This research draws on the two key underlying concepts of third space and decolonisation. We will provide a brief overview of the concepts below and the ways they relate to the research.
Third Space
In his discussions of third space theory, scholar Homi Bhabha explores the interstitial space between fixed identifications, stating that, ‘this interstitial passage between fixed identifications opens up the possibility of a cultural hybridity that entertains difference without an assumed or imposed hierarchy’ (as cited in Rutherford, 1990, p. 4 and Thomson, 2021, p.33). Bhabha’s original framing of the concept arises from postcolonial studies and explores the interplay of cultural identities, arguing that a hybrid third space emerges through the interaction of cultures, challenging and redefining norms and preconceived, stereotypical ideas of culture.
Bhabha’s notion of entertaining difference without an assumed or imposed hierarchy is a very important aspect of the concept and a seminal idea within the context of this research, in that it points to the historically problematic issue of some forms of musical expression being valued above others within the hierarchy of institutions, as mentioned earlier.Although institutions may embrace some new musical genres and approaches, others may be excluded or only given minimal space within the dominant, often Western framework, as was the case in Adriano’s earlier experience of not being able to study African-Brazilian traditions in his home institution, for example.
Bhabha further discusses the concept of third space in relation to issues of cultural diversity and multicultural education policies, stating, ‘although there is always an entertainment and encouragement of cultural diversity, there is always also a corresponding containment of it’ (p. 208, as cited in Thomson 2021, p.33). Bhabha warns of the resulting norm ‘given by the host society or dominant culture, which says that ‘these cultures are fine, but we must be able to locate them within our own grid’ (p. 208).
The importance of valuing difference is central to this discussion and in order to truly embrace this idea, we will all inevitably be continually challenged in terms of shifting our perspectives and pre-conceived ideas.
This leads us to the second key concept in this research: decolonisation.
Decolonisation
The politics of decolonisation has been widely discussed within the field of music education, with the discussion gaining more and more traction in recent years (Hess, 2014; Kallio, 2019; Kertz-Welzel, 2018; Lee, 2023; Schippers, 2010; Tan, 2021; Thomson 2021). However, creating the needed systemic change in institutions is a long and difficult process requiring ongoing activism. Although this exposition does not intend to focus on an in-depth discussion on the history and implications of colonisation and decolonisation, we seek to contribute to the discussion through acknowledging and examining our own backgrounds, experiences, and artistic practices, thereby actively contributing to the needed reimaging of decolonised futures for music and music education.
As Juliet Hess points out in their article Radical musicking towards a pedagogy of social change:
‘A radical music education then first and foremost recognises difference, positionality and degrees of privilege and works to counter structural inequities’ (Hess 2014, p.244)
Hess further states:
‘The expansion of content beyond an additive approach allows students to know musics in a multicentric manner and understand that musics have diverse orientations and epistemologies. A liberal view of expanding the curriculum may allow students to know more than one music, but a radical music education teaches students there are multiple ways to think about music – that some musics require different epistemologies and that it is possible to consider the world from more than one orientation.’ (Hess 2014, p.245)
The distinction Hess makes between a liberal view of expanding the curriculum and a radical music education is crucial to this discussion. The future of music education must embrace and promote the core aspect of considering the world from multiple orientations and pluralistic approaches to thinking about sound and music. Only when this is embedded in music education as a core element from the beginning will we start to see systemic change. Through artistic action, this research engages with this core issue and the wider concept of decolonisation. Exploring the berimbau and double bass in new ways enables us to question pre-conceived assumptions about the instruments, their roles, possibilities, and inherent value.
Moreover, the understanding of diversity being a normative expression in institutions is also crucial, moving beyond the basic idea of inclusion or exclusion. In this way, diversity and decolonisation need to be embedded as core values that all institutions, teachers, and students are committed to (Kallio, Karlsen, Marsh, Saether, Westerlund et al., p.2, 2021).
Decolonising music (education) through the lens of the Berimbau
Author one, Adriano Adewale, learnt the techniques of berimbau at the same time as learning Capoeira, which is an African Brazilian traditional martial art that includes elements of dance and music, created in Brazil as means of self-defence and to fight against slavery. Berimbau is the instrument that provides the music for Capoeira and for Adriano it felt like a great musical instrument that fascinated him. After a couple of years playing berimbau, Adriano decided to study music in a formal educational institution, where he would have the support and the infrastructure to develop his skills as a musician further.
This turned out to be an unexpected, contradictory experience, which he had not anticipated. Brazil is a large country with a rich musical culture, blending influences from Europe, Africa, the Middle East, and from the indigenous peoples. Adriano’s interest was in Afro-Brazilian Music, and he wanted to learn more about his own culture and the musical traditions he identified himself with.
