Question: Why the title - Eastern Rebellion?

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Answer: For me, the title “Eastern Rebellion” holds many meanings, if you ignore the direct translation as “rebel from the east”. The first thing I think of is a more personalised translation, which points to one who is in opposition against the established western understanding of something eastern. The need to use this title came during the research period when I felt that the western interest in gamelan was mainly too focused and detailed on the academic view of gamelan. I felt that it was expected that the research should include "this" and "that" and "it" in my project to be a contribution to the field. (It is possible that I had partly made these expectations and dogmas myself)

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The "expectations" I felt from the academic, became dogmas during the fellowship period, which to me felt artistically limiting. For the writing of my application for the PhD in artistic research, I made all these rules for the project. This was in the beginning of my research, limiting my actual artistic work. Even though the seminar holders related to the mandatory part, told you to “throw away the application and start from scratch”, I made my first presentation of my research before actually starting my research. This presentation was based on my application. My first project, "Basement Sessions" was made with this in mind. All the compositions have some concept from the gamelan tradition, this to show; "I know about tradition". On the other hand, I am pleased with the result and see that this more traditional adaptation gave the project a unique dimension, where I could point to these concepts and traditions. What and how I do my work is, of course, an essential part, as the research must be transparent. Still, after this first project, I felt an urge to break out of expectations about tradition and concepts. Are there other ways to do this? It is a question I believe I have given a positive answer to through my artistic research projects.

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On the other hand, there is the more ordinary “tourist” based view on Bali and the Balinese culture, which is based on how Bali is “sold” as a tourist goal. The Balinese people adjust to this economic source, both in art and life in general. In this view, there are several challenging aspects, phenomena like cultural appropriation. I think, because of this, a lot of more easily accessible western-based multicultural music has its source.  This is not just for the Balinese gamelan, but how we in the west treat other cultures' (music) as well.

 

Another reference to "Eastern Rebellion" is that it was the name of a jazz quartet I listened to in my teens, which consisted of Billy Higgins drums, Cedar Walton piano, Sam Jones bass and George Coleman saxophone. Despite the name, the band's expression had no obvious references to Eastern music. Their music can be described as mainstream swing/bop music and was recorded in 1975. Regardless of the jazz quartet "Eastern Rebellion’s” musical expression, this reference points to the fact that my research has an affinity for the jazz tradition, and this affinity for the jazz tradition leads to my background as a musician.

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Question: You have previously said: “I see no dilemma in using inspiration from this tradition and the use of instruments from this culture in my context”. Is it so?

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Answer: That's right, and I think I need to nuance my answer. Is working with inspiration from cultures that are non-western neutral, positive or negative? I think of it as positive, where it is an act to try to understand something and then use this understanding to create something new based on your knowledge about this other culture. I have tried to show how my work is in a western tradition of how we in the west traditionally have worked with inspiration from the east. Also important is my study of gamelan and how I, through this knowledge, have established what I like to think of as an understanding of what is right and what is wrong. To investigate this more, I have tried to understand what is meant by definitions like “Cultural appropriation”, “orientalism” and “exoticism”. But before we discuss this more thoroughly, I think it's essential that you listen to and read about the different musical products I have made through this artistic research. The text in part two is my artistic reflection on my artistic production. This way, you will get a fuller understanding of what my work is all about.

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Question: Can you tell me about the working process in your research?

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Answer: What are the expectations regarding artistic research? The faculty where I am employed says the following about artistic research:

"The artistic research must consist of an artistic result as well as material that documents critical reflection. The artistic research must be an independent work that meets international standards regarding the level and ethical requirements within the subject area. The artistic research must be at a level that contributes to the development of new knowledge, insight and experience within the subject area". (1)

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With the definition of artistic research in mind and the context of my project, I have worked very purposefully towards developing artistic musical products. In my work, these products can be physical in different forms, like records, video and scores of the music. My process has revolved around a search for what I think is artistical of as high quality as possible, but always with the context as a guideline. What I consider to be of high quality is based on my aesthetics. To achieve this, I did intensive trying, practising, reading and updating my knowledge about gamelan. I have followed what I consider as “the good music”, and left the musical path that didn´t hold the quality I wanted. That is my method. This method is based on my musical development, which is something I have done since I started performing and making music. Making and sharing a reflection like this is for me what separates my earlier artistic work from this PhD in artistic research about my art. 

 

This is in line with what Henk Borgdorff talks about in his article “Artistic research within the fields of science”(2009)(2). Here it is to produce painting, compositions, films, concerts and experiences that are at the centre, and not necessarily the systematic process and the knowledge process that is the driving force for research. Such process knowledge about the artistic work may appear as a by-product but is rarely the driving force from the start. As an artist, you do not necessarily want a clearly defined research question that sets the framework for what and how to find out something, rather you have a desire to find out what you CAN find, based on your natural premise to develop an art product on. This makes research on your own art personal, and the methods used to create an art product are based on a process you always will used to create art.

Borgdorff also mentions, in the article "The debate on research in the arts" (2006)(3), artistic research as divided into three directions: research on art, research for art and research in art.

Research on and for the art are processes where the researcher is mainly an external actor, or an actor to investigate a defined area. In contrast, research in art, it is the researcher's activity as an actor that is at the centre. In this way, this research is personal and based on the knowledge the actor has acquired through his work. There are no waterproof distinctions between these directions, for the researcher in the arts is involved in research on something and often with someone. Still, the most important thing is your perspectives and reflection on your practice and development.

 

For me, this is the very essence of artistic research and something I can identify myself to. The aim of many artists is the results, and therefore my research is product-oriented. The result reflect your aesthetic and artistic taste, which cannot always be translated into words. In my research project, I add an element that can make the project more academically evaluable: - an introduction of inspiration and musical elements from the gamelan music, in collaboration with my aesthetics and background as a musician and composer. In this way, I can point out what the inspirations do with the musical results. This can be extracted and analysed as a sonic element in the form of instruments, musical concepts and more philosophical aspects that emerge in the artistic products.

 

Question: How has this become prominent when working on the different parts of your project?

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Answer: The processes are different for the various sub-projects. In the first project, "Basement Sessions", the problem question was: Can I create fusion music between gamelan and sixties modal jazz?  The process was then to find common elements, such as scales and rhythmical systems and further to compose music for the western instrument and the gamelan instrument included in this project.  My goal was, through this mentioned process and compositions, to create a musical framework where both styles of music became important.

 

For the second project, "Mantra", the process had changed to a more academic approach. Here, the starting point was the research question: - how can I, as a performer, help a composer; ellen Lindquist, to make a work for gamelan and Sinfonietta. This question also involves introducing Ellen into the soundscape of the gamelan instruments, which again includes playing technique and this music´s tradition. The process and research were how this was done. This was done through various experiments. Initially, I showcased the instruments, explained traditional ways of playing, and through solo improvisations showed a more personal and modern approach. This led to new attempts in duet improvisations with various western instruments. For the last attempts, Ellen had thought more specifically about what she wanted to explore further, and now in ensemble improvisations. Here we worked, among other things, with overtones and how to blend the instruments of the different cultures. Ellen then worked on input from these experiments, which formed the framework for the composition.

 

When searching the internet for similar research models where different tests solve a problem, and these tests affect the problem, I came across several models in the field of action research that had similarities. Based on the model from this webpage (model), I made a new model that fitted my research:

The model looks like this: