Understanding the cultural value of 'In Harmony-Sistema England'

近年来，年轻人参与艺术活动的价值一直受到热烈讨论。自20世纪90年代末以来，“补贴革命”（Elliott 1997）在英国给予了以青年为基础的参与性艺术活动更大的突出地位，关于这些活动的价值以及理解其结果的最适当方式的问题已经从许多方面提出（见，例如，Belfiore，2002，2004; Merli 2002; Belfiore and班尼特2008，Galloway 2009）.事实上，对于许多评论家来说，越来越多地强调评估和评价年轻人参与艺术的“工具性”成果，可能会忽视对大多数参与者来说，参与性遭遇的各个方面，这些方面首先是激励他们参与的：艺术活动的“内在”价值。该项目旨在为最近的辩论做出贡献，这些辩论敦促需要超越“工具”与“内在”的僵局（Knell & Taylor 2011）通过探索参与一个新的参与式青年为重点和音乐为基础的倡议，目前在英格兰的利益相关者理解文化价值的方式：在和谐系统英格兰。我们选择这一举措提供了一个特别迷人的探索案例，因为大多数将音乐与社会公益形式联系起来的尝试都采用了流行音乐形式，（作为努力吸引与他们一起工作的处境不利的年轻人的一部分），在非常成功的委内瑞拉El Sistema倡议的领导下，采用管弦乐的模式，以古典音乐的“高雅艺术”形式吸引年轻人。虽然El Sistema模型明确地援引音乐活动的内在维度作为参与个体的成长和发展的手段，但它这样做是有意识地产生溢出效应，这种溢出效应在其他地方被称为“工具性”结果的水平上注册。然而，在整个项目活动中，优先考虑的是那些明确的艺术目标和成就，这些目标和成就有助于激励年轻人的参与。虽然该项目在委内瑞拉取得了巨大成就，但在学术界，关于该计划的变革性组成部分，以及参与者对该项目的文化层面的评价如何转化为其他类型的（更广泛的）认识到目前在英国和谐系统的不同化身中涉及的不同交付模式和项目伙伴关系，以及不同的参与者和利益相关者带来的重要不同的当地文化条件和对文化价值的主观理解，本项目将通过探索位于英格兰的三个不同的和谐项目来参与上述关注。

The value of young people's participation in arts activity has been hotly debated over recent years. Following the 'subsidy revolution' (Elliott 1997), which granted youth-based participatory arts activities greater prominence in the UK since the late 1990s, questions about the value of such activities, and the most appropriate ways of understanding their outcomes, have been raised from a number of quarters (see, e.g., Belfiore, 2002, 2004; Merli 2002; Belfiore and Bennett 2008, Galloway 2009). Indeed, for many commentators, the growing emphasis on assessing and evaluating what have been termed the 'instrumental' outcomes of young people's arts participation risk ignoring what are, for most participants, the very aspects of the participatory encounter which serve to motivate them to engage in the first place: its 'intrinsic' value as arts activity.This project seeks to contribute to recent debates urging the need to transcend the 'instrumental' vs 'intrinsic' impasse (Knell & Taylor 2011) by exploring the ways in which cultural value is understood by stakeholders involved in one novel participatory youth-focussed and music-based initiative currently developing in England: In Harmony-Sistema England. Our choice of this initiative offers a particularly fascinating case for exploration because, where most attempts to link music to forms of social good have employed popular music forms (as part of an effort to appeal to the disadvantaged young people with whom they work), In Harmony-Sistema England, taking its lead from the highly successful Venezuelan El Sistema initiative, adopts an orchestral model and engages young people using the 'high art' form of classical music. While the El Sistema model explicitly invokes the intrinsic dimensions of musical activity as a means of engendering growth and development in participating individuals, it does so with the conscious intention of generating spill-over effects which register at the level of what have been elsewhere termed 'instrumental' outcomes. Yet prioritised throughout projects' activities are those explicitly artistic goals and achievements which serve to motivate young people's participation. While the project has seen great achievements in Venezuela, it remains the case that relatively little is understood, within scholarly circles, about the transformative components of the programme and the ways in which participants' valuation of the cultural dimensions of the project translate into other kinds of (broader) effects.In recognition of the different models of delivery and project partnership currently involved in the different incarnations of In Harmony-Sistema England, as well as the importantly differing local cultural conditions and subjective understandings of cultural value brought by different participants and stakeholders, this project will engage with the concerns sketched above by exploring three different In Harmony projects, located across England.