Cultural Diplomacy

During my life as an international touring musician, I have experienced a wide diversity of cultures. Born and raised in Azerbaijan during the Soviet period, I witnessed the fall of communism and the renaissance of Azerbaijani national identity. A great change did bring some great opportunities and one day, my studies took me to the USA − the diametric opposite on the geo-political map. Moreover, my new home was in New York, not merely the centre of international capitalism, but the ‘melting-pot’, being one of the most multicultural and multiethnic communities in the world. Having spent more than five years in that environment, thereafter residing for three years in various European countries, I found myself back in the ‘Babylon’ of peoples, languages, and cultures – London.

As a performer, I have been stimulated by the potential impact of the musician, as an artist, beyond the actual performance act. These theories have evolved throughout my performing career, during which I have worked with numerous internationally-acclaimed conductors and orchestras in a range of settings, including the UN in New York and UNESCO in Paris.

Beyond my studies at Juilliard and elsewhere, followed by my work in many international contexts, I began to realise that the impact of music is not merely limited to aural appreciation and the subsequent emotional response. The musician is not simply a conduit between the creator and listener. Music stands as an identity marker for peoples and cultures, yet is often said to speak a universal language. It is a tool for connection and communication, and for building bridges in a potentially apolitical manner. My experience of this reality has inspired me to undertake my current research, wherein I examine the methods by which music and musicians may be harnessed to serve as the envoys of a country, its culture and people.

My projects explore and investigate the potential for collective improvisation in music performance, applying this as a cultural diplomacy tool, yet always referencing and referring to my career as a professional musician. I use my own experience as a point of departure, but elaborate in a new way through my international position. I demonstrate how music, particularly that which is improvised, encapsulates the processes of imagination, creation, and collaboration. By deciding to work with specific musicians from various cultural backgrounds, I explore the potential to break free from existing traditions and ideas via the creative process.
The research I have undertaken investigates the effectiveness of cultural diplomacy in the era of globalisation. I consider how musical collaboration, when used as a tool of public engagement, can narrow differences, resolving and preventing conflicts. Through performances, interviews with cultural and political leaders, collaborations with cultural institutions and participation in forums and conferences, I aim to contribute to music research and the field of public diplomacy. Within the concept of practice-led research, I seek to achieve this via the use of collective music-making as ‘soft power’, and as intercultural dialogue, taking my cue from Mahatma Gandhi, who stated: “No culture can live, if it attempts to be exclusive.”

I invite anyone to share their concepts, and welcome suggestions for collaboration. Please send your thoughts to info@sabinarakcheyeva.com