Join a Conversation

We propose a series of ‘Conversations’ designed to generate new approaches to the most significant and complex problems this cultural heritage faces today. The aim is to influence traditional behaviours – aspects of the world that are suboptimal, or out of tune with contemporary values. Like women being allowed to compete: anything about pibroch we’d like to progress from being unimaginable, to controversial, to normal. This concerns establishments, systems, and cultures all over the world.

Each Conversation could have a convenor responsible for the effectiveness of a team. Collectively, they would be charged with:

  • bringing together multiple perspectives and technical expertise (interdisciplinarity)
  • channelling the insights and creativity of a broad constituency, all voices at the table, all of them heard (equity, diversity & inclusion)
  • sharing findings through videos, infographics, web pages, and public meetings (impact)

Conversations could serve the public by connecting researchers with decision makers; by identifying what is worth changing and why; and by figuring out the wisest way to change the world for the better. Practical baby steps.

Three pibroch Conversations come to mind. All are about gathering, sharing, and developing practices that are uplifting; growing what is good; encouraging high-quality research and innovation.

 

Singing 

How do children, young people and adults learn pibroch? What are teachers doing in school classrooms, in small groups, and in 1:1 lessons? How could we cultivate the art of singing pipe music to widen access and foster deeper musical understanding? 

 

Performing

What are performers doing for themselves, for family and friends, for schoolchildren, for local communities, for piping qualifications, for pibroch adjudicators, and for audiences in concert halls? What are the existing contexts and functions of pibroch today? How could this sector be uplifted?

 

Composing

What are composers doing for solo pipers, for other solo instruments, for ensembles including one or more Great Highland Bagpipe, and for ensembles without pipes? What is being composed for different ages, styles, cultures, and levels of expertise? How are composers being rewarded? How could this sector be uplifted?

If you are interested in joining or leading a Conversation, please contact barnaby@pibroch.net.

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