Interaction and Network analysis in heritage organizations in Valledupar -Colombia

Abstract

Introduction: Between 2017 and 2022, it was carried out research on the management of cultural heritage organizations in the Colombian Caribbean. Caught our attention the quantity and quality of cultural organizations built in Valledupar, Colombia, in comparison to larger cities, and with greater economic resources. Objective: In this study we attempt to identify the economic support ecosystem in the cultural heritage organizations of the city of Valledupar (Cesar, Colombia) and, based on in-depth interviews, formulate postulates about the forces that have facilitated the development of a rich and complex cultural ecosystem, despite the scarcity of resources. Methodology: Social network analysis ARS was used, based on the methodology of Organizational life stories. Results: the relationship dynamics of seven cultural heritage organizations are shown. The network of support that organizations use to survive were represented, which allow them to improve management and strengthen their relationship systems for financing, learning and access to new services and resources. The SNA methodology allowed us to identify the greatest supports, the type of networks, and the development possibilities of the organizations analyzed.

Full text

EMPIRIA. Revista de Metodología de Ciencias Sociales. N.o 62 septiembre-diciembre, 2024, pp. 139-164.
ISSN: 1139-5737, DOI/ empiria.62.2024.42013
Interaction and Network analysis
in heritage organizations in
Valledupar – Colombia
Interacción y análisis de redes en organizaciones patrimoniales
en Valledupar - Colombia
A C M
Universidad del Norte. Barranquilla, Colombia
alejacabrera@gmail.com (COLOMBIA)
A V O
Pontificia Universidad. Católica Madre Maestra. Republica Dominicana
Recibido: 27.07.2022
Aceptado: 30.05.2024
ABSTRACT
Introduction: Between 2017 and 2022, it was carried out research on the
management of cultural heritage organizations in the Colombian Caribbean.
Caught our attention the quantity and quality of cultural organizations built in
Valledupar, Colombia, in comparison to larger cities, and with greater economic
resources. Objective: In this study we attempt to identify the economic support
ecosystem in the cultural heritage organizations of the city of Valledupar (Cesar,
Colombia) and, based on in-depth interviews, formulate postulates about the
forces that have facilitated the development of a rich and complex cultural eco-
system, despite the scarcity of resources. Methodology: Social network analysis
ARS was used, based on the methodology of Organizational life stories. Re-
sults: the relationship dynamics of seven cultural heritage organizations are
shown. The network of support that organizations use to survive were repre-
sented, which allow them to improve management and strengthen their relation-
ship systems for nancing, learning and access to new services and resources.
The SNA methodology allowed us to identify the greatest supports, the type of
networks, and the development possibilities of the organizations analyzed.

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ISSN: 1139-5737, DOI/ empiria.62.2024.42013
KEY WORDS
Social Network Analysis SNA, cultural heritage, organizations, manage-
ment. Qualitative methods.
RESUMEN
Introducción: Entre 2017 y 2022 se realizó una investigación sobre la ges-
tión de las organizaciones del patrimonio cultural en el Caribe colombiano. Nos
llamó la atención la cantidad y calidad de las organizaciones culturales construi-
das en Valledupar, Colombia, en comparación con ciudades más grandes y con
mayores recursos económicos. Objetivo: En este estudio intentamos identicar
el ecosistema de soporte económico de las organizaciones patrimoniales cul-
turales de la ciudad de Valledupar (Cesar, Colombia) y, a partir de entrevistas
en profundidad, formular postulados sobre las fuerzas que han facilitado el
desarrollo de un rica y complejo ecosistema cultural, a pesar de la escasez de
recursos. Metodología: Se utilizó el análisis de redes sociales ARS, con base en
la metodología de Historias de vida organizacionales. Resultados: Se muestra
la dinámica de relación de siete organizaciones de patrimonio cultural. Se re-
presentaron las redes de apoyo que utilizan las organizaciones para sobrevivir,
que les permiten mejorar la gestión y fortalecer sus sistemas de relacionamiento
para el nanciamiento, el aprendizaje y el acceso a nuevos servicios y recursos.
La metodología ARS permitió identicar los mayores apoyos, el tipo de redes,
los conictos y las posibilidades de desarrollo de las organizaciones analizadas.
PALABRAS CLAVE
Análisis de redes sociales ARS, patrimonio cultural, organizaciones, gestión,
métodos cualitativos.
1. INTRODUCTION
Between years 2017 and 2022, it was conducted research on the manage-
ment of cultural heritage organizations in the Colombian Caribbean and called
attention to the quantity and quality of the organizations that had been formed
in this city, compared to larger cities with greater economic resources. With the
help of social network analysis, the dynamics, and relationships of 7 heritage
organizations will be shown. From the large Fundación Festival de la leyenda
Vallenata, which preserves the peculiar character of its music, to the very small
El Cuartico, which rescues the traditional ways of life of the region, we attempt
to identify the economic support ecosystem in the cultural heritage organizations
of the city of Valledupar and, formulate hypotheses about the forces that have

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facilitated the development of a rich and complex cultural ecosystem from scarce
resources.
The city of Valledupar is located in the department of Cesar, in northern
Colombia. For centuries this region, separated by two great mountain ranges,
the Serranía del Perijá and the Sierra Nevada de Santa Marta, has been inven-
ting life. One of its greatest cultural promoters, the musician Beto Murgas says:
“Since nothing came here, we had to invent everything” and so it seems, in
Valledupar music was invented: Vallenato (intangible heritage of humanity), the
instrument was invented: the accordion (which is a modied bandoneon) and, as
in García Márquez’s Macondo, solutions for life were invented: housing, pans,
totumo spoons and, more, all with their own vallenato forms.
It is a medium-size city (with 385,000 inhabitants) with a rich cultural herita-
ge, that rocks between development and tradition. Founded in 1550, Valledupar
is located at the east coast border in Colombia (Fig. 1). It has a historic center
that preserves buildings from the colonial era and, was declared a National Asset
of Cultural Interest in 2000, giving priority to its conservation (MINCULTURA
2019). Its territory is inhabited by four indigenous groups: Aruhacos, Kankua-
mos, Kogui and Wiwas, which maintain distinct cultures, habits and customs
that give the region a great ethnic and cultural diversity (Alcaldía de Valledupar
2022).
The centralized economic model in Colombia has generated a disconnection
in this region of the country that has translated into poverty and little technolo-
gical and economic development, when compared to the cities in the center of
the country.
Each year, during the famous Vallenato Festival, in a week the population
can increase by 50% and, a hotel room growth its price up to 10 times. After
this festival the city return to their slow pace of boiling afternoons. This calm
environment has fostered the development of numerous cultural organizations
that are striking for their diversity, their permanence, and their ability to achieve
global goals, such as the Unesco nomination or the consolidation of vallenato as
a national rhythm. In fact, if this cultural wealth did not exist, Valledupar would
not exist on the national scene.
At the beginning of the study, we started with two premises: that the organi-
zations would be very small, with low permanence, and that the largest source
of resources would be the State through the local and state governments; but we
found a rich ecosystem with many people interested in cultural heritage. This is,
perhaps, the starting question of this study: Around what elements has this rich
cultural ecosystem developed in a border city?
In order to stablish that in this study we attempt to identify the socioeco-
nomic support ecosystem in the cultural heritage organizations of the city of
Valledupar (Cesar, Colombia) and, based on in-depth interviews, formulate
postulates about the forces that have facilitated the development of a rich and
complex cultural ecosystem, despite the scarcity of resources. In the study ca-
rried out by Holden (2015), when asked what the cultural ecosystem referred to,
people responded in two ways depending on what they understood as culture:

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a. Like all the activities that individuals do to create collective meanings and, b.
As a synonym of arts and artistic practices. In this paper we understand cultural
ecosystem as that which integrates both, the organizations that work around the
creation of meaning, arts, and cultural identity: artistic, cultural, traditional, ar-
chaeological, or historical heritage.
Fig. 1. Map of Cesar - Colombia. Valledupar to the north. Source: Governor’s
ofce of Cesar, 2024.
These 7 organizations (Fig. 2), which have received national recognition, are
a sample of what organizations from all over the country are doing to recover,
preserve and promote local culture (Citro et. al. 2017). This work is not a census,
so not all the organizations in the city are shown. We choose those that volunta-
rily provided information for the construction of their organizational networks,
that show diversity in the types of heritage they preserve and work with constan-
cy throughout the years. They appeared in the in-depth interviews carried out in
2017 and were followed up in the following years through their networks, media,
and new interviews (Fig. 2).

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Fig. 2. Organizations analyzed in Valledupar, Snowball Methodology. 2024.
Source: Authors.
2. ORGANIZATIONAL PERFORMANCE AND NETWORKS
From the perspective of complexity there are different ways to study, formu-
late and measure complex systems, all of them trying to reduce complexity for
understanding, prediction or intervention (Mesjasz 2010, Grösser 2017). Social
networks and their images have shown to be very effective in explaining the qua-
lity and characteristics of the relationships that individuals establish with their
environment and have even functioned as predictors of labor and school success,
among others (Reynoso 2019).
Cultural heritage is a network of relationships that is formed around cultural
meanings. Communities are the means by which intangible cultural heritage is
disseminated (something similar happens in tangible heritage, although it has
the advantage that the object and the symbol are condensed into one). Intangible
cultural heritage is normally disseminated through orality, habits, practices, and
facts, and to a much lesser extent through the written word, recordings, virtual
interactions, or impersonal dynamics.
The biological metaphor of the ecosystem can be very useful in heritage
studies because it shows the diversity and complexity of the relationships of the
cultural system of a region. In this sense, the elements analyzed here are only a
few of the many that can appear in an ecosystem: external inuences, inuential
people, public policy, technologies, entry of new resources, among others.
This need to stay connected makes it necessary to understand the type of
relationships that are assembled around heritage and the characteristics of such
relationships. Research in cultural heritage has been concentrated around com-
munities of experts who have historically dened the value of cultural practices,
goods or expressions and have dened policies around what should or should
not be conserved. However, there is less research on the livelihoods of heritage
organizations and tools and studies that try to link the knowledge and services of

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all stakeholders in cultural heritage are still scarce (Oh 2019; Tengö et. al 2017;
Whyte et al. 2015).
In cultural heritage organizations, economic and nancial sustainability
relationships may be indistinguishable from learning, dissemination, or support
service relationships, however the development of economic sustainability rela-
tionships is central to making heritage organizations viable in time and do not
depend only on communities that can disappear as their members disappear due
to the natural life cycle, but that can remain for future generations (Kilonzi &
Ota 2019).
In the case of this study, the proposal of Barabási (2003; Crossley 2019)
was applied, which uses networks as a representation of relationships in social
complexity. It could be said that networks are a map, as could be hierarchies,
pyramids, organization charts, decision trees, etc. However, these networks are
expected to be effective in showing the organizations studied as a structure of
interpersonal links, in this case a kind of down to top modeling that allows mo-
ving from individual levels to groupings less conicting than other formalisms
(Reynoso 2008).
The cultural heritage organization can be seen as the executing entity and the
axis of realization of collective cultural objectives, the way in which heritage is
materialized and extended to society for its use and appreciation (Gómez-Zapata
& Barrio-Tellado 2023; Lebeau 2020; Cabrera & Vidal 2017). In this case, the
networks make it possible to assess the attributes of the relationships established
by these organizations and the quality of the support that has been built (in the
past), but also to make a diagnosis and build objectives to improve the manage-
ment of these organizations and thus the conservation of heritage and the cons-
truction of cultural identity (Baxter 2014; Melo 2015).
In terms of support and funding, heritage organizations have relied mainly
on state resources but the conditions on heritage collections (policies, collec-
tions, exhibition, etc.) can be very demanding for the organizations, reducing
their freedom of action on their projects (Hernández & Ruiz 2017). Thus, this
article aims to present the organizations studied as a structure of interorganiza-
tional links and to show the methodological possibilities provided by network
analysis to show the sustainability potential of cultural heritage organizations for
the conservation and safeguarding of the heritage of communities.
3. HOW DOES NETWORK ANALYSIS WORK?
The analysis of social networks allows us to characterize and understand
social reality based on the schematization of the relationships established bet-
ween actors (Borgatti 2013; Foster et al. 2011). In the case of human social
organization networks are a map of the negotiations that take place, the deals
that are developed and the ways in which they relate and solve problems in their
environment (Granovetter & Swedberg 2018). As a methodology ARS network
analysis can be complemented by obtaining other types of internal organizatio-

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nal variables such as strategic, quality or public variables. In this case network
analysis is based on the gestalt and synthetic capacity of the image, capable of
showing organizations more directly than analysis, language or interpretation
(Reynoso 2008: 22).
Social network analysis (SNA) has emerged as a powerful tool to elucidate
relationships and interactions that are difcult to see in an unstructured analysis,
such as: information ows, power structures, the dissemination of news and
stories, the distribution of resources and services, among others (Borgatti &
Halgin 2011). The ARS has been applied in various ways in the eld of cultu-
ral heritage, including the identication of communities of practice in heritage
management, the mapping of visitors to cultural sites, tourism carrying capacity
optimization studies and the evaluation of the impact of interventions in the
stakeholder network. ARS social network analysis has been very useful because
it represents these relationships in the form of graphic structures, however the
graphs must nd support in the meanings of groups and communities to acquire
meaning (Holden 2015).
With social network analysis it is possible to identify actors, centers of gra-
vity or communication gaps in a cultural ecosystem, it is also possible to map
processes, opportunities, and paths of action to improve (Serrat 2009). Although
the application of network analysis is not new, it has been enhanced with com-
puting tools, for example Hewison et al. (2010) studied the formal and informal
networks of the Royal Shakespeare Company. Bernardini (2007) tracked the
relationships between Hopi Artisans, and Mills et al. (2012) mapped the ows
of information and techniques in ceramics in North America (Mangialardi et al.
2015).
For Sözen et. al. (2009) the strength of an interpersonal bond is a combi-
nation of four attributes: the amount of time invested in the relationship, the
emotional intensity, the intimacy (mutual trust) and the reciprocity services that
describe the bond, all of them subjective and each one independent of the others,
the set is intracorrelated. At the time when the author denes the qualities of the
bond (70’s of the 20th century) he postpones for future empirical studies the ope-
rational measures, however, he proposes on an intuitive basis to dene the bonds
as strong, weak or absent (Reynoso 2019) which is still used with satisfactory
results until today.
From the analysis of ARS networks, it is possible to make inferences about
characteristics such as the centrality and power of these actors. In this study, cen-
trality and power have been dened through the number of times an organization
or network was mentioned by one of the actors interviewed (Granovetter &
Swedberg 2018). Here this indicator, too, is related to the intermediation power
while the organizations mentioned can serve as intermediaries between actors.
Thus, the more times an organization or network has been mentioned the more
centrality or power it has (Sözen et. al. 2009), this characteristic is represented in
the graphs through the size of the nodes, which we will see in the gures below.
However, this method, mainly in social studies, requires qualitative support that
allows giving dimension and depth to the schemes and measurements of the net-

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works. In our case we used in-depth interviews to review some of the ndings of
the ARS technique.
4. MATERIALS AND METHODS
In 2017, a rst trip was made to identify organizations that were working on
cultural heritage in the city of Valledupar. Then, in 2022, this information was
conrmed and enhanced. The central idea of this study is to show the cultural
ecosystem in Valledupar, the system of socioeconomic support that has been ge-
nerated around cultural heritage. As it has been said in other studies the category
Heritage Organizations is scarce in the literature (Cabrera & Vidal 2017) and
part of the effort of this work is precisely to show its relationships, processes,
and complexity (De la Rúa 2005).
Materials
In-depth interviews were conducted based on the validated instrument:
Organizational Life History (Historia de vida y Análisis de Redes sociales en
Organizaciones de Patrimonio cultural, adapted of Martínez & Palacio, 2016),
which evaluates the history, resources, and networks that each organization has
developed. This instrument asks which organizations they had a relationship
within the last year, what type of resources they obtained and, how frequently
they interact. Since 94% of the interactions were one-time, the intensity of the
relationships was not analyzed.
Methods
The sampling was done using the snowball method (where one organization
conducts to the next one), to identify the organizations that work on cultural
heritage in the city. The only exclusion criterion was not being constituted and
recognized as an organization. Thus, people who work alone as musicians, infor-
mal groups or social movements were not included in this analysis. The scheme
of this job is detailed in Fig. 2.
Two face to face interviews with managers were conducted, for each orga-
nization, and the information was veried through social networks and news
in 2022. Gephi 0.9.7 free software was used for data analysis. This analysis is
based on three indicators:
a. Number and type of relationships with the organizational agents with
which projects have been developed in the last two years.
b. Number and type of institutional support relationships
c. Membership and degree of cohesion in formally constituted work net-
works.
In this case, neither the direction nor the degree of relationship between
the organizations was evaluated, but a qualitative analysis based on in-depth
interviews was made of the relative importance of the projects carried out by
the organization of interest, in terms of promotion, nancing or support in work.

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5. RESULTS
For the degree of centrality indicator, the largest number of relationships, as
expected, is shown by the Festival de la leyenda vallenata (38 Vs. El Cuartico
con 14), which shows its inuence in the network and its capacity to generate
support and mobilize resources. It is one of the main cultural events in the coun-
try and attracts more tourists and visitors to the region.
The overall network (Fig. 3 and 4) shows a relatively small size that has
developed recurrently around the same organizations analyzed. This shows
that, despite being a small city with limited resources, it has managed to con-
solidate a group of supporters around culture and heritage. Although most of
the responsibility is assumed by the cultural entrepreneurs (as they make clear
in all the interviews), they have also been developing support networks around
their projects. For this reason, public entities such as the mayor’s ofce and the
governor’s ofce frequently appear, which have a great inuence by generating
the greatest nancial and logistical support.
In general, this type of networks can be called LE scale-free because they do
not fall apart, even if some nodes disappear (Crossley 2019). This may be becau-
se in a small city, frequent and personal relationships ensure that the network is
sustained even if the organization itself disappears. For example, hubs or highly
connected entities, what the festival could be like, are more effective in moving
information and serving as sources of communication than the idea of reaching
every single organization.
For the indicator Centrality of intermediation (Betweennes) that measures
leadership, occupying an intermediate position, the highest was the Festival too
(26,9). Public entities again show a key role (Federal Government 22,2 and local
government 14,4) however, in this category also appears the AVIVA Founda-
tion (12,5) as an important actor that was mentioned by other organizations for
its leadership in the defense of architectural heritage and has collaborated with
other projects in the city. This shows the work of the Foundation AVIVA that
has managed to sustain itself and has also promoted the development of other
organizations such as the Historical Archive, the Vigías del patrimonio (Heritage
Watchers) and the Cuartico. These hub organizations (Festival and AVIVA) are
called upon to teach capabilities to the less connected ones to improve network
connectivity. Also, that the network had one or two actors (centrality) connec-
ting the whole network (state entities) in self-organizing systems, following a
pattern, in this case seeking as a partner the major stakeholder in social benets:
the State.
For instance, during the interviews with the other 6 organizations, the Fes-
tival was the main reference, however, three organizational leaders: Aviva, The
Historical Archive and the Hotel de los Santos Reyes said that it is a shame that
it is so predominant because Valledupar is not just vallenato. Their rich architec-
tural, historical and indigenous heritage, and their traditional culture, are aspects
to which no resources are dedicated because almost everything goes to the festi-
val, so they must barely survive with private initiatives.

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One of the interesting ndings when looking at the graph is the frequency
with which state support is mentioned in the form of government, mayor’s of-
ce, Procolombia, Banco de la República, SENA or ministries and vice ministries.
Although government support in Colombia is not onerous, as the interviewees
mentioned small projects (less than US$13,500 per year), they do contribute to
interesting events and allocate signicant resources to the Festival (There is no
ofcial gure but the festival generates about COP$38 billion in benets). In
the case of private entities, the family compensation funds (which in Colombia
manage and distribute the resources of the family subsidy for employees) and
the Chamber of Commerce, which is a private, non-prot organization created
to defend and stimulate entrepreneurs in Colombia (COMFECÁMARAS 2021),
were frequently mentioned.
Fig. 3. Clustering coefcient. 2024. Source: Authors.

