Reflecting on the Pavarotti Music Centre
This week I have been reading about arts initiatives in post-war Bosnia-Herzegovina, and about the work of the Pavarotti Music Centre [PMC] more specifically. I have a personal connection with the PMC, as I worked there as a volunteer music leader for most of 1998. Reading about Bosnia-Herzegovina in that post-war era is bringing back lots of memories for me and I find I am frequently going off into very vivid recollections of different events from the time that I was there. These recollections have also infiltrated my dreams. It is a surprisingly intense process at the moment.
It’s interesting that much that is written about the PMC focuses on the music therapy program. This was the strand of work that had funding for the longest time, and perhaps that is the reason it is (more) well-documented; however, my primary interest is in the strands of work that I was part of – the outreach work in local schools and refugee camps, and the workshops and classes that took place in the centre and were open to all local people.
(Another reason for this difference in documentation and analysis may be because music therapy is well-established as a research field, whereas the practitioners in the outreach and community programs came from a far more varied range of disciplines and academic experiences. Furthermore, scholarly writing about community music is a comparatively nascent field. These programs were in operation in the late 1990s, a time when practitioner-led writing about community music work was only just cranking into gear, and was still very localised to the UK. Let’s face it, the vast majority of community music practitioners were at that time, and still are, freelance artists, dependent on generating paid work to make a living. The time to sit down and write reflectively for scholarly publications was a luxury that most did not have).
There is criticism of the PMC that is emerging fairly quickly in my investigations. The Pavarotti Music Centre was a bold and ambitious operation, with a huge budget and a lot of very high-profile support. In 2001, news broke of a corruption and bribery scandal which forced one of the founders of War Child (the NGO behind the PMC development and programming) and another consultant to step down from their positions, and a new Board of Directors to be appointed. This quote from Haskell’s (2011) dissertation, “Aiding harmony? Culture as a tool in post-conflict Sarajevo” reflects the very damaging state of affairs:
Millions of euros were donated, through the organization War Child, and then lost or stolen. The [Pavarotti Music] center’s inability to function after such large-scale investment remains a stain on Bosnia’s donor history and tarnishes future foreign investment into the cultural realm.”
Haskell’s writing on post-war Sarajevo is hugely illuminating, and I am devouring it as fast as I can. The corruption and misappropriation of funds at the Pavarotti Music Centre is definitely an important part of the story (as are the power issues at play that enabled it to happen, and are such a dominant part of cultural regeneration in post-conflict settings), but I believe there was also a huge amount of good work that the PMC did, that made a difference to the lives of those young people taking part. There is much to examine and this is why the Pavarotti Music Centre is a definite case study for me.
Reference mentioned in this post:
Haskell, E. N. (2011). Aiding Harmony? Culture as a tool in post-conflict Sarajevo. Unpublished PhD thesis. Brown University.