Within the growing field of publications on El Sistema and Sistema-inspired programmes around the world, a marked divide can be observed between the findings of critical academic studies and commissioned evaluations. Using evaluations of El Sistema in Venezuela and Aotearoa New Zealand as our principal case studies, we argue that this gulf can be explained at least partly by methodological problems in the way that some evaluations are carried out. We conclude that many Sistema evaluations display an alignment with advocacy rather than explorative research, and that the foundation for El Sistema's claims of social transformation is thus weak.
Esta obra está bajo una Licencia Creative Commons Atribución -No Comercial -Sin Obra Derivada 4.0 Internacional de Creative Commons. Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (Epistemus -Revista de estudios en Música, Cognición y Cultura), agregando la dirección URL y/o un enlace a este sitio: http://revistas.unlp.edu.ar/Epistemus. No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa la puede consultar en https://creativecommons.org/licenses/by-nc-nd/4.0/ para las ciencias cognitivas de A lo largo de su historia, el Sistema Nacional de Orquestas Juveniles e Infantiles de Venezuela, mejor conocido como El Sistema, ha sido el punto focal de una narrativa poderosa y encomiástica. No obstante, recientemente han comenzado a surgir más perspectivas críticas del mundo académico. Sin embargo, los investigadores se han enfrentado a una considerable falta de recursos documentales sobre la historia del programa. Por lo tanto, la reaparición de una recopilación de documentos de los años 1996 y 1997 es un hito importante. Las fuentes están ligadas a las gestiones de El Sistema para conseguir financiamiento del Banco Interamericano de Desarrollo (BID). En este artículo, los documentos están evaluados en orden cronológico y luego analizados con una perspectiva comparativa. Permiten profundizar en las perspectivas diacrónicas sobre el programa, complementando así las historias orales y los reportes de prensa de este periodo. Echan luz sobre la historia de El Sistema al igual que sobre las discusiones actuales sobre este famoso programa de educación musical, verificando estudios recientes que han provocado reacciones fuertes y polarizadas, y ofreciendo una base histórica para la profunda división que existe hoy en día entre las obras escritas por los defensores y los críticos de El Sistema. Resumen Palabras Clave:El Sistema, BID, educación musical, historia, documentos, perspectiva comparativa.
This article focuses on three recent manifestations of cumbia in Buenos Aires, Argentina: digital cumbia released by ZZK Records; retro cumbia orchestras; and a newer strand of digital cumbia, música turra. The first two are identified with the middle class, whereas the third emerged from the clases populares ('popular classes'). Música turra is underpinned by government policies towards digital inclusion, while middle-class incursions into the traditionally working-class sphere of cumbia, too, suggest increasing social cohesion. However, the digital fascination of música turra contrasts with an embrace of the analogue and acoustic in middle-class cumbia. These developments point to the emergence of a post-digital ethos and a shift from a digital to a post-digital divide, also running along class lines, analysed here through a Bourdieusian lens of taste and distinction. While transnational in nature, the post-digital ethos appears in Buenos Aires in a distinctive local form, articulated to growing Latin Americanism and post-neoliberalism on the part of the middle class.On 28 July 2012, Nena Mala goes onstage at Pasión de Sábado, Argentina's Saturday afternoon cumbia TV show, and launches into a dizzying medley that covers three musical genresincluding a frenetic 10-second techno breakwithin the first minute. 1 There are three musicians and two instruments on stage: at the centre, a laptop DJ, plus two singers, one with a keytar. All are syncing; the audible sound is playback from a recording.A week later, Chancha via Circuito and Tremor, signed to local label ZZK Records, perform at Tecnópolis, a huge science and technology park on the outskirts of Buenos Aires that also serves as an alternative music venue. Chancha is known as a laptop DJ/producer, yet he sings folkloric songs and plays a frame drum, accompanied by his singing teacher, Miriam García. 2 His computer lies unused at the side of the stage. During Tremor's set, a laptop lines up alongside folkloric drums, Andean tarka flutes, stringed instruments and an analogue synthesiser. The group's performance aesthetic is more hard rock than the 'checking emails' style often associated with computer music.
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