The study of the relationship between music, culture, and nature is known as ecomusicology. When this approach is practically applied, it becomes "applied ecomusicology." This was the focus of my 2023 summer immersive experience. My name is Josh Brew, and I am a third-year Ph.D.candidate in the Department of Music. Let me break down my experience for you.

My summer was both fulfilling and enlightening in terms of my research and Ph.D. journey. With my Humanities Engage Summer Immersive fellowship, I traveled to Accra to explore how Ghanaian Palmwine music could contribute to environmental sustainability. My immersive experience aimed to collaborate with the Legon Palmwine Band (LPB) to create a song with an environmental theme in the Ghanaian palmwine music style. And organize a workshop and music performance to raise ecological awareness in Ghana. However, I wasn't sure what to expect for two reasons. First, LPB's primary aim has been to revitalize Ghanaian palmwine music (which has been successful) and not to promote environmentalism. Second, as a music researcher, this was my first attempt at applying my research to an environmental course.

Despite these uncertainties, my summer project was successful and a great experience. My project expanded beyond Accra to Kumasi, where I collaborated with Kwame Brenya, a musician/poet who uses Ghanaian palmwine music to share Akan Indigenous knowledge. Furthermore, my research coincided with the International Council for Traditional Music (ICTM) world conference held at the University of Ghana, Accra. During the conference, I presented my research on the material culture of palmwine music and its environmental implications. The paper was well received, and I received great suggestions and questions for future inquiry.

In May, I began my immersive experience by taking part in Dr. Sunu Doe's (leader of LPB) songwriting and composition class. Through the classes, I learned the approaches to composing palmwine music. My major takeaways were using the Akan language and Akan Indigenous knowledge in music compositions. Additionally, I observed LPB during their regular performances and creative process. Through this process, we composed, recorded, and released the song "Kwae1: cries of the forest". The song is in Twi, a Ghanaian language spoken by the Akan ethnic group. Kwae1 questions and critiques the current ruptured relationship between humans and nature. The song addresses the current destruction of forests and rivers for illegal mining in Ghana.

In this song, I feature LPB and Kwame Brenya. LPB and I sing the chorus, which translates to English as "Humans, where are we headed?" We have destroyed forests and polluted rivers. How do we explain this to future generations? With his unique and deep baritone voice, Kwame Brenya interjects the chorus with two verses, using the storytelling approach common with Ghanaian palmwine music. Together, the song warns humans that destroying forests equals destroying life on Earth. To allow the song's words to stand out and be heard, we minimized instrumentation, using only a nylon stringed guitar, frikyiwa (a small metallic clave), and prempremsiwa (a Ghanaian version of a Rumba box).

With the song created and released, I was left with the other aim of my immersive experience, which was an environmentally-themed workshop cum music performance. On July 2 and 20, 2023, I organized workshops in Kumasi and Accra, respectively. The workshops were modeled after the Ghanaian palmwine structure in terms of physical arrangement and the organization of the event. The seats were arranged in a circle formation without clear demarcation between organizers/musicians and participants/audience. This created an inclusive atmosphere. Like palmwine music sessions, the workshop was a fusion of music and conversation. We started with pouring libation, using palm wine, to acknowledge our ancestors and appreciate Mother Earth for the gift of life. Afterwards, a member of LPB stated the purpose of the gathering, and we performed environmentally themed music, including our new song, “Kwae1”.

Ecological issues were intermittently addressed by participants, providing an opportunity for engagement. Several people shared their personal experiences about environmental degradation. One participant from Germany, who was in Ghana for the ICTM conference, shared their experience of flooding in Accra due to clogged gutters. One Ghanaian participant also explained how a lagoon (Kole Lagoon) he used to swim in is now polluted with garbage. To give more meaning to the workshop, I purchased and introduced the usage of half calabash gourds for serving palm wine. These replaced the disposable plastic cups and bottles, a major part of the waste in Ghana. Calabashes are natural, healthy, and reusable.

My post-workshop interactions with participants revealed that their environmental consciousness has been heightened, and they will be more aware of their impact on their environment. Several people explained that fusing the event with music and drinking palm wine made it very interesting, engaging, and educational. Thus, while we drink, we contemplate about our natural environment.

This summer, I learned to formulate research ideas, write about them, and present them to my colleagues in academia. I also extended the impact and reach of my research beyond the academic environment. I composed an environmental song in Twi, a language accessible to most Ghanaians. I organized a workshop in my local community and introduced the usage of environmentally friendly materials for music making. This has been my summer Immersive experience.