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oapen-20.500.12657-591312022-11-02T03:09:00Z Chapter 9 Informing Practice Through Collaboration: Listening to Colonising Histories and Aboriginal Music Foster, Shannon Harris, Amanda arts research, Australia, creative research, creativity, global music industry, informed practice, ISME, music pedagogy, music research, Oceania, performance, performance practice, Singapore, Southeast Asia, Thailand, bic Book Industry Communication::A The arts::AV Music bic Book Industry Communication::A The arts::AV Music::AVS Techniques of music / music tutorials This chapter describes an interdisciplinary and intercultural method for writing about historical performances of music and dance by Aboriginal people, and to inform collaborative performances with Aboriginal musicians. It discusses an approach of listening to history through current Indigenous knowledges, and interrogates how seeking to understand the continuities and disruptions of culture through the experiences of living Aboriginal people allows for new interpretations of archival sources. In combining Indigenous knowledges with historical methods, the chapter responds to Aileen Moreton Robinson's (2000) critique of scholarly approaches that contrast the ‘traditional’ and ‘contemporary’ Aboriginal subject, while erasing ongoing colonising influences. The chapter presents a song as methodology and practice, to sing up story and knowledges from history in the present. 2022-11-01T12:44:05Z 2022-11-01T12:44:05Z 2021 chapter 9780367231323 9780367231354 https://library.oapen.org/handle/20.500.12657/59131 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9780429278426_10.4324_9780429278426-9.pdf Taylor & Francis Creative Research in Music Routledge 10.4324/9780429278426-9 10.4324/9780429278426-9 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb e7d5f81b-7845-4696-903d-d99b1e625246 2b499bba-4c72-4c14-ba3d-ad473c6e6069 9780367231323 9780367231354 Routledge 12 Australian Research Council ARC open access
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This chapter describes an interdisciplinary and intercultural method for writing about historical performances of music and dance by Aboriginal people, and to inform collaborative performances with Aboriginal musicians. It discusses an approach of listening to history through current Indigenous knowledges, and interrogates how seeking to understand the continuities and disruptions of culture through the experiences of living Aboriginal people allows for new interpretations of archival sources. In combining Indigenous knowledges with historical methods, the chapter responds to Aileen Moreton Robinson's (2000) critique of scholarly approaches that contrast the ‘traditional’ and ‘contemporary’ Aboriginal subject, while erasing ongoing colonising influences. The chapter presents a song as methodology and practice, to sing up story and knowledges from history in the present.
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