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Promoción De Artistas De Música Electrónica En Bogotá Presentado View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Institucional - Pontificia Universidad Javeriana Promoción de Artistas de Música Electrónica en Bogotá Presentado por: Juan David Otálora Díaz Trabajo de grado para optar por el título de: COMUNICADOR SOCIAL Campo Profesional: RADIO Y PUBLICIDAD Director: Miguel Andrés Carvajal Navas Pontificia Universidad Javeriana Facultad de Comunicación y Lenguaje Comunicación Social Bogotá 2018 1 ARTÍCULO 23 “La Universidad no se hace responsable por los conceptos emitidos por los alumnos en sus trabajos de grado, solo velará porque no se publique nada contrario al dogma y la moral católicos y porque el trabajo no contenga ataques y polémicas puramente personales, antes bien, se vean en ellas el anhelo de buscar la verdad y la justicia”. 2 Nota de Aceptación ___________________ ___________________ ___________________ ___________________ Presidente del Jurado ___________________ Jurado ___________________ Jurado Bogotá D.C. Mayo de 2018 3 Agradecimientos A Dios, a mis padres, a mi hermano quienes han sido fudamentales para mi desarrollo personal y profesional. A todo el equipo de Absence Records por depositar su confianza en este proyecto personal. A mis amigos que han apoyado este sueño. “No hay cosas imposibles, sino seres incapaces” – Ricardo Otálora 4 Tabla de contenido Planteamiento del problema ....................................................................................................6 Resumen .....................................................................................................................................7 Introducción ..............................................................................................................................8 Objetivo General .....................................................................................................................10 Capítulo 1: Conceptualizaciones ...........................................................................................11 Capítulo 2: Contexto internacional y nacional .....................................................................25 Capítulo 3: Metodología………………………………………………………………………37 Capítulo 4: Análisis de resultados……………………………………………………….....38 Capítulo 5: Propuestas y conclusiones………………………………………………………47 Lista de figuras Figura I: Estructura organizacional principal de la industria musical ………………………………………….. ….12 Figura II: Flujo de trabajo de la industria musical……………….......13 Figura III: Estrategia de promoción Absence Records …...............50 Figura IV: Implementación de estrategias por fases……………………………………50 Figura V: Publicación en Facebook abril 23 de 2018.…………53 5 Planteamiento del problema La escena electrónica en Colombia es bastante particular, ya que está en un contexto latino donde ritmos tropicales y urbanos predominan en el mercado musical y del entretenimiento. A pesar de esto, ha existido una escena que se ha desarrollado bastante bien a lo largo del tiempo. (Páez, 2009) M. Páez (2009) muestra que desde los 90 existe un escena que vive unos ciclos, donde se llega a un gran realce de esta cultura y vuelve a disminuir. Actualmente estamos viviendo una época no solo local, sino también global, donde la cultura de la música electrónica está en auge. Esto lo demuestra la cantidad de artistas de este género que han venido en el año 2016 a Colombia entre los cuales están Disclosure, Zedd, Paul Kalkbrenner, Juan y Atkins. Sin embargo, la cuota nacional se ve cada vez más reducida a artistas que rondan en los diferentes eventos musicales, y que si bien es cierto cumplen con los requisitos esperados por organizadores y asistentes, muchos artistas con gran talento quedan por fuera de estos grandes carteles (observación). Esto lleva a que el artista de música electrónica se especialice no solo en la producción musical y la presentación en vivo, sino también en aspectos como la creación de marca y el mercadeo (Aragón, 2015). Este contexto lleva al problema principal de estos artistas: La dificultad que existe en la promoción de un artista de música electrónica, en un contexto socio-cultural como el colombiano, donde los modos de promoción son de difícil acceso y existe poca innovación a lo que brinda la actualidad de la industria musical. 6 Resumen El presente trabajo tiene por objeto proponer una estrategia de promoción y difusión de artistas locales de música electrónica en Colombia, por medio del sello discográfico Absence Records. A lo largo de una exploración conceptual, se logra identificar históricamente el funcionamiento de la industria musical, cuáles son sus protagonistas, cuáles son las tendencias actuales dentro de la misma en términos económicos, culturales, musicales y de promoción de artistas. En cuanto a la música electrónica, se investigó históricamente el surgimiento de este género musical con el fin de comprender sus dinámicas culturales y sociales a lo largo del tiempo y que dieran paso a entender el funcionamiento de una industria de música electrónica global. Se extendió dicha búsqueda al contexto latinoamericano, tomando como referentes a Chile y Argentina, y posterior a esto al contexto nacional. Colombia se proyecta como una de las plazas más importantes de la región. La metodología de este trabajo se planteó bajo un enfoque hermenéutico, sustentado en un acercamiento al contexto internacional de la música que arroja la Federación Internacional de la Industria Fonográfica IFPI, confrontado con un trabajo de entrevistas a profundidad con expertos en el tema y en la región a investigar. Se indagó a 9 personajes de la escena electrónica local sobre su conocimiento de la industria musical, su desarrollo como artistas en un contexto como el colombiano, cuáles eran sus métodos de promoción y qué consideran que necesita la escena nacional. Se encontró carencia de conocimiento teórico sobre la industria, ciertas tendencias de autopromoción por parte de los artistas y la falta de cazatalentos que impulsen a talentos emergentes. Al notar estos resultados, este trabajo plantea una propuesta de promoción y difusión por medio de playlists, posicionando al sello Absence Records como la plataforma de talentos emergentes de la escena colombiana. Palabras claves: Promoción, Industria Musical, Artistas Emergentes, Música Electrónica, Redes Sociales, Playlists. 7 Introducción El optar por hacer doble énfasis en la carrera me ha brindado un amplio espectro de la importancia de la comunicación no solo en ámbitos como el académico: el analizar dinámicas cotidianas desarrolla en nosotros una capacidad de entendimiento y creación en cualquier contexto social, profesional o académico. Ser un apasionado por la música ha generado en mí un interés hacia la industria de la música desde dos perspectivas que, aunque son distintas, han llegado a ser complementarias: desde mi profesión como comunicador y en mi proyecto personal como DJ y productor musical. La permeabilidad y contacto constante con esta industria en Bogotá han sido factores importantes para enfocar este interés hacia la música electrónica y así empezar a alimentar un estado del arte que tuviese relación con este género musical. El panorama que muestra Mariana Páez (2009) sobre la escena de música electrónica en Bogotá, hace más de seis años, era el de una industria consolidada a nivel cultural pero atrasada a nivel tecnológico comparado con Europa, donde se encuentra la principal escena de este género musical. Hoy en día, Colombia se posiciona como uno de los países con tendencia a crecer en términos de música electrónica. Mi experiencia en esta escena me ha dejado varias inquietudes, que han sido razones por las cuales es importante el desarrollo de esta tesis de grado. En un principio encuentro un choque actual entre talento y mercadeo. Esta es una discusión que se evidencia día a día en la industria musical, pues termina siendo determinante para el desarrollo de una carrera musical exitosa para los artistas. El caso que llamó mi atención fue el experimento realizado por la periodista Nadja Brenneisen al crear un proyecto alterno a su profesión y lograr el éxito a partir de una estrategia de mercadeo y conexiones en la industria 8 musical. Es un caso totalmente relacionado con este debate, pues en su artículo evidencia que hoy en día, no es determinante ser talentoso para lograr el éxito. (2015) La payola es un fenómeno que es parte esencial del este debate. Es probable que en la actualidad colombiana la payola esté más que viva, y es que este término, que lleva tiempo siendo usado en la industria global de la música y la radio, ha logrado permear todas las culturas incluyendo la colombiana. (Straight Dope, 2004) Sin embargo, pienso que es importante destronar este mecanismo como el único para acceder a los medios tradicionales de comunicación. Ahora, aunque Frederic Martel habla de la importancia de la radio para la promoción de artistas (2011, p.132), es importante presentar alternativas que se adapten a la nuevas dinámicas de este medio, de la producción musical y de la promoción de artistas a nivel global y local. Jorge Ovalle (2015) hace referencia a la tendencia negativa en la industria musical, utilizando formatos tradicionales como los sellos discográficos con una alta nómina de trabajadores, y divulgadas en formatos que poco a poco han ido desapareciendo debido a su alto costo y su baja demanda en el mercado –CD, vinilos, casetes–. Como última razón, la gran cantidad de artistas en este género musical. Según la página web topdeejays,
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