Retomando La Tragedia | Hero Image

RETAKING THE
TRAGEDY

Stories and memories of Bogotá Hardcore

Retaking the tragedy: Stories and memories of Bogotá Hardcore is a free archive of collective creation that gathers, spreads and provides online access to the memories contained in the audiovisual material produced within the hardcore scene of Bogotá over the years.

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    THE NEED FOR A FREE ARCHIVE

    "Tragedy is not primarily a misery or misfortune. It is rather a fight between two opposing forces. This struggle reveals the mutual need for the forces and only holds when the dispute does not reach a point of equilibrium. Sometimes one force takes over the other, but there is never such a thing as a cancellation. Hence the inherent mobility that accompanies tragedy and its usefulness to characterize the history of hardcore in the world and in Colombia. In this way, and placed it simply, our hypothesis is that hardcore does not have a beginning or a homogeneous development, but is based on the clash between, at least, two different forces (...) "

    - Taken from "The tragedy of hardcore: A perspective of the history of global and Colombian hardcore"

    Retaking the Tragedy: Stories and memories of Bogotá Hardcore is a project of personal, collective and historical memories that summarizes different experiences and ways of interpreting hardcore throughout its history in the city of Bogotá, through the online distribution of a free access file. It is characterized by:

    1. The archival material. The exhibition of different audiovisual materials produced within the framework of the Bogotá hardcore scene, previously digitized, through a system of labels and a search engine.

    2. The collective construction of the project. To collect the archive we have had the collaboration of the entire hardcore community of Bogotá. In simple words, we will start with the compilation of our personal archives, and then we will include the archives of those who want to participate. This means that the democratic nature of the project has a double standard, on the one hand, the file is freely accessible, the materials can be consulted and disseminated by anyone, and on the other hand, the archive exists because we build it together with the contribution of our private archives.

    3. Free access. The archive is made available to anyone who wants to consult it, under a Creative Commons license of non-commercial attribution, for public or private use.

    Why compile an archive from the Bogotá Hardcore scene?

    Our stories and our memories are all different, but they are the key input for the construction of collective memories. It can be affirmed that these visions are elements that we have in common because they constitute the foundations of our hardcore community, they are ways of inhabiting and moving in the space, and places full of emotional meaning. It is also possible that our points of view can be articulated, they can generate the encounter of different worlds, they can build bridges between our experiences at the shows, in the street, with our friends, with the bands that have moved and touched us, and even with the things we do not like about hardcore. Also, these processes and ties are latent in the images, which are the vehicle that contain and show them (by images we do not only understand the printed image, but the whole range of materials that even escape visuality.) Thus, we have mental images, sound, moving, etc.).

    Hardcore por los viejos tiempos flyer, 2004

    Throughout the decades there have been diverse examples of individuals and groups that have joined forces to stop scratching the surface of sounds, in order to concentrate on the project of what came to be a space for debate, critical reflection, construction of socially useful knowledge, focused on music, but with the aim of subverting in some way the oppressive logics of society, giving some meaning to slogans like “hardcore is more than music”, and betting on the creation of a more livable, inclusive and diverse world. Yes, we are part of this sickly society because wanting it or not we reproduce it, but that is precisely why the possibility of transforming it is latent in each one of us: knowing that we are products of the places we inhabit, they can also be products of our actions. And if hardcore is not about this, then what is it about? Filling the empty signifier “hardcore” with this kind of bets is very worthwhile, but the debate and the invitation to reflect (and act) are open. It should be noted that this proposal is not univocal, it is just one among many possible, just as our memories.

    Memories encourage reflection, to feel, to discuss, to generate agency. It is not about remembering for its own sake, everyone establishes the objective of their relationship with the images of the archive, and as with our stories, all these objectives are different depending on each one of us. We do not know what trajectories or paths await for the Bogota hardcore, but certainly our memories are fundamental to spin, to articulate, to shake the routines, to inspire, to face ourselves and to create new ideas, practices and ways of thinking, to understand the path we have traveled and create the means to travel the one that is left. That is why the role of our memories is fundamental in the project of a different hardcore scene, a project that draws on previous experiences and proposals, but which is absolutely autonomous to build its own becomings.

    The intention of Retaking the Tragedy: Stories and memories of Bogotá Hardcore is none other than memory itself, as Elizabeth Jelin tells us: “the «experience» is lived subjectively and is culturally shared and shareable. It is the human agency that activates the past, embodied in cultural contents (discourses in a broad sense). Memory, then, occurs while there are subjects who share a culture, while there are social agents trying to “materialize” these meanings of the past in various cultural products that are conceived as, or that become, vehicles of memory” (Elizabeth Jelin, “What we talk about when we talk about memories”). Therefore, we propose the archive as a vehicle for our memories, for the reconstruction, appreciation and meaning of the multiple stories that have happened and are happening in the hardcore Bogota.

    Concert organized by Persistencia Records, release of "Centelha" by Point of No Return, 2002

    What is the archive?

    The archive is defined as that place that legitimates a cultural history, by "transforming the hidden, fragmentary or marginal historical material into a physical and spatial fact" ("The places of memory: the art of archiving and remembering, Ana María Guasch" ). Self-memory and the action of remembering are the two foundations of the archive, that is, remembering the facts themselves as a vital activity of people, either from the point of view of personal memory (the memories of experiences, interwoven generally through the emotions), the collective memory (what a group of people remembers of a particular event, and the own recognition in the stories of the others), or the historical memory (the facts and their sources). But the archive is not a self-sustaining entity, in itself it is nothing, it depends on the interaction we have with it, it needs to be interpreted; it is necessary to ask questions, to establish a relationship of some order with it, be it affective, political, visual, creative, etc.

    So that each user of the file can establish this relationship, we have created a simple system of consultation, which has as its starting point the different tags that characterize the content of the collected materials. This system is inspired by the Mnemosyne Atlas, a methodology designed to analyze images through its association by categories, determined by the viewer itself, thus identifying elements that remain in these artifacts throughout its history. This will allow to establish multiple forms of relationship between the archive and the people who meets it: we will no longer talk about History of hardcore, but of stories and memories of hardcore.

HOW CAN WE CONTRIBUTE TO COMPLETE THE ARCHIVE?

We want to encourage the participation of ALL sectors of the scene in the compilation of our stories and memories through the contribution of archive material. Therefore, if you have any of the items listed below, either in analog and / or digital format, do not hesitate to contact us through the following form. If you require additional information, write us an email to retomandolatragedia@gmail.com.

Images - photographs of events, of the live shows; CD arts; digital images of posters, flyers, t-shirt designs.

Videos - live shows, videoclips, interviews, and documentary material.

Audios - CD music, on cassette, vinyl, or in digital format; show audios, interviews, band rehearsals, radio programs.

Printed - fanzines, primers, newspapers, flyers and posters, advertising and information, leaflets, concert tickets.

INVENTORY POLICY

Each material received will be evaluated to determine if it meets minimum quality criteria. Later it will be inventoried, processed (digitized or optimized), and returned after 15 business days. The digitized materials will be classified and indexed according to the tags that result from the nature of their content, in order to facilitate their publication and consultation. We accept donations of material, we are interested in compiling a physical collection that can be similarly consulted and visualized in different scenarios and events.