Popayán, a city known nationally and internationally for the majesty with which he presents his Easter processions, is also a city during this religious festival lives greatly concerned by the facade that strives to make up well in advance. However, the residents of the city are aware that the image projected of Popayan this week, is not the same as the accompanying over other times of year, because every day often find a city that evidence its walls over the various marches whose members met in their whiteness the perfect place to exercise their right to free expression.
Regarding the normally noisy streets, steeped in commerce, working children and men and women who extend their hand for a coin, are usually converted to Easter in a long, rambling exhibition hall occupied by crafts, paintings and various culinary presentations. But ... just when it ends this religious festival around the world returns to his daily occupation. Many probably took the "Holy Week" to reflect and find peace and inner harmony, but others on the contrary, attending fun what about this time becomes the longest bridge, the street up and down.
done on this occasion a brief look at the Popayán that embellishes and is adorned only to welcome visitors who wish to see the processions of Holy Week and has relegated the importance of spiritual devotion to a few conservative women who visit the church to repent and pray for them and for all who have already forgotten how to do . We speak here of the same Popayán who fears the deterioration of its image, because he knows that under the lime dressing walls lies a city of humble people who know the neglect of the powerful, a city that is always dressed in gala but almost always covered in distress and needs.
Eco
This time Shadow had valuable contributions: Juan Cristobal de la Torre, Head of Cultural Heritage Division of the University of Cauca, Victoria Coronado, Regional Attorney of Cauca, Maritza Ramirez and Ricardo Ramírez, students at the University of Cauca. In addition to the documents provided by: The National Museum of Colombia , The Ministry of Culture and the Journal "From Below" .
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