Thanks to the generous invitation of Adriana Rodrigues (an unbelievable force for anti-colonial music education in Brasil, Latin America and beyond) I just finished a week with a group of teachers in Brasil at the Conservatorio Brasileiro de Musica. I was very lucky to have another great Brasilian music educator, Marisa Fonterrada, join me for two of these days, in part to celebrate the release of her new translation of Schafer’s Hearsing. I also had the amazing teacher, activist and human being, Beth Dau, translate for and teach along with me.
I was asked there to lead classes on Schafer’s philosophies of sound education. These teachers also charitably allowed me (a Canadian) to facilitate some of Augusto Boal’s (from Rio) work along with some very intense and grounded conversations about Paulo Freire. I have been trying to critically reflect on Schafer’s ideas and their connections to Boal, Freire, and other anti-colonial pedagogies: although listening pedagogies (Schafer, Oliveros) might help bridge a gap between a privileged distance of sight and abstraction and the more embodied senses and ways of knowing we do not all hear similarly (Dylan Robinson) and the differences might be essential to address. This has been an academic exercise. These teachers’ ideas, contributions, and reflections from this week grounded these ideas, and many others, in ways that I am not sure I can never hope to do. For this I am so very grateful. I am struggling to know how to process their thinking and their willingness to share difficulties, joys, and resistance from their lives.
Thank you my friends!
Workshops at FLADEM 2018 LIMA. Along with my good friends Matias Recharte and Neil Dallhoff I got to teach, walk around Miraflores and Barranco, record some waves, and interview two giants in music education: Violeta Hemsy de Gainza (Argentina) and Marisa Trench de Oliveira Fonterrada (Brazil).
Reflect, breathe, journal, discuss, record
What is the furthest sound you can hear?
What sounds are close by?
What is the quietest sound you can hear?
Which sounds are noisy? Which are “musical”?
What is your favourite sound? Which location sounds best? Share it with others.
Is there form in what you are hearing?
What do you hear? What do you like? What might you change?
What was the earliest sound you remember hearing?
What sounds from your life are now lost?
I just had an amazing and creative week with 5 to 16 year old string players at Cadenza Summer Music Week in Winkler, Manitoba. Improvisation games, compositions with the trees and wind, compositions of Fred Frith, Pauline Oliveros and R. Murray Schafer. Thank you Rochelle, organizers, teachers and students!
On November 5th I’ll be leading an interactive soundwalk in Niagara Falls, Ontario. It is a workshop within the Ontario Music Educators’ Association conference.
A few weeks ago I led a two day workshop in Guadalajara and last January I taught for a week in Rio De Janeiro. Both of these opportunities have come my way because Schafer’s work is so well known in these cities and he is not wanting to travel at this point. In both cases, amongst many other things, we performed soundwalks in the downtown areas in which we were meeting. The teachers, professors, and musicians created fun and serious pieces based on what we heard, making comment on/interacting with the soundscape around them. I have shied away from doing this in Canada but feel very encouraged by these experiences.
I have some ideas as to how we might interact with the sound of the falls and looking forward to hearing what the participants think might work.