Embedding Indigenous Cultures In Music Programs Western Australia

This period in Australia between late December and early January can be a time of reflection for many in our society. Different reflections individuals might have about the last 12 months include: what were the great and not so wonderful events of the year?; what we could improve on and how?; what will we aspire to for the future and what shall we leave behind?; who has entered our lives and left?

This is my fifty second blog of the year. The process has been a source of growth as a member of communities, as a music teacher and as an individual. I have achieved my target of one blog per week for the year and have connected with different people across Australian and beyond, elders, musicians, music teachers and others.

I have taken the liberty to use each blog as a way of, with a musical flavour, educating and informing the wider community about different elements of Aboriginal cultures, histories and perspectives, past and present. I have also sought with each issue to present different lesson ideas and repertoire for music teachers to use with their students.

The most satisfying part of the blog creation process has been the connections I have made with different Aboriginal artists, musicians, writers, community members and Aboriginal families. This includes the connection with Debra, an Aboriginal grandmother, of some of my students, who constantly provides positive feedback to my posts and encourages me to keep the process and conversations and connections going. Her comments are in my heart and mind as I write this last post for 2019. She, as an Aboriginal woman, wishes for a more equal and understanding Australia for her grandchildren. She would like the voices of Aboriginal people to be heard and respected within society. I agree with her. For me it is about justice for all.

Perhaps at this holiday time you may like to consider some reflective questions at personal and professional levels?

Professionally perhaps what have you learnt about Aboriginal cultures this year? Where have you been successful in embedding Aboriginal cultures in your programs? Is there a First Nations artist or piece of music you love that you could include in your repertoire? Is there an element in your program that needs revitalising? Could this be given an Aboriginal perspective?

Personally perhaps you need to make some time to listen to and explore some music by Aboriginal artists or composers. You could take time to consider visual art by Aboriginal artists that you come across either whilst on vacation or while recuperating at a home vacation. Watch a couple of NITV documentaries or Volumz on channel 34. Perhaps purchase ‘and download from Itunes ‘NIMA Presents The Sound of Indigenous Australia Then and Now’. Alternatively find a ‘hard’ copy of ‘Buried Country The Story of Aboriginal Country Music”. A wonderful experience could be to attend a live performance by some of our First Nations musicians. Listen and reflect on the sounds and messages of the music.

This blogging project began as a twelve month life span. Due to its success it will continue on an irregular basis and as the inspiration hits.

Please feel free to contact me with your ideas and thoughts and experiences.

All the past blogs are available online at https://janenicholas1.edublogs.org/
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Happy holidaying.

Jane

Make It Rain

With the heat extremes across the country, droughts and so many fire emergencies this blog is a timely Christmas wish.  My own school was in a fire watch area this morning. The heat experienced in the last two weeks in Perth has been intense.

 

In this Christmas week I wish for you

1. Inspiration for your teaching – hopefully from this blog
2. Christmas wishes to you and your family
3. Peace
4. a song for your heart
5. Some cool vibes

     

 

Emma Donovan is best known for her work with the soul bands The Putbacks and The Black Arm Band project. She has also toured and recorded with the a host of Australian music luminaries including Archie Roach and Ruby Hunter, Spinifex Gum, Christine Anu, Yothu Yindi, Jimmy Little and Paul Kelly.

I was struck this week with the grinding and powerful performance of hers with Spinifex Gum project ‘Make It Rain’ with Marliya.  Her vocal capacity and passionate performance is arresting.  There are two video recordings on YouTube of live performances of this song. There is also a recording available to be purchased through ITunes with the song written by American husband and wife duo Tom Waits and Kathleen Brennan.

Although the song is about the emotional turmoil of a difficult relationship breakdown, it struck me with possible references to our environment in what we are told is a ‘climate crisis’, with so much drought on the east coast.  The live performances by Emma include the final verse being sung in Yindjibarndi.  It was translated into the ancient language from the pilbara region in Western Australia, near Roebourne, an ancestral language of her father, by Michael Woodley of Yindjibarndi Aboriginal Corporation.  The ‘language’ verse seems to resonate with the environment and climate themes.

 

This weeks blog provides some background to the versatile and collaborative musician as well as some listening suggestions. There are some activities centred around articulation including a speech pattern about Emma with suggested ostinati.

Emma Donovan, born in 1981 in Liverpool Sydney, is an Indigenous Australian singer songwriter.  Her father, Neville Councillor, is from Geraldton WA, Yamatji country, and her mother, Agnes Donovan, is a Gumbainggir and Danggali woman from the Nambucca Valley on the north coast of New South Wales. The Nambucca valley is where was raised.   Her mothers family were and are very musical with her noted cousin Casey Donovan who won the second series of Australian Idol at just 16. Emma started her singing career at age seven with her uncle’s band, The Donovans. In 2000, she became a founding member of Stiff Gins, with Nardi Simpson and Kaleena Briggs.  She left the band three years later to release the solo album Changes in 2004. She performs with The Black Arm Band and released a solo EP, Ngaaraanga, in 2009.

 

Emma has been nominated for multiple Deadly Awards including Female Artist of the Year.   Donovan appeared in the ABC series Dynasties in 2004, and was the subject of the 2005 SBS TV documentary Emma Donovan: Gumbainggir Lady.

Make It Rain

To date many of Emma’s songs are about adult relationships and matters which I would not use in the primary school or early childhood settings.

‘Make It Rain’ is an exception.  Thematically and lyrically I judge this single as suitable material for my students at a primary school. Emmas voice and the arrangement are so strong I want my students to experience the work. The lyrics to the song are included at the end of the blog.

Upper Primary or Secondary Activities Focus –Articulation

1.Students to close eyes and are to listen to the music focussing on how instruments are used to create sounds related to weather.  Discuss.

2. Repeat activity listening for train sounds.
3. Discuss different articulation terms. Present Mrs Lawrences articulation symbols chart in the references below. There is an alternative Articulations Chart by Finale version in the references which is hilarious. It would be great to share with your students also.
4. Have students listen to the ‘Make It Rain’ again, this time for different articulations. They are to note down when they hear three different articulation effects in the piece. Class discussion of their findings.
5. Introduce the speech pattern about Emma Donovan by students given one of the two ostinati and the teacher performing the ‘poem’ over the ostinati accompaniment.
6. Have students make some suggestions regarding articulations for ostinati and the poem. Perform.
7. Have students work in small groups, or individually using IT devices to record, their own ‘articulated’ version of the poem with accompaniment.

 

Speech Pattern ‘Emma Donovan’  J Nicholas Nov 2019

Emma Donovan performing from aged 7

In her uncle’s band, her voice was heaven

She joined a girl trio called the ‘stiff gins’

Three years later, went-a solo singin’

Her dad is from Geraldton –a Yamatji,

Her mum from the east coast, Nambucca Valley

She stirs to the core with her soulful voice

‘Black Arm Band’ ‘The Putbacks’ her bands of choice

 

Ostinati   Suggestions

1. voice like heaven (ta ta tete za)
2. Soulful (taa taa)
3. Stiff Gins Black Arm Band and The Put Backs (ta ta tete tete ta ta tete za)

Ngarraanga

For high school I would want to use Ngarraanga. Due to its sensitive themes it needs to be handled carefully (see tips for handling sensitive topics below).

The song and clip explore the concept of the stolen generations. Ngarraanga (Remember) or Ngarraanga Ngiinundi Yuludarra (Remember Your Dreaming) is Emmas tribute to the Stolen Generations and includes traditional language, written with long time writing partner Yanya Boston. The video was shot at Carriageworks in Redfern in Sydney and features the extraordinary talent of Torres Strait Islander dancer, Albert David, inter-woven with archival footage. It is hard hitting and again very powerful.

I would have students listen to the song and have them draw to reflect on the piece. I would be open as to where the students would like to go with the song – either leaving it as a wonderful listening example, or exploring it further to perform or for it to inspire a song writing session or performance.

 

Some Tips To Handle Sensitive Topics Like The Stolen Generations As Raised in the Song ‘Ngarraanga’

Due to the sensitive nature of the stolen generations topic, the presentation of the song and the pre and post discussions or activities need to be handled carefully.  This does not mean it should not be used.  I think it definitely should.  However prior to delivering this song to students I would include in the communication with parents ‘course information’ an explanatory note.

This note would be along the lines of ‘one of the songs to be included in the program this semester includes reference to the stolen generations. The song by Emma Donovan will be presented sensitively but if this is a topic that is particularly sensitive to you, your family and child, please contact me to discuss’.  

Closer to the introduction of the song I would mention it to the students that “there is a wonderful song that is going to be utilised as part of the teaching program and that if students are uncomfortable or nervous about the topic to talk to you about it privately”.

This might be a topic that you raise with your Aboriginal Education Officer, line manager or principal for their direction.

If there were Aboriginal students in the class, I would catch up with each of them separately to give them a heads up.  If they were uncomfortable I would let the song go.

Most Aboriginal people want ‘truth telling’.  Most want Aboriginal people’s voices to be heard in classrooms.  Emma’s song and videos are a way of doing that. However we need to respect our students and their feelings.

 

Make It Rain LYRICS

He took all my money

And my best friend

You know the story

Here it comes again

I have no pride I have no shame

You gotta to make it rain

Make it rain

Since you’re gone

Deep inside it hurts

I’m just another sad guest

On this dark earth

I want to believe

In the mercy of the world again

Make it rain,

make it rain

The night’s too quiet

Stretched out alone

I need the whip of the thunder

And the wind’s dark moan

I’m not Able,

I’m just Cain

Open up them heavens

 

Make it rain

I’m close to heaven

Crushed at the gate

They sharpen their knives

On my mistakes

What he done,

you can’t give it a name

You gotta to make it rain

Make it rain, yeah

Without your love

Without your kiss

Hell can’t burn me

Much more than this

I’m burning with all this pain

Put out the fire

Make it rain, you gotta make it rain

I’m born to trouble (Ngyi warngkarrinha waji)

I’m born to fate (Ngyi wangkarrinha minangga)

Inside a promise (Thurnguga wangka)

I can’t escape (Ngyi burdurdba bamagayi)

It’s the same old world (Nhaa gurdarmba ngurra)

But nothing looks the same (Mirdawa nhawa nyinja)

 

Make it rain! (Yungu thalumarnma)

Make it rain! (Yungu thalumarnma)

Make it rain… Make it rain… (Yungu thalumarnma)

References

https://www.emmadonovan.com/

https://en.wikipedia.org/wiki/Emma_Donovan

Make It Rain clip https://www.youtube.com/watch?v=qc-0K6X1OEM

Ngarraanga clip https://www.youtube.com/watch?v=1KXVE3c5CSA

Great Articulation Symbols Chart https://sites.google.com/a/pleasantonusd.net/elementary-music-with-mrs-lawrence/music-theory/articulation

Articulation Symbols I Wish I Could Use – hilarious https://www.finalemusic.com/blog/articulations-wish-use/

Kaiit with her album ‘Miss Shiney’ was announced as winner of the 2019 ARIAs of the Best Soul/R&B Album announced a fortnight ago.

The blog will give some background to Kaiit, an Indigenous musician who won the ARIA for Best Soul/R&B album with her body of work in ‘Miss Shiney’. It will give some Rhythm and Blues music lesson ideas for early childhood to the middle secondary teaching contexts. Some of the activities are adapted from lessons by teachers in the United States.

We all work from the policy of ‘why re-invent the wheel’ when it comes to lesson planning. We share, adapt, learn and grow.  This is what I have done with this week’s activity suggestions.

 

KAIIT AND ‘MISS SHINEY’

Kaiit is a Gunditjmara and Torres Strait Islander artist.   Gunditjmara country is associated with country in southwestern Victoria, encompassing Warrnambool, Port Fairy, Woolsthorpe and Portland.

The following information comes directly from a story by Brooke Fryer on an NITV Facebook post after the 2019 ARIA awards were announced.  It gives great background to the artist and her reflections on the ARIAs experience.

 

R&B Performer Takes Home Her First Ever ARIA

The 33rd annual Australian Record Industry Awards at Sydney’s The Star casino on Wednesday has seen Indigenous artist Kaiit claim her very first industry accolade for best soul and R&B release.

On accepting the award for her single, Miss Shiney, the 22-year-old Melbourne-based performer thanked “family, friends and ancestors” and said she wants to use her position as an Aboriginal woman to “send messages of guidance” through her music.

“Look at what I can do as a person of colour and in this industry… and with the impact I can make … with my words,” she said.

 

The Gunditjmara and Torres Strait Islander artist has risen to fame over the past year thanks to her song Miss Shiney, released in May. The winning song explores writers block inflicted by self-doubt. 

Speaking with NITV News on the ARIA red carpet, Kaiit said she is now working on new music which is expected to be released early next year.  

“I’m working on fire music. Just came back from Bali and that was the first solo trip by myself so I’ve just been getting down to it and writing music,” she said.

“Singing to people is a goal, for people to be able to hear me and get something from it”.   

She also acknowledged her ancestors for giving her the guidance and strength to be able to produce music.  

“Thanks to all my ancestors for always being in front of me and around me, we are doing this together I promise,” she said.

 

SUGGESTED ACTIVITIES

Early Childhood

Have students lie quietly and listen to ‘Little Things’ (clean version) by Jessica Mauboy thinking about what they think the song is about.

Play the song again and have the children move creatively ‘where the music takes their minds and bodies’.

Have a discussion with the students using questions like: the instruments they hear; how loud or soft it is; how fast and slow it is; does the music stay the same or does it change throughout the song.

Discuss the term ‘crescendo’ and how it means to get louder.  Have children reflect on how we can show this with our bodies as we move.

Have the students reflectively draw or complete an artistic or verbal response to ‘Little Things’.

 

Middle To Upper Primary

These activities were inspired by drama teacher Ms Sharece Sallem from the USA.  Here is the link to the original lesson.   http://www.teach-nology.com/teachers/lesson_plans/music/

Thanks to Sharece for her willingness to share.

This could make a fun lesson in these last few weeks of the school year in Australia.  It could make a great relief lesson.

Have students listen to and then singalong to ‘Little Things’ by Jessica Mauboy.  There are clips on Youtube.

Explain the term R&B music – a sample is below.

Have students look at the ‘Little Things’ clip again having students to focus on the facial expressions and body movements used to ‘tell the story’ while singing the song.

Play song again and have students copy the facial expressions and body movements.

Have each student do 20 different facial expressions.

Demonstrate first. (20 min.) sad, angry, annoyed, bored, stuck-up, confident, shy, flirty, happy, know a secret, supermodel, hip-hop boy, silly, valley girl, serious, busy, sleepy, depressed, dreamy, crazy

Have each student do 20 different body and face expressions. (25-30 min.) sad (no where to go), angry (grounded for a month), annoyed (little brother bother), bored (raining outside), stuck-up (rich person), confident (business person), shy (new person in school), flirty (boy/girl you like sees you), happy (summer vacation), know a secret (someone just told you), supermodel (Tyra), hip-hop boy (bling-bling), silly (goofy faces), valley girl (like..wow!), serious (job interview), busy (have 50 things to do @ once), sleepy (just ate a huge meal), nervous (getting ready to perform in front of one thousand people) dreamy (day-dream), crazy (lost your mind)

Sing along to ‘Little Things’ again and then have students discuss the R&B features of the song.

Have students listen to ‘Miss Shiney’ by Kaiit and discuss which song is more R&B and why.

Have students singalong to ‘Miss Shiney’ a couple of times focussing on the ‘vocal gymnastics’ and ‘telling the story’ with the face and body.

R&B Definition

R&B in the ARIA sense can be described as “contemporary R&B“. It combines rhythm and blues with elements of pop, soul, funk, hip hop, and electronic music.

A distinctive feature of R&B is the use of bass guitars and plenty of pentatonic scales.  The bass guitar and drum kit are important elements.  It is melodic and steady. It is often associated with African American musicians. The vocals are often more important than the lyrics. More recently it has embraced technical innovations and diversified the instruments it uses.  It uses auto-tune and machine made instruments to increase its appeal.  The evolution has been facilitated by present-day R&B artists such as Drake, Chris Brown, John Legend, Ariana Grande, Pharrell Williams and Dean Lewis.

Secondary

These activities aimed at the secondary student context were inspired by Liz T’s R&B singing tips for beginners. I have amended the repertoire choices to include Aboriginal musicians.

The link to Liz T’s blog is https://takelessons.com/blog/how-to-sing-Rhythm-and-Blues.

Liz T. teaches online singing, acting, and music lessons. She is a graduate of the Berklee College of Music with a B.M in Vocal performance and currently performs/teaches all styles of music including Musical Theater, Classical, Jazz, Rock, Pop, R&B, and Country.

Explain the term R&B. See the explanation in Middle to Upper Primary activities.

1. Listen to the greats
   Start out by listening and studying R&B, also known as “Rhythm and Blues.” Rhythm and Blues started in the 1940s and was popular in African-American culture. Singers such as Little Richard, Sam Cooke, Ray Charles, and James Brown were some of R&B’s founding fathers. The style eventually progressed to bring out artists such as TLC, Brandy, and Boyz II Men.

Have students listen to ‘Miss Shiney’ by Kaiit who recently won the ARIA 2019 for Best Soul/R&B for her album ‘Miss Shiney’.

2. Practice vocal improvising
R&B music is known for improvising and riffing vocally, so start practicing improvisation and coming up with your own melodies. Find a simple blues scale to riff over, and create your own made-up melody. Or try performing a riff or scatting over a well-known melody. You can also buy many books that come with audio CDs to practice with at Berklee Press; many start right at the beginning with the basics of riffing and vocal improvisation.

3. Start singing
Ideas for contemporary R&B ballads to learn include the following by Aboriginal artists.

• Marlene Cummins ‘Sassy Murri Mama’ Youtube
• Olive Knight ‘Pain oh Pain’ Youtube
• Phil WalleyStack – ‘Sacred Ground’ backing vocals by Charley Caruso Youtube
• Casey Donovan ‘Listen With Your Heart’ Youtube
• Emma Donovan ‘Changes’ Youtube
• Rochelle Watson ‘You’re Too Deadly My Sister’ Youtube

4. Analyze song lyrics
   Find that R&B soul in yourself, and don’t be afraid to show it! Many R&B songs have compelling lyrics about love, overcoming struggle, inspiration, and hope. Find a song that speaks to you, and make it your own.

References

https://themusicnetwork.com/2019-aria-awards-winners/

https://www.huffingtonpost.com.au/entry/aria-awards-2019-indigenous-nominations_au_5d9ebb0ee4b087efdba8058f

https://www.sbs.com.au/nitv/article/2019/11/28/rb-performer-takes-home-her-first-aria

https://takelessons.com/blog/how-to-sing-Rhythm-and-Blues

http://www.teach-nology.com/teachers/lesson_plans/music/

https://en.wikipedia.org/wiki/Dhauwurd_Wurrung

https://official.fm/rb/

ARIA Awards 2019

The ARIA Awards are a celebration of all things hot and hip in the Australian music scene.

But there was more to the story of last week’s 2019 Australian Recording Industry Association Awards than just Dance Monkey. ‘Tones And I’ and the song ‘Dance Monkey’ did sweep the 2019 ARIA Awards, picking up four trophies from eight nominations.  Toni Watson, known professionally as Tones and I was awarded Best Female Artist, Best Pop Release, Breakthrough Artist and Best Independent Release. That was a big story.

However there was another fabulous story which demonstrated a change in Australian society. It showed that mainstream music consumers are wanting to hear and listen to Indigenous performers. Whether the consumers are aware that the performers are Indigenous is not relevant.  Fact is, Indigenous artists are becoming more popular.

This week’s blog aims to give a review of the ARIAs from the Indigenous cultural perspectives. Also the blog will give some ideas about messages sent to music educators by the recognition of Indigenous performers by the ARIAs.

I would love some feedback about the information in the blog and the lesson ideas. Please comment if you agree or disagree with any statements or suggestions.

 

2019 ARIA AWARDS REVIEW

It was reported that nine years ago there was just one solo Indigenous artist nominated, Dan Sultan.  2019 there were seven.  According to the news and opinion blog and website, Huffington Post “a record number of solo Indigenous artists have been recognised in the major categories at the Australian music industry’s night of nights”.

 

Thelma Plum, Baker Boy, Briggs, Electric Fields, Dan Sultan and Jessica Mauboy were nominated in major categories with Thelma up for six gongs including Best Female Artist and Album of the Year for her debut record Better in Blak.

The results for Aboriginal musicians were as follows:

Album of the Year Nominee – Thelma Plum – Better In Blak (Warner Music Australia Pty Ltd)

Best Female Artist  Nominees – Jessica Mauboy – Little Things (Sony Music Australia) , Thelma Plum – Better In Blak (Warner Music Australia Pty Ltd)

Breakthrough Artist Nominee – Thelma Plum – Better In Blak (Warner Music Australia Pty Ltd)

Best Pop Release Nominee – Thelma Plum – Better In Blak (Warner Music Australia Pty Ltd)

Best Hip Hop Release Nominee – Baker Boy – Cool As Hell (Danzal Baker/Island Records Australia)

Best Soul/R&B Release: Winner Kait – Miss Shiney (Alt. Music Group/Ditto Music)

Best Blues & Roots Album Nominee Dan Sultan – Aviary Takes (Liberation Records)

Best Children’s Album –Winner Dan Sultan – Nali & Friends (ABC Music/Universal Music Australia)

Nominee Kamil Ellis and Ensemble Offspring – Classic Kids: Music For The Dreaming (Australian Broadcasting Corporation)

Artisan Award – Best Cover Art  Winner Emilie Pfitzner for Thelma Plum ‘Better in Black’ Warner Music Australia Pty Ltd

Best Australian Live Act Nominee – Baker Boy – Cool As Hell Tour (Danzal Baker/Island Records Australia), Electric Fields – 2000 And Whatever Tour (Independent/Ditto)

Best Video Presented Nominee Baker Boy – Cool As Hell (Danzal Baker/Island Records Australia),

Briggs – Life Is Incredible feat. Greg Holden (Adam Briggs/Island Records Australia), Jessica Mauboy – Little Things (Sony Music Australia), Thelma Plum – Better In Blak (Warner Music Australia Pty Ltd)

IMPLICATIONS OF ARIA AWARDS RECOGNITION OF INDIGENOUS MUSICIANS

The list of winners and nominees above indicates that the music industry itself is recognising Aboriginal and Torres Strait Islander musicians with unique talents and stories.

Music is a way culture can be represented. The ARIAS are recognising the music of our our First Nations peoples.

Are we as music teachers following this lead?

The ARIAs have given us a list of musicians and music to listen to and contemplate for inclusion into our teaching and learning programs. Given the sheer volume of nominations received by Thelma Plum, she is certainly a musician to check out. Watch out for more mature themes and some explicit language used in her tracks – preview before pressing play in front of a class.

The winner of Best Childrens Album by Dan Sultan’s ‘Nali and Friends’ was shared in a previous blog as linked below.  Nominee ‘Music for the Dreaming’ by Yuin composer Brenda Gifford was highlighted a fortnight ago.  Both deserve to be incorporated into music teacher playlists and programs.

 

 

Jessica Mauboy, Briggs and Dan Sultan, are established mainstream performers. Electric Fields and Baker Boy are newer to the mainstream music scene but still very well respected. All of these performers should be considered for inclusion in music studies.  We need to also look at the newer names so that we as educators are on the cutting edge of the music scene.

 

Activities For This Week –

Early Childhood, Primary, Secondary, Choral, Instrumental Teachers

Educators to listen to some music by the artists below.

While listening think about could this be used in my context? How?  Warm up? Technical or theoretical point? Reinforce concepts already learnt?

I wonder if you find a gem? Would you share it with us?

• Thelma Plum
• Dan Sultan
• Kait
• Jessica Mauboy
• Baker Boy
• Briggs
• Brenda Gifford ‘Songs for the Dreaming’

 

References

https://themusicnetwork.com/2019-aria-awards-winners/

https://www.huffingtonpost.com.au/entry/aria-awards-2019-indigenous-nominations_au_5d9ebb0ee4b087efdba8058f

https://www.sbs.com.au/nitv/article/2019/11/28/rb-performer-takes-home-her-first-aria

Near Myall Creek

Myall Creek has been in the new this week as bushfires rage in the area.  But Myall Creek was significant in 1838 for a very different reason, as we are about to examine in this week’s blog.

Ben Quilty is an Australian visual artist of note. Ben’s life as well as his work on the topic of the Myall Creek Massacre was the subject of a recent ABC documentary called ‘Painting In The Shadows’. This documentary aired nationally last week.  The views of Ben’s on the role of Art in society, the tragedy of the Myall Creek Massacre and the role of the Arts in ‘truth telling’ are the inspiration for this blog.  The topic and activities are most suited to secondary students and beyond.

Ben Quilty

Ben was born and raised in Sydney and his art was recognised in his final year of school where examples were exhibited in the ArtExpress 1991 which recognises the top finishing school art students.  Ben continued his art studies completing a Bachelor of Visual Arts in Painting from Sydney College of the Arts at the University of Sydney. He continued his tertiary studies with a second degree specialising visual communication, design and women’s studies at Western Sydney University, graduating with a Bachelor of Arts. He also obtained a Certificate in Aboriginal Culture and History.

Ben now lives and works in Robertson, New South Wales and has won many prestigious prizes for his work including the 2014 Prudential Eye Award, 2011 Archibald Prize and 2009 Doug Moran National Portrait Prize.

In the documentary Ben’s art was described as ‘having a purpose’ and as ‘inviting us into a conversation about our society and its future’.  The documentary stated that other artists criticise Ben and his work for delving into political spheres rather than being respectful of the sacred role of ‘Art for Arts sake’.  I question this negative attitude for the reason expressed in recent blogs about how music as an Art form is used to express social attitudes and urge political change.

In the ABC documentary Ben was described by supporters as ‘giving people a voice’. Ben uses the friction, beauty and chaos as an inspiration to create his art.  He questions us and invites thought and discussion. I think this is a very important role that Art can play in society.  I liken Ben’s work in the visual art sphere to what Katie Noonan has achieved in the music sphere with her project ‘The Glad Tomorrow’, discussed in an earlier post.

There is a wonderful account of the documentary online which I recommend reading.  https://www.abc.net.au/news/2019-11-19/artist-ben-quilty-painting-dark-australian-history-myall-creek/11707954

 

Ben has recently completed a major painting on the terrible story of the Myall Creek Massacre of 1838.  He completed the work in collaboration with Aboriginal elders, Aunty Sue Blacklock and Uncle Lyall Munro of the Wirrayaraay people.  This permission and blessing was given prior to painting.  This is good practice. Whenever using Indigenous cultures as inspiration for creative works contact the Aboriginal custodians of that cultural knowledge.  It is theirs to share, or not.  The conversations are an important part of the healing process.  It is about working together, not doing things ‘for’ and ‘about’ Aboriginal people.  It is about listening and working together.

Ben Quilty  ‘Irin Irinji’ 2018  oil on linen

Bens work is about ‘truth telling’.  This is one of the three key points that came out of the important 2017 National Constitutional Convention   ‘Uluru Statement From the Heart’.  Here the First Nations representatives called for ‘Voice Treaty and Truth’ as pathways to a fairer and representative Australia.  Truth telling should be part of the music choices we present in our music classes.

In the documentary Ben states that past societal wrongs “should not be brushed under the table”.  He says that it is important to “face up to it and acknowledge it”.  He asks us to consider what we are looking at in terms of our art and who we respond to.  These are great questions that can be put in a different way to music teachers.  What are we listening to and who are we playing for and to?

Ben says once you start to study a topic, you start to empathise and you cant hate any more.  Lets start to study something new with our students.  The world can do with less hate.

 

Myall Creek Massacre

The massacre was of 28 men, women and children who were murdered by twelve stockmen at the Myall Creek Station in central NSW June 10 1838.   After two trials, seven of the colonists were found guilty of murder and hanged. It is considered to be the first time justice was served in Aboriginal people’s favour.  It was a highly controversial decision at the time and for many years after. We have to consider that attitudes have progressed in the nearly 200 years since those early colonial days.

A memorial to the victims of the massacre was unveiled on 10 June 2000, consisting of a granite rock and plaque overlooking the site of the massacre. A ceremony is held each year on 10 June commemorating the victims. The memorial was vandalised in January 2005, with the words “murder”, “women” and “children” chiselled off, in an attempt to make it unreadable. Perhaps attitudes have not change all that much in some sectors of the community!

 

Near Myall Creek – Song and Video Clip

This is a powerful song and clip.  I believe all music teachers should view the clip and listen to the song. The song is gentle in its telling of a reflective experience by the song’s protagonist.  The gentle reflection allows space for personal reflection by the listener.  Together with the understated animation of the clip the songs topic becomes even more memorable and allows for more reflection by the listener, to ‘fill in the gaps’.

https://vimeo.com/231041657

‘Near Myall Creek’ is a song by George Huitker and the Junk Sculpture band. I had never heard of them before researching this blog topic. The band are well known in NSW for their energetic retro-themed tribute shows particularly in Canberra. The song and clip on Vimeo and describes the ‘Near Myall Creek’ composition as a musical reflection on time spent at Myall Creek and a questioning of just how much things have improved for the First People since the massacre of 1838. The song is available on Spotify and Apple Music.

I spoke to George a couple of days ago before publishing the blog and he revealed some interesting background to the song ‘Near Myall Creek’.

“Our follow up single “Tiny Tin Town” more light-heartedly celebrates a community we have a close association with and whose members are the direct descendants of those massacred. The band has played amongst them at Tingha (twice) as well as a junior version (lads I mentor) at a pre-Myall Creek Commemoration concert two years ago. You can access that through our Videos section but the sound quality is rough. We were also present when Ben Quilty was at Myall Creek and my own (high school) students can be seen in maroon blazers throughout the Quilty doco on SBS. Our next two songs/clips coming out early next year are also about the region. I did play “Near Myall Creek” (song and clip) for elder Aunty Sue Blacklock prior to releasing it, to get the OK. Anyway, long-winded way of saying please use the song as you wish and with our blessing – anything to get people, especially young people, thinking about the issues has got to be a transformative thing.” 

Pretty cool.

Suggested Activities

The song and the topic are so deep I think it is important not to complicate the process.

1. Share with students the history of the Myall Creek Massacre.
2. Play the clip.
3. Have students reflect on how effective the song is.
4. Have students discuss a musical pathway forward, as individuals and as part of society.
5. Can we find other examples of music presenting historical events? Compare and contrast these songs, the messages the songs are giving, who is telling the story, and most importantly, why.

https://en.wikipedia.org/wiki/Myall_Creek_massacre

https://www.nma.gov.au/defining-moments/resources/myall-creek-massacre

I stumbled across a jewel this week.

Especially suited for early childhood and primary school Music educators is an offering by ABC ‘Classic Kids: Music for the Dreaming’. It has been performed live at the Sydney Opera House, but also available as a podcast series, downloadable series from Itunes and CD.

In this blog, I will present some background to the project ‘Music for the Dreaming’, information about the Australian First Nations composer Brenda Gifford, and then some suggested activities.

 

‘Music for the Dreaming is a collaboration between four main players.  Most important to the project is Noel Butler, Budawang Elder from the Yuin Nation of the south coast of NSW for his stories and teachings.

Then there is acclaimed Australian First Nations composer Brenda Gifford also from Yuin country who brings the stories to an orchestral life through her compositions.

The other important project members include the musicians from ‘Ensemble Offspring’ and narrator Kamil Ellis, a young Wiradjuri (Sydney) star of the NITV program ‘Bushwhacked’. Together they respectfully perform Brenda’s musical interpretations of Uncle Noels stories and teachings.

Dr Peter Whiteman was another important figure in the ‘Music for the Dreaming’ project. Peter was the co-author of the ‘Early Learning Years Framework’ and a music education specialist. He worked with the project to ensure it educationally enriching.

Its easy to use this collection to inspire and educate young children. Specialist music education skills and experience are not required.  But if the teacher has a music education background, the potential for learning about music concepts will be greater. Also the greater the experience of the educator in embedding Aboriginal perspectives, the richer the cultural understandings outcomes for children.

Released in July 2018, this is an Australian version of Saint Saens classic collection of pieces ‘Carnival of the Animals’. Brendas compositions in this collection are inspired by the seasons and natural environment around Wreck Bay, on the south coast of NSW.

Ensemble Offspring who perform the music is a Sydney based group.  They are devoted to new artistic challenges and are driven by a philosophy of promoting artistic integrity and new ways for audiences to engage with new music.  This project for young children is based on orchestral music composed by a First Nations woman, a category of Australian society who have found it difficult for their voices to be heard, fits the artistic challenge Ensemble Offspring aims for.

The result is very rich and accessible Australian classical music steeped in Aboriginal perspectives.  Children can learn the sounds and meanings of words in the Dhurga language and listen to music which evokes the seasons and landscape of Yuin Country. Children will develop sensory perception, musical literacy and awareness of instrument sounds, perfect for ages 2 – 15.

It is simple to implement rich educational experiences for early learning programs and classroom use.  I recommend all education centres and schools download the podcasts or purchase the iTunes CD or purchase the physical CD. It is fantastic.

Here is a great link to an article written about the backstory of the production of the ‘Music for the Dreaming’.  It includes an interview with Brenda about her compositions as well as an interview with Uncle Noel Butler about Wreck Bay. https://www.abc.net.au/news/about/backstory/radio/2018-08-13/abc-kids-listen-music-for-the-dreaming/10114362

Brenda Gifford

Brenda Gifford, once the saxophone player with Reggae Artist Bart Willoughby in the band Mixed Relations, now a respected classical composer. Her most recent release is another ABC CD, ‘Women of Note: A Century Of Australian Composers’.

Her musical influences include Japanese Jazz pianist, Toshiko Akiyoshi and American Jazz Singer Billie Holiday. Mostly important however she says are her family connections :

“My mother inspires me. She showed me unconditional love and taught me how to be a good person, i.e. be kind and treat others how you would like to be treated. She always supported me with my music. Strong independent women who think outside the box inspire me.”

Adapt the following activities for your age group.

I have pitched it at pre-primary level.

Activities

Have the children lie down in a still and quiet position with the lights out and play the ‘season’ from the podcast or CD that correlates to season being experienced at the time. For example right now we are about to head into summer, so play ‘Galaa’.  Give the children some quiet time to think about what they have heard, the words, sounds, instruments, music.  I would run a sharing circle where each child is able to share their thoughts, or pass, if they wish.

At the next ‘music session’, the next day or week, share with the children images of the different musical instruments, Brenda Gifford, Wreck Bay. Then I would repeat listening and sharing activities from the previous session.

For the next two sessions have the quiet listening time using only the ‘underscore’ of the piece (not narrated). Also discuss the First Nations seasons of the country your educational centre is located.  Discuss the similarities with the seasons of the Yuin people.

Get the children to draw and write (or have scribed) what they have learnt about Wreck Bay and enjoyed about the music they have heard.

OLYMPUS DIGITAL CAMERAReferences

http://ensembleoffspring.com/about-us/musicians/

https://www.jbhifi.com.au/products/cd-ellis-kamil-ensemble-offspring-classic-kids-music-for-the-dreaming-2cd

http://ensembleoffspring.com/media/news/brenda-gifford-our-inagural-first-nations-composer-in-residence/

https://www.abc.net.au/classic/events/brenda-gifford-composer/9997816

https://www.abc.net.au/classic/events/brenda-gifford-composer/9997816?jwsource=cl

The Glad Tomorrow

The title of Katie Noonans recent tour ‘The Glad Tomorrow’ is taken from the final line of a poem ‘A Song Of Hope’ by acclaimed Aboriginal writer Oodgeroo Noonuccal.

This poem and nine others by Oodgeroo were the inspiration of a song cycle commissioned by brilliant vocalist and musical director Katie Noonan. I experienced one of the final performances of this tour at the Heath Ledger Theatre in Perth last week.

I found the performance heroic. It demonstrated the importance of conversations. The importance of listening through the heart, whilst maintaining respectful boundaries. It demonstrated to me the process of deep listening, deep reflecting, and then enacting change through artistic media.

Katie shows us that music and music education can lead us to a glad tomorrow.  It takes artistry, heart, bravery, reflection and conversations.

This blog will give information about the performance and the CD of the work.  It will also explore Katie’s model of conversations and respect used in working with Aboriginal artists and writers within the music education context.

Performance

I attended the Perth performance of the ‘The Glad Tomorrow’ tour last week.  We were enthralled.  Katies vocals were breath-taking, the quartet sublime, the readings grounding.

‘The Glad Tomorrow’ performance included 10 new songs for soprano and string quartet commissioned by Katie Noonan.  The composers who featured in the cycle included a stunning line-up of notable Australian musicians including Thomas Green, Carl Vine, David Hirschfelder, Iain Grandage, Robert Davidson, Elena Kats-Chernin, William Barton, Connor D’Netto, Richard Tognetti and Katie Noonan herself.

The evening included a Welcome to Country and song by Noongar performaner Vaughan MaGuire. Then Katie introduced herself, the members of the Australian String Quartet and Kaleenah Edwards, Oodgeroo’s great granddaughter. The format of the performance was Kaleenah reading a poem in Jandai from North Stradbroke Island and then the poem being performed in English by Katie together with the quartet.  The Jandai translations had been written by Oodgeroos grandson Joshua Walker. There were a couple of other instrumental pieces included in the program performed by the quartet alone.

The performance was one in which Oodgeroo, her words, her life and her legacy were clearly the showcase. This was reinforced visually with the performers in all black except the women who were accessorised with silk scarf art works called ‘Paperbark’. The name Oodgeroo translated from Jandai language into English means ‘paperbark’ and this tree is the totem of the poet.  The art on the scarves reflected the different colours of the layers of the tree and is the creation of 2018 NAIDOC Artist Elverina Johnson from Gungandji country, northern Queensland.

The performance was stimulating, confronting and breath-taking. Together with many others in the audience, we were so moved that we felt compelled to give a standing ovation.

My standing ovation of the performance was for many reasons.  One reason was the honouring of an Australian poet of note.  Another was the innovative, beautiful, confronting and fresh music influenced, composed, and performed by Australia’s brightest musicians.  Another was the considered theatrical presentation where Oodgeroo was clearly the main event. The main reason for my acknowledgement was the respect I had for the sheer scope of Katies project, her engagement with Oodgeroos family and different Aboriginal communities to develop, record and perform the works respectfully.  I was overwhelmed by the number of deep and heartfelt conversations which would have had to been conducted. Conversations which have brought Aboriginal voices and issues to the spotlight. Katie presented a wonderful model of conversations, composition and performance for music educators.  Educating, stimulating, challenging and enthralling were all part of ‘The Glad Tomorrow’s aims.

Katie has made no secret of her support of ‘The Uluru Statement from the Heart’.

Katie has said about ‘The Glad Tomorrow’

“My hope is that this project will help a new generation discover the powerful words and the extraordinary life of Oodgeroo Noonuccal.  Personally and professionally I am committed to using music and community engagement to further the sentiments behind the Uluru Statement which seeks ‘a Makarrata Commission to supervise a process of agreement-making between governments and First Nations and truth-telling about our history’. Makarrata is a word from the language of the Yolngu people in Arnhem Land, and the concept of Makarrata captures the idea of two parties coming together after a struggle, healing the divisions of the past. It is about acknowledging that something has been done wrong, and it seeks to make things right. My dream is that this song cycle is a small step towards this Makarratta aspiration.”

Katie’s media describes the song cycle project as

“Bringing the uniquely Australian poetry of Queenslander and First Nations icon Oodgeroo Noonuccal to music, commissioning ten stellar Australian contemporary composers to create a song cycle based on Oodgeroo’s poetry, bringing together 4 distinct worlds – Contemporary Australian and Queensland Composers, the searing poetry of Queenslander Oodgeroo Noonuccal, the Australian String Quartet and Katie Noonan’s unique voice and innate musicality. This unique combination of creative powerhouses will deliver a spectacular and spine-tingling live performance”

Katienoonan.com includes video and audio clips about ‘The Glad Tomorrow’ and other interesting projects, performances and collaborations. It also includes some background information about Oodgeroo Noonunccal.

By titling the work ‘The Glad Tomorrow’ Katie focusses on the hope for future generations improving our society.  She shows us how we can got about this musically.  We can do this through conversations, deep listening and working together.  Oodgeroos poem ‘A Song of Hope’ ends “To our fathers’ fathers / The pain, the sorrow; / To our children’s children / the glad tomorrow.’ Together, through music we can help achieve this glad tomorrow.

 

Suggested Activities

Early Childhood

Provide the children with photographs and some background information about the Bush Stone Curlew which is found throughout Australia. A great site is http://www.birdlife.org.au/bird-profile/bush-stone-curlew.

Here is a great background video on Bush Stone Curlews https://www.youtube.com/watch?v=umjgC81yC3U

Watch a video clip about a curlew such as this one on the Bush Stone Curlew and listen to its call. https://www.youtube.com/watch?v=qi1GX_VRaM0.

Discuss what students know about Bush Stone Curlews already.  Tell them they will be listening to a song called ‘The Curlew Cried’.  Discuss what it might be about and why the curlew is crying.

Provide the students with scarves ribbons or streamers. Students are to listen to the high and low sounds and match the teachers ribbons/scarves/streamers heights.  Play ‘The Curlew Cried’ and indicate to students the relative pitch for them to match as listening.  Play the track again and students can move like a curlew with the music making their ribbons show how high or low the music sounds are.  Students could practice some Bush Curlew moves first like strutting, pecking, scratching, bobbing, scurrying, and being perfectly still.

Provide drawing materials for students. Play the music again and have the students respond to the music through drawing about the music they have listened to and moved to.

 

Middle To Upper Primary

Give the students the definition, symbol and a demonstration of a crescendo and trill.

Crescendo – gradually get louder.

Decrescendo – gradually get softer

Trill is a musical ornament consisting of a rapid alternation between two adjacent notes, usually a semitone or tone apart. A more simple definition could be playing of two musical notes repeatedly and quickly one after the other.

Grace note – an extra note added as an embellishment and not essential to the harmony or melody

Glissando – to glide from one pitch to another

Provide the children with photographs and some background information about the Bush Stone Curlew which is found throughout Australia. A great site is http://www.birdlife.org.au/bird-profile/bush-stone-curlew.

A video clip with background information about the Bush Stone Curlew is https://www.youtube.com/watch?v=umjgC81yC3U

The first website on the Bush Stone Curlew describes this bird as having an eerie, high-pitched wailing at night. This ghost-like call is their contact call, and may be given by several birds in a chorus. Rendered as weer-lo, it is repeated four or five times, sometimes culminating in a trilled, screeching crescendo.

Given what students already know about trills and crescendos, have students create their own curlew calls on the recorder or other melodic instruments with crescendos.

Watch a video clip about a curlew call such as this one on the Bush Stone Curlew https://www.youtube.com/watch?v=qi1GX_VRaM0.  Discuss how accurate the description of the curlew call being trill-like and having a crescendo is.

Provide the students with scarves ribbons or streamers. Students are to listen to the high and low sounds and match the teachers ribbons/scarves/streamers heights.  Play ‘The Curlew Cried’ and indicate to students the relative pitch for them to match as listening.  Play the track again and students can move with the music making their ribbons show how high or low the music sounds are.

Discuss the use of trills, crescendos, grace notes, decrescendos, glissandos in the piece. Discuss how accurately the piece represents the curlew call.

Demonstrate sketching the pitch movement in a section of ‘The Curlew Cried’ using some of the music symbols introduced earlier.

Provide drawing materials for the students.  Have them sketch the pitch movement in a different section of ‘The Curlew Cried’.

 

Secondary Students

Song Cycle

Introduce to students the concept of a song cycle.

Song Cycle is a group of individually complete songs designed to be performed in a sequence as a unit. The songs are either for solo voice or an ensemble, or rarely a combination of solo songs mingled with choral pieces. The number of songs in a song cycle may be as brief as two songs or as long as 30 or more songs.

Discuss what the brief of Katie Noonan to her composers might have been.  Listen to some excerpts of different resulting songs.

Provide students with a brief to produce their own songs based on different poems or the same poem. I would give some boundaries, like Katie did.  She would have said it is for a soprano and string quartet.

Find a suitable poem to act as an inspiration for a song cycle with your class. Ask you English teacher colleagues or seek out local literary magazines. ‘The Westerly’ is a Western Australian magazine which publishes ‘lively fiction and poetry’ mostly WA material.  It regularly includes Aboriginal poetry by local writers. https://westerlymag.com.au/

Get some ideas together for your performance, just some rough ideas.  Then engage in conversation with local family and/or Aboriginal Education Officer and/or Elder and/or local language centre about the suitability and what ideas they may have about possible performance suggestions or formats.

Seek approval from the artist about using the work if possible.  If this isn’t possible try to seek approval from the family or community from where the work came from.

Both of these consultation processes may require more than one attempt and more than one conversation.  Have an open heart when listening.

Ask if there is anyone from the community that would like to work with your group. Payment for the expert involvement is proper so be ready for this.

The suggestions you may be given could be different to what you were envisaging.  Be open to adapt and accept direction when given the privilege of working with Aboriginal cultural inspiration.

Once approval given work with your students and provide updates to the community members from whom you were given advice. Again be open to new directions and advice given.

Think about how the culture and the inspiration of the work can also be demonstrated respectfully – like with Katie and the female members of the string quartet wearing ‘Paperbark’ art scarves.  Discuss with community representatives.

Discuss the logistics with your community representatives and ensure they are invited and given ‘Guest of Honour’ status.

 I strongly encourage all music teachers to try such a project. Be determined but tread carefully.

If approval is not given, and if you consider the material suitable to share with your students, I would still go ahead with the composition component. This is still a wonderful learning opportunity.  I would not publically perform the resultant works unless community permission was granted. I would have students perform for their class mates in class.

https://www.limelightmagazine.com.au/reviews/the-glad-tomorrow-katie-noonan-australian-string-quartet/

http://www.katienoonan.com

 

The 1834 Massacre of Pinjarra

There are many examples where music has been used to provide an alternative narrative to that presented in official documents.  In some cases these musical narratives, having being brought to public attention, have prompted changes, injustices to be corrected, laws to be changed. Bob Dylan’s ‘Hurricane’ highlighted the false accusation and imprisonment of Rubin ‘Hurricane’ Carter. It ultimately led to him being released and the case dropped.  It took twelve years.

Typically history is written by the victors, the strong, the dominant.

This weeks blog explores the concept of ‘truth telling’ and what part music education can play in ensuring history is being told from various perspectives, not just from the dominant culture.  It expands on this by looking at the ‘Battle of Pinjarra’ and folk music as a source of conveying history in Australian culture.

‘Voice Treaty Truth’ is a catch-cry of Reconciliation Australia and the National Aboriginal Day of Celebration (NAIDOC) Committee. They are concepts that are considered to have been integral in achieving the Uluru Statement from the Heart agreed to in 2017 by the Aboriginal and Torres Strait Islander Referendum Convention. The delegates at this conference and the supporters of this statement believe that the acceptance and adoption of the recommendations will achieve a fair and truthful relationship with the people of Australia and a better future for all our children based on justice and  self-determination.

Giving voice to Aboriginal people through the resources and repertoire choices is one way we as teachers can give support to Aboriginal people and the Uluru Statement From The Heart.

Another way is by supporting ‘truth telling’.

Song writing, composing and performing have engaged with truths and untruths for thousands of years.  Music teachers whose truth are we choosing to re-tell through the choice of repertoire we are basing our teaching around?

In Western Australia there was some media coverage last month regarding a significant anniversary of ‘a battle’ on the banks of the Murray River near Pinjarra.  185 years ago a massacre of Noongar people was led by Captain James Stirling.  Initially it was documented that 14 Aboriginal people were killed and one policeman died after the incident.  Detailed investigation has revealed it was a lot more.  Up to 200.  Almost two centuries on, local Noongar people are still waiting for proper recognition of the bloody killings, still officially described as ‘a battle’.  Evidence by both the settlers and Aboriginal people clearly shows there was no battle.

Musically this event has been explored by some local non-Indigenous musicians.  One great example of truth telling about the Pinjarra Massacre is a collaboration Jenny Gaunt and Ashlea Reale.  These gifted folk musicians teamed together to form the duo ‘The Littlest Fox’.  Their album ‘Under The Apple Tree’ includes a song ‘Battle Of Pinjarra’.  Like the European Renaissance troubadours and minstrels, this is news telling through song portraying a different story to official history books and local council.  This CD is still available by contacting Jenny Gaunt Music on Facebook.  It would be a great addition to secondary teachers repertoire.  Particularly if studying folk music.  Whilst it is not an ‘Aboriginal voice’ it does provide truth telling and an Aboriginal perspective.

Another song on the bloody events in Pinjarra in 1834 is by New Zealand born Ray Pritchard and is called ‘The Pinjarra Massacre’. I came across it on YouTube and it tells of brutality and greed for land and highlights the injustices suffered by indigenous Australians in recent history. Ray is a Perth based musician with more than forty years experience. This song, like The Littlest Foxs, is a great example of folk music.

I was privileged to attend a Pinjarra Massacre memorial event run by local Noongar Elder and singer songwriter George Walley. To hear the story of the killings on the banks of the river from one of the descendants and to be invited to help the country heal through knowing and sharing his stories is held as a precious and important time in my life.

 

Activities

Is there a significant event or story from your region that you could share with your students? Research and discuss and have students write a song in a folk style similar to The Littlest Fox or Ray Pritchard examples.

 

Some suggested topics include

• the first Australian Cricket team to tour England in 1868 which was an Aboriginal team headed by Captain Charles Lawrence.
• the protests defending the 800 year old Djap Wurrung birthing trees from being bulldozed. These trees are significant and sacred to local Aboriginal women but are slated to be destroyed to make way for a 12km duplication of the Western Highway between Buangor and Ararat in Victoria.
• After reading the picture book ‘Alfred’s War’ by Rachel Bin Salleh and Samantha Fry, write a song about ‘Alfred’.
• Read the picture book ‘Free Diving’ by Lorrae Coffin and illustrated by Bronwyn Houston. As a class, in groups or individually, write a song about the divers. Later listen to the song by Lorrae Coffin and/or watch the video clip.  https://www.youtube.com/watch?v=d8Ha4gt2cb0

For an easy relief lesson have your students listen to and compare Dylan’s ‘The Hurricane’ and The Littlest Fox’s ‘Battle of Pinjarra’.

 

References and Information

Ray Pritchards ‘The Pinjarra Massacre’  https://www.youtube.com/watch?v=Puv73KqRYpk

Information about first Australian Cricket Team to Tour England https://www.sl.nsw.gov.au/stories/first-indigenous-cricket-tour-england-1868

https://monumentaustralia.org.au/themes/conflict/indigenous/display/61063-pinjarra-massacre-site Information about the Pinjarra Massacre

http://inherit.stateheritage.wa.gov.au/Public/Inventory/PrintSingleRecord/1214b928-d904-41f1-89ba-8dea7bd452a0 Information about the Pinjarra Massacre

https://www.abc.net.au/news/2019-10-26/the-scars-of-the-pinjarra-massacre-still-linger-185-years-on/11639642     article about the Pinjarra Massacre by Jessica Warriner

‘Battle of Pinjarra’ is from ‘Under the Apple Tree’ CD by The Littlest Fox.  It is available through Jenny Gaunt Music.  The contact for Jenny on WWW is http://www.jennygaunt.com/.  Her Facebook contact is @jennygauntmusic.

Respect To Solid Rock

There are two issues I wanted to write about this week, one is the closing of Uluru Climb.

Creating thoughtful and active citizens through the awareness of social issues is part of what Arts education can and should do. Music has regularly played a part in contributing to social discussions such as the involvement in the Vietnam War, Nuclear Disarmament. Below are some ideas to engage with students in topical social and political matters as well as more technical aspects of music education.

There has been a lot of media exposure over the last couple of weeks about the importance to local Aboriginal people of the closure of the Uluru climb to the local Aboriginal people. A way of connecting this closure with Music is by allowing students to view and hear the re-release of the song ‘Solid Rock’ by Shane Howard. It includes special guests Dan Sultan, Emma Councillor-Donovan, Natalie Pa’apa’a (Rize), Archie Roach, Bart Willoughby, Amy Saunders, Myra Howard as well as the APY Lands Choir singing the Pitjantjatjara translation by Trevor Adamson and Ruby James.

Shane Howard hails from the legendary 80s band Goanna. I adored that band.  Their ‘Spirit of Place’ album was the first cassette I bought with my own money. That album included the original recording of the song ‘Solid Rock’.

Shane posted on Facebook last week a re-release of ‘Solid Rock’ that was recorded in 2012 but never released.  Shane announced on Facebook that it seemed timely to share the song to co-incide with the closure of the climb.  In the post he says it gives respect back to the local Anangu people, the traditional owners of the land of Uluru. He titled the post Solid Rock (Puli Kunpungka) which is the Pitjantjatjara phrase for ‘strong now’.

Here are the lyrics Shane published with the Facebook post last week.

SOLID ROCK, SACRED GROUND – Puli Kunpungka
© 1982 Shane Howard  Mushroom Music/Big Heart Music

Pitjantjatjara Translation: © 2012 Trevor Adamson/Ruby James/Shane Howard/Jodi Martin

Out here nothing changes
Not in a hurry anyway
You can feel the endlessness
With the coming of the light of day
Talking about a chosen place
They want to sell it in the marketplace
Just a minute now

Standin’ on solid rock
Standin’ on sacred ground
Livin’ on borrowed time
And the winds of change
Keep blowin’ down the line

’Round about the dawn of time
Dreaming all began
Proud people came
Livin’ in a promised land
Runnin’ from a heart of darkness
Searching for a heart of light
This could be paradise

CHORUS

Standin’ on the shore one day
Saw the white sails in the sun

Wasn’t long before you felt the sting
White man, white law, white gun
Don’t tell me that it’s justified
Cause somewhere, someone lied…..(Captain Cook lied)
It’s hard enough just to survive
Who’s that crying?
Genocide
But we’re getting stronger now, stronger now

Puli kunpungka ngaranyi
Manta miil-miilpa katu
Nyuntu kurangka ngaranyi
Walpa kampa kutjuparinyi
Walpa pulkaringanyi

Puli kunpungka ngaranyi
Manta miil-miilpa katu
Nyuntu wirungka ngaranyi
Walpa kampa kutjuparinyi
Walpa pulkaringanyi

Standin’ on solid rock
Standin’ on sacred ground
Livin’ on borrowed time
And the winds of change
Are blowin’ down the line

Re-reading these lyrics now, 30 years after it was a hit brings a new awareness.  How pertinent that message was then … just as it is now. Having visited Uluru myself I can appreciate the significance of this national landmark and how important this feature was to the local people to hold and retell the ancient stories, songs and dances. The issue of time, whether 30 years of music history, or tens of thousands of years for the local people …. Nothing changes …. Not in a hurry anyway.

Back to contemporary times Trevor Adamson and Shane Howard have also released another song about Uluru marking the climb closure called ‘Palya Wiru Uluru’.

Below is some information that Shane posted to mark the collaboration.

The GoannaFella and APY Elder united to write new chapter after Uluru climb closure.

“We came together with this song to give people the chance to hear the story of the rock from the Traditional Owners” says Trevor Adamson.

Howard added, “In the past we didn’t understand the deep spiritual connection of Anangu to Uluru. Climbing the rock was seen as a rite of passage for us whitefellas. Now we know better and it’s time to come together in a deeper understanding of country.”

“I want people to understand the country is really precious and really sacred. We want to look after it,” said Adamson. “It’s still a sacred site from the past”

A two track EP titled, ‘Palya Wiru Uluru’, will be launched to commemorate the close of the climb at Uluru. Uncle Trevor and Shane will perform the song together at the closing ceremony.

“I feel honoured to be asked to write and invited to perform the song with Uncle Trevor at the closure of the climb celebrations on Sunday. It feels like a full circle since writing ‘Solid Rock, Sacred Ground’, all those years ago” said Howard.

The EP is available to download or buy at:
https://shanehoward.com.au/palya-wiru-uluru
and at Maraku Arts at Uluru

The closure of the climb has been controversial in some circles.  This is probably due to the different backgrounds and cultures.  With regards to these differences, I say a decision has been made by the traditional owners.  It is a decision that they have been able to make as our First Nations peoples gradually find a voice.  Let us respect their decision and hear their voices.

Suggested Activities

Early Childhood Students to Year 3s

Students play un-tuned percussion instruments along with the released ‘Solid Rock – Puli Kunpungka’ .  Try different rhythmic patterns for the verses and the chorus.  An example could be for verses ta ta tete ta, for the chorus ta tete ta tete.   Then allow for discussion with topics like why are there so many different musicians involved?  What does it say about the importance of the song when there are so many musicians involved?  What is the mood of the song, music and musicians?  How important is Uluru in the song?  Describe the different musicians involved in the song. Play Palya-Wiru-Uluru song and compare the two songs –what is similar and what is different and the two pieces of music?

Years 4-12

Provide students the lyrics of the released ‘Solid Rock – Puli Kunpungka’ either on white board or electronically.  Encourage students to follow along as the video is played.  Play song again, have students sing along.  Open for discussion. Questions could include why are there so many different musicians involved?  What does it say about the importance of the song when there are so many musicians involved?  What is the mood of the song, music and musicians?  How important is Uluru in the song?  Describe the different musicians involved in the song. Play ‘Palya-Wiru-Uluru’ song and compare it with the released ‘Solid Rock’ –what is similar and what is different and the two pieces of music?

Instrumental Students

There is sheet music for ‘Solid Rock’ available which teachers can readily access and adapt to suit their students needs.

Vocal and Choral Students

There is an accapella arrangement of the original ‘Solid Rock’ by Andrew Emnet available through the online store Sheet Music Plus.It is SATB plus Tenor solo. This could be adapted to suit the needs of different needs of different choirs and ensembles.

Thanks – to the great work of my editor husband Craig.  His work in this regard, as well as his general support with the blog, is so appreciated.

 

Robyn Veitch, the newly appointed President of the Australian Society of Music Education, Robyn Veitch, shared her most recent experience of embedding Aboriginal perspectives in her music program.

As Robyn shared the wonderful experience with me, it became clear how multifaceted the both the performance and its back-story was.  Robyn had just finished a performance with her choir from City Beach Primary School which opened the third phase of an Indigenous garden.

Pictured above – Robyn Veitch

This week I wanted to share Robyn’s example of embedding of Aboriginal perspectives. This example demonstrates how powerful, interesting and flexible the use of song and poetry can be. I also wanted to share some wonderful work by the great female vocal group Tiddas and how their work could be used in Music education settings.

Pictured above – Yamatji Artist Loretta Egan

Last month at the ASME National Conference Robyn won the raffle of a ukulele painted by Yamatji artist Loretta Egan.  The Yamatji people’s traditional country is the northern part of the midwest of Western Australia which includes the cities of Geraldton and Carnarvon.   After Robyn won the beautiful instrument she took it to show and share with two state primary schools in Perth’s northern suburbs where she teaches.  Robyn shared with her students information about Loretta’s painting.  Robyn also shared images of Loretta’s art from the website.  The students were really impressed with Loretta’s work. Robyn told me “they loved both the contemporary and the more traditional works”. This is a great example of teaching ‘in the moment’ and sharing an Aboriginal cultural perspective without pushing the point to its limits and having students lose interest.

Pictured above – Loretta’s Artistic Ukulele, and me, Jane Nicholas

As happens in our work as music teachers Robyn was asked to put together a musical performance for the opening on an indigenous garden at her City Beach school.

 

The garden had come about as there was an old and not visually pleasing area of the school that the school decided need to be re-purposed.  Stage 1 of the construction of the Indigenous Garden included consultation with local government council who provided advice from their Indigenous Officer and local elders.  This informed Stage 2 and Stage 3.  Stage 2 was the construction of a yarning circle. Stage 3 activities were the planting of a native food section of the garden.  The 3 stage project has taken a year to complete and has formed part of curriculum studies across the whole school. The principal has made quandong jam from the quondongs that come out in spring.  The children across the school have learned about food, the 6 Noongar seasons and lots of other aspects of indigenous culture and life in this area.

 

So…what about the music education component?

 

Here Robyn describes the process “Musically we needed a song for the opening so I taught the children the chorus of From Little things …..the song by Paul Kelly and Kev Carmody (a Murri man from northern Queensland) song from the 90’s.  We added poetry that talked about the journey the school has made in forming the new garden areas.  The Yarning circle in the native food/tucker garden is at the heart of the project”.

‘

Pictured above – Robyn and City Beach PS opening Stage 3 of the school’s Indigenous garden

Robyn has generously shared the poems which were read while the ukes played a C chord during the performance.

 

City Beach Garden Song

Gather round people, let me tell you a story
About all the plants and the people here

We’ve made three new gardens full of life and joy

Under the gums and Quandong trees,

From little things big things grow
From little things big things grow

 

So many areas have been brought back to life

With vegetables and herbs, it a beautiful sight

Malak Merenyj Bidi grows bush tucker food

A yarning circle, its crown is its heart.

 

From little things big things grow
From little things big things grow

 

To complete the story, we are here today

Before us an edible garden created with care.

We’ll water it, nurture it, get rid of the weeds.

And we’ll watch it grow for us to share!

 

From little things big things grow
From little things big things grow
From little things big things grow
From little things big things grow

 

Robyn has also included two versions of the chord pattern for ‘From Little Things Big Things Grow’ which she taught some of her choir students to accompany their singing.

 Chords for Chorus

Simple:

C                        Am               G           C                       Am                G

From little things big things grow. From little things big things grow.

 

Trickier:

C        Am               Em         G              C    Am             Em             G

From little things big things grow. From little things big things grow

Pictured above – the opening of the City Beach PS Indigenous garden

 

The opening of the edible garden was the final part of the project.  The school staff, parents and other interested community members have converted an old and really ugly storage are into a kitchen garden that will be cared for and shared by the whole community.

 

Tiddas

Originally the three women, Amy Saunders (a Gunditjmara woman from Portland), Lou Bennett (a Yorta Yorta Dja Dja Wurrung woman from Echuca) and Sally Dastey (from West Heidelberg) combined their vocal talents as backing singers for Aboriginal band Djaambi. The group were invited to perform at a musical celebration for women’s artistic achievement, ‘Hot Jam Cooking’, in Richmond, Victoria. Their performance was well received. It inspired the ground-breaking Ngarrindjeri singer songwriter Ruby Hunter to name the trio ‘Tiddas’, which is a Koori word (demonym for Aboriginal person from NSW or Victoria) meaning “sisters”.

Pictured above – Tiddas in 1990s

After performing together for over a year the band came to the attention of Paul Petran, host of ABC National Radio show ‘Music Deli’, who assisted Tiddas to record their 1991 debut EP, ‘Inside My Kitchen’.  Inside My Kitchen was released in October 1992 and received two nominations, for ‘Best New Talent’ and ‘Best Indigenous Release’, at the ARIA Music Awards of 1993.

 

They released an album in 1993 called ‘Sing About Life’ which achieved gold status.  It included the popular song ‘Inanay’ which is sung in Yorta Yorta language (there are differing views as to its origins). In 1996 the band released a self-titled album produced by Joe Camilleri.  Their last album was released in 1997 before the band wound up.  It had been one of the most successful First Nations acts of the 1990s.

 

In August 2019, Tiddas were inducted into the National Indigenous Music Awards Hall of Fame.

Pictured above – Tiddas 2018

Happy Earth – Tiddas

I love this last section of the song – here are the lyrics and chords. Its in triple time, Yay!!!!

Crystal blue lake makes for sturdy strong eucalypt

Makes laughing kookaburras sing to the sky

Clouds floating by on the air that we breathe

Rain falls on down to the rivers and seas

Happy earth, happy earth, happy earth, happy earth

 

Chords available     from Chordify

Suggested Activities

Early Childhood to Middle Primary

Teach students to sing selected section of Happy Earth.

Have students create own movement sequence to express the lyrics while teacher plays a simple repetitive drumming pattern.

Perform as follows

1. Happy Earth Song section sung by all students
2. Half students perform movement accompanied by drumming
3. Happy Earth Song section sung by all students
4. Half students perform movement accompanied by drumming
5. Happy Earth Song section sung by all students

 

Upper Primary to Secondary

Teach students to perform A D and E chords on various instruments.

Have students research traditional bush foods from your local area.  An example for schools on Whadjuk Noongar country is the following information.

https://www.nacc.com.au/wp-content/uploads/2018/06/Sharing-Noongar-Knowledge-Part-4-Bush-Foods.pdf

In small groups students are to prepare and perform a poem accompanied with an A chord on different instruments.

Have students perform as follows:

1. Happy Earth Song section sung and accompanied by all students
2. Group 1 students perform poem and chordal accompaniment
3. Happy Earth Song section sung and accompanied by all students
4. Group 2 students perform poem and choral accompaniment
5. Continue to work through poems and Happy Earth until all groups have performed their poems
6. Happy Earth Song section sung by all students

 

Choral

The Canberra Acapella choir Cyrenes performs an arrangement of Happy Earth.  Have students listen to the piece.  Discuss which parts are the best by the choir and which elements could be improved. Have students provide suggestions for strategic improvement. Then play the song again and see if students can join in a particular part – you may allocate different sections for them to follow and or recreate.

http://www.cyrenes.org.au/ourcds