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• 1 2022-05-20T07:39:45-07:00 Introduction 81 By Tan Sooi Beng and Marcia Ostashewski (Co-Editors) plain 1168365 2022-10-14T17:25:53-07:00 In early 2021, the International Council for Traditional Music (ICTM) began a series of online sessions, the ICTM Dialogues, that focused on decolonizing music and dance studies from multiple viewpoints. It was a challenging and disorienting year for members of the ICTM. During the COVID-19 pandemic that had begun in early 2020, BIPOC (an acronym for Black, Indigenous, and People of Colour) and Black Lives Matter movements brought to the fore issues related to anti-racism, decolonization, equity, and the rights of Indigenous, marginalized, and minoritized peoples. The ICTM and its members were compelled to critically reflect on ways to nurture inclusivity, equality, diversity, care, and social justice in the Council and in our academic research methods, teaching, and performances. We needed to do more than reflect – we needed to make meaningful, lasting change in our practices, communities, and institutions.

  The ICTM Dialogues Committee posed these questions in its Call for Proposals:

  • How can we foster greater responsibility towards social justice, equity, inclusivity, and human rights among Indigenous and other underrepresented communities we study?
  • How can we decolonize teaching methodologies? How can we foreground voices that have been silenced by colonialism?
  • Can we develop new collaborative forms of knowledge production and artistic creation that will engage culture bearers in research and in teaching and learning about music and dance?
  • What are the methods and ethics of music and dance studies in different places around the world, and how can we establish productive dialogue between them?

  History

  This digital book presents the ICTM Dialogues in a dynamic multimedia format, featuring a showcase of videos recorded during the online sessions. Through this publication, we hope to continue emergent dialogues about decolonizing music and dance studies in the ICTM, and continue to build relationships and communities of practice and praxis across institutional, national, and regional boundaries.

  In early 2020, ICTM’s Executive Board requested that the Ethics Committee consider and advise regarding an appropriate expression of solidarity in support of BIPOC initiatives and calls for social justice. The Ethics Committee, chaired by Naila Ceribašić, invited additional ICTM members to help them in their deliberations, and in drafting the “Statement and Activities in View of Decolonization of Music and Dance Studies.” Both Tan Sooi Beng and Marcia Ostashewski, the editors of the current publication, are members of the ICTM Executive Board and its Ethics Committee; Marcia Ostashewski was also, at the time, the President of the Canadian Society for Traditional Music (CSTM), the Canadian counterpart of the ICTM. At the same time as working with the ICTM Ethics Committee on the Statement, Marcia worked with former CSTM Secretary Meghan Forsyth and the rest of the CSTM Executive and membership as a whole to draft and ratify “CSTM’s Call to Action: Challenging Systemic Racism and Colonialism in Ethnomusicology in Canada.” Both ICTM’s Statement and CSTM’s Call to Action went hand in hand with efforts toward decolonizing ethnomusicology on an international level and within Canada, among them the ICTM Dialogues and the current publication.

  Since 2020, the pandemic has been a common thread weaving into our experiences at personal, national, and global levels. Lockdowns, quarantines, sanitizer, masks, vaccines, the “new normal,” and Zoom became part of our daily vocabulary. Many ICTM Study Group Symposia and in-person meetings were postponed, including the 45th World Conference that had been planned for 2021 in Lisbon. We were all challenged to adjust to ever-changing work-from-home paradigms and mobility restrictions. We experimented with different technologies and remote working platforms in order to communicate and connect with our students and colleagues. The pandemic also fostered a discourse and culture of compassion. Disparities and inequities that existed in our communities and workplaces prior to COVID-19 have became more stark as well, especially for people who have long suffered from the impacts of racism, colonization, marginalization, and discrimination.

  These challenges have been unsettling but they have also given ICTM members opportunities to explore alternative ways of working, of navigating difficulties that arise in the day-to-day activities of our work, and of relating amidst changing dynamics of power in our communities and institutions. Emerging from discussions related to the ICTM’s “Declaration of Ethical Principles and Professional Integrity,” the Council’s Executive Board launched a series of virtual dialogues that provided a space for members to meet and network online, as well as conduct meaningful conversations about decolonizing music and dance studies on an international level.

  An international committee was established to organize the 2021 ICTM Dialogues. Committee Members include Tan Sooi Beng (Malaysia, Chair), Silvia Citro (Argentina), Irene Karongo Hundleby (Solomon Islands/New Zealand), Jean Kidula (Kenya/USA), Urmimala Sarkar Munsi (India), Christian Onyeji (Nigeria), Marcia Ostashewski (Canada), Shzr Ee Tan (Singapore/UK), and J. Lawrence Witzleben (USA). Susana Sardo (Portugal) and Kati Szego (Canada) also joined the Committee as World Conference Program Co-Chairs, responsible for decisions regarding presentation content at the 2022 gathering in Lisbon, including reports, activities, and presentations related to the 2021 ICTM Dialogues. The ICTM Dialogues Committee sent out a Call for Proposals inviting presentations exploring multiple perspectives on decolonization from around the world (ictmusic.org/dialogues2021). Forty-two proposals were submitted and evaluated and twenty-four were selected for the series. Notably, the majority of selected proposals were from countries that have historically been underrepresented in ICTM meetings and publications, including countries from Latin America (41% of the proposals accepted) and Africa (20%) (ictmusic.org/dialogues2021/programme). Other presentations included contributions from India, Malaysia, Taiwan, Tunisia, and nations of the former Soviet Union.

  The Committee was highly encouraged as the online sessions attracted the participation of academics, students, cultural activists, and heritage bearers from around the globe. Out of a total of 2,445 people who registered for the twenty-four sessions, 27% were faculty members, 33% were graduate students, 10% were university affiliate employees, 6% were undergraduates, and the other 23% included social activists as well as Indigenous and minoritized knowledge holders. The ICTM Dialogues also attracted the interest of people who had not attended any ICTM meetings before; they made up 44% of those who registered.

  Furthermore, our statistics show that those who could not attend the live sessions watched the recorded videos that were posted on YouTube and Bilibili. As of January 2022, the four most widely viewed sessions include Dialogue 1 – “A Latin American Dialogue for Social Inclusion: Community Musics, Ethnicities, and Identities” (681 attendees and YouTube viewers); Dialogue 4 – “Collaborative Methodologies for Decentring Power Hierarchies in Education, Artistic Research, and Museum Curating” (601 attendees and YouTube viewers); Dialogue 3 – “Insider Dance Research and Resulting Discourses in Seven African Countries” (365 attendees and YouTube viewers), and Dialogue 2 – “From Cosmopolitanism to Cosmology: Forging Decolonial Praxis in Contemporary South Africa” (331 attendees and YouTube viewers). Due to the many online seminars that were organized in the wake of the pandemic, busy schedules of colleagues, time zone differences, and “Zoom fatigue,” the number of attendees and YouTube viewers decreased substantially towards the latter half of 2021. Still, the recordings remain online and readily accessible, and continue to be viewed. They constitute an invaluable record of the unprecedented past two years, and a legacy of the collective efforts of ICTM and its members to disrupt the impacts of racism and colonization in music and dance studies.

  Key Themes

  What are the main themes of the ICTM Dialogues? The presenters emphasize that, in the postcolonial era, Indigenous peoples and ethnic minorities in many parts of the world continue to face racial, class, gender, and other types of cultural inequalities and injustices that are perpetuated by neocolonial hegemonic powers. It is therefore important to develop research methodologies that seek to recover and affirm identities, knowledges, and histories as well as to reclaim the ontologies and epistemologies of marginalized people. The ICTM Dialogues presenters and audience members alike expressed a need to decentre power hierarchies such as those between the researcher/researched, scholar/performer, theory/practice, centre/periphery, and Global North/South in our ethnographic research methodologies (Mignolo, 2021; Smith, 2012).

  With case studies from disparate locations and many different communities of practice, the ICTM Dialogues highlight multiple approaches to enhance knowledge production and transmission with and/or by tradition bearers. They encompass work in music education, dance and music studies, composition, as well as artistic and historical research. It is noteworthy that, in most of the ICTM Dialogues sessions, praxis acts as an important approach and point of convergence for decentring or disassembling hegemonic structures in society. As Freire (1972) writes, praxis attests to the use of research and theory to reflect on who benefits from the investigations and publications of research, and to transform society. The ICTM Dialogues also emphasize that diverse knowledges and ways of knowing, including those of the marginalized groups, are equally valid. ICTM Dialogues 4 and 6 exemplify how certain European museum curators have begun to interact and cooperate with Indigenous researchers so that Indigenous voices and approaches to sharing cultural knowledge are foundational to museum exhibitions. ICTM Dialogue 19 charts a new course forward by attempting to overcome internal divisions within the academy itself, between humanities and aesthetics, literature and music. Bringing together a renowned exponent of Sikh devotional music with ethnomusicologists and Sikh Studies scholars, this panel illuminates how the recovery of pre-colonial Sikh ways of knowing occurs through an encounter with “the Other” beyond the centre-periphery dynamics of the West’s dominant episteme.

  Praxis with Indigenous and marginalized research participants is typically characterized by intensive collaboration in knowledge creation and dissemination. Such collaboration can lead to social change (Lassiter, 2021). The presenters in ICTM Dialogue 11 emphasize that horizontal collaboration with knowledge holders in academic research and archival work helps to break through academic boundaries that have typically segregated people who are researchers from those who are researched. In various parts of Latin America, collective research and dialogue among Indigenous performers, cultural activists, and academics have inspired the building of communities of practice, reasserted local identities, and circulated knowledges beyond colonial narratives and spaces (ICTM Dialogues 1, 5, 7, 10, 12, 14, 15, 23). ICTM Dialogue 2 highlights how collaboration between community musicians and university teachers/students in jazz performance and scholarship can tear down racial barriers in South Africa. ICTM Dialogue 4 illustrates how artistic research collaboration between university-based researchers and Indigenous performers can be a means for the latter to engage in rejuvenating their cultures.

  The theme of national and cultural sovereignty is highlighted in ICTM Dialogue 22, presented on 27 November, 2021 by scholars from the former Union of Soviet Socialist Republics (USSR) that collapsed in 1991. In this ICTM Dialogue, ethnomusicologists from the region share their development of alternative methodologies and studies of local and minority traditions. Forbidden during the Soviet era, these new research activities have provided avenues to affirm and create independent national identities and to contest Russia’s dominance over the former USSR republics. This ICTM Dialogue is pertinent and timely as the Russian military invaded Ukraine only a few months after this presentation, on 24 February, 2022, the horrors of which we continued to witness even as this digital book moved towards publication.

  Another significant theme concerns the development of strategies by music and dance educators, researchers, composers, and artists in postcolonial countries. Presenters in ICTM Dialogue 24 show how these strategies are used to decolonize pedagogy, compositional techniques, and performance vocabularies that continue to be based on Western models in societies on multiple continents. ICTM Dialogue 4 showcases the inspiring “Meeting of Knowledges Movement” in Brazil that has endorsed and validated heritage masters as teachers and researchers and the incorporation of diverse types of musics (rather than exclusively Western Art Music) in university curricula. So too in art music composition, traditional, local, and popular musical concepts and instruments are being integrated with Western ones in several African countries, as discussed in ICTM Dialogue 18. In ICTM Dialogues 3 and 6, postcolonial scholars from Africa and India show sensitivity towards the application of Western-based theories and methodologies for dance research and performances since their education has been based on – and they have been influenced by – these Western models.

  Additionally, as ICTM Dialogues 9 and 17 underscore, decolonization has led scholars, musicians, and teachers (particularly those in the Global North) to seek out new ways of knowing. They do this by engaging with academic and knowledge systems different from their own, and with research participants from communities of practice. ICTM Dialogue 13 discusses decentring “whiteness” by foregrounding the agency of musicians and people living in the borderlands of Asia. The presenters in ICTM Dialogue 16 make the case that self-accountability is vital to ensure that inequalities and privilege in one’s research, teaching, composition, and performance are recognized and confronted. As discussed in ICTM Dialogue 7, it is also essential that editors of high-impact journals, especially those based in the Global North, be more inclusive in their review and publication practices.

  On a related aspect, ICTM Dialogues presenters stress the importance of multilingual platforms and of being open to alternative modes of participation and presentation. These mechanisms can be very useful in decentring power relations between academics and tradition bearers in dance and music studies, and to engage with tradition bearers on their own terms. Notably, the ICTM Dialogues invited presentations and comments in multiple languages. This helped to convey local cultural concepts and to reduce top-down mediation of and interpretation by academics, which so often happens at knowledge-exchange events such as academic conferences. Some ICTM Dialogues, including 14 and 23, experimented with performance and scripted play in local languages. ICTM Dialogue 16 attempted a semi-structured sharing session akin to a ‘coffee shop’ of Southeast Asia. In this case, presenters used local languages and accents and a specially designed padlet.com site to facilitate inclusive conversations.

