Reverse Ethnomusicology: Migrant Musicians As Researchers

The starting point of the research project is the hypothesis that migrant musicians automatically study musical worlds that are (partially) foreign to them when they arrive in a new place. In order to find their (musical) place in their new surroundings and potentially gain a foothold, they have to ask similar questions as ethnomusicologists do in field research: What musics are there? Where are they played? Who are the central figures in the musical field? For whom is the music performed? Which music -related events take place (regularly)? How do musicians and the audience (re)act at concerts? The musicians thus develop a relevant knowledge about musics, institutions and networks in Austria and interpret it based on their previous experiences in musical contexts. This project centers and reframes migrant musicians as knowledge producers about musics in Austria, and makes their perspectives visible and accessible, which are otherwise hardly considered or ignored. While it is commonly music researchers from a privileged position who research music that is (partially) unknown to them (and thereby othering it), this project reverses the previously dominant perspective situationally and asks: How do musicians observe and interpret musical practices in Austria after their arrival? Six musician-researchers who have migrated to Austria in the last three to eight years and would like to continue their musical practice here collaborate in this project with four academic researchers (principal investigators, post-doc researcher, student assistant). The musician-researchers engage in structured research with a self-selected musical practice in Austria, which is "foreign" or "different" to them in specific aspects, or entirely. In the course of several workshops, the team develops research questions, reflects on methodological questions, discusses results, and develops strategies to make the work visible to others, within the team and beyond. In the project, the role of the ethnomusicologists is expanded and redefined in that they do not act as the sole producers of knowledge, but rather as facilitators of knowledge production in the sense of an engaged pedagogy. In addition, the research method of citizen music ethnography is tried out, in that people do research whose knowledge formation is not otherwise framed as "science" (citizen science). Hence, Reverse Ethnomusicology tests new methodological approaches and questions the common power relations in scientific knowledge production.

The research project "Reverse Ethnomusicology: Migrant Musicians as Researchers" originated from observations during ethnomusicological fieldwork in Vienna and discussions about decentering knowledge production in ethnomusicology and migration studies. Its central hypothesis was that migrant musicians inherently engage in a type of ethnographic research as they navigate unfamiliar music spaces. These musicians are not only "knowledge bearers" of the music they practice but also active producers of knowledge about music practices, institutions, and networks in their new environment-knowledge that is often overlooked. This raised the question: How do these musicians observe and interpret musical practices in Austria? The project created a space where musicians could articulate and deepen their insights. The team included five musician-researchers who had migrated to Austria between 2016 and 2020, building or continuing their musical practice, alongside three to four formally trained researchers, primarily the two principal investigators and two student assistants. There were two main goals. First, the project sought to validate and facilitate the knowledge production of these musicians. Each musician-researcher developed a self-selected research project focused on a specific music sphere in Austria. Second, the project aimed to expand approaches to knowledge production. While ethnomusicologists offered guidance, the musician-researchers retained control over their research questions and methods. This framework drew from applied and engaged ethnomusicology, as well as bell hooks' concept of engaged pedagogy. The project operated on two levels: the individual musician-researchers' projects and a "meta-level" of reflection and adaptation. This approach was supported by weekly team meetings, seven joint workshops, and numerous group and individual meetings. This created spaces to reflect on processes and findings and develop strategies for sharing the work with wider audiences, and to address challenges and advanced research approaches; mentors were included for additional expertise (e.g., quantitative research, festival organization, song writing). The musician-researchers were compensated for their 19 months of work. During the project, we critically examined power dynamics, socio-economic factors, and individual situations, acknowledging the existence of value hierarchies and the risk of Othering. These issues, related to migration, racialization, class, and judgments of musical expertise, were addressed in meetings and post-project interviews. Some friction arose around methodological decision-making. The project expanded roles in ethnomusicology and experimented with the boundaries of ethnographic methodologies, and engaged with the notion citizen music research, where people produce knowledge outside academic frameworks. It's approaches were well documented and are being evaluated for future application. Ultimately, the project highlights the importance of care and funding in facilitating collaborative and experimental research.