INTRODUCTION
Perhaps a commonality shared across humanity is our fundamental need to be seen, heard, and feel valued. In the worst case, the absence of these core elements can give rise to atrocities such as cultural discrimination and racism, leading to major community and societal problems. In this regard, the world continues to face enormous challenges that are connected to issues of power imbalances and some voices being heard and valued above others (Kallio, 2019; Hess, 2014, 2018). This same phenomenon can be seen in the ways different forms of musical expression have been valued above others, with one issue being the dominance of Western approaches to music in institutions, for example (Lee, 2023; Shippers, 2010; Tan, 2021; Thomson, 2021). A case in hand is Adriano’s experience of not being able to study the Brazilian berimbau in his home university in São Paulo, but rather being offered a Western classical music degree instead, raising important questions and ethical dilemmas. Why was the berimbau not given the same level of importance within the context of higher music education? Why is one form of musical expression valued more than another? And what are the implications of this for society and the world at large?
This article examines these fundamental questions through the lens of the Brazilian berimbau. The research is underpinned by the core theoretical and conceptual framework of third space (Bhabha, 1994; Kalua, 2009) and decolonisation in music education (Kertz-Welzel, 2018; Kallio, 2019; Hess, 2014, 2015, 2018; Lee, 2023; Tan, 2021; Thomson, 2021). Musical case studies draw on examples from the solo berimbau investigations of Adriano Adewale, as well as duo explorations between Adriano Adewale on berimbau and Nathan Riki Thomson on double bass.
The research is framed by the core questions:
1. What are the unique sonic possibilities of the Brazilian berimbau and how can they be utilized for artistic expression?
2. What might this investigation reveal about issues related to decolonisation and equity in music and music education?
METHODOLOGY and RESEARCH DESIGN
Framed within the approaches of artistic research, this exposition seeks to uncover new knowledge and understandings through the integrated, mutually beneficial elements of artistic inquiry, text, and artistic outcomes (Tomlinson & Wren, 2017; Varto, 2018). The artistic framework is based around two main musical case studies:
1. Solo berimbau experiments connected to Adriano Adewale’s second doctoral concert, Hidden Sounds – Reconnected Identities
2. Duo explorations between Adewale and Thomson for berimbau and double bass, captured in the form of live recorded improvisations
Both processes draw on a range of artistic methods, including the key elements of:
· Improvisation
· Experimentation
· Instrument preparation and modification
· Creating new music and instrumental techniques
· Performance and recording
Based on these artistic research methods, both solo and duo processes involved long periods of development. In relation to Adriano’s work on solo berimbau playing leading up to the concert Hidden Sounds – Reconnected Identities, this involved a daily routine based on experiments with playing techniques and discovering new sounds on the berimbau, as well as experimenting with different approaches to composing and performing. In relation to the duo work, this process also has a longer history connected to more than 24 years of playing together as a percussionist and double bass player in diverse musical contexts, most recently focussed on duo explorations between berimbau and double bass. Furthermore, the berimbau and double bass duo has roots in Nathan’s earlier artistic doctoral process titled Resonance (Thomson 2021). Building on these foundations, this research homes in on deepening both solo berimbau playing and playing berimbau in a duo context connected to the core concepts of third space and decolonisation, which will be unpacked further in the following sections.
The artistic outcomes of the research can be seen, heard, and are analysed in the pages of this exposition. They provide opportunities to reflect on the kinds of musical and performative outcomes that are uniquely enabled and produced by artistic research. We will now proceed by introducing and positioning ourselves as the artist-researchers.