Violeta Solano Vargas

Violeta Solano Vargas studied music at the University of Paris 8, in the ethnomusicology track. In 2008, she obtained a Master´s degree from EHESS (Paris), where she completed the Theories and Practices of Language and Arts Program, specialty in music. Over the past seven years, she have taught at the Music Training Program of El Bosque University. Violeta was also part of the team that created the Master’s in Colombian Music of the same university, and since 2017 she has been part of the Research, Development and Innovation Office of the Faculty of Creation and Communication.
Violeta has served as jury in different national festivals and fellowship and research programs, and have spoken in several conferences and academic events. I have published articles on traditional Colombian music in books and specialized journals in Colombia and France. Since 2018 she writes critical reviews of the musical events organized by the Luis Angel Arango Library (Colombia).
She is a founding member of Colombian Association of Music Researchers (ACIMUS), and have been a member of the French Society of Ethnomusicology for over ten years. In addition, she recently became a member of Latin American Music Education Forum (FLADEM).

In this paper I analyse, from a decolonial and ethnomusicological perspective, the intersections between academic and traditional musical knowledge within the framework of higher musical education in Colombia. I am interested in examining the evolution of music education in spaces and programs that, since the end of the 20th century, have sought to deconstruct the Eurocentric model of music education and build new models that respond to the realities of Colombian and Latin American musicians and contexts. I am also interested in the effects of the dialogue/encounter between traditional and academic knowledges on the actors involved in these processes, particularly how they affect the construction of imaginaries concerning “Colombian musical identity”.

In recent decades, both in Colombia and in other Latin American countries, several education projects have advocated the inclusion of local musical traditions in academia. Through these projects, we may study the motivations, discourses and paradigms of intercultural dialogue in the context of present-day academia. I examine the ways in which the proposals that implicitly or explicitly develop an intercultural perspective in music education—as an alternative to the dominant model capable of differentiating our local context and, above all, of enriching and enhancing the creative and expressive capacities of local musicians—are transforming the paradigms, discursive frames and practices of the field.

In addition, it is important to analyze the risks implicit in these approaches, particularly that of the dissolution of the political dimension of interculturality within the dynamics of the professional field and the music market. Interculturality is perhaps being assimilated uncritically, without accounting for both its potentialities and its risks; this could convert it into a positioning strategy in the cultural market, thereby foregoing its political dimension and repeating the patterns of cultural and epistemic domination that we wish to avoid.

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