EMPOWERING THE ABC ISLANDS’ MUSICAL ECOSYSTEMS: THE ROLE OF PLATFORMS IN SUSTAINABILITY
Angelo Werleman
02/04/2025
This paper was written as my final assignment for the Musical Ecosystems course.
In it, I explore traditional and innovative musicking practices of the ABC islands (Aruba, Bonaire, and Curaçao) through a mini research project that combines personal reflection with academic inquiry. Drawing from lived experience, the Five Domain Framework of sustainability, and insights from the community, I analyze how platforms can contribute to the preservation and evolution of these cultural ecosystems.
INTRODUCTION
I am writing this introduction as I sit in the living room of my childhood home in Aruba. I’ve got two fans blowing at full speed as I am sweating and realizing that this paper will be somewhat more reflexive, poetic and personal than I anticipated. I grew up in San Nicolas, the southside of the island. Or as we call it, “Chocolate city” or “Pariba di brug”, meaning “on the upper side of the bridge” in english. I arrived 3 days ago from the rainy and cold Netherlands. I left home to study abroad in 2021, as one usually does after graduating highschool. In the last three years my interest towards my own culture has grown immensely. Maybe it is the distance, or perhaps homesickness but a huge part of it is my current education in the realm of the humanities, a degree in Media and Culture at the University of Amsterdam to be exact. Moreover, it is the culmination of my lived experiences as an Aruban living in the west and the hypocrisy of learning about how “bad” the west has been to the rest through a European institution that I’ve got the privilege to study at. This privilege I talk about is the fact that I am Dutch on paper. I get a low tuition fee, I have access to DUO, free transportation and a whole lot of resources to pursue my creative endeavours. It’s the latter that really sold me the idea of privilege, the resources. I’m not only talking about the material when I speak of resources, but most importantly the access to communities and (sub)cultures, funding, and, paradoxically, the individualistic lifestyle fostered by neoliberal societies in the west. These aspects of living in the Netherlands have played a part in my growth as a person and as a creative.
As I've already mentioned, my interest in my own culture has been what has changed the most about me. As a child I did not appreciate the various aspects of what we label “Aruban” or “Antillean” Culture. Primarily the art and music culture. I would always cringe when listening to music in Papiamento if it was not rap adjacent and I did not enjoy partaking in cultural events. But why? This is something I am still dissecting as I get to explore more of my identity at twenty two years old. However, I am certain that this is linked to the concept of internalized cultural inferiority. A concept used by many postcolonial scholars such as Frans Fanon. In his works like Black Skin, White Masks (1952), Fanon explores how colonialism instills a sense of inferiority in colonized people, particularly in relation to their cultural practices and identities. This feeling of cultural inferiority is often a byproduct of the colonial encounter, where the colonized are made to feel that their traditions, languages, and ways of life are lesser compared to the dominant, colonizing cultures. Thus a by product of globalization and most importantly, a remnant of our colonial past. Through my journey of self discovery I am rapidly moving towards reclaiming my culture through my art and academic endeavours. This paper is one of these endeavours. In this essay I will be exploring and analyzing the musical ecosystem of traditional musicking practices on the ABC islands (Aruba, Bonaire, and Curaçao), with the goal of overviewing the current state of this ecosystem but most importantly figuring out how I can contribute to the ecosystem.
This introduction is divided into three sections: the current reflection, an exploration of my vision for a platform I founded in 2018 (“My Vision UNOBSTRUCTED”), and a brief overview of the history of the ABC islands. Following this, I will outline my research questions, the analytical framework, the methodology, and my analysis of the ecosystem through the responses from a survey.
While my initial goal was to conduct comprehensive research on the musical ecosystems of the ABC islands, the process uncovered unexpected challenges. A key turning point was the limited response to the survey I distributed. Despite being sent to a community group chat of around 90 producers, artists, and music-makers from the ABC islands including several prominent names in the industry, nobody participated nor reacted. This highlighted a lack of active interest in the topic within the group. All responses I did end up receiving came from individuals from my own network that engaged with the topics in their current art or academic fields and that currently lived abroad, thus highlighting an important theme: the role of diasporic communities in reclaiming and preserving culture when living outside their homeland. This shift in engagement shaped the direction of my research, emphasizing the diasporic perspective and its influence on cultural sustainability. Furthemore, I intend to use this small scale research as a starting point for further endeavors surrounding the topic of sustaining ecosystems.
I am writing this introduction as I sit in the living room of my childhood home in Aruba. I’ve got two fans blowing at full speed as I am sweating and realizing that this paper will be somewhat more reflexive, poetic and personal than I anticipated. I grew up in San Nicolas, the southside of the island. Or as we call it, “Chocolate city” or “Pariba di brug”, meaning “on the upper side of the bridge” in english. I arrived 3 days ago from the rainy and cold Netherlands. I left home to study abroad in 2021, as one usually does after graduating highschool. In the last three years my interest towards my own culture has grown immensely. Maybe it is the distance, or perhaps homesickness but a huge part of it is my current education in the realm of the humanities, a degree in Media and Culture at the University of Amsterdam to be exact. Moreover, it is the culmination of my lived experiences as an Aruban living in the west and the hypocrisy of learning about how “bad” the west has been to the rest through a European institution that I’ve got the privilege to study at. This privilege I talk about is the fact that I am Dutch on paper. I get a low tuition fee, I have access to DUO, free transportation and a whole lot of resources to pursue my creative endeavours. It’s the latter that really sold me the idea of privilege, the resources. I’m not only talking about the material when I speak of resources, but most importantly the access to communities and (sub)cultures, funding, and, paradoxically, the individualistic lifestyle fostered by neoliberal societies in the west. These aspects of living in the Netherlands have played a part in my growth as a person and as a creative.
As I've already mentioned, my interest in my own culture has been what has changed the most about me. As a child I did not appreciate the various aspects of what we label “Aruban” or “Antillean” Culture. Primarily the art and music culture. I would always cringe when listening to music in Papiamento if it was not rap adjacent and I did not enjoy partaking in cultural events. But why? This is something I am still dissecting as I get to explore more of my identity at twenty two years old. However, I am certain that this is linked to the concept of internalized cultural inferiority. A concept used by many postcolonial scholars such as Frans Fanon. In his works like Black Skin, White Masks (1952), Fanon explores how colonialism instills a sense of inferiority in colonized people, particularly in relation to their cultural practices and identities. This feeling of cultural inferiority is often a byproduct of the colonial encounter, where the colonized are made to feel that their traditions, languages, and ways of life are lesser compared to the dominant, colonizing cultures. Thus a by product of globalization and most importantly, a remnant of our colonial past. Through my journey of self discovery I am rapidly moving towards reclaiming my culture through my art and academic endeavours. This paper is one of these endeavours. In this essay I will be exploring and analyzing the musical ecosystem of traditional musicking practices on the ABC islands (Aruba, Bonaire, and Curaçao), with the goal of overviewing the current state of this ecosystem but most importantly figuring out how I can contribute to the ecosystem.
This introduction is divided into three sections: the current reflection, an exploration of my vision for a platform I founded in 2018 (“My Vision UNOBSTRUCTED”), and a brief overview of the history of the ABC islands. Following this, I will outline my research questions, the analytical framework, the methodology, and my analysis of the ecosystem through the responses from a survey.
While my initial goal was to conduct comprehensive research on the musical ecosystems of the ABC islands, the process uncovered unexpected challenges. A key turning point was the limited response to the survey I distributed. Despite being sent to a community group chat of around 90 producers, artists, and music-makers from the ABC islands including several prominent names in the industry, nobody participated nor reacted. This highlighted a lack of active interest in the topic within the group. All responses I did end up receiving came from individuals from my own network that engaged with the topics in their current art or academic fields and that currently lived abroad, thus highlighting an important theme: the role of diasporic communities in reclaiming and preserving culture when living outside their homeland. This shift in engagement shaped the direction of my research, emphasizing the diasporic perspective and its influence on cultural sustainability. Furthemore, I intend to use this small scale research as a starting point for further endeavors surrounding the topic of sustaining ecosystems.
UNOBSTRUCTED
The concept behind UNOBSTRUCTED has been an ever-evolving journey, deeply tied to my personal and creative growth. It began back in 2018, when the idea of creating my own clothing brand first took shape, a familiar ambition for many young creatives navigating the expansive possibilities of the internet in our times. Initially named “UNOBSTRUCT,” the project embodied the vision of serving as an unstoppable beacon of self-expression amidst all the noise (READ MANIFESTO HERE). Much of this vision was inspired by my exposure to artists and collectives that are fuelled by the internet culture they inhabited, a world where art, music, culture, and fashion seamlessly intersected. Immersing myself in these internet ecosystems sparked a genuine desire to do the same as I have started realizing how talented and creative my closest friends were, but there were no outlets or platforms to showcase our creations. Yet as I started reflecting on the artistic potential of my friends and community back in Aruba, I couldn’t help but notice this gap. There was no definite platform where my peers let alone for the next generation of Aruban creatives to share and celebrate their work. There may have been initiatives or zines in existence, but they weren’t visible or accessible to us at the time.
It was out of this need that UNOBSTRUCTED was born. Currently, UNOBSTRUCTED serves as a label behind the creative works of my friends and myself. However, the ultimate vision is to transform it into a multifaceted platform, one that includes resources, databases, articles, and, most importantly, a place to preserve, highlight, and innovate on different cultural ecosystems. In particular, I see platforms like UNOBSTRUCTED as a tool to bridge traditional and contemporary artistic practices, especially those connected to Caribbean culture. Through platforms like UNOBSTRUCTED, I hope to contribute to the preservation and evolution of these ecosystems, offering space for voices that celebrate and challenge cultural legacies.
This vision for UNOBSTRUCTED is not just about personal expression but also about contributing to a larger cultural ecosystem. In this paper, I will consider how platforms like UNOBSTRUCTED can play a role in supporting and evolving the traditional musicking practices that form the foundation of our cultural identity. The role of cultural platforms in the digital age cannot be underestimated.
The concept behind UNOBSTRUCTED has been an ever-evolving journey, deeply tied to my personal and creative growth. It began back in 2018, when the idea of creating my own clothing brand first took shape, a familiar ambition for many young creatives navigating the expansive possibilities of the internet in our times. Initially named “UNOBSTRUCT,” the project embodied the vision of serving as an unstoppable beacon of self-expression amidst all the noise (READ MANIFESTO HERE). Much of this vision was inspired by my exposure to artists and collectives that are fuelled by the internet culture they inhabited, a world where art, music, culture, and fashion seamlessly intersected. Immersing myself in these internet ecosystems sparked a genuine desire to do the same as I have started realizing how talented and creative my closest friends were, but there were no outlets or platforms to showcase our creations. Yet as I started reflecting on the artistic potential of my friends and community back in Aruba, I couldn’t help but notice this gap. There was no definite platform where my peers let alone for the next generation of Aruban creatives to share and celebrate their work. There may have been initiatives or zines in existence, but they weren’t visible or accessible to us at the time.
It was out of this need that UNOBSTRUCTED was born. Currently, UNOBSTRUCTED serves as a label behind the creative works of my friends and myself. However, the ultimate vision is to transform it into a multifaceted platform, one that includes resources, databases, articles, and, most importantly, a place to preserve, highlight, and innovate on different cultural ecosystems. In particular, I see platforms like UNOBSTRUCTED as a tool to bridge traditional and contemporary artistic practices, especially those connected to Caribbean culture. Through platforms like UNOBSTRUCTED, I hope to contribute to the preservation and evolution of these ecosystems, offering space for voices that celebrate and challenge cultural legacies.
This vision for UNOBSTRUCTED is not just about personal expression but also about contributing to a larger cultural ecosystem. In this paper, I will consider how platforms like UNOBSTRUCTED can play a role in supporting and evolving the traditional musicking practices that form the foundation of our cultural identity. The role of cultural platforms in the digital age cannot be underestimated.
