Rhythms & Beats Drum up Community Connection in Hurstbridge

When Annie Fletcher and her family moved back from WA to Melbourne, Hurstbridge seemed a nice spot at the end of the train line. It wasn’t until they’d been living there a few months that Annie realised the rich arts community they’d been fortunate to move into.

Keen to get into more hand-drumming, Annie decided to hook into the local scene, in particular the regular jamming sessions at St Andrew’s market, which at that time had a weekly drum circle. This lead to a conversation with the local neighbourhood house about starting a beginners group and, fourteen years later as Drum Connection, the beat goes on.

“I wasn’t a particularly experienced drummer at that time but, because I’d been a teacher for many years, I used my teaching skills to work out what I wanted to teach and how and it just grew from there. My intrinsic love of rhythm had also been honed over many years with my passion and tertiary study in Dance.”

Numbers were low to start with, but running the group gave Annie an opportunity to assimilate into the community, “it helped me find my place and it was just so rewarding”.

Participation in the new group continued to grow with spots of natural fluctuation, but the community music experience continued as a weekly dose of positive good fun.

“I always say there are no mistakes in the drumming, there are just variations on a theme and a bit of jamming is fine. People like that and if they struggle with a particular rhythm, they can just play the first beat of each bar or the main beats of the rhythm and when the finishing call comes, they can whack the drum again and finish with the group, so it’s accessible to all.”

Drum. worksh.18.DSC_2895 copy 2
Keeping the beat at a Drum Connection workshop

Annie has found that some drummers just keep coming back while others take time out and return after an extended break. Consequently, a consistent core has developed with several drummers having earned themselves a Drum Connection ‘10 Year badge’!

“Over the years we’ve built up a community which is really very special and the group always welcomes and nurtures whoever walks through that door.”

Drum Connnection participants vary widely in age, ranging from a few older school-aged kids through to seniors. Everyone jollies each other along, learning, nurturing and playing as a collective group. Annie runs two long sessions, one on Thursday evenings and one on Friday afternoons. Within these sessions, levels 1, 2 and 3 are covered in particular time slots, which allows specific groups to learn layers of the shared rhythms at a complexity appropriate to them.

Drummers are offered an opportunity to perform at community events and when this occurs all of the different drum voices are combined within a structure for the whole rhythm, so that the entire group can play as one ensemble.

DrumConnection. Senior Dun Ensemble.jpg
Drum Connection’s senior Dun ensemble

Annie also likes to introduce a singing element into her workshops, when simple parts of traditional songs can be taught to accompany an appropriate rhythm. Annie saves this ‘surprise’ until around week 3 by which time anyone new has settled in. “I’ve had people say to me, ‘oh you’ll never get me singing but of course, in time, they all sing!”

Occasionally, people will express concern that they lack enough rhythm to join in, and some people certainly find drumming a bit trickier than they expect to, but Annie has found that when she can assist them to relax, the drumming falls into place more easily. A number of drummers come to Drum Connection as part of a personal recovery process. For people who have suffered some sort of trauma, loss, bereavement, separation, anxiety or illness it can be of assistance when they are at a transition phase in their lives. “Often people will say to me afterwards, “that was just the best thing”.

“Some people find they can actually switch off from the big thing in their life because they are concentrating so hard on drumming, others find they can go into this quite meditative state and those people might have one or two rhythms you can see really working for that person and they totally zone out.”

Annie believes it’s unnecessary to highlight the healing or meditative aspects of drumming for discussion in the context of these community classes, preferring to consider these positive outcomes as an added bonus of the experience of participation and rhythms in a shared music-making context:

“People will discover this for themselves, it doesn’t have to be labelled… it can still be having this effect for many people whilst other people are just enjoying the music or the social aspect. Drumming can be different things to different people and we don’t necessarily need to put a label on any of those.”

Kids have joined in with Drum Connection workshops over the years, usually accompanying a parent although not always: “Anyone over the age of around 10 is welcome. I have occasionally had someone as young as 7 and although it’s an adult class there’s no problem them joining in if it works for them. It can be a nice thing for a parent and child to do.”

This month Annie is starting a series of drumming workshops in Hurstbridge specifically for kids, to gauge interest and uptake. “There are some good music programs in the local primary schools but for any kids who can’t get in or are too young, it could offer a good transition… I’ll give it a go and see!”

Article by Deb Carveth, online editor for Community Music Victoria, with Annie Fletcher 

drum connections


If you would like any more information about these classes or single workshops for specific groups, contact Annie: Mob: 0407 102 578; Email: annie@drumconnection.com.au;  
fb: Drum Connection Aus

 

 

 

 

 

 

Advertisements

Take karaoke to Noongar country and you get … Noongaroke

 

Rjpvgttg 1400559806.jpg?ixlib=rb 1.1
Noongaroke was far more than a good night out; it was an inspired intervention to support grieving Noongar families.
Mika Hiltunen

Anna Haebich, Curtin University

The following article was co-authored by Jim Morrison, who is a senior Noongar man, a traditional custodian of Western Australia’s pristine southern coast. He has been operating in a range of pivotal roles dealing with Aboriginal advancement for more than three decades.

This is the story of how karaoke, that quintessentially global entertainment, came to Noongar country in Western Australia in the 1990s and was transformed into Noongaroke, a 21st-century version of corroboree events of bygone days.

Noongar people engaging with karaoke created a contemporary process for cultural healing and wellbeing that dealt at a profound level with the anguished politics of death in their community. Leading the charge was the “deadly Noongaroke singing DJ” Jim Morrison.

Jim’s parents, both from the stolen generations, survived to raise their large family whose members are now prominent in Noongar service organisations, politics and the arts in Perth. Jim generously shared his journey in an interview with my partner Darryl Kickett and myself that is quoted extensively here.

Noongar people are the traditional custodians of the south-west region of Western Australia. They bore the full force of settler invasion and colonisation: the deaths, dispossession, loss of land and culture, racism, segregation, removed children, forced assimilation and dire poverty within a rich country.

What survived of their way of life was invisible to most outsiders: the ancient family lineages, connection to country, kinship values and obligations, hidden knowledge and rituals and elements of language.

Today most Noongar people live in city suburbs and country towns. Numbering more than 40,000, they constitute the largest Aboriginal language group in Australia. Many identify as members of a distinct Noongar nation within the Australian settler state. In 2006, Noongar claimants won Australia’s first and only successful native title claim over metropolitan lands.

This was a rude shock for most West Australians, who assumed there was no Noongar culture. In 2013, the West Australian government presented an offer intended to resolve native title claims across Noongar country but one of the negative effects has been to divide the Noongar community and encourage public racism based on fear and ignorance.

What karaoke can do

Karaoke is a form of public singing using the simple technology of a microphone and sound box and a book of lyrics.

Popularised in Japan in the 1970s, it soon spread to South-East Asia and then further to become a global phenomenon. In her 2012 book Karaoke Culture, Dubravka Ugresic uses karaoke metaphorically to denote the “unoriginality” of global culture that is repeated everywhere, endlessly and that encourages bad late-night performances, such as the actor Bill Murray singing More Than This in the 2003 movie Lost in Translation.

In Karaoke: The Global Phenomenon, Zhou Xun and Francesca Tarocco present a contrasting perspective. They describe karaoke as “an interactive global network”, a form of “global traffic” with “no centre or periphery” moving out in all directions. Like a fluid, karaoke takes on different forms as it “rushes and trickles” through.

Local people incorporate karaoke into their cultural traditions and imbue it with their own “cultural-specific meanings and symbolisms”.

That’s exactly what happened when karaoke came to Noongar country.

Noongaroke

Noongaroke was far more than a good night out; it was an inspired intervention to support grieving Noongar families during an unprecedented crisis of deaths in the community during the late 1990s and early 2000s. Noongaroke nights were performances of global culture enmeshed in Noongar ways of being and doing. Noongaroke merged karaoke technology and public singing with Noongar traditions and strategies of survival.

The simple technology fitted neatly into family gatherings to mourn loved ones by providing an attractive way to sing and dance and to restore wellbeing in the manner of earlier corroboree events. It was this combination of the past in the present that powered Noongaroke.

Performance theorist Diana Taylor describes a similar process in Mexican village communities where contemporary performances are structured according to hidden ancient principles and relationships and how performers draw on this embodied knowledge as a repository of strategies for their current struggles and for envisioning new futures.

Jim Morrison started Noongaroke in the late 1990s after years of DJing for Noongar fundraising events and working with street kids in Northbridge, the heart of Perth’s club scene. His first intention was to raise funds for funerals and impoverished families. He recalls that Noongaroke quickly gathered a huge following:

It grew and grew and grew, if you did a head count, you know, thousands and thousands of people have come through Noongaroke. There are people who were just there every night. They just love to sing. It’s always a good atmosphere.

In fact it was a unique atmosphere of pride and enjoyment from being together as Noongar people. Apart from sports carnivals and funerals there were few other community gatherings, although in early days corroborees had been a constant activity. This was due to a lack of resources – land, venues, funds – and an over-zealous police force.

So what was so Noongar about Noongaroke?

We may as well ask what was not Noongar, apart from the equipment and the venues. The singers were all Noongar people and the audience was made up of their extended families. The atmosphere was relaxed, warm and friendly. Noongar colours – red, black and yellow – were everywhere to be seen in flyers, decorations, flags, coloured lights and clothing.

The venues were rooms in hotels in Noongar suburbs that were private and “Noongar comfortable”.

Jim explains:

Sadly we had to use a hotel because we don’t own nothing. Aboriginal people don’t own nothing. We don’t have our own places.

Noongar values of respect replaced the usual impersonal rules for behaviour at karaoke nights. Few people drank alcohol. Jim explains:

there’s a code of conduct based on respect: respect yourself, respect others, respect other people’s property and respect other cultures. And that was the Kanya Code of Conduct, Kanya meaning, shame, behave yourself.

But Jim admits it would have been unusual if there weren’t any problems because:

it’s part of our culture. That’s a culture thing. If we’re going to disagree we’re going to do it publicly so you accept it. But mostly, they’d never bring their fights to a fundraiser.

And there were the unmistakable sounds of Noongar talk – the words, tones of voice and the accents – as families reminisced about the good and sad times and the texture of the singers’ voices and their choices of nostalgic rock and country songs – Johnny B. Goode, Brown-eyed Girl, Neon Moon, Satin Sheets, Seven Spanish Angels – from the Noongaroke Top Ten and a book called Lubbli Songs.

And there were Noongar people dancing – young girls and women in groups and couples skilfully negotiating their way around them. Jim explained:

When you go to a karaoke night, it’s mostly singing. But ours was about singing and dancing … you had to do it – it was a bit of a balance.

Noongar music

Community music-making continued down the generations. In rural areas, families segregated in town camps and the bush made their own entertainment: corroborees with traditional singing and accompaniment and family dances round the campfire with singers, harmonica, piano accordion and guitar.

In the early 1950s, when the policy of assimilation was in force but Perth was still a prohibited area for Noongar people, an Aboriginal political organisation, the Coolbaroo League, held popular dances at the Coolbaroo Club in a hall in East Perth with Noongar musicians like drummer Ron Kickett and singer Gladys Bropho and visiting Afro-American performers.

New song and dance styles spread through the Noongar community at Coolbaroo dances organised in country towns. Noongar rock bands were playing in Perth in the 1970s for youth dances at the Aborigines Advancement Council Hall and in the 1990s at the Kyana festivals on Perth Esplanade. Whenever the opportunity arose, Noongar people joined in to sing and dance.

During the rush of deaths in the late 1990s and early 2000s, Noongaroke helped to clear distressed bodies and minds of sorrow and haunting spirits.

Jim described how DJing and singing at the events raised his sense of wellbeing:

You see, singing is really good for therapy, you know, to really tear yourself inside and sing a good rock and roll song … and with all the people in the room, the temperature goes up.

This link between singing and wellbeing, known intuitively by singers, has been the subject of much research in recent years, demonstrating improved physical and mental fitness and relief from stress, depression and anxiety. Noongaroke performances were special events that we were all privileged to attend. Sitting in the audience we were carried away by the power of the singing to unite us and to evoke memories and emotions.

This is an edited extract from an essay by Anna Haebich and Jim Morrison that appeared in the Griffith Review 46: Cultural Solutions.The Conversation

Anna Haebich, Senior Research Professor, Curtin University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

http://theconversation.com

Music lessons improve children’s cognitive abilities & academic performance

Findings from new research conducted in the Netherlands show that structured music lessons have a significant and positive effect on a child’s cognitive abilities, improving verbal intelligence, inhibition and planning skills.

kids

The study which followed 147 children from six schools over a 2.5 year period, was undertaken in response to the increasing disappearance of music from school timetables in countries across the world:

“Despite indications that music has beneficial effects on cognition, music is disappearing from general education curricula,” said lead author Dr. Artur Jaschke, who is a researcher at the Vrije Universiteit Amsterdam. “This inspired us to initiate a long-term study on the possible effects of music education on cognitive skills that may underlie academic achievement.”

Read their findings and the full article here

Sources: 
Music Education Works: https://musiceducationworks.wordpress.com/2018/03/28/music-lessons-improve-childrens-cognitive-skills-and-academic-performance/ 
Frontiers: https://www.frontiersin.org/articles/10.3389/fnins.2018.00103/full

Big Sing in a Big Shed under a Big Sky puts Murtoa on the Community Music Map… and it’s happening all over again

James Rigby spent years driving past the mighty Murtoa Stick Shed in awe of its size and wondering how on earth the monolithic structure looming up out of the landscape could still be standing. He never imagined that one Spring day in 2017 together with Jane Thompson, he would lead around 300 community singers in a Big Sing under its cathedral-like roof of bush poles and corrugated iron.

The idea for a Stick Shed Sing was conceived by Judith Welsh, Chair of the Committee of Management which took over the running of the shed when it was gifted back to the community in 2016. The vision was to create an event to reflect the ambience and glory of the Heritage listed building and bring singing into the shed for the first time as part of Murtoa’s Big Weekend celebrations.

“We wanted an event that anyone could join in on but which gave local choirs, the singers from the Wimmera, an opportunity to perform as part of a massed choir, as well.”

As highly experienced community singing leaders, Jane Thompson and James Rigby expressed their interest in coordinating the event, working with Judith to decide a shape for the day, which included a massed singing workshop open to anyone keen to sing in the shed and a concert by any community choirs attending, who were happy to perform.

Jane and crowd

The first Stick Shed Sing was held in October last year, attracting a huge amount of interest from within the local community and further afield with around 6 full choirs performing at the concert and individual singers from many other choirs attending too.

“We had the signing choir from Horsham Primary School where AUSLAN is taught as a second language, which was lovely as it meant there was lots of children’s energy in the building too.”

The Signing Choir sign what they sing, culminating in a dance-like blend of a song’s rhythm and the natural gestures of the signs. This theatrical style of delivery is well suited to the vast, 270 metre-long Stick Shed where you can occupy as much space as physically possible and still feel incredibly small.

22338786_979007148906406_4300798414873071700_o

James and Jane found that facilitating singing of any sort in a space the size of the Stick Shed is not without challenge – all part of the excitement of being there. For a start, there is the all-important issue of acoustics.

“The shed is like a tent with an incredibly long, high pitched roof so the acoustics vary dramatically, whether you go in near the edges close to the roof, or whether you stand in the middle of it underneath the ridge, at which point the acoustics disappear. What we found was that about two-thirds out from the edge you hit this magic sweet spot where the natural reverb of the shed is really flattering to the singing and meant we could hear ourselves and, when singing as a group, what the group was sounding like.”

 As luck would have it, this particular area of the shed is well lit by a line of skylights set into the roof enabling the singers to see all that is necessary whilst feeling a part of that beautiful big space, and with the added option of gazing at the clouds moving above them over the Wimmera.

For the workshop, James and Jane used ‘Here in the Stick Shed’ a short warm-up song written for the occasion by Jane, and a song about trees by Scott Wise called ‘Hold up the Sky’.

“We sang a beauty about trees and how they hold up the ground in mines, and on the land they hold up the road, and then when you get to the forest they hold up the sky. It’s a beautiful song about how trees prop up everything all around us and of course we’re standing in a shed where there’re these ridiculously tall little skinny mountain ash poles holding the whole thing up…”

For everyone involved in the Stick Shed Sing, James believes the first show stopper of the day was probably the magnificence and scale of the shed itself:

“You approach this massive looming building through the Wimmera wheat lands, it’s bright, it’s flat and then you go into the shed through this administrative area and suddenly you’re inside this dark and immense space… I can only say that it’s like walking into the most amazing, ancient cathedral in Europe, that’s the sense of scale and the sense of awe it inspires when you first walk in, you can’t quite believe it.”

The venue is too big to simply whip a vacuum or broom over, so a day before the community choirs and singers arrived armed with picnics and BYO seating, a street sweeper from the neighbouring shire was brought in and driven up and down to prepare the space. Pieces of conveyor machinery still hang from the ceilings in some spots, evidence of the shed’s industrial heritage.

On a personal and professional level, James and Jane were delighted to have assembled another group of community singers in such a unique setting.

“Jane and I have worked quite a bit in the North and the West of the state and had probably connected with a lot of the individuals who sang with us on that day at some point previously, but we hadn’t worked with any of the choirs before and had no idea of their skill levels, we were assembling a really diverse bunch of singers. In finding a song by an Australian songwriter which spoke about trees and then feeling like we were standing in a forest was a very powerful thing and it connected the people and the place and the music. On an emotional level it worked really well.”

James and JaneJames and Jane were mindful of the distance some of the singers had travelled to participate in the Stick Shed Sing, and due consideration was given to this in planning the concert element of the day:

“The trick of running an event with multiple choirs is to really balance the effort that choirs are making to get there with the opportunity to showcase what they do and what they’ve learned. You can’t ask a highly rehearsed hardworking choir to drive 3 hours to Murtoa and then only give them time for one song. Neither do you want to force a smaller choir, meeting less frequently, to get up and sing five songs. It’s a challenge to make sure we respect the capabilities and the ambitions of all of the choirs.”

The mighty Murtoa Stick Shed is a monument to an older time, built during the second world war to stockpile grain at a point when no steel was available, it is the world’s largest remaining timber-built shed and its iconic void is filled with echoes of its industrial past where the dust motes carry history as they drift in the shafts of light. It’s an evocative place with the capacity to emotionally move anyone stepping into it.

If you missed the opportunity to make the sticks ring last year, there’s an opportunity for community choirs and singers to do it all over again and make music together in this amazing space on Saturday October 6. With Jane overseas, James will be going in on his own this year but, as he says, he knows what the challenges are and is already genuinely excited and looking forward to stepping back into the Stick Shed’s phenomenal space:

“…there will be the need for some big moments. You have a big crowd in a big space and it’s very satisfying to have a go at filling that mighty venue with sound.”

 James guitar

Join James Rigby for the second Stick Shed Sing on Saturday October 6th, 2018. For more information and to express an interest in participating in the workshop and/or afternoon concert with your choir (or as an individual!) contact office@makingmusic.com.au  

By Deb Carveth, online editor for Community Music Victoria, with James Rigby
Main image: photo: National Trust @NTAV All other images supplied

Ageing in harmony: why the third act of life should be musical

Image 20160601 25573 yu48y8.jpg?ixlib=rb 1.1
It’s never too late to pick up a musical instrument. In fact there are many reasons why it’s a great idea, particularly in old age.We normally hear about reasons to increase music education for children, and for good cause. There are many cognitive and social benefits to playing an instrument that aid a child’s development. Consequently, as an older adult, there are long-term effects of having taken part in these musical activities, as it can limit cognitive decline.

Even a small amount of training can have long lasting effects. But this doesn’t mean that those who have never played an instrument in childhood have missed the boat. The ageing brain is plastic: that means it is able to learn new things all the time. So, should we consider an increase in music programs for those in the third age?

Playing music as a workout for the brain

Learning to play a musical instrument is an extremely complex task that involves the coordination of multiple sensory systems within the brain. Many instruments require precise coordination between the eyes, the ears and the hands in order to play a musical note. Using the resulting sound as feedback, the brain prepares for the next note and so it continues. The act of music-making is quite a brain workout.

The relationship between the motor and auditory parts of the brain is strengthened when physically playing music. This may explain why adults trained to play certain melodies have an enhanced representation of music in the brain compared to adults only trained to listen to the same melodies.

As playing music involves many different parts of the brain, even a short-term program for older adult musical novices can lead to generalised improvements for cognitive ability.

Music as a workout for the fingers

Learning to play an instrument such as the piano involves many complex finger sequencing and coordination tasks. As such, it can be a great test-bed for learning to move fingers independently.

The creativity of music and the enjoyment people take in playing is particularly important for rehabilitation, as it encourages sustained practice leading ultimately to higher benefits.

It’s thanks to this that piano lessons have been used to successfully retrain hand function for patients who have had a stroke. The immediate auditory feedback from each finger movement is thought to help adults reduce errors in movement and work towards moving at a more regular pace.

Music training is an excellent environment to train cognitive and motor abilities, both in the contexts of child development and for rehabilitation. The question for older adults is this: can learning a musical instrument not only put the brakes on cognitive and motor decline, but actually allow development of new skills?

Older adults can improve their motor learning – that is, they can improve their rate of learning new things – and the best environments for brain training are ones that are novel and flexible.

Of course many activities can be novel such as juggling or knitting, but the advantages of learning an instrument can be found in the breadth of skills required to play. At Western Sydney University, we are currently investigating how piano training can be used with healthy older adults to improve their general hand function in unrelated daily tasks.

Music for health and wellbeing

Often, the worry is that playing an instrument will be too difficult for older adults to manage. On the contrary, learning to play an instrument can provide a great sense of achievement and satisfaction.

Older adults relish the opportunity to learn something new. Cogntive benefits aside, music can also be a great social activity for older adults, facilitating social bonding and decreasing feelings of loneliness or isolation.

Music programs are linked to improvements measured in markers of the body’s immune system such as the presence of antibodies and vital signs (heart rate/blood pressure).

It’s suggested that this is a consequence of decreases in stress that can happen when taking part in musical activities. However, further research is needed to determine exactly how this relationship functions.

Music for all

It’s vital to understand how we can aid the current generation of older adults, in terms of both health and personal enjoyment. With the myriad benefits provided by playing a musical instrument, it would seem beneficial to have a wider variety of musical activities on offer to the older generation.

Wouldn’t it be great if the third age wasn’t viewed as a final descent from some mid-life peak, but some new act of life that opens up these opportunities? Perhaps we should give older adults the chance to develop in ways they could never have imagined before.

Activities such as singing in a choir, or playing the piano can provide this opportunity, as well as offering many general benefits to health and wellbeing.

Ageing in harmony: why the third act of life should be musical was written by
Jennifer MacRitchie, Research Lecturer in Music Perception and Cognition, Western Sydney University

This article was originally published on The Conversation. Read the original article.

Image: Playing music is good for people at all stages in their lives – including the elderly – photo by Jeremy Brooks, CC BY-NC

 

Playing to Spin: Celtic tunes keep Contra dancers on their toes

Contra dance… que’est-ce-que c’est? For those of us who’ve never dipped a heel or toe into this aspect of the folk or social dance scene, a quick spot of online research explains contra dancing as ‘social interaction, meeting people, and making new friends, set to music.’ A hot stepping cousin of square dancing or bush dancing, contra dancing is done in pairs with couples moving up and down a line or in sets in response to a caller. It originates from North America and is steadily gaining an enthusiastic following of new, young dancers here in Australia. It is also a fantastic way to link social dancing with community music making.

Melbourne based musician, Judy Oleinikov is a big fan of the inclusive nature of contra dance and for the past three years or so has been doing her bit to bring a wider awareness of it to musicians and dancers alike: “ Contra dances can  be more vivacious and also a little bit more informal than some of the other dances we have here… unlike something more structured such as Scottish Dancing, it isn’t intimidating to beginners.”

It may be a relief to hear that a sleek technique isn’t required and you don’t need to point your toes to take part. Contra dancing is open to anyone of any age and people seem to find it highly addictive due to its inherent element of fun. That and the amount of spinning involved.

For Judy, Contra dance kicks come from her involvement as a fiddle player for the dance:

 “What I love about social dance is seeing a roomful of people in sync, the dancers and the musicians. There’s just nothing better, that buzz of live music and everyone responding to it.

In addition to the fact it’s fun, Judy considers the resurgence in contra dancing important in helping to sustain a complex skill and a vital element of musicality which she believes is at risk of becoming lost: the ability to play for dancers.

“A lot of Celtic musicians learn the music completely separate from the dance and so they haven’t quite got the feel… they can be brilliant players but to a dancer it just wouldn’t be right. We’ve grown used to hearing recordings or playing tunes in pubs and so what I really like about bringing a dance back is doing it while people are learning the music to go with it.”

Contra dance music is lively, and drives and energizes the dancers. Like all forms of music, it has originated from a blend of traditions, noticeably Irish, Scottish, Breton, Québecois, Cape Breton, New England, and Appalachian, and is constantly evolving, as living traditions do. As an avid player of Celtic music herself, Judy explains that the origin of this form of music was in playing tunes for people to dance along to as entertainment.

 “People used to dance every week. There’s the story of how in Ireland, people used to meet on the crossroads whenever there was a full moon because there were no halls big enough to fit everyone into… it’s been people’s enjoyment for so long.”

While this form of dancing fell out of favour as other new and exciting ways to pass the time were thought up and invented throughout the twentieth century, there’s plenty of evidence to suggest that when people rediscover it as a form of unplugged entertainment, it becomes a bit of an addiction.

unnamed-3
Photo supplied

As a musician, one of the things Judy loves most about this form of traditional music is that tunes are learnt and carried by ear. There are no scores to follow and whilst a framework is essential to prevent chaos breaking out on the dance floor, musicians can be spontaneous and creative in their playing and because they’re not following markings on a piece of paper, their interpretation can come across.

 “Because there are no hard and fast rules about chord choices and where the notes should be played, you’ll hear something different about the melody each time… there’s no break out like there is in jazz, it’s more about taking the framework of the tune and finding elements in it to change around or highlight, and that’s really exciting.”

For the past four years, Judy has run the Quasitrad Quebec Fiddle Weekend, a music camp dedicated to French Canadian music, a type of Celtic music that’s “as much fun to play as it is to listen to” which has remained very rhythmic, very lively and is a style extremely well suited to contra dancing.

Each year, Judy has included a dance in the camp’s program, inspired by the social dancing she’d seen in Quebec to this particular style of music. “I thought it would be absolutely brilliant to run a dance like that here at my camp!” Two friends of Judy’s are dance callers and dancers in different styles, and they each asked if she’d consider a contra dance.

 “They’d fallen in love with the style and knew of hardly any contra dance happening here in Victoria. Once we had a go I could see their point – it’s a really great form of social dancing.”

Jeanette Mill, who is an experienced Contra dance caller from Canberra, has worked with Judy for the past three years. “Jeanette is highly experienced with a range of dances up her sleeve for whoever comes along and, in order to be as inclusive as possible, starts each of the dances quite simply.” As Judy points out, the skill of the caller has to combine with the skill of the musicians to ensure that the dancers can pick up and maintain a rhythm and flow.

“We have kids, we have parents holding toddlers, we have more elderly people and even teenage boys joining in! It’s great to get all the age groups up and dancing with people they may feel too shy to sit and talk to and, as some of the dances are progressive, it mixes everyone up.”

Whilst Contra dancing isn’t actually a French Canadian thing, it’s been carried across the borders into Quebec from the New England states of Maine, New Hampshire, and Massachusetts, the heartland of Contra Dance. Subsequently, a lot of the musicians from that region make their money as dance players and tend to be extremely good at it.

In November this year, Judy will once again be hosting a four-day French Canadian music camp in Gippsland ‘which will honour the traditional way of learning music by providing an environment open to all players, teaching the music by ear and enjoying a great community atmosphere.’

The Quebec Fiddle Camp will offer musicians and dancers the opportunity to participate in an afternoon’s contra dance workshop led by visiting musicians from Quebec. “Australia has very few musicians who can play for contra dances so far, and it’s great to have the opportunity to book visiting musicians here who are strong in the genre.”

Judy is keen to encourage players who attend the weekend to have a go at the dancing in order to experience it from a dancing perspective, to feel the music and the impact it has.

The 2018 Quebec Fiddle Camp will take place over cup weekend, (Nov 2-6) and on Monday November 5, (Cup Eve), Judy is planning a big contra dance in Trafalgar. This event will be open to anyone out there in the community who’s keen to join in and – literally – give it a whirl.

Emily swing-301.jpg
Getting into the swing of things: Photo supplied

For information about the annual Quasitrad Quebec Fiddle weekend, visit www.quasitrad.com

Article by Deb Carveth, online editor for Community Music Victoria, with Judy Oleinikov

 

 

 

 

 

 

 

 

Songs and strong bonds: The community choir celebrating a half-century of harmony

morefull
‘Morefull’ The Maroondah Singers in concert.  Photo supplied

John Williams has been singing for 80 of his 90 years on the planet. Growing up on a farm on the Mornington Peninsula, there was little opportunity to express himself musically and John really had no idea he could sing. “The headmaster of the school would bring in a local girl to sing with us all once a week, My Bonnie lies over the ocean, Rule Britannia, that kind of stuff. When we moved to Mitcham, my mother and I joined the local Methodist Church choir and I started singing alto alongside my mother at the age of 10.”

John has been singing ever since and was a key player in the founding of the Mitcham based Maroondah Singers, which this month celebrates its 50th anniversary as a mixed voice community choir.1 It has encouraged young singers starting out and provided end of life care, too. It is a living, breathing singing entity as vital now as it was half a century ago, and it owes its origins, in part, to John.

“I was there before Maroondah Singers even existed”, he laughs.

john
John Williams, singing for 80 years and a founding member of the Mitcham based  Maroondah Singers

The idea for a choir came about through a conversation between John and his good friend, George Irvine. At the time, George wrote a weekly column in the Nunawading Gazette, called ‘As it appears to me’ where he would comment on various social issues relevant to the City of Nunawading. George also worked in the same place as John in South Melbourne and the two men would often travel home together, putting the world to rights as they went:

“I found that usually, whatever we talked about on the way home would appear in the newspaper the week after next where he’d say ‘my friend John says’… I got used to it!”

One of their conversations was about what had happened to all the good choirs. A subsequent column posing the same question elicited a strong response from within the community so the following week George suggested trying to set up something locally and called a public meeting to gauge the level of interest. He hired a space in the Old Orchard Shopping Centre in North Blackburn, set a date and promoted it through the newspaper.

Coincidentally, at that same time, the Mitcham Methodist Church had moved to join the Presbyterians in a joint building venture which had just achieved completion. The very night that George called for the choir meeting, the Mountview Church property committee was meeting to allocate space for community rent.

“I should have been at that committee meeting but I apologised and went over there (to join George) Well, when we looked around and saw the number of people who were enthusiastic about the idea of starting a group, we realised things were going to roll.  The meeting continued with everyone agreeing that Monday night would suit, if only a space could be found.”2

Experiencing a light bulb moment, John told everyone to talk amongst themselves, then hopped in his car and gunned over to the Property Committee meeting. “I rushed in, said, ‘Have you finished the meeting? Do you have any space on a Monday night? With a piano?? Yes? Yes!’ ”

The first rehearsal of the Maroondah Singers was held in Mountview Church Hall the following Monday night in 1968, and has continued as a weekly event ever since. Numbers grew quickly under the leadership of Jim Watsford who, at that time, was conductor of the Mitcham Choral Society:  “Jim came to that meeting in the hope of securing recruits for MCS.  Instead, he got a whole new choir!”

Following Jim’s belief, “if you can follow the words you can sing” the Maroondah Singers was destined to be a success.

Within twelve months the choir had given its first performance with George publicising the event through the newspaper once again, and John continuing to use his powers of persuasion to recruit Lela Wright, his church organist as their first accompanist. (She stayed ten years.)

Fifty years on, and the Maroondah Singers has sung at venues all over Victoria including the MCG for a grand final, for nine years as part of Carols by Candlelight, the Myer Music Bowl, regional church halls, the Dallas Brookes Centre, and Melbourne Town Hall, among others. The Singers is an inclusive and welcoming bunch and Monday night rehearsals are open to anyone keen to drop by and listen. It isn’t essential to read music and there are no auditions, however there is a voice and ear test to determine a singers’ part.

“We’ve never said no – we’re full, to anyone who has wanted to join so we have a lot of sopranos and could do with more tenors. There are more women than men in the choir and a couple of them have moved from the alto line to sing tenor, which works well. And we’re always trying to find younger people, if we can.” Some members of the Maroondah Singers weren’t even born when George and John held that first public meeting, half a century ago!

candlelight
Carols by Candlelight circa 1984: Courtesy: Arts Centre Melbourne, Laurie Richards Archive, Australian Performing Arts Collection

Since 1991, young singers have been drawn to the choir each year through a scholarship program established to commemorate three of the choir’s founders, George Irvine, and May and Mervyn Vagg, the choir’s first President. This program has proved a sensational singing springboard with past scholarship singers now working with international and State operas, and the process and experience providing a huge amount of pleasure to the choir members in supporting and encouraging these young singers during the early stages of their musical journeys.

Maroondah Singers pride themselves on performing from memory, firing on all neurological cylinders and giving their brains a weekly work out with songs from a wide repertoire by composers from Handel and Verdi to Rodgers and Hammerstein; Elton John to Billy Joel and beyond.

