@article{01KN1NQEFVT6524GX3BM0R8SP4,
  abstract     = {{This essay takes up Lee Higgins’s suggestion that community music can function as a critical lens and uses this idea heuristically to interpret the recent rise of corridos tumbados, a trap-inflected offshoot of the Mexican corrido. The genre consolidated during the worldwide COVID-19 lockdowns, when face-to-face gathering was curtailed, a development that appears paradoxical for community music’s welfare-state, facilitator-centred, and co-present model. Drawing on Higgins’s typology of community music and critical debates about the field’s “positive bias,” we map the ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes that enable corridos tumbados’ platform-driven transnational circulation. We argue that the genre’s consolidation is best understood as an acceleration of digital affordances whose logics long predate the pandemic, rather than as an anomaly. This reframing shifts facilitation from a single host to an ecology of artists, influencers, algorithms, platforms, and low-threshold conventions, where inclusion, exclusion, and commodification are co-produced. By letting the lens of community music work both outwardly (on corridos tumbados) and inwardly (on community music), we propose a “digital turn” that equips practitioners and educators to locate their work within wider digital infrastructures and their attendant power asymmetries.}},
  author       = {{Sanchez, Alexandra and Robbe, Elisa and De Wilde, July}},
  issn         = {{1752-6299}},
  journal      = {{INTERNATIONAL JOURNAL OF COMMUNITY MUSIC}},
  language     = {{eng}},
  title        = {{A digital turn for community music? Lessons from Corridos Tumbados}},
  year         = {{2026}},
}