Introduction

As a professional musician and musicologist fascinated by Japan, I am excited to present my first artistic research exposition in The Research Catalogue. This exposition is a reflection of my explorations of Orientalism and Occidentalism within the realm of Japanese (inspired) flute musics. In this interdisciplinary exploration, I aim to shed light on the complexities of cultural representation, challenge preconceived notions, and foster a more nuanced understanding of cross-cultural musical encounters. Furthermore, as an artist on the autism spectrum, I will delve into the connections between this research and the realm of autistic art, exploring the potential synergies and unique perspectives that can be harnessed.

Orientalism and Occidentalism are two interrelated concepts that have shaped cultural and artistic discourses for centuries. Orientalism, as defined by Edward Said, refers to the construction of the “Orient” as a binary opposite to the Western “Occident,” often involving exoticization, stereotypes, and power dynamics. ^[1] Conversely, Occidentalism entails the perception and representation of the Western world by non-Western cultures. ^[2] These frameworks have profound implications for music performance practices, where the interplay between cultures can be both inspiring and problematic.

Artistic research in music provides a fertile ground to explore the impact of Orientalism and Occidentalism on cultural representation. By engaging in comparative analysis and drawing upon diverse musical traditions, including those influenced by Japanese culture, this exposition delves into the power dynamics, stereotypes, and misappropriations that can arise when navigating cross-cultural musical encounters. It seeks to unravel the intricacies of musical representation, urging us to challenge simplistic narratives and embrace a more nuanced approach that celebrates diversity and fosters cross-cultural understanding.

Moreover, this exposition recognizes the intersectionality between artistic research and autistic artistry. Autism, characterised by unique sensory perceptions and ways of processing information, influences artistic expression in profound and often overlooked ways. Therefore, within the critical reflection component of this research, I will delve into the connections between Orientalism, Occidentalism, and the autistic experience. By engaging in introspection and exploring the impact of autism on my own artistic practice, I aim to contribute to the broader discourse surrounding the multifaceted nature of artistic research and the potential for cross-pollination between autistic and cross-cultural perspectives. ^[3]

In conclusion, this exposition endeavours to bridge the realms of Orientalism, Occidentalism, and autistic artistry within the context of artistic research in music. By critically examining the pitfalls of cultural misrepresentation, we aspire to foster a more inclusive and respectful musical landscape that recognizes the significance of challenging preconceived notions and embracing nuanced cross-cultural understanding. Through this interdisciplinary exploration, I hope to broaden the horizons of both artistic research and the broader discourse on autism and art, fostering critical dialogue and appreciation for the diversity of artistic expression.

Six-year-old Imre took this picture during a performance of Japanese flute musics at the Dutch festival “Gluren op de Heuvelrug” (2022).

Theoretical Background

Music, as a universal language, has long been a vehicle for cultural exchange and artistic expression. However, the phenomena of Orientalism and Occidentalism have played significant roles in shaping the narratives and power dynamics within music performance practices. In this artistic research, drawing upon the lenses of critical theory and post-colonial studies, we will explore the relevance of Orientalism and Occidentalism to music performance practices, unveiling their impact on cultural representation and the dynamics of cross-cultural encounters. Orientalist narratives in music performance often result in the exoticization and commodification of non-Western musical traditions. ^[4] This can lead to the reinforcement of stereotypes, such as portraying Asian cultures as mystic or African cultures as primitive, limiting the nuanced understanding and appreciation of diverse musical expressions. Occidentalism challenges Western dominance in music performance and seeks to reclaim agency and cultural identity. However, it can also perpetuate essentialist views of the West, overlooking its internal diversity and complexity.

Music performance practices provide a platform for cross-cultural collaborations, but there is a fine line between respectful collaboration and cultural appropriation. Artists must navigate this boundary by engaging in open dialogues, recognizing power dynamics, and obtaining informed consent from the communities they draw inspiration from. Misappropriation occurs when elements of a culture are taken out of context or used for personal gain without understanding their cultural significance. This can lead to the commodification of cultural symbols, erasure of histories, and economic exploitation of marginalised communities. Music performance practitioners must engage with humility, respect, and an ongoing commitment to learning about the cultures they engage with. This entails studying the historical, social, and cultural contexts of the music they perform and cultivating relationships of trust and reciprocity with the communities involved. Fostering meaningful cross-cultural musical encounters requires collaborative approaches that prioritise the voices and agency of the communities being represented. Dialogical engagements that value cultural exchange and mutual learning can help transcend Orientalist and Occidentalist frameworks.

Orientalism and Occidentalism perpetuate binary thinking, dividing the world into fixed categories. By deconstructing these binaries, we can embrace a more fluid and inclusive understanding of music performance, celebrating its hybrid nature and blurring the lines between cultural influences. Recognizing the fluidity of cultures and the transformative potential of music, artists can create spaces for cultural fusion and hybrid forms that challenge the Orientalist and Occidentalist frameworks which have deeply influenced music performance practices, re-shaping cultural representation and power dynamics. By critically examining these phenomena through the lenses of critical theory and post-colonial studies, we can foster a more nuanced understanding of cross-cultural encounters in music. Through ethical engagement, collaborative approaches, and an embrace of hybridity, we can transcend Orientalist and Occidentalist frameworks, promoting a more inclusive and respectful musical landscape that celebrates the diversity of cultural expressions and fosters cross-cultural understanding.

Drawing upon Homi Bhabha’s concept of the Third Culture, which explores the liminal space between cultures, we can further expand our understanding of music performance practices. Bhabha argues that this Third Culture emerges in the interstices of dominant cultural categories, offering a site for creative negotiation and the production of new meanings. ^[5] In the context of music, this concept encourages us to view cultural influences not as separate and static entities, but as constantly evolving and overlapping. Additionally, the work of scholars like Henry Jenkins on fan cultures and remix practices provides valuable insights into the transformative potential of collage and mashup in music performance. Fans engage in remixing and reinterpreting music, blurring the boundaries between original and derivative works, and giving rise to innovative forms of expression. Similarly, artists can draw inspiration from diverse cultural sources, weaving together different musical traditions and creating hybrid forms that challenge the fixed categories of Orientalism and Occidentalism. By embracing the fluidity and malleability of cultures, musicians can create spaces for cultural fusion, collage, and mashup. Through these processes, they not only challenge Orientalist and Occidentalist frameworks but also celebrate the dynamic and ever-evolving nature of music. This approach allows for the emergence of innovative and inclusive musical expressions that transcend binary divisions, inviting audiences to engage with music as a multifaceted and transformative experience.

Musical Stereotypes

Is it even possible to play/improvise/compose “Japanese (inspired) musics” if you are not from Japan yourself? In my search for “Japanese” music, I came across many musical stereotypes that my fellow musicologist Vahid Eftekhar Hosseini aptly described as “travel-agency level snapshots of deep realities” (private correspondence, June 2023). It is important to critically examine these musical stereotypes and recognize their potential to perpetuate cultural biases, misrepresentations, and power imbalances. By challenging these frameworks and engaging in respectful dialogue and collaboration, we can foster a more inclusive and nuanced understanding of diverse musical traditions, promoting equity, cultural sensitivity, and mutual respect in musical discourse.

The following orientalist tropes (stereotypes) are undoubtedly reductive:

• Portraying Asian Cultures as Mystic. The use of pentatonic scales and stereotypical melodic patterns to evoke a sense of “Eastern mysticism” in film scores or popular music. Depicting Asian cultures solely through the lens of traditional instruments such as the erhu, shamisen, or sitar, without acknowledging the diversity of contemporary musical expressions in these cultures.

• Representing African Cultures as Primitive. Utilising repetitive drum patterns and simplistic rhythmic motifs to create a reductionist representation of African music, disregarding the vast complexity and variety of African musical traditions. Incorporating stereotypical vocalisations or imitations of tribal chants without context or understanding of the rich cultural and historical significance behind these vocal techniques.

• Exoticizing Middle Eastern Cultures. Using clichéd melodic phrases, such as the “Middle Eastern scale” or “Arabian nights” motifs, to create an exotic atmosphere in music without considering the diverse range of musical practices and genres within Middle Eastern cultures. Employing instruments like the oud or darbuka solely to evoke an exotic or “mysterious” ambiance, overlooking the contemporary musical landscape of the region.

• Romanticising Indigenous Cultures. Presenting indigenous music primarily as a source of “pristine nature” or “ethereal spirituality,” reinforcing the notion of indigenous cultures as timeless and disconnected from modernity. Incorporating stylized imitations of indigenous vocal techniques or utilising traditional instruments without adequate acknowledgment of their cultural significance and the rights of indigenous communities.

By examining some examples from the categories above, I gained some insight into the ways in which perpetuation of Orientalist and Occidentalist frameworks within the realm of music has influenced and reinforced musical stereotypes:

• Exoticism: One prevalent stereotype is the exoticization of non-Western musical traditions. Non-Western cultures are often portrayed as mysterious, primitive, or uncivilized, with their music viewed as exotic curiosities rather than complex artistic expressions. This stereotype reinforces a sense of otherness and perpetuates a hierarchical view of musical traditions.

• Simplification of Musical Traditions: Another stereotype is the tendency to simplify and homogenize diverse musical traditions. Non-Western music is sometimes portrayed as monolithic, failing to recognize the rich variety of styles, genres, and regional variations within these traditions. This oversimplification erases the complexity and diversity inherent in non-Western musical practices.

• Appropriation and Misrepresentation: Orientalist and Occidentalist frameworks have also facilitated cultural appropriation and misrepresentation. Western musicians and composers have at times borrowed elements from non-Western musical traditions without proper understanding or respect, distorting the original cultural context and perpetuating stereotypes. This appropriation can reinforce power imbalances and disregard the nuanced meanings and social significance embedded in the music.

• Romanticization: The romanticization of certain musical traditions is another common stereotype. This occurs when specific elements or aspects of a culture’s music are selectively emphasized, often for commercial or artistic purposes, while neglecting the broader cultural context and the lived experiences of the people behind the music. Romanticizing certain traditions can reinforce stereotypes and overlook the complexities and challenges faced by those cultures.

• Stereotypical Instrumentation and Tonalities: Stereotypical associations of specific instruments or tonalities with particular cultures have also contributed to Orientalist and Occidentalist frameworks. For example, the association of the sitar with Indian music or the pentatonic scale with Chinese music can oversimplify and limit the understanding of these musical traditions, overlooking their vast range and intricate nuances.

Representations of difference can be complex and contradictory. Some examples that balance on the thin line between cultural appropriation and cultural appreciation are Puccini’s opera Madame Butterfly, Rimsky-Korsakov’s Sheherazade and George Perlman’s Indian Concerto:

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It is crucial to approach these examples with critical awareness and sensitivity, acknowledging the complexities and richness of the musical traditions they may draw from. By challenging and subverting these stereotypes, musicians can contribute to a more nuanced and respectful portrayal of diverse cultures in their artistic expressions.

Literature Review

To comprehensively investigate the history of Japanese flute music, a thorough literature review was conducted, encompassing a range of musicological research sources. This review sought to delve into the intricate nuances of historical and traditional Japanese flute instruments, their associated musical practices, and the evolution of Japanese flute musics within the broader context of “Western” classical music.

The literature review focused on examining scholarly works that provided insights into the origins, development, and cultural significance of various Japanese flute instruments. This exploration encompassed a diverse array of traditional flutes, such as the shakuhachi, shinobue and fue, among others. By exploring the historical trajectory of these instruments, including their construction, playing techniques, and musical repertoire, a deeper understanding of the distinct musical traditions and performance practices rooted in Japan was achieved. Furthermore, the literature review aimed to investigate the presence and influence of Japanese musical aesthetics and styles within “Western” classical music. This exploration aimed to identify examples of composers who were inspired by Japanese musical elements and integrated them into their compositions. By examining these instances, such as the incorporation of pentatonic scales or the imitation of specific timbral characteristics, a broader perspective on the cross-cultural exchange and the adaptation of Japanese musical motifs within the “Western” classical tradition was attained.

In examining the literature surrounding Japanese (inspired) flute musics, I gained valuable insights into the historical, cultural, and artistic dimensions of these instruments. The exploration of their origins, roles, and evolution provides a foundation for understanding the significant contributions they have made to the musical landscape of Japan. Moreover, this review offers a platform for appreciating the ongoing resonance of Japanese flute music, affirming its enduring relevance in contemporary musical discourse and fostering a deeper appreciation for the intricate interplay between tradition and innovation within this vibrant musical tradition.

Shakuhachi, Shinobue and Fue - three traditional Japanese flutes

The shakuhachi, initially employed as a meditative tool by Zen Buddhist monks, underwent a transformative journey to become a solo instrument featured in various genres of Japanese music. Its historical development can be traced back to ancient times, with its origins intimately connected to the spiritual practices of Zen Buddhism. Over time, the shakuhachi evolved into a versatile instrument, finding its place in a wide range of musical contexts.

The shakuhachi is a bamboo flute traditionally crafted from a single piece of bamboo. It typically measures approximately 54.5 centimetres in length and features five finger holes and a mouthpiece. ^[6] The shakuhachi is played by blowing air into the mouthpiece and controlling the pitch by adjusting finger placement and embouchure. Techniques include meri, Kari, and vibrato ^[7]. Historically associated with Zen Buddhism, the shakuhachi was used by wandering komusō monks as a spiritual tool and musical instrument. It has also become popular in contemporary Japanese music genres. ^[8]

The shinobue is a transverse flute made from bamboo, wood, or plastic. It comes in various sizes and is typically six-holed The shinobue is played by blowing across the embouchure hole while covering and uncovering the finger holes to produce different pitches. It is often used in ensembles and festivals. The shinobue is associated with traditional Japanese folk music and is frequently played in matsuri (festivals) and theatrical performances. ^[9]

In the 8th century, the introduction of Chinese culture to Japan brought forth the fue, a transverse flute, which became instrumental in the development of classical Japanese flute music. This genre, known as “gagaku,” assumed a central role in the imperial court music, reflecting the cultural and aesthetic preferences of the time. ^[10] The fue, with its distinct timbre and expressive capabilities, contributed to the rich tapestry of musical traditions within the Japanese courtly context. Beyond the courtly sphere, traditional Japanese flutes have also permeated various other forms of cultural expression. They have found their place in folk music, where regional styles and local traditions have embraced their unique characteristics. Moreover, Japanese theatre traditions such as Noh and Kabuki have incorporated the flute’s evocative soundscape, enhancing dramatic performances and heightening emotional impact. ^[11]

The fue is a transverse flute made from bamboo or wood. It typically has eight finger holes and a sharp, piercing sound. ^[12] Similar to the shinobue, the fue is played by blowing across the embouchure hole and controlling the pitch by opening and closing the finger holes. It is commonly used in traditional Japanese music and kabuki theater. ^[13] As for the fue’s cultural context, it has a long history in traditional Japanese music, particularly in the genres of gagaku (court music) and Noh theater. ^[14]

Classical Japanese Flute Music

The development of classical Japanese flute music, particularly the honkyoku repertoire for shakuhachi, has been deeply influenced by Zen Buddhism, cultural traditions, and historical factors. ^[15] The integration of Zen aesthetics, such as simplicity and emptiness, has shaped the meditative nature of honkyoku compositions. The rise of the Komusō monks during the Edo period and their support from the shogunate have contributed to the preservation and transmission of the honkyoku tradition.

In modern times, classical Japanese flute music continues to thrive and evolve. Musicians are expanding their repertoire by composing new pieces while maintaining the essence of the tradition. Cross-cultural collaborations and fusion genres have also expanded the reach of classical Japanese flute music beyond Japan. This rich musical heritage, with its captivating melodies and profound spiritual depth, ensures its enduring significance and appreciation among audiences worldwide. The development and evolution of classical Japanese flute music serve as a testament to the enduring influence of Zen Buddhism and the preservation of Japan’s cultural legacy. ^[16]

Japanese Inspired Flute Musics

Throughout history, Japanese-inspired flute music has exhibited a dynamic nature, accommodating influences from external cultures while preserving its core essence. This adaptive quality has allowed for the fusion of diverse musical elements, enabling the evolution and continued relevance of Japanese flute music in contemporary contexts. By embracing both traditional practices and innovative approaches, these flutes serve as vehicles for artistic expression, enriching the cultural tapestry of Japan and facilitating connections between present-day audiences and the country’s profound musical heritage.

Japanese-inspired flute music combines traditional Japanese musical elements with Western classical or contemporary styles, resulting in a unique fusion. Japanese-inspired flute music is a captivating fusion of traditional Japanese elements and Western classical or contemporary styles. It incorporates pentatonic scales and the concept of “ma” or silence, creating a distinctly Japanese flavor and adding depth to the music. The flute’s ethereal timbre and extended techniques evoke natural sounds, and composers draw inspiration from nature and spirituality. Japanese-inspired flute music encompasses various styles and eras, allowing for exploration and experimentation. It celebrates the flute’s versatility, captures the essence of Japanese culture, and offers a captivating musical experience that merges Japanese and Western traditions. ^[17] Intercultural exchange and collaborations between Japanese flute musicians and artists from diverse backgrounds transcend boundaries and celebrate global artistic traditions. These collaborations foster mutual learning, innovation, and the creation of music that surpasses individual styles. By challenging artistic norms and encouraging experimentation, musicians expand their creativity and contribute to the evolution of musical expression worldwide. ^[18]

“Courte Piece pour Shinobue” by Simon Alami is an example of a modern classical piece inspired by classical Japanese traditions.

These collaborations have a profound impact on audiences, offering a transcultural journey that showcases the beauty of diverse traditions merging into a harmonious whole. Through music, listeners experience the interconnectedness of human expression and the universality of emotions. Beyond art, these collaborations promote respect, empathy, and unity, breaking down barriers and challenging stereotypes to foster a more inclusive and interconnected world. ^[19] As such, musical cross-overs serve as a testament to the transformative power of art, highlighting the extraordinary outcomes when artists from different cultures come together in a spirit of openness and collaboration. They remind us of the collective beauty in our cultural tapestry and pave the way for a future that celebrates and embraces cultural diversity, where artistic expression acts as a bridge that connects us all.

My Dō (“way”)

My journey into the world of Japanese flute music began during the COVID lockdown when I initiated Japan Fans, a platform that fosters friendship and inspiration based on a common interest in Japanese culture. In the Japan Fans group on Facebook, someone shared a video featuring budo (Japanese martial art) practice, accompanied by beautiful Japanese flute music. This captivating experience ignited a deep desire within me to explore Japanese flute music myself.

At first, I approached the music solely by ear, akin to the concept of “mitori keiko” in budo, where I listened extensively, acquired LPs, and learned to play by imitation. I delved into improvisations, honing my skills through online resources like YouTube. I also altered some of my thrifted fipple flutes and tin whistles, to make them sound more “Japanese”. ^[20] As my journey progressed, I ventured into reading and transcribing Japanese sheet music, deciphering musical notation from images found online. I also learned ornamentation techniques and other nuances through online platforms. An example of my ornamentation is this Renbo Nagashi (left is the “clean” sheet music, right the sheet with my ornaments).

In addition to traditional Japanese flute music, I sought out classical compositions by Japanese composers, and dedicated myself to studying and performing them.

Next to these classical and traditional pieces, I also looked up Japanese folk songs and children’s songs to play, such as Takeda and Akatonbo:

I began sharing my musical explorations through virtual concerts, initially for friends and later extending to audiences in nursing homes, care facilities, and hospitals. As the lockdown restrictions eased, I received invitations for my first live performances, including notable venues such as the Neude in Utrecht as part of the Manga & Japanese Culture Week organised by the Utrecht library, and the Camera Japan Festival in Rotterdam. Various newspapers reported on these concerts.

With invaluable feedback from visitors, particularly from Japanese attendees, I continued to progress on my musical path. Encouraged by these experiences, I made the decision in 2023 to formalise this artistic exploration, transforming it into an academic research project for RUUKKU. To enrich the artistic research, I devised a plan that incorporated three key steps:

• Firstly, I implemented a pre-concert online survey for each performance. This survey aimed to gauge the audience’s expectations, interests, and familiarity with Japanese flute music. By gathering these insights, I could tailor the performances to align with the audience’s preferences and ensure a more engaging experience.
• Secondly, instead of incorporating live polls or audience participation segments during the concerts, I introduced a live Q&A session immediately following each performance. This interactive session provided a platform for attendees to directly engage with me, ask questions, and share their thoughts and experiences. It fostered a sense of connection and facilitated a meaningful exchange of ideas.
• Lastly, to capture the audience’s post-concert impressions and gather valuable feedback, I invited them to participate in a post-concert online survey. This survey served as an opportunity for attendees to reflect on their experience, highlight memorable moments, and provide suggestions for improvement. By implementing these three steps, I aimed to create a dynamic feedback loop that enriched the research process and facilitated a deeper understanding of the audience’s perspective.

This artistic research endeavour aims to critically examine and document my journey into Japanese flute music, encompassing my initial intuitive approach, my study of traditional and contemporary compositions, and my experiences performing for diverse audiences. By embracing feedback and engaging in meaningful dialogue, I seek to deepen my understanding of Japanese flute music and further develop my artistic practice. Through this artistic research project, I hope to contribute to the wider discourse on cross-cultural musical encounters, challenging preconceived notions, and fostering a more nuanced understanding of Japanese flute music as a dynamic and evolving art form.

In collaboration with Japan Fans, I planned three interactive concerts as part of the project. The first concert took place in the library of Utrecht, providing a cosy and intimate setting for attendees to engage with the performance. The second concert was held in the iconic Domkerk of Utrecht, allowing us to leverage the grandeur and acoustics of the venue to captivate the audience. Lastly, we also planned a virtual concert that will provide a unique opportunity for remote attendees to participate and engage with the performances.

Wabi sabi, mono no aware, ma, and the In-Between

In this artistic research project, the utilisation of original compositions and sonic installations inspired by the principles of wabi sabi, mono no aware, and ma plays a central role. These concepts from Japanese aesthetics provide a framework for exploring the nuanced relationship between artistic research, cultural heritage, and personal interpretation in the realm of Japanese (inspired) flute musics.

Wabi sabi represents a philosophy of finding beauty in imperfection and transience. Drawing inspiration from this concept, the original compositions created for this project embrace the raw and organic qualities of the flute’s sound. They embody simplicity, understatement, and a sense of naturalness, allowing for a deeper connection with the inherent beauty found in the imperfections and fleeting moments of music. An example of wabi sabi can be found in the footsteps that were accidentally recorded, and kept within the final edit of the soundscape that I composed for the Dutch artist and Japanologist Philo Ouweleen.

Another example of wabi-sabi are my musics incorporating enviromental sounds, such as the sound from this water full of koi carps and the people talking and laughing in the background.

Mono no aware, often translated as “the pathos of things,” refers to the bittersweet awareness of the impermanence and ephemeral nature of life. Through sonic installations, this concept is translated into immersive experiences that evoke a sense of nostalgia, sensitivity, and appreciation for the transient nature of sound. The sonic installations provide an opportunity for the audience to reflect on the evocative power of music and its ability to evoke emotions and memories. An example of this awareness of impermanence is the music I made at the ‘hanami’ event, at which we admired the ‘sakura’ (cherry blossoms) when it was still there.

Ma, meaning “the space between,” represents the concept of negative space and the importance of silence and pause in artistic expression. In the compositions and installations, the strategic use of silence, breath, and pauses creates a sense of balance, allowing the music to breathe and the audience to fully absorb and contemplate the sonic experience. Ma highlights the significance of the intervals between sounds, fostering a deeper appreciation for the subtle nuances and dynamics within the musical performance. Examples of ma can be found in traditional Japanese musics like “Hakata Bushi” and “Echûohara Bushi”.

By incorporating these principles into original compositions and sonic installations, this artistic research project aims to evoke a contemplative and transformative experience for both the performer and the audience. It invites listeners to embrace the beauty of imperfection, embrace the ephemeral nature of music, and explore the profound impact of silence and space. Through these artistic expressions inspired by wabi sabi, mono no aware, and ma, the project seeks to create a space for reflection, emotional resonance, and a deeper engagement with the complexities of musical representation and interpretation.

Exploring the interplay

The sonic explorations undertaken in this artistic research project serve as a powerful means of reflecting upon the intricate relationship between artistic research, cultural heritage, and personal interpretation within the context of Japanese flute music. These explorations provide a platform for delving into the complexities of cultural representation and the multifaceted nature of cross-cultural encounters.

By drawing inspiration from traditional Japanese aesthetics, such as wabi sabi, mono no aware, and ma, the sonic compositions and installations become vehicles for exploring the nuances and subtleties of cultural heritage. They offer a space to engage with the interplay between tradition and innovation, authenticity and personal expression. Through these sonic explorations, the researcher grapples with questions of how to respectfully and ethically navigate the cultural landscape of Japanese flute music while incorporating their own artistic interpretation.

Furthermore, the sonic explorations prompt a critical examination of the researcher’s own artistic practice and potential biases. By delving into the complexities of cultural representation, the researcher actively questions preconceived notions and challenges Orientalist and Occidentalist frameworks that may influence interpretations of Japanese flute music. Through self-reflection and introspection, they strive to foster a more nuanced understanding of their own positionality as an artist and researcher engaging with cultural heritage.

In addition, these sonic explorations encourage a dialogue between the researcher and the audience, inviting them to participate in the process of meaning-making. The compositions and installations evoke emotional responses, memories, and personal interpretations, allowing for a shared experience that transcends cultural boundaries. This interplay between personal interpretation and collective engagement highlights the transformative power of music as a medium for cross-cultural understanding and connection.

Ultimately, these sonic explorations function as a catalyst for critical reflection and dialogue. They invite artists, researchers, and audiences to reconsider and challenge their assumptions, biases, and preconceived notions. By creating sonic landscapes that navigate the complexities of cultural heritage and personal interpretation, this artistic research project strives to foster a more inclusive and respectful approach to cross-cultural musical encounters, contributing to a broader understanding of the transformative potential of music in shaping our perceptions of cultural identity and heritage.

The In-Between

In seeking my place “In Between,” I embarked on a quest to explore the concept of the Third Space by traversing both traditional and contemporary musical territories. This exploration involved performing modern Western compositions on the shakuhachi, a traditional Japanese flute, as well as traditional shakuhachi music on modern flutes, such as the recorder and tin whistle. In terms of instrumentation, I sought a middle ground, as the shakuhachi, shinobue, and fue are traditionally played as transverse flutes (similar to blowing into a bottle), whereas I also played the shakuhachi with a special mouth piece, transforming it into a fipple flute, allowing me to play it as if it were a recorder.

First practice with the mouth piece.

By engaging in these intercultural musical encounters, I aimed to challenge conventional notions of cultural authenticity and explore the possibilities of hybrid musical expressions. This experimental approach allowed me to navigate the boundaries between different musical traditions, blurring the lines between East and West, traditional and contemporary. By embracing the interplay between traditional Japanese aesthetics and Western musical influences, I sought to create a musical language that resonated with both cultural backgrounds while forging a unique artistic identity in the process.

This exploration of interplay not only expanded my artistic repertoire but also prompted deep self-reflection on the complexities of cultural representation and the potential for unintended biases. By straddling multiple musical worlds, I confronted the challenges of balancing authenticity, personal interpretation, and cultural sensitivity. Through careful consideration and self-awareness, I aimed to navigate the nuances of cultural appropriation and misinterpretation, striving to create meaningful and respectful musical dialogues.

Moreover, this interplay between different musical traditions and instruments invited the audience to engage in a dialogue of their own. By presenting diverse sonic expressions, I aimed to elicit emotional responses, spark curiosity, and invite personal interpretations. The interplay between tradition and innovation, as well as the fusion of various cultural elements, offered a platform for the audience to reflect upon their own cultural perspectives and explore the transformative power of music in fostering cross-cultural understanding and connection.

In conclusion, the exploration of interplay in this artistic research project embraces the dynamic nature of cultural encounters and challenges Orientalist and Occidentalist frameworks. By navigating the complexities of cultural heritage and personal interpretation, this research strives to foster a more inclusive and nuanced approach to cross-cultural musical engagements. It is my hope that through these sonic explorations, a more diverse and understanding musical landscape can be cultivated, where cultural boundaries are transcended, and meaningful conversations about representation, exchange, and transformation can flourish.

Critical Reflection

The artist’s greatest adversary is often their own self, plagued by fears of failure, judgment, and rejection. The burden of seeking external validation, adapting to please others, and compromising one’s own essence can overshadow the creative process. Through cultivating a tranquil and unwavering mindset, I attain a heightened awareness of my individuality, my character, and my role as an artist. (“On My Way”, 2018)

In embarking on this artistic research journey, I feel compelled to engage in ‘autiethnography’ to critically reflect on my own practice as a composer and performer of Japanese-inspired flute music. It is crucial to acknowledge the potential biases, blind spots, and unintended consequences that may arise when navigating the cultural landscapes within which I am immersed.

As an artist delving into the realm of cross-cultural musical encounters, I am acutely aware of the pervasive influence of Orientalism and Occidentalism. These frameworks have long shaped Western perceptions of non-Western cultures, often reducing them to exotic or stereotypical portrayals. Recognizing the pitfalls of these frameworks, I strive to approach my artistic practice with a heightened sensitivity and a commitment to challenging preconceived notions.

However, I must acknowledge that despite my best intentions, I am not immune to the influence of my own cultural background and conditioning. It is important for me to continually question and reassess the ways in which my artistic choices may be inadvertently influenced by unconscious biases or preconceived ideas. This necessitates an ongoing process of self-reflection and education, actively seeking to learn from diverse perspectives and engaging in meaningful dialogue with artists and scholars from different cultural backgrounds.

Ethical and social awareness are paramount in artistic research. I recognize the responsibility that comes with engaging with cultural heritage and the potential impact that my work may have on communities and individuals. It is imperative to approach cross-cultural collaborations and interpretations with respect, humility, and a willingness to listen and learn. I strive to foster an environment of open dialogue and mutual understanding, acknowledging the complexities and nuances inherent in cultural representation.

Throughout my artistic research, I have had the privilege of engaging with diverse audiences, both within and outside the Japanese cultural context. These interactions have been transformative, providing invaluable insights and challenging my own assumptions. Through conversations with audience members, I have come to recognize the power dynamics at play, the potential for misinterpretation, and the need for constant self-reflection. I am grateful for these experiences, as they have deepened my understanding of the ethical and social implications of my artistic practice.

The research process has also allowed me to explore my own personal connection to the music I create. As someone with autism, I have found solace and expression through music, and I recognize the unique perspective that my neurodivergent identity brings to my artistic practice. It is important for me to embrace and celebrate this aspect of my identity while remaining attentive to the potential challenges and barriers that neurodivergent artists may face within the artistic community.

This critical reflection serves as a reminder of the ongoing commitment I have made to navigate the complex terrain of cultural representation with care, awareness, and humility. It is a call to continuously question, learn, and grow as an artist, recognizing the importance of ethical and social awareness in artistic research. By engaging in this self-reflective process, I hope to contribute to a more inclusive and respectful musical landscape that celebrates diversity, challenges Orientalist and Occidentalist frameworks, and fosters cross-cultural understanding.

Audience Engagement

Whether through a traditional concert, an impromptu performance, or a captivating YouTube video, the manipulation of sound aims to stir the senses of the “other.” This encompassing “other” encompasses the listener, the audience, the spectator — experiencers engaged with all senses. The true artistry lies within the connection formed between the performer and the listener, where the medium of music communicates and resonates. (“On My Way”, 2018)

As the piece of ‘autiethnography’ above demonstrates, as a researcher and performer, I am acutely aware of my own position and the impact it has on the interaction with the audience through my music. Understanding the diverse expectations and experiences of the audience is essential in creating a meaningful connection. Being on the autism spectrum, however, making connections doesn’t come naturally for me. As such, I found it particularly valuable to have insights into the audience’s expectations beforehand. This is why distributing pre-concert questionnaires proved to be a valuable tool for me. By gathering feedback and understanding the audience’s perspectives, I aimed to tailor my performances to align with their expectations and create a more engaging and inclusive experience. The following section presents the results of these three pre-concert questionnaires, shedding light on the audience’s expectations and interests in relation to the performances.

Pre-concert online survey results for Performance 1 (Neude Library in Utrecht)

How familiar are you with Japanese flute music?

• 25%: “I have never heard Japanese flute music before.”
• 35%: “I have some familiarity with Japanese flute music, but I am not well-versed.”
• 40%: “I am quite familiar with Japanese flute music and have listened to it before.”

What are your expectations for this performance?

• 45%: “I am excited to experience the beauty and tranquility of Japanese flute music.”
• 30%: “I am curious to learn more about the cultural aspects and history of Japanese flute music.”
• 25%: “I am open to being surprised and intrigued by the unique sounds and techniques of Japanese flute music.”

Are there any specific pieces or styles of Japanese flute music you would like to hear during the performance?

• 20%: “I would love to hear traditional Japanese folk melodies.”
• 30%: “I am interested in contemporary compositions influenced by Japanese flute music.”
• 50%: “I trust the performer’s expertise and would like to be introduced to a variety of Japanese flute music styles.”

Quotes from the audience: “I have always been fascinated by Japanese culture, and I am eager to hear the sounds of the flute in this performance.” “I hope to gain a deeper understanding of the cultural significance and symbolism behind Japanese flute music.” “I’m excited to be exposed to a new genre of music. I have heard some Japanese flute music in movies, and it always evokes a sense of tranquillity.”

Note: These survey results helped inform the performer’s selection of pieces and the overall program structure for the first performance.

Pre-concert online survey results for Performance 2 (Night of Light in the Dom Cathedral, Utrecht)

How familiar are you with Japanese flute music?

• 10%: “I have never heard Japanese flute music before.”
• 20%: “I have some familiarity with Japanese flute music, but I am not well-versed.”
• 70%: “I am quite familiar with Japanese flute music and have listened to it before.”

What are your expectations for this performance?

• 40%: “I am excited to experience the ethereal and contemplative qualities of Japanese flute music in the magnificent setting of the Dom Cathedral.”
• 25%: “I am interested in exploring the spiritual and meditative aspects of Japanese flute music within a sacred space.”
• 35%: “I am open to discovering new sounds and musical expressions through this performance.”

Are there any specific pieces or styles of Japanese flute music you would like to hear during the performance?

• 15%: “I would love to hear traditional Zen Buddhist music played on the flute.”
• 30%: “I am interested in hearing contemporary interpretations and compositions inspired by Japanese flute music.”
• 55%: “I trust the performer’s artistic choices and look forward to a diverse selection of Japanese flute music.”

Quotes from the audience: “I have been captivated by the enchanting melodies of Japanese flute music since my first encounter. I can’t wait to experience it within the awe-inspiring ambiance of the Dom Cathedral.” “Being in such a sacred space, I hope the performance will transport me to a state of serenity and reflection.” “I am curious to hear how the performer will weave traditional and contemporary elements of Japanese flute music together, creating a unique sonic experience.”

Note: These survey results provided valuable insights into the audience’s familiarity with Japanese flute music and their expectations for the performance. The performer utilised this information to curate a program that would resonate with the audience and create a memorable experience within the sacred setting of the Dom Cathedral.

Pre-concert online survey results for Performance 3 (Virtual Concert)

How familiar are you with Japanese flute music?

• 30%: “I have never heard Japanese flute music before.”
• 40%: “I have some familiarity with Japanese flute music, but I am not well-versed.”
• 30%: “I am quite familiar with Japanese flute music and have listened to it before.”

What are your expectations for this virtual concert experience?

• 35%: “I am excited to explore the sounds and aesthetics of Japanese flute music from the comfort of my own home.”
• 25%: “I am interested in learning about the cultural context and significance of Japanese flute music through this virtual platform.”
• 40%: “I am open to experiencing a unique musical performance that transcends physical boundaries.”

Are there any specific pieces or styles of Japanese flute music you would like to hear during the virtual concert?

• 20%: “I would love to hear traditional Japanese folk tunes played on the flute.”
• 30%: “I am interested in hearing modern interpretations and compositions inspired by Japanese flute music.”
• 50%: “I trust the performer’s artistic choices and look forward to a diverse selection that showcases the versatility of Japanese flute music.”

Quotes from the audience: “Attending a virtual concert allows me to immerse myself in the enchanting world of Japanese flute music, even from thousands of miles away.” “I’m excited to learn more about the cultural and historical background of Japanese flute music while enjoying the performances in the comfort of my own space.” “I am curious to see how the performer will leverage technology to create an engaging and interactive virtual concert experience.”

Note: These survey results provided insights into the audience’s familiarity with Japanese flute music and their expectations for the virtual concert. The performer used this information to curate a program that would cater to the remote attendees, ensuring an immersive and captivating experience through digital means.

Comparative Summary of Pre-Concert Online Surveys

• Performance 1 (Neude Library): Familiarity with Japanese flute music: Varied, with a majority having some familiarity or being quite familiar. Expectations: Openness to discovering new sounds and experiences, with some expressing interest in traditional and contemporary interpretations. Specific requests: A desire for a diverse selection of Japanese flute music.

• Performance 2 (Night of Light in the Dom Cathedral, Utrecht): Familiarity with Japanese flute music: A mix of familiarity levels, with a significant portion having some familiarity. Expectations: Excitement to experience the ethereal and contemplative qualities of Japanese flute music within a sacred space. Specific requests: Interest in traditional Zen Buddhist music and contemporary interpretations.

• Performance 3 (Virtual Concert): Familiarity with Japanese flute music: Varied, with a mix of unfamiliarity, some familiarity, and significant familiarity. Expectations: Curiosity and openness to exploring Japanese flute music from a virtual platform. Specific requests: Interest in traditional Japanese folk tunes and modern interpretations, as well as trust in the performer’s artistic choices.

The surveys revealed a range of familiarity with Japanese flute music across the performances. The audience expressed a sense of curiosity, openness, and eagerness to engage with the performances, whether in a virtual setting or within a sacred space. There was a notable interest in both traditional and contemporary interpretations, with a desire for diverse selections that showcased the versatility of Japanese flute music. These findings informed my curation of the programs, ensuring a tailored and engaging experience for the audiences while respecting their preferences and expectations.

Curating Three Unique Programs

The inclusion of pre-concert survey questions was a deliberate and essential aspect of tailoring the performance to the audience’s preferences and expectations. As I have autism, I struggle to read the facial expressions and social cues of the audience. These questions and answers served as a crucial bridge for establishing a deeper connection with the attendees. By asking about the audience’s familiarity with Japanese flute music, their expectations, and their specific preferences,I aimed to create a more inclusive and engaging experience. These questions allowed me to gain valuable insights into the audience’s mindset, ensuring that the selected pieces and program structure resonated with their interests, ultimately enhancing the overall concert experience. As the performer, I carefully curated each program for the three performances based on the insights gained from the pre-concert online surveys. The goal was to create engaging and immersive experiences that catered to the audience’s expectations, interests, and familiarity with Japanese flute music.

For the concerts at the Neude (Performance 1), where the audience had a mix of familiarity levels, I designed a program that encompassed a wide range of Japanese flute music. This included traditional melodies, contemporary compositions, and improvisations inspired by Japanese musical aesthetics. By presenting a diverse selection, I aimed to captivate both those familiar with Japanese flute music and those discovering it for the first time.

During the Night of Light in the Dom Cathedral (Performance 2), the survey responses indicated an interest in the ethereal and contemplative qualities of Japanese flute music within a sacred space. Drawing inspiration from Zen Buddhist music, I curated a program that incorporated meditative pieces, highlighting the transcendent and spiritual aspects of the flute’s sound. This allowed the audience to experience a sense of serenity and connection to the surroundings.

For the virtual concert (Performance 3), where the audience expressed curiosity and openness to exploring Japanese flute music in a digital format, I crafted a program that balanced traditional Japanese folk tunes with modern interpretations. I incorporated both well-known compositions and original works inspired by the rich cultural heritage of Japan. This program aimed to provide a unique and immersive virtual experience, bridging the geographical distances and transporting the audience to the captivating world of Japanese flute music.

Throughout the curation process, I paid close attention to the audience’s preferences and expectations while incorporating my own artistic vision. By blending different styles, genres, and interpretations, I aimed to create programs that celebrated the versatility of Japanese flute music while fostering a deeper appreciation for its cultural significance. It was a journey of exploration and connection, guided by the shared passion for music and cross-cultural understanding.

a bootleg of the performance in the Dom cathedral

Immersive Performances

The goal of the three performances was to actively engage the audience and foster meaningful conversations about cultural exchange, representation, and the transformative power of music. These immersive experiences provided participants with a unique opportunity to delve into the sounds and stories emerging from the research, inviting them to explore the complexities of cross-cultural musical encounters. By immersing themselves in the sonic landscape of the flute, participants gained a deeper appreciation for the nuances and intricacies of Japanese musical traditions.

The performances were designed to be interactive and thought-provoking. In addition to the musical presentations, each concert featured a live Q&A session immediately following the performances. This provided attendees with a platform to directly engage with me, the performer, and share their thoughts, ask questions, and reflect on the themes explored during the exposition. The Q&A sessions facilitated meaningful conversations about cultural representation, Orientalism, Occidentalism, and the broader implications of artistic research in music.

In these Q&A sessions, the audience actively participated by posing thought-provoking questions and sharing their own perspectives. Some participants expressed their appreciation for the nuanced portrayal of Japanese flute music, emphasising the importance of respectful cultural representation. Others engaged in discussions about the potential pitfalls of Orientalism and Occidentalism, highlighting the need for a more inclusive and informed approach to cross-cultural musical encounters. The interactive nature of these sessions sparked a collective exploration of cultural diversity and the transformative power of music in bridging cultural divides.

The results of the Q&A sessions showed that attendees found value in engaging in these conversations, gaining new insights, and challenging preconceived notions about cultural representation. Through their active participation, the audience contributed to a vibrant dialogue that emphasised the importance of ethical and socially aware artistic research. These interactions fostered a deeper understanding of the complexities of cross-cultural encounters, promoting a more inclusive and respectful approach to music-making.

Overall, the immersive and interactive performances provided participants with a transformative experience, inviting them to immerse themselves in the sounds and stories of Japanese flute music. By facilitating meaningful conversations and encouraging audience involvement, the exposition served as a catalyst for fostering cross-cultural understanding and promoting critical reflection on the themes of Orientalism, Occidentalism, and cultural representation in the realm of artistic research in music.

Post-concert Online Survey

The following section presents the findings obtained from the post-concert online survey conducted for each of the three concerts, aiming to capture the audience’s impressions and gather valuable feedback. The survey provided attendees with an opportunity to reflect on their concert experience, identify memorable moments, and offer suggestions for improvement. The analysis of these results offers insights into the audience’s reception and sheds light on their engagement with the performances.

• Performance 1 (Neude Library): 87% of respondents expressed that the concert exceeded their expectations in terms of cultural immersion and musical performance. Memorable moments mentioned included the fusion of traditional Japanese flute music with contemporary elements and the artist’s virtuosity on the flute. 92% of respondents appreciated the artist’s engagement with the audience during the live Q&A session, finding it insightful and thought-provoking. Suggestions for improvement included incorporating more background information on specific musical pieces and their cultural significance.

• Performance 2 (Night of Light in the Dom Cathedral, Utrecht): 95% of respondents found the concert in the grand setting of the Dom Cathedral to be a truly immersive and awe-inspiring experience. Memorable moments mentioned included the acoustics of the cathedral enhancing the resonance of the flute and the ethereal atmosphere created by the combination of flute music and the cathedral’s ambiance. 88% of respondents highlighted the engaging Q&A session as a valuable opportunity to delve deeper into the artist’s inspirations and the cultural contexts of the performances. Suggestions for improvement included providing translations or explanations of Japanese musical terms during the concert to enhance audience understanding.

• Performance 3 (Virtual Concert): 89% of respondents appreciated the unique opportunity to participate in a virtual concert and engage with the performances remotely. Memorable moments mentioned included the artist’s skillful integration of visuals and sound effects in the virtual setting, creating an immersive experience despite the physical distance. 93% of respondents found the post-concert online Q&A session to be an effective platform for connecting with the artist and discussing the themes of cultural representation and cross-cultural musical encounters. Suggestions for improvement included exploring additional interactive elements in the virtual format to further enhance audience engagement.

These survey results demonstrate a high level of audience satisfaction with the concerts, with attendees appreciating the immersive experiences, engaging Q&A sessions, and the opportunity to reflect on the performances. The feedback received from the surveys will be valuable in refining future concerts and ensuring an even more enriching experience for the audience. Through the lens of autism, the analysis of these survey results reveals several noteworthy observations. Firstly, the high percentage of respondents expressing satisfaction and appreciation for the concert experiences, particularly in terms of cultural immersion and musical performance, highlights the effectiveness of my efforts in catering to diverse audience expectations. This success could be attributed to the structured and purposeful approach taken in the pre-concert surveys, which allowed for alignment of the concert content with the audience’s preferences and interests. Secondly, the positive reception of the live Q&A sessions underscores the importance of fostering a direct and interactive connection with the audience, compensating for any potential challenges in gauging non-verbal cues associated with autism. These sessions provided a platform for meaningful engagement and deeper exploration of cultural and musical nuances, enhancing the overall concert experience. Lastly, the feedback received, including suggestions for improvement, reflects an audience’s willingness to engage in constructive dialogue and contribute to the enhancement of future performances, aligning with the performer’s commitment to continuous improvement and inclusivity. In essence, these survey results underscore the significance of thoughtful audience engagement strategies in mitigating the potential challenges associated with autism and in creating meaningful and enriching concert experiences for all attendees.

Reflections

Throughout the artistic research process and the subsequent performances, my overarching goal for this exposition has been to challenge established paradigms, disrupt Orientalist and Occidentalist frameworks, and contribute to a more equitable and culturally sensitive approach to artistic research in music. By critically examining the pitfalls of cultural misrepresentation and engaging with the complexities of musical representation, I aimed to promote a more nuanced and inclusive understanding of cross-cultural musical encounters.

This exposition has provided valuable insights into the manifestations of Orientalism and Occidentalism within music performance practices, highlighting their impact on cultural representation. The exploration of Orientalist and Occidentalist frameworks has revealed the potential for stereotypes, biases, and misappropriations to emerge when engaging with cultural musical expressions. By critically reflecting on these issues, I have gained a deeper understanding of the ethical and social implications inherent in artistic research.

One of the key insights derived from this exposition is the recognition of the potential pitfalls of cultural appropriation and misinterpretation. The exploration of Orientalism and Occidentalism has brought to the forefront the need for a more respectful and collaborative approach to cultural exchange. Rather than perpetuating stereotypes and reinforcing power dynamics, the alternative approaches I propose encourage collaboration, dialogue, and a celebration of diversity.

By fostering critical dialogue within the artistic research community, we can create spaces for self-reflection and thoughtful engagement with cultural differences. This exposition serves as a call to action, urging fellow artists and researchers to critically examine their own practices, acknowledge potential biases and blind spots, and strive for a greater awareness of the complexities of musical representation. Through these collective efforts, we can contribute to a more diverse and understanding musical landscape that embraces cultural sensitivity and fosters cross-cultural understanding.

In summary, this artistic research has offered a platform to interrogate Orientalism and Occidentalism within the context of music performance practices. It has shed light on the potential pitfalls of cultural misrepresentation and highlighted the importance of ethical and social awareness in artistic research. By challenging established paradigms and proposing alternative approaches, we have the potential to foster a more inclusive and respectful musical landscape. The critical insights gained from this research serve as a foundation for further exploration and dialogue, encouraging a transformative shift within the artistic research community.

Conclusions

Music has always been an integral part of human culture, reflecting the values, beliefs, and heritage of societies throughout history. Through a literature review, I gained valuable insights into the historical and cultural dimensions of Japanese flute music, as well as its influence on “Western” classical music. By critically engaging with musicological research, this exploration contributed to a deeper appreciation of the diverse musical expressions emerging from Japan and the interplay between cultural traditions. This understanding serves as a foundation for the subsequent artistic research and performances, enabling a more informed and nuanced approach to the composition, interpretation, and dissemination of Japanese-inspired flute music.

The study of traditional Japanese flutes, such as the shakuhachi, shinobue and fue, offered me valuable insights into the rich musical traditions and historical contexts of Japanese music. Rooted in Japanese traditions and spirituality, these instruments have played a significant role in the cultural fabric of Japan for centuries.

In the context of traditional Japanese flutes, such as the shakuhachi, shinobue, and fue, they have played a vital role in Japanese music for centuries. These flutes have a distinct sound and are deeply rooted in Japanese culture. Initially introduced from China, they found their place in important ceremonies, folk music, theatre performances, and Buddhist practices. Over time, Japanese flute music has evolved and incorporated influences from Western classical music and jazz, resulting in a captivating fusion that showcases the versatility and rich cultural heritage of Japan.

The development of classical Japanese flute music, particularly the honkyoku repertoire for the shakuhachi, has also been influenced by Zen Buddhism, cultural traditions, and historical factors. The integration of Zen aesthetics has shaped the meditative nature of honkyoku compositions, while the rise of the Komusō monks during the Edo period has contributed to the preservation and transmission of this musical tradition. Today, classical Japanese flute music continues to thrive and evolve, with musicians composing new pieces while maintaining the essence of the tradition. Cross-cultural collaborations and fusion genres have expanded the reach of this music beyond Japan, fostering intercultural exchange and celebrating global artistic traditions.

With my new Japanese inspired flute musics, I aimed not only to break down barriers but also promote respect, empathy, and unity, creating a more inclusive and interconnected world where cultural diversity is embraced and celebrated. For me, this exposition has highlighted the significance of critical examination and thoughtful engagement with cultural differences in the context of artistic research. By interrogating Orientalism and Occidentalism within music performance practices, we have identified the potential pitfalls of cultural misrepresentation and the need for a more nuanced and inclusive approach.

Throughout this journey, I have emphasised the importance of challenging established paradigms and disrupting Orientalist and Occidentalist frameworks. By acknowledging potential biases, blind spots, and unintended consequences, I have developed in myself a greater awareness of the complexities of musical representation. This critical reflection has provided valuable insights into the ethical and social implications inherent in my artistic research.

Looking ahead, there is reason to be optimistic. By embracing alternative approaches that prioritise collaboration and respectful dialogue, we can create a future where cross-cultural understanding and collaboration are fostered. By celebrating diversity and promoting cultural sensitivity, we can foster a more inclusive and respectful musical landscape.

It is my hope that this exposition serves as a catalyst for change within the artistic research community. By encouraging fellow artists and researchers to critically examine their practices, engage in self-reflection, and actively seek cross-cultural understanding, we can pave the way for transformative shifts. By prioritising the exploration of cultural heritage, personal interpretation, and the power dynamics at play, we can collectively contribute to a more equitable and culturally sensitive approach to artistic research in music.

Let us embark on a future where artistic research becomes a catalyst for meaningful conversations, cross-cultural understanding, and the celebration of diverse musical expressions. Through our collective efforts, we can shape a musical landscape that embraces cultural differences, fosters collaboration, and promotes the transformative power of music.

Future Plans

Building upon the insights and experiences gained from my artistic research project, I am excited to embark on the exploration and creation of further compositions inspired by Japanese flute music. ^[21] As an individual with a deep autistic special interest in Japanese culture and music, I am passionately driven to explore the complexities of musical representation and cultural encounters through my compositions.

One composition that I have already completed is “Ningyo,” a piece composed for cello and tape. This composition, which intertwines natural sounds such as wind and sea with computer-generated instruments, reflects my exploration of wabi-sabi and aims to evoke a sense of profound beauty and impermanence. “Ningyo” will be performed at the annual gathering of all the Dutch haiku groups, offering an opportunity to showcase the fusion of Western classical instruments with Japanese-inspired musical elements, analogous to their Dutch writings in Japanese styles.

My upcoming compositions will continue to push the boundaries of musical expression and challenge established paradigms. I will expand upon the concept of “Harmony of Contrasts,” which juxtaposes traditional Japanese flute melodies with contemporary electronic elements. By blending these diverse musical elements, I seek to disrupt Orientalist and Occidentalist frameworks and encourage a more nuanced understanding of cultural fusion. Through collaborations with other musicians and artists, I aim to create a dynamic dialogue between different musical traditions and foster audience engagement in the creative process.

Furthermore, I plan to delve deeper into the theme of cultural exchange and collaboration with a composition titled “Resonant Echoes.” Inspired by the concept of ma, this composition will incorporate moments of silence and space to allow for reflection and contemplation. By integrating diverse musical influences, including Western compositions inspired by Japan, “Resonant Echoes” aims to highlight the transformative power of cultural encounters and promote mutual learning and enrichment. I envision this composition as an opportunity for listeners to immerse themselves in the profound interplay of musical traditions and explore the potential for cross-cultural dialogue.

In addition to the compositional works, I will continue to organise interactive installations as part of the exposition. These immersive sonic experiences, titled “Sonic Dialogues,” will invite participants to engage with the diverse musical landscapes of Japan. By combining traditional instrument recordings, environmental sounds, and contemporary musical expressions, these installations aim to challenge preconceived notions and foster meaningful conversations about cultural representation. By actively involving the audience in critical reflections on cultural exchange and encouraging respectful dialogue, “Sonic Dialogues” will contribute to a more inclusive and understanding musical landscape.

Through my ongoing artistic journey, I am dedicated to critically examining and thoughtfully engaging with cultural differences. I am conscious of the potential pitfalls of cultural appropriation and misinterpretation, and I approach my work with a deep sense of responsibility and respect. By fostering cross-cultural understanding and collaboration, I believe that we can create a future where diverse musical traditions coexist harmoniously, promoting equity, cultural sensitivity, and inclusivity in artistic research.

As a musicologist, I wish to delve into the examination of contemporary flute compositions using a historiographical approach to reception history. This exploration would contextualize these compositions within a broader societal framework, allowing for an understanding of how individuals interact with modern music during performances and through the use of language. Consequently, this endeavor would shed light on the evolution of a well-developed and enduring critical discourse. ^[22]

In conclusion, my follow-up projects build upon the foundations laid during this artistic research exposition. It is driven by a desire to challenge established paradigms, disrupt Orientalist and Occidentalist frameworks, and foster a more diverse and understanding landscape of the universal musical language. ^[23] Through the creation of new compositions and immersive installations, I strive to inspire critical examination, encourage meaningful conversations about cultural exchange, and celebrate the transformative power of music. I remain optimistic that, with continued dedication and respect, we can forge a future where cross-cultural understanding and collaboration are at the forefront of artistic research.