{"id":97,"date":"2021-06-17T10:59:40","date_gmt":"2021-06-17T10:59:40","guid":{"rendered":"http:\/\/blogs.exeter.ac.uk\/ceen\/?p=97"},"modified":"2025-05-01T09:49:08","modified_gmt":"2025-05-01T09:49:08","slug":"lets-talk-music-conversations-a-combined-ceen-blog-by-ursula-crickmay-and-nancy-katingima-day","status":"publish","type":"post","link":"https:\/\/sites.exeter.ac.uk\/transdisciplinaryeducationblog\/2021\/06\/17\/lets-talk-music-conversations-a-combined-ceen-blog-by-ursula-crickmay-and-nancy-katingima-day\/","title":{"rendered":"LET\u2019S TALK: Music Conversations: A combined CEEN blog by Nancy Katingima Day and Ursula Crickmay"},"content":{"rendered":"

What I appreciate about writing a blog is its flexibility, so here is a chance to be a \u2018fly on the wall\u2019 to some conversations.\u00a0 We have both been grappling with the concept of decolonisation in music and music education in our own research and have had a chance to explore more through the Music Research Network reading group.\u00a0<\/a>\u00a0 These conversations are not about answers but about the struggle and the excitement of that journey of discovery.\u00a0 As a start, it may be helpful to have a look at this clip to have an indication of some of the issues we are thinking about: \u2018Rosie Bergonzi \u2013 I\u2019m not a hashtag\u2019<\/a><\/p>\n

Ursula:<\/strong>\u00a0 I am in a process of trying to understand the concept of decolonisation at the moment.\u00a0 In particular, I am trying to understand what decolonising music education might mean, for me, for curriculum, for assessment, for research, for students I might work with.\u00a0 Learning more about this in the last year has made lots of the work I\u2019ve been involved with in the past more complex, more problematic.\u00a0 I am writing from a place of deep uncertainty, but as Nancy and I discussed what we might write for this blog, she posed a question which was about when music could be decolonising.\u00a0 I am still not quite sure what this might mean, but I have had an experience recently in my PhD research which felt like an example of working in a more equal space.<\/p>\n

Nancy:\u00a0 <\/strong>Our discussions recognised that running discourse on matters pertaining to decolonisation felt, for me at least, too ominous to engage with.\u00a0 It is hard to talk about decolonising without thinking of colonising, if nothing else, to make sure one does not fall back into the same trap.\u00a0 Many would agree that there is no justification for any kind of colonisation, overt or covert, intended or unintended.\u00a0 Unfortunately for me, the more I critically examined decolonisation (de-colonisation, de\/colonisation or any other conceptual ways one can think of), I became disturbingly cognisant of how easy it is to use any available trump card, such as \u2018I am the colonised one\u2019 and ignore how I have also \u2018colonised\u2019.\u00a0 Therefore, my explorations of undoing, dismantling, deconstructing (or whatever other verb appropriate) has been and is a realisation that decolonisation is a rather complex phenomenon and may not be as \u2018universal\u2019 as it may appear. \u00a0What it has affirmed however is how music and the creative arts are powerful tools for understanding and questioning both colonisation and decolonisation.\u00a0 The task is challenging, but not impossible.<\/p>\n

Ursula:\u00a0 <\/strong>My recent experience involves a group of young people with autistic spectrum disorders, some professional musicians and me as a researcher, making our own music together from a range of different starting points.\u00a0 The group has been working together on Zoom for the past year, since their regular in-person sessions have been disrupted by the pandemic.\u00a0 What has struck me over the past half term in which I\u2019ve been part of the group is an amazing level of acceptance of difference.\u00a0 We each (music leaders, young people, researcher) come differently to the group.\u00a0 We embody difference, we bring different instruments, different prior musical experiences and radically different levels of what would usually be considered instrumental \u2018skill\u2019.\u00a0 Our instruments include our voices and violins, cello, euphonium, drum machine, recorder, maracas, chime bars, oboe, keyboard, clarinet and flute.<\/p>\n

To reflect on the diverse sound worlds we inhabit I made a short collage as part of my research activities, bringing together some of the different music that got referenced by the group in a single session:<\/p>\n\nhttps:\/\/sites.exeter.ac.uk\/transdisciplinaryeducationblog\/wp-content\/uploads\/sites\/625\/2021\/06\/Session-3-music-mash.mp3<\/a><\/audio>\n

Zoom itself as a platform and medium of music making regularly asserts itself in the sessions: connections break, sound is delayed or sometimes builds up an echo of its own that takes 30 seconds or more to clear.\u00a0 The only option in the midst of what might be chaos is to stop and listen.\u00a0 Each sound is listened to and perhaps it is this that validates it, that welcomes it into the space which is somehow constantly flattened by the vagaries of Zoom and who or what may be heard at any one time.\u00a0 The music leaders still hold a responsibility for the space, for keeping it safe and supportive, for opening it up musically, but the group is characterised more by responsiveness than by holding in a restrictive sense.<\/p>\n

Nancy:\u00a0 <\/strong>I am similarly reminded of a time when my Dawida cousin was getting married in 2019 at the Eastern part of Kenya.\u00a0 I had the privilege of participating in the musical experience that accompanies this kind of social event.\u00a0 From a distance one could hear the women ululating at the arrival of the groom\u2019s family, but something was peculiar.\u00a0 I was certain I was hearing the Obokano<\/em><\/a>, the 8-string lyre from the Abagusii tribe found at the Western part of the country, considered one of the largest lyres in Africa (Varnum, 1971).\u00a0 It is at that point that I realised that this was in fact a \u2018mixed\u2019 marriage \u2013 East meeting West, in a manner of speaking.\u00a0 My excitement at the possibilities the music experience was going to offer puzzled my sister who was with me.\u00a0 But why should she be interested in two tribes coming together to marry when we are products of a similar kind of union?\u00a0 Encountering \u2018difference\u2019 was not a new phenomenon for us.\u00a0 However, for my Dawida relatives it was a new and novel experience which meant that it was potentially an emergent one.\u00a0 They were set to encounter their \u2018difference\u2019 in an unanticipated manner, and I was getting a front seat view of it unfolding before me.<\/p>\n

I therefore note what you mention of music leaders and their responsibility within a musical space and appreciate the lead Abagusii musician who essentially kept the entire event coherent through music, even in the face of what may have appeared as chaos.\u00a0 He facilitated various \u2018musical conversations\u2019 despite the differences between the two cultures in various ways.\u00a0 He led everyone in song as he played the Obokano, determining the pace of engagement while at the same time listening to the negotiated space.\u00a0 He played his instrument to Dawida songs and to Abagusii songs, to secular songs and religious songs.\u00a0 He created new songs, adopted old ones, extended new meanings and overlooked others that were not relevant to the music event.\u00a0 This technical competence and flexibility was fascinating to observe (though I imagine very few people were observing this master at work like I was).\u00a0 For me, he was a true example of leading everyone in dealing with \u2018difference\u2019 and it was liberating.\u00a0 Having said that, one could argue that there was some form of overt control, directorial, centralised domination by this Abagusii master musician of the musical proceedings of the day.\u00a0 Or was it?\u00a0 Was it \u2018colonial\u2019 when we all joined in ever so willingly, whether or not we knew how to?\u00a0 Is the responsibility to lead an encounter so as hold all entities coherent within necessarily \u2018colonial\u2019?<\/p>\n

Ursula:\u00a0 <\/strong>\u00a0I have also wondered about these questions, both within immediate acts of music leadership, but also in the wider context of my work \u2013 is it fundamentally a \u2018colonial\u2019 practice?\u00a0 In the past I have worked with mostly classically trained musicians in a diversity of settings in the UK.\u00a0 My own education has mostly been in Western Art Music \u2013 what is often referred to as classical music, including, for me, instrumental tuition, choral training and learning about the standard European canon of composers from Bach to Beethoven, Brahms and Bart\u1f79k.\u00a0 Noted, it\u2019s easier to run off a list of men whose name begins with B than it is to include a woman in the list, but with a bit of head scratching I might include Amy Beach and Lili Boulanger.\u00a0 It still took me a surprisingly long time to notice that all those composers had white skin.\u00a0 Why did it take so long?\u00a0 Probably because I was white and all the musicians I was working with were white \u2013 not exclusively, but predominantly.\u00a0 Thank you in particular to musician Rosie Bergonzi (see the YouTube clip above) for calling me and others out on this at a networking event last year when she reflected on the pervasiveness of an informal apprenticeship culture amongst creative music leaders which favoured a replication of the same bodies taking up their places at the front of room.\u00a0 Had we really not noticed that everyone else there was white?\u00a0 I guess we hadn\u2019t.<\/p>\n

I don\u2019t think I\u2019ve been totally oblivious to the problematics of this as I\u2019ve built partnerships with communities in, for example, Hackney, Tower Hamlets or North Westminster.\u00a0 I\u2019ve considered it as I\u2019ve thought together with musicians, colleagues and project partners about working in relational ways, about co-creativity, about the idea of \u2018access\u2019 and the positives and negatives this word might carry.\u00a0 I\u2019ve supported musicians as they feel themselves moving into their own spaces of vulnerability as they connect with different participants.\u00a0 I\u2019ve arranged collaborations between those classically trained musicians and musicians from other cultures.\u00a0 As I make this list, I am reminded of Rosabal-Coto (2019) who talks about the habit of music scholarship always looking for \u2018the good\u2019 in music learning and music socialisation, and asks whether the recent burgeoning of interest in decolonisation in music education may simply be the latest manifestation of this: how many different agendas have I tried to stick myself onto over the years while I try and find validation and resources for this work?\u00a0 Is this just the latest one?<\/p>\n

Nancy:<\/strong>\u00a0 These are difficult questions we must keep asking ourselves especially because for a large part of our professional lives as musicians or music teachers we have been responsible for musical conversations in various ways.\u00a0 But I think there is a distinction between responsibility and responsibility that dominates, though it is a fine line.\u00a0 It easily becomes apparent, often tacitly, when that line has been crossed.\u00a0 The effect is often recognisable \u2013 the weakening conversations and connections, the disruption to the rhythm of the event, the pregnant silences\u2026\u00a0 I think music making has a way of making us listen, to encounter otherness and difference (sonorous, physical or affective) and to take responsibility in different ways at different points of the engagement.\u00a0 For instance, on that joyful day we danced and sang songs we had never heard in our lives because we were led in an inviting sort of way and were willing to follow.\u00a0 I remember watching the person next to me sway in dance and I imitated.\u00a0 I could hear the responses to the unfamiliar songs fumbling through a string of syllables of words that only made sense to those who understood the language.\u00a0 We were all spectators (watching and listening to each) and participants (responding and moving with one another) at the same time more so because of the differences we were negotiating within that musical space.\u00a0 We gave, we took, and we laughed.\u00a0 We were in full flow musical conversation.<\/p>\n

Ursula:<\/strong>\u00a0 There is plenty to problematize about the PhD project I\u2019ve reflected on here through a decolonising lens, but after a year of constant uncertainty in which questions of decoloniality have layered on top of radical upheavals in all other areas of musical life, my non-critical response was simply that it was a relief to be able to join this space for a time, to be accepted in my own uncertainty, and I felt that I had joined others who were happy to be there, not quite knowing.<\/p>\n

Nancy:\u00a0 <\/strong>I think one\u2019s willingness to join in and participate is such a crucial part of being able to have conversations especially within safe spaces such as those found in the creative arts.\u00a0 It\u2019s not about how much or how well one can articulate within such a space but about being willing <\/em>to be open to the experience, to listen, recognise difference, engage with each other and allowing oneself to be transformed.\u00a0 This approach to conversation affirms our humanity.<\/p>\n

So here is our invitation to you.\u00a0 Let\u2019s talk\u2026<\/p>\n

 <\/p>\n

References<\/p>\n

Rosabal-Coto, G. (2019). The day after music education. Action, Criticism, and Theory for Music Education<\/em>, 18<\/em>(3), 1\u201324. Retrieved from http:\/\/act.maydaygroup.org\/volume-18-issue-3\/act-18-3-rosabal-coto\/<\/p>\n

Varnum, J. (1971). The Obokano of the Gusii: A Bowl Lyre of East Africa.\u00a0Ethnomusicology,<\/em>\u00a015<\/em>(2), 242-248. doi:10.2307\/850469<\/p>\n","protected":false},"excerpt":{"rendered":"

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