actors
of the armed conflict in Colombia.

Viviana Carolina Pineda Rivera

Psychologist with more than 3 years of experience in administrative management and management of
cultural projects, focused on the formulation, implementation and evaluation of projects. With knowl-
edge in art therapy and education, business skills, human rights, public policy and gender equity, dance
area and folkloric dance.

184
 Sheyla Lisseth Yurivilca Aguilar
Cultural Manager, with more than 15 years of experience. The designer and executor of internal and
external communication strategies for the development of companies and communities, event organizer,
manager and advisor of creative and cultural projects. Experience as university professor of social commu-
nication and cultural journalism and trainer in cultural project management. Has participated and managed
inter-institutional networks in the field of dance. In the field of research, she has managed the tracking of
quantitative information on the dance sector. She is currently a doctoral candidate in cultural management.

185
 "Dance not only mobilizes the body, but also stimulates creativity and critical thinking. Its practice not
only shines on the stage, but also, in the other fields that compose it."

@Laysha80

ISBN 978-958-52350-3-8