However, Adriano could not find a higher education institution to study the music of his own culture, in his own country. Instead, the only musical tradition he found available was Western classical music. Adriano’s determination to study music was very strong, and regardless of the imposition of that particular musical style, he entered the university and completed the bachelor’s degree in music performance between the years of 1996-1999. It was a great period in which he experienced a new way of making music, including playing contemporary Western classical music. However, even after finishing his degree, the education system was not able to provide him with the opportunity to develop his skills as a berimbau player or as a percussionist who wanted to play any kind of Brazilian music.
Berimbau is a major instrument in Brazil. Capoeira players have fought and used capoeira as a way to conquer freedom, defeat the oppressor, and find a place in society. Berimbau is at the centre of the Capoeira’s game providing the music for the players. The berimbau’s sound and patterns have become iconic within Brazilian society, yet it does not have a place within performance studies in the formal higher music education institutions of the country. Its voice is not recognized as a voice to be heard, to be in a position of educating people. Due to racism, prejudice, and the history of colonisation, its recognition is denied and at the same time kept away from the mainstream music performance education programmes.
This situation exposes a series of problems in Brazil, but also worldwide. Why are higher music education institutions mainly teaching Western classical music and jazz? Why is traditional local music often not considered within the curriculum for music education and given the same space? Has music education become an institution with a frozen concept of what music is and how it should sound? There is a phenomenon here that reoccurs in many different countries around the colonised world. Our students and colleagues often tell similar stories where Western classical music is the dominating tradition taught in different parts of South America, Asia, and Africa, for example. Hence the Brazilian story is just one more chapter in a different time and different space. Although the situation has gradually changed since the time Adriano and Nathan were students, there is still much to do in terms of the systemic change that is needed to create a decolonised future for music and music education.
However, it should be recognised that there is now greater openness to including the study of non-Western music in higher music institutions in parts of the UK, where Adriano completed his master’s degree (SOAS) , and also in Finland, where he is currently studying a doctoral degree at Sibelius Academy, as well as active decolonial efforts by other institutions particularly in Australia, North America, and the United Kingdom (Tan, 2021). The situation in Brazil has also recently changed, with the possibility to study traditional music in few educational institutions today. However, there is still a dominance of Western classical music in music education and a long road ahead in terms of the needed systemic change.
Inspired by great percussionists such as Nana Vasconcelos, Papete, Djalma Correa, Dinho Nascimento, and Airto Moreira, to mention but a few, Adriano has also pursued a career as a percussionist and featured the berimbau in many situations. This includes collaborations, compositions, improvisations and finally this doctoral research project, where berimbau is the main tool through which he investigates the ways musicians communicate through sound.
The implications of not having your voice heard, not being able to study your own culture and not being able to recognize yourself within a particular culture forced upon you can have drastic consequences. The powers of colonialism close the doors for the traditional cultures and by a domino effect, end up creating a situation where the music scene will not value traditional music and music players in the same way. The opportunities for people specializing in traditional instruments such as the berimbau are very limited, if existing at all. It creates a vicious cycle where discrimination and prejudice are perpetuated throughout the society. There is a pre-conception that assumes only certain instruments and musical cultures are of educational value, which is a legacy of colonialism imposed by Western traditions onto several parts of the world.
In the case concerning berimbau, thanks to capoeira players, musicians and researchers, this idea is being deconstructed (Galm, 2010). One approach to this involves highlighting the berimbau as a powerful musical instrument and a tool of expression, including lifting its sonic possibilities such as harmonics, microtones, melodic and rhythmic sounds. Combining these elements provides unique opportunities to create innovative ways of music making, creating diverse sonic worlds.
Building on this work, through the conceptual lens of decolonisation, this artistic research actively uncovers, highlights, and explores and the hidden sounds of the berimbau and double bass, challenging the much-debated dilemma of Western classical aesthetics being considered as the dominant reference and perhaps even the most ‘beautiful’ sonic aesthetic, or highest form of expression in the past (Schippers, 2010). This outdated thought is perhaps slowly changing, but still has a long way to go within music and music education (see for example Kallio, 2020, Kallio et al., 2021, Hess, 2014, 2018, Lee, 2023, and Tan, 2021), starting with the need to decolonise our own minds and former training as musicians.
By uncovering new (hidden) sounds and exploring new territories on the berimbau and double bass, we are challenged to listen in new ways and value each sound equally, considering the distinctive unique beauty of every sound and sonic aesthetic. This then connects to the wider discussion about the hierarchy of sounds, sonic aesthetics, and the preconceived meanings associated with them (Tagg, 1987). Furthermore, this research challenges the notion of the berimbau being perceived of as being seemingly simple and limited and reveals the unlimited potential of the berimbau as a tool that provides the means for a high level of artistic expression and communication. Once again, this process begins with having to decolonise our own minds and approaches as musicians.