SCECS FLEX

A blog which synthesises my findings after engaging with the theories, principles and case studies examined on the Sustainable Creative Endeavour in Contemporary Society module.

1) To what extent is it still relevant to define one’s musical ‘sphere of influence’ geographically given the connectivity of the internet?

It is still relevant to define one’s musical identity by attaching a placename to it in order to assert and sell a sound, ground a practice or delineate an audience. Funding bodies such as Creative Scotland and the British Council are embedding this kind of rhetoric more commonly within their offerings, therefore encouraging artists to take greater care in embracing tangible notions of place and heritage within their identity and practice. Though I would argue that sometimes geographical notions are taken and misused - becoming less about active character, or curious engagement and more about passive marketing, or merely maintaining the status quo. Therefore, I would advocate that what is even more relevant, valuable and empowering is in fact what you do with where you are from – what are your verbs and what are your actions of place, for place and by place rather than using and abusing said place to make a short to medium term gain. What to do with place is to share it rather than be suppressed by it. It is within this eco-centric and inclusive lens that the best kind of active artistic experience can be found. It is also within this philosophy that the best kind of artistry can be cultivated as the pillars of openness, compassion and unity can bring people together to make something new and undetermined. In this blog post, I would like to explore these ideas by introducing Scottish organisation Paragon Music’s current collaboration with Mexican organisation Armonia E Inclusion as a case study. I will share how they are actively sharing and acting upon their unique musical spheres of influence to connect internationally, blend sounds, make friends and share identities through the internet.

Firstly, it is important to recognise the brilliance of the internet in its ability to dynamically provide access to creative opportunities for cultural exchange, particularly for demographics and people who have been committed to labels of difference due to their disability, circumstances or place. It has also been a saving grace for people to receive social support during the global COVID-19 Pandemic - strengthening human relationships grounded on creative mutual interest and respect. The internet helps us ground an ‘alternative to regarding music genres or traditions as object.’ (Schippers, H. p3). This museum style rhetoric is exclusive and is defined by hierarchical notions of quality or prestige. This is arguably the foundation of a set of old artifactual adjectives concerning place that is reserved for a select few. Nowadays, in 2021, place is (or should be) emboldened by a collection of unique verbs from each person within it – ultimately meaning that creativity and ideas shall be validated by anyone and their differences when making. A sustainably minded human being in this world today can surely give way to this ambitious assertion and commit to a shift of mindset to facilitate the fundamental human need and desire to connect, share and blend together. The internet has, in radical ways over this past year, given us space for this to be implemented. Schippers and Grant recently reported:

…online environments have created massive exposure for certain music genres, with an impressive scope for forging niche markets and communities. The internet has obviously vastly changed the landscape of how music is disseminated and received, not only in the case of visible traditions (…) but also smaller ones. 
(Schippers, H. Grant, C. p5.)

In late 2020, Paragon Music partnered with Armonia E Inclusion in Mexico to create a digital international platform for disabled musicians to perform their own music with high production values. They received a grant from the British Council’s Digital Collaboration Fund to enable Paragon’s Stride band of young people aged 16-24 and Armonia’s ROCK DI band of young people aged 16-24 to create their own album of 10 songs that celebrates place and togetherness through music. Titled “Abrazos” (Spanish for “Hug” or “Embrace”) the album celebrates our unique musical locales and explores what we share in common. It is being created entirely via Zoom, WhatsApp and using file sharing sites such as Dropbox to share content and ideas. Below is a screenshot from the planning stage of the process which denotes some of the key decisions being investigated.

Stride/Rock DI Collaboration planning stage!

Stride/Rock DI Collaboration planning stage!

The project has begun in earnest and below is an early example of a demo collaborative track put together by both groups. All Over The World is a track that celebrates navigating, exploring and experiencing a new world after choosing to run away from the old. It does indeed draw upon Scottish and Mexican spheres of influence but what is more notable is how the groups are working together to make something new with them, co-creating what Tim Rice names as ‘a more vigorous discipline.’ (Rice, T. p324).

Language, feel and timbre all suggest uniqueness of musical spheres throughout the track, but are celebrated as part of the whole which is a relatively ground-breaking notion within this inclusive music context. This is not a battle of the bands or a competitive arena that upholds and gives way to old habits of prestige - this is an international coming together which embraces engagement and collaborative opportunity. This certainly is an example of an ‘ethical and mutually beneficial collaboration’ (Schippers, H. 2016.) of various forces working sustainability across cultures, qualifying their otherness and celebrating their togetherness. Here is another clip of Ruairidh, a participant from Stride speaking about the collaboration.

Music does not want to go back to the pre-pandemic status quo. Nor does the inclusive arts sector and nor do I! Asserting the internet as a place leveller and a human connector which can remove barriers and hierarchies as I have hopefully demonstrated via the Stride and Rock DI collaboration, there is much to embrace together. Academic Tom Shakespeare continues this notion:

People with disabilities do not want a return to the pre-pandemic status quo, which was a world filled with complex barriers to inclusion, especially in low-income and middle-income countries. The COVID-19 pandemic has increased risks, compounded unmet health needs, and disproportionately affected the socioeconomic lives of people with disabilities around the world. As evidence evolves, strategic thinking is needed about how society, social inclusion, and public health can better reach the 15% of the global population who are disabled. The inclusion of people with disabilities in the COVID-19 response should be remembered throughout all post-recovery stages by assessing their needs and ensuring that they are consulted and can participate in policy development, programme design, and implementation. A better future has to grow from learning the lessons, listening to the life experiences of people with disabilities, and making meaningful investments that improve the wellbeing and socioeconomic conditions of people with disabilities. (Shakespeare, T. p1332).

Music is a sharing and there is nothing more human or relevant than that. Embracing the notion of sharing a place and its quirks can offer far more sustainable spheres of output and can provide a rich platform for influencing collaboration near and far, progressing the job of the five domains of sustainability:

Thinking about the 5 domains of sustainability…

Thinking about the 5 domains of sustainability…

The Five Domains were discussed in detail within the SCECS VC class. I proposed that a domain named “Health and Wellbeing” might be missing from this list in the chat box, which gained a positive response:

SCECS Thoughts Wk 2.png

Lucy’s reflection illuminates the lack of the Health and Wellbeing formal conversations that are necessary for a sustainable venture in this context. Is this because for too long, we have been treating musical interactions and interventions as artefactual processes of preserving a tradition or set of ideals? This type of linear, exclusive thinking I would argue makes for a stressful, anxiety inducing context. We need to advocate for creativity and making and treading new ground to activate and energise the context and to lead to greater sustainable pastures. Sara Wolcott summarises this well in her paper “The Role of Music in the Transition Towards a Culture of Sustainability” and below are some key points, validating the process Stride and Rock DI have undertaken.

To create sustainable culture, CREATE!!

To create sustainable culture, CREATE!!

To conclude my perspectives, I would like to assert the need to continue to share our influential spheres, identities and geographies to actually practice sustainability on a neutralised, online space:

We are reminded that we’re joined together by our pursuit of a life that’s productive and purposeful, and when that happens mistrust begins to fade and our smaller differences no longer overshadow the things that we share. And that’s where progress begins. 
(Obama, B. p247).

Reference List: