Discussing, Doing, and Teaching Audiovisual Ethnomusicology Today

Our initial encounters on the topic of audiovisual ethnomusicology in Valladolid (2014) and Ljubljana (2016) revealed a rich and diverse landscape of contemporary musical inquiry. Throughout this journey, we have identified various approaches and perspectives within our field. Looking ahead, we recognize an opportunity to reflect on the discourses and debates that have unfolded over the past years. While we celebrate the multiplicity of methodological and theoretical orientations in audiovisual research, we believe that understanding each other's perspectives requires thoughtful consideration of how we construct spaces for critical debate. Here, we summarize some key issues related to doing, discussing, and teaching audiovisual ethnomusicology. In the following pages, we explore how we might rethink the formats through which we share and promote discussion, and we outline some theoretical debates that have emerged since our inaugural meeting. Our focus is not on defining what constitutes audiovisual ethnomusicology but rather on developing vocabularies that help us better articulate and communicate our diverse approaches. This has an immediate impact on the teaching of audiovisual ethnomusicology, a discipline gaining popularity not only among scholars but also among undergraduate, postgraduate, and doctoral students. Our final aim is to open a space for debate about methods, orientations, and potential outcomes