Musical Ecosystems of the ABC
Historical overview of the ABC islands
The ABC islands which consist of Aruba, Bonaire, and Curaçao are located in the southern Caribbean sea, off the coast of Venezuela. The history of these islands are deeply rooted in their indigenous, colonial, and post-colonial pasts and presents. The history will be divided in six sections or eras which are: Pre-Colonial, Spanish period, Dutch colonization, 19th century, Oil Boom, and finally, the contemporary era. While this division may oversimplify the complexity of these periods, it is intended to highlight the most important and relevant developments, particularly in relation to the musical traditions and styles that these eras brought to the islands. Each era will include a summary of its historical context and the music it introduced or evolved, presented concisely in a table format.
Historical overview of the ABC islands
The ABC islands which consist of Aruba, Bonaire, and Curaçao are located in the southern Caribbean sea, off the coast of Venezuela. The history of these islands are deeply rooted in their indigenous, colonial, and post-colonial pasts and presents. The history will be divided in six sections or eras which are: Pre-Colonial, Spanish period, Dutch colonization, 19th century, Oil Boom, and finally, the contemporary era. While this division may oversimplify the complexity of these periods, it is intended to highlight the most important and relevant developments, particularly in relation to the musical traditions and styles that these eras brought to the islands. Each era will include a summary of its historical context and the music it introduced or evolved, presented concisely in a table format.
Pre-Colonial (Pre-1499)
The ABC islands were inhabited by the Arawak peoples, specifically the Caquetio subgroup. Their culture was deeply connected to nature and spirituality. Indigenous drumming, flutes, and rattles were integral to rituals, storytelling, and communal activities, reflecting their spiritual and cultural traditions.
Spanish Period (1499–1636)
The Spanish arrived and colonized the islands, bringing Christianity and European cultural influences. This period saw the displacement and assimilation of Indigenous communities. Catholic hymns and Spanish folk melodies were introduced, often adapted by Indigenous and African communities, blending European and local influences.
Dutch Colonization (1636–19th century)
The Dutch took control of the islands, leading to the transatlantic slave trade and the introduction of African cultures. The islands became a melting pot of African, European, and Indigenous influences. African drumming traditions influenced the development of Tambú and Seú, while European styles like waltzes were adopted and adapted, reflecting colonial life.
19th Century (1800s–1900s)
With the abolition of slavery in 1863, Afro-Caribbean communities began to assert their cultural identity more openly. European cultural elements continued to merge with African traditions. Tumba, polkas, mazurkas, and the use of the caha di orgel (tingilingi-box) emerged, reflecting this era’s hybridity.
Oil Boom (1920s–1960s)
The oil industry brought significant economic change and exposure to global influences, including Caribbean migration. This period was marked by urbanization and modernization. Influences from Trinidad and other Caribbean islands introduced calypso, steelpan, and modernized versions of tumba.
Contemporary (1960s–Present)
The contemporary era on the ABC islands has been shaped by significant social, political, and economic transformations. Following the post-colonial period, the islands saw increased urbanization, with modern infrastructure and the rise of tourism as key economic drivers. The current period brought a renewed focus on identity and heritage as the islands sought to assert their autonomy within the Dutch Kingdom. Culturally, the contemporary period has seen a blending of tradition with global influences. While maintaining a connection to their Indigenous, African, and European roots, the islands have embraced global trends in art, music, and technology. Genres like neo-folk, ritmo kombina, and fusion styles emerged, integrating traditional rhythms with global influences like jazz, reggae, and hip-hop.
Research questions
For this research essay the following research questions were formulated: How can online platforms like UNOBSTRUCTED help sustain ecosystems such as musicking practices from the ABC islands and what role do diasporic communities play in sustaining and innovating traditional cultural practices?
Framework and Methodology
This research will be utilizing the Five Domain Framework developed by Sustainable Futures to analyze the sustainability of musicking practices on the ABC Islands. The Framework was established as an ecological approach to understanding the sustainability of music cultures. It was developed by Huib Schippers, Catherine Grant, and the Queensland Conservatorium Research Centre (QCRC) as part of their broader initiative on preserving and sustaining musical diversity globally. This framework was designed to address the complex and interrelated factors influencing the survival and vitality of music cultures (Schippers & Grant, 2016).
This framework allows for an assessment of how various components such as: systems of learning, musicians, community contexts, infrastructure, and media interact to shape the islands’ musical ecosystem. Survey responses from musicians, cultural practitioners, and community members serve as the primary data source, offering insights into the current state of their practices. The following domains are explored within the framework:
For this research essay the following research questions were formulated: How can online platforms like UNOBSTRUCTED help sustain ecosystems such as musicking practices from the ABC islands and what role do diasporic communities play in sustaining and innovating traditional cultural practices?
Framework and Methodology
This research will be utilizing the Five Domain Framework developed by Sustainable Futures to analyze the sustainability of musicking practices on the ABC Islands. The Framework was established as an ecological approach to understanding the sustainability of music cultures. It was developed by Huib Schippers, Catherine Grant, and the Queensland Conservatorium Research Centre (QCRC) as part of their broader initiative on preserving and sustaining musical diversity globally. This framework was designed to address the complex and interrelated factors influencing the survival and vitality of music cultures (Schippers & Grant, 2016).
This framework allows for an assessment of how various components such as: systems of learning, musicians, community contexts, infrastructure, and media interact to shape the islands’ musical ecosystem. Survey responses from musicians, cultural practitioners, and community members serve as the primary data source, offering insights into the current state of their practices. The following domains are explored within the framework:
- Systems of Learning Music: This domain addresses the formal and informal methods of passing down musical knowledge and practices across generations. It also examines how traditional musicking is taught and learned, as well as the emergence of new learning approaches.
- Musicians and Communities: This domain focuses on the role of musicians within their communities, their interactions with cultural practitioners, and how they contribute to and benefit from the musical ecosystem.
- Contexts and Constructs: This domain examines the cultural, social, and historical factors influencing musicking practices, including how identity, heritage, and community are embedded in musical expression.
- Infrastructure and Regulations: This domain considers the formal and informal infrastructures supporting music, such as venues, funding, and policies, as well as the systems and regulations governing music production and distribution.
- Media and the Music Industry: This domain explores the role of media and digital platforms in the dissemination of music and their impact on the preservation and innovation of musicking practices.
Survey
The survey is distributed to individuals engaged in both traditional musicking practices and innovative approaches. These participants include musicians, cultural practitioners, and other stakeholders within the ABC Islands’ communities (see appendix for survey questions). The survey explores key areas such as:
The survey is distributed to individuals engaged in both traditional musicking practices and innovative approaches. These participants include musicians, cultural practitioners, and other stakeholders within the ABC Islands’ communities (see appendix for survey questions). The survey explores key areas such as:
- The significance of traditional musicking practices in cultural identity, heritage, and community.
- The roles of musicians and cultural practitioners in contributing to the broader musical ecosystem.
- Challenges and opportunities in preserving traditional practices and fostering innovation within the musical landscape.
- Perceptions of digital platforms like UNOBSTRUCTED in supporting musicking practices and contributing to the sustainability of the musical ecosystem.
Once the data is collected, the survey responses will be analyzed to identify recurring themes, key concerns, and innovative ideas. By integrating the lived experiences and perspectives of musicians and cultural practitioners, along with supplementary insights, this research aims to create a model for how digital platforms can effectively support the preservation and innovation of traditional musical forms within the ABC Islands’ musical ecosystems.
Analysis
This analysis explores the musical ecosystems of the ABC islands (Aruba, Bonaire, and Curaçao) using the Five Domain Framework of Sustainability as a guiding lens. The primary source that will be analyzed is the survey responses, these responses will be categorized based on the relevance to the corresponding domain.
Musicians and Communities
Community Engagement with preservation and challenges with support: Several respondents pointed out the scarcity of public venues, funding, and educational spaces where younger generations can engage with their cultural heritage. Respondents also described being deeply involved in preserving traditional music through teaching, performing, and archiving local sounds. However, they also face resistance, particularly from conservative sectors of the community. One respondent noted challenges from folklore musicians and religious communities, who associate traditional instruments with “voodoo,” reflecting the historical suppression of Afro-Caribbean music due to colonial and religious influences.
Infrastructure and Regulations
Lack of Local Infrastructure: Respondents noted a significant gap in the infrastructure supporting music on the ABC Islands. While festivals and community events exist, there is limited institutional support for local musicians. One respondent stressed the need for a dedicated music agency or record label to support local talent and bridge the gap between traditional and contemporary music. Respondents also emphasized the potential of digital platforms like UNOBSTRUCTED to provide critical support, offering funding opportunities, networking events, and broader access to educational content. Some respondents highlighted the importance of platforms that provide visibility, resources, and interactive tools to explore interconnected musical traditions.
Media and the Music Industry
Globalization and Musical Identity: Respondents acknowledged that global platforms like Spotify, YouTube, and social media allow musicians to reach international audiences. However, they noted the challenge of maintaining local authenticity while appealing to a broader, often Westernized, market. Respondents expressed the need for platforms tailored to Caribbean music, offering content that critically engages with local artists and sounds. They also suggested that such platforms should provide educational and promotional tools to help musicians from the ABC Islands expand their reach. One participant gave some examples of such platforms:
This analysis explores the musical ecosystems of the ABC islands (Aruba, Bonaire, and Curaçao) using the Five Domain Framework of Sustainability as a guiding lens. The primary source that will be analyzed is the survey responses, these responses will be categorized based on the relevance to the corresponding domain.
Systems of Learning Music
Traditional Learning Methods: Many responses mention learning from elders, family members, or community events as crucial to their musical development. One respondent highlighted that these informal, experiential learning methods have long been the foundation of music education on the islands. However, there are concerns that this system is vulnerable due to the lack of formal educational programs for traditional music, especially for younger generations. One participant emphasized the importance of fostering local musical knowledge from an early age, stating:
Digital Platforms as Learning Tools:. One respondent noted that online resources have helped supplement the limited availability of traditional music education. Another emphasized the importance of using digital platforms to document and share their understanding of Aruban culture, demonstrating the increasing role of these tools in transmitting musical knowledge.
Respondents highlighted the importance of learning directly from elders or through community events, but they also emphasized the gap in structured resources for preserving traditional music. Like the lack of musical education at school. Some mentioned that online resources, like Wikipedia, still contain inaccuracies, such as the misrepresentation of instruments like the wiri, underscoring the need for accurate and accessible educational tools.
Traditional Learning Methods: Many responses mention learning from elders, family members, or community events as crucial to their musical development. One respondent highlighted that these informal, experiential learning methods have long been the foundation of music education on the islands. However, there are concerns that this system is vulnerable due to the lack of formal educational programs for traditional music, especially for younger generations. One participant emphasized the importance of fostering local musical knowledge from an early age, stating:
“I think it (learning) needs to start from small, give workshops in elementary schools on the islands. Teach them to play Wiri and Tambu, teach them the names of the rhythms, for example, Ritmo di Siya from Aruba. Teach the youth about ABC music history in class, in CKV (Cultural and Artistic Education), instead of focusing so much on Europe.”
Digital Platforms as Learning Tools:. One respondent noted that online resources have helped supplement the limited availability of traditional music education. Another emphasized the importance of using digital platforms to document and share their understanding of Aruban culture, demonstrating the increasing role of these tools in transmitting musical knowledge.
Respondents highlighted the importance of learning directly from elders or through community events, but they also emphasized the gap in structured resources for preserving traditional music. Like the lack of musical education at school. Some mentioned that online resources, like Wikipedia, still contain inaccuracies, such as the misrepresentation of instruments like the wiri, underscoring the need for accurate and accessible educational tools.
Musicians and Communities
Community Engagement with preservation and challenges with support: Several respondents pointed out the scarcity of public venues, funding, and educational spaces where younger generations can engage with their cultural heritage. Respondents also described being deeply involved in preserving traditional music through teaching, performing, and archiving local sounds. However, they also face resistance, particularly from conservative sectors of the community. One respondent noted challenges from folklore musicians and religious communities, who associate traditional instruments with “voodoo,” reflecting the historical suppression of Afro-Caribbean music due to colonial and religious influences.
”I have faced challenges, particularly from conservative macho folklore musicians. I’ve also encountered resistance from religious communities and pastors who claimed that folklore, especially instruments like the tambu or wiri, is not welcome in Catholicism. This belief stems from the assumption that these instruments are linked to voodoo rituals, leading to the demonization of folklore music.”
Contexts and Constructs
Colonial Legacy and Cultural Reclamation: Respondents discussed the lasting impact of colonial history on the perception and practice of traditional music. As mentioned in the previous section, remnants of colonialism, such as Catholicism and conservative macho culture, have greatly influenced the way traditional instruments like the Tambu and Wiri are viewed and used. These colonial legacies often impose a sense of inferiority on native cultural practices, creating a divide between the traditional and modern. This inferiority complex, cultivated through centuries of colonial domination, plays a crucial role in hindering younger generations from fully engaging in the preservation and sustainability of their cultural heritage.
The question of authenticity: In the Dande documentary Dande Di Aruba (2022), there is a sequence where folklore musicians are asked about the topic of innovation and modernization in their music. The musicians express a strong resistance to any attempt to change or challenge the authenticity of these traditional styles, highlighting a deep-seated commitment to cultural preservation. This stance reflects a broader tension between innovation and authenticity, where the influence of colonial history and the push for modernity intersect.
Colonial Legacy and Cultural Reclamation: Respondents discussed the lasting impact of colonial history on the perception and practice of traditional music. As mentioned in the previous section, remnants of colonialism, such as Catholicism and conservative macho culture, have greatly influenced the way traditional instruments like the Tambu and Wiri are viewed and used. These colonial legacies often impose a sense of inferiority on native cultural practices, creating a divide between the traditional and modern. This inferiority complex, cultivated through centuries of colonial domination, plays a crucial role in hindering younger generations from fully engaging in the preservation and sustainability of their cultural heritage.
The question of authenticity: In the Dande documentary Dande Di Aruba (2022), there is a sequence where folklore musicians are asked about the topic of innovation and modernization in their music. The musicians express a strong resistance to any attempt to change or challenge the authenticity of these traditional styles, highlighting a deep-seated commitment to cultural preservation. This stance reflects a broader tension between innovation and authenticity, where the influence of colonial history and the push for modernity intersect.
Infrastructure and Regulations
Lack of Local Infrastructure: Respondents noted a significant gap in the infrastructure supporting music on the ABC Islands. While festivals and community events exist, there is limited institutional support for local musicians. One respondent stressed the need for a dedicated music agency or record label to support local talent and bridge the gap between traditional and contemporary music. Respondents also emphasized the potential of digital platforms like UNOBSTRUCTED to provide critical support, offering funding opportunities, networking events, and broader access to educational content. Some respondents highlighted the importance of platforms that provide visibility, resources, and interactive tools to explore interconnected musical traditions.
Media and the Music Industry
Globalization and Musical Identity: Respondents acknowledged that global platforms like Spotify, YouTube, and social media allow musicians to reach international audiences. However, they noted the challenge of maintaining local authenticity while appealing to a broader, often Westernized, market. Respondents expressed the need for platforms tailored to Caribbean music, offering content that critically engages with local artists and sounds. They also suggested that such platforms should provide educational and promotional tools to help musicians from the ABC Islands expand their reach. One participant gave some examples of such platforms:
“Examples of such platforms include El Enemigo from Colombia, The Needle Drop by Anthony Fantano, and Doble R from Venezuela. Having similar initiatives on the island could foster meaningful dialogue about art, providing constructive criticism while supporting local artists. This would help create a thriving cultural ecosystem, benefiting everyone on the island.”
The analysis of the responses has revealed both the strengths and challenges faced in preserving and evolving traditional musicking practices. While there is a strong foundation of cultural identity and community engagement around music, various barriers impede the sustainability of these traditions. Issues such as the limited formal educational systems for traditional music, the scarcity of public infrastructure, and the lingering effects of colonial legacies have created obstacles for the younger generation to connect with and actively participate in their cultural heritage.
In this context, platforms like UNOBSTRUCTED can play a critical role in bridging these gaps. By providing resources, visibility, and community engagement, online platforms have the potential to support both the preservation of traditional musicking practices and the introduction of innovative approaches that blend the old with the new. UNOBSTRUCTED can serve as a space for documenting and sharing knowledge, offering educational tools, fostering collaborations, and amplifying the voices of artists from the islands. These platforms could become essential in confronting the challenges of cultural appropriation, misrepresentation, and limited access to funding by providing a digital space for authentic voices to thrive. The future of traditional Caribbean music lies in its ability to evolve, and the diasporic communities play a crucial role in this process. As evidenced by the survey responses and my personal journey, the diasporic experience fosters new perspectives on cultural preservation and innovation. These communities, often living outside their homeland, become crucial contributors to the reclamation and redefinition of cultural practices, offering new approaches while honoring the past.
Ultimately, online platforms focused on these ecosystems should prioritize not only the preservation of traditional music but also the empowerment of local musicians through education and visibility. Such platforms can catalyze a cultural renaissance by highlighting the significance of traditional forms while encouraging new expressions that resonate with a global audience, ensuring that the music of the ABC islands continues to thrive for generations to come.
As I mentioned in the introduction, the direction of the research shifted from what I initially anticipated. My original goal was to conduct a comprehensive study, but due to time constraints and a lack of responses, I had to make it more concise. However, I am satisfied with the outcome, as it will serve as a starting point for my own platform and for anyone interested in expanding on the topic. I plan to continue exploring this subject in a long-term project, and this work will help identify gaps within the ecosystem, informing future research.
References
Fanon, F. (1952). Black skin, white masks. http://ci.nii.ac.jp/ncid/BB11785653
Huib Schippers, & Catherine Grant. (2016). Sound futures: Exploring the ecology of music sustainability. In Sustainable futures for music cultures: An ecological perspective (pp. 1–17). Oxford University Press.
Kerseborn, C. (Director). (2021, December 27). Dande di Aruba: Een bijzondere nieuwjaars traditie [Film]. Stichting Mi Cutisa, Stichting Cimaké, & Memphis Features.
Due to time constraints and the limited availability of academic sources on some aspects of this topic, I relied on Wikipedia for a summary of the time periods [boo hoo].
Wikipedia-bijdragers. (2023, April 3). Muziek van Aruba. Wikipedia. Retrieved December 10, 2024, from https://nl.wikipedia.org/wiki/Muziek_van_Aruba/
Wikipedia contributors. (2024a, April 4). Music of Curaçao. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Music_of_Cura%C3%A7ao
Wikipedia contributors. (2024d, November 25). Netherlands Antilles. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Netherlands_Antilles
Wikipedia contributors. (2024e, December 22). Bonaire. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Bonaire
Fanon, F. (1952). Black skin, white masks. http://ci.nii.ac.jp/ncid/BB11785653
Huib Schippers, & Catherine Grant. (2016). Sound futures: Exploring the ecology of music sustainability. In Sustainable futures for music cultures: An ecological perspective (pp. 1–17). Oxford University Press.
Kerseborn, C. (Director). (2021, December 27). Dande di Aruba: Een bijzondere nieuwjaars traditie [Film]. Stichting Mi Cutisa, Stichting Cimaké, & Memphis Features.
Due to time constraints and the limited availability of academic sources on some aspects of this topic, I relied on Wikipedia for a summary of the time periods [boo hoo].
Wikipedia-bijdragers. (2023, April 3). Muziek van Aruba. Wikipedia. Retrieved December 10, 2024, from https://nl.wikipedia.org/wiki/Muziek_van_Aruba/
Wikipedia contributors. (2024a, April 4). Music of Curaçao. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Music_of_Cura%C3%A7ao
Wikipedia contributors. (2024d, November 25). Netherlands Antilles. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Netherlands_Antilles
Wikipedia contributors. (2024e, December 22). Bonaire. Wikipedia. Retrieved December 10, 2024, from https://en.wikipedia.org/wiki/Bonaire