In Rio de la Plata, the soul of tango resonates through the bandoneon, an instrument of German origin that evolved into a cultural emblem of Uruguay. By 2020, its practice was declining, with only a few elderly players and three remaining luthiers. In the city of Tacuarembó, Ricardo Pereira, a visually impaired bandoneonist, overcame significant challenges to master this instrument. Starting his training at 14, Ricardo lacked access to Braille bandoneon scores, but persevered to become a celebrated musician who enriched his community with his music. His journey inspired the Cienarte Foundation to revitalize the bandoneon’s presence in Uruguay by creating a decentralized teaching programme and translating a bandoneon manual into Braille. This initiative trained 30 young musicians and luthiers across four provinces, raising awareness of the instrument’s cultural importance and promoting living heritage as a path to inclusion.
What was the need?
The viability of bandoneon practice in Uruguay was threatened for various reasons, posing a risk to tango, polka, milonga, and many other musical genres and expressions of living heritage. By 2020, only three artisans specialized in bandoneon repair (luthiers) remained, all nearing retirement. Access to the instrument was costly and difficult, with no inventory of remaining bandoneons. Fewer than 25 professional players remained nationwide, many over 60 years old, and there was a significant shortage of teachers, particularly outside the capital Montevideo.
Furthermore, the lack of adapted music scores hindered the participation of visually impaired practitioners. This was the case for Ricardo Pereira, a renowned player from Tacuarembó, who unlike sighted musicians, could not rely on sheet music, as bandoneon scores in Braille were exceedingly rare when he was a young apprentice.
‘I hope young people will get into this music, as it is the best thing for everyone. Music feeds the soul and the ear.’
Ricardo Pereira, bandoneon player from Tacuarembó
‘I had to go to Montevideo, 5 hours away from my city to study and meet with instructors. I learnt the Bandoneon from the rare music score available in Braille, but mostly by ear.’
Ricardo Pereira, bandoneon player from Tacuarembó
What approaches were implemented?
The Cienarte Foundation, in collaboration with the government of Uruguay, focused on promoting the intergenerational transmission of bandoneon practice through education. Decentralized bandoneon schools were established in different cities to serve four regions - Maldonado, Montevideo, Fray Bentos, and Tacuarembó- offering free classes in both playing the bandoneon and luthier work. The initiative intentionally encouraged the participation of young women in this traditionally male-dominated field.
To support future teaching, a total 200 copies of Raúl Jaurena’s teaching manual were distributed to public music schools across the country. Jaurena, a respected Uruguayan bandoneonist, had created a comprehensive manual that was widely regarded as essential, butit remained inaccessible to visually impaired players like Ricardo Pereira.
Recognizing the challenges faced by blind musicians, Cienarte also led the translation of Raúl Jaurena’s bandoneón manual into Braille. The adaptation initiative was also an opportunity for promoting social inclusion, as it involved a partnership with the National Institution of Rehabilitation and engaged two incarcerated transcribers who meticulously adapted the manual’s notations.
This process was supported by the International Assistance from the 2003 Convention’s Intangible Cultural Heritage Fund (2020-2023).
‘Now that the public activities of the project have concluded, I believe we can say, as a sort of assessment, that the bandoneon in Uruguay is much better off than it was three years ago. There are new pathways through which we can further understand its meaning and promote the instrument, lutherie, and its players.’
Cienarte Foundation
How did it work?
Through the decentralized bandoneon schools and increased accessibility to training and teaching methods, this initiative raised community awareness of bandoneon playing and making. Awareness-raising activities sparked youth interest in learning the instrument. In total, 32 students under the age of 35 completed the courses. The ‘Bandoneon to the School’ initiative brought concerts to 20 schools, engaging over 2,000 children and teenagers, while the ‘Bandoneon Festival’ in Montevideo brought together students and teachers from the four regions to celebrate this cultural heritage.
Furthermore, an agreement is being established with the National Education Authority and the Universidad del Trabajo to create a bandoneon lutherie course.
Gender equality was also advanced with this initiative, which resulted in a stronger presence of women in bandoneon mastery; for the first time in Uruguay, there are women luthiers.
How was the community involved?
This initiative brought together a diverse range of stakeholders, including national and local governments, musicians’ and authors’ labor unions, civil associations dedicated to the study and promotion of the bandoneon, as well as students and teachers. Ricardo Pereira, along with other bandoneonists, played an active role in the schools’ tour and the Bandoneon Festival - unique opportunities that not only showcased the talents of a visually impaired musician, but also inspired new generations to embrace and continue the tradition of playing this iconic instrument.
Contacts for sharing experience
Cienarte Fundation
18 de Julio 1730 local 10, Montevideo, Uruguay
Language for contact: Spanish
+598 95018266
secretaria@cienarte.org
To learn more
- Video about this experience