The Managers, the Managed, and the Unmanageable: Negotiating Values at the Buenos Aires International Music Fair

Luker, Morgan James

doi:10.1080/17411911003675365

Cited by 47 publications

(8 citation statements)

References 20 publications

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“…Esta cooperación, si bien no supone la fuerte afinidad moral que suelen implicar los lazos de "amistad" en este campo, no por eso se resuelve en la frialdad de un aparato burocrático: apela a la reciprocidad basada en criterios comunes en la comprensión de la música y el trabajo con ella. Esta reciprocidad era en parte posible por los cambios contemporáneos en los perfiles de los funcionarios del sector cultural: como Martín, estos son más jóvenes, especializados, actualizados y orientados hacia la gestión (Luker 2010, Infantino 2011, Miguel 2012).…”

Section: En Busca De Conexiones: El Encuentro Con El Programa Recalcuunclassified

Estado y organizaciones musicales en las configuraciones emergentes en los años 2000 en Argentina

Boix¹

2017

Resonancias

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This article tackles a specific way in which emergent music linked to the rock scene in Greater Buenos Aires (Argentina) met with State institutions during the 2009-2015 period, as part of the emergence of organizational forms in music which take part in a new form of institutionalization. It critically reviews the research that have dealt with the relationship between rock and politics in the last decades. Furthermore, it ethnographically describes the interwoven fabric between musical projects and public policy stemming from the National Ministry of Culture. Its findings show that, within this fabric, the linkage between musicians and the State was implanted in a new way and acquired a different legitimacy when compared to the negative and external relationship described in the revised literature. Based on this, the article argues for the need to grant positivity to the linkage between music and the State in order to improve the comprehension of contemporary music phenomena.

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Section: En Busca De Conexiones: El Encuentro Con El Programa Recalcuunclassified

Estado y organizaciones musicales en las configuraciones emergentes en los años 2000 en Argentina

Boix¹

2017

Resonancias

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“…A few years earlier, cumbia was still largely excluded by institutions (Luker 2010). Nevertheless, there are contradictions between these two branches.…”

Section: The State (Again)mentioning

confidence: 99%

“…The perplexing choice of an orchestra that plays 1950s Colombian covers to musicalise a nationalist, high-tech institution reveals that the dominant sectors' longstanding unease about cumbia and class continues to be manifested at the level of music programming. A few years earlier, cumbia was still largely excluded by institutions (Luker 2010). At Tecnópolis, as at Cosquín, a shift in official attitudes has occurred; now cumbia is included, but only if it conforms to a middle-class conception of the genre as folkloric or roots music.…”

Section: The State (Again)mentioning

confidence: 99%

‘Digital indigestion’: cumbia, class and a post-digital ethos in Buenos Aires

Baker

2015

Pop. Mus.

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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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“…Esta multiplicidad característica de la música independiente encierra una riqueza singular para el análisis de la producción cultural contemporánea. Al complejo entramado de intereses, no exento de conflictos, dada la presencia de actores de distintos tamaños y vínculos con instituciones gubernamentales y grandes compañías discográficas (Corti 2009;Luker, 2010), se suma un conglomerado de representaciones que tensiona los sentidos asumidos por la producción musical independiente según los intereses en juego. Sin embargo, en un capitalismo donde las industrias culturales juegan un papel decisivo en la reproducción social y en cuyo marco la cultura se ha reconocido, en especial en América Latina, como un recurso para el desarrollo social y económico (Yúdice, 2002), la dimensión representacional de la producción musical independiente ha sido escasamente investigada por las ciencias sociales.…”

Section: Introductionunclassified

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Quiña

2020

revista

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El objetivo de este trabajo es comprender la articulación de la producción musical independiente con los procesos de reproducción del capitalismo contemporáneo en Argentina. Para ello analiza las representaciones de sus actores desde la perspectiva contextualista de los estudios culturales y a partir de un enfoque metodológico cualitativo. Argumenta que las representaciones de libertad, autenticidad y originalidad conforman una tríada que, junto a la tradición del disco y bajo una apariencia contraria, permite articular el fenómeno de la música independiente con el orden hegemónico actual.

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The Managers, the Managed, and the Unmanageable: Negotiating Values at the Buenos Aires International Music Fair

Cited by 47 publications

References 20 publications

Estado y organizaciones musicales en las configuraciones emergentes en los años 2000 en Argentina

Estado y organizaciones musicales en las configuraciones emergentes en los años 2000 en Argentina

‘Digital indigestion’: cumbia, class and a post-digital ethos in Buenos Aires

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