Community Music- an alternative for decolonization The role of the music school CECAM in the decolonization of the Oaxacan Indigenous communities Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig!Maximilians!Universität München vorgelegt von Julio Mariñelarena Martínez aus Mexiko 2014 Erstgutachter: Prof. Dr. Alexandra Kertz-Welzel Zweitgutachter: Prof. Dr. med. Dr. phil. Lorenz Welker Datum der mündlichen Prüfung: 23.06.2014 Acknowledgements ! I would like to thank my family, Prof. Dr. Alexandra Kertz-Welzel, Prof. Dr. med. Dr. phil. Lorenz Welker and friends for they support. ! Table of Contents 1. Introduction a. Prologue…………………………………………………………………. 1 b. Purpose of study and outline of chapters…………………………….. 3 2. Community MUSIC a. Community Arts…………………………………………………………. 8 b. The Growth of Community Music……………………………………... 15 i. Context………………………………………………………....... 16 ii. Participation……………………………………………………… 19 iii. Community………………………………………………………. 21 iv. Pedagogy………………………………………………………… 22 v. Identity (Definitions)…………………………………………….. 23 c. The Derridean thought and Community Music………………………. 24 i. Community Music and l’avenir………………………………….26 ii. Community Music and the trace………………………………..28 iii. Community Music and the undecidable……………………….29 iv. Community Music and the différance…………………………. 31 v. Community Music as l’avenir, trance, undecidable and différance……………………………………. 33 d. The Traits of Community MUSIC’s practice…………………………. 35 i. Context, identity, subjectile and iterability……………………. 35 ii. Community and the aporia of hospitality……………………... 38 iii. Participation and intertextuality………………………………... 40 iv. Pedagogy, gift and the supplement…………………………… 42 3. Post-Colonialism (Post-colonial Theory) in the Americas a. Introduction……………………………………………………………… 46 b. The Modernity/Coloniality Group in the Americas…………………... 50 c. Coloniality of Power…………………………………………………….. 56 d. Coloniality of Knowledge………………………………………………. 62 e. Coloniality of Being……………………………………………………... 69 f. Coloniality and Indigenous Music i. Aesthetic colonization…………………………………………... 79 ii. The invention of the Indigenous Music in Mexico…………… 82 4. Application of the modernity/coloniality perspective in the State of Oaxaca, México………………………………….................... 92 a. Oaxaca during the colonial era and the Mexican War of Independence: the emerging resistance……………………………………………….. 92 b. Oaxaca in the 20th century: The struggle for free self-determination of the indigenous peoples..99 c. Asamblea Popular de los Pueblos de Oaxaca: state repression and civil resistance…………………………………. 104 d. Cultural Implications……………………………………………………. 110 i. The festivities in Oaxaca……………………………………….. 111 ii. Homenaje Racial………………………………………………... 113 iii. The appropriation of La Guelaguetza………………………… 116 iv. La Guelaguetza Magisterial Popular and the best trombonist of the world………………………………. 122 5. A Case Study: Centro de Capacitación Musical Mixe y desarrollo de la Cultura Mixe (CECAM) a. Methodology…………………………………………………………….. 128 b. Music education according to the SEP………………………………. 134 c. The CECAM in Santa Maria Tlahuitoltepec………........................... 145 i. The Mixe people………………………………………………… 146 ii. The CECAM: Historical perspective…………………………... 152 iii. Organizational structure of the CECAM in 2010…………….. 171 6. Analysis of the curriculums for the school year 2010 a. Foundations of the curriculum…………………………………………. 177 b. The Subjects i. Solfeggio and Choir…………………………………………….. 193 ii. Harmony, Counterpoint and Composition……………………. 199 iii. History of the Mexican Music, History of the Regional Music, History of the Western Music and Musical Appreciation……………………………………... 202 iv. Instrumental subjects…………………………………………… 204 c. The Mexican Independence Day celebration……………………….. 212 d. The Daily Life in the CECAM…………………………………………. 222 e. The CECAM as Community MUSIC practice……………………….. 227 7. Community MUSIC: an alternative for the decolonization……………….. 248 a. Community MUSIC and (De)Coloniality of Knowledge…………… 248 b. Community MUSIC and (De)Coloniality of Being…………………. 259 c. Community MUSIC and (De)Coloniality of Power………………… 271 8. Final considerations……………………………………………………………. 279 9. Pictures………………………………………………………………………….. 285 10. Bibliography a. Texts……………………………………………………………………… 297 b. Media…………………………………………………………………….. 308 c. Web………………………………………………………………………. 309 ! 1! 1. Introduction a. Prologue In the year 2008, when I finished my postgraduate studies in the subject guitar at the University Mozarteum Salzburg in Austria, I felt strongly attracted to the idea to pursue a PhD in order to establish a deeper relationship with the ‘non- practical’ aspect of the music. Firstly, I had to face the question ‘should I pursue a PhD in performance, or in Musicology or in Music Education?’ The first option has been dropped because I was not comfortable anymore by being supervised during my artistic activity; this was the begging of my current PhD project. I reflected about my personal experiences within my musical practices, including my musical education and I realized that I was not happy at all with the way, in which the music was taught to me. At this point I found two interesting things: firstly, the educational approach that rules most of the educational institutions did not make me feel comfortable, and secondly, I did not do anything to change that situation! I would like to stress that I appreciate many things during my time at the diverse music universities, which I attended; but even if I had reflected about the foundation and benefits of that approach agreeing with many aspects, at the end, it still far to make me feel fully comfortable with my relationship with the music. On the other hand, I asked myself: ‘why did I do nothing at all to change the situation? What could I do to change it eventually’? Why did I not feel comfortable with the ‘traditional’ approach of the educational institutions? Are there other music education approaches? In the next year many things occurred at the same time. My mother – who is from the Mixe Indigenous community in the Mexican’s state of Oaxaca – told me about a ‘special’ music school in her community of origin: the CECAM in Santa Maria Tlahuitoltepec. She was fascinated about the school; she told me, that the students live at the music school, that they play only traditional music, that the school pays the living costs of the students and that the students, after finishing their studies at the CECAM, could apply for entrance at the University to continue studying music on high education level. At that time I was reflecting a lot about the role of the music in the society and I was concerned about the ! 2! increasing social problems in my native country, Mexico. The last factor, which was important for me at that moment were the popular musicians: I felt fascinated about the approach to the music of many popular musicians that I knew and I was thinking: ‘Why is my approach as classical musician so different to them?' A mere answer considering the whole explanation of the difference between music genres was not enough for me, I though there are more differences, than only the organization of sounds and pauses, or the way to produce those ‘organized sounds’, or the instruments that are used by the classical musicians and the popular musicians. Then I started to reflect about the context, in which I had carried out my musical activity; I realized the most part of my musical activity had been developed in the context of a music education institution. I asked myself: 'why did I decide to attend a school to learn music? Did I want to become a classical musician?' I really liked a lot classical music since I was a child, but actually I started to play guitar because I wanted to become a rock/jazz musician. With the time passing, I got to know more and more about other music genres and I liked all of them! Thus, it was clear for me that I want to become a professional musician, but the only option was to attend the university, where only classical music is taught; but why was it so important to study music at an institution? Well, if one wants to become a doctor one goes to the university because there is all the equipment that one needs to learn everything concerning medicine, you cannot take private lessons with a doctor. But there was some more reasons to attend to the university: I could just learn through friends, but it was not enough to become a good professional musician; another option could be: to take private lessons, but I could not afford a guitar teacher, a solfeggio teacher, music history teacher, harmony teacher, aesthetics teacher, etc.; one needs all that information to become a good musician, right? So the university offer me all of that, and even more: the question: ‘what are you doing in your life? Do you study or do you work? I could answer ‘I am studying music at the university.’ The university offered me the possibility to be legitimized for the society. But why did I need to be legitimized as musician? Are there other ways to legitimize my activity? Who establishes the rules of the ‘legitimization game’? If there had been a rock university in Mexico, would have I attended to the rock university or ! 3! to the classical music university? At that point, it was the time to take a decision about to pursue a PhD or not, but I was still more worried about all the above-mentioned questions. Then, I decided to make my worries and concerns the field of study of my PhD, but how could I do that? Then I remembered again