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In terms of communities, these graphs show the existence of four large
groups or “tribes” around cultural projects: a. Historic; b. Vallenato; c. Traditio-
nal life, and d. Arts. but rather the communication between the different cultural
manifestations; however, the discourses do not identify a single cultural com-
munity. Rather, the organizations are grouped around well-known leaders and
support entities that nance some activities, showing a competition for scarce
public resources. Although most of the organizations survive with their own re-
sources and time, they do require other means to develop important intervention
and development activities. This could be done by developing resource manage-
ment skills from private or mixed entities, other public entities, and international
cooperation organizations.
It is a relatively homogeneous network with nest form (Fig. 4) in which the
farthest point is the Museo El Cuartico (The Little Room Museum), which has
survived mainly on family resources, although they have managed to integrate
into various activities of the Festival, and the cultural life of the city. Relation-
ships are built around two forces, the Vallenato Festival and the public entities
that support the cultural activity. More than communities there is an interaction
of all, in which there is a very marked tendency towards the Festival and valle-
nato, and another that seeks to promote historical heritage, and the idea that the
city “is something more than vallenato” (Personal Interview AVIVA, Archive
and Accordion Museum 2017) to show all the cultural richness of the region.
Fig. 4. General network of organizations in Valledupar. Source: Authors, 2024.
Thus, even the most distant point is immersed in the relationships and servi-
ces of the network. In the interviews it became evident that the links are infre-
quent (about once a month or less), they are weak ties (not personal or friend-

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ship) and most of the time they are of services, not reciprocal. In the in-depth
interviews leaderships emerged marked as, for example, the Aviva Foundation
was associated, in almost all the interviews, with the leadership of Alba Luz
Luque, the leadership of the Vallenato Festival with Consuelo Araujo, Rafael
Escalona and the former president Alfonso López Michelsen, and the leadership
of the Museum with the musician Beto Murgas.
They have a high level of cohesion because the farthest point is only two
nodes from the center. In the group of sponsors are local companies that support,
for a single time a year and without continuity commitments, or those that buy
advertising in different events, as well as private television networks that have
carried out medium-term projects in the city. The company Gases del Caribe
appears apart from the group of companies because it was mentioned by the in-
terviewees on several occasions (4) as providing important resources (although
with the same conditions, annually and without a commitment of continuity).
In this network scheme it was decided not to show isolated individuals in
the category Clients and Suppliers for two reasons, because this category Clients
and Suppliers only appeared in the interview of the Vallenato Festival and be-
cause they are the same organizations for the whole city. On the other hand, in
the interviews it was evident that there have been some very strong personal
leaderships such as those of Alba Luz Luque or Consuelo Araujo la Cacica, who
appear frequently as cultural promoters in the interviews. The results for each of
the organizations analyzed are shown below:
5.1. AVIVA Organization
The AVIVA organization (Amigos del Viejo Valle de Upar) was founded
in 2007, when 12 professionals (architects from the city and residents of the
area) came together with a sense of loss due to the deterioration of the historic
center of the city and decided to form a foundation. This project, led by Alba
Luz Luque, has been working on the recovery of the historic center of the city,
which has buildings from the 16th century and was declared historical heritage
of Colombia: There are monuments like De Badillo Church, De Valencia de
Jesús Church (S.XVI) and National Loperena School (1942) (El Pilón 2020).
The administrative model of this organization is interesting because it has no
headquarters, no xed costs and operates with donations in time, labor and kind
made by its members.
The Foundation has lobbied for the recovery of the Alfonso López square
and the buildings surrounding the square, including some alleys and churches
of historical interest. Their work plan includes 8 blocks around the Plaza for its
conservation, the creation of the local Heritage Board, the development of the
Heritage Watchers Program in schools and the celebration of Heritage Month,
which is held every year. To this end, they have created networks with some
public organizations or governmental entities such as the Bank of the Republic,
the SENA, the Historical Archive, the Ministry of Culture, the Mayor’s Ofce,

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and the Governor’s Ofce; however, they recognize that this relationship has
been complicated due to the different interests involved in public management.
The most interesting aspect of this initiative is that they have supported projects
such as El Cuartico for the preservation of the traditional values and techniques
of the Upar Valley.
The AVIVA Foundation has been establishing links and generating support
that place it in a central place in the cultural life of the organization. It is linked,
in different ways, with almost all the organizations mentioned above, which is
why it is a central node in the entire network. It works as a constituted entity and
has led processes and helped to strengthen the processes of other organizations
in the city, which evidences a superior management development.
Fig. 5. AVIVA Foundation network. Source: Authors, 2024.
5.2. El Cuartico Memory Center
The memory center project Casa de bahareque El Cuartico, is established on
the paternal house of the Jiménez family, made up of ve people. It was nished
on April 27th, 1966 and is located in the San Joaquín neighborhood of Valledu-
par. Built in cane, mud, wood, tile roof and mud oor, it has three rooms: living
room, bedroom, and kitchen. It is spacious and cool in a city that easily reaches
40º in the shade. This “Cuartico” is a Memory Center for future generations, re-
ecting the essence of the traditional customs of the Valley. It represents the or-
dinary and familiar life, relaxed and pleasant, that was lived until not-so-distant

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times in the region. It is called the Cuartico because the same room was used to
eat, sleep, receive relatives and visitors.
The furniture and household objects include benches, wooden tables, leather
seats, among other valuable objects. A grinding stone from 1850, owned by the
maternal great-great-grandmother Virginia Torres, which was used to grind corn,
coffee and salt, is preserved. Like any other house in the region, EL CUARTICO
was inaugurated with a “parranda vallenata”, that is a kind of party enlivened
by a vallenato group, with Colacho Mendoza, Adán Montero Jiménez, Rodolfo
Castilla Polo and Jairo Negrete, famous musicians of the region.
The Centro de Memoria El Cuartico has a very simple network, with little
support, which has been generated over the years. They do not have resources
for advertising or sales, nor do they carry out events, all the nancial effort is
made by the Jiménez family at the head of Cecilia Jiménez, however, they have
managed to position themselves as one of the most representative places in Va-
lledupar (They have rating of 5 in Tripadvisor) and have won awards such as the
Casa festivalera in 2016 and 2018 and Gestores de cultural ciudadana in 2016.
El Cuartico is an initiative with many attractions that has managed to move the
interest of other organizations. They have woven their network with organiza-
tions such as the Vallenato Festival, The AVIVA Foundation, the Accordion
Museum, and the mayor’s ofce, however, they recognize that their funding is
difcult, and their greatest support are tourists (they are few and reached zero in
this quarantine season). Therefore, it is an organization that has been strengthe-
ned in the imaginary of the city but has not been able to consolidate a permanent
network of reciprocity in services or nancial support.
Fig. 6. El Cuartico memory center. Source: Authors, 2024.

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5.3. Festival de la leyenda Vallenata
Festival de la leyenda Vallenata is the greatest celebration of the people
from Valledupar and one of the most important in the country. Once a year,
it celebrates Vallenato music and culture, unique in the world. This festival
gathers the songs, traditions, legends and myths, customs and uses that make up
the Vallenato folklore. Initially, it was held in the basement of the ‘Francisco El
hombre’ stage of the Plaza Alfonso López (until 2005). Since then, it takes place
in the the Parque de la Leyenda Vallenata, which was built specically for this
purpose. The number of people registered to participate in the different contests
is increasing. The growth of the Foundation can also be seen in its organizatio-
nal and administrative structure (it is made up of 37 people), since it went from
being the dream of a handful of motivated people, to an example of organization,
efciency and folkloric, cultural and social results with priority safeguarding by
the Colombian Ministry of Culture.
As it can be seen in the general network, the festival concentrates all possible
relationships in the city. It is, perhaps, the most important focus of identity at
the local level, with an international impact. The network of relations of the Va-
llenato Festival Foundation is the most complex of this group of organizations.
Through the Ministry of Culture, the governmental contribution, not counting
services can reach $135 thousand dollars and, produce $900 thousand dollars
(Caracol.com 2021) and they have sponsors, who make contributions to the pro-
ject, clients who buy different strategic advertising and sales spaces in the event
that they can produce (Área Andina 2017) Likewise they work with the chamber
of commerce, the SENA, the police, the different governmental instances and
Colombian media channels (Panorama Cultural 2013).
Festival de la leyenda vallenata is the most central node, as expected, since
it moves a large amount of resources of the region and is the most important
cultural event for locals and visitors. It is no exaggeration to say that people
from Valledupar live and breathe vallenato, and this is evident in the network.
The Festival supports other cultural projects or serves as a platform for the de-
velopment of alternative projects around the theme: El cuartico, the Accordion
Museum, families of artisans, musicians, merchants, tourism companies and all
those who in some way are associated with this annual festival. They have a sto-
re, a restaurant and a space for shows that take place throughout the year.
The Festival can be seen as a central node around which the most important
activities of the city’s cultural life converge. The Vallenato Festival Foundation
was reported by most of the interviewees and has a very strong inuence (posi-
tive and negative) on cultural activities and the budgetary allocation of cultural
spending in the Caribbean region, which can be a disadvantage from the point
of view of other small organizations competing for scarce resources for culture
in the region.
Among the sponsors of this event are the most important companies in the
country such as the big media, the large beverage and communications indus-
tries, so it is not comparable with the others, therefore the caveat is made that,

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although the categories Clients and Sponsors are represented with a single node,
a single network of clients and sponsors of the Vallenato Festival would occupy
an entire space. This festival moves almost 100% of the region’s tourism in one
week of the year (the city receives 74.000 tourists) and its budget is US$1.1
million dollars (Área Andina 2017), however, the biggest supporters of the orga-
nization are the state entities represented in the network (MINCULTURA 2016).
Fig. 7. Festival de la leyenda vallenata. Source: The authors, 2024.
5.4. Hotel de los Santos Reyes
Hotel de los Santos Reyes is the materialization of the efforts of two environ-
mental engineers who wanted to recover a 17th century architectural treasure in
the historic center of Valledupar, for the enjoyment of the city and to develop a
value proposition compatible with the environment, climate and diversity of the
foothills of the Sierra Nevada de Santa Marta. They had a hostel in another part
of the city and saw the abandoned building, which was a dump: there was rickety
furniture, debris, etc. It was falling apart. They had wanted to venture into the
boutique hotel segment and decided to rent the house for that purpose.
The authors of the project, which has been going on for 18 years, recognize
that the restoration process has been very difcult, because there are no plans,
guidelines or nancing from the State, unless the hotel is subject to conditions
that do not favor them. Thus, the restoration of heritage by a private entity is an

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activity that presents few benets, despite which the authors of the project think
that it is an effort that has been worthwhile, and the fruits can already be seen.
Because there are not many restoration architects or experts in the colonial
period in Colombia, they tend to be very expensive undertakings. The architects
in the area did not know about restoration, so they were asked why they were
complicating their lives, they were recommended to knock down, to make the
electrical or water installations by breaking the walls, which made the project
really difcult. Despite this, the engineers insisted, and a natural restoration was
done based on what they had seen in other places, respecting the original buil-
ding and the structure of the house, searching the Internet, learning from the ex-
perience of others in different places, it is a story that has been pieced together.
Due to Cristina Zapata’s training as an environmental engineer, they have bet
on green energies, environmental certications, they have made a great effort to
recover the gardens using native species. In addition to the leaders, they employ
5 more people on a permanent basis. The alley was also intervened, trees were
planted, urban furniture was installed, negotiations were held with the neighbors
who began to get involved and even with the mayor’s ofce to prohibit the par-
king of motorcycles and cars, which was a recurrent practice.
This organization also develops cultural activities with the community such
as meetings and lunches to promote local identity. They have also developed a
support network that has helped them to win international awards such as the
Charming Hotels award. Currently there are exhibitions of weavers, traditional
cooking, jewelry, and painting, and the idea is to continue expanding the offe-
rings to turn the house into a gallery, a place for exhibitions and cultural encoun-
ters, in alliance with local and visiting artists. They have also sought institutional
support through entities such as the Vice Ministry of Tourism, Procolombia and
the Chamber of Commerce.

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Fig. 8. Network Hotel de los Santos reyes. Source: Authors, 2024.
They are very clear that without the search for support they would not be
able to carry out activities other than their commercial activity. Given their
knowledge of hotel and tourism management, they have overseen managing sup-
port and networks around their activity, stable and long-term relationships. They
have developed activities to integrate the community, such as the urban recovery
of the Callejón del Mahoma to make it participate in their project, despite this
they conclude that this has been a very costly and lonely process.
5.5. Accordion Museum Casa Beto Murgas
Casa Beto Murgas is a space dedicated to vallenato music and everything
related to the accordion and minstrelsy, in which the 4 members of the family
participate permanently. To tell the story of how the Accordion Museum began,
the musician tells how in 1982 he bought an accordion for his young son. In the
words of the cultural manager: “At that time Beto was a ve-year-old boy and
refused the gift because he wanted a bigger accordion” (Personal Interview with
Accordion Museum 2017), but from that small accordion, which only has two
rows, and from the questions asked by visitors about the contraption, the collec-
tion was born.
After this, Beto Murgas begins to investigate and nds beautiful things
about the accordion. As a scholar of Vallenato folklore, collector and lecturer

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on the accordion, he explains that this instrument nested like the condors in the
highest peak of musical fusion: The Upar Valley. He says that it was the Perijá
mountain range where he developed his vocation, listening to the minstrels who
at that time walked from farm to farm with their accordions on their chests, sin-
ging the terrestrial songs that today are listened to by a great part of the world.
Musicians such as Chico Bolaño, Emiliano Zuleta Baquero, Escolástico Romero
and composers such as Rafael Escalona, Leandro Díaz and Armando Zabaleta,
nurtured this joyful and picaresque style that today is reected in his walks and
merengues vallenatos.
This cultural space has old and precious designs that exhibit the technical
evolution of this instrument in Vallenato music and revives the history of the
protagonists of the Vallenato verse. It operates in the hall of the Murgas home
and has no administration or similar costs. As in the case of El Cuartico, the net-
work of the Accordion Museum is a small network of personal support, which is
sustained mainly by family effort and the assistance of tourists, who arrive at the
time of the Vallenato Festival.
Fig. 9. Accordion Museum Network. Source: Authors, 2024.

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5.6. Historical Archive of Cesar
The historical archive of Valledupar is one of the oldest and most outstan-
ding notarial records in the country. It keeps documents of more than 300 years:
according to experts there are almost 1,000 records, with everything related to
business since colonial times from 1727 to 1985: private agreements, property
deeds, wills, and contains a photo library, an art gallery, a newspaper library and
an anthropological museum. This archival treasure contains the notarial patri-
mony called Pedro Castro Trespalacios Historical Archive (El Pilón, 2021). It
is a non-prot organization that survives with two volunteer staff members and
very meager public budgets.
This is how Francisco Valle Cuello, expert historian of the Academy of
History of Cesar, denes it: “Here is everything we were as a city, who did busi-
ness in this territory, which were the most recognized families. It is our history”
(Personal Interview with Historical Archive 2017). However, the old facilities
are not the most suitable for this type of archive, the weather and environmental
conditions, the high heat and humidity make preserving the material heritage
very complicated, so it was moved to different places, although in 2019 the ne-
cessary interventions were carried out (for a value of US$52,000 dollars) to take
the documents to an appropriate place for its collection (Valledupar Mayor’s
Ofce, 2019).
Fig. 10. Cesar Historical Archive Network. Source: Authors, 2024.
This is a small network of very strong institutional support, probably due to
the very nature of the heritage it preserves. Despite this, they have established
close alliances with the SENA, the heritage watchdogs and the AVIVA founda-

