A truly unique radio show championing the work of Choirs and Community Singing Groups is filling the airwaves above Upwey and beyond with the sweet sound of a cappella and accompanied singing each week. The Aka-Pelican show is hosted by Rick Steen, a passionate choir singer and blues guitarist who’s excited to bring this opportunity to the world in what he believes is a first.
Rick’s Aka-Pelican show is broadcast by 3MDR, (Mountain District Radio) on 97.1fm. The community-run station was set up in response to the Ash Wednesday bushfires in 1983 to provide effective and direct communication to locals in the event of emergency, and other than a station manager, it is staffed and run entirely by volunteers.
With a background in folk and blues music, Rick joined the station as a volunteer sound engineer before being trained as an announcer and invited to present a show of his own:
“I thought what would work really well is a show dedicated to supporting choirs and a cappella singing. There are around seven choirs in the Dandenongs between Upwey and Gembrook alone, making it a good niche, good for the station and its membership; people will be all over it!”
3MDR has enjoyed a variety of homes during its 25-year history including a bus, a water tower and a shop. In February, the station relocated to new premises at the Forest Park Homestead, where Rick now has the luxury of a large studio space suitable for live to air broadcasts during his program’s two-hour time slot, from 3 ‘til 5:00pm on Wednesdays.
Having run Aka-Pelican for just over 6 months now, Rick reckons it takes half an hour to settle into the hot seat. “I don’t have a production assistant, I’m handling everything and you have to be highly tuned right from the word go.”
By then he’s in the groove and ready to showcase live or recorded performances from choirs and singing groups from the local area, Melbourne and the surrounds. There’s been one change to the Aka-Pelican format since its inception, the decision taken by Rick to incorporate the material of accompanied choirs into the show. “Too many wonderful choirs felt that they didn’t qualify to participate as their songs were accompanied, so I implemented one ‘Golden Rule’, which is that vocals of the choir must be the dominant feature of the music.”
Broadcasting beyond the hills, the radio’s reach is limitless as people can listen to 3MDR online, and Rick is excited that this provides the opportunity for home grown, grass roots music-making to reach a universal radio audience.
“There’s good reception out in Gippsland and down to Philip Island though most people listen online. It’s a worldwide thing,” says Rick, who is happy to advocate for the joy and benefits of community singing and is also keen to interview community choir leaders as part of the program each week, either in person or over the phone.
If you’ve recorded material with your singing group or choir that you would like to hear on air, Rick’s your man. His vision to provide a voice to singing group and choirs combined with Aka-Pelican’s performance space, two-hour program slot and the option of going live to air will send the sounds of community singing soaring far and wide. Solo songbirds are welcome to contribute songs too, so long as they are unaccompanied.
To contact Rick and share material for Aka-Pelican or for further information, email 3MDR: firstname.lastname@example.org and mark your message for the attention of the Aka-Pelican Show.**
Written by Deb Carveth, online editor for Community Music Victoria, with Rick Steen
** At the time of publishing this article, Rick is looking to recruit an assistant to help with the admin side of the show who would also be interested in becoming a co-host… full training will be provided!
How do we measure the legacy of a singing leader? It seems apt that, as I ask myself this question, a song comes to mind:
How many cabs in New York City?
How many angels on a pin?
How many notes in a saxophone?
How many tears in a bottle of gin?
(Paul Kelly, Careless)
How many songs were taught and were shared? How many connections and bonds were formed? How many experiences of being held or embraced in harmony, or of adding one’s voice to a solid-gold, full-bodied unison? There are many ways that a singing leader’s efforts and commitments can be traced. The researcher in me thinks about network analysis, imagines tracing a song on its pathway from leader to choir, from choir members to other leaders, from leaders to leaders. Or tracing connections and friendships, new choirs formed, new leaders inspired.
Benjamin Patrick Leske, musician, composer, researcher, community singing advocate, conductor and choir leader, passed away this month from brain cancer, aged 37. I am not the only one of his friends feeling bereft. There are many others who knew him longer, who had shared more songs and more conversations than I had with him. But in our short friendship, Ben and I bonded. We shared stories from the PhDs in community music that we were both pursuing at the time (his about the experiences of young LGBTQI singers in a Melbourne choir, mine about young music learners in war-torn countries), and we shared our experiences of dealing with the compounding challenges of major illness and treatment during PhD study.
The community musician in me remembers Ben teaching the song ‘Let it Go’ (not the one from Frozen, but another, drawn from a Michael Leunig poem and cartoon and set to music by Melbourne composer Suzann Frisk) on the Excursion Day bus during the International Society for Music Education’s Community Music Commission in Edinburgh, July 2016. A colleague sent me her recording of that song-share recently, capturing Ben’s voice as he sang the song line by line, repeating as necessary, with the bus passengers echoing him. “I’ve never told this story to a busload of people before!” he admitted, before sharing the significance of the song with the group. More than one person refers to ‘singing while crying’ in that recording.
More recently, Ben led a pop-up choir in a performance of the same song in the ward of St Vincent’s Hospital where he had been a neuro-oncology patient many times. He donated a framed print of the Michael Leunig cartoon that had made the song so meaningful for him, a print that now hangs on the wall of the ward. Leunig and Frisk joined Ben for this special event.
Singing leaders bring people together to sing, both informally and in more formal structures. Ben conducted many different choirs in Melbourne. One speaker at the memorial service began to list them, and I learned that Ben’s conducting ‘tentacles’ had reached more widely than I knew. I was in the audience for the inaugural performance of the Footscray Community Choir, a choir that he co-founded with pianist Chris Nankervis. It was a lovely, affirming concert. The audience was invited to sing as part of the program, a programming inclusion that spoke to Ben’s commitment to getting people singing and connecting with each other. They performed a superb rendition of “Wonder” by Emeli Sandé. It was the first time I’d heard that song, although I’ve listened to it many times since. Its opening lyrics (“I can beat the night, I’m not afraid of thunder, I am full of light, and I am full of wonder”) bring a lump to my throat now. I can imagine them resonating for Ben, and am sure it was by design, not chance, that he chose a song that would affirm the strength, resilience, and wonder of every one of his singers.
And there were more choir projects planned. One of Ben’s last Facebook updates (20 January 2018) announced, “I’m excited to be working with Newlands Choir (formerly the Carpark Choir) from Monday! P.S. We’re currently recruiting, with vacancies in all sections”. I can remember the excitement with which he spoke about this new project too. Dear Newlands Choir, I’m so sorry you didn’t get to work with this fine musician and conductor. He loved to nurture voices. He would have been so committed to you.
How many stars in the Milky Way?
How many ways can you lose a friend?
Paul Kelly’s song drifts away from me at this point—it is impossible to imagine Benjamin Leske being a ‘careless’ friend to anyone. His memorial service filled one of Melbourne’s largest cathedrals, and friends and family in turn spoke of this kind, gentle, generous, funny, determined colussus of a man, sharing stories of the intrepid traveler and “Germanophile” who was an exchange student in Germany and studied in Freiburg, retaining many deep friendships there; the studious, contemplative, and curious young man who spent time living in a monastery in Cambodia; the organiser, devoted to Excel spreadsheets; the International Relations specialist who nurtured and realised his longheld desire to conduct, to compose, and to spread music and joy; the man in his prime, forced to confront his mortality and who reframed the diagnosis as an opportunity to live more fully, focusing on what really matters; the activist and advocate for brain cancer research, gay pride, and community singing; the beloved son, brother, godfather, friend; the loving partner and husband of Khang Chiem.
The songs keep coming. At the memorial service I learned that Ben was a huge Kylie Minogue fan. But I am a little older than him and ABBA comes to mind more quickly: “Thank you for the music, the songs I’m singing. Thanks for all the joy they’re bringing. Who could live without it? I ask in all honesty – what would life be? Without a song or a dance, what are we?” Towards the end of the wake, most of the remaining guests gathered on the stage to sing a song (from ‘Wicked’) that was new to me, but seemed so perfect and poignant for a celebration of this young man’s life. “Because I knew you, I have been changed for good.”
How much good in a single song? So, so much good. Go gently, Ben would say. Live fully. Love generously. And keep singing.
 Ben submitted his PhD in August 2017 and graduated as a Doctor of Philosophy from the University of Melbourne in December 2017. I submitted mine in December 2017 and am nervously awaiting examiners’ reports.
In just one year, Pub Choir has revolutionised the community music scene in Brisbane and beyond, bursting forth in a blast of fresh energy and zest and attracting hundreds of singers to its informal fortnightly singing sessions. The success of Pub Choir can be attributed to a combination of zeitgeist mixed with a twist of right time right place all shaken up with a direct, no frills attitude to music making. That and the fact it’s in a pub…
The ingeniously simple idea for Pub Choir was dreamt up in a conversation between co-founders Astrid Jorgensen and Megan Bartholomew. The women who met at uni, share the belief that everyone can sing and that music belongs to everybody. In talking, they realised that whilst music was their livelihood, they were no longer singing for fun and so, in March last year, Meg called a pub.
Astrid and Meg then recruited guitarist Waveney Yasso, whose job is to keep everyone singing in time and in tune. The Pub Choir dream team came into being and with support from a photographer and videographers to capture the magic, they were set to prove to the world it could sing.
“The hope was that if we put it in a friendly setting then people would come and remember that music is fun with friends. We should all be making music an everyday experience, and if we’re doing it more often and in casual ways then it becomes less ‘scary’.”
Astrid and the team put a single post on Facebook before the first session stating, ‘No Commitment, No Auditions, No Sheet Music, NO WORRIES!’ They smashed their hopes for 30 people that first night when 70 rocked up, and every event from then on has sold out. As Astrid says, “It’s been pretty crazy!”
The Bearded Lady in Brisbane trusted the vision, provided a space and supported the idea of Pub Choir at a time when it wasn’t a ‘thing’. The event soon outgrew the capacity of the room there, but its walls play a significant part in the success and history of the choir’s first year, something Astrid is very thankful for.
So does alcohol play a significant role in the success and phenomenon of Pub Choir? Even though it’s available, Astrid attributes the sense of anonymity that goes with being in a pub along with lots of other people, as the reason new singers feel disinhibited enough to relax and have a go. And once they start singing, the release of endorphins and the sense of connection can work their magic and do the rest.
There is no place for judgement at Pub Choir, it’s all about enjoying yourself and singing to have a good time. Astrid chooses well known songs, something she finds makes life easier for everyone:
“For each upcoming session I try to pick something in a different style to the last so as not to be too repetitive; something very well known so that the melody doesn’t have to be taught too much, and; songs that are achievable in 90 minutes. I also am constrained by whether or not I can obtain the relevant licenses. Occasionally publishers will say no, so I try to have a few options up my sleeve.”
To teach the song, Astrid, who is qualified in choral conducting and voice, divides the group into three sections, taking them through line by line and within 90 minutes everyone is revelling in the buzz of singing in three part harmony.
There has been such an amazing outpouring of support for Pub Choir from the online community, that Astrid and the team are now in the process of booking dates for a tour. The idea is to travel around the country later in the year and share the experience of Pub Choir more widely in its original format. Astrid likes to combine elements of comedy into all aspects of her work including Pub Choir in the belief that if people are having a laugh they will relax and sing better, and she’s keen to share this out on the road too.
“Everyone is saying the same thing: We could really use this in our community, this looks so much fun.”
Pub Choir has received hundreds of emails from people across the country who are keen to use the same model, and asking if they can start up their own Pub Choir. This includes requests for Pub Choir’s budgeting, licensing, event planning, and even web content creation – some of which Astrid admits makes her feel a little uncomfortable.
Whilst the level of interest from other singing leaders keen to borrow and learn from the model of Pub Choir is flattering, Astrid feels this has to be done in conjunction with a good dose of self-assessment and points out that the Pub Choir model might not translate and work as well for everyone. She explains:
“I like being at the pub and I like joking around and I’m definitely more into casual community music making than something more ‘high brow’, but I think people may try to copy and paste something that might not necessarily fit their skill set as an educator, or even their personality. I mean, consider 500 drunk people who you don’t know,” laughs Astrid, “it won’t suit everyone, so play to your strengths and find what you are passionate about!”
An unexpected challenge faced by Pub Choir is the number of costs involved in running such a simple idea. Each singer pays $10 cash on the door and pretty much every cent of that goes back into licensing to pay for arranging and then filming the song. “Sometimes it’s thousands of dollars.”
This was an area they didn’t anticipate but their popularity and strong online presence thrives as a result of the high quality film clips they post, and their recent clip of the Cranberries song ‘Zombie’ sung and posted as a tribute to Dolores O’Riordan was shared by the band and went viral, a real high point for Astrid and everyone involved.
Pub Choir will be celebrating its first birthday in March with a party to end all parties at the Triffid in Brisbane, a venue with capacity for over 700 singers. It’s a beautiful old aircraft hangar which is a brilliantly apt place to celebrate a singing group that has taken off so fast. Go, go Pub Choir: the sky’s the limit.
Written by Deb Carveth for Community Music Victoria with Astrid Jorgensen from Pub Choir
Featured image by Jacob Morrison, supplied by Pub Choir
**Interest in Pub Choir has come from each of the capital cities and beyond and the team hope to have visited them all by the end of the year, returning in between times to sing with their Brisbane crowd. If there are any pub landlords or venue managers reading this in Victoria who are open to the idea of hosting Pub Choir, hop onto their website and express your interest now!
A study led by researchers from Griffith University has found that symptoms of Parkinson’s disease can be improved with regular singing.
Over 70 patients participated in the study run through Queensland Conservatorium of Music, which incorporated singing, warm ups, vocal cord and breathing exercises, to learn more about ‘how song could help battle the disease’, improving mobility and the overall quality of life.
It didn’t matter how well participants in the study could carry a tune, they simply had to commit to singing one hour each week for six months.
All of the patients involved in the trial reported an increase in self confidence and well being from taking part. Tremors associated with the disease were also reduced in some singers.
The outcomes and findings reaffirm, once again, the broad range of benefits to the individual in belonging to a community singing group or choir.
Read the original article in full, here.
- It repeats on you only in positive ways and doesn’t get stuck in your teeth
- It’s more effective than mistletoe in bringing people together
- Music doesn’t kill your fingers all the way home from the shops in a bag about to break
- It’s perfect shared with friends and there’s always enough to go around
- It’s eco-friendly! Singing and music making requires neither wrapping nor cellotape
- Music won’t sit around gathering dust and is brilliant to re-gift
- Your jeans may fit even better after a month of singing and musical indulgence
- Instead of breaking after five minutes, it gets better and lasts a lifetime
- No ransacking of the house is necessary for batteries or dice
- Making music and singing is good for the heart, soul, health and well-being of yourself, your pals, your Aunty Sheila, and your community too
3 ways to give the gift of music and song with Community Music Victoria (we’ve got this covered):
- Sign up your family, friends and neighbours to the CMVic monthly giving circle for a gift that gives all year
- Renew your annual membership to Community Music Victoria for twelve months of music making benefits, including membership discounts on all events, camps and workshop bookings, and a range of wonderful resources
- Make a one-off donation to Community Music Victoria. All donations over $2 are tax deductible so you’ll get another little gift in June.
Music is better made together:
Any donation you make can help ensure that more singing and instrumental music leaders get the skills they need to establish more groups, and that special projects like Voices of Peace, StreetSounds, Singing from Country, and That Girl can bring more music to more people who need it in their lives.
Community Music Victoria.
Sarah Mandie is a Melbourne based singer songwriter and the mother of two young girls. These two highly personal and defining elements of her life are brought into sharp focus though her new project, That Girl, and it is from her unequivocal belief in the potential of each and her passion for both, that this project has come about at all.
That Girl is a song and a music video dance project that invites participation from girls and women of all ages from Wodonga, Yarra Ranges and Boroondara. The song and the project arising from it was conceived by Sarah as a creative way to empower women and girls in communities everywhere. It’s strong, it’s beautiful and it carries a positive message about the need for society to respect ‘that girl’: That girl who is our daughter, our mother, our wife.
Sarah wrote the song three years ago following a series of distressing news reports and around the time of the brutal killing of two young girls in India. The alleged perpetrators of the crime bribed police and were released without charge. It was a story that horrified people around the world and resonated particularly deeply with Sarah who has a connection with Rajasthan through her Indian husband and her daughters, too.
“When this happened to these girls in India it made me think about my girls, their futures and their safety which then extends out to all girls, from all countries. I was so angry and upset, I wanted to do something that would make a difference in the world.
Because I love the medium of music and song, I thought it would be really good to write a song that talked about those issues, a song that contributes to the prevention of violence.”
Channelling these negative feelings of anger and helplessness into a positive act of creativity was tough but worthwhile. It took Sarah a long time to get the song right, for the lyrics to say what she wanted them to without the song being something people wouldn’t want to listen to. Sarah wanted to write a strong song, and knew that finding the right ‘catch’ was crucial for the message to be carried.
“I think the challenge in writing a song about a difficult issue is that you want to acknowledge the issue but at the same time have a positive frame around it so that people will want to sing it and listen to it and be inspired by it… a song to promote change needs to be attractive for people to listen to and want to sing.”
During the early stages, Sarah was struck by frustration as she realised what a craft it is to write this type of song:
“Sometimes we write a song that comes from within and we trust the processes of creativity but with this song it went through a few changes because I really wanted the end product to be something positive and something people would respond well to.”
Jamie Saxe stepped in to help Sarah nail the end: “Jamie took the song and created real magic with it through his arrangement and production of the instrumentation.”
Saxe’s enthusiasm to be involved reiterated to Sarah the power of her song and its potential to deliver broadly within the context of a wide scale project: What had inspired her was now beginning to inspire the other people coming into contact with the song and feeling similarly moved by the importance of the cause. The shape of the project became clear on completion of the song: Involve girls from the community in learning the song and making of a video to accompany it, then take the completed package out to the world as an empowering catalyst for awareness and change.
“I want That Girl to change the future for my daughters and for all daughters, it’s a hugely personal thing.”
Sarah’s personal and familial connections with India inspired her to translate the chorus into Hindi, bringing the feminine energy of the divinity Shakti into the song: “That girl is the one that gives life, she has the power, that girl is Shakti. Whilst India has high levels of gender based violence, as Sarah is quick to point out, the need for greater levels of respect and the creation of safe environments for girls and women is necessary everywhere.
The first phase of That Girl begins on December 2nd, with an information session inviting women and girls of all ages from within the Indian and Bhutanese communities in Wodonga to join a dance workshop to be held in February next year to embody the Hindi element of the song. The dance routine they will learn in that workshop has already been choreographed and recorded and now needs bringing to life:
“I want all genders to feature in the final video, however the workshops are an opportunity for women and girls to come together to find strength and focus through working together. Once the song goes out there, boys and men will be involved with the project too as part of the awareness.”
The list of project partners is long and impressive and a testimony to the belief and passion shared by everyone who hears the song. In Wodonga, Sarah will be working with Gateway Health, Albury Wodonga Ethnic Communities Council and Albury Wodonga Indian Australian Association. In Healesville, Healesville High School and the Healesville Indigenous Community Service Association will create a film each. This will then be edited and blended with the videos that emerge from the Wodonga and Boroondara communities.
For the time being, Sarah is reluctant to share That Girl song beyond the context of the project but given the significance and the urgency of the issue it addresses and the brilliant catchiness of the composition it’s unlikely to stay under wraps very long. And as That Girl emerges and gains exposure and momentum, the world will be a better place for having heard it and the power of the message it conveys.
Written by Deb Carveth, online editor for Community Music Victoria in collaboration with Sarah Mandie.
That Girl Song Facebook page: https://www.facebook.com/That-Girl-song-140108396617517/
That Girl Song: Lyrics and music Sarah Mandie
Arrangement, instrumentation and production, Jamie Saxe
“… the fish in the river, the clouds in the sky,
the wattles and gum trees that grow up so high
the kookaburra singing so gaily and free
good morning to you and good morning to me…”
from the Good Morning song* by Woody Clark
Woody Clark dreams of a world where families find time to make music as they go about their lives together. Over the past fifteen years or more, Woody has been working to build a catalogue of songs and resources available to parents and carers to turn this vision into reality and help integrate the rich experience of intergenerational singing and playing into the familial tapestry of homes and lives across Australia.
For Woody, the value is in ‘creating music rather than consuming it’ and, where possible, within a familiar setting involving children, parents or carers, grandparents, aunties, uncles, cousins…
“Make music relevant and engaging and something that’s just part of the fabric of the household rather than something external to that, find the means to utilise it in your life in a way that will bring expression and joy, or whatever that might be.”
Woody’s own three kids have collaborated with him on musical projects, co-written songs for his album, and in recent years toured as part of the family band ‘Woody’s World’. This includes his parents, folk singer-songwriters Kate Townsend and Dave Clark. Woody’s World played at many regional festivals and events in 2016, including Adelaide Festival Centre, Melbourne Cabaret Festival and Ukulele Festivals, Pt Fairy Folk Festival and Mt Beauty Music Festival.
Woody remembers feeling surprised by the excitement of former classmates in recalling the novelty of a school teacher who would sing and play guitar to them during art classes. For Woody who grew up in a household where music-making was a normal and assumed part of daily life, this occurrence was familiar and common to him. He realised as an adult, the experience at school had evaporated from his memory as something unremarkable tends to.
Years later as a father and classroom teacher himself, Woody is using his experience and knowledge as a songwriter and musician to uphold the tradition set by his own background, advocating for the benefits and joys of the style of unplugged family music-making he’s enjoyed in his own life.
Woody’s tips for anyone who’s keen to encourage kids to make music are:
- Model the behaviour and expose your kids to live music-making.
- Have a guitar or ukulele sitting on the couch and build music into your day, for example sing a morning song*, or sing a song before you eat your food, or a bedtime song.
- Make it fun! A lot of music education is serious and focuses on the classical side, so if you can show kids that learning and making music can be really fun and engaging too, you’re half way there.
“I’m not putting pressure on my kids to be musicians but if when they leave home, they can play instruments, have some appreciation of the language of music, it’s accessible for them and they can express themselves, then I’ll feel I’ve done my job in that regard.”
As a way to facilitate integrated music-making in the home, Woody runs 8 week ukulele classes teaching kids aged from 5-12 years and their grandparents, parents or guardians, to play the instrument together. