This section discusses some of the key discoveries and findings emerging from the artistic research process. These artistic developments emerge from a dialogue with the core theoretical concepts of third space (Bhabha, 1990, 1994) and decolonisation (Hess, 2014; Kallio, 2019; Lee, 2023; Kertz-Welzel, 2018; Schippers, 2010; Tan, 2021; Thomson 2021; Vasconcelos, 1973), as outlined earlier. Firstly, several tangible artistic findings can be identified in terms of new discoveries and artistic outcomes that were enabled through the intertwining of theoretical concepts and artistic action.
These include:
- New approaches and playing techniques for the berimbau.
- New approaches and playing techniques for the double bass.
- New music emerging from a dialogue between instrument experimentation and intercultural collaboration.
- Expanded expressive possibilities for both berimbau and double bass.
- Newly found sounds that become idiosyncratic to the players as a result of the research process.
In terms of new approaches, techniques, and expressive possibilities of the berimbau, the concept of decolonisation is crucial here. Being able to explore the berimbau in ways that are not bound by Western notions of what the instrument should sound like or the context it should play in is a key element in Adriano’s work, as well as a crucial factor for developing the future possibilities of the berimbau. The artistic work in this research therefore takes a decolonial stance, seeking to explore and celebrate the unique idiosyncratic possibilities of the berimbau through an Afro-Brazilian lens, rather than moulding the berimbau to a Western art music context. In musical terms, a colonial perspective can be seen in ways such as the berimbau being considered more valuable and of a higher status if it plays in a Western context, or with a Western classical orchestra, for example. Again, through the artistic research process, this work seeks to break this notion and celebrate the berimbau in its own right, without the need for colonial approval or justification.
Considering the question of equity
This leads us to the importance of equity, which emerges here as a key element in the findings. During Adriano’s doctoral studies, playing the berimbau, there were times when a moment of silence would emerge. Amongst all the sound Adriano was making through the berimbau, all the new sonic possibilities, new techniques, and therefore, new ways of expressing himself through the instrument. This created a deep and long silence, a breathing moment of realisation and astonishment when Adriano asked himself why he had not thought about those sounds before. In Adriano’s words, what would have happened if I had had the opportunity to explore that sound twenty years ago? Where would I be today if the new techniques and sonic possibilities of the berimbau would have been discovered in the years I was studying my bachelor’s degree, with an institution such as I have now by his side to guide me through and support the development of the research. And most importantly, why that kind of support was not there and how this can be amended?
This situation has been created by a system which does not value all cultures in the same way. There is a process in place which will work in favour of a specific culture. It is through this lens that barriers are built around the world stopping the development of local cultures to flourish. There are huge implications when people are not given the opportunity to express themselves through their own culture, or the culture they identify themselves with. The role of equity is important in addressing these issues and balancing the unfairness that the dominant culture has actively implemented in many areas of society. We need to break down systems that have historically valued some (Western) forms of expression over others and raise and nurture marginalised voices in order for them to sit side by side all forms of musical expression.Through equity, more opportunities will arise, opening the possibilities for emerging artists to explore the potential of their own cultures, instruments, and understandings, producing a diverse and rich knowledge for the benefit of all.
A further key finding can be seen in the form of new musical discoveries found in the third space emerging from the dialogue between instruments and musicians from different cultural backgrounds, as seen in the duo explorations for berimbau and double bass. This musical third space connects back to Bhabha’s notion of the liminal space between fixed identifications (Bhabha, as cited in Rutherford, 1990). In musical terms, this space is made possible through the musical dialogue between Adewale and Thomson, only when they actively approach the collaboration from a place of openness and willingness to explore new territories and unknown, non-hierarchical spaces. This musical third space enables new musical, instrumental, and expressive possibilities that are a direct outcome of the intercultural dialogue.
Furthermore, alongside tangible musical outcomes, there are also more tacit layers of findings emerging. As Adriano states, the process of engaging with both theoretical and artistic aspects of this research has revealed new information, about himself, the berimbau, and the possible wider implications of this research. One of the most crucial discoveries is that the berimbau is not in any way a limited instrument. The instrument itself is a tool ready to be reinvented at every second of its existence, and it all depends on the type of connection the player has with the instrument, and the ways in which they can continually reinvent and reimagine the expressive possibilities.
With this in mind, the views of the performer can dramatically change the notion of how the instrument can behave and what it can do. The actual external tools such as the berimbau are an aid, however, the real deal takes place internally, which is where the negotiations and imagination of what is possible emerges. Moreover, as seen with the berimbau and double bass explorations, simplicity and using only the minimum amount of tools can actually lead to an enhanced flow of ideas and creativity.
Once again, the concept of equity must be employed here to enable these processes. By this we mean that an instrument like the berimbau has not been afforded the same space, recourses, or opportunities to develop and be valued in the way that some other (Western) instruments have. Therefore, we must create more opportunities for the berimbau to be lifted, highlighted, and valued equally. Through engaging with the concept of equity, this artistic research creates a new space and enhanced possibilities for the berimbau.