Currently directed by Lyn Henshall and accompanied by Dr John Atwell (who returned in 2010 for a second stint with the choir having previously accompanied them between 1980 and1997) the choir also sings in Japanese, Italian and Latin, and holds an impressive back catalogue including ‘Big Sings’ such as Mendelssohn’s oratorio Elijah and Handel’s Messiah. From time to time the singers team up for performances with other choirs and their comrades in the Maroondah Symphony Orchestra.

There is no pressure on anyone to ‘perform’ until they feel confident and ready to take this step.

“Everyone is issued with a CD with their part line, explains John, in my case Bass 1, emphasised in a digital recording of the score. All the items for the forthcoming concert are on that CD. Alternatively, they can be downloaded as an MP3 file. Playing these through with the music reinforces the memory, then without the music which strengthens it further.”

Innovation is an important contributor to longevity and the Maroondah Singers is enterprisingly equipped to hit the road and share its songs, thanks to a pop-up tiered platform designed to hold up to 100 singers. Bringing his background in engineering to the fore, John drew up designs for the staging, held a working bee at a college woodworking centre one weekend, and the end result packs down into a trailer, perfect for regional touring.

John’s commitment to the Maroondah Singers and his love of singing and community is evident. For the past 50 years he’s helped out in various ways to keep things going with the choir when needed, including as President for thirteen years and stepping up on the rostrum as leader for a while, in spite of a physical disability in one arm:

“I got the message over, I couldn’t wave two hands about all over the place but I could wave one, nod my head and smile. I get a lot of satisfaction from singing, I get a lot of satisfaction from conducting…. it was deeply satisfying to have to step up at short notice to conduct 104 singers to an audience of 800.”

His warmth and dedication is clear. Every choir needs a John.

Strong endorphin fuelled bonds have been forged between the Maroondah Singers members over the years as they do in all community choirs. When former member, Bill Holmes, was forced to retire due to ill health, he struggled without any family to look after him. ‘Team Bill’ came together from within the choir and closed ranks around him:

“We took care of him in his home until his health deteriorated to a point he could no longer stay. We were fortunate to get  him into respite care. We were then able to continue to support Bill until he died in January this year. We saw him through and the four of us were at his bedside singing to a Maroondah Singers CD to him as he died. We knew he could hear us even though he was in and out of consciousness. And we sang him out.”

What greater testimony could a community choir have? At the end of the day, we sing together to connect. It’s the connections we forge whilst doing what we love that enrich our lives and extend out into the wider community, strengthening the quality of its fabric for everyone.

The story and spirit of the Maroondah Singers is certainly one to celebrate. Here’s to John; here’s to each and every one of the Maroondah Singers, past present and future and here’s to the next fifty years of singing and music making in Mitcham and in communities everywhere.

Written by Deb Carveth with thanks to John Williams and Nick Hansen

1: John was also the founding member of the Methodist Youth Singers
2: there were 45 people present at the public meeting called by George Vagg in 1968

*The Maroondah Singers will celebrate a special 50th Anniversary concert on Sunday June 17 at Melba College Theatre, 20 Brentnall, Road, Croydon starting at 2.30pm. The spectacular concert will feature the choir’s past four Vocal Scholars. Tickets are $30 Adult, $25 Concession, under 12 Free. Bookings: https://www.trybooking.com/373628. Contact: Anne on 0422 050 323.

 

 

To improve future relationship with your kids, turn up the music

If you’re a parent whose teenagers spend family road trips with earbuds firmly in place, you may want to encourage them to unplug, then turn the car radio to something the whole family can enjoy.

It just might do wonders for your future relationship with your son or daughter, according to a new study from the University of Arizona.

Researchers found that young men and women who shared musical experiences with their parents during childhood — and especially during adolescence — report having better relationships with their mums and dads as they enter young adulthood.

“If you have little kids, and you play music with them, that helps you be closer to them, and later in life will make you closer to them,” said study co-author Jake Harwood, professor and head of the UA Department of Communication.

“If you have teenagers and you can successfully listen to music together or share musical experiences with them, that has an even stronger effect on your future relationship and the child’s perception of the relationship in emerging adulthood.”

Researchers surveyed a group of young adults, average age 21, about the frequency with which they engaged with their parents, as children, in activities such as listening to music together, attending concerts together or playing musical instruments together.

micaela-parente-550224-unsplash

Read the full article written by Alexis Blue and published by the University of Arizona, here. 

 

 

Feature photo: Markus Spisk; Violin and Flute: Micaela Parente on Unsplash

How an Ancient Singing Tradition Helps People Cope With Trauma in the Modern World

In Finland, lament singing is experiencing a revival, one sad song at a time.  Tristan Ahtone

“I took pills for my depression

just to smother my emotions.

Doctors said that I would need them,

but I learned to cry without them.

So I stopped taking the tablets,

then I let my feelings rise up

for my mother when she passed on,

for my marriage when he quit me,

left me as a single mother,

with a hard job and no weekends.

Now I weep without taking pills,

yet I still feel very angry,

and the fury seems well-founded,

but the feelings will not hurt me.”

Excell’s lyrics may be modern, but the style of singing comes from an older place.

“Lament [singing] is a very old, traditional way to express your feelings,” says Fihlman, a lament teacher and matriarch of the group. “If you are hurt or you have sorrows or you want to express your feelings, you cry it out. You let it come out. That’s what they would do in the old times.”


In Finland, the ancient musical tradition known as lament singing is seeing a revival.

In the past, the custom was observed at funerals, weddings, and during times of war. But today, practitioners have a modern application for it: musical therapy. By providing an opportunity to process emotions through song, lament singing can confer mental health benefits to modern practitioners.

“[In lament] people can express themselves,” Fihlman says. “Very often people [in my courses] make laments of their grief. They miss their parents or they have troubles in their marriage or maybe they were hurt in childhood and they never had a chance to bring it up.”

While the custom resembles many “new age” practices, Finnish lament singing has a feature that those neo-spiritual systems don’t: It teaches a tradition specific to the region instead of borrowing from other cultures.

Originally, the tradition wasn’t about emotional healing.

“The function of [lament singing] was to establish positive contact with your ancestors, the dead, and help them in some way,” says Jim Wilce, a professor of anthropology at Northern Arizona University and author of numerous books and papers on lament singing around the world. Originally, he says, the tradition wasn’t about emotional healing.

Which, according to Wilce, is what makes the revival so unique.

“In every traditional lament … you have a connection with what I call ‘the divine powers,’” says Eila Stepanova, a folklore studies Ph.D. at the University of Helsinki. “[This isn’t] a Christian god. It’s something in between—an older layer of traditional beliefs.”

While lament singing exists in communities from Bangladesh to New Zealand, according to Wilce, and has even been documented in the ancient poem “Beowulf,” the form being practiced in Finland has its roots in the area now known as the Republic of Karelia—the region on the Russian side of the Finnish border. Stepanova says the traditional laments—sung for funerals, weddings, war—were performed to help people move from one world to the other, be it to the land of the dead, to a new family, or to the battlefield. At ceremonies for the dead, for instance, laments were sung to wake deceased members of the family in the other world to meet new arrivals.

But traditional laments weren’t simply a style of song: They were a unique language in which nothing was ever named directly.

In lament singing, positive descriptions are used: Things are sweet, light, bright, dear, or wonderful.

“For example, you have substitute names for all personal relations [and] for objects or phenomenons,” says Stepanova. “So in lament language, when you talk about your mother, you don’t use the word mother. You say, ‘the dearest woman who brought me [into] the sweetest world who carried me,’ or ‘my dear carrier,’ or ‘my dear cherisher.’”

Other examples include the sun, which can be called a “golden disk,” or arms, which can be called “shoulder branches.” And in lament singing, positive descriptions are used. Things are sweet, light, bright, dear, or wonderful. The one exception is any description of the lamenter herself.

“She is always the miserable [one]. She never says the word ‘I,’” explains Stepanova. Instead, when describing herself, the lamenter might say she’s the “miserable body,” “woman of great sorrows,” or “body made of tears.”

Stepanova’s mother published the first lament dictionary in 2004 documenting approximately 1,400 different metaphors for words used in the songs. Like any language, it’s evolving with modern times. Cars can be “headless horses,” phone calls can be “messages that come through metal strings,” and televisions can be “talking boxes.”

But while Finland is seeing a revival—instructor Fihlman says she has conducted nearly 200 courses with almost 2,000 students—other parts of the world are seeing a decline in the traditional practice.

Lament singing existed in rural communities for generations, but it was viewed as a pagan tradition.

Wilce says that around the world lament singing is threatened. In Bangladesh, for instance, practitioners often face physical violence in rural Muslim societies.

“People are being shamed by their relatives,” says Wilce. “By fundamentalist Christian missionaries in Papua New Guinea and [in] other places by the values of rationality and urbanizing modernity.”

Yet in Finland, the tradition is blossoming, despite a history that has often threatened its survival. In Karelia, Fihlman says that lament singing existed in rural communities for generations, but it was viewed as a pagan tradition by Orthodox and Lutheran Christians and often driven underground. Urbanization also threatened the continued existence of lament singing. In the last century, as young people moved away from their hometowns to find jobs and schooling in cities, villages began to disappear, along with lament singers. And in the early days of the Soviet Union, authorities often employed lament for ideological and propaganda efforts, creating laments that expressed support for the Soviet system and its leaders.

Stepanova says that, eventually, only old people told ancient stories and sang antique laments. “They were museum items, and they stopped being a living tradition among people,” she says.
But somehow, adds Fihlman, it survived. “We don’t have those old people anymore,” she says. “But [now] we have this new generation.”

Minna Hokka wore a candy-striped turtleneck sweater in chartreuse, cream, and maroon. Fihlman, Excell, and other lamenters looked on as she raised her head and began singing. Unlike Excell’s lament, Hokka’s was a historical ode recalling Karelia’s bitter history with Russia.

“To the people of Karelia,

souls and spirits born in beauty:

Through the windows were your green fields,

in the blue skies larks were singing,

saints and icons stood in silence,

watching over wooden log homes.

Kanteles echoed in the dark rooms,

and the stars blinked in the night sky,

but your thoughts were wrapped in darkness:

iron hail rained on your rooftops.”

Hokka, 41, is part of the new generation learning from Fihlman. She says she hopes to start composing laments for young people struggling with addiction.

“Nowadays crying is seen as losing face, so people avoid and fear it,” says Hokka. “Finland needs its tears.”

For Hokka and other lamenters, the practice isn’t just a hobby: It’s an ancient tradition now finding contemporary use. And in Fihlman’s home on the outskirts of Helsinki, it’s taking root with a new generation, one sad song at a time.

“Does [lament singing] have connection to the past? To tradition? To beliefs or values?” Stepanova says. “Or do we make it a museum item behind glass and go and think, Ahh, nice, yes, and forget about it? It depends on us.”

Tristan Ahtone wrote this article for YES! Magazine. Tristan is a journalist and member of the Kiowa Tribe of Oklahoma. His work has appeared on and in The Newshour with Jim Lehrer, National Native News, Frontline, Wyoming Public Radio, Vice, the Fronteras Desk, NPR, and Al Jazeera America.
This article was first published by Yes Magazine and is reproduced here with permission.

Feature photograph ‘Tough Times’ by Ben White on Unsplash

We can all make music

%d bloggers like this: