Music in Medellin: Citizenship, Social Development, and Urban Renewal

“通过音乐进行社会行动”（SATM）这一由委内瑞拉青年管弦乐团El Sistema推广的术语，目前面临两个问题：缺乏严谨的研究，以及研究与实践和政策领域之间的脱节。我提议的项目不仅是为了扩大这个研究基础，而且也是为了告知从业人员和政策制定者，并最终影响他们。以哥伦比亚麦德林为中心，探讨音乐实践如何塑造和塑造公民观念，这是SATM的核心，并考虑音乐教育计划对社会发展和城市更新的影响。这将需要一年的人种学田野调查，并以我之前对El Sistema、音乐教育与公民、音乐与城市、嘻哈和文化政策的研究为基础。在20世纪80年代和90年代初，麦德林被认为是世界谋杀之都。1997年，为了扭转城市的命运，市政府采用了一项被称为“社会城市化”的战略发展计划，强调教育、文化和公民意识。一项关键的倡议是在较贫穷的社区建立一个由27所音乐学校组成的网络。一个重要的嘻哈场景也在这个时候出现，并产生了一些教育项目。其结果是一个音乐教育活动显著集中的城市，特别是在城市边缘，其中公民身份和社会发展问题发挥着突出作用。我的项目将采用比较、关联的方法，探索在麦德林组织音乐活动的不同管理制度，并特别关注(1)音乐学校网络（主要是古典音乐）；(2) culture y Libertad（嘻哈学校）；(3) Canto Alegre（哥伦比亚流行音乐）。我的主要研究问题是：1。在不同的制度背景和音乐流派中，公民身份是如何概念化的？公民的概念如何与音乐创作和学习的实际实践联系起来？我最初的假设是，网络想象个人负责的公民，而文化自由关注的是正义导向的公民（Westheimer & Kahne，“什么样的公民？”）。选择《阿雷格里篇》的原因是，相比之下，它针对的是中上层阶级，而这座城市未来的领导人很可能来自这一阶层，因此，它处理公民身份和社会发展问题的方式非常不同。我将主要关注教育，但也将更广泛地考虑音乐创作和聆听，因为它们有可能培养“亲密公民”（斯托克斯，《爱的共和国》）。音乐教育在哪些方面作为社会发展的一种形式？围绕El Sistema的宣传力度加大，使得人们对音乐教育在改善社会弱势群体一系列问题方面的潜力产生了浓厚的兴趣。特别是青年管弦乐队，一直是一个中心焦点，因为他们在团队合作、纪律、团结和包容方面带来了公认的好处。然而，我的书《El Sistema: Orchestrating Venezuela’s Youth》（OUP, 2014）显示，在委内瑞拉的背景下，这些好处既没有完全概念化，也没有（在许多情况下）实现。因此，在其他背景下进一步研究SATM的理论和实践是一个高度优先的问题。音乐政策在城市更新过程中扮演了什么角色？音乐教育在麦德林的“社会城市主义”战略发展规划中占有突出地位。麦德林市政府也将“创意城市”模式作为其城市更新战略的一部分，麦德林最近被联合国教科文组织创意城市网络指定为音乐之城。音乐和教育在城市重塑中的应用吸引了国内和国际投资，但不平等现象正在加剧。因此，音乐在更广泛的城市进程中可能扮演着模糊甚至矛盾的角色。

The field of "social action through music" (SATM), a term popularised by Venezuela's youth orchestra program El Sistema, currently faces two problems: a paucity of rigorous research, and a disconnect between that research and the practice and policy spheres. My proposed project is intended not just to augment that research base but also to inform, and ultimately impact on, practitioners and policy makers. Focusing on Medellin, Colombia, it will explore how musical practices shape and are shaped by conceptions of citizenship, which is central to SATM, and consider the impact of music education programs on social development and urban renewal. It will entail a year of ethnographic fieldwork, and build on my previous research on El Sistema, music education and citizenship, music and the city, hip hop, and cultural policy. In the 1980s and early 1990s, Medellin was considered the murder capital of the world. In 1997, aiming to reverse the city's fortunes, the city government adopted a strategic development plan labelled "social urbanism" for its emphasis on education, culture, and citizenship. A key initiative was the creation of a network of 27 music schools in poorer neighbourhoods. An important hip hop scene also arose around this time, and gave rise to a number of educational projects. The result is a city with a remarkable concentration of music education activity, particularly on the urban margins, in which issues of citizenship and social development play a prominent role.My project will take a comparative, relational approach, exploring the different managerial regimes that organise musical activity in Medellin and focusing in particular on (1) the Network of Music Schools (predominantly classical music); (2) Cultura y Libertad (hip hop schools); and (3) Canto Alegre (Colombian popular music). My primary research questions are:1. How is citizenship conceptualised in different institutional contexts and musical genres? And how do conceptions of citizenship relate to actual practices of music making and learning? My initial hypothesis is that the Network imagines the personally responsible citizen, whereas Cultura y Libertad focuses on the justice-oriented citizen (Westheimer & Kahne, "What kind of citizen?"). Canto Alegre is chosen because, in contrast, it targets the upper-middle class, from which the city's future leaders are likely to come, and thus approaches the questions of citizenship and social development very differently. I will focus primarily on education, but also consider music making and listening more broadly as potentially fostering "intimate citizenship" (Stokes, The Republic of Love).2. In what ways does music education serve as a form of social development? Heightened publicity surrounding El Sistema has led to an upsurge of interest in the potential of music education to ameliorate a range of problems in disadvantaged sectors of society. Youth orchestras, in particular, have been a central focus, because of the presumed benefits that they bring in terms of teamwork, discipline, solidarity, and inclusion. However, my book El Sistema: Orchestrating Venezuela's Youth (OUP, 2014) revealed that such benefits were neither fully conceptualised nor (in many cases) realised in the Venezuelan context. Further research on the theory and practice of SATM in other contexts is thus a high priority.3. What roles have music policies played in processes of urban renewal?Music education plays a prominent role in "social urbanism," Medellin's strategic development plan. The city government has also embraced the "creative city" paradigm as part of its urban renewal strategy, and Medellin was recently designated as a City of Music within UNESCO's Creative Cities Network. The use of music and education in the city's reimaging attracts national and international investment, yet inequality is rising. Music may therefore play ambiguous, even contradictory, roles in broader urban processes.