Tree Of Truth

This week I have been using the logo for Reconciliation Week 2019 as the inspiration for music making for classroom music for all year groups in my primary school setting.

Background to National Reconciliation Week

As mentioned in the blog last week, National Reconciliation Week runs between May 27 and June 3 each year.

 

The theme for National Reconciliation Week 2019 is ‘Grounded in Truth: Walk Together with Courage’.

The organisation which coordinates the national week is Reconciliation Australia.  When they announced the theme for 2019, Reconciliation Australia’s Chief Executive Officer, Karen Mundine, said that “trust and truth is the basis for all strong, equitable relationships”.

“Reconciliation is ultimately about relationships and like all effective relationships the one between Aboriginal and Torres Strait Islander people and other Australians must be grounded in truth” she said. She added “There can be no trust without an honest, open conversation about our history”.

With these thoughts in mind here are some activities I used with my classes which used the logo as the centrepiece of music making and discussions about music.

Year 1 and 2

Objectives – Develop the ability to hold a rhythmic musical line independently, Learn different dynamics, terminology and symbols of music including piano, forte, crescendo, decrescendo, mezzo piano and mezzo forte.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo, un-tuned percussion instruments for each student (I used claves), worksheet (see later in blog)

Rhythm and Dynamics Tree of Truth Worksheet-1gxdv6z

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Have students echo the phrase “grounded in truth” several times and then its rhythmic pattern using body percussion.  I used patsching with the rhythm ‘tete ta ta za’.

Have students echo the phrase “walk together in courage” several times and then its rhythmic pattern using body percussion.  I used clapping with the rhythm ‘ta ta tete ta tete za za za’.

Distribute un-tuned percussion instruments.

Remind students of dynamics terms, symbols and the definitions for piano, mezzo piano, mezzo forte, forte, crescendo and decrescendo.

Choose different student ‘teachers’ to choose the dynamics and have them point to which symbol the students are to play either ‘walk together in courage’ or ‘grounded in truth’ patterns.

Display and explain the rhythmic notation for each of the speech patterns the students are to read.

Give worksheet instructions and distribute one sheet to each student for them to complete.

Plenary – Discuss: What did we made music with today?  What were the two speech patterns we used? What musical terms did we use today and what do they mean?  Have the students draw a symbol for one of the terms and explain it.

 

Year 3 and 4

Objectives – Develop the ability to hold a rhythmic musical line independently, Improvise melodically aiming to hold the rhythmic pattern and explore resolved melodies.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo, un-tuned percussion instruments for each student (I used claves), tuned percussion (I used chime bars – alto and soprano sets but xylophones and metallophones would be an alternative)

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Have students echo the phrase “grounded in truth” several times and then its rhythmic pattern using body percussion.  I used patsching with the rhythm ‘tete ta ta za’.

Have students echo the phrase “walk together in courage” several times and then its rhythmic pattern using body percussion.  I used clapping with the rhythm ‘ta ta tete ta tete za za za’.

Have students echo the phrase “empathy, solidarity, goodwill and love” several times and then its rhythmic pattern using body percussion.  I used chest tapping with the rhythm ‘tete te tika tete ta ze te ta  te ta za’.

Divide students into three groups.  Group 1 is to work with the un-tuned percussion instruments and the speech pattern “Grounded In Truth’.  Group 2 is to work with the alto chime bars or xylophones and the rhythm “Walk Together In Courage”.  This group is to improvise over the notes C and G.  Group 3 is to work with the soprano chime bars or xylophones and improvise over the notes C D A. This group will require instruction about melodic resolution on the tonic.

Distribute tuned and un-tuned percussion instruments.

Have students practice their parts and layer in the sections.  I like to rotate students through the different parts.

Choose different student ‘conductors’ to indicate to their ensemble the dynamics and ‘bring in the layers’. Choose a student ‘music critic’ for each ‘performance’ and have them give a positive and a constructive piece of feedback.

Plenary – Discuss : What did we made music with today?  What were the three speech patterns we used? What does improvise mean?  What is a ‘musical resolution’?  Have the students recall a favourite melodic pattern they used for their improvisation on C D and A?

 

Year 5 and 6

Objectives – Develop the ability to hold a rhythmic musical line independently, Improvise melodically aiming to hold the rhythmic pattern and explore resolved melodies. Make informed musical decisions about the dynamics of different sections of a composition.

Resources – Whiteboard to show the ‘Tree Of Truth’ logo and the speech pattern parts, range of instruments – tuned and untuned

Activities

Introduce the concept of National Reconciliation Week to students. For these young students the concept of reconciliation took a bit of explaining. With certain classes the discussion had to be managed carefully as some students have had troubling experiences with their families having had or having traumatic relationship breakdowns.

Show the logo and ask students to identify the different elements.  Discuss what it is trying to show.

Tell students this will be the inspiration for some music making today.

Display the different speech patterns inspired by the logo which will make up the piece.

Part 1 History – learn from the past. We can learn together grounded in truth.

Part 2 Courage. Let’s walk together with courage.

Part 3 Empathy, solidarity, goodwill and truth.

Part 4 Education growth and understanding.

Part 5 Always learning, always growing, outwards and upwards.

Work through the different patterns using speech and body percussion patterns to learn the different parts.

Have students consider and then suggest instruments for different sections. Deeply question the students about their choices and prompt them to give reasons for their choices and whether or not this reflects the logo. Question the group if they consider these choices appropriate. One of my classes chose contra bass bars and tapping sticks for part 1, shakers for part 2, vocal chant for part 3, improvised acoustic guitar for part 4, improvised xylophones for part 5.

Have students suggest dynamics for the different sections and arrangement suggestions.  Have the students provide reasons for their decisions and seek group approval for performance choices.

Perform the piece a few times choosing a student ‘music critic’ for each ‘performance’. The critic is to give the class musicians a positive and a constructive piece of feedback.

Plenary – Discuss: What did we made music with today?  What were the speech patterns we used? What does improvise mean?  Which was their favourite part and why?  Where did they as musicians most reflect the intentions of the artist of the ‘tree of truth’?  Have them explain their reasoning behind their choices and comments.

 

References

https://www.reconciliation.org.au/national-reconciliation-week-theme-announced-grounded-in-truth-walk-together-with-courage/

https://www.reconciliation.org.au/national-reconciliation-week/

Information which unpacks the “Tree of Truth” https://www.reconciliation.org.au/wp-content/uploads/2019/05/tot-rationale.pdf

Reconciliation Week

Grounded In Truth – Walk Together In Courage

Coordinated by Reconciliation Australia

Fifty two years ago Australians voted yes to change its laws by referendum to remove two discriminatory references in the constitution. The changes allowed the federal government to make laws affecting Aboriginal people and include the count of “aboriginal natives” in the Census. Now Aboriginal people were counted as people, no longer as part of the flora and fauna.

Twenty seven years ago the Mabo decision was passed by the High Court of Australia. The court decided that terra nullius should not have been applied to Australia which recognised that Aboriginal and Torres Strait Islander peoples have rights to the land – rights that existed before the British arrived and can still exist today.

The Mabo decision was a turning point for the recognition of Aboriginal and Torres Strait Islander peoples’ rights, because it acknowledged their unique connection with the land.

Two years ago an important concert was held in Sydney to commemorate these decisions.  The concert was entitled ‘1967 : Music in the Key of Yes’. Held at the Sydney Opera House, the concert included music of hope, empowerment, and freedom. Original and reworked pieces were performed by a range of the best Aboriginal and Torres Strait Islander musicians representing different parts of Australia and different styles and genres.

The two reforms carry important messages of hope and history for Reconciliation Australia.  Every May 27 to June 3 the organisation promotes ‘Reconciliation Week’ which asks Australians to consider the importance of the two events and reflect on the societal progress since 1967.  Yes, the dates remain the same, rather than it being a calendar week.  This will be explained later.

So next week sees the start of Reconciliation Week 2019, the theme being ‘grounded in truth, walk together in courage’.

Musically, we can honour this week.  As music teachers we can play our part in adding to the thinking around the remembering, reflecting and planning for how Australia wants its future to be.

Suggested Activities

1. Sing or play from the repertoire of the ‘1967- Music in the Key of Yes’ concert, such as :

• Solid Rock – Goanna;
• We Have Survived – Bart Willouby – No Fixed Address;
• Black Fella White Fella – Warumpi Band;
• Yil Lul – Joe Geia
• From Little Things Big Things Grow – Paul Kelly and Kev Carmody.

