Running head: CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

Cultura Viva Program and the implications in the music education field Mirtes Jlia de Sousa Ferreira IA U !SP

Author ote Mirtes Jlia de Sousa Ferreira" Arts Institute" Universidade !stadual Paulista #Julio de Mes$uita Filho% & U !SP' (his research is supported )* CAP!S' Correspondence concerning this article should )e addressed to Mirtes Ferreira+ mirtes,gmail'com

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

A)stract (his master-s research in progress focuses on the interface )et.een music education and cultural policies" especiall* the Cultura Viva program' (he stud*" constructed from a documentar* anal*sis aims to anal*/e the conceptions of Pontos de Cultura a)out musical education' 0oo1ing foster discussion on cultural policies in the conte2t of music education" this .or1 points out initiatives that emerge from societ* as musical learning spaces" recogni/ed and )enefited from this pu)lic cultural policies' (he research see1s to deepen the de)ate on the program of the 3ra/il Ministr* of Culture entitled Cultura Viva and its practical action Pontos de Cultura & rel*ing on the government4s official discourse 56778 " 6779" 677: " 67;6 " 67;8 <" studies on cultural policies in 3ra/il Cala)re 5 67779 " 677=< " (urino 5677= < and >u)im 567;7 " 67;; " 67;6< and on the musical practices in these areas discussed mainl* )* ?le)er 56779 " 677@" 677A " 67;7 " 67;6<' Initial results point to the importance of these Pontos de Cultura as an area of music learning" and" in man* cases" the onl* institutions for teaching music in their cities and the intense participation of man* of these institutions and intense participation in the discussion and formulation of cultural policies in 3ra/il' Keywords+ Cultural Policies" Cultura Viva" Pontos de Cultura" Music !ducation

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

Cultura Viva Program and the implications in the music education field

Introduction (his paper addresses partial results of a Master thesis that still in progress" .ith documental character" .hich aims to anal*/e the concepts that the Pontos de Cultura have a)out music teaching' (he anal*sis finds theoretical foundations in scholars of the Music !ducation field" .ho discusses the musical practices in multiple areas and in the studies of Cultural Policies especiall* the Cultura Viva program and its practical action" the Pontos de Cultura e2plicit in the official discourse of the Culture Ministr* and in other researchers of the su)Bect' In music" the theoretical foundation comes from references that address a )road concept of Music !ducation' Arro*o 56776< states that
(he term Cmusical educationC encompasses much more than formal musical initiation" ie" music education is that introduction to the formal stud* of music and the .hole academic process that follo.s" including undergraduate and graduationD is music education instrumental teaching and learning and other out)rea1sD musical education is the informal music teaching and learning' (hus" the term encompasses all situations that involve music teaching andEor learning" either .ithin the school and academic s*stems" either out of them 5A>>FGF" 6776" p' ;A&;=<'

Such idea of music education implies" among other factors" understand )etter the places .here that practice happens" comprising that #H'''I the learning does not occur in the vacuum" )ut in a comple2 conte2t H'''I% 5SFUJA" 677A" p'7:<' In a lecture given in 67;6" Magali ?le)er" representative of the 3ra/ilian Association for Music !ducation 5A3!M<" reinforces that the changes that occurred in the societ* in the last passed *ears are providing a range of ne. spaces .here education relationships emerge" )e*ond the school )oundaries' (hese ne. spaces"

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD C5'''< )rings inherent in the communit*" the inte&sectorialit*" ne. or other social actors" ne. and other values" intergenerational conflicts" political" socio&cultural" impl*ing man* challenges for an* educator to act .ith competence immersed in this comple2it* 5?0!3!> 67;6 " p' 76<'

(he social proBects throughout 3ra/il fits in these ne. comple2 conte2t spaces" according to ?le)er 5677@" p' ;66< the social proBects are emerging spaces of 1no.ledge production for the field of music education and that are#H'''I result of the d*namics of social forces that allo. the production of ne. forms of 1no.ledge%' (he e2isting musical practices in social proBects are increasingl* related to the concept of culture and the 3ra/ilian cultural policies' (he de)ate resurges on the KKI centur* especiall* .ith the Cultura Viva program implanted in 6778 )* the Culture Ministry 5MinC<'

The Cultura Viva program as a Brazilian cultural policies 3ased on the definition given )* 3' Lu* Peters used )* Sou/a 5677:< pu)lic policies .ould )e all government activities that influence the citi/en-s lives' (he* are actions made )* the State targeting the enforcement of fundamental rights 5F>!I>! Jr" 677M<' Fnce formulated the pu)lic policies unfold on proBects" plans or programs and are put into practice in man* areas" such as" health" education" agriculture social .elfare" environment and culture' Compared to other social areas" such as health and education" the culture area had a late intervention in 3ra/il and also in other countries' It .as an international landmar1 .hen the cultural policies su)Bect moved into U !SCF-s agenda in ;=96" also" the creation of the French Cultural Affairs Ministr* in ;=9=" esta)lishing a ne. paradigm in .hich culture should )e and end itself" not an instrument or mean to achieve other political goals'

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

Among the concepts of cultural policies" the one that seems more ade$uate is the adopted )* Larcia Canclini 56779< .ho defines political culture as
H'''I Set of interventions made )* the state" civil institutions and communit* groups organi/ed to guide the s*m)olic development" meet the cultural needs of the population and o)tain consensus for an order t*pe or social transformation'

No.ever" for that State interventions in the culture have the characteristics of pu)lic policies it must )e negotiated .ith the societ*" other.ise the* .ould )e onl* government policies' #Fnl* policies su)mitted to pu)lic scrutin* and de)ate can )e considered su)stantivel* pu)lic cultural policies% 5>U3IM 677@" p';;<' (he Culture Ministr* 5MinC< management from 6778 to 67;7 .as mar1ed )* man* changesD follo.ing the concept of pu)lic policies mentioned a)ove .as one of them' (he 3ra/ilian Culture Ministr* resumed the pu)lic consultation through the culture conferences ;" to hear artistic and cultural sector-s representatives" on ho. should )e the Ministr* roles and also set goals for the culture area to )e met )* the State together .ith the societ*' (he anthropological concept of culture has )een adopted )* MinC in this administration' (his concept addresses the culture as something )e*ond the recogni/ed arts' (he culture in its s*m)olic dimensions 5related to artistic e2pressions<" citi/ens 5as a right secured )* the Constitution and man* other universal treatments and declarations< and economic 5as an income&generating area<' (his ne. vision of the Culture Ministr* .as the )asis for the creation of man* actions and programs since 6778 and it demonstrates #H'''I not onl* the a)andonment of an elitist and discriminating culture vie." )ut it represents a counterpoint to the authoritarianism and a $uest for the democrati/ation of cultural policies% 5>U3IM" 67;6 p' M7<' (he most significant" not onl* for this proBect" )ut for all the MinC in this administration" is the Program Cultura Viva and the Pontos de Cultura'
1

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CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

(he Programa Nacional de Cultura, Educao e Cidadania - Cultura Viva .as created in 677M to #H'''I promote access to the means of Cultural enBo*ment" production and diffusion" as to potentiate cultural and social energies" aiming the )uilding of ne. cooperation and solidarit* values% 53>ASI0EMinistOrio da Cultura" 677M<'
(he Cultura Viva Program is designed as an organic net.or1 of cultural creation and management" as measured )* its main action" the Culture Points' (he implementation of the program provides a continuous and d*namic process" and its development is similar to a living organism" .hich articulates .ith pre&e2isting actors' Instead of determining 5or impose< local actions and )ehaviors" the program encourages the creativit*" enhances desires and creates an ena)ling environment for promoting citi/enship through recognition of the importance of culture produced in each localit* 5MI IS(P>IF QA CU0(U>A" 67;7" p';7<'

(he goals of the Cultura Viva program focus on alread* e2isting initiatives and cultural institutions that arise from the societ*" man* of them are outside of government support and foment" surviving onl* )* communit* efforts' (he Cultura Viva appears to recogni/e these initiatives" strengthen social and economic processes in this conte2t )* capacitating cultural agents" giving autonom* to these institutions" e2panding production" enBo*ment" cultural diffusion and the num)er of spaces for cultural activities in 3ra/il" 5S!C>!(A>IA QA CIQAQA IA ! QIV!>SIQAQ! CU0(U>A0" 67;8" p' 7M<' The Pontos de Cultura (he Ponto de Cultura is the priorit* action of the Cultura Viva program' (he federal government in a partnership .ith states" municipalities and civil societ* supports 6 the local culture manifestations" stimulating and strengthening socio&cultural actions that alread* happen in the communities' According to (U>I F 5677=< the essence of the Ponto de

(his support comes through an annual )udget used according to the need of each Ponto de Cultura" training courses in cultural management and encouraging e2changes and sharing 1no.ledge )et.een the Pontos de Cultura, aiming to leverage the proBects made )* the Pontos de Cultura, see1ing to stimulate the autonom* and empo.erment of these institutions'

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

Cultura .ould )e in the fact that it is something that comes from the communities" it .ould )e something that alread* e2ists and then it is recogni/ed )* the government' Man* of the e2isting Pontos de Cultura offer music courses to a .ide audience 5children" *outh" adults and elderl*<" the* are not formal music teaching institutions" )ut the* are supported )* the Qepartment of State of Culture" )* the Ministr* of Culture 5MinC< and have legitimac* in the communities in .hich the* operate' (he stud* of the music education concepts e2isting in these places is the theme of this research'

Motions for musical education in the Pontos de Cultura of the state of So Paulo (his research focuses on the Pontos de Cultura of SRo Paulo and is )eing carried out through consultation to .ritten documents sent )* the Pontos de Cultura to the Secretar* of State for Culture' (here are M8 Points of Culture from the state net.or1 that .as chosen )ecause the* .or1 e2clusivel* .ith musical training spread over 88 counties in the state of SRo Paulo' Considering these Pontos de Cultura that .or1 onl* .ith musical training .as possi)le to group them according to the services offered to the communit*" as the sho.n graph )elo.+

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

Figure 7;+ Pontos de Cultura of SRo Paulo .or1ing .ith musical training

Source+ Semiannual reports .ritten )* Pontos de Cultura surve*ed' Author-s Adaptation'

(he most offered music training identified in the Pontos de Cultura is the practice of different instruments" it .ould )e .or1shops or courses lasting from 7@ months to 78 *ears in instruments such as piano" 1e*)oard" guitar" drums" percussion" flute" sa2ophone" violin" electric )ass" electric guitar" singing and music to children-sD Usuall* the repertor* focus on fol1 music and national or international pop&roc1' Percussion training occurs through practice of instruments such as tam)ourines" drums" rattle directed to the sam)a circlesD instruments that compose s*mphonic percussion li1e 2*lophones to create )rass )ands" african percussion or ethnic as the tai1o & Japanese drum ' (he viola orchestras offer viola caipira 53rasilian countr* guitar< .or1shops" guitar" accordion and singing aiming to improve and e2pand the group-s o.n corner' (he teaching of

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

music theor* )egan to appear in the reports as a prere$uisite for the improvement of the musicians of the orchestra' (he )rass )ands formation consists of .ood" )rass and percussion 5clarinet" sa2" flute" trumpet" horn" trom)one" tu)a" euphonium and percussion<' (he Ponto de Cultura offers these courses" in man* cases" to form ne. musicians to Boin an e2isting )and in the cit*' Choirs are discussed in the reports as meetings for the practice of collective chanting' It is interesting to note that those proBects that propose the formation of choirs do not characteri/ed itself as classes or .or1shops" )ut as .ee1l* meetings" descri)ing onl* the .or1ing repertoire and presentations' Computer music and QJ training are music .or1shops that focus on QJ training" Studio techni$ues" music instruments recording and rh*thms assem)l* through free soft.are' String Frchestras offer .or1shops of instruments such as violin" viola" cello" dou)le )ass" cham)er music" music theor*" .ith intent to train musicians for an alread* e2isting s*mphon* orchestra in the cit* or to group students to form a ne. orchestra' Fnl* 7; Ponto de Cultura offers musicali/ation class e2clusivel* for children from municipal schools' (he musicali/ation .or1shops consist of ludic activities" choral singing and ma1ing small percussion instruments' (he grouping a)ove demonstrates a need for further and deeper investigation a)out offer of music courses' (he instruments and musical st*les offered )* the Pontos de Cultura .ould )e a demand from the communit* or a .illingness of the proBect proponentsS All the activities are free" the* are offered to the communit* in general in the form of classes .ith formal methodolog* and even traditional" ie" classes or .or1shops are attended )* a teacher" the* are individual or in groups" separated )* suit of instruments" lasting 97 minutes" 7; to 76 times a .ee1" alternating )et.een theor* and instrumental practice" divided into semester modules and having musical performances as a form of assessment' Man* of

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

the studied Pontos de Cultura has selective process for admission" especiall* those that aim at the practice of orchestral string instruments" follo.ing assessment methods and practice .riting .ith e2amination )oard' (he proBects for choir singing" orchestra viola" )rass )ands and string orchestras has as an o)Bective the professionali/ation of students and the group for holding pu)lic performances as a .a* to raise mone* 5pa*chec1s< for the maintenance of the Ponto de Cultura and its mem)ers as professional musicians' (he anal*sis of these reports do not replace the empirical research conducted )* visiting the Pontos de Cultura" )ut has contri)uted to the understanding of ho. the proBect came after approved 5in man* Pontos de Cultura there .as changes" for e2ample" a proBect that had planned circus classes and music lessons" )ut the circus classes .ere not successful and then the funds .ere transferred to the music lessons" e2panding the .or1load of musical training<' In the anal*sis of the reports .as also noted the presence of a discourse associating the musical practice to C)ring a )it of culture to the cit*C" necessar* for the communit* that has C o the cultureC and that needs to Crescue the cultureC" or to CPropagate the independent cultureC' (hese occurrences call attention to the realit* of the communities attended )* these proBects and )* the understanding that these proBect-s proponents have a)out the role of art" culture and its pu)lic funding' In this first stage of data collection and search for theoretical frame.or1 sho.ed that the field chosen for this research has proved to )e rich and pac1ed full of information deserving space in academic discussions' Also it is necessar* to a )etter understanding of cultural policies" especiall* those that encourage musical education' Final Considerations As can )e seen" this ne. polic* of the Culture Ministr* 5MinC< provides and supports the creation of Pontos de Cultura ma1ing them official and emerging spaces for musical

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

practice' (he Pontos de Cultura are cultural and educational actions that presuppose autonom*" leadership" team.or1" Boint net.or1ing and interaction .ith the entire local communit*' Thile musical training" ?ramer 56777" p' 9:< emphasi/es the need for polic* actions to advance music education )* sa*ing that C5'''< precisel* those political )eliefs have a significant role in the discussion a)out setting goals" interpretation and conception of music education and trainingC' Celio (urino 5677=< in a revie. a)out the results of this program in 677=" emphasi/es that though it is still an action .ith fe. financial resources" the activities that too1 place )efore in silenced and un1no.n environments such as percussion classes in Candombl gain support to )oost their actions' According to ?le)er 567;7< social changes and constitutional reforms that empo.er previousl* marginali/ed cultural practices are entering the academic .orld and
(his comprehension is one of the maBor challenges for the music educator" it implies )eing open to .elcome and tal1 .ith man* universes" for" in fact" develop musical practices and inclusive methodologies" valuing and ta1ing into account the artistic production of historicall* marginali/ed groups )* the esta)lished culture 5?le)er" 67;7" p'7:<'

?no. and understand the vision that the Pontos de Cultura have a)out the music" ho. these institutions handle the musical education and also understanding the social and political universe in .hich these actions ta1e place" among other factors" serve to stimulate discussion a)out music teaching rever)erating in the training of music educators .ho consider acting in these emerging areas'

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

>eferences A>>FGF" Margarete' 56776<' !ducaURo Musical na contemporaneidade' In+ !EM N"# $ N%C $N%& 'E PE!() !% EM M*! C% '% )+," 6" 6776" LoiVnia' %nais''' LoiVnia+ UFL" 6776' p' ;A&6=' 3>ASI0 E MinistOrio da Cultura 5677M<' Portaria n-./0 de 10 de 2ul3o de 4115' QisponWvel em http+EE...6'cultura'gov')rEsiteE.p&contentEuploadsE677:E;;Eportaria&;9@&de&677M'pdf' Acesso em 7= de Ban de 67;M' F>!I>! Jr" AmOrico 3edX' 5677M<' $ Controle 6udicial de Pol7ticas P8blicas no 9rasil' QissertaURo de Mestrado' Faculdades de VitYria FQV' VitYria" 677M' QisponWvel em Zhttp+EE...'dominiopu)lico'gov')rEdo.nloadEtesteEar$sEcp7=A8M8'pdf[ Acesso em 7@ de Ban de 67;M' LarciaCanclini" estor 56779<' Qefiniciones en transiciYn' In+ Cultura, :ol7tica y sociedad Pers:ectivas latinoamericanas' Qaniel Mato' C0ACSF" ConseBo 0atinoamericano de Ciencias Sociales" Ciudad AutYnoma de 3uenos Aires" Argentina' 6779' pp' @=&A;' QisponWvel emZhttp+EE)i)liotecavirtual'clacso'org'arEarEli)rosEgruposEmatoELarciaCanclini'rtf[' Acesso em 7@ de Ban de 67;M' ?0!3!>" Magali Fliveira' 5677@<' !ducaURo musical e F Ls+ dois estudos de caso no conte2to ur)ano )rasileiro' In; Em Pauta+ >evista do Curso de PYs&LraduaURo em Msica UF>LS" v' ;:" n' 6=" p' ;;8&;8A" BunEde/ 677@' QisponWvel em Z http+EEseer'ufrgs')rE!mPautaEarticleEvie.E:M:9[ Acesso em 79 set 67;;' \\\\\\\\\\\\\\\\\\\\\'567;7<' !ducaURo Musical" PolWticas P)licas e a Qiversidade Cultural na AmOrica 0atina' !d'LraY+ 3arcelona' !ufonWa' ] M=' A)ril&Ma*o&Junio 67;7; &a educaci<n musical em &atinoamrica" :; 0-.0; \\\\\\\\\\\\\\\\\\\\\'567;6<' Educao Musical no 9rasil= :ol7ticas :8blicas e o com:romisso social. (ranscriURo de palestra ministrada no Congresso Musical da LuimarRes em 67;6' QisponWvel em Zhttp+EE...'culturaeuniversidade'uf)a')rE[ Acesso em 7M de maio de 67;8' ?>A!M!>" >udolf&Qieter' 56777<' Qimens^es e funU^es do conhecimento pedagYgico& musical' (raduURo de Jusamara Sou/a' In Em Pauta+ >evista do Curso de PYs&LraduaURo em Msica UF>LS" v' ;;" n' ;@E;:" p' MA&:8" a)rEnov 6777' QisponWvel em Z http+EEseer'ufrgs')rE!mPautaEarticleEvie.E=8:A[ Acesso em 7A set 67;;' MI IS(P>IF QA CU0(U>A' 567;7<' Programa Nacional de Cultura, Educao e Cidadania' 3rasWlia" 67;7' @=p' >U3IM" Antonio Al)ino Canelas' 567;6<' PolWticas Culturais no 3rasil+ passado e presente' In >U3IM" A' A' CD >FCNA" >' 5org'<' Pol7ticas Culturais' Salvador+ !QUF3A" 67;6' P' 6=& MA' >U3IM' Antonio Al)ino Canelas'5677@<' PolWticas Culturais entre o possWvel e o impossWvel' In Encontro de Estudos Multidisci:linares em Cultura II ! !CU0(' Faculdade de ComunicaURo UF3a" Salvador 3ahia' 78 a 79 de maio de 677@' QisponWvel em

CULTURA VIVA PROGRAM AND THE IMPLICATIONS IN THE MUSIC EDUCATION FIELD

http+EE...'cultura')a'gov')rE.p&contentEuploadsE67;;E7:Eantonio\al)ino\canelas\ru)im'pdf' Acesso em 7= de Ban de 67;M' S!C>!(A>IA QA CIQAQA IA ! QIV!>SIQAQ! CU0(U>A0' 567;8<' Programa Cultura Viva - $rienta>es' 3rasWlia" 67;8' QisponWvel em Z http+EE...'cultura'gov')rEdocumentsE;7=7;EA;97A;ECartilha_do_Programa_Cultura_VivaEd 99ac6)a&@a9A&M@8c&a9@:&78f)e=:ee)ddSversion`;'7[' Acesso em 68 de Bulho de 67;8' SFUJA" Celina' 5677:<' !stado da Arte da Pes$uisa em PolWticas P)licas' In+ Lil)erto NochmanD Marta ArretcheD !duardo Mar$ues 5org<' Pol7ticas P8blicas no 9rasil' >io de Janeiro+ !ditora Fiocru/" 677:' P' @9&A@' SFUJA" Jusamara 5Frg'<' 5677A<' Aprender e ensinar msica no cotidiano+ pes$uisas e refle2^es' In+ Sou/a" Jusamara 5org<' %:render e Ensinar M8sica no Cotidiano. Porto Alegre+ Sulina" 677A" p'7:&;6' (U>I F" COlio' 5677=<' Ponto de Cultura+ o 3rasil de )ai2o para cima' SRo Paulo+ Anita Lari)aldi" 677='