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El Sistema: Orchestrating Venezuela's Youth, by Geoffrey Baker
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The Venezuelan youth orchestra program known as "El Sistema" has attracted much attention internationally, partly via its flagship orchestra, The Simón Bolívar Youth Orchestra, headed by Gustavo Dudamel, and partly through its claims to use classical music education to rescue vulnerable children. Having been met overwhelmingly with praise, The System has become an inspiration for music educators around the globe. Yet, despite its fame, influence, and size - it is projected to number a million students in Venezuela and has spread to dozens of countries - it has been the subject of surprisingly little scrutiny and genuine debate.
In this first full-length critical study of the program, Geoffrey Baker explores the career of its founder, José Antonio Abreu, and the ideology and organizational dynamics of his institution. Drawing on a year of fieldwork in Venezuela and interviews with Venezuelan musicians and cultural figures, Baker examines El Sistema's program of "social action through music," reassessing widespread beliefs about the system as a force for positive social change. Abreu, a Nobel Peace Prize nominee, emerges as a complex and controversial figure, whose project is shaped by his religious education, economics training, and political apprenticeship. Claims for the symphony orchestra as a progressive pedagogical tool and motor of social justice are questioned, and assertions that the program prioritizes social over musical goals and promotes civic values such as democracy, meritocracy, and teamwork are also challenged.
Placing El Sistema in historical and comparative perspective, Baker reveals that it is far from the revolutionary social program of contemporary imagination, representing less the future of classical music than a step backwards into its past. A controversial and eye-opening account sure to stir debate, El Sistema is an essential read for anyone curious about this phenomenon in the worlds of classical music, education, and social development.
- Sales Rank: #862049 in Books
- Published on: 2014-12-01
- Original language: English
- Number of items: 1
- Dimensions: 6.40" h x 1.30" w x 9.30" l, .0 pounds
- Binding: Hardcover
- 376 pages
Review
"El Sistema is a social action tool aimed at facilitating occupational, pedagogical, social, and ethical salvation of children and young people through the instruction and collective practice of music. Recommended." --Choice
"Geoffrey Baker has done real service to all of us who think about issues of music education, and indeed of education, far beyond the ES project. In the current neoliberal context, we need such critiques to keep us on our toes and, ultimately, to help us care for our children."--Music and Letters
About the Author
Geoffrey Baker is a Reader in the Music Department at Royal Holloway, University of London. His books include Imposing Harmony: Music and Society in Colonial Cuzco (2008), which won the American Musicological Society's Robert Stevenson Award, and Buena Vista in the Club: Rap, Reggaetón, and Revolution in Havana (2011). He has also created a series of ethnographic films about childhood music learning in Cuba and Venezuela.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A must read.
By Thomas
I found this book very interesting. The research of Baker is amazing and brave.
Fully recommended.
2 of 4 people found the following review helpful.
Peeling back the onion on El Sistema
By Classic Music Lover
Somebody eventually had to write a book about the reality behind the El Sistema hype, if only to correct the record. And now someone has.
Geoffrey Baker's style of writing may not be everyone's cup of tea, but he maneuvers behind the propaganda and gets to the heart of the matter in a way no one else has to date. The rhetoric of El Sistema's PR machine has gotten pretty tiresome, and now we learn just how fabricated much of the story has been all along. El Sistema didn't start out as a social engineering project at all -- it was merely an orchestral program focusing on youth. All the social stuff got tacked on to the narrative in subsequent years, with El Sistema's constitutional provisions changed as late as 2011. Peel back the El Sistema onion, and what we find is a throwback to the "bad old days" of orchestra programs wherein students are bullied ruthlessly and made to practice impossibly long hours -- always just one step away from dismissal.
One of the most pernicious aspects of El Sistema's fabulist narrative is how so many other programs have sprung up in other countries in emulation. Fortunately, many of them have adopted the kernels of positive traits in El Sistema and chucked the rest. But the granddaddy Venezuelan program is probably beyond redemption at this point.
5 of 9 people found the following review helpful.
A much needed, critical review of philosophy and practices of El Sistema
By GDL
This is a very important and insightful critique of the El Sistema youth orchestra movement in Venezuela. The qualitative methods and scholarly work by Baker in this book are first-rate and serve as a valuable counterbalance to the highly idealized, and often romanticized, accounts of this youth orchestra movement as described by other authors and spokespersons who argue for the value of "El Sistema inspired programs" internationally. The book also reminds the reader that the high levels of El Sistema musical performances are not in question. Baker's message is that the principles, beliefs and practices of El Sistema, despite its long history in Venezuela, have not been thoroughly examined for their claims for social action, inclusiveness, or scope of pedagogy. This book attempts to fill this void by questioning hard what El Sistema really represents and what evidence for its success is. Surprising to those who have only listened to the Dr. Abreu or his acolytes, the author finds that the claims for El Sistema's success are highly contested by many of those who have administered or participated in the program (and who were interviewed by Baker under conditions of anonymity). The results of his analysis suggest that the reality of the program may be at great odds with the messages of Dr. Abreu and his circle, and at philosophical odds with progressive music educators who do not agree with view that a music education that is principally focused on western classical orchestral performance, with its highly conformist, hierarchical structures, narrow pedagogy and autocratic leadership, is a good model for a democratic society. While this book may be uncomfortable for those already committed to El Sistema, it is an essential read for anybody interested in the future of music education in our society. For those who wish to go beyond the strictures of the El Sistema of the past, this book offers implicit guidance for reforming El Sistema practices for the good of its adoption in the U.S.
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