2. Listen to and study the musical elements of one of the pieces listed above.
3. Compose a new repertoire list for a similar concert. Suggest musicians, artists, bands to perform. Suggest a venue and guest list.
4. Compose a new piece or song which reflects the artistic symbol of Reconciliation Week 2019 ‘Tree of Truth’.
5. Compose a new piece or song about the 1967 Referendum or the Mabo decision and changes since then.
6. Compose a new piece or song which explores the idea put forward by Reconciliation Australia that “reconciliation must live in the hearts, minds and actions of all Australians as we move forward, creating a nation strengthened by respectful relationships between the wider Australian community, and Aboriginal and Torres Strait Islander peoples”.

Background To The Reconciliation Week 2019 ‘Tree Of Truth’ logo

(information copied from Reconciliation Australia website)

EXPLAINING THE TREE OF TRUTH

The Tree of Truth is what happens when the seeds of empathy, solidarity and love are sown. This is a representation of the community that we can grow into if we are able to acknowledge our history, learn from it and move forward together courageously.

 

BREAKING DOWN THE GRAPHIC THE TREE

The tree stems from what happens when people come together. It illustrates positive growth and is an aspirational view of what the future could be.

1. The HEARTS represent empathy, solidarity, goodwill and love. They are the feeling, emotional elements.
2. The THOUGHT POINTS represent education, growth and understanding. They are the cognitive elements of the tree.
3. The GROWTH BANDS radiate outwards from some of the branches. They represent that we are always learning and growing – pushing outwards and upwards into the future.

 

THE PEOPLE Members of our diverse community coming together in harmony.

 

THE HEART This is the connection point of the people in the graphic. When the people’s hands join, it creates an energy force which is represented by the love heart. The energy runs upwards and downwards – linking past, present and future.

 

The word ‘Truth’ is the bedrock for all of our positive growth. When we understand and accept our truth we have a solid foundation to grow from.

 

The roots represent our history and links to the past.

 

The word ‘Grounded’ quite literally is on the surface of the ground.

 

‘Grounded in Truth’ is designed to be the base of the tree that all of the positive growth stems from.

 

Background To Reconciliation Week #NRW2019 Campaign

(information copied from Reconciliation Australia website)

At the heart of reconciliation is the relationship between the broader Australian community and Aboriginal and Torres Strait Islander peoples. To foster positive race relations, our relationship must be grounded in a foundation of truth.

 

Aboriginal and Torres Strait Islander peoples have long called for a comprehensive process of truth-telling about Australia’s colonial history. Our nation’s past is reflected in the present, and will continue to play out in future unless we heal historical wounds.

 

Today, 80 per cent of Australians believe it is important to undertake formal truth telling processes, according to the 2018 Australian Reconciliation Barometer. Australians are ready to come to terms with our history as a crucial step towards a unified future, in which we understand, value and respect each other.

 

Whether you’re engaging in challenging conversations or unlearning and relearning what you know, this journey requires all of us to walk together with courage. This National Reconciliation Week, we invite Australians from all backgrounds to contribute to our national movement towards a unified future.

 

The dates for NRW remain the same each year; 27 May to 3 June. These dates commemorate two significant milestones in the reconciliation journey— the successful 1967 referendum, and the High Court Mabo decision respectively.

 

Reconciliation must live in the hearts, minds and actions of all Australians as we move forward, creating a nation strengthened by respectful relationships between the wider Australian community, and Aboriginal and Torres Strait Islander peoples.

 

References

https://www.reconciliation.org.au/national-reconciliation-week/

https://theconversation.com/celebrating-the-songs-of-australias-civil-rights-movement-71480

https://www.sbs.com.au/nitv/article/2019/01/23/enjoy-playlist-26-songs-about-survival-protest-reconciliation-and-truth-telling

https://sydney.edu.au/news-opinion/news/2017/06/02/five-things-you-should-know-about-the-mabo-decision.html

I was thinking this week that most of my posts have been about songs. Most of the discussions have been about the elements and usage of songs in the classroom. Songwriters like Archie Roach, Deborah Cheetham, Troy Cassar-Daly and Shellie Morris have also been introduced. These songs have been great examples of Australian story telling with words and music.

 

I was left wondering about Aboriginal music in its instrumental form. Other than the ‘traditional’ didgeridoo pieces, on initial research there appeared to be very limited ‘high art’ Aboriginal compositions. Is this because there is a lack of Aboriginal musicians performing and composing in the ‘high art’ music sphere of Australian society?  The answer is ‘yes’.  However, a program to address the lack of Australian First Nations composers is working towards developing Aboriginal composers in the music industry.  Ngarra-Burria is the name of the program established at the Australian National University in Canberra. It is the brain-child of Dr Chris Sainsbury, himself an Aboriginal composer and a lecturer at the School of Music of the ANU.

Pictured above is Chris Sainsbury, Indigenous composer and ANU School of Music lecturer. The AMPLIFY: Indigenous Composer Initiative was his brainchild.

Background

Over the last three decades, Australian society seems to be increasingly accepting of Aboriginal voices and songs in mainstream music. Examples include Yothu Yindi and Christine Anu in the nineties to Jessica Mauboy, Briggs and Baker Boy today. Aboriginal composers and songwriters have been sharing their stories through the lyrics of their songs. These stories have been shared with us in English and more recently using traditional languages. With more prominent mainstream exposure to more Aboriginal songs and songwriters, more of the population will hear the music. Perhaps more of us will listen to what has happened, the stories, the history, perhaps more of us will begin to understand what is important and learn about a way forward which will be acceptable for all.  Hearing Aboriginal songs allows us the opportunity to finally listen to Aboriginal people.

 

But instrumental music is important too.  The high art form of ensemble and orchestral music which allows for the sharing of sounds and emotions uncluttered by lyrics. Aboriginal Australians should be afforded space in this genre too. It is another avenue to express ideas, emotions and knowledge.

 

I think there is space for both instrumental music and lyrical songs.  There is an appetite to understand and right wrongs of the past and move forward in a better more fair way into the future. There is an appetite for this both instrumentally and vocally, across a variety of genres.

 

This Indigenous void is especially pronounced in the Art Music and Instrumental genres, where it is almost unheard of to feature Aboriginal music. Due to increasing societal interest there has been greater reference to and inclusion of Aboriginal music and cultures, particularly with collaborations. There has been some examples too by composers, particularly of Anglo-saxon and European ancestory, musically representing Aboriginal stories and culture, particularly in the choral sphere.

Is it appropriate for people from ‘foreign’ cultures to be adoptive of the music styles, topics, stories and languages of the Indigenous Australians? There have been many instances over the years where decisions and actions of those in power (the dominant culture), while well-meaning, perhaps at times, has been misplaced and missing the mark.   When the dominant culture begins to tell the minority culture the way they should feel and how society is and needs to be through appropriating the minority cultures music, we need to ask has it gone too far?

 

Consider the visual art industry.  It is certainly frowned upon for non-Indigenous artists to adopt Aboriginal styles and market them as Aboriginal. The Aboriginal voice needs to exist in Aboriginal music as it does in Art.  Composers of Anglo and European backgrounds do not need to ‘help’ by composing Aboriginal-influenced music. The dominant culture would do well to perhaps stop, find and listen to Aboriginal music. Not create and promote a ‘white-washed’ version.

 

So, Aboriginal song, songwriters and performers are established. But where is the Aboriginal Art Music?

 

Enter ‘Ngarra-Burria’ project. Last week I came across a social media post by Professor Chris Sainsbury about the project. I emailed him about accessing recordings and putting some lesson ideas together.  He suggested the Australia Music Centre. I checked it out and the resources I found were fantastic.  There are some recordings and scores ready to go for musicians of a medium to high level of ability. These are perfect for investigation for high school and tertiary programs.

Left to Right : Brenda Gifford,   Elizabeth Sheppard, Tim Gray, Troy Russell and Rhyan Clapman.

Then I received a message from a Music teacher friend in rural Victoria with a link to a radio podcast about Ngarra-Burria.  It seemed the universe was speaking to me that this should be the blog topic for the week.

 

I think at this point, I, and we, should stop talking and start listening.

 

As music teachers we should listen to the interview with the composers via this link. Our secondary and tertiary students too should listen, perhaps in short compartments.  They are real food for thought and discussion by us in the music education space and those exploring Australian music.

 

As music teachers we should look to the Aboriginal composers’ repertoire in the Australian Music Centres library. Listen, reflect, and use. http://echo.australianmusiccentre.com.au/#lm-9

As music teachers we should be sharing works by Aboriginal composers alongside the ‘Sculthorpes’ and ‘Edwards’.

 

Here is some homework for YOU to do this week.

 

Listen to the radio podcast.  Let it sink in. Let us all listen to and reflect on one instrumental piece from the Australian Music Centre.  Explore the AMC resources and find some interesting pieces which you can share with others. Share your thoughts about one or more of the pieces and or their composers.  Let us brainstorm some different uses for different sectors.

 

Have a great week.

 

Ngurra-Burria Information

taken from https://www.abc.net.au/classic/new-waves/ngarra-burria-first-peoples-composers/10834456

‘Ngarra-Burria’ means ’to sing, to hear’ in Dharug, the First People’s language of much of the Sydney region. It’s the name of a project initiated and directed by First Peoples composer and academic Christopher Sainsbury.

The first cohort of First Peoples composers to participate in the two year program presented many of their new works in a concert performance at the end of November 2018 featuring First Peoples singer Sonya Holowell and members of Ensemble Offspring.

Ngarra-Burria: First Peoples Composers is presented by Moogahlin Performing Arts, Redfern, with the support of the Music Department, Australian National University, the Australian Music Centre, Eora College of TAFE, and collaborating musicians Ensemble Offspring. The concert was planned to take place at Eora College of TAFE in Redfern, Sydney, but the venue was damaged by storms two days before the concert. At artistic director Christopher Sainsbury’s request, ABC Classic invited Moogahlin Performing Arts to hold the event in the ABC’s Eugene Goossens Hall in nearby Ultimo. The compare on the night was Buduna man and Moogahlin co-artistic director Fred Copperwaite.

MUSIC DETAILS
Troy Russell: Where Are You? 3’40
Troy Russell: New Home 2’01
Troy Russell: Hymn 2’56
Elizabeth Sheppard: Kaya Mary (The Blue Pool)* 2’10
Elizabeth Sheppard: Wonthaggi (Wind and Rain)** 4’59
Elizabeth Sheppard: Burradowi (Women’s Song to the Eels) 2’43
Elizabeth Sheppard: Warangka Makialo (Singing Makialo) 2’47
Tim Gray: Lupe vs Demons 2’29
Brenda Gifford: Miriwa 4’06
Rhyan Clapham: Talk To Me, I’m Listening*** 5’42

Musicians: Sonya Holowell, voice), and members of Ensemble Offspring: Jason Noble (clarinets), Anna Michael (violins), Roland Peelman (piano), with Elizabeth Sheppard (*alto voice; **clapstick), Rhyan Clapham (***drumkit)
Recorded Friday 30 November 2018, Eugene Goossens Hall, ABC Ultimo Centre, Sydney, by sound engineer Jason Blackwell and producer Stephen Adams.

References

https://www.abc.net.au/classic/new-waves/ngarra-burria-first-peoples-composers/10834456

http://echo.australianmusiccentre.com.au/#lm-9

Music Making with Manipulatives

The products of an innovative small business caught my attention on a social media a couple of weeks ago.

The particular products that caught my eye as being suitable as aids for music teaching included the English and Noongar vocabulary on enlarged pop sticks.

Then there were blocks and packs.  Perfect for embedding Aboriginal culture in a visual display or as part of group activities.

These products can be used to assist teachers in reinforcing learning about different cultures and assist with the preservation of Aboriginal languages. The products are attractive and would be perfect for small groups or learning stations.

‘Noongar OOAK Creations’ is a local Mandurah business run from a family home that produces Contemporary Noongar (south west of WA) and Yindjibarnd (Roebourne) art on paintings, dolls, learning games. The artist uses new & recycled products with an aim to teach others about her culture, in Noongar language this is her ‘moort’.

 

By supporting this business and others like it we are empowering Aboriginal women.  Whole families benefit economically, socially and emotionally.  Given they are made by an Aboriginal artist, cultural integrity is maintained. Another aspect of the products that appealed to me included the environmentally ethical basis with its use of recycled materials.

This company is based in Mandurah, south of Perth.  In the Noongar language this place is called Mandjoogoodrup – ‘Meeting place of the heart’. Check it out on Facebook  @noongarooakcreations. Perhaps there is a similar business in your area?  Perhaps you could inspire some First Nations parents, community members or savvy students to start their own business?

Some musical activities inspired by the resources I purchased are below.

 

Early Childhood Activities

• Model to the children about ‘going to singing land’. This is a game where the children can only communicate through singing.  Encourage the children to sing about unstructured play with the doll/s, toys, puzzles, paintings or books. This could be one station in learning centres activities.  There are two sample videos that are available on the facebook site.
• the link to access the videos is https://www.facebook.com/janenicholas1967/
• Jarrah and Tilly the Jack Russells makes a starring appearance!! He is not available through Noongar Ooak Creations.

 

• Have children echo sing to the tune of ‘Frere Jacques’ the following:

What is here?

Here is a yorga

How are you today yorga?

Very well I thank you.

Sit down here. 

Repeat for other toys in language. There is a video for this on the facebook blog.

 

Primary School Activities

• Arrange the pop sticks to make rhythmic ostinatis. These could be layered in to make a speech or percussion piece. .

 

• Use the ostinati to create accompaniment to a piece of music e.g. ‘My Island Home’ by Warumpi Band. Use the Noongar language ostinati for the verses and the English language ostinati for the chorus.

 

• Use the blocks/toys/sticks as a pre-stave reading activity. There is sample video for these activities on the facebook post. The videos were too big to upload on this blog format. https://www.facebook.com/janenicholas1967/

 

Secondary Activities/Choral Activities/Instrumental Activities

Set students up into pairs or small groups.  Have one person to construct a graphic notation using the blocks for the other person or people to play or sing. This could be the inspiration for a musical motif for the particular genre or structure you are currently studying e.g. sonata.  Here is a sample image that your students could look at creatively.  If this is your graphic score, how can you interpret it?  Interpret in terms of pitch, rhythm, timbre. Students should be encouraged to add dynamics and tempo and other elements to compose their motif.

Have musical fun with these items.  If you cant access the videos on facebook, message me and I will email them to you if you would like me to. Encourage your students to have fun with other toys or books as well.  Childhood is so short.  Help bring some magic to our students’ lives.

In last week’s blog I was discussing Shellie Morris, her significance in helping Aboriginal communities find their songs and in bringing traditional languages to life. This week I have continued to investigate the music of Shellie Morris as I believe the importance of Shellie’s work and music earns the right to be included in Australian music education programs.

Shellie Morris has responded positively and quickly to the requests and questions I have put to her.  It has been inspiring and reaffirming to have the feedback from such mover and shaker in this field.  She confirmed that she and the Borroloola Songwomen are keen to share their songs and language of the album ‘Ngambala Wiji li-Wunungu [Together We Are Strong]’ with wider Australia.  Shellie explained to me that the songs on the album have been carefully chosen and written using information appropriate for the wider Australian community.  The songs on the album are not sacred songlines.  These she tells me can be used to teach all the elements of music and more.  This is music to our ears as music educators being songs in the traditional style, but would not offend the Borroloola Aboriginal community.

In researching the ‘Ngambala Wiji li Wunungu’ album I found that the ‘The Song Peoples Sessions’ project was an idea conceived by Patrick McCloskey and developed by Barkly Regional Arts in Tennant Creek. It involved Shellie Morris and the Borroloola community, as well as Warren H Williams and the people of Tennant Creek. Warren’s CD is entitled Winanjjara – Warren H Williams and the Warumungu Songmen.

According to McCloskey, the work by “Williams and Morris has helped to invigorate… threatened languages …. and return cultural pride to communities. Children on the streets are singing (new) songs”.

McCloskey also says that “song has always been a primary carrier of story and language in Aboriginal culture. Some traditional songs contain words from languages that predate those in living memory” and that “song people are the most important custodians of culture in most Aboriginal communities. They are often perplexed by the popularity of painting”.

”The singers often say the painting and the patterns don’t exist without us, they don’t exist without the songs. The song is the thing that binds it all together,” McCloskey says.

Morris explains the current role that music plays in Aboriginal communities today is really important. She says “that contemporary music is huge in communities and some communities have 10 bands”.

Morris studied Yanyuwa pronunciation from Borroloola and their traditional songs before ”writing a new story that matched the story in the traditional song”.

I stumbled on a radio interview recording of Shellie promoting the album.  The interview highlighted ‘Li-Wirdiwalangu’, the last track the Borroloola women wrote with her.  Shellie says “we brought the children in and discussed what message we could write together about the community”.  Shellie says the suggestions from the children included respect for old people, their laws and their language. She tells of the great sense of joy to finish this album with this song.

That the ideas for music come from the Aboriginal children of a small community. That it is sung by Aboriginal women from the community to share with us, makes the song ‘Li-Wirdiwalangu’ so appropriate for music learning.  The song title translates as ‘Belonging to the Elders’.

A link for the interview is here : http://mpegmedia.abc.net.au/rn/podcast/2012/12/msw_20121201_1015.mp3

 

The activities follow. Listen to the song and have your students listen too.

Texture timbre dynamics worksheet for shellie morris-2egiyc3

References

https://indigenousx.com.au/shellie-morris-this-here-gap-looks-like-a-great-divide/

https://www.australianoftheyear.org.au/honour-roll/?view=fullView&recipientID=1113

https://www.smh.com.au/entertainment/music/ageless-voices-find-byways-of-the-songlines-20110922-1kn4j.htmlhttps://www.theage.com.au/entertainment/new-chapter-for-ancient-songbook-20110829-1ji6a.html

https://www.deadlyvibe.com.au/2007/11/shellie-morris/

http://songpeoples.tumblr.com/

https://japingkaaboriginalart.com/articles/songlines-important-aboriginal-art/

https://abcmedia.akamaized.net/rn/podcast/2012/12/msw_20121201_1015.mp3Texture timbre dynamics worksheet for shellie morris-2egiy9h

Sharing – Together We Are Strong

In this blog I have been talking about the importance of respecting and acknowledging Aboriginal music and other cultural representations.

A few days ago I received a positive message from the Aboriginal singer songwriter Shellie Morris.  As I had mentioned her work in last weeks’ post, I forwarded on that blog to her.

This is a usual practice of mine. Where I publically reference musicians, authors or artists work, I seek approval to utilise the work and I try to inform them of the outcomes.

Shellie, based in Darwin and Borroloola in the Northern Territory, responded with a return message. She reinforced the importance of conversation that needs to happen with Aboriginal people and that teachers need to “grasp and understand the cultural purpose and identity that we hold and that certain permissions are required”.

She also confirmed and that the “responsibility for authenticity remains with the clan/tribe and owners of the stories”.  Shellie highlighted the role of acknowledgement.  I really appreciated her reading and responding to the long blog.

This has given me the impetus to investigate Shellie’s important and brilliant music and her role in the Australian Music industry.

Her comments to me via Messenger and her work generally demonstrate that Aboriginal stories and music are important for Aboriginal people and also for the broader community.  She shares her talents and music widely. She is a storyteller and a social change-maker through song. Her work shares Aboriginal stories and the message ‘together we are strong’ is not only directed for Aboriginal communities but also the wider Australian society as a whole.

I am very excited to share in this post some information and activities for music teachers based on Shellie Morris and her music.

Shellie Morris has been around for twenty years in the Australian music scene. She has done a whole lot – check out the biographical notes at the end of the blog for more information. She has musically collaborated many wonderful national and international musicians and with more than 70 Aboriginal communities. This includes the inmates of Berrimah Jail.

 

But who has heard of her in mainstream Australia?

 

A few weeks ago my husband was listening to the radio and heard a track known as ‘The Saltwater People Song’ by Shellie with Borroloola Songwomen. He reminded me of the track and jolted me into investigating the song and Shellie’s work for some educational activities.

 

So this leads me to today.  The album ‘Shellie Morris & The Borroloola Songwomen – Together We Are Strong: The Song People’s Sessions’ is one that Shellie regards as the work that has the most profound effect on her.

The research process has led me to a deep respect for the title of the album. The first part of the title seems simple enough ‘Shellie Morris and the Borroloola Songwomen’. Shellie Morris has been a conduit for the women and community of Borroloola to tell their stories and sing in their languages.

 

As a child Shellie had  been adopted by a non-indigenous family and grew up in Sydney not knowing of her Yanyuwa, Gudanji, Marra and  Garrwa families.  She would come to reconnect with these families and the elders through the Song Peoples Sessions.

 

The Song Peoples Sessions Project was a collaboration between traditional and contemporary Australian Indigenous musicians to enhance the protection of cultural heritage and the maintenance of Indigenous languages and traditional song cycles, as well as creating new forms of cultural expression. Songlines are the long Creation story lines that cross the country and put all geographical and sacred sites into place in Aboriginal culture. They are inspiration and contain cultural knowledge for Aboriginal people. In Aboriginal culture these ancestral sacred stories are passed on as large song cycles. People might specialise in chapters or sections of a songline which tells the entire creation story that relates to a particular tract of land. People on neighbouring land will have the next chapters of what happened to the ancestors as they crossed over to their own part of the country.

Most of the languages in the Shellie Morris project with Borroloola and Warren H Williams project with Tennant Creek are endangered. The projects have made huge inroads, as children and other community members embraced the new songs in their traditional language.

The album was recorded with eleven of her elders, the Borroloola Songwomen as custodians of her own ancient Indigenous song cycles.

Shellie had to learn the Yanyuwa language from the Borroloola Songwomen to compose and record the album of songs with her elders combining their traditional song cycles into the final production.

The act of Aboriginal people coming together as one to tell their stories with joy to the wider Australian society is very powerful. It is also powerful for Australia’s First Nations peoples for developing wider Australian First Nations peoples cultural identity and pride, as well as their self identity.

It is also important that Aboriginal communities share their culture with the general community and for that general community.  However the general community must listen in order to gain deeper understandings about who the people are and what they stand for.  Because, together we are stronger.  This speaks to a better world for our tomorrow.

We, as music teachers can share in the ‘together we are stronger’ theme by picking up Shellie’s and the Borroloola Songwomens’ work and deeply listening.  When we sing each others’ songs and sing together, the Bruce Woodley line “we are one, but we are many” is a sentiment becoming reality.

Shellie’s music and messages are important. I suggest you share her music and background with your students.

Activities

Early Childhood to Year 12, Instrumental and Choral Students

Have children pronounce ‘Waliwaliyangu li-Anthawirriyarra’ several times.  Explain they are to ‘walk in their own bubble’ for the duration of the track about to be played. This means no eye contact or physical contact or other communication with others for the duration of the activity.

Play the song ‘The Saltwater People Song’ by Shellie Morris and the Borroloola Songwomen.  The title of the song in the traditional language is ‘Waliwaliyangu li-Anthawirriyarra’.

Every time the student hears the phrase ‘Waliwaliyangu li-Anthawirriyarra’ they are to change the direction of their movement.

At to the conclusion of the song, open up for general discussion.

Watch the clip and then discuss further.

https://www.youtube.com/watch?v=ySb5mGBfOuM

 

Teacher Notes : this is a traditional/contemporary collaboration born from saltwater people their Yanyuwa identity and connection to the country. It involves the traditional singers, Shellie Morris and children from Borroloola .

Waliwaliyangu li-Anthawirriyarra

li-Yanyuwa

Calling from island to island

we Yanyuwa

 

Biographical Notes

Who Is Shellie Morris?

She is an indigenous Australian singer/songwriter,  who plays a mix of contemporary folk music and contemporary acoustic ballads.

Where Is She From?

Shellie Morris was raised in Sydney with an adoptive family. In the 1990s Morris moved to Darwin, Northern Territory to find her Indigenous family. Since then she has reconnected with her roots and the Yanyuwa people of the Gulf of Carpentaria.

How Did She Get Into Music?

She began singing at a young age and was trained as an opera and gospel singer. As a child she learnt piano, flute and organ. Shellie has since learnt guitar.

After moving to Darwin in the 90’s she was employed as a motivational worker, mentoring many Aboriginal young people at schools and universities in the Darwin area. She began to do a little busking in the mall and due to the positive responses received Shellie was encouraged to embark on a contemporary music course at the Charles Darwin University.

Busking also led to her being put in touch with her relatives. While her father, sadly, had passed away the year before she arrived in Darwin, Shellie’s reunion with members of her biological family – a reunion her adopted family fully supports – has given her a foundation upon which to grow musically.

She found the university course helpful, “because it covered sound engineering, how to get a gig, where to get a gig and all those sorts of things” says Morris.

Shellie’s first gig was at Darwin’s Australian Music Day in 1999.  Since then she has gone on to perform and collaborate with many communities and individuals. She has worked with national and international performers in films and live performances throughout Australia and internationally.

