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Economic and Cultural Opportunity Lures Street Musicians From Argentina’s Interior and Abroad to Buenos Aires

Lucila Pellettieri, GPJ Argentina
by , , Argentina News Desk | December 12, 2013
Lucila Pellettieri, GPJ Argentina

Lucila Pellettieri, GPJ Argentina

Víctor Ávila, who has played the saxophone since he was 15, plays on a subway platform in Buenos Aires, Argentina’s capital, as a train arrives.

The city of Buenos Aires is a magnet for talented street musicians from around the world thanks to a supportive public, a decline in venues and a boom in tourism. Half of musicians there cite live concerts, including ones in the street, as their principal source of income, according to one survey. Some call for more support of music locally and abroad so musicians can perform at formal venues and in their hometowns and countries.

BUENOS AIRES, ARGENTINA – An energetic melody surges from a saxophone and bounces off the walls and tunnels of an underground subway station in Buenos Aires, Argentina’s capital.

 

On the platform, Víctor Ávila, the man responsible for the sound, sways to its rhythm. His eyes are closed in concentration. A few meters from his feet, his sax case sits open so passersby who enjoy the music can reward him with a few coins.

 

When the platform empties and the train abandons the station, Ávila leans against the wall and rests until the next train brings him a new audience.

 

“What is good about Buenos Aires is that all of the nights have activity, there is music every night, there are shows,” he says. “And we musicians have the option of ­– if we wake up one day without money – going out to play in the street or, in my case, the subway and making money for the day.”

 

People appreciate music in Buenos Aires, in sharp contrast to other cities throughout the country, like in Córdoba, the province in central Argentina where Ávila is from, he says. Street musicians in the nation’s capital install themselves in subway stations and the crowded pedestrian streets, squares and plazas of touristy areas such as the neighborhood of San Telmo and can earn money for their performances.

 

“That did not exist in Córdoba,” Ávila says. “There, I have played on the street, including on the pedestrian street, but the people there do not have the culture of here, the people here.”

 

Musicians say Buenos Aires has emerged as a mecca for street performances thanks to a supportive public that enables them to showcase their art as well as to earn a living from it.

 

Local musicians trace the phenomenon to the scarcity of formal venues after a 2004 tragedy at a nightclub led to increased government restrictions. A parallel rise in tourism in recent years has also expanded audiences for these performances in the city’s vibrant streets.

 

As the streets have become a ripe stage, musicians from other provinces, countries and continents have flocked to Buenos Aires. Here, they say people appreciate street music more and even pay them for their tunes.

 

María Claudia Lamacchia, author of a book on Argentina’s independent music scene, says many independent musicians – that is, those who are not employed by an orchestra or similar entity – struggle to find venues in which to play. For them, playing live in bars or in the streets is an indispensable source of income.

 

While Lamacchia researched her book in 2008 and 2009, she interviewed 300 musicians in Buenos Aires. Just more than half of the musicians cited the scarcity of formal venues – such as theaters and venues – in which to play and the difficulty of making themselves known to the public – by recording professionally, for example – as major obstacles to their professional development. Half the musicians said live concerts, including those in the street, constituted their principal income source.

 



Saxophonist Alejandro Cabrera Britos attributes the scarcity of formal venues in Buenos Aires to an historic tragedy that struck the city in 2004, when a nightclub fire killed nearly 200 people who were attending a rock concert by an Argentine band. The incident had a major impact on various aspects of public life, including music. As the city government enforced tighter regulations, venues closed or had to raise their booking fees.

 

While this forced talented musicians to relocate their performances to the street, a boom in tourism in recent years has expanded their audiences, Cabrera Britos says.

 

The number of international tourists who visited Buenos Aires increased by 62 percent from 2004 to 2012, according to the city government.

 

Ávila, who is in his 40s, began studying music at age 8. He lived most of his life in Córdoba, but he struggled to support himself there. Determined to make a living from music, he moved to Buenos Aires in January 2013.

 

“In Córdoba, if you do not find a job in a municipal orchestra, do not try to live off music because it is impossible,” he says.

 

Street music does not exist in Córdoba, and there are far fewer places such as bars and theaters where independent musicians can play, Ávila says.

 

“The street artist is poorly seen in Córdoba,” he says. “They take him as a beggar.”

 

On train platforms and in subway cars in Buenos Aires, on the other hand, Ávila plays famous melodies from a range of genres. He also plays in a big band, two salsa bands and a wind ensemble in jazz clubs, bars and private parties.

 

Still, he earns most of his living playing in the subway for passengers, he says.

 

“If they like how you play, they leave you a coin,” he says.

 

Playing there also helps him to get other gigs, he says. Passengers have hired him to play at parties or to give them saxophone lessons.

 

Agustín Martínez, a regular subway rider, says that he enjoys hearing live music on the platforms and in the streets.

 

“I love when a musician gets on the car in which I am riding or plays near the restaurant in which I am eating,” he says. “They are things that even may brighten my day.”

 

Cabrera Britos does not live off the money he earns from weekend street performances in San Telmo with a reggae band called Jamaicaderos, he says. But he prefers the street to any other stage. He believes his work serves a social good.

 

“When someone tells us that we changed their day, or when people who do not know each other dance and share a moment, or when a homeless person has a good time, it is more gratifying than if they buy a CD from us,” says Cabrera Britos, whose band hawks its self-made CD during its San Telmo performances. “That is the magic of the street.”

 

Cabrera Britos credits a lot of that magic to Buenos Aires’ culture and the support of street music by locals and the rising number of tourists.

 

“A very visible and important characteristic of Buenos Aires is the idiosyncrasy of the people – of both locals and tourists,” he says. “The sympathy from the public for the street musician is big. There is a very important emotional support toward the street musician. The people approach us and thank us. They tell us they enjoy seeing artists in the street.”

 

The restrictions on formal venues following the nightclub tragedy pushed many musicians to perform in the street, so the ones who play are talented, Cabrera Britos says.

 

“The musicians who are in the street are not artistic surplus,” he says. “The street is a captivating stage that seduces all the time. Everything is very spontaneous, and it is that improvisation and constant change that makes it be a one-of-a-kind place to play.”

 

The flourishing culture of street music in the city has seduced foreign musicians from around the world, he says.

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