All posts by CMVic

Community Music Victoria is a not for profit, membership based organisation working to support, promote and facilitate community music-making across Victorian communities. We run singing and music leadership skills programs as well as offering mentoring and support to anybody looking to start a group. We conduct workshops and residential weekends where people can get together to sing and make music in a safe and non-judgemental environment. Sounds good doesn’t it? You can read as much or as little as you like about the organisation, by hopping on our website www.cmvic.org.au

Threshold Choir Tecoma offers Songs for the Dying

For the close-knit community in the hills above Melbourne, comfort and support in the form of song will soon be available to those on the threshold of life, offered by a fledgling new group of singers, Threshold Choir, Tecoma, led by experienced singing leader, Barb Mcfarlane.

“I went to the Sacred Edge Festival about four years ago and there was a singing session which, of course, I went to. The woman leading it was from the Threshold Choir in Melbourne. Speaking with her afterwards I was fascinated by the idea of singing for the sick and the dying and immediately wanted to be part of it, but Melbourne Threshold Choir meets on a Wednesday night which is when my choir Vokallista rehearses.”

Barb let the idea ride for a while until the subject came up again in conversation with her friend, Christina Reeves, who is a trained death doula. A death doula supports the person who is dying and their loved ones in whatever way is required to come to terms and be able to deal with what is happening. Christina shared and encouraged Barb’s excitement about the idea of a Threshold Choir and the possibility of forming one based in the hills. And so, this particular story begins.

‘The Mother Ship’ as Barb calls it, is the Threshold Choir established in California in 2000, by a woman called Kate Munger. The Threshold Choir is a secular organisation run by volunteers which supports people all over the world to establish their own chapter of the choir with the shared goal ‘to bring ease and comfort to those at the thresholds of living and dying’.

Permission to sing Threshold Choir songs is granted only to members of the organisation. There is no set rate to join; singers pay what they are able or would like to, from one dollar upwards. This membership facilitates access to tips, mentorship and a cappella singing resources to support them in their journey.

It was important to Barb to feel completely at ease with the rules set by the Threshold Choir before introducing any of her singers to the organisation. “I thought about going maverick and doing it my way, then I thought some more. The Threshold Choir Mother Ship has many beautiful songs which are tested, tried and trusted. They also offer mentoring support meaning if something happens I can contact my ‘coach’ or anyone else I meet through that network, and say, ‘hey look, this happened…what would you have done?’ It’s a way to de-brief and check in. On balance it’s worth it for the peace of mind.”

Barb’s coach, Cathy, is based in the US and mentoring is possible via Skype and email. Cathy has been available to Barb since the inception of her initial idea through to the launch of Threshold Choir, Tecoma. It’s an ongoing relationship and she offers Barb mentoring and advice on some of the more common questions which come up, and advises how to prepare the singers for the emotional aspect of what they’re preparing to do.

Barb knows that it’s difficult for anyone to know what to expect in the emotional sense: “There’s a huge range of possibilities to prepare for in a room where someone’s dying.” Threshold Choir, Tecoma rehearsals runs for three hours and at the end Barb finds people are keen to stay and keep talking and singing.  “It’s common for people to feel that we’ve lost the art of talking about death and dying and the experience of belonging to the Threshold Choir allows a way for the singers to reconnect with memories and share their own experiences of bereavement and loss should they wish to do so, or if they find grief and emotion is triggered by what they are doing. It’s a safe, empathic space where people are free to open up. If you bring it out by way of tears and having other people listen it’s always a healthy process.”  

Having spent a year familiarising herself with the material, Barb now has 15 Threshold Choir songs which she’s taught to her group. “We sing them for a long time, each of them might be the length of a Short Stuff style song, and we’ll sing that for around 15 minutes.”  

As somebody highly experienced in leading community choirs and singing groups, having guidelines to follow has required some adjustment for Barb. “I’m still getting my head around how to behave within the rules, cos that’s a bit of a challenge for me, I’m used to doing my own thing, but I also feel protected by it as well because they’ve all been doing it for a very long time.”

In preparing for a session, Barb sets up a circle with a reclining chair covered with a blanket and cushions in the middle. The singers are then invited into the centre to experience the sensation of being sung to for themselves. “We’ve taken a lot of time to do that. We’ll sing for a good 20 minutes to give the person in the chair the feeling of what they might be giving to someone else when they go out and start singing. We then allow for some space and listen to whatever they might want to share about sensations or how they felt.”

Threshold Choir guidelines suggest that singers go out in groups of 2-4 to avoid crowding  out a space. Most hospital rooms and private bedrooms aren’t able to accommodate more singers than that without their presence becoming overwhelming. This means that the singers who attend not only have to be confident in singing their parts but need to be able to hold it on their own, which is what takes the time for most people.

Barb now has around 30 singers who’ve been to gauge whether singing in a Threshold Choir is something they think they could do, with a good core of 12 coming along to most sessions. She’s happy to allow for a slow build of interest, the work may not be for everyone. Barb’s also working to factor in obsolescence for herself in order to ensure longevity for the group. As an ongoing part of rehearsals, Barb models and shares solid CMVic Singing Leadership skills, offering others in the core group the opportunity to teach and lead songs, encouraging them to develop their own skills in leading rehearsals and eventually, to deliver the actual work with people in the community.

The services of the Threshold Choir, Tecoma will be available for people in Palliative Care at home, or in a hospice. The songs may also be used as a way for soothing the room down after somebody has passed. Effects of the singing are reported as calming, peace inducing and pain relieving for the person who is ill, for their relatives, for the staff if the person is in a facility and, of course, for the singers themselves. 

Living in such a connected community, Barb foresees a high demand for the services of the Threshold Choir Tecoma in time and is hopeful to have enough singers available to manage a roster service available to voluntarily sing for the sick, the dying and their families. 

This weekend, Christina Reeves, Death Doula, is heading up a ‘Dying to Knowexpo being held in the Hills (August 8-11). The focus of the weekend is to explore ways to ‘create a world where we all know what to do when someone is sick, dying or grieving’. Threshold Choir, Tecoma will be singing at this event and Barb will host immersion sessions on Sunday 11th August for anyone keen to experience the songs or who would like to try singing with the group and find out further for themselves, what this incredible service is all about.

Written by Deb Carveth, CMVic Online Editor, and Barb Mcfarlane for Community Music Victoria.

Photo by Bobby Stevens on Unsplash

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Music Helps Spoken Language Development For Children With Impaired Hearing

A new study from the University of Helsinki has found that music, in particular singing, is beneficial to the brain of children with hearing impairment, and the development of their spoken language.

Ritva Torppa, a university Lecturer of Logopedics and Speech Therapist, and Professor Minna Huotilainen have published their findings together with those made by other researchers in a comprehensive paper called “Why and how music can be used to rehabilitate and develop speech and language skills in hearing-impaired children” published by Hearing Research.

This paper is a comprehensive review of the reasons why music could and should be used for improving the speech and language skills of children with mild to severe hearing impairments with cochlear implants and/or hearing aids, and contains a series of ten guidelines by Torppa and Huotilainen for the use of music with children of different ages and varying backgrounds for parents, caregivers, educators and therapists.

These recommendations can be found in section 3 of the paper, sub-titled How to use music to enhance speech and language skills of hearing-impaired children. Emphasis is placed on the value of using singing as your main instrument, especially with a young child, and the benefit of supporting the musical hobbies of teenagers with hearing impairments. The recommendations are made on the basis of the intervention studies and correlational studies described in the article, and on the basis of the traditional auditory rehabilitation, music therapy methodologies, and speech and language therapy methods.

“…the current evidence seems enough to urge speech therapists, music therapists, music teachers, parents, and children and adolescents with hearing impairments and/or cochlear implants to start using music for enhancing speech and language skills. For this reason, we give our recommendations on how to use music for language skill enhancement in this group.” – Rita Torppa and Minna Huotilaienen

Read the full article here: Hearing Research. doi:10.1016/j.heares.2019.06.003

Deb Carveth, online editor for Community Music Victoria
Photo by Christopher Campbell on Unsplash

Intercultural Collaboration: An Ocean of Possibilities

Dr Laura Brearley

Intercultural collaboration is a slippery and elusive art. I find it a spacious and revealing place to work. It sings to me and draws me in and on. I think it was a mixture of naivety and courage that led me to working in this field. I am a singer, song-writer and creative researcher with an Anglo-Celtic and Scandinavian heritage. What I have learned over the years is that an ocean of possibilities is available when we open our hearts and take the risk to make genuine contact.

Anything can emerge when trust is laced with risk. What we share and what makes us different has room to come alive. There are no formulas for success and this, I think, is a good thing. The riskiness of it keeps us awake and alert.

