It is something of an understatement to say that recent months have transformed our modes of assembly. COVID-19 has forced us to rethink and regroup how we gather, and the extraordinary proliferation of musical and other creative activity that we have seen on our screens and been part of since March is testament to how important the experience of assembly is to our spirit, our sense of community, and our intellectual nourishment. The pivot to online gatherings has seen many artistic plans and projects fall by the wayside in 2020 and perhaps beyond, and many of us are grieving these “untold losses” of art and artists and creative experiences that might have been. https://parliamentofdreams.com/2020/06/21/untold-losses/
But some forms of gathering were surely due a shake-up. If there are silver linings to the pandemic, one is that it has forced many customary ways of gathering to be questioned and re-conceived. Conferences are surely among these. They are important spaces for disseminating research and connecting with colleagues, but they are expensive to attend (especially if you don’t have the financial support of an institutional employer behind you) and environmentally damaging when you think of all those delegates flying from their home countries to gather on the other side of the world.
So for me and my colleagues on the Community Music Activity Commission of the International Society of Music Education (ISME), the ‘new normal’ of social distancing and staying close to home represented an opportunity to try an alternative platform for sharing community music workshops, ideas, and the latest research. Our biennial international seminar was originally scheduled for July 2020 in Helsinki, but that got cancelled back in April. We decided to offer our delegates an online alternative.
A challenge was when the gathering should take place. With our team of commissioners spread across New Zealand, Canada, USA, UK, Ireland, and Australia, we already knew there was no ideal timeslot for meeting. Therefore, we steered away from running the conference over the usual ‘3-consecutive-days’ timeframe (which timezone would we privilege?). Instead, we are presenting five weekly Assemblies, each scheduled to accommodate two of the three main timezones (Europe, Americas, and Asia-Pacific). Of course, anyone can attend an Assembly, but the two that are timed to suit Asia-Pacific participants will be during the day or early evening, rather than the middle of the night. Assembly 3 (Wednesday 8 July, 10am) and Assembly Five (Tuesday 21 July, 6pm) are the ones for Asia-Pacific people to mark in our diaries for synchronous participation!
Each Assembly will have a number of parallel sessions (short spoken presentations in some rooms, workshops in others), as well as roundtable discussions and opening and closing plenaries. Posters will also be presented in two of the Assemblies. The content will be pre-recorded but the discussions with presenters will be live. And every Assembly will be recorded and available for viewing later on the CMA Youtube channel.
ISME has waved the usual membership requirement to participate, so the Assemblies are free and open access. All you need to do is register (go here: https://www.isme-commissions.org/cma.html) and you will receive a link to a zoom meeting on the ISME platform. The schedules and other details can be found at the same website.
The conference theme is #theyareus: Conversations of Inclusion, Disruption, and Connection. We warmly welcome CMVic members and all community music leaders and enthusiasts to join us for these conversations. Given that the next ISME conference and Community Music Commission seminar will be held in Australia in 2022, pandemic permitting, this is a chance for Australia’s community musicians to see what the CMA has to offer you and your practice without having to get on an airplane.
Assembly 1 – 23 June (24th June at 4am for Australians)
Assembly 2 – 30 June (1st July at 4am for Australians)
Assembly 3 – 7 July (8 July at 10am for Australians)
Assembly 4 – 14 July (15 July at 4am for Australians)
Assembly 5 – 21 July, 6pm
By Dr Gillian Howell – University of Melbourne, and Commissioner for Community Music Activity Commission in the International Society for Music Education
“As singing leaders, we have a responsibility to make a decision that’s going to be best for the safety of the whole group. All our groups desperately want to get back together but unfortunately, it’s not safe yet and that’s a really clear directive from the medical health professionals that it’s not on the cards right now. Rather than grieving that, I think I’d done that earlier, I’ve kind of moved on. I mean the priority is keeping community together and staying connected; we can work on our harmonies when this is over!”
-Jane York, Just Holler
I remember the evening, clearly. It was a Friday back in March and just days earlier, Daniel Andrews had announced a state of emergency. It had been a fraught week as shops and offices began to close and the shelves began to empty. Lockdown was imminent and panic was tinging everything. But one person had it together and, as the rest of the world worried about loo roll and how long they could live on half a bag of pasta, Jane York donned a spangly jacket, picked up her beer and started to sing around the piano in her lounge room. Jane’s personal motto is ‘if in doubt, sing’. And she was, and she did. Online, using Facebook Live and she’s been doing it daily ever since.
“So many things were unknown and out of our control both personally and as a leader of groups, but one thing I could do was sing.” Jane laughs as she thinks back to that first Friday night singalong.
“It was completely disorganised, it was literally just me pressing live on my phone with an iPad to look up chords and getting drunk. It went for 2.5 hours and by the end of it I was so emotional. It was so interactive, I’d thought it would be me doing a one-way thing and it wasn’t that at all, it was all these people that I love and sing with regularly, and also people I hadn’t seen in ages from all over the country which was something I hadn’t thought about – accessibility by geography and how online we can extend our community – and people were literally tuning in from South East Asia and from Germany. So, at the time when I was thinking ‘we’re going to be isolated’, it was the opposite and it was really emotional that first one.”
Jane finds having structure a really important thing and got to thinking about all the other people at home who were no longer working, who were all in a state of flux and in need of anchoring and she came up with the idea of doing a daily lunchtime sing at 1pm, no matter what else was going on. “It was about a little bit of calm in the middle of the day.”
Jane got started and people were tuning in everyday to say ‘hi’.
“My mum tunes in everyday from Queensland which is very lovely cos we don’t actually get to sing together very much, and we get to sing five days a week now!”
The songs Jane chooses are well-known, easy to sing classics, from Lauper-esque hairbrush anthems of the 80s to Neil Young, Fleetwood Mac and Johnny Cash. If there’s anything anyone desperately wants on the bill, they are free to make recommendations in the chat.
Early on in lockdown, The Guardian mentioned Jane and Just Holler in an article by Anna Sublet about online singing, “that was kind of freaky, of all the things to be in The Guardian about, me in my robes singing into my phone! Our choir had sung the year before at Hamer Hall to no press and then there I was in the Guardian for not showering and going online”.
That week, Just Holler got 300 new likes on its Facebook page as part of what Jane calls ‘this isolation moment.’ This ‘moment’ has meant that our singing communities have become broader and when Jane saw the Guardian write-up she realised this element of connection could actually be the silver lining of sharing our music online.
“I realised that I could go and attend other people’s workshops and I could attend things not in Melbourne but also that I could invite people from anywhere to Term 2 of our choir. Just Holler online now has people from New South Wales, regional Victoria joining in, which is great. Being in the business of building community and connection, we take a lot of time discussing how to we get more people to come to choir and all of a sudden we’ve gone to them and boom.”
This has shifted Jane’s thinking about the future of community music and she is considering maintaining an online element to rehearsals once lockdown lifts, to ensure that the people who have joined from afar and become a part of the Just Holler community, can remain so.
Singing daily at 1pm means that Jane has to fit the rest of her life around that time. That’s easy to do when she’s at home but last week she was driving and had to pull over at the side of the road to deliver the goods. “It’s been a great exercise in not being precious about having things perfect at a performance level, some days I have literally never played the song through before! I always feel weird doing something by myself, it’s just not my style so it’s been really good for me in that way because it is up to me to sing the whole song through but it’s not centring myself in that experience, it’s still a facilitation thing because I want people to sing along from home.”
Regulars know that Jane likes to shake up the backdrop. She’s sung to the world from the bathtub, behind the clothesline, out on the deck, inside the garage, and out the front of her house with her neighbour. Her son and her partner pop up and accompany her. There have been pyjamas and slippers and keeping it real is part of the charm. On Tuesday she sang from Violet Town with a backdrop of beautiful gum trees and unexpected accompaniment from a garbage truck as it rumbled slowly past.
The chat is where the connection with the outside world takes place as people greet Jane and each other and comment on how well the houseplants are looking or whether Jane got a haircut. “It’s cute, it’s lovely, it allows people to be active participants.”
A couple of months ago, Jane decided she wanted Friday lunchtimes off to sing with Sue Johnson’s online choir and had the genius idea of inviting guests to take over the Friday slot.
All good things must come to an end and, as lockdown lifts and the world shakes its feathers and returns tentatively to the old routines of 9-5, Jane’s thinking about wrapping up the 1’o’clock singalongs possibly in a couple of weeks at the end of this term. But this isn’t set in stone,
“I don’t want it to become a chore I want it to stay a thing I’m still engaged with.” So set your alarm for 12:55, hop onto Facebook and sing along with Jane while you still can.
Feature photo supplied by Jane York featuring, l-r: Jane and her neighbour Shannon; Jane, Lewis and Solly on family band day; Jane alone in her bedroom.
It was participating in an online music session for pre-schoolers which turned around Brian ‘Strat’ Strating and Lyndal Chambers’ thinking about playing and delivering instrumental music online.
“We were invited, us and our grandchildren, to participate in a family session for Drummond Street by Amanda Testro, and it was really interesting. We learned a lot being participants in that group. The fun thing was seeing all the little screens of people doing the same thing or people doing the actions to a song in their own remote locations. We all started off together and then slowly the kids began rambling around the lounge room, you know it’s kind of really interesting and fun to see everyone doing the same thing in different places and we learnt from that experience that things with actions work much better than trying to play music.”
There’s no getting away from it, the communal aspect of instrumental music making online can be dissatisfying for a number of reasons: you don’t have your external speakers cranked up; you don’t own external speakers, your own instrument sounds way louder than what’s coming into your room so there’s no hope of playing along with the facilitator because you’re struggling to actually hear the music itself. And then there’s the unavoidable reality that in real life sessions, everybody’s bits go together to create a tune and while one person on their own might fumble and stumble over their part or lose the beat, it is everybody playing together in real time that makes everything work and is beautiful.
So how can we make the most of collective instrumental music-making opportunities during these times of physical distancing? After all, they’re a great vehicle for checking in and hearing how everyone’s doing.
As highly experienced community music facilitators and musicians, this quandary is something Lyndal and Strat have spent many hours contemplating and experimenting with since COVID put an end to most of their other commitments – and income – overnight.
“As a practitioner delivering music online, you need to think about ‘how do I make it work, what’s the reason for doing community music online, and then if you decide to do it, how do I make it successful? Because, you know, if somebody really wants to learn a tune, they can sit in front of a video on YouTube, they can learn the tune slowly and repeat it as many times as they like.” But this isn’t fun, nor is it what brings it to life. We get together in groups because we want to be with other people.”
Playing with the pre-schoolers led Lyndal to realise how dancing and responding to action songs works well online because it doesn’t matter if you’re hearing the tunes with lag, you can still do the actions. “At one point, Amanda said ‘go on kids go into the kitchen find your pots and pans’ and they all ran off eagerly to go and get their pots and wooden spoons, and so I ran off and got this big pan and wooden spoon! And when I went to play along, my pans were soooo loud, I couldn’t hear a thing from the computer! We learnt that not only can you not play in real time, you can’t even hear what’s going on unless you have some decent external speakers set up on your computer.”
What both Lyndal and Strat enjoyed most was the social aspect of participating in something in this way. “Our grandkids, all three of them – and one is only 18 months old – are in Blackwood and we are in Inverloch, and we are all watching Amanda’s show and we can all see each other!”
So the main purpose of all being online together is to maintain that social connection which we all need and seek out, and music is still that common thread.
“In our physical groups, music-making is a vehicle for us getting together and we can all play together which is just not possible with the technology that we have. At least not without phenomenal expertise and state of the art equipment. The reality we’re stuck with is we’re not going to be able to play real time music together in virtually any online context anytime soon because there’s such huge variability in everyone’s situation. There are barriers such as internet speeds, internet cabling. And some people don’t have a good, functioning computer with a good camera and good audio, some people don’t have internet at all, and some people are too old to wrestle with technology.”
The takeaway from their experience of online participatory music making has shown Lyndal and Strat the importance of identifying a clear purpose at the start of the online session, articulating this as a group and agreeing on an expectation of what everyone is trying to achieve together. “It’s the same as those values we use when we are face to face.”
Lyndal and Strat were recently invited by Aaron Silver to do a Virtual Bush Dance for the Turramurra community. “When we started trying to work out how to do it, we figured that we needed to actually get up and moving ourselves to get other people off their bums, so we did a practise, and videoed ourselves calling the dance and playing the music simultaneously, and it was hilarious.
“The bush dance worked really well but it took a lot of preparation. We had a dry run with around ten people before the session and discussed which settings were needed on Zoom, what settings people should change, and all the technical stuff. Even this was an opportunity for fun and reconnection, we were all laughing and talking to each other, so the social thing was happening even then. This small group of testers were able to say whether or not they could hear if Lyndal danced away from the computer, or when they stood away from their own computer.”
“When it came down to the actual event we were dancing and moving around at the same time as everyone else, we could still see the concert view on our computer and there was everybody dancing in their living rooms. Mark Jackson took a video of himself and Jane with us in the background on the telly and it was so hilarious, so funny!”
As part of Grantville Online (CMVic Music Camp 2020), Strat and Lyndal will be re-visiting this approach and facilitating a Virtual Street Band Parade! The tune is available and can be downloaded ahead of camp so that anyone preparing to play in the virtual street band will be familiar with it. Lyndal and Strat would like more than anything for this workshop to be about letting go, healing and having fun.
“We want it to be a lively thing, a joyful experience! We want it to be ridiculous, a coming-together and dressing up; a fooling around opportunity, a joyful, love-filled safe place!”
“We’ve recorded a multi-track tune ourselves so that there are lots of parts. On the day, we’ll press ‘play’ and everyone will be able to hear the pre-recorded piece of street band music which they’ve also been learning and it will have the counting, and everybody can play along on mute, or sing, or dance or even just mime! And they won’t just be playing on their own, they will actually be playing and singing along to a full band sound in their lounge room, bedroom or study or wherever they might be, or even outside on the veranda! Our aim is to light up the screen with participation.”
In considering the transitioning of their leadership skills into the virtual space, Lyndal is reflective about the challenges of maintaining diversity and inclusion.
“Thinking about the values, this idea of ‘from one to many’ is not my ideal for community music making, I think that’s a real stumbling block for me. In a real-life situation, there may be a nominal leader or a leadership team, and you’re allowing everybody’s voice to contribute ideas to the circle and they feel invested. When you have an online platform there’s one person is sitting in front of the computer directing the actions and everyone’s speakers are on mute, its completely the antithesis of the kind of ideal for me of a democratic community music group…”
Strat agrees, “I think it’s impossible in the online setting, so yeah that’s a great challenge, and the other thing is the thinking that if your normal session goes for an hour, have an hour online. You absolutely cannot! With the bush dance, we would usually go through something like that twelve times, whereas online we went through it just three. The elements that are most important are dancing and movement and linking up and having a great time.”
“Enabling people to do their own dressing up and their own dancing allows them to participate as much or as little as they can, or want to or feel able to, while still contributing. And if we can record it, which I know is possible, there will be this amazing collage of everyone doing their own thing in their own way and interpreting it somehow in a way that’s personal to them.”
And, because you’ll be muted if you have always wanted to play the trumpet in a street band but don’t actually play the trumpet – now’s the time! If you’ve got a trumpet, pick it up and be able to play without any bum notes, straight off the bat! This one of the advantages of the virtual street band; anything goes.
“There are no limits! Oh my gosh” says Lyndal, “The No Limits Street Band…
Music is known to provoke the senses, give pleasure and sometimes move people to tears. Surely this has little to do with mathematical models which are so frequently associated with cold and rational logic. So what can maths tell us about this powerful phenomenon closely connected to the emotions? Can mathematics help us measure what’s sublime or ineffable about a piece of music?
Music evokes strong emotions such as frisson (goose bumps), awe and laughter – and has been found to use the same reward pathways as food, drugs and sex to induce pleasure. A shiver down one’s spine or an uncontrollable guffaw when listening to music is most often a case of the music defying your expectations. Expectations can be defined in two ways: schematic – knowing how a genre of music is supposed to go – or veridical – knowing how a particular piece of music unfolds.
On one end of the spectrum, a performance or a piece of music that does just what you’d expect runs the risk of becoming banal. On the other end, music like that of PDQ Bach – which uses tongue-in-cheek egregious violations of known expectations – makes many people laugh.
PDQ Bach: The Short-tempered Clavier: Minuet in C. EC, Author provided735 KB (download)
The craving that comes from musical anticipation and the euphoria that follows the reward have both been found to be linked to dopamine release. As a result, performers and composers alike play with listeners’ expectations, often going to great lengths to carefully choreograph their expectations, and then sometimes breaking them, to provoke and heighten emotional responses.
Playing with expectations
In tonal music, which is almost all of the music that we hear and can be thought of as being based on a scale, the note sequence sets up expectations, then suspends, fulfils, or violates them. For a simple example, sing the first three phrases of “Happy Birthday” and stop at the end of the penultimate phrase.
Anticipation for the resolution to this musical cliffhanger creates a palpable knot in the gut. This hollow feeling can be further intensified by delaying the final phrase. The release is evident when the final phrase is heard and ends happily on the most stable tone.
Two things are at work here in this miniature example: tonality and time. Tonality provides a framework through which expectations are formed – and the play on time, the delaying of expectations, uses the framework to create a musical cliffhanger and titillate the senses.
Where maths comes in
Expectations can be modelled mathematically and time can be measured – so the shaping of both expectations and time can be described in numbers. Over the years, in my research lab, we have developed models and computer algorithms for quantifying tonal properties and expressive parameters in music. Many of the tonal analysis algorithms are based on what is known as a “spiral array model”.
The spiral array can be plotted in 3D to allow us to visualise the dynamic evolution of musical keys and spot when the notes and their timing combine to do something interesting to tug at our emotions.
As music is heard, the notes can be mapped to the model, duly weighted and summarised as points inside it. Movements in the space inside the model allow listeners to see deviations from expected tonal behaviour.
Just as pitches that sound close one to another are spatially near each other; the converse is true: pitches that sound far from one another are spatially far apart. Feelings of tension translate to quantifiably big distances – notes mapping to widely dispersed points or pulling far away from an established centre of gravity.
Composers actively vary the tension over time to generate interest and captivate the listener’s attention. The shaping of tension over time also helps create meaningful long-term structure. It is notoriously hard for computer algorithms to generate music with long-term structure. But the MorpheuS system, developed by music researcher Dorien Herremans, circumvents this problem to generate music with a pre-set narrative structure by using a tension model based on the spiral array. Listen to this version of JS Bach’s “Minuet in D”:
MorpheuS-Bach: A Little Notebook for Anna Magdalena: Minuet in D. EC, Author provided582 KB (download)
It follows the tension profile, rhythms, and repetition patterns of the original piece from A Little Notebook for Anna Magdalena Bach:
JS Bach: A Little Notebook for Anna Magdalena Bach: Minuet in D. EC, Author provided605 KB (download)
The notes of the generated piece also conjures up similar degrees of tension to the original music. For example, discordant sounds follows the same patterns of discord in Bach’s original piece.
Not only do notes themselves create tension, a performer can delay resolutions to heighten suspense. Judicious use of timing is one of the most potent expressive devices for eliciting emotional responses. The right amount of delay can sweeten the anticipation – but take too much time and the performer risks losing the listener.
In music with a beat, the musical pulse forms a baseline grid on which to measure timing deviations – prolongations and reductions of the time unit. In extreme cases, these warpings of musical time produce tipping points, the feeling of being poised at the brink of an abstract hill in an imaginary roller coaster.
We can use maths to present this graphically. When a piece of music is performed precisely as written, it is displayed as a flat line in these graphs. But music is almost never played exactly as written. Performers often exercise significant creative license; as a result, anomalous peaks signal the evocation of musical tipping points.
By elongating specific notes – or words or syllables – the performer draws the listener’s ears to details that might have been missed or glossed over. Because the listener often knows what’s coming, the delay prolongs expectation – creating drama and exaggerating emotional cues.
Mathematics is the language through which scientists understand the nature of the universe. However, the extent to which numbers can explain the ephemeral experience of music has yet to be fully explored. Why does music move us? How do its variegated structures translate to musical expectations? How do performers and composers exploit these expectations to craft profound and moving musical experiences? Our mathematical forays into these questions are but the tip of the ice berg.
Waiting for a room to fill up with people feels so last year. These days, community choir leader Jeannie Marsh waits for the little squares on her screen to blink into life to signal her group’s singers have turned up and tuned in ready to join in an evening of singing from their lounge room, bedroom or wherever the acoustics work best and there’s the option of a closing door.
Over the past month in response to physical distancing and self isolation, a new online world of community music has sprung up, close and personal in a whole new way as pets, partners and kids wander in and out of focus, and we find singing and playing in our pj’s easy and oh so cosy. For the time being, Zoom‘s the room and anything goes in this virtual space as we each adjust to living in this brave new world.
While this approach won’t work for everyone, the option to take things online offers a way for community music groups to continue to connect socially whilst remaining apart. It addresses our basic human need for something to look forward to, is an opportunity to share hope and reassurance with each other and navigate a way through the strange times we find ourselves in. It’s a great excuse for a quick tidy up, too.
“Right now, I’m seeing my role as just trying to help people stay positive, that’s all I can do! Keep people singing and helping anyone feeling overwhelmed to get through this.”
For Jeannie, engaging with online platforms has been something best done on her own terms, in her own time; she’s the first to admit that she dislikes Facebook.
“When social media came out, I just thought ‘no, no, that’s not how I’m going to stay sane’. I feel pretty equipped technically, but I mean you know…”, she laughs, “I don’t have technical skills but I’m not afraid of asking for help and we all have to learn, we are all learning together. With ZING! we had to make the transition very early on and held our first session via Skype which was kind of weird, but it was a way to keep in contact and I was able to teach some songs and then for our most recent rehearsal last week, we switched to Zoom, which was much better.”
Jeannie invested in a headset and has found having better quality sound makes things far easier in her new-found role as an online leader. She’s made other discoveries too. For example, it wasn’t really working for Jeannie to use a call and response approach in her early online work with ZING!:
“I was leaving a gap to go, you know, ‘your turn’, so they would all sing the part at home, but people said that they didn’t really like that because they could just hear themselves singing and found this confronting. People don’t join a choir to hear themselves sing on their own. As a singer in a choir in the room together, you are surrounded by everyone else and they are pulling you along, and the leader is singing, and there might be accompaniment, all those things, and then suddenly it’s just you in your spare bedroom singing on your own, completely on your own without even the leader helping you.”
Taking on feedback from her singers, Jeannie’s abandoned this approach, “I’m not going to be trying that method anymore, I’m just going to demonstrate and repeat, then people can sing along with me, whether it’s a phrase of a song or a warm-up activity. This means that people will always have the security of singing with somebody else.” But Jeannie notes that all this might change as the process evolves over the coming weeks, and as people become more familiar and at ease with singing on their own.
The other disconcerting issue as an online leader is the problem of delay which it seems we’re all stuck with for the time being. “I can see who’s in the room and call them by name, I can say ‘Sue, unmute yourself and tell me what favourite song you have been listening to this week’. And then I can hear them, everybody else can hear them, it’s good for maintaining connection and I make sure we have a lot of laughs, which I think is important. We have warm-ups with music too. I’ll put on some lively latin dance music at the start of a session and we do a little warm-up dance sitting down or standing up… these sorts of things are a bit of fun.”
Jeannie is in the process of exploring possible ways for online social activities to be included in the virtual space, given this is such an important aspect of community choirs. Her ideas include scheduling a break time during the rehearsal when participants can grab a cuppa, beer or whatever, come back and have freeform chat. “In real life, Zing will rehearse for a couple of hours and then we usually go across to the pub and have another hour or so of socialising. We are working out a way to build that in: You can chat, have your drink in your hand and show and tell, whatever people want to do!”
Other Zoom issues to navigate include the inability to see everyone on screen simultaneously.
“Yesterday I did a first online zoom rehearsal for Climate Choir Melbourne with about thirty people, and I couldn’t see them all onscreen at once, I had to scroll across and found that quite difficult… I’m going to have to get into the habit of looking at one panel and then shifting to another panel so that I can see who’s in the room. Their names are there and their faces are there, and I can talk to them individually, so yeah I think that’s going to be challenging but I can see ways to make it work.”
Ensuring singers have all the resources required for each session is also important in supporting their online participation. Jeannie believes this means a potential increase in workload for leaders during the initial planning stages.
“If I walk into a face-to-face choir rehearsal tomorrow and we are working on six songs and people have the music and the word sheets, I stand in front of them, and we practise the song, it’s so straight forward! And you can improvise around your structure, you know, abandon one song if people aren’t getting it, or go to another….but when you are doing this online you have to have the materials all lined up ready to go and you have to keep on delivering, you have to keep talking and singing basically, so you’re on all the time.”
To compensate for this, Jeannie and ZING! are considering reducing the running time of their online rehearsals by half an hour. Jeannie is also planning to delegate online tasks to volunteers from within the group. “If somebody wants to take something on, ask them for help with the technical side of things like setting up a group space for example. I don’t want to be the one setting up the socials but there are plenty of people who would love that! For people with time on their hands, this gives them a supporting role in the same way that volunteers used to set out the tables and chairs in the room before choir. Or maybe they can be the person who sets a musical quiz for everyone or something along those lines.”
Recording and sharing backing tracks to enable singers to rehearse their parts at home is another thing Jeannie plans to provide. “I usually only start producing rehearsal resources halfway through a term, I’ll make little recordings. It’s time-consuming, I mean it’s straight forward and fun to do but it takes hours! I think leaders are going to have to produce backing tracks for people to sing along and harmonise with for practise at home in between sessions, especially if we’re charging money.”
With financial hardship hitting so many leaders and participants alike in this Covid-affected world, Jeannie is re-considering the financial structure of how she runs her choirs to find a way which works fairly for everyone.
“The last two weeks of term just became this weird thing which some people had already paid for, so how do we manage that? Do we make other activities available by way of compensation? And then do we charge less for online choir for term two? The advantage of running online groups from a leader’s perspective is you can have a virtually unlimited number of people, which could effectively also generate more money. On the other hand, people aren’t getting the same amount of experience as they would in a face to face scenario. Also many of them have lost their jobs and I want to make things more accessible than they have ever been, with so many people in trauma.”
One of Jeannie’s ideas is to implement a triple tiered payment system to attend choir. People who are able pay the full amount as normal, a discount is then available to anyone facing financial hardship, and finally, there is a rock bottom rate which is free.
“I think that’s the only way to go really: waged, under-waged and then rock bottom. But as the choir leader also has to live, I think it’s fine asking the people who can afford to pay, to do so, and subsidise those who are struggling.”
An advantage of migrating to online delivery is that ZING! now has people based regionally and interstate who couldn’t physically come to Melbourne before, who are able to join in.
“I feel really happy that this is happening, and I think all we need to do now is set up some payment structure. When people join one of these online sessions, I think it’s important to know that the person, whether it’s me or somebody else, is still trying to run a business here. This is the time we need to step up and really find creative ways to support each other.”
Jeannie is staying focussed on music as a way to navigate these strange times. She’s also supporting the local economy of the community where she lives.
“It’s a way to stop feeling so overwhelmed by everything, I hope. To focus on the things that are within our locality, or within our own skill set, things that we know how to do well, and deal with every day. Now is the time to look at how we spend our money, now is the time to buy that digital download, now is the time to buy CDs, support artists we love, now is the time to buy a ticket to a live streaming concert. And if purchasing things isn’t an option, send those artists an email or get in touch and simply say ‘I really love your work and I want to support you the best I can, through this time, what can I do for you?’ ”
The little rows of numbers take up their place across the page of the project spreadsheet. Adopting an orderly fashion, the lines serve the purpose of a groove marked in the soil by a gardener before planting can begin. These rows are the unsung heroes of community music, the basis from which the seeds of community music can grow. They give structure and scaffolding to all CMVic’s projects and programs, forecasting growth, duration and outreach. And while the figures are only the start of the story, it’s all a bit of a chicken and egg situation when it comes to applying for funding.
Over the next page or so, CMVic’s ‘head gardener’ Administration and Finance Coordinator, John Howard, talks about laying the groundwork and shares his tips on the hard graft of applying for project funding, the font of so many wondrous things. Thankfully, John not only sings numbers he can play them and juggle them too, something he really enjoys. As he says, “I kind of don’t get what’s so weird about numbers.”
Over the course of the past year, John has spent a considerable amount of time researching grants and exploring funding options to sustain and develop some of Community Music Victoria’s current key projects.
One of these projects is Growing Community Music (GCM) which has just reached the end of phase one, a state-wide gathering of information from community music leaders and participants about what they need to support their practice, led by Jane Coker and Lyndal Chambers.
“Growing Community Music (GCM) is what Community Music Victoria is all about as an organisation, it’s what we’re doing“, says John. “We’re growing community music and growing participation. One of the things to emerge from the first phase has been the need for local catalysts, a bit like CMVic had back in the days of big funding from Vic Health, and the opportunity to actually employ people to do that work of mapping what’s there and connecting people up. That’s what we’d like to try and do as part of the next phase of GCM, and I think also having a local steering group in place in each of the regions. To do this would be upwards of around $700, 000 bucks, but any amount can kick it off and get things started.”
Because of the scope and financial requirements of the project, John is looking to secure funding from multiple sources. “If we apply for $90,000 from one funding body, that’s not going to go very far but maybe some of the other applications will come through and that will be fabulous!”
It isn’t easy applying for funding, it’s time consuming and there are invariably knock backs along the way. One rule of thumb is to apply to funding bodies with whom you have a working history who are already familiar with your work. “I think what we’re likely to do is to approach Helen Macpherson Smith Trust because they know us, they know what we’re doing is fabulous and they have a history of supporting what we are doing.” In considering the next phase of GCM, John believes it’s imperative to demonstrate to potential funding bodies the activity and outcomes which’ve been effective and ongoing, since the concept of regional catalysts was originally implemented to support community music making across Victoria.
