“I’ve been reading Kwame Anthony Appiah’s classic text Cosmopolitanism – Ethics in a World of Strangers. Have you come across it in your travels?”
I Google it and reply, “I am always wary of that ‘citizen of the world’ stance as it is often used by those ‘colour blind’ folk, but this looks like a really good read.”
“He’s definitely not suggesting the homogenisation of cultures into some bland, beige common expression … cue some of that cafe friendly funky ‘world muzak’ ;-)”
The above is from a recent email exchange I had with percussionist, composer, producer, musical director and friend, Peter Kennard. Peter is a bit of a pioneer in the Australian “world music” (not “muzak”) scene, having travelled widely to study non-Western musics extensively and having, over the past three decades, played with the likes of Lulo Reinhardt, Kim Sanders and Bobby Singh, as well as in various ensembles including Sirocco, Heval, and currently, Equus.
His initial email (a response to something I’d written recently about cultural competence as a necessary skill in artistic collaboration and exchange) inspired an offshoot conversation about working cross-culturally in music. I wanted a better view into Peter’s extensive experience in this area. Curious to know more about the motivations, processes and challenges contained within these collaborations between musicians who bring differing senses of identity and different musical heritages together to create something jointly from often seemingly disparate parts, I sent Peter some questions specific to his current experience of creating and performing with Equus. He responded generously: