Festivals: A Collective Experience of Cultural Cohesion for the Generation of Identity Values
Planning a cultural program requires a strategic approach that considers the audience, available resources, and the impact one seeks to generate.
Cultural management bodies, as guarantors of the right to culture, must be very careful when establishing their schedules, considering that their actions impact the subjective sphere of individuals and communities. They must avoid allowing the discretion they enjoy (since cultural elements cannot be measured quantitatively, for example) to go beyond what is appropriate and proportional to the circumstances.
Therefore, the selection of music, and even more so, of the artists, cannot be arbitrary; it must be based on serious strategies and assessments that help identify the best offerings for everyone.
As a result, as the Founding President of PDVSA La Estancia, a body dedicated to cultural promotion and the social and heritage revaluation of our oil industry, we prioritized cultural work by organizing festivals to present our activities.
Throughout history, these celebrations have been much more than mere social or festive events; they have been spaces where cultural ties are strengthened, traditions are passed on, and feelings of belonging and shared pride are generated.
Therefore, we always started with the premise of valuing our traditions, albeit from a perspective of diversity. This means not limiting ourselves to specific manifestations — either because they are well-known (to ensure an audience) or because they are lesser-known (to promote awareness) — but rather seeking to encompass our land’s variety and the influence from abroad, given our cultural syncretism and mestizo heritage.
National holidays and festivities were a good starting point. For example, December would be dedicated to Christmas, considering that in our country, many traditions reflect it, and they vary from region to region.
That month would also feature sub-festivals, showcasing the distinct expressions from different parts of Venezuela, which, together with the New Year’s celebrations, would make it lively and exciting.
Most of the time, the December Festival would focus on the Gaita Zuliana (a genre from the northwestern region), known for its lively rhythm with African and Indigenous influences and its predominant use of percussion. Its lyrics often touch on social, political, or religious themes (usually dedicated to the Virgin of Chiquinquirá, also known as “La Chinita” by the people of Zulia) or humorous topics. Despite its name, the Gaita has no connection with the wind instrument of Basque origin. The Gaita dance and vocal structure usually include a lead singer and a chorus that repeats phrases or refrains. This call-and-response style creates a dynamic interaction between the singer and the audience.
In addition to the Gaita, the last month of the year also features aguinaldos and villancicos, songs that express the Christmas spirit and mix religious themes with cultural elements unique to the country. Aguinaldos, with popular roots, are performed by groups known as parrandas or aguinalderos, who go house to house singing. The lyrics can be religious or joyful, often referring to the birth of Jesus, the Virgin Mary, the Magi, and family or community celebrations.
Villancicos, on the other hand, have a more European origin and tend to be more serene and devotional, focusing mainly on religious themes. They center on the worship of Baby Jesus, the Nativity scene, and other biblical elements related to Christ’s birth. While more solemn, they are also sung during Mass and religious events, such as the traditional Misa de Gallo (Midnight Mass on December 24).
Another important festival is Carnival, one of the most colorful and joyful celebrations in Venezuela. It blends Indigenous, African, and European influences and takes place just before Lent, with the main events on Carnival Monday and Tuesday. Parades, costumes, and music are central elements of the celebration, and each region adds its distinctive touch.
This celebration is particularly grand in El Callao, a small town in the southeast of the country, to the point that it has been declared an Intangible Cultural Heritage of Humanity by UNESCO. It has deep African roots, influenced by Antillean migrants who arrived during the mining boom. The vibrant costumes feature emblematic characters such as Madamas (women in colorful traditional dresses and turbans), Diablos, and Mediopintos (men painted in black to represent evil spirits). Music is key, with calypso (a Caribbean genre) dominating the scene, accompanying parades of floats and comparsas through the streets.
Carnivals in Margarita Island (Nueva Esparta state) and Carúpano (Sucre state) are also famous for their parades and the selection of the Carnival Queen.
In May, we celebrate La Cruz de Mayo on May 3rd, in honor of the Holy Cross. This festivity has deep religious and cultural significance, honoring nature through decimas and corridos known as Velorios de Cruz, which celebrate the arrival of the rains and the fertility of the land, while also serving as a Christian festival seeking divine protection for crops. Traditional music, especially joropo in its various regional forms, accompanies prayers, and at night, candles are placed around a wooden cross adorned with flowers.
Also, in that third month of the year, boleros and melodic music are added to honor mothers on their day.
On June 24, particularly in the Afro-Venezuelan regions of the central coast of the country, such as the states of Miranda, Aragua, Vargas, and parts of Carabobo, the feast of San Juan Bautista is celebrated. This celebration blends religious elements with cultural and festive practices of African origin, with drums, songs, and dances playing a central role in the festivities.
This date holds deep religious and cultural significance, as San Juan Bautista is considered the patron saint of various communities, and his devotion is deeply rooted in Venezuelan history and traditions.
On the third Sunday of July each year, Children’s Day is celebrated, providing an opportunity to reflect on the rights of children and to promote their well-being and holistic development. The celebration is typically accompanied by recreational activities and special events organized by both public and private institutions.
Salsa music in Venezuela has a rich history and has been an integral part of the country’s musical culture. Salsa, which originated in New York in the 1960s, is a genre that combines Afro-Caribbean rhythms, jazz, and other Latin styles. Over the years, Venezuela has developed its own style of salsa, influenced by its cultural and musical heritage. In Venezuela, salsa has roots in Afro-Venezuelan music and other Caribbean genres like son, merengue, and guaracha. Migrations of Venezuelans to countries like Colombia and Cuba, along with the arrival of Cuban and Puerto Rican musicians in Venezuela, helped enrich the musical landscape. Salsa has also merged with local rhythms like joropo and gaita, creating a unique sound. This fusion has resulted in a salsa style that reflects Venezuelan cultural identity.
We also organized festivals for academic and chamber music, boleros, tango, and the so-called “alternative Fridays” dedicated to young people, among many other diverse events.
The type of music dictated the theme to be promoted, which is why we offered complementary activities such as dance classes — teaching various types of joropo (oriental, tuyero, llanero, Andean, and urban) — as well as lessons in instruments like the cuatro, bandola, and maracas. We also held screenings of related films, discussions, gatherings, contests, exhibitions, and children’s activities on the subject.
Each of our venues (Caracas, Maracaibo, and Paraguaná) hosted these festivals, with additional activities specific to the region where each was located. For example, in Maracaibo, it was traditional to begin the Festival of Gaita and Aguinaldos on November 18, when Venezuela celebrates Our Lady of the Rosary of Chiquinquirá, also known as the Virgen de la Chinita. As the patron saint of Zulia, she is the object of strong devotion in this region.
These festivals involved numerous activities and presentations, not only taking place at the different branches of the institution but also in the squares of neighborhoods in Caracas and other regions, where we carried out our social support initiatives.
As with our urban projects, we conducted social assessments in the communities surrounding our venues when planning our cultural activities, especially the festivals. This allowed us to understand the preferences, needs, and the type of offerings we should prepare.
In this way, we used festivals as a powerful tool to strengthen community unity because:
- They reaffirm traditions and customs: Festivals often revolve around key elements of a community’s culture, such as music, dance, cuisine, religion, or beliefs. This allows people to connect with their cultural roots.
- They create a sense of community: Participating in festivals, whether as organizers or attendees, fosters social interaction. People come together, share, and experience common events, which strengthens social bonds. These events generate a sense of solidarity and belonging.
- They facilitate intergenerational transmission: Festivals allow older generations to teach and pass on their culture to the younger ones, ensuring that traditions are not lost. The transmission of cultural knowledge strengthens cohesion between generations.
- They promote diversity: In multicultural communities, festivals provide an opportunity to celebrate and share different cultural heritages, promoting mutual respect and understanding, and improving coexistence.
- They reinforce cultural identity: Through festivals, people express their cultural identity and feel connected to their history, foundational myths, or shared beliefs. For example, religious festivals like Día de los Muertos in Mexico or San Fermín in Spain are not just festive events but also expressions of national or local identity.
- Cultural pride: Festivals celebrate historical achievements, symbolic events, or iconic community figures. This pride in one’s heritage strengthens collective self-esteem and the feeling of unity.
- Symbolism and rituals: Festivals are often filled with symbolism and rituals that represent a group’s history, struggles, and victories. These ceremonies allow individuals to recognize themselves as part of something larger — a community that shares the same cultural background.
- Territorial identity: Festivals are often linked to geographic locations. A clear example is local or regional festivities, such as patron saint festivals in towns and cities. These celebrations strengthen the bond between people and their land, fostering a strong sense of local identity.
Furthermore, festivals are not static; they evolve over time, adapting to social, political, and economic changes. This adaptability helps communities preserve their cultural identity in the face of change. Festivals can also serve as forms of cultural resistance to globalization or cultural homogenization, keeping local customs and unique forms of expression alive.
Festivals are a living manifestation of culture, identity, and community solidarity. By serving as spaces for celebration and the transmission of values, they not only strengthen social ties but also consolidate identity and the sense of belonging within the community. As such, they play an essential role in the preservation and development of culture, especially in a world where globalization and migration challenge the cultural cohesion of many societies.
Based on these elements, every day of the week in our spaces, something was always happening. The movement never stopped. People came and went, but more importantly, they stayed and returned.
For some, attending our events was like “dressing up for Sunday,” a way to look good and pay their respects to the occasion; for others, it was a chance to meet friends and family in a positive space. And for many, especially those of retirement age, it became a special place they visited almost daily, making it their own.
Looking back, I remember the rhythm of salsa or merengue, the drum dances, the décimas and coplas of the llanero and urban singers, the children’s jumps, and above all, the enthusiastic applause of the sea of people who came to connect with their own spirit and pass it on.