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tion. It is a very old organization that is currently renewing itself to improve its
services and strengthen its role in the region.
5.7. TEA Theater
Fundación Teatro Estudio de Actores (Actors’ Studio Theater Foundation) TEA
is an organization, composed of 14 members and with 19 years of work, which is
dedicated to the conservation of the visual arts and the cultural heritage of Cesar.
Its manager, actor and theater director Boris Serrano, says that TEA was born from
the need to train the community of the department of Cesar in the visual arts and
to create a school. They have participated in projects with the Mayor’s Ofce and
Governor’s Ofce and have developed projects with young offenders, children, special
population, prison population, artists, musician children, not only in the performing
arts but also in other arts. As a school they have developed training projects in health,
government, peace, civic culture and even “We have participated in soap operas very
typical of the Colombian tradition and very remembered by the public such as Rafael
Orozco, Diomedes, La Cacica”, says the director (2017). He also says that, in these
productions made for large networks, they managed to get and train a staff of natural
actors with high quality and excellent reception.
Fig.11. TEA Theater Network. Source: Authors, 2024.

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In terms of networks, the TEA organization has had important projects
with the most important TV networks in the country, RCN and Caracol, but its
main source of resources is the public sector, through the mayor’s ofce and the
governor’s ofce, thanks to specic projects in visual arts training and citizen
culture. It also has the support of the Maderos theater and the Performance orga-
nization, which have collaborated in joint projects such as the production of soap
operas and the training of actors. It is a small network that has allowed them to
survive for two decades but recognizes that most of the work has been due to the
determination of the group of managers of the organization.
6. ANALYSIS AND CONCLUSIONS
First, it can be said that this rich cultural ecosystem has developed around
three different types of heritage: the historical heritage represented in buildings,
squares and archives, the cultural heritage represented in the diversity of so-
lutions and ways of life of the region, the anthropological and archaeological
wealth, techniques and arts, and musical heritage through vallenato and accor-
dion music. In each of them, organizations were found that were working with
public and private resources, including personal ones, to protect and promote the
heritage of the region.
However, as it is evidenced by the main indicators of the network, this cul-
tural wealth is marked by the prominence of the Vallenato Festival. The festival
is the center of gravity around which the projects are executed. It is the node
with the highest degree (38), greatest closeness (0.82), Authority (0.3) and in-
termediation (26.9). Which is evident in the in-depth interviews when one of the
interviewees says: “We are not just vallenato, there is much more.”
In this work it was found that the organizations most mentioned as funders
of TPOs were local governments and the Ministry of Culture (92%). As the co-
rresponding network shows the State continues to be an important support for
heritage organizations, mainly in the area of obtaining resources and knowledge.
State organizations such as SENA, Banco de la República and the armed forces
were also mentioned. Given that this heritage cluster is being formed around
mayors’ and governors’ ofces, with the mediation of the Ministry of Culture,
these entities are the ones called upon to convene, offer services for the forma-
tion of strengthened networks and mediate in training and the management of
knowledge and capacities.
One of the complaints that appeared most frequently is that, regarding pu-
blic resources, some expressions had priority and took the largest number of
resources, in this case the Festival in Valledupar. It would be necessary to look
for alternative mechanisms that would make it possible to dispose of nancial
resources in an equitable manner and that would speed up the matching of capa-
cities and needs.
A Cultural Heritage Ecosystem network should consider the necessary ta-
lents, the costs of conservation, the research agency, the existence of heritage

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banks that process and integrate resources for restoration and the search for coo-
peration resources. There is a need to generate resource management capabilities
to search for new sources and the development of products or incentives that
facilitate access to new members to these organizations. It was a good surprise
to nd that organizations such as Aviva and the Festival de la Leyenda Vallenata
have been carrying out actions to support other organizations.
It was evident that there have been some very strong personal leaderships
such as those of Alba Luz Luque or Consuelo Araujo la Cacica, who appear fre-
quently as cultural promoters in the interviews, but It is necessary to develop lea-
dership, management and commitment skills in these organizations so that when
these initial leaders are missing, the organizations can continue to strengthen.
Chambers of commerce and compensation funds appear in the network,
which despite being private entities provide a very important public service,
as well as some public and private universities. An interesting surprise in the
ndings is the participation of private companies in the supply of events and the
nancing of venues. Although private enterprise does not appear as a continuous
subsidiary of the activities, it does participate actively.
The organizations studied have achieved remarkable network management,
which has allowed them to build up a bank of funders and establish stronger
commercial relationships. Despite this, this research shows that the organiza-
tions still have a very local vision, with little capacity to manage international
resources, even though they have had the support of international organizations
at times. Most of them talked about public organizations, conrming the premise
that the State is the great funder of heritage in Colombia, however, as recom-
mended by Professor Macarena Hernández (2017): “it is necessary to make a
modeling of heritage according to the case, because sometimes the State is more
restrictive than the market”.
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