This article delves into the impact of colonial attitudes on musicology and museology, highlighting the marginalisation of non-Western musical practices and indigenous knowledge. It discusses how the colonial legacy perpetuated inequalities, silencing diverse voices and deeming certain forms of knowledge as inferior. The text emphasises the need to challenge these lingering colonial attitudes and embrace a more inclusive approach in the fields of musicology and museology.
Furthermore, it explores the work of John Cage, particularly his use of silence as a provocative element in music, shedding light on the significance of everyday sounds and their potential musicality. The article also analyses Youmna Saba’s exhibition, which focuses on the persistence of sounds within museum objects, advocating for the recognition of the lives and stories behind these artefacts.
The discussion extends to the evolving perspectives in musicology, with a critique of the traditional division between insider and outsider perspectives. It calls for a dissolution of these distinctions in a more pluralistic and fluid society. The text also touches on the importance of decolonial thinking in reshaping the narrative around music and knowledge production.
In conclusion, the article advocates for transforming imposed silence into meaningful dialogue, creating spaces for listening, speaking, and challenging colonial legacies. It underscores the necessity of embracing diversity, inclusivity, and decolonisation in musicology and museology to foster a more equitable and respectful representation of musical practices and knowledge systems worldwide.
