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oa Reconceptualizing Ethno? Perceptions of the Ethno Gatherings in Bahia, Malawi, and the Solomon Islands

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This chapter explores the perspectives of Ethno musicians and organisers from outside of central Europe and the Nordic regions, with the intention of interrogating how the Ethno approach may have adapted due to its growth in regions with different socio-economic situations to where it first originated in Sweden with a focus on gatherings in Bahia, Solomon Islands and Malawi. The chapter opens with a reflection on the challenge of ensuring Western epistemologies, or understandings of music and culture, do not dominate intercultural musical spaces. This shifts towards the need to reflect on colonial difference and how socio-economic circumstances in the hosting countries of an Ethno impact local Gatherings.

Following that, four themes drawn from our research meta-analysis: learning, performing, connecting and valuing are interrogated through the perspectives of the research participants. Research is drawn from individual interviews and focus groups with the organisers of Ethno Bahia, Solomon Islands and Malawi.

Keywords: colonial difference ; epistemology ; eurocentrism ; universalism

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References

  1. Agawu, K. (1992). Representing African music: Postcolonial notes, queries, positions. Routledge.
     [Google Scholar]
  2. Agawu, K. (2003). Contesting difference: A critique of Africanist ethnomusicology. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music (pp. 227–237). Routledge.
     [Google Scholar]
  3. Alam, S. (2008). Majority world: Challenging the West's rhetoric of democracy. Amerasia Journal, 34(1), 88–98. https://doi.org/10.17953/AMER.34.1.L3176027K4Q614V5
     [Google Scholar]
  4. Aman, R. (2019). Other knowledges, other interculturalities: The colonial difference in intercultural dialogue. In J. Cupples & R. Grosfoguel (Eds.), Unsettling Eurocentrism in the westernised university (pp. 171–186). Routledge.
     [Google Scholar]
  5. Atleo, A. (2011). Principles of Tsawalk: An indigenous approach to global crisis. UBC Press.
     [Google Scholar]
  6. Bradley, D. (2012). Good for what, good for whom? Decolonising music education philosophies. In W. Bowman & A. L. Frega (Eds.), The Oxford handbook of philosophy in music education (pp. 409–433). Oxford University Press.
     [Google Scholar]
  7. Creech, A., Varvarigou, M., Lorenzino, L., & Čorić, A. (2021). Pedagogy and professional development: Research report. York St John University.
     [Google Scholar]
  8. Döring, K. (forthcoming). Black neighbourhoods and music practice beyond the spotlights of carnival in Bahia. IASPM.
  9. Freire, P. (2017). Pedagogy of the oppressed. Penguin Random House UK.
     [Google Scholar]
  10. Gibson, S.-J. (2022). Exploring new pathways. York St John University.
     [Google Scholar]
  11. Gibson, S.-J., Higgins, L., Humphrey, R., Ellström, L., Reiss, H., & Roosioja, L. (2021). 30 years of Ethno: The history of Ethno. York St John University.
     [Google Scholar]
  12. Gibson, S.-J., Higgins, L., & Schippers, H. (2022). Understanding the magic of the Ethno experience. York St John University.
     [Google Scholar]
  13. Gibson, P. (1992). Music for the future: Dreams, schemes and reflections. Proceedings of the Fourth International Educators Conference, Cape Town, South African Music Educators Symposium.199
  14. Haug, S., Braveboy, J., & Maihold, G. (2021). The Global South in the study go world politics: Examining a meta category. Third World Quarterly, 42(9), 1923–1944. https://doi.org/10.1080/01436597.2021.1948831
     [Google Scholar]
  15. Hess, J. (2021). Music education and the colonial project. In R. Wright, G. Johansen, P. A. Kanellopoulos, & P. Schmidt (Eds.), The Routledge handbook to sociolog of music education (pp. 23–39). Routledge.
     [Google Scholar]
  16. Higgins, L. (2020). Case study: Ethno Portugal. Crossing the threshold. York St John University.
     [Google Scholar]
  17. Kabanda, P. (2018). The creative wealth of nations. Cambridge University Press.
     [Google Scholar]
  18. Nwezi, M., Anyaharu, I., & Ohiaraumunna, T. (2008). Musical sense and musical meaning: An Indigenous African perception. UNISA Press.
     [Google Scholar]
  19. Prest, A., & Goble, J. S. (2012). Towards a sociology of music education informed by indigenous perspectives. In R. Wright, G. Johansen, P. A. Kanellopoulos, & P. Schmidt (Eds.), The Routledge handbook to sociology of music education (pp. 80–96). London.
     [Google Scholar]
  20. Ramnarine, T. (2019). Dance, music and cultures of decolonisation in the Indian Diaspora: Towards a pluralist reading. South Asian Diaspora, 11(2), 109–125, https://doi.org/10.1080/19438192.2019.1568427
     [Google Scholar]
  21. Turino, T. (2008). Music as social life: The politics of participation. University of Chicago Press.
     [Google Scholar]
  22. Waisbich, L. T., Roychoudhury, S., & Haug, S. (2021). Beyond the single story: ‘Global South’ polyphonies. Third World Quarterly, 42(9), 2086–2095. https://doi.org/10.1080/01436597.2021.1948832
     [Google Scholar]
  23. Yachita, M. (2019). An analysis of Ethno Cambodia 2019: Youth, tradition and the unavoidable issue of ethnicity in Asia. https://www.academia.edu/41696768/An_Analysis_of_Ethno_Cambodia_2019_Youth_Tradition_and_the_Unavoidable_Issue_of_Ethnicity_in_Asia

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