The capacity to listen and the qualities of trust, respect and openness are central to fruitful intercultural arts collaborations. This is never more so than when the intercultural collaborations are between First Nation community members and people from other cultural backgrounds. We work together against the backdrop of colonisation, the massacres and government policies of enforced dispossession and attempted cultural genocide. The impact of these policies continues today and are evident in disproportionate rates of incarceration and inequities in health, economic and educational opportunities. The list of inequities goes on and is still being experienced by First Nation peoples in Australia and across the world. 

There are many compelling reasons why trust takes a long time to build in intercultural collaborations. Collaborations across cultures can create a bridge for connection, but it can be a perilous crossing. The potential risks of neo-colonial appropriation and misunderstanding are ever-present. The space in-between is where reconciliation can occur.

I have come to see that trust is everything. It is slowly gained and easily lost. Trust is what keeps the conversation alive. There are so many reasons not to trust in this world but in my experience, a kind of magic emerges from the in-between spaces when music and art are involved and an interdisciplinary approach is taken. A spaciousness appears. The reasons not to trust will always be there, but creative engagement and active participation can enable people to see and be seen, to hear and be heard. This is what bridges are made of and this, I believe, is why the work is worth doing. 

There was an opportunity to have a direct experience of these in-between spaces at the Intercultural Arts Program of the Island Whale Festival, held on the 5th – 7th July in Cowes on Phillip Island. The Island Whale Festival, now in its third year, celebrates the arrival of humpback whales and southern right whales in the coastal waters off Phillip Island as they migrate north to the warmer waters off Queensland.

The Intercultural Arts Program of the Island Whale Festival was designed to bring people of all ages and cultural backgrounds together through music, art, science and a love of the natural world. Steve Parker named the Intercultural Arts Program of the 2019 Island Whale Festival, ‘Balert Yirramboi’, which translates as ‘Strong Future’, literally ‘Strong Tomorrow’. Steve is a Traditional Custodian, an artist and musician and one of the Directors of the Yowengarra Bun Wurrung Balug Clans Aboriginal Corporation. Steve has lived on Millowl (Phillip Island) all his life.

Activities of ‘Balert Yirramboi’ included Ceremonies, Drumming Circles, Music and Dance, Song Circles, Song Exchanges, Concerts, a Street Parade and a Collaborative Artspace weaving together music, art and science. Elders and Special Guest Artists lead the activities, all of which were designed to deepen intercultural understanding, strengthen community and raise environmental awareness.

The 2019 Intercultural Arts Program of the Island Whale Festival was auspiced by Community Music Victoria, an organisation dedicated to bringing people together and strengthening communities through the power of music.

Here’s a link to a short film ‘Singing with Whales’ from the Intercultural Arts Program at the 2018 Island Whale Festival. https://vimeo.com/288066243

We acknowledge the power and beauty of the Bunurong/Boon Wurrung Country on which this event takes place. We honour and thank all the Ancestors and Elders who have lived on this land and sung it into being the strong place that it is.

Dr Laura Brearley leads a song at the 2018 CMVic Music Camp

**The latter part of this article was updated by CMVic on August 1, to reflect the fact that the 2019 Whale Festival is now a past event.

Love Songs for Whales… & A Creative Invitation

by Dr Laura Brearley

The Whales Are Back

The whale migration season off Phillip Island has begun again and the texts have started to arrive …

  • Wednesday 29th May 9.45am

First Island whales this season. Two whales off San Remo jetty, heading to Cape Woolamai.

  • Tuesday 4th June 3.31pm

One humpback sighted 1.4 kms of the Nobbies, heading towards Pyramid Rock.

  • Friday 7th June 10.48am

One humpback whale, close to shore at Cape Woolamai.

We live at Cape Woolamai and although I was deep in work at the time that this third message came through, I answered what I felt was a call to action. When I arrived at Anzacs Beach at Cape Woolamai, the car park was full. A crowd of people was standing looking out to sea. There were families with children and people who had never met before were talking and laughing with each other. Just as I had, everyone there had dropped what they were doing when that text came through. Excitement was in the air and it felt like a shared experience of connection with the whales, as well as with each other.

I’ve noticed this sense of connection on whale cruise boats too. We board the boats as individuals and when the first whales are sighted, any separateness between passengers seems to dissolve. We sing and clap and whistle to the whales, reaching out to them together. Sometimes, they’ll swim along with us, even diving under the boat. If they’re feeling playful, they seem to dance in the water, breaching and splashing with their bodies and tails. It’s a profound experience to be part of that joyful play.

The whale at Cape Woolamai a few days ago was surfacing from time to time. I found it moving to see a whale in this early stage of the season and to know that the age-old cycle of the whale migration was underway again. With all the human interference of the natural world and the damage done, the rhythm of the migration endures. It is larger than all of us and that is a wonderful thing.

Humpback Whale Research

Over the last few weeks, I have been in touch with members of a team of international scientists who have been undertaking research on whale songs for many years. Led by Dr Ellen Garland (St Andrews University, Scotland) and Dr Jenny Allen (Griffith University, Queensland), the research has been tracking how the songs of humpback whales are transmitted over time and distance in the Pacific Ocean. The two lead researchers, Dr Ellen Garland and Dr Jenny Allen, have both expressed interest in the Intercultural Arts Program of the 2019 Island Whale Festival.

Their research has shown that whale songs are communicated across the South Pacific, moving from populations from eastern Australia in the west to French Polynesia in the east. The whale songs appear to come originally from the Indian Ocean, west of Australia representing a transmission of almost 10,000 kilometres. The research team has found that thousands of male humpbacks can synchronously change their song to a new version introduced from a neighbouring population in as little as two months. Their research in song learning has revealed that humpback whales employ some of the same learning strategies as songbirds and humans when acquiring a new song.

Below is a short film about this research:

Creative Responses

With the support of local First Nation community members, Bass Coast Shire Council, Destination Phillip Island, Community Music Victoria, Cowes Uniting Church, we are currently organising the Intercultural Arts Program ‘Balert Yirramboi’ of the Island Whale Festival happening in Cowes on Phillip Island on the 5th – 7th July, 2019.

A talented group of musicians, artists and cultural advisors is coming together to help celebrate the whales through song, story, dance and collaborative art-making. Activities will include Ceremonies, Drumming Circles, Music and Dance, Song Circles, Song Exchanges, Concerts, a Street Parade and a Collaborative Artspace which weaves together music, art and science.

Jazz pianist, Steve Sedergreen, is composing music in response to the scientific whale song research. During the Festival, he will be performing his new composition with his long-time collaborators, Wamba Wamba didgeridoo player, Ron Murray and jazz drummer, Mike Jordan. Camille Monet, who is coordinating the Collaborative Artspace at the Festival, will be facilitating arts activities in response to the whale song research. Participants will be invited to create visual responses to the whale songs, making patterns on long sheets of paper which will be carried in the Whale Parade at the end of the Festival. Aunty Fay Stewart-Muir has generously gifted local Boon Wurrung language to a Whale Song Cycle that I have composed and that Trawlwoolway artist Lisa Kennedy has illustrated.

Creative Invitation

We would like to extend a creative invitation to you. If you are someone who loves whales and is interested in creative collaborations, song-writing, poetry or story-telling, there is an opportunity for you to share your ideas and make a contribution to the Intercultural Arts Program of the 2019 Whale Festival.

If you are seeking inspiration, one way of getting focussed is to reflect on some core questions, such as …

  • Why do you love whales?
  • What do whale songs stir in you?
  • What does the sense of connection with whales feel like for you?
  • If you had a message to send to the whales, what would you say or sing to them?

If you would like to make a creative contribution to the Intercultural Arts Program, please send an email to Laura Brearley  laura.brearley@tlc21.com.au by COB Friday 28th June, 2019 with your contact details and a brief description of what you would be interested in sharing at the Festival, eg song, poetry, story. The program has been designed with activities in which creative exchanges and collaborations can occur. The copyright of all material will remain with the contributing artists.

The full program of the Island Whale Festival is available at: http://islandwhales.com.au/program/

Many events are free and bookings for ticketed activities can be made on-line.

And … next time you hear that there are whales off the coast, and you are nearby, just stop what you are doing and take some time to be near the whales and feel the gift of their presence. I suspect they will feel you too.

-Dr Laura Brearley

Featured image ‘Whale Tail’ by Lisa Kennedy

On the radio

by Kylie Whyte

I love the radio.  I love the way it makes me feel, like it’s just me and whoever is on the waves, having our own private moment.  ‘Course that’s probably because I mostly listen to the radio in my car, or through headphones while I’m walking. I laugh, I cry, I groan and shake my head in disbelief, and no one else knows why I’m doing that.  It’s a moment of private, concentrated listening. 

Radio National is my main source of news and commentary on the world, and I’m ok with that.  But community radio.. well that’s really special.  To me, community radio is inherently political, because it is people taking back control of what is transmitted over the waves. 

People meeting people, talking to people, organising for change, interpreting the world around them.  All within a fairly strict legislative framework mind you, but still…it’s people power, and I love it!

Since moving to Geelong I feel much more inclined to get involved in community events and activities.  It’s smaller and more like a country town than a big city, and I like that.  So last year I enrolled in an introduction to radio broadcasting course through 94.7 The Pulse FM.  For eight Monday nights I dragged myself along after work, battling exhaustion and hunger, and learnt about how to ‘do’ radio.  It was fun, but I wasn’t sure where to go from there.  One thing I did learn was how much work it takes to have your own show, and that dampened my enthusiasm a little at the time.

But life became a little freer for me, and I approached The Pulse earlier this year, asking if I could volunteer on a show.  And so I was led to Kickarts, Chris Bryan’s show about all things arty in Geelong and surrounds.  My intention from the start was to bring a focus on Community Arts, as Chris has more of a focus on the professional arts, and to look at making radio documentaries.  So for the first month or so I came onto the show every week and did the Arts News segment, as well as providing a couple of interviews for the show.  I loved getting to meet artists and gallery owners, as well as interviewing people involved in community arts.

Suddenly I found myself handed two shows to do on my own.  Exciting! Scary! I decided the first show would focus on singing, and interviewed Kym Dillon, a supremely talented musician who leads a few With One Voice choirs including With Once Voice Geelong, through Creativity Australia, and who has been involved with Community Music Victoria a great deal in the past.  We had a great chat, and I went to a rehearsal to record some vox pops with choir members. What a joyous atmosphere Kym creates as a singing leader!  I edited it all down and spent hours in the studio trying to put together the show.  After a few mishaps that saw me losing hours of work in a botched attempt to save my edits I decided I was going to have to wing it on the day.  And wing it I did, with two musicians coming in at short notice to do a live interview about their forthcoming concert on the music of Hildegard de Bingen.  Yes there was dead air…a  few short periods of it as I struggled to coordinate faders and buttons and the quirks of iTunes…but overall I was pretty proud that I had got through a show alive and not humiliated.

My second show was focused on the sea, with an interview with Lighthouse Arts Collective in Point Lonsdale and a phone interview with Bryce Ives, the director of a play reading happening at Queenscliff Literary Festival.  The first half of the show went well, and I silently congratulated myself on remembering all the transitions.  But after pride…..well, you know the rest.  While setting up the phone interview with Bryce I forgot to turn off the microphone, so everybody listening heard a very strange version of Ina Wroldsen’s song ‘Sea’, complete with me talking and laughing the whole way through. Mortified. But still, I mostly did a good job, and I’m inspired to keep working to improve my skills. 

My hope is that through radio I can promote the stories of people living and working and making music and other art in the community. 

I want to delve into what inspires people to create, and to support the voices of people who are not usually represented in the arts. 

Who knows..maybe there will be radio documentaries in my future…probably there will be the occasional dead air…but I hope I will never leave my microphone on at the wrong time again!

Kylie is an ESL teacher, community worker and musician, and was once involved on the Board of CMVic.  She is passionate about the power of music to connect, communicate and empower people, and hopes to start some singing groups in Geelong. 

Reunited: A Short Film about Music and the Human Spirit

Edward Harding, a 93 year old man living with severe dementia, was affected by depression and confusion as a result of his illness. He was withdrawn and not  really communicating with anyone anymore.

One day a young musician, Sam Kinsella, began working at Ed’s care home in Somerset, (UK). A connection emerged between the two men, sparked by their shared love of playing music. This film captures what unfolded next in their story.

‘Reunited’ is moving, it’s beautiful and it’s a poignant reminder of the power of making music and the positive effect this has upon the brain and the human spirit.

It isn’t only playing music which demonstrates the lasting connection between music and memory.

The clip below shows how listening to music is also highly effective in helping people affected by Alzheimer’s and dementia  to regain temporary access to memories and return to presence for a short time. After listening to old tunes on an iPod, Henry is momentarily restored to his former self: “he’s remembered who is and has re-acquired his identity for a while through the power of music.”

The benefit of such experience is positive not only for the person with dementia, it offers families and carers a way to share quality moments of connection and peace with them.

Further reading:

Study: Memories of music cannot be lost to Alzheimer’s and dementia

Dementia and Music 

www.musicandthebrain.org.au/

Find a group to play music with on the CMVic website: www.cmvic.org.au/groups

Come to a CMVic event! The 2019 CMVic Music Camp takes place next weekend, May 10-12 in Grantville. Bookings and info here.

Stand up for justice with ‘Every Dollar’, a fair trade song.

It takes just over four days for a CEO from the top five companies in the garment sector to earn what an ordinary Bangladeshi woman garment worker earns in her whole lifetime. Source: Oxfam International

When faced with a bargain, it’s tempting to overlook the uncomfortable question of who’s actually picking up the tab if we’re not paying a fair price for what goes into our bag.  Employees at garment factories work six days a week, often for less than USD$1 per hour. Workers are under pressure to meet daily targets and work long days with barely any breaks and their health and safety is not considered a priority by their employers.

In a bid to increase awareness of this exploitation and to address the inherent power we hold as consumers, community singing leaders and musicians, Jessie Vintila, and Emma Royle, wrote a song called ‘Every Dollar’.

The goal of the song is for singers and audience to actually change the way they are shopping, and to be inspired to notice their power and to use that power for good.

In the words of Jessie, “it’s about going ‘wow every time I spend a dollar, I’m communicating something, I’m either communicating, ‘yay’ I want that business to succeed, or I really don’t want that business to succeed… We go along being complicit and supportive of a whole lot of things that, if we stopped to think about, we’d find morally reprehensible.”

Jessie’s community choir, ‘Raise the Roof’ sang Every Dollar at Mullumbimby Music Festival in 2016. Throughout the course of rehearsing and performing the song, many of the singers told Jessie how their experience of learning and singing the words was actually changing the way they shopped and many were switching to fair trade options, where they could.

This is precisely the outcome Jessie and Emma had hoped would happen each time the song is taught, learned, sung and heard. While progress in the bigger picture can feel slow, Every Dollar is a reminder about taking small steps in the right direction and doing what we can as a community to support the liberty and rights of workers in the clothing industry and beyond, whenever we can. The recent announcement by Kmart, Cotton On and Target to ‘strengthen their commitment to a living wage for their clothes makers in response to the Oxfam initiative, ‘What she makes’ is testimony to the effectiveness of this approach. These outcomes are in direct response to action and pressure from shoppers who have had enough of the injustice.

Jessie applauds consumer activism of this nature: “What I love about consumer power is that you don’t have to be fighting; you don’t have to be campaigning, you don’t actually have to be doing anything other than making conscious choices when spending your money. And you know you’re doing something really powerful but it doesn’t give you the burn out feeling that other forms of activism can do over time. It’s completely sustainable at a personal level.”

Jessie and Emma were thorough in their research for the song and the verses about Ranya the seamstress and Abdul the cotton picker from India are both based on real stories and statistics.

Activism runs in Jessie’s blood. She grew up in an environment where accountability and sound ethics were highly valued. “I remember as a child, a friend of my parents’ being all excited about finding a woman down the road in a suburb of Perth who worked in a Vietnamese clothing place and could make t-shirts. At the time I didn’t get why she was so excited about what I thought were these really boring T-shirts!”

Jessie’s now adamant about sourcing fair trade clothing herself and has t shirts for her Raise the Roof choirs and her Sing the Camino* tours made by fair trade manufacturers. This anecdote about T-shirts is a lovely testimony to the outcome of conduct and influence. The repercussions of the choices we make and the effect of the songs we sing ripple out into the world in ways we can never know.  So, in the words penned by Jessie and Emma, lets ‘Stand up for justice, Turn every dollar to good’. (Full song below)

Every Dollar                      Lyrics: Emma Royle & Jessie Vintila
Music from Rarely Herd’s version of Mary Don’t You Weep (Spiritual)

Chorus

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

Well Ranya was a seamstress
In a Dhaka factory
Worked fifteen hours seven days of the week
Can’t feed her family

Well Abdul picked the cotton
In the fields of Gujarat
Eight years old, twelve hours a day
Forced out of school to work

Well Wendy clothes her family
From her favourite shops in town
Pays the money never stopping to think
How they keep their prices down

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

References:
https://whatshemakes.oxfam.org.au/
https://www.vox.com/2018/2/27/17016704/living-wage-clothing-factories
https://www.oxfam.org/en/even-it/one-pair-shoes-we-make-valued-more-our-whole-months-salary

By Deb Carveth, online editor for Community Music Victoria, with Jessie Vintila. Thank you, Jessie! 

*You can ‘Sing the Camino’ with Jessie Vintila in Brunswick on Saturday, 23 March: 2-5pm! (Hosted by the Brunswick Rogues Choir). Info and bookings: https://www.singthecamino.com/singing-workshops.html