Learning Unlearning: Relational, Personal, Generative, and Communicative Compassion and Curiosity

By: Eriel Huang

South Africa, similar to many parts of the world, underwent harsh lockdown regulations from March 2020. And subsequently, yoyoed through several iterations of easing restrictions due to economic strain and increase of vaccinations. Needless to say, certain sectors have recovered somewhat, and others slaughtered. 

Unsurprisingly so, performing artists grouped in the latter, along with related support industries and services.

In the midst of cancelled performances and woefully looking empty diaries – five of us got to rehearse with 7 singers and a small team of production crew, and took La Bohème on tour. The funding for this project had been in existence thanks to some remarkably generous donors. Covid halted preparations. However, when the green light was signaled, the management of Cape Town Opera pulled the whole production off in record time. All 8 shows in 4 cities were sold out before we left home soil. The last time I had seen any of these cities had also been my first time, around 20 years prior. 

Unlearning #1: Redirecting one’s original intent

Playing a full Puccini score between 5 of us is anything but an arrangement, let alone a reduction. Essentially, we were all soloists in a chamber setting – carrying the collective musical responsibility expected of a full orchestra. There was no hiding, sonically nor visually. We were seated on stage with the setting and singers. Rather seeking to imitate the sound of an orchestra from a pit, we drew out elements of the orchestral score instead, highlighting musical meaning and adding a different texture to the artistic palette of the opera. I had to let go of the orchestral blending mentality fast, and let my violin sing its reorchestrated parts as prominently as the singers. We all had to lead. Although this resulted in a different soundscape, the vibrancy and nuances were not diminished nor compromised but brought to the fore due to the concentrated numbers of artists on stage. 

Unlearning #2: Seeking inward

Having not performed for an extended stretch of time, I had no choice but to challenge my own self doubt of being able to perform at a high level after this strange hiatus. Despite advanced extra preparations, I had shaky nerves throughout the whole rehearsal process, and faced the audience weighted with enormous imposter’s syndrome. After the first show, someone stopped me for a compliment and singled me out for my playing. It took me a few days to digest it, because I simply couldn’t own it. I had to dig deep and unseat my own socialized norm of defining a professional musician, albeit a rusty one that could still play, and play well. My craft had been revived, and is flourishing well again. I can bask in the win, I can relish the credit, and I can share that success with my colleagues.

Half way through the tour, our president announced further lifting of restrictions which meant that we could play to an even bigger audience for the remaining days. How wonderful it was that even the waiting list and increased audience allowance was also sold out. I was energized and eager to approach the music with renewed gusto, and joyfully with even greater appreciation of my unlearnings. 

Upon my return, I was invited to return and give masterclasses in the landlocked kingdom of eSwatini. Ntjilo Music Empowerment is a community music education program not yet 10 years old, providing instrumental tuition in small ensembles to youth ranging from kindergarten to post secondary schooling, as well as basic teacher training. Transport and snacks are provided after school every day and on weekends.

Thereafter, I was invited to the ‘Mangauang String Program’, a 30 year old community strings tuition program based in the city of Bloemfontein with an outreach of ±500 primary and secondary students from all over the province of the Free State. Transport too is provided, and the students get together every second weekend for string camps which are supplementary ensemble training.

In both programs, I worked directly with students, as well as teachers – playing music together, coaching ensembles and facilitating workshops on teacher training, leadership and learning. During the course of our dialogues, more revelations surfaced.

Unlearning #3: Suspending judgement 

Many of the students and teachers had remarkable natural aptitude for a string instrument. Developing one’s skill as an instrumentalist is a different pathway, and at times, more economically challenging than that of a singer. Majority of these musicians were the first ones in their families to encounter and receive music tuition of any kind. Perhaps the most critical judgement to suspend, was overcoming their own inferiority complex of the kinds of backgrounds and home environments these young musicians came from; that they deserved a good education, and that through music – they can absolutely develop self confidence and express value and creativity. 

Unlearning #4: Challenging assumptions

Challenging the assumption of our role as teachers and the ‘right way’ to teach, becoming unstuck, examining elements of rigidity – we paused often and intentionally for the teaching staff to explore how other ways of knowledge and experiential learning opportunities might be created, as opposed to teaching by rote in the way they themselves were previously taught. Another element was challenging the notion that the newer and younger teachers have less to offer. We dialogued and reframed problem solving by posing questions in different ways, proactively seeking new ways to teach.

Unlearning #5: Drawing internally on existing resources

Running a music program in historically excluded areas requires a drawn out logistics wish-list, was overcame by a strong, efficient and highly visible advocate present in each of the schools – ensuring teaching rooms were made available after school and that the children were brought to the locations and safely home subsequently.

Conclusion: Observing with openness and open-endedness

All in all, I had traveled the equivalent distance of the US coast to coast. I entered new spaces with relational, personal, generative, and communicative compassion and curiosity. Sonically, my ears had to adjust quickly to the locally accented English that was spoken which sounded foreign to my ears, along with respectful customary greetings. Apartheid not only created alarming disparities, but also broke down trust between and within communities. Addressing the human being first and foremost relayed the content of learning through an ubuntu-esque way. By identifying and unlearning set patterns which hinder the progress of staff and students, we could action and activate new perspectives and behaviors to elevate the learning experiences for the new generation of musicians.