Colombia Creativa Artists’ Professionalisation Programme (PPACC - Programa de Profesionalización de Artistas Colombia Creativa): Evaluation of the organisation and musical training accomplished
Professional music education is still an emerging educational sector in some countries, as in Colombia. Within this sector, there are new, interesting initiatives that provide musical training for non-institutionalised professional groups, who would not otherwise be able to obtain academically valid...
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| Main Authors: | , , |
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| Format: | Article |
| Language: | English |
| Published: |
Universidad Internacional de La Rioja (UNIR)
2024-01-01
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| Series: | Revista Española de Pedagogía |
| Subjects: | |
| Online Access: | https://www.revistadepedagogia.org/rep/vol82/iss287/12/ |
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| Summary: | Professional music education is still an emerging educational sector in some countries, as in Colombia. Within this sector, there are new, interesting initiatives that provide musical training for non-institutionalised professional groups, who would not otherwise be able to obtain academically valid credentials, given their geographic dispersion and employment situation in the country. In this sense, an analytical study associated with this area has been conducted to explore the general functioning and achievements in musical training of the Colombia Creativa Artists’ Professionalisation Programme (PPACC - Programa de Profesionalización de Artistas Colombia Creativa), identifying weaknesses, strengths and opportunities for improvement. This programme is sponsored by the Ministry of Culture of Colombia and is one of the main ways for professional musicians who could not be trained in official centres to achieve certification of their competencies with academic validity in this country, providing them with clearly improved employability within the field of musical training. For this research, a qualitative methodology was used, by means of interviews and an emergent content analysis was conducted with the NVivo program. Among the main results, of note are the organisational difficulties encountered and the tensions and rejection of the programme by some participants. Also strengths such as the flexibility of the programme and the opportunity it provides for national musical training of groups of artists who are not institutionally professionalised. |
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| ISSN: | 0034-9461 2174-0909 |