| 总结: | This article comes from the pedagogical experience of Rumbambuquiando, musical group formed by students of master’s degree in Music from UPTC, who, from the first
half of their career in 2005, showed great interest in the new expression of the Colombian Andean music, exploring different traditional rhythms and incorporating the traditional
format (guitar, treble guitar and mandolin) instruments like the flute, the drum and bass. Group members at that time, had a marked tendency to bamcuco (Colombian popular
rhythm) than to Creole rumba, hence comes the name of the group. However, from the beginning was this interest by folklore from Boyacá Department,bearing in mind that
the idea of creating a group of “carranguera” music (native music of Boyacá), emerged in 2004 during an exploratory time in which were found the “requinto” (small guitar), guitar
and voice.
To analyze this pedagogical experience, we will make a conceptual tour through different relevant aspects in consolidation of the proposal of Rumbambuquiando, the format, the definition and contextualization of the “carranga” music, some peculiarities related to the cultural identity as a conflict concerning the education and youth, an analysis of the
influence of humor and commercial music and how these have been included in the musical proposal of the group as a tool to reach out to the public. Finally, we present some stereotypes imposed on traditional music, opening new spaces that enable dialogue and discussion, that is, that young people think their music and their culture.
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