Through exploring the endless sonic and expressive possibilities of the Brazilian berimbau, this artistic research began by posing the question of why this instrument has not historically been valued within higher music institutions in the same way as Western instruments. This points to issues related to colonization and the need for decolonisation in institutions. The artistic work naturally led to and connected with wider discussions on decolonisation and equity in music education. Drawing on Bhabha’s framing of third space theory, we questioned the dominance of Western approaches in music education and the limited space given to marginalised voices and other forms of musical expression in institutions.
We began with the core research questions:
- What are the unique sonic possibilities of the Brazilian berimbau and how can they be utilized for artistic expression?
- What might this exploration reveal about issues related to decolonisation and equity in music and music education?
The first core question was explored through a process of artistic experimentation and improvisatory exploration of the berimbau, both as a solo instrument and within the context of a series of duos between berimbau and double bass. These explorations led to several tangible artistic outcomes in the form of new instrumental techniques, new expressive possibilities, and new music captured in both recorded and live performative formats.
Key findings include acknowledging the berimbau as an unlimited and resourceful musical instrument and the need to break down pre-conceived assumptions that the instrument is somehow limited. This also leads to a shift of mindset of the musician and how his/her/their views can profoundly change the way one relates to a musical instrument and therefore the musical outcomes, and depth of artistic expression. A tangible example of this can be seen in Adriano’s own shift of mind set during this artistic research process, from initially feeling uncertain about the possibility of being able to play a completely solo berimbau concert, to uncovering unlimited expressive possibilities within his doctoral concert, Hidden Sounds – Reconnected Identities (2023).
The duo explorations further highlighted the possibilities of the berimbau as well as providing a catalyst for exploring and expanding the expressive possibilities of the double bass. The berimbau and double bass duets allowed them to explore, exchange, and merge techniques from both instruments, leading to newly discovered sounds and musical expression. Examples can be seen and heard in the video and audio excerpts in this exposition, including the berimbau stick being utilised on the strings of the double bass, bowed berimbau notes, percussive playing on the body of both instruments, and exploration of traditionally un-played parts of the instruments, to name a few. Moreover, the duets explore intercultural dialogue and the exchanging of roles, with the double bass and berimbau in constant flux between supporting and being supported, leading, and accompanying, and striving to intertwine their sounds in such a way that traces of both can be identified, but it is no longer one or the other. These explorations further connect with Bhabha’s framing of third space (1990, 1994) whereby a new liminal musical space emerges that is not dominated by one frame of reference or instrumental approach, resulting in new hybrid forms of identity and expression (Thomson, 2021).
A further key finding of the research lies in the implications for higher music education. As mentioned earlier, through highlighting and continuing to explore the unique possibilities of an instrument like the berimbau, questions arise in terms of why this instrument and the traditions it is connected to have not been given equal space and value within higher music education. This points to issues of decolonisation and the need for institutions to continually reassess their policies through the lens of decolonisation. One of the challenges of this research is how to raise awareness of issues related to institutional structures and the dominance of the Western approaches in higher music education in ways that might actually lead to constructive dialogue and systemic change. It is hoped that this artistic research has served to highlight these issues in some way and will lead to further dialogue.
In the future, they envision a world where all forms of musical instruments and musical expression are valued equally and can sit side by side at all levels of music education. This connects back to the fundamental human need to be seen, acknowledged, and valued in our world, which is a commonality we can perhaps all relate to.