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In this 8th SIMM-podcast episode we hear Lukas Pairon interview 3 scholars from the Southern hemisphere: Juan Sebastian Rojas (01:31->14:27) and Natalia Puerta Gordillo (14:28->23:33) from Colombia, and Tinashe Mutero (23:35->32:12) from Zimbabwe. They discuss about research on social and community music projects in the Global South, research developed by local scholars as well as by researchers from the Global North. All three scholars attended one of the 4-day SIMM-seminars organised to allow small groups of scholars to share their research experiences and methodologies, and thereby developing an international research network in this field. Hearing them makes one wonder whether we shouldn't stop thinking of our world as composed of only 2 blocks (North and South), and instead let ourselves inspired by Arturo Escobar's recent presentation of our world as multiversal, composed of a multiversity of realities and perspectives.Referenced during this podcast-episode: Geoffrey Baker, Bogotá Philharmonic Orchestra, Children Performing Arts Workshop (CHIPAWO), Dzikwa Trust (Zimbabwe), Arturo Escobar, Orlando Fals Borda, Paulo Freire, Guildhall School of Music, Inkululeko Yabatsha School of Arts (IYASA), international comparative SIMM study, Mariusz Radwanski, Music Crossroads Zimbabwe, Red Musica Medellin, SEMPRE, 5th SIMM-posium, Sistema Global, Gloria Patricia Zapata Restrepocontact: info@simm-platform.eu / www.simm-platform.eu
In this 6th SIMM-podcast episode we hear Lukas Pairon discuss with Brazilian Samuel Araujo about the practice of - and research on - social and community music projects in his country and in Latin America. This is one of several podcast episodes introducing a major theme during the ongoing 5th annual SIMM-posium: SIMM-practice and research in the Global South.The 5th SIMM-posium is presenting research in the field of music in social and community work by scholars from all over the world. It was planned to take place in December 2020 at the Brussels based centre for the arts BOZAR, but because of the covid-pandemic it was reformatted as a series of 9 weekly online sessions on Tuesdays, from January 12th on until March 9th 2021. Info: www.simm-platform.eu.Referenced during this podcast-episode: Geoffrey Baker, José Jorge de Carvalho, Meeting of Knowledges, Meeting of Knowledges & musicology, Musicultura, Sylvia Antonia Nannyonga-Tamusuza, 5th SIMM-posium, Sistema VenezuelaContact: info@simm-platform.eu
In this 1st SIMM-podcast episode we hear Lukas Pairon interview the 5th annual SIMM-posium 12th January 2021 keynote-speaker Geoffrey Baker (00:26->12:49) as well as interview SIMM-president John Sloboda (12:53->18:23). The 5th SIMM-posium is presenting major research in the field of music in social and community work, presented by scholars from all over the world. It was planned to take place in December 2020 at the Brussels based centre for the arts BOZAR, but because of the covid19-pandemic it was reformatted as a series of 9 weekly online sessions on Tuesdays, from January 12th on until March 9th 2021. Info: www.simm-platform.eu Contact: info@simm-platform.eu
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela’s Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp’s interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician’s Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker’s El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here. Learn more about your ad choices. Visit megaphone.fm/adchoices
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela’s Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp’s interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician’s Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker’s El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here. Learn more about your ad choices. Visit megaphone.fm/adchoices
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela’s Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp’s interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician’s Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker’s El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here. Learn more about your ad choices. Visit megaphone.fm/adchoices
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela’s Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp’s interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician’s Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker’s El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here. Learn more about your ad choices. Visit megaphone.fm/adchoices
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela’s Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp’s interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician’s Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker’s El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here. Learn more about your ad choices. Visit megaphone.fm/adchoices
El Sistema, the massive Venezuelan youth orchestra program, has been hailed in some quarters as the next big idea in music education (if not as the savior of classical music itself). Any who have found the press coverage of El Sistema suspiciously rosy, however, will find quite another account in Geoffrey Baker‘s engrossing and at times sharply critical book, El Sistema: Orchestrating Venezuela's Youth (Oxford University Press, 2014). Baker takes an ethnographic approach to El Sistema, investigating the daily lives and experiences of students and teachers, while simultaneously drawing on recent research in music pedagogy to subject the structure and history of the program to an ideological critique. El Sistema describes itself as an organization devoted to the “pedagogical, occupational, and ethical rescue” of children through orchestral music, dedicated to protecting and healing the most vulnerable ranks of Venezuelan society. To this, Baker raises troubling questions. Is it really the case that the average student in El Sistema comes from a precarious economic background? Supposing that musical training can foster social development, is the symphony orchestra, with its rigid hierarchies of command, really the best way to train model citizens? And in the long run, can Venezuela — or indeed, any country — provide long term employment for such a large cohort of professionally trained musicians? Further Listening/Viewing/Reading: Gustavo Dudamel conducting the Teresa Carreño Youth Orchestra here. Lawrence Scripp's interview with Luigi Mazzocchi: “The Need to Testify: A Venezuelan Musician's Critique of El Sistema and his Call for Reform” (Full version here) (Shorter, journalistic version here) https://van-us.atavist.com/all-that-matters Geoffrey Baker's El Sistema blog here. Special issue of Action, Criticism, and Theory for Music Education on El Sistema here.
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