Abstract
This paper refers to minorities’ musical expressions and their treatment and articulation in the school curriculum, this being considered as part of social discourse and therefore embedded in power relations. We deal with two main aspects: the first one refers to the way in which traditional popular music is included at school; specifically, the way minority groups’ musical expressions are treated in everyday school practices and the meaning that is built about these artistic practices considered as ‘alterity’. The second aspect refers to the diverse arguments that justify the presence of popular traditional music in the curriculum from two different perspectives: the ‘nationalist’ discourse in contrast with the one of ‘education for democracy’. The Critical Pedagogy perspective revels the positivist treatment of folk music as an ‘artifact’ in schools. The analysis of institutions and educational practices in the Argentinean context show an attitude about Art oriented towards the construction of a national being blended with Eurocentric features, in wich education for democracy is still in process.
Highlights
We deal with two main aspects: the first one refers to the way in which traditional popular music is included at school; the way minority groups’ musical expressions are treated in everyday school practices and the meaning that is built about these artistic practices considered as ‘alterity’
The Critical Pedagogy perspective revels the positivist treatment of folk music as an ‘artifact’ in schools
Practices in the Argentinean context show an attitude about Art oriented towards the construction of a national being blended with Eurocentric features, in wich education for democracy is still in process
Summary
RESUMEN: El presente trabajo refiere a las expresiones musicales minoritarias y su tratamiento y articulación en el curriculum escolar, considerado parte del discurso social y, por lo tanto, implicado en las relaciones de poder. Se abordan dos aspectos fundamentales: el primero, referido al modo de inserción de la música popular tradicional en la institución escolar, en cuanto al tratamiento de las expresiones musicales de grupos minoritarios en las prácticas escolares y al significado que se construye en relación con estas prácticas artísticas presentadas en lo cotidiano como “alteridad”. El segundo aspecto refiere a la justificación de la presencia de la música popular tradicional en el curriculum desde dos perspectivas disímiles: el discurso ‘nacionalista’ en contraste con el de ‘educación para la democracia’. La perspectiva de la pedagogía crítica deja ver el tratamiento positivista de la música folklórica como ‘artefacto’ en las escuelas. El análisis de las instituciones y prácticas educativas en el contexto argentino arroja una concepción del arte que intenta construir un ser nacional matizado con rasgos eurocéntricos, cuyo aporte a la educación para la democracia aún debe ser construido
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