Musical Projects

• Single ‘Swept Away’
• Shellie and her music featured in documentary film ‘Murundak – Aboriginal Songs of Freedom’
• Shellie and her music featured in two ABC produced Message Stick documentaries – ‘Shellie Morris Swept Away’ and ‘Shellie Morris in Concert’.
• Took part in ‘Seven Songs To Leave Behind’ project withinternational music stars Sinéad O’Connor, John Cale, Meshell Ndegeocello, Rickie Lee Jones and Dr G Yunupingu
• Chosen by the famous Brazilian singer Gilberto Gilto be included in his film “Viramundo” a transnational voyage of the southern hemisphere
• Ngambala Wiji Li-Wunungu – Together We are Strong, on ABC music with songs in several indigenous languages: Yanyuwa, Marra, Garrwaand Gurdanj
• Composed music to the play ‘To The Inland Sea’
• Album ‘Shellie Morris’ (2000)
• Album ‘Waiting Road’ (2007)

Compilation appearances

• Murundak-The Black Arm Band (2006)
• Hidden Republic-The Black Arm Band (2008)
• Cry Stolen (2007)
• Aboriginal Soul (2009)

Performance Highlights

2014

• NAIDOC Artist of the Year
• Northern Territory ‘Australian of the Year’
• Boomerang Concert – Commonwealth Games, Glasgow;
• WOMAD NZ; World of Music Arts and Dance – an international Arts festival
• ‘Homeground’ Sydney Opera House
• ‘Prison Songs’ film
• MIDEM, France – Marché International du Disque et de l’Edition Musicale, which is organised annually in and around the Palais des Festivals et des Congrès in Cannes, France. The trade show is billed as the leading international business event for the music ecosystem.
• Showcase Scotland

2013

• National Indigenous Music Awards (NIMA) Song of the Year
• Deadly Award – Cultural Advancement

2012

• Mamiaith – Mother Tongue, The Black Arm Band and 9Bach, BT River of Music, 2012 Cultural Olympiad, London
• Shellie’s Story, solo national tour

2011

• Deadly Awards, Sydney Opera House with the Borroloola Songwomen
• Notes from the Hard Road and Beyond, The Black Arm Band, Melbourne International Arts Festival

2010

• Cultural Olympiad, Winter Olympics, Vancouver
• Seven Songs to Leave Behind, Black Arm Band, Melbourne International Arts Festival
• WOMADelaide

2009

• The Black Arm Band, WOMAD UK

2008

• ‘Swept Away’ with Melbourne Symphony Orchestra

Collaborations

• Yothu Yindi
• Warumpi Band & Neil Murray
• Ross Wilson – Louis Louie
• Melbourne Symphony Orchestra
• Black Arm Band
• Archie Roach
• Dr G Yunipingu
• Glen Heald and other female Australian singers and Liberian refugees to produce ‘Liberty Songs’

Other Interesting Facts

• An ambassador for Fred Hollows Foundation – reduce blindness
• An ambassador for the Jimmy Little Foundation – reduce kidney disease
• An Ambassador for Adopt Change

Awards

2014 – NAIDOC Artist of the Year
2014 – NT Australian of the Year
2013 – Deadly Award – Cultural Advancement
2013 – NIMA Song of the Year Award – Saltwater People Song
2012 – National Music In Communities Award winner, Music Council of Australia
2012 –  NIMA winner, Traditional Music Award: Ngambala Wiji li-Wunungu, Shellie Morris and the Borroloola Songwomen
2011 – Deadly Award nomination, Best Female Artist
2007 – Deadly Award nomination, Album of the Year: Waiting Road
2005 –  Female Musician of the Year, NT Music Awards
2004 – Female Musician of the Year, NT Music Awards
2002 – Deadly Award nomination

Aria Nomination for Song people sessions Ngambala wiki Li wunungu Together we are strong
Walkey nomination Prison Songs
ACCTA nomination Prison Song music composer
Human Rights award Prison songs

References

https://indigenousx.com.au/shellie-morris-this-here-gap-looks-like-a-great-divide/

https://www.australianoftheyear.org.au/honour-roll/?view=fullView&recipientID=1113

https://www.smh.com.au/entertainment/music/ageless-voices-find-byways-of-the-songlines-20110922-1kn4j.htmlhttps://www.theage.com.au/entertainment/new-chapter-for-ancient-songbook-20110829-1ji6a.html

https://www.deadlyvibe.com.au/2007/11/shellie-morris/

http://songpeoples.tumblr.com/

https://japingkaaboriginalart.com/articles/songlines-important-aboriginal-art/

Considerations For Teachers Embedding Aboriginal Perspectives In Music Education

I would like to share with you some inspirations for embedding cultural perspectives into your classrooms.

These aspects are based on knowledge I have gained through my own journey of experiences and building of relationships with Indigenous people.  My position is ever growing and altering as time goes on.  I am continuously influenced by the different people I meet. I hope your experiences are developing too.

My rules are to be careful but bold. Research, listen and try. Reflect. Most of all do not sit and do nothing out of fear offending. Try something and see how it works out.

Use the lists below to inspire some different music making activities, compositions and arrangements with your students.  Use some to direct learning around the elements of music and or performance.  Play and let your students play.

Heart first. By this I mean the experiences we plan for our students should be joyous and captivating and interesting.  Be passionate. I also mean that we need to be respectful of Aboriginal cultures and knowledge.  There is more information about this further on.

Contemporary Torres Strait Islander Performer Christine Anu

Informational Sources That Could Inform or Influence Musical Compositions or Performances

• Government brochures and websites
• Aboriginal produced educational lessons and activities
• Non-fiction books
• Newspaper articles
• Recipes
• Maps
• Media – current affairs
• Essays, journal articles
• Learning frameworks

An example of using an informational text to inform a musical composition is utilising the Bureau of Meteorology website information for students to write their own music. In this example different knowledge is put together to create speech patterns and then rhythmic and melodic patterns which can be put together to make a class or group piece of music. The exercise below formed the basis of a lesson for Year 2 students, but could be used up to year 10 depending on the time given to work through the compositional process and expected outcomes of the final work.

 

Screen shot of ‘Indigenous Weather Knowledge www.bom.gov.au/iwk/calendars/nyoongar.shtml’. 

Birak Composition-1a0kkes

Artful Perspectives That Could Inform or Influence Musical Compositions or Performances

• Sculpture
• Visual art – painting, photography, mosaic, textiles, ceramics, glass, metal,
• Fashion and Textiles
• Literary – poetry, drama, film, short stories, novels.

Below is a lesson on improvisation and orchestration for upper primary students based on the Sally Morgan painting called ‘Greetings From Rottnest’ which is displayed in the WA Art Gallery.  She was born and raised in Perth but descended from the Bailgu people in the Kimberley of Western Australia. She is a wonderful Aboriginal author, artist, and dramatist.

Part 1

• Tch show painting and accompanying text.
• All time to absorb and comment.
• Outline task of “musical interpretation of the painting used as a graphical score”.

Part 2

• Isolate seagull layer.
• Tch demonstrate graphic notation to vocal improvisation.
• Students to imitate.
• Students to explore vocally and then with a tuned percussion instrument.  This will be “Part A”.

Part 3

• Isolate tourist layer.
• In groups students to make graphic notation and interpret vocally
• Within their groups students perform in canon.
• Demonstrate for the whole group. This will be part C

Part 4

• Show whole painting. Whole group performance with a group performing “seagulls” using percussion instruments”, another group presenting “tourist” layer using vocal canon.

Part 5

• Two other sections added will be a drone/tapping sticks representing ‘the bones border’ B section as well as a 7 note minor descending scale on the lowest pitched instrument available representing the ‘skeletal fetus section’ section D. Swap groups around.

Artist, Academic and Author Sally Morgan and one of her picture books.

When using a resource such as this painting, it is useful to find out about the historical stories which inspire it.  In this case, Rottnest Island was used as a prison for Aboriginal people during the early colonial era. Those who died were buried on the island and not returned to their country.  This dark history is now top-dressed by the superficial layer of contemporary, joyous, tourist activities.

 

Authenticity is Something To Think About

Consider the origins and the background of the pieces you use. This helps you to put the piece into a context and influences how you need to appropriately present the item. It may also help you to may need to consult with in order to perform the piece.

• Written entirely by Aboriginal people
• Sung by some Aboriginal people
• Produced by some Aboriginal people
• Recorded on which country?
• Written about Aboriginal peoples?
• Collaboration with an Aboriginal person, elder or community, for one performance or multiple performances

The work ‘Waliwaliyangu li-Anthawirriyarra a-Kurija’ by Shellie Morris & the Borroloola Songwomen is more culturally authentic than ‘Dawn Mantras’ by Ross Edwards.  The Ross Edwards piece is still a beautiful piece that certainly every Australian student should experience. While it included Aboriginal cultural input in its composition and in its performance, it is not from Aboriginal people orby Aboriginal people.

Aboriginal Singer Songwriter Shellie Morris and the Booroloola Songwomen album

 

Contemporary is Cool

• NOTE : Historical pieces may not have been gathered with appropriate approvals. Therefore you cannot necessarily accept them as being authentic. They may be a colonised interpretation. Discuss you’re your local community before using.
• Be careful with traditional cultural knowledge especially specifics. Some issues or items are not for the general public to share. Again discuss with your community first.
• Contemporary pieces more likely to be acceptable in terms of the cultural appropriateness.

Karla Hart is a Noongar director and performer.  She has written a beautiful lullaby which has been recorded and the lyrics written in the Madjitil Moorna ‘Aboriginal Songs’ book.  This is not a traditional lullaby.  Karla has written it to include some Noongar language, as well as an English translation.  She ensured that it gained the appropriate cultural approvals before it was passed on to the choir for them to sing, then print, record and teach.  Using other languages on other cultural lands may not be considered appropriate for your local community – seek their guidance.

Noongar Producer, Director and Performer Karla Hart

 

Acknowledgement, Acknowledgement, Acknowledgement

• Acknowledge who produced it and how you came across the work
• Acknowledge the language group the perspective came from
• Acknowledge the country that the perspective is from
• Acknowledge the ongoing connection of Aboriginal and Torres Strait Islander people to the land

We should acknowledge works and their Aboriginal origins because otherwise its stealing and misrepresenting the work, culture and ideas, of other people as your own.  For more than two hundred years Aboriginal people and their culture have been dismissed and appropriated at the whim of white people and their governments.  We should now do the right thing and state who produced or inspired a particular work and the cultural group they are from.  It is important for Aboriginal people to be recognised.  An example of doing this is in a lesson may just be a teacher saying “today we will be moving and playing percussion instruments to a piece of music by Emily Wurramara.  She is a proud Aboriginal singer songwriter from Groote Eylandt via Brisbane. Emily sings stories from her heart and childhood sung in both English and her traditional language Anindilyakwa’. Such acknowledgements in class and during performances build respect for and between Aboriginal people.

Aboriginal Singer Songwriter Emily Wurramara

 

How Are The Perspectives Being Utilised? For What Purpose? For What Audience?

• Respectful – Ensure the culture is not being denigrated or belittled.
• Acknowledged – You acknowledge that you are using Aboriginal perspectives to build cultural respect.
• Where payment is appropriate, it should be provided. If you are utilising a recording, buy it. If you are using a picture book, purchase it. If royalties are owed due to copyright considerations, do the right thing.
• Public performances – seek permission of the source holder. The more public the performance, the more important this is.
• For assembly items and concert items, seek the permission of the source holder and it publicised that you have done this.
• Large scale works should seek permission of the source holder and the community’s elders.

Where Aboriginal people are in the audience, proper protocols for performing ‘off country’ pieces should be followed.  ‘Off country’ means that culture is being introduced to that land from another cultural or language group. If you don’t know what these are, find out.  For example, if you are on Noongar country (South West of WA) and are performing a translation of a song in Wongatha (Kalgoorlie region) that you are unsure about performing for local people, ask them in advance of the performance.  Make it very clear what you are about to perform and where it is from.  That way your audience will not be compromised or offended. Remember the Aboriginal community is broad and you are not to know how they are connected to others. It is always safest to be respectful of the culture and assume that there are people in the audience who may have a cousin who composed the piece.

Poster advertising contemporary Aboriginal music performances

I feel blessed to be at a stage where I feel confident in incorporating Indigenous music into my teaching beyond the occasional assembly item. It makes a difference to have it integrated into teaching programs.  In my Year 2 listening program in term 3, I use his “Hall of the Mountain King” by Norwegian composer Edvard Grieg to explore timbre and tempo.   But also there are pieces by didgeridoo virtuosso David Hudson and vocalist Dr G Yunipingu to teach these ideas too.  My Year 5 program includes teaching “Halls Creek Rodeo” to focus on the anacrusis concept. My ukulele ensemble learns to accompany the Noongar welcome song “Wanjoo My Friend” by Uncle George Walley. Cultural bridge building and repair is an ongoing but important activity if societies are to be better connected.  Music education is an important tool in that building and repairing process. Having a politician make a speech in parliament may have been an important landmark occasion, but they all only words.  It’s now time for use to continue. Use Australian music to help. It is our ‘Australian’ folk music.

Embed perspectives this week.  Choose one idea.  Run with it. Doing nothing is a choice to keep the status quo.  Our society deserves better than that.

Yognu Performer Danzel Baker aka Baker Boy 2019 Young Australian of the Year

AFL Team Songs
Sport can be a wonderful medium for bringing people and cultures together.  The eighteen Australian Rules Football clubs actively engage with their broader fan base with their particular team songs

 

Have you ever had a good listen to them? They evoke some curious emotions, some being dated, using traditional English and American melodies.

 

But how well do they engage with the community with consideration of our modern multicultural society?

This week I have been looking at how the various AFL clubs have embraced the First Nations communities through use of local languages. I tried looking at other football codes also, but to no avail.  AFL is on top of the Indigenous Languages Ladder In Sport.

 

During the past week the AFL attracted my attention when a local ABC radio program interviewed Noongar language custodian Sharon Gregory and played a Noongar translation of the West Coast Eagles team song.

A couple of years ago I was lucky enough to meet Sharon at the Walyalup Aboriginal Cultural Centre in Fremantle where she runs Noongar language classes.  Part of her teaching language has involved participants translating songs and I went along for a sing-along for the resultant pieces.  It was a very interesting and inspiring experience.

 

Many songs had been translated including the West Coast Eagles and Fremantle Dockers songs.

https://www.perthnow.com.au/news/indigenous-australians/hear-the-west-coast-eagles-club-song-sung-in-noongar-ng-b881048595z

 

Many school students in the south eastern corridor of Perth, Western Australia, identify with AFL teams. I am sure this is the case for much of Australia. This provides us as Music teachers the opportunities to use team songs to engage with the students.  It can be fun to share the song of their favourite team, and a challenge when it is the song of the crosstown rival.

Given it is the United Nations year of Indigenous Languages it would be wonderful for the AFL as a whole to celebrate the long history of so many Aboriginal players in the competition. This could be done through recording or singing each of the team songs in traditional languages.  The AFL holds an ‘Indigenous Round also called the ‘Doug Nicholls Round’ after Sir Doug Nicholls, a prominent Yorta Yorta man who is remembered as a professional athlete, a pastor and a pioneering champion of reconciliation. This Indigenous round would be a perfect opportunity to present the songs in an Indigenous language.

Some teams have a head start. Well, one actually.  From my research Port Adelaide is currently top of the Indigenous language song singing ladder.  Their Aboriginal players got together in 2016 and recorded the song in Pitjantjatjara.

 

Aboriginal singer songwriter and radio broadcaster Warren H Williams translated and recorded the Melbourne Football Club team song into Arrente, which is the traditional language from the Alice Springs area in the Northern Territory.

https://www.melbournefc.com.au/news/2018-05-27/theme-song-gains-local-flavour

https://www.clipdox.com/melbourne-football-club/yuCT0lfa_xw.html

 

I’ve already mentioned the WA translations overseen by Sharon Gregory.  The songs have been recorded by members of the Walyalap Waangkan language group.

 

Last week I emailed Port Adelaide to congratulate them on their great and ground-breaking work in supporting the sharing of cultural understandings.  I also emailed the other teams and challenged them to also engage with their local Aboriginal communities and translate and record their songs. Watch this space to see if any clubs respond.

 

This has prompted me for this week to look at what we as music teachers can do with AFL Team songs and embedding Aboriginal culture.

The Songs

Port Adelaide Football Club Team Song ‘We’ve Got The Power To Win’.  The language it is translated into is Pitjantjatjara. The people who spoke this language were from the Central Desert area north of South Australia, crossing a short way into Western Australia and to Lake Amadeus in the Northern Territory.

English song	Pitjantjatjara translation	Literal translation
We’ve got the power to win	Nganana wanangara	We have the power of a lightning bolt
Power to rule	Kanyini
Come on, Port Adelaide aggression	Walawalaya kunpu inkama	Come on, play strongly
We are the Power from Port	Nganana urunguru	We are from the port
It’s more than a sport	Wanangara	We’re like a lightning bolt
It’s a true Port Adelaide tradition	Tjakangkala kunpu inkapai	In our tradition we play strong
We’ll never stop, stop, stop	Wantinytja wiyala	We keep on playing, climbing to the top
‘Til we’re top, top, top	Ma-tatinma
There’s history here in the making	Kalanyaya rawangju kulilku	They’ll always remember us
We’ve got the Power to win	Witulya ngaralala	Standing strong, we’ll keep on playing
We’ll never give in’	Inkamalta
‘Til the flag is ours for the taking	Munula turapi mantjini	And receive the trophy
Power!	Wanangara!	Lightning bolt!

 

https://www.youtube.com/watch?v=SCGNcAsI63M

https://www.portadelaidefc.com.au/news/2016-05-05/pitjantjatjara-translation-for-port-club-song

 

Melbourne Football Club Song – ‘It’s a Grand Old Flag’

Translated into Arrente, which is the traditional language from the Alice Springs area in the Northern Territory.

It’s a grand old flag	Flaga ingwee-ar	Old flag
It’s a high flying flag	Flaga kd-ninj-njar	It’s a high flying flag
Its an emblem for me and for you	Inda-ithinjar nwangar per nooka	Its painted for you and me
It’s the emblem of the team we love	Indar lthinjar teama noon-naa-kar	A painting of our team
The team of the red and the blue	Teama ther-thar-kar ul-kar-ra	Team of the red sand and blue sky
Every heart beats true	Doo-koo-d kung-kara marr	Every heart beats true
For the red and the blue	Ther-thar per ul-kar-ar	For the red sand and blue sky
And we sing this song to you	Yingar ngwungar yil-lthar-mar	And we sing this song to you
Should old acquaintance be forgot	Noo-nar itjara ngwere-rraa-wa	We are remembering the old people
Keep your eye on the red and the blue	Flag ether-thar-kar ul-kar-ar	Keep your eye on the red sand and blue sky

Sir Doug Nicholls

Fremantle Dockers Football Club Team Song ‘Yo Heave Ho’ “Walyalup Yedi”

This song is translated into Noongar, the traditional language of the south west of Western Australia.

Freo heave ho x 3	Barang-mawool-koorl x 4	Drag along
Freo way to go	Walyalup woorar koorl	Fremantle long way go
Hit ‘em real hard	Moorditj-met baam	Very strong hit
Send ‘em down below	Wama boodjark wert	Other maggots go down
Oh Freo give ‘em the old heave ho	Walyalap baalabany doombin	Fremantle give them the beard split
We are the Freo Dockers	Ngalak Walyalup kalibkoor	We Fremantle people

Ref: Walyalup Aboriginal Language Group ‘Ngalang Yedi – Kambarang 2016’

 

Gavin Wanganeen’s Football Art

West Coast Eagles Football Club Team Song

This song is translated into Noongar, the traditional language of the south west of Western Australia.

We’re the Eagles	Ngalak waalitj	We eagles
The West Coast Eagles	Marawar-ak waalitj	Western eagles
And we’re here to show you why	Noonook nidja kaadadjiny	You know this
We’re the big birds	Ngalak djerap	We birds
Kings of the big game	Birdiya koomba	Bosses big
We’re the Eagles	Ngalak waalitj	We eagles
We’re flying high	Yira woorl koorl	Up fly

Ref: Walyalup Aboriginal Language Group ‘Ngalang Yedi – Kambarang 2016’

 

Marlene Gilson’s ‘Marngrook Football’ 2015

https://www.abc.net.au/news/2017-04-13/historian-reveals-marngrook-influence-on-afl/8439748

 

Activities

Marngrook is from the Woiwurung language for “ball” or “game”. It is a collective name given the traditional Indigenous Australian football game played at gatherings and celebrations of sometimes more than 100 players. The indigenous ball game Woggabaliri, which is the subject of William Blandowski’s Drawings of 1857, was a children’s version of the adult game, and equates to the modern children’s Australian football game of kick-to-kick.  It is said to be the inspiration of the modern game of Aussie Rules.

Early Childhood

Share the definition of Marngrook.

 

Read story ‘Marngrook’ by Titta Secombe and Grace Fielding, published by Magabala Books.  This game inspired the modern AFL game.

 

Play Warren H Williams recording of the Melbourne song. Some children could ‘dance’ parts of the ‘Marngrook’ story and others accompany on tapping sticks.

 

Warren H Williams

Middle Primary to Upper Secondary, Choir Students

Share Marngrook background.

 

Learn one of the team songs that has been translated and sing it as a warm up for the few weeks.

 

If the song you choose is not from your favourite team, sing it in a minor key and adagio to match lack of support!

 

Final Notes

The Walyalup language group has recently made available, for a small donation, a booklet of dozens of Noongar translations. Contact with the group can be made through the Noongar language program at the Walyalup Aboriginal Cultural Centre’s email address  wacc@fremantle.wa.gov.au

Thanks to Sharon Gregory and the Walyalup Aboriginal Cultural Centre for their generosity is sharing the translated songs from Fremantle FC and West Coast Eagles FC. She is a mooditj yorga (did I get this right?)

 

 

The challenge is set by AFL now to the Rugby and Soccer codes to see if they can translate their team songs into Indigenous languages also.

Corroboree

This week I was inspired by a gathering at a Perth mosque to remember the victims massacred at the two mosques in Christchurch on March 15.

It was a co-performance of ‘Corroboree for Life’ and ‘Haka for Life’ – Corroboree For Life came to being in April 2018 with the objective of lowering the suicide rates in Aboriginal and Torres Strait Islander communities. This program empowers Aboriginal people to proudly celebrate their culture and build their self-identity and worth.  Together with former New Zealander, Maori man Leon Ruri, Noongar man Ash Penfold called for members of the Aboriginal community to come together to create the Corroboree for Life and the Haka for Life programs.

What was presented at the Perth mosque was a merging of Australian and New Zealand first nations peoples through their cultural performances. It celebrated cultural diversity and harnessed an ancient cultural authority to re-centre societal views. The event called on the broader community to be more accepting and tolerant.  I thank all involved for this inspiring message.

But what can this mean for a music teacher and music education?

We will examine the background of the concept ‘Corroboree’ and how this could be used in the classroom.

What Is A Corroboree?

The word ‘corroboree’ has been, and is a generic term to describe First Nations cultural performances of sound, music and dance.

Nyungar man and Associate Professor from Edith Cowan University, Clint Bracknell provided more detail regarding the meaning and origin of the word ‘corroboree’.  Clint is the Vice Chancellor’s Research and Teaching Fellow of Indigenous Australia Education Research at the Mount Lawley, Perth based campus.  Clint has previously worked as Senior Lecturer at the Sydney Conservatorium of Music.

He says of a corroboree…

When talking about Nyungar vocal music, some performers use the word ‘corroboree’ to refer to a public performance of Aboriginal song and dance.  This term is considered to be the anglicised version of a word meaning ‘dance’ in Dharug, an Aboriginal language from Western Sydney, New South Wales (Stubington 2007: 228) and as such should be considered part of a cross-cultural vocabulary, rather than a traditional Nyungar word. It is also in the Oxford and Merriam-Webster dictionaries so is an English word.

https://en.oxforddictionaries.com/definition/corroboree

https://www.merriam-webster.com/dictionary/corroboree

 

Stubington, Jill. 2007. Singing the Land: The Power of Performance in Aboriginal Life. Strawberry Hills: Currency House Inc.

 

 

Is Corroboree An Appropriate Term To Use?

While it is in common use it is probably not an appropriate term to use. The term created by English colonists to generically describe of traditional Aboriginal performances. A more appropriate term would be “traditional performance” or to use the local language word. Noongar Elder, and singer songwriter George Walley, tells me the word his mob uses for dance is ‘middar’. You may enquire of your local community or research what word First Nations peoples would use.

 

Can Non Indigenous People Participate In A Traditional Performance?

Some Australian First Nations performances are formal and only certain people are permitted to participate in them in specified roles.  If you are at an Aboriginal performance it would be appropriate to wait until you are invited to participate.

 

Can We As Music Teachers Teach Traditional Performance?

As a non-Indigenous Australian, without cultural authority, I wouldn’t.  ‘Corroboree’ is a term used to describe Aboriginal traditional performances.  It should be led by Aboriginal people.

 

Can We Facilitate Traditional Performance Elements Respectfully?

It is ideal to have Aboriginal people lead such activities and performances.  There are many incursion groups and Aboriginal dancers available across the country who can come to and work within schools. Payment for them imparting cultural knowledge and expertise is appropriate.

Another option is to utilise Aboriginal people from within your local community (staff, school families, students) to lead students in performing.  These volunteers may feel comfortable leading the whole activity or with providing additional information or support when an online or video resource.  Seek out support well in advance to the activities.

As previously mentioned an option is to utilise a video or online resource as the main form of instruction.  The teacher should step back and work as a facilitator.  This is the least ideal option in terms of appropriate transmission of cultural knowledge.  A way of making it more acceptable is by asking a parent of an Aboriginal student at your school, if you have any, to preview the resource with you or to run your lesson ideas by them for their feedback.  Be open to doing things differently if engaging in such discussions.

 

Activities

Early Childhood To Middle Primary

Teaching Concept – Tempo

The following link contains some great videos of traditional performances that are appropriate for students to join in with.  It is taken from the ‘One Child’ website.  ‘One Child’ is a business that services early learning centres to assist with documentation. The videos are from the traditional lands now found across Australia and the Torres Strait. Please make it clear to the students that these performances are location specific and it is appropriate to acknowledge the country and the language group being represented where possible.

https://one-child.com/727/aboriginal-animal-dance/ Queensland, Northern Territory, Torres Strait Islands and New South Wales

Discuss with students the tempo of the rhythms used particularly with the tapping sticks which indicate different animal movements.  Create a class or group composition of animal activities with matching tempo terms.

 

Upper Primary to Lower Secondary

Teaching Concept – Responding To Music Appropriately

Watch a traditional dance performance such as https://www.youtube.com/watch?v=0LW4Vxvw9hU Gija People, East Kimberly Western Australia

Give the accompanying explanatory information attached to the video to provide cultural context to the performance. Discuss.

Watch two Move It Mob Style videos.  Replay each several times.  Have students learn the dances.

‘Move It Mob-Style’, an Australian dance-based youth, health and fitness TV show that showcases young Aboriginal and Torres Strait Islander people’s culture through dance and music.

Students to perform in small groups their own ‘corroboree’ using the contemporary moves inspired by the Move It Mob Style videos to the more traditional style music.

Appropriate instrumental music could include tracks from itunes from the following :

The Heart Of Australia – David Hudson and Friends

The Art Of Didjeridoo – William Barton, Sydney Symphony Orchestra and Richard Gill

Lightning Man – Matthew Doyle

Musique Sacrees – Tradition Aborigene Didjeridoo Australien ‘The Frog’ Richard Walley

 

 

Upper Secondary and Choral and Instrumental

Teaching Concept – Arrangement

Have students watch one of the videos from the link supplied.  https://one-child.com/727/aboriginal-animal-dance/ Queensland, Northern Territory, Torres Strait Islands and New South Wales

 

As a class or in small groups graphically notate the different instruments – tapping sticks, vocal line, didjeridoo line.

Use the graphic notation to produce a different arrangement of a part of a song from the choir or instrumentalists repertoire.

 

 

Corroboree For Life Concept

A fantastic activity for Harmony Day would be for different cultures to come together and produce a shared community performance similar to the ‘Corroboree’ and ‘Haka for Life’ models where the groups perform separately and then together.

 

I see this idea of ‘Corroboree for Life’ and ‘Haka for Life’, not as a model for what we should be doing in schools, but rather a presentation of what could be done for future Harmony Day ceremonies.  Children of different backgrounds being absorbed and involved in cultural performances, separately and then together.

 

‘Haka for Life’ founder Leon Ruri reflected on the ANZAC performance in Kings Park in 2018 that “The spirit within the cultures coming together has been the most spectacular thing to me.” “Its so important that we bring two cultures together. Two are stronger than one. It’s an opportunity to display our cultures and together, powerfully”.

The cultural fusion created by the ‘Corroboree for Life’ and ‘Haka for Life’ programs has been inspiring.  Look to your own communities and see what you can perpetuate culturally and musically.  Peace.

Acknowledging Country

 

For important events in Australia it is now common, and best, practice to start with a ‘Welcome To Country’ or ‘Acknowledgement of Country’.

Below is some information published by ‘Reconciliation Australia’ about the difference between the two ‘welcomes’, when they should be used and by whom.

I have been pondering for a while about possible musical applications of the’ Acknowledgement of Country’, when, thank you universe, a beautiful and simple song is composed and shared by my friend Jemma King.

Jemma, like myself, is not Aboriginal but sings with the choir Madjitil Moorna.  This is a choir in Perth, Western Australia, led by Aboriginal musicians and singer songwriters.  It is all about the sharing and promotion of cultural understandings and preservation of local languages while being in a safe environment.

Jemma wrote this lovely song with the guidance and endorsement by Noongar Elder Marie Taylor, Noongar language custodian, Marinda Hansen, and Bibbulmum singer songwriter Della Rae Morrison.

This song is not a replacement for an ‘Acknowledgement to Country’.  Rather it is a musical additional which could enhance the ceremony.

The song would be particularly appropriate after an ‘Acknowledgement’ for primary schools to perform at assemblies and formal events.  It would also be appropriate for musical performances in any school.

This song can be used in any Aboriginal country in Australia.  All that needs to change is the name of the Aboriginal or Torres Strait Islander country that the land is being performed on. It is important to check this and get it right.

Acknowledging Country

©Jemma King 2018 with guidance from Marie Taylor, Merinda Hansen and Della Rae Morrison

Before singing, please clarify with the traditional custodians, the name of the country you are upon, and change lyrics accordingly.

We acknowledge the land on which we now stand

Has always been ___________ country

We pay our respect to elders past

Those present and those of the future

 

We acknowledge the land on which we now stand

Has always been ___________ country

We pay our respect to elders past

Those present and those of the future

 

For thousands and thousands of years

First Nations peoples have cared for our country

We pay our respect to the oldest continuous

living culture in the world

 

We acknowledge the land on which we now stand

Has always been __________ country

We pay our respect to elders past

Those present and those of the future

 

We acknowledge the land on which we now stand

Will always be ____________ country

Acknowledging Country

©Jemma King 2018 with guidance Marie Taylor, Merinda Hansen and Della Rae Morrison

Before singing, please clarify with the traditional custodians, the name of the country you are upon, and change lyrics accordingly.

Acknowledgement Song Resources

Below are some resources to go with the song. These have been provided through the generosity of Jemma King.  When using these resources please ensure her work as the composer and the support of the Noongar community is shared with the audience, as we would for any other piece of work we are performing.  Below Jemma has also permitted the sharing of mp3 files of the song and the chords.

Acknowledgement Song For Whadjuk Country

Acknowledgement Song For Unspecified Country

 

Here are the chords.

The Acknowledgment Song_Template_©Jemma King 2018 (4)-25iyqvt

I have used the lyrics of the song to create a welcome poster on the door of my music room combined with images of the ‘country’ near my school.  You might do this too?

 

 

Welcome to and Acknowledgement of Country

The following guidelines have been drawn from the website of ‘Reconciliation Australia’. Please check it out yourself and research any local protocols that may apply.

1. What is a Welcome to Country?

Protocols for welcoming visitors to Country have been a part of Aboriginal and Torres Strait Islander cultures for thousands of years. Despite the absence of fences or visible borders, Aboriginal and Torres Strait Islander groups had clear boundaries separating their Country from that of other groups. Crossing into another group’s Country required a request for permission to enter. When permission was granted the hosting group would welcome the visitors, offering them safe passage and protection of their spiritual being during the journey. While visitors were provided with a safe passage, they also had to respect the protocols and rules of the land owner group while on their Country. Today, obviously much has changed, and these protocols have been adapted to contemporary circumstances. However, the essential elements of welcoming visitors and offering safe passage remain in place. A Welcome to Country occurs at the beginning of a formal event and can take many forms including singing, dancing, smoking ceremonies or a speech in traditional language or English. A Welcome to Country is delivered by Traditional Owners, or Aboriginal and Torres Strait Islander people who have been given permission from Traditional Owners, to welcome visitors to their Country.

2. What is an Acknowledgment of Country?

An Acknowledgement of Country is an opportunity for anyone to show respect for Traditional Owners and the continuing connection of Aboriginal and Torres Strait Islander peoples to Country. It can be given by both non-Indigenous people and Aboriginal and Torres Strait Islander people. There are no set protocols or wording for an Acknowledgement of Country, though often a statement may take the following forms. General: I’d like to begin by acknowledging the Traditional Owners of the land on which we meet today. I would also like to pay my respects to Elders past and present. Specific: I’d like to begin by acknowledging the Traditional Owners of the land on which we meet today, the (people) of the (nation) and pay my respects to Elders past and present. Similar to a Welcome to Country, an Acknowledgement of Country is generally offered at the beginning of a meeting, speech or formal occasion.

3. Why are Welcomes to Country and Acknowledgements of Country important?

Aboriginal and Torres Strait Islander peoples have experienced a long history of exclusion from Australian history books, the Australian flag, the Australian anthem and for many years, Australian democracy. This history of dispossession and colonisation lies at the heart of the disparity between Aboriginal and Torres Strait Islander and non-Indigenous Australians today. Including recognition of Aboriginal and Torres Strait Islander people in events, meetings and national symbols is one part of ending the exclusion that has been so damaging. Incorporating welcoming and acknowledgement protocols into official meetings and events recognises Aboriginal and Torres Strait Islander peoples as the First Australians and Traditional Custodians of land. It promotes an ongoing connection to place of Aboriginal and Torres Strait Islander Australians and shows respect for Traditional Owners. In Aboriginal and Torres Strait Islander cultures, the meaning of Country is more than just ownership or connection to land, as Professor Mick Dodson explains: “When we talk about traditional ‘Country’…we mean something beyond the dictionary definition of the word. For Aboriginal Australians…we might mean homeland, or tribal or clan area and we might mean more than just a place on the map. For us, Country is a word for all the values, places, resources, stories and cultural obligations associated with that area and its features. It describes the entirety of our ancestral domains. While they may all no longer necessarily be the title-holders to land, Aboriginal and Torres Strait Islander Australians are still connected to the Country of their ancestors and most consider themselves the custodians or caretakers of their land.”

 

 

References:

https://www.reconciliation.org.au/wp-content/uploads/2017/11/Welcome-to-and-Acknowledgement-of-Country.pdf

Jemma King – Acknowledgement Song mp3 files and lyrics documents, 2018.