As the primary funder of Community Music Victoria, Creative Victoria serves as an advisory body offering support and advocacy about where to go and who to approach for grants pertaining to specific projects, and when to do this. Given that applying for grants is a fairly ongoing pressure, what is it, other than his own passion for community music making, that fires and inspires John to put pen to paper and fingers to keys when he’s faced with a funding deadline?
“Sometimes I feel like it’s such relatively piddling amounts of money that we’re asking for in the grand scheme of things, but what happens to people when they take part in making music is fantastic. We get to see that a lot and I love that and I live for that in some ways, it’s a big thing in my life, making music in various contexts and I just think it’s a wonderful thing for human beings to do, so let’s make it possible for everyone to do, or as many people as we can!”
One of the challenges John finds is expressing this joy in the comparatively formal style of writing required: “It can be hard to express this in the dry fashion within a grant application, you know, the ‘research shows that blah blah blah’ side of things. And different things go to different mobs. Sometimes you have to write a lot, and sometimes you just send in a pro forma about your organisation and what your main priorities for funding are, with a link back to the website.”
John feels that in terms of funding it is good to think both big and small. “I think the small is sometimes more likely and if we can get a bit of a start to allow local groups to be set up and help them apply for money from their local councils, that’s another way to get something happening. The Ian Potter Foundation is a lovely foundation to approach as they only fund upwards of $100k!” Even if you approach an organisation and get knocked back, nothing is ever wasted as they will have become aware of your work and you may be lucky with subsequent applications. It’s about building rapport and it’s important to be recognised as a charity that does bloody good work!”
Before applying for a grant, John suggests it’s well worth making time to establish a rapport with the relevant project officer and tailoring the nature of the content for your audience. Consider the style of language used by the funder. Are they looking for ‘excellence’? Do they refer to practitioners and participants as ‘artists’? Is their focus more ‘high end’ ie, the Ballet or the Opera. “There’s a lot of good stuff out there to advise you in how to approach a grant writing application. Use plain English, that’s meant to be good. Be direct and clear about what you’re applying for. So much depends on who’s giving the money and what they’re asking for. Our Community is a good place to go for advice and you can find out what grants are available as well as info about courses on how to write good funding applications. It’s generally about reading the guidelines and ascertaining upon what basis they’re going to decide to allocate.”
If you require an incorporated organisation to auspice your grant application, John recommends getting in touch with Auspicious Arts Projects. “They will meet with you at their place next to the Malthouse in South Melbourne, help you with your grant application, and will only take money from you if you actually get your grant – and they will have helped you build in their 5% auspice fee too. I can’t recommend them too highly.”
Lastly, don’t worry! As John says, while applying for funding can sometimes feel tenuous in some ways, keep in mind that when the outcome is successful, amazing things happen. Think positive, do your research and as you write visualise all the great things you can achieve with the funds.
Brianna Slattery’s always loved rhythm. “I first picked up a Djembe drum when I was about 18 and found it to be really therapeutic, I just loved the tactile experience of drumming, it was something I did for myself. I’d go to the park and drum without really knowing what I was doing so I joined a Samba style drumming group which was my introduction to drumming within a community.”
“I became aware of how particularly powerful rhythm is in bringing people together and I felt the strength of the connections I was building with everyone I was playing with. Even though we were a really diverse group we became a tight knit community around our common goal of creating and sharing these amazing rhythms.”
Brianna trained as a teacher and began utilising the drum as her primary instrument for teaching music in the classroom. She discovered this was a highly effective way to engage the students, particularly those whose attention was more challenging to maintain. Then, around five years ago, moving over the border from New South Wales into North Eastern Victoria, Brianna returned to uni to study a Master’s in Education, culminating in her writing a thesis based on her observations from her teaching experience.
“It was really fascinating looking at it all through the lens of the context of drumming, particularly the West African drumming style and it gave me some ideas which led to me developing a Drumming for Student Engagement Strategy which I now implement in schools.”
Using rhythm analogies to teach engagement skills is a key component of Brianna’s business, In the Groove, which she established in 2017 as a way to combine all of her passions and turn them into bread and butter. “Accessibility is key to the appeal of drumming, you pick it up, you play it! For kids who struggle with learning there is instant gratification and reward to discovering that drumming is something they can immediately do. Success drives this motivation and they’re immediately engaged. When you’re engaged in something you learn stuff about yourself as a learner that can then be applied to other areas of your learning and life as well.”
“In working with students and teachers, I’m able to incorporate other analogies such as building perseverance or working cooperatively with others; becoming confident in ourselves and exploring these things through the music.”
In addition to a strong educational focus, In the Groove is about working within the community space. Brianna set up a community drumming class in Wangaratta, teaching West African rhythms she’d learnt travelling in Ghana and through her close affiliation with African Drumming in Melbourne. “In West Africa, the role of music is born out of social purpose; when you hear a rhythm or a drumming piece it’s marking a social occasion or event and there’s a whole heap of meanings and learnings tied to that. I think because of this it comes together in a way that’s quite complex, very much like society is! The music is polyrhythmic, you have many different paths all coming together and playing an important role and so the very structure of the music is a really great way to bring people together….
In fact, the beauty of this West African music and these drumming rhythms is you can’t play them properly on your own. You actually need a community of people to play all of the musical parts and to bring the right kind of energy for the music to actually work! It works around synchronicity and all of the parts bouncing off each other.”
“I started teaching these community classes which were very, very small in the beginning and they’ve grown over time. I now offer them in a number of different towns and there’s always some kind of a social agenda or outcome behind what I’m doing. Repetition is a really important aspect to the structure of each group and so is teaching people to really listen to each other. We have people from all different backgrounds and all different ages who come together to learn this musical style and so there’s the building of community around that as well.”
Often, when people head along to their first class, the most common feeling they’ll bring is the worry they lack rhythm. “They’ll tell me they’ve had a flier on their fridge for aaages but their greatest concern which has kept them away is that they’re not musical enough to be doing this activity. I say to them ‘we’ve all got rhythm, we all have a beating heart; anything that we do, any task that’s repetitive whether it’s chopping wood or filing papers or something like that, is rhythm, there’s rhythm everywhere in our world so we’ve all got it, just some of us are tapped into it more than others’.”
In addition to running paid classes and programs in schools, In the Groove gives back to the community by creating free opportunities for people to come together and connect. “At least once a month we jam somewhere in one of the towns where we run the classes, it might be at a local market or a fundraising event or it might just be that we decide to drum in the park. The aim is simply to bring the community together.”
Jams are led by members of In the Groove’s community who keep the music flowing and are structured so that musically they sound great. Brianna takes along spare drums to offer anyone able and willing to join in. “People can enter into the rhythm on any level they like, sometimes we sing a few songs too, it’s just about having fun!” In the Groove drummers also volunteer time to share their music at local aged care homes and retirement facilities.
“It’s brilliant, sometimes you just see people come to life as the music brings a whole energy change to the room.
Education, engagement, community and well-being are core values of In the Groove; they’re also the factors for driving and maintaining Brianna’s motivation and passion in her work.
“I’ve seen ways in which this musical form, this musical style can really serve different needs within the community and I’m really passionate about creating more opportunities for connection. I think we’re becoming really disconnected with our dependence on technology and it becomes very easy to become isolated and pretend to be connected when you’re not really. Music is a wonderful thing for bringing people together in working for a common goal and interacting in person with each other within that context. The underlying theme of it all is connection. Connection with knowledge, connection with yourself and connection with the people around you. The lovely thing about these classes is that they’re accessible and open to anyone, the sense of connection is huge.”
Building a business based on passion is not without challenge for Brianna and there are aspects of it she finds tricky to juggle as a community-minded musician and educator: “I want to continue to offer free opportunities for people to come together and share the music and explore and experience the benefits that brings, but at the same time it’s my livelihood and I’m relying on it as a way to generate my income. I have to remind myself that these are things I also need to offer through my business.”
When I started In the Groove it operated as an aside to my work but now it’s my main source of income. I’ve got all these ideas about ways I could be working with different social groups and connecting across different demographics using music outside of the classes, but in order to do so would require a large investment of my time and resources so although it’s something I want to be available for free to the community it needs to be something I can sustain.”
In spite of this wrangle and because of her passion, Brianna is offering a series of free drum sessions as part of Summer in the Park, a council-led initiative. These are happening in Wangaratta Park on Friday afternoons from January into February, and Brianna describes them as an opportunity for people to ‘finish the working week with a bang.’ “Everything we do is an energy exchange and drumming and rhythm make energy really apparent; you can see it and you can hear it and you can feel it. And you can feel the difference and the impact it makes too.”
In the Groove runs weekly drumming classes in Albury Wodonga, Beechworth, Yarrawonga and Wangaratta. For further information, click here or email Brianna: email@example.com
Singing and music have added value and richness to every aspect of Peter Gatto’s life from listening to the radio on 3AR with his parents and playing with Wonthaggi Brass Band as a child, through to courting his wife Glenys as a young man in the 1960s.
From their very first date, singing remained an integral part of this couple’s love story, featuring consistently in the tapestry of their life together until Glenys’ death from ovarian cancer in 2012. At that point, as a quiet companion to his heavy loss, music acquired a new relevance for Peter, and played a significant part in dealing with the grief that persisted and still persists. Music offered him an opportunity for solace and therapy, it became the bond between his present and his past and a window to the memories of Glenys which light up Peter’s face as he speaks of her. Community singing became a reason for Peter to get out and connect with people, an opportunity to talk and reminisce about the happy times he’s been blessed with. He agrees with Nietzsche, that without music, life would be a mistake.
Peter is a born story-teller with a string of entertainingly moving warm memories to share about the importance and place of music in his life.
“Music and Community Music Victoria have been significant in dealing with my grief and loss. Glenys was a very capable and competent person, she had wonderful attributes. I mean she wasn’t perfect, Peter smiles, she had a fiery little temper!” Peter’s ambition now, is to write down his life story to pass on to his children and grandchildren as a tribute to Glenys. “I can’t write about my life story without mentioning music and Community Music Victoria which has played a significant part so far.
For the past nine months Peter has sung each week with Flinders Lane Community Voices. “I can’t wait to get there; it’s a source of enjoyment, I’m meeting new people, there’s encouragement and camaraderie and you feel secure in this group. My only criticism is that it’s only once a week and then for just an hour.”
Peter encountered the work of Community Music Victoria whilst doing ‘a bit of surfing’ and looking for ways to extend his music therapy. Having taught recorder to kids at school during his many years in education, Peter decided to return to the instrument and extend his playing ability after Glenys died. “I’ve taught myself how to play some of the masters… Puccini, Verdi, Mozart, on the recorder.” Making music by himself was one thing, but Peter felt the need to be part of a group.
“It’s been a lovely journey really. The other thing with music now I’m able – and it’s taken this long – is to use music to bring back the beautiful memories, and I have some superb memories of Glenys. It’s comforting, and it’s grieving because it’s gone. Although does music go? What happens to music?” Peter laughs. ”It can’t be destroyed. Music is a vehicle for facing, accepting and dealing with great loss. I think I’m done with my crying, the tears I cry now are of happiness for the wonderful life we shared.”
It wasn’t long ago that Peter couldn’t speak about it. One of his first memories of Glenys is taking her out in Melbourne. “I must have been 19, she would have been 17. All of a sudden, walking past the Arts Centre I heard this beautiful voice singing I’ll take you home, Kathleen, and it was Glenys and I can still remember it, and it was lovely. Music became an integral part of my courting with her. Glenys would ask me to sing to her. I wasn’t listening to much radio then, I’d be playing football or busy teaching and so the songs I would sing to her were school songs.”
Glenys said and believed that she couldn’t sing, however two people in her life told her that she had a lovely voice. One was Peter, and the other was Dr Clare O’Callahan from Melbourne University who ran a musical therapy program for people in palliative care.
“Clare came out to Kew where Glenys was in the hospice and started playing one of our songs, I don’t know how that happened, but Clare started playing and then Glenys joined in – I can’t remember what the song was – and then Clare stopped playing and said, ‘Glenys, you have a beautiful voice!’ and I was forever grateful that happened, because I know Glenys was very pleased. She was one of the many people out there who was told by somebody else that she shouldn’t sing. That belief is so stifling. I have vowed and declared to never do anything to dissuade anyone from singing and I would never ever deny anyone the chance to sing!”
One of Peter’s earliest introductions to music was sitting around the radio as a twelve-year old, listening to the world-famous Italian tenors with his mum and dad, something he later discovered Glenys had been doing at the same time.
“I lived in Wonthaggi, she lived in the hills on a dairy farm in the hills about 12, 13ks away, so we’re listening to the same song and loving the same song at the exact same time which then came to mind about 40 years after the event driving through the Outback in Queensland. Glenys said ‘I know that song, I used to listen to that song with my parents on a Sunday afternoon’, I said, ‘so did I!’. The song was Mattinata and I used some of the lyrics when I delivered Glenys’s eulogy. ‘Ove non sei la luce manca; Ove tu sei nasce l’amor.’: ‘Where you are not, the light is missing; where you are, love is born.’ And Glenys exuded love. She was a wonderful teacher with a great reputation and she didn’t discriminate with the way she gave out the love: if a kid needed affection and attention, she’d give it out. Of course, she was able to dish out the discipline too!”
“We were very, very close, we did a lot of things together. One of the things Glenys asked me do was help her put on a production of Oliver at North Melbourne Primary School. Now she had no musical knowledge, she believed she couldn’t sing so when she asked me to help I said of course I would. So I taught all of the difficult songs and left what I considered to be the easiest song til last. But of course when things go wrong they go wrong, and at the particular time when I was ready to teach that song I was committed elsewhere and couldn’t go, I said to Glenys, ‘you’ll just have to do it’. Well, she was very unsure about doing this, having never taught anyone to sing before.”
Some days later Peter recalls dropping into Errol St Primary School and hearing ‘some beautiful singing’ of Oom Pah-Pah coming from Glenys’s room. “I thought, who’s doing this? I sneaked around to take a look through the window and there was the greatest sight that anyone could see because the kids were all up on their feet singing in full voice with huge smiles on their faces and I turned around to Glenys’s table and there she was in full flight and I mean full flight! She was up on the table, she was singing in full voice, the kids were singing with her, it was the most beautiful singing I’d ever heard so I went in there and I said to Glenys, ‘now who could top that? No one!” The kids never, ever sang that song as well as then and to see that gave me great joy.”
Throughout the course of his own career, Peter taught at schools all over the state, including at a one-teacher school in Strzelecki. “When I got there, there were 30 children in seven grades and one teacher. Discipline was a major problem. What I used to bring a little bit of order, was singing.” Peter would sing with the children every hour on the hour for around three or four minutes at a time. “They were beautiful singers and it had that wonderful calming effect of music. They loved it and I loved it.”
“During mid-winter in the Strzelecki Ranges it gets really miserable sometimes and it also gets absolutely beautiful. You can go from not being able to see metres in front of you and then the weather clears up and you get the clearest blue skies and the sun streaming down and it’s magnificent. On one of those days in mid-winter the kids had been inside all day and then at about 2 o’clock in the afternoon, the weather broke so I said to them ‘go outside and play.’ It was at the time when you had district inspectors overseeing everything. Sending the kids outside to play outside of regulated playtime hours was a risky thing for me to do. Anyway, the kids were out there playing in this beautiful sunshine and I look up the drive and there are two cars coming up to the school… and everyone recognised the inspectors car. Well I thought my career was in tatters, but the inspector, Mr Bull, stopped me and then he said, ‘look, I’ve got both my family and my wife’s family with me, do you mind if you bring them in as I’d like them to hear your kids sing.’ I bought them in and explained to the children that there had been a request for them to sing from Mr Bull. And the kids sang in full voice and it was a glorious, triumphant moment, and thank god for the kids of Strzelecki – that’s the power of music.”
Peter’s final story about the influence and importance of music in his life, is of a song his mother used to sing.
“My mother was illiterate. She’d never been out of her Southern Italian village, had never listened to radio or anything like that; never been to a concert, nothing. She then travelled from this little village right across the world carrying a beautiful tune with her. I’m sitting in the pea patch with her in South Gippsland as a ten or eleven year old and I hear her singing with the other Southern Italian pea pickers and I love it. I loved hearing her sing in the pea patch with all the other ladies. Then later, as a teacher I introduced one of my favourite composers to the kids, who was Tchaikovsky. And I played some of Tchaikovsky’s music and it was the same tune that my mother had sung in the pea patch. She carried it within herself, she couldn’t read or write, had never been to school, never read a newspaper, didn’t listen to a radio until the 1950s, and yet she knew this. As it turns out, Tchaikovsky spent two years in Italy, during which time he travelled around and collected the Italian folk tunes. The piece of music is called La Caprician Italienne, which, by the way, I can play on the recorder!”
As our time for talking drew to a close, Peter had one last thing to say in reflection: “Music gives you so much to discuss, and to think about. What is it that we’re doing, in our schools, that is more important than teaching our children music? Why aren’t we making music an integral part of the curriculum? It just doesn’t make sense.”
Naming the inaugural Whittlesea Uke Muster was ‘a great laugh’, a take on the iconic annual Deni Ute Muster which was started years ago featuring barbecues, burn outs and a whole lotta utes. “We found out that there actually is a Deniliquin Uke Muster so we had to name our event the Whittlesea Uke Muster and we put a lot of pictures of Ukuleles on the fliers so nobody would turn up thinking it was for cars.”
Seeds of the idea for a Whittlesea Uke Muster were sown a couple of years ago following a Singing Festival held in the town, something Community Music Facilitator, Kerry Clarke, had been ‘busting to do for many years.’
“The Singing Festival was really successful, absolutely fantastic and we thought ‘ooh, let’s try and do something with ukuleles cos they’re so popular, so we applied for some money to run the Uke Muster last year and we didn’t get it. We thought ‘oh well, bugger that!’ So we applied again this year under the community grants scheme from our local council, City of Whittlesea, and we got it.”
‘We’ was a team effort by Kerry, Mary Lynn Griffith, Manager of the Whittlesea Community House; and local Community Musician, Cathy Edwards who worked together to bring the event into being: “It was Mary who applied for all the grants and managed all the payments and budget, the Uke Muster was actually her baby, she really wanted to do it.”
Enough funds were awarded to run the Muster in a way which meant workshop leaders could be paid and there was no charge for anyone to attend the event.
“I know the people we asked would have probably done it for petrol money or something, but we really appreciated being able to offer them payment and we paid each leader $300. For that they had to do all their own preparation and travel quite a distance, including one person who came all the way from Emerald. It was great to be able to pay them a proper professional rate and having a grant allowed us to do this. We were also able to pay for publicity and promotion. We got a banner made that we can use again next time, those sorts of small things you can get with a little bit of money behind you, and we ran the Uke Muster via the community house which, as an incorporated organisation was the reason we were able to get a grant in the first place.”
Over 170 people came along and took part on the day, plus another ten or fifteen locals who came to clap and cheer for the concert at the end. “We set up the muster following the same model we’d used for the Singing Festival where we had a bit of an all-in session, a series of workshops and then we had feedback from the workshops and a little concert at the end. It worked really, really well. The workshops were extraordinarily successful, we had excellent workshop presenters and I think that’s why it was so very good. There were lots of opportunities for people to mill about and chat with one another and play together, it was a real hit.” There was also a strum-along run by Cathy and Bob Edwards, ‘two amazing community musicians’.
Whittlesea is a small town and while the primary and secondary schools offer music and are involved in singing and playing, community-wise there hasn’t been a whole heap of things on offer besides Kerry’s singing groups, but it seems this is all about to change: “We’ve started up a few ukulele groups and they’ve been extraordinarily popular…Cathy runs two local ukulele groups with a total of around 40 players across the two and there’s a group of six who are beginners, so it’s all become very popular and this has all come out of the Whittlesea Community House, a part of the Neighbourhood House network.”
The Uke Muster was the first event of its kind to be held out in the Whittlesea area and local people were excited that they didn’t have to drive a long way to go to it. “Usually we have to resign ourselves to a good hour’s drive to whatever we want to get to. We had a group from U3A in Lalor, people drove over from Euroa, and people from the local area were really appreciative that this was something happening on their own doorstep for once!” In the end, players came from far and wide for the day. As well as Lalor and Euroa, they came from Panton Hill, Hurstbridge, Mernda, the outer northern suburbs of Melbourne, and three people came from the Bella Bella group in Cranbourne which, as Kerry says, ‘was amazing’!
Goals of the Uke Muster were to encourage participation from new players and to offer skills development for existing singers and players and the range of workshops available on the day reflected this. There was a beginners’ workshop for people just starting out on their ukulele playing journey while other workshops offered opportunities to explore and expand upon a range of different techniques and styles of playing to keep things interesting for everyone.
As organisers, one of the first challenges was getting in touch with contacts. Kerry says they now have ‘all of the contacts they can cope with’ so that challenge has been successfully overcome. “Basically, through word of mouth, we eventually found all the local groups we knew of and we don’t think we missed anybody which is really good because we wanted to include as many local people from the area as we could.”
“Getting people to get back to you is another challenge” laughs Kerry. “People think ‘oh that’s a great idea, I’m going to go to that’ but they don’t tell you they’re coming, so that can be tricky when you get a lot more people than you were expecting. Timing was also a challenge. If we can do it again next year, we’ll perhaps look at making a slightly later time for the concert or limiting the number of performers because it ran over time and I don’t like it when things run over time because people have other commitments to get to and things like that, although nobody seemed to mind. We were learning too!”
There was ‘a lot of terrific positive feedback’ with players saying they hope that the Whittlesea Uke Muster becomes a permanent fixture in the calendar and an event which ‘happens every year.’ Help was at hand on the day from Rhonda Rose and the Mernda Singers and Strummers, with Kerry filling the role of MC, something she clearly enjoyed: “Uke players are a fun lot!! Good sense of humour!!”A popular part of the day was the Scones stall that the Mernda group ran, with home made scones for sale all day long. There was also a raffle with two donated ukes as prizes, and these made over $500 dollars on the day as a fundraiser.
Other highlights for Kerry included the opening strum-along. “There was a big screen up with all the chords on and we had everybody playing and everybody singing along and then Oli (Hinton) brings out the bass uke and starts ‘doom, doom, dooming’ and everybody’s going ‘what the heck is that?!’ it was sooo great, it was such fun!”
Looking ahead to a re-run of the Uke Muster in 2020, Kerry and the team are already planning to approach local businesses to ask for sponsorship and again, paying the leaders is where the money would go. “This year’s event was run as a pilot and when we applied for the grant we said if it was a success, we’d plan to approach local businesses for sponsorship to do a future one, so that’s what we’ll try and do! Early next year we’ll set out to get a commitment of cash and see where that takes us.”
“You put something like this out there and you just hope that it might contribute to improving the situation” says Sarah Mandie, songwriter and creative director of That Girl, a song and dance-based community focussed project run in conjunction with Community Music Victoria to empower women and girls, encourage them to stand up against gender-based violence, stereotyping and inequality and say ‘stop’.
Two years after its launch in 2017, That Girl has brought together girls and women from the Indian and Bhutanese communities of Wodonga; culturally diverse groups of primary schoolgirls in Boroondara; and secondary school-age girls from Healesville High School and the Healesville Indigenous Community Association in the Yarra Ranges.
A day of song, dance and dialogue was also held at the Immigration Museum for the Prevention of Violence Against Women: Voices of Shakti was presented by Community Music Victoria, Sarah Mandie and Dr. Priya Srinivasan (ADI Deakin). Drawing on Indian cultural themes of the Goddess to educate, inspire, mobilise and create understanding between people of diverse backgrounds and genders, the program included That Girl song and dance workshops with Sarah and choreographer, Marshie Perera Rajakumar. That Girl has been mentioned in Parliament too.
“I really just wanted to make a powerful, impactful song and music video that showed diversity of origin and ethnicity and locations around Victoria to show violence against women is something which can affect anyone and everyone and that girls everywhere have faced these issues. The process then opened up. Getting involved with different communities, I couldn’t have foreseen what was going to come out of it.”
The idea of the project was to get girls and women to come together in a way which was fun, engaging, and using the opportunity to learn the That Girl song and dance as a platform for discussions and talk about how they feel as girls and women around issues of respect, and anything else pertinent to them and their personal experiences.
What transpired depended on the community. In Wodonga a connection was clearly made between the local health centre and the women who might need to access it at some point, which was a really positive outcome, as were the connections the participants built through supporting each other. “The women realised that it was okay to talk about this and that it’s really good if they talk about it together as women in their cultural community so that they understand each other. Tricia Hazeleger from Gateway Health in Wodonga was really progressive and saw the value of using a music video dance project to deliver a message.” It was this phase of the project, where Sarah worked in partnership with Tricia and the staff at Gateway Health, which led to the project being mentioned in Federal Parliament by the former member for Indi, Cathy McGowan, AO.
For That Girl Boroondara, there was a different focus and the girls didn’t come into the situation in the same way. There the workshop focussed more on what it felt like to be a girl, considering questions such as ‘do we feel respected?’; ‘how can we feel more empowered?’. A lot of the discussion was around gender stereotypes.
That Girl Boroondara became a real cultural festival which included both Indian and contemporary hip-hop style dances. Mothers of some of the girls became involved too, initially as volunteers but then going on to become part of the discussion groups which was a good representation of the community. In that sense the experience was uplifting for the girls involved, and Sarah was also touched by this development:
“The commitment of people who became involved along the way as creative or organisational volunteers and became so positively committed to the message of That Girl, sticking with the project until completion was really great. One of these people was Marshie who choreographed the dance for both That Girl Boroondara and Voices of Shakti. Marshie’s commitment to That Girl was because of the aims of the project and its message. The message is the thing that people identified with and committed to.”
In the Yarra Ranges where the girls who took part were older, some slightly more complex issues emerged, not all of which there was time to talk about. The therapeutic angle wasn’t something Sarah had necessarily anticipated when she embarked on the workshops, and she believes a need exists for further kind of That Girl styled programs in this area because of the many levels on which music and arts projects work. Working together with Wurundjeri elder, Aunty Joy Murphy, a verse of the That Girl song was translated and sung in Woiwurrung, the ‘nulu’ language of Healesville and the Wurundjeri people as part of That Girl Yarra Ranges. For Sarah, this was particularly rewarding and something she’d love to do again, taking the project into different communities and translating the song into different languages.
Each That Girl workshop was similar but tailored appropriately to the ages of the girls taking part: “I had grade four and fives in Camberwell and that’s a really different crowd to year seven. Then there’s the socio-economical and various other aspects of each group to consider, and the culture of the location, so that was interesting. Once you get to high school it’s harder to get people to want to dance and let go in front of their peers, so the method was a little bit challenging for them but very rewarding as well. The feedback was that it brought them together as friends in the year level, so again, it was good for their connections.”
Common to both school groups was a desire to be ‘the same’; for everyone to be treated as equals irrespective of their gender. Girls want the freedom to be whatever they want to be, based on who they are.
To close each of the project’s three stages, a film was produced showing the process and the journey of That Girl within the community. All three films are highly moving, goose-bump inducing testimonies to Sarah’s vision. “I just think, wow! Look at all the girls and women that were involved in this and putting their hearts and souls into this dancing and dressing up, and it doesn’t end there! They’re in a video now and they can watch it again and again…”
There was significant council support for the project each time the films were shown with people ‘blown away’ at each of the three screenings. “The principal of Healesville High commissioned a huge poster of the project for the school hall; the principal of Camberwell Primary cried when she first watched That Girl Boroondara; the Wodonga phase of the project was acclaimed in parliament and the film of That Girl Yarra Ranges was shown at the Memo Cinema in Healesville with the Mayor in attendance who welcomed the involvement and knowledge sharing of the Indigenous community. Each of the films are online and people keep watching them.”
As the project went along the priority became about getting as many people involved and participating as possible. As Sarah says, this takes time and then there’s life and unexpected things happen. “It did get hard at times to keep the momentum up when I had other personal challenges going on, so I’m very proud and happy that we kept this project afloat! Now it’s all about preparing for the launch and getting it out there.”
The film launch will showcase and promote one final, overarching musical artistic video combining footage from That Girl Wodonga,That Girl BoroondaraandThat Girl Yarra Ranges. The film, which is just over three minutes long, can be used in a multitude of settings and makes an excellent educational tool within community networks, schools and the health sector: “People can watch it and then if they want to learn the dance and the song, they can, it has all those elements to it. It’s a great resource because it makes you feel things and think things which can then be spoken about.”
Sarah’s ‘ridiculously super excited’ about this. As a conglomeration of the entire project the film will be shown and celebrated on a cinema screen at the Victorian Trades Hall in Melbourne on December 7 during the United Nations’ 16 days of activism against gender-based violence. A choir made up of individuals and community singing groups are invited to sing in a flash mob style to celebrate the success of the project and anyone is welcome to come along and get involved in the launch.
“I’m hoping that people will come together to sing the That Girl song for the first time. A few groups have learned it so far and are really loving it. We’ll have a workshop rehearsal just before the performance on the night for anyone new to the song in need of a run-through. It’ll be an opportunity for people to sing and dance and to see the end product and feel proud of being part of it or moved to share it with people. What That Girl needs next is support from the community to share, share, share, to get the message out there to offer strength to the people who need it.”
For the launch, Sarah has partnered with Impact for Women, an organisation run by ‘an amazingly committed woman’ called Kathy Kaplan. Impact exists to make a difference to women and children fleeing extreme violence at home. All money raised by the launch of the That Girl film will go to paying for any children needing to be looked after in safe, professional care whilst their primary caregiver is attending court due to family, domestic and relationship abuse.
Sarah was inspired to write and produce That Girl because of acts and crimes against women featuring repeatedly in the news from across the world, and then looking at her own two girls and thinking, what am I going to do? “They’ve now been part of something game changing and meaningful, something powerful. I want girls everywhere to watch the film and go ‘yeah!’ and I want boys and men to see it too and keep talking about this because it’s important. Above all, I want people to sing the song, watch the film and share it, I want That Girl to go viral and I want it to be valuable and used widely to raise awareness and bring about positive change.”
That Girl is for every girl. Join the film launch at the Victorian Trades Hall on Saturday 7 December.