  Reflections and Moving Forward

  Many ICTM Dialogues presenters remarked that participation in the 2021 ICTM Dialogues was thought-provoking and inspiring. The ICTM Dialogues provided a space for music and dance researchers to begin to collectively reflect on the multiple perspectives, practices, and approaches that researchers are engaging to decolonize, and collaboratively produce and disseminate knowledge with artists, performers, and activists. In turn, many Indigenous tradition bearers and knowledge holders, especially from Latin America and Africa, commented that the opportunity to present at the ICTM Dialogues has given them confidence to voice their opinions in academic settings. More to the point, their experiences presenting at the ICTM Dialogues have shown that they will be appropriately welcomed and heard, and that their knowledge and expertise will be valued and respected within the context of the ICTM and the work of its members.

  Equally significant, the ICTM Dialogues have promoted new transnational conversations and collaborations between groups and individuals, and fostered new relationships between scholars from disparate regions of our world. One immediate outcome is this digital book, including the abstracts, reflections, questions for further consideration, and videos of the 2021 ICTM Dialogues. This type of publication can be updated easily and is widely accessible to tradition bearers, artists, non-academics, and academics. In this way, this publication also responds to the ICTM Dialogues presenters’ goal of supporting continued, asynchronous, critical engagement at the transnational level.

  Additional outcomes of the new relationships fostered by the ICTM Dialogues, even in this short time period, include the publication of essays by a few African scholars in high-impact international journals (in addition to the current digital book), and direct access for knowledge holders to collections of Indigenous music in the European Sound Archives. Further, a list of terminologies that were previously not accepted by international music journals and book publishers is being developed, with the hope of expanding what will be accepted and published in the future.

  The Digital Publication

  Co-edited by Tan Sooi Beng and Marcia Ostashewski, this book uses Scalar, an open-access publication platform hosted by the University of Southern California that highlights visuals such as images and videos. To avoid advertisements that appear in YouTube videos, the ICTM Dialogues videos are streamed from the ACENET/The Alliance cloud space. ACENET is funded by the Canadian federal government, and works in partnership with The Alliance to provide advanced computing resources to Canadian researchers. Their support is provided to the ICTM Dialogues through the association of Marcia Ostashewski and the Centre for Sound Communities at Cape Breton University, in Nova Scotia, Canada. This way, the videos in the digital publication are available to ICTM members in China, where YouTube has been blocked.

  In collaboration with several members of our international ICTM Dialogues Committee as well as Indigenous community-based researchers, Sooi Beng and Marcia (as co-leads of the team) secured a generous grant from the Social Sciences and Humanities Research Council (SSHRC) of Canada – Connections Program. SSHRC funding provided resources to support the ICTM Dialogues as well as the current digital publication, and for making this publication freely available and widely accessible on the world wide web. The SSHRC grant also supported a larger international program on the theme of decolonizing music and dance studies. The larger program comprised activities and outcomes well beyond the ICTM Dialogues (e.g., workshops and publications on anti-racist pedagogies and disrupting white supremacy in the academy, on tools and strategies to foster collaboration in and the democratization of scholarship and research). The grant enabled our team to employ and fund more than thirty graduate students and emerging scholars. We expressly prioritized support for BIPOC students and scholars, people from communities that have historically been underrepresented in scholarship and academic institutions. The broader SSHRC-funded program resulted in greater inclusion in both ICTM and CSTM, and fostered vital regional and transnational conversations toward decolonizing music and dance studies. All the while, it provided meaningful opportunities for research training and professional development, and expanded professional networks for scholars and students.

  To further foster accessibility to the ICTM Dialogues, the co-editors of the digital publication encouraged video presentations and abstracts in multiple languages. Although some presenters, particularly those in the Global South, faced challenges regarding internet instability, accessibility to technology, and unexpected climate change crises, the ICTM Dialogues videos enabled non-English speaking heritage bearers to voice their opinions in their own languages, and on their own terms.

  Significantly, the hybrid 46th ICTM World Conference held in Lisbon in July 2022 featured papers on decoloniality and alternative means of presentation, and included new types of video and performance presentations (see http://ictmusic.org/ictm2022/programme). Some of the ICTM Study Groups have also begun to hold online sessions on these important topics.

  This digital book publication of the ICTM Dialogues has benefited from the ingenuity, creativity, care, hard work, and assistance of many people. We would like to thank the members of the Committee for the 2021 ICTM Dialogues for their prompt evaluations of proposals, Carlos Yoder (ICTM Secretariat) for video editing and running the Zoom sessions so efficiently, Eric Taylor Gomes Escudero (graduate student) for technical assistance during the ICTM Dialogues sessions and publication process, Silvia Citro and Mayco Santaella for editing Spanish translations, and Shzr Ee Tan for uploading videos on Bilibili (until she was blocked). We also extend thanks to Crystal Chan for the beautiful design and meticulous editing of this digital publication, Elizabeth Edgerton and Humberto Piccoli for publication production assistance, and to Chris Geroux for creating the publication’s ACENET/The Alliance video hosting platform and cloud space. Last but not least, our heartfelt thanks to all the ICTM Dialogues organizers and presenters, and the Indigenous tradition bearers for sharing their rich experiences and knowledge; we could not ask for more.

  References

  Freire, Paulo. 2007. Pedagogy of the Oppressed. London; New York: Continuum.
  Lassiter, Luke Eric. 2021. “Collaborative Ethnography, Trends, Developments and Opportunities.” In Transforming Ethnomusicology (Vol. 1): Methodologies, Institutional Structures and Policies, edited by Beverly Diamond and Salwan El-Shawan Castelo-Branco, 59-72. New York: Oxford University Press.
  Mignolo, Walter D. 2021. The Politics of Decolonial Investigations. Durnham, North Carolina: Duke University Press.
  Smith, Linda Tuhiwai. 2012. Decolonizing Methodologies, Research and Indigenous Peoples. 2nd ed. London: Zed Books and University of Otago Press.
• 1 2022-05-20T07:29:42-07:00 Collaborative Knowledge Production in the Territories of the Southern Cone 26 plain 2022-10-13T18:09:13-07:00 -26.919768557864995, -70.67086354415918 -35.217634765061995, -65.15626187176917

  Organizer

  Jacob Rekedal (Universidad Alberto Hurtado)

  Moderator

  Jacob Rekedal

  Language

  English/Spanish/Qom la’qtac (Toba-Qom)/ Mapudungun (Mapuche)

  Presenters

  Ema Cuañeri (Toba-Qom singer and teacher) and Silvia Citro, Adriana Cerletti, Soledad Torres Agüero, and Adil Podhajcer (Anthropology of Body and Performance Research Team, University of Buenos Aires)
  Nirvana Sinti, Judith López Uruchi, and Adil Podhajcer (The Latin American Network of Sikuris women and dissidences)
  María Mendizabal (Instituto Nacional de Musicología "Carlos Vega")
  Juan Domingo Ñanculef Huaiquinao (Corporación Nacional de Desarrollo Indígena–CONADI)

  Collaborative Knowledge Production in the Territories of the Southern Cone

  In recent decades, collaborative academic works have been produced in Latin America and in the Southern Cone territories of Argentina and Chile, prioritizing Indigenous epistemologies as well as reciprocal values and intercultural micropolitics, in conjunction with critical perspectives on hegemonic Western theorizations. In this ICTM Dialogues session, we present the following topics relevant to decolonization in – and through – ethnomusicology.

  Juan Domingo Ñanculef Huaiquinao: “Ethnographic Writing and Representation Based on Collaboration and Co-authorship.” Due to my status as kimche (bearer of wisdom), zugumachife (spiritual interpreter of the machi, or ritual specialist) and ülkantufe (traditional musician), numerous researchers have contacted me to collaborate in their work, either as an “informant” through interviews, or in other ways such as dialogue. At the same time, I have developed my own career as a researcher, which has led me to publish several works on the Mapuche worldview, within which music is always an important dimension. I will reflect upon my experiences as both informant and researcher in relation to the production of knowledge about the Mapuche people and their music.

  María Mendizabal: “Collaboration, Reciprocity and Applied Research with a Mapuche Community in the Puelmapu Territory.” This presentation addresses the experience of belonging to the Lof Vicente Catrunao Pincen, a community that ascribes itself as Mapuche-gününa küna and is currently undergoing a process of ethnogenesis. The Lof replicates the multiethnic and cross-cultural model of the original community (destroyed in the nineteenth century by a military incursion), integrating people of different ancestries, as in the case of this ethnomusicologist. It is worth clarifying that the author has joined the community not as an ethnomusicologist, but as a tayilme (singer of tayil) and as a lamngem (sister/friend) with multiple roles.

  Anthropology of Body and Performance Research Team, U. Buenos Aires (Silvia Citro, Adriana Cerletti, Soledad Torres Agüero, Adil Podhajcer and Ema Cuañeri, Toba-Qom singer and teacher): “Two Long-term, Collaborative Research Projects with the Toba People of the Argentine Chaco, and with the Latin American Network of Andean Women Musicians.” These projects began with fieldwork documentation, transcription and analysis; subsequent stages have included collaborative, interdisciplinary research with Ema Cuañeri and other Toba collaborators, and with Andean women performers Nirvana Sinti and Judith López Uruchi, among others. The projects feature participatory, multimedia, and multi-genre workshops, and participatory production of videos, books, and CDs in a context of increasing multiculturalist ideologies and cultural heritage policies. We address each of these in stages of research in turn and, finally, outline an experimental process of artistic co-creation in a context of critical interculturality and decolonial questioning of scholarly knowledge.

  La Producción Colaborativa de Conocimientos en los Territorios del Cono Sur

  En las últimas décadas, se han venido produciendo en América Latina y en los territorios del Cono Sur de Argentina y Chile, trabajos académicos colaborativos, que retoman y revalorizan las epistemes indígenas, así como sus valores reciprocitarios y una micropolítica intercultural, en conjunto con abordajes críticos hacia las teorizaciones occidentales hegemónicas. Expondremos los siguientes temas relevantes a la descolonización en -y mediante- la etnomusicología.

  Juan Domingo Ñanculef Huaiquinao: “Prácticas de escritura y representación etnográficas basadas en la colaboración y la coautoría”. Por mi condición de kimche (sabio mapuche), zugumachife (intérprete espiritual de la machi, o especialista ritual) y ülkantufe (músico tradicional), varios investigadores me han contactado para colaborar en sus investigaciones, ya sea como “informante”, a través de entrevistas u otros modos de interlocución. Al mismo tiempo, he desarrollado mi propia carrera como investigador, lo que me ha llevado a publicar varios trabajos sobre cosmovisión mapuche, dentro de los cuales la música es siempre una dimensión importante. Compartiré algunas reflexiones sobre mis experiencias tanto como informante e investigador en relación con la producción de conocimiento sobre el pueblo mapuche y su música.

  María Mendizabal: “Colaboración, reciprocidad e investigación aplicada con una comunidad mapuche en el territorio de Puelmapu”. La exposición aborda la experiencia de pertenecer al Lof Vicente Catrunao Pincen, una comunidad que se autoadscribe como mapuche-gününa küna y que actualmente está en un proceso de etnogénesis. El lof replica el modelo multiétnico y transcultural de la comunidad originaria que fue destruida en el siglo XIX por el ejército, integrando personas de diversas ascendencias, como es el caso de esta etnomusicóloga. Vale aclarar que la autora se ha incorporado a la comunidad no como etnomusicóloga, sino como tayilme (cantante de tayil) y como lamngem (hermana/amiga) con múltiples roles.

  Equipo de Antropología del Cuerpo y la Performance, Universidad de Buenos Aires (Silvia Citro, Adriana Cerletti, Soledad Torres Agüero, Adil Podhajcer) y Ema Cuañeri (cantante y maestra toba-qom): “Dos proyectos de investigación colaborativa de largo plazo con el pueblo toba del Chaco argentino y con la Red Latinoamericana de Mujeres Músicas Andinas”. Estos proyectos comenzaron con la documentación, transcripción y análisis en base al trabajo de campo, y las etapas subsiguientes han incluido una investigación colaborativa e interdisciplinaria con Ema Cuañeri y otras colaboradoras toba, y con las intérpretes mujeres andinas Nirvana Sinti y Judith López Uruchi, entre otras. Los proyectos incluyen talleres participativos, multimedia y multigénero, y la producción colaborativa de videos, libros y CD, en un contexto de crecientes ideologías multiculturalistas y políticas de patrimonio cultural. Finalmente, esbozamos un proceso experimental de co-creación artística, en un contexto de interculturalidad crítica y cuestionamiento de(s)colonial del saber académico.  

  

  Reflections

  In addition to the research and topic-specific reflections in the presentations, it is worth noting that four new members joined ICTM as a result of this panel. This growth in membership is intricately linked, in our view, with the purpose of ICTM Dialogues, which is nothing less than a move in the direction of the decolonization of music and dance studies. We invited participation by people not directly involved in ICTM, people who are important culture bearers as well as researchers in their own right. Recently established ICTM membership protocols facilitated their welcome as new members of ICTM. Hence, the topics covered in the panel dealt with decolonial theory and collaborative research, representing long-term research projects already well under way – and the panel itself was, in a real sense, a practical extension of the principles grounding the projects presented.

   
  

  Questions to Consider

  How can we generate research, research-creation and dissemination processes based on collaboration with and about the music and dance of the Indigenous peoples of the Southern Cone? Can reciprocity, as an ethical-political principal characteristic of these peoples, also become an epistemological and methodological principle capable of guiding these collaborative processes?

  What are the guiding premises of an epistemological and ethical-political decolonizing paradigm of intercultural exchange? What limitations and what contributions do these paradigms have in our current geopolitical context of ethnic demands – and also of exoticizations and essentialisms that respond to multiculturalist policies?

  How can the historical archives and contemporary creations of Indigenous music and dance be articulated? Is the logic of montage a feasible way to generate research and research-creation processes that are more respectful of this diversity of materials and, above all, a feasible way to avoid subsuming them to the hegemonic epistemological and aesthetic logics of modernity-coloniality?

  To what extent can the study of Indigenous music contribute to a political engagement between academic knowledge and the traditions of Indigenous peoples and their cultural worlds? In this sense, what are the magnitude and potential of dissident music, born within the discord of modernity-coloniality, to co-create emancipatory knowledge?

  What are the values of Latin American feminisms that are capable of promoting intercultural actions - actions that create other possible modes of sociability and communitarianism and, in turn, tackle mercantilism and cultural and material extractivism?
  

   
  

  Further References

  Citro, Silvia, coord. 2016. Memorias, Músicas, Danzas y Juegos de los Qom de Formosa [Memories, music, dances and games of the Qom from Formosa]. Buenos Aires: Universidad de Buenos Aires. Collaborators: Ema Cuañeri, Romualdo Diarte, Mariana Gómez, Lucrecia Greco, Amanda García, Ramón González, Gerson Ortiz, Paula y Rafael Ortiz, Alejandra Quiroga e Isabel Salomón, Soledad Torres Agüero.
  Citro, Silvia and Soledad Torres Agüero. 2015. “Las Músicas Amerindias del Chaco Argentino: Entre la Hibridación y la Exotización” [The Amerindian Music of the Argentine Chaco: Between Hybridization and Exoticization]. Journal de la Société des Américanistes 101 (1-2): 203-230.
  Citro, Silvia and Adriana Cerletti. 2009. “‘Aboriginal Dances Were Always in Rings’: Music and Dance as a Sign of Identity in the Argentine Chaco.” Yearbook for Traditional Music 41: 138–165.
  Martínez Sarasola, Carlos. 2012. “Pueblos Originarios, Procesos de Reetnización y Reconstrucciones Comunitarias: El caso de la comunidad günün ä küna-mapuche Vicente Catrunao Pincén en las Pampas Argentinas”. [Native Peoples, Reethnization Processes and Community Reconstructions: The Case of the Günün ä Küna-Mapuche Community Vicente Catrunao Pincén in the Argentine Pampas]. Diversidad 4(2): 57-81.
  Mendizabal, María. 1994. “Aproximación al Canto Ritual Mapuche” [Approach to the Mapuche Ritual Song]. In Junta de Hermanos de Sangre, Pereda, I. y Perrotta, E. Buenos Aires: 142-153.
  Podhajcer, Adil. (2011). “El Diálogo Musical Andino: Emoción y Creencias en la Creatividad de Conjuntos de ‘Música Andina’ de Buenos Aires (Argentina) y Puno (Perú)” [Andean Musical Eialogue: Emotion and Beliefs in the Creativity of 'Andean Music' Ensembles from Buenos Aires (Argentina) and Puno (Peru)]. Latin American Music Review / Revista de Música Latinoamericana 32 (2): 269–293.
  ———. (2021). “Experiencias Sonoro-Colaborativas En Red. El III Congreso Internacional de Sikuris en Buenos Aires y los Compromisos Micropolíticos en la Modernidad/Colonialidad” [Online collaborative sound experiences. The III International Congress of Sikuris in Buenos Aires and the Micropolitical Commitments in Modernity/Coloniality]. Revista Mundo Sikuri :118-132.
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