UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS

LIC. EDUCACION BASICA CON ENFASIS EN INGLÉS

Fredy Vanegas Ramos

CODE: 20141165066

Exhibit: El Reino frente al Rey: Reconquista, Pacificación, Restauración.

Nueva Granada (1815-1819).

1. Explore the organization of the Room.

The exhibit in national museum was divided in three different sections; the first one was
“Rojo”, next “Amarillo y Rojo” and finally the last one named “Amarillo, Azul y Rojo”.
The tour starts with “rojo”, which sum up the traditional idea of the period of the
"Reconquista" as three years of cadets and devastation. Here are portraits of some of the
patricians who were passed by the arms in Santa Fe and Cartagena and documents that
demonstrate the displeasure of the town with the excesses of the Peaceful Army. Likewise,
maps from the Geographic Center of the Spanish Army were prepared by royalist officers,
whose tasks included the production of cartographic knowledge about a territory then
theater of war.

In the following section, “Amarillo y rojo” allude to the colors of the Spanish flag.
Leaving aside the spilled patriot blood, the strategies of survival of the great majority of
Neogranadinos who, instead of opposing frontally the restored regime, were approached by
the pardon of the king, emigrated to foreign colonies and countries or they managed to
preserve their position through bribery, the destruction of incriminating documents or
influence peddling. Likewise, the traditional account of the reconquest forged by patriotic
propaganda, elaborated by nineteenth-century historians and disseminated by Jesús María
Henao and Gerardo Arrubla in his well-known manual, is questioned. All this in order to
keep the colonies and prevent future revolutions.
In the third and last section, “Amarillo, azul y rojo” make up the flag of the Republic of
Colombia. The objective is first: on the one hand, to understand the strategies implemented
by the revolutionaries to ensure the triumph of their political project; on the other, to
question the very idea of Liberators, since the defeat of the restored regime obeyed a
general aspiration rather than the will of a few. Unlike what happened during the
pacification ordered by Fernando VII, the founders of Colombia were able to implement a
generous policy of forgiveness and forgetfulness, in spite of which the peoples continued to
suffer the consequences of a war that lasted until 1825: recruitment, borrowing ,
confiscations, violence against women, etc.

2. Explain the meaning and your impression of Juan Esteban Ramirez’ skull.

The Juan Esteban Ramirez's skull was available in the exhibit to see the cruelty and light
the fact that his mutilation subsequent to being dead spoken to the general outrage with the
Spanish supporters and the working class in that age. I believe that showing his dead body
in front of the population hanged his arms, legs and head inside an iron cage in various
places in Pamplona was helpful to strengthen the revolutionary thoughts that working class
were holding long ago. However, in the meantime, those against Spain will have to endure,
torments and executions. By and by, I consider this as iconical of our own history; photos
were not allowed in order to protect feelings and human dignity. However, this is not a
matter of feelings, is a matter of history, and personally I think the skull is a memento-mori
to keep in our minds and that we will not be here forever, and that if people have something
to fight for they should do it just as Juan Esteban Ramirez.
3. Describe and explain the meaning of the painting “Páramo de Pisba” (1922).

The oil on canvas painting Paso Del Paramo De Pisba by Cano, showing Simon Bolivar's
campaign to liberate New Granada: Bolivar, standing centre, facing right, to right, dying
soldier being tended to by two soldiers, cavalry to left and right. As Bolívar witnesses one
of his men dying from exhaustion as the army crosses the mountain pass of Páramo de
Pisba. On July 6, survivors began to straggle down the other side of the mountain. Weak,
famished, in tatters, it was all they could do to pick their way down the steep escarpments.
At the town of Socha, jubilant New Granadans rushed out to meet them with food and
drink, horses and weapons. The village women, filled with sympathy for the half-naked
soldiers, set to work, making them shirts, trousers, underwear, and jackets—sewn from
their own clothes. Bolívar had chosen the route well, for there was no one to challenge the
patriot presence. The Spaniards had dismissed the Páramo de Pisba as too difficult a
crossing: There were no guards in the area, no enemy garrisons for miles. The expedition
would have precious time to recover.

Over the next few days, while the army rested, Bolívar busied himself organizing supplies,
raising troops, making sure the sick were minded and the hungry fed, as well as gathering
intelligence on royalist movements. New Granadans, who had suffered three years of harsh
rule under their tyrannical viceroy, now rushed to enlist in Bolívar’s effort, as one village
after another welcomed him with open arms. I consider this painting magnificent, really
depicts the moment and the anxiety going on through the soldiers heads and also some kind
of worriness by Bolivar, the meaning, simple, depict one of the most impressive feats done
by the libertarian army lead by Bolivar and Santander.

4. Discuss Jesus Abad Colorado’s photograph “Montes de Maria”.

Just before leaving the room, on either side of the door, are presented a couple of current
photographs of the photojournalist Jesus Abad Colorado. For the visitor it may be a
surprising element to find two current works and so apparently distant from the historical
period covered by the exhibition (1815-1819).

The photography "Montes de María" by Jesus Abdul Colorado depicts what appears like a
house in ruins secured by wood pieces to shield the general population from projectiles.
This photo was taken in the Montes de Maria which is a district close El Salado, this place
is notable because of the common slaughter executed in the year 2000 by the Colombian
armed force. As I stated previously the photos at the end of the exhibit are not suitable for
the exhibit itself. It is true that Colombia throughout the years has suffered multiple
conflicts mainly with guerrillas and that conflict that lasted for over 50 years thankfully is
now almost over. Thus, the pictures have nothing to do there, we are revising colonial
history and the way libertarian armies fought against the Spaniards and the process of
“Reconquista” which was not successful thanks to the situation in Europe and the
Napoleonic invasions. I consider, Jesus Abad’s pictures should be in a gallery devoted to
the XX century conflict.

5. Why you would tell your students about Policarpa Salavarrieta?

I strongly believe that education of history should be an important tool for the development
of healthy law-abiden citizens, however I would tell my students about Policarpa
Salavarrieta if they were not Colombians and if I were teaching Spanish abroad, otherwise I
will not do it in Colombian contexts because I think that historical knowledge is implicit
between Colombians. It may seem a bit selfish but I think the Colombian history class is
back for the sole reason that people do not have idea of the history of this country, and that
is why we are still struggling with our own identity. Finally, I consider Policarpa
Salavarrieta as a hero in our country and her story should be taught to everyone in history
classes but not in English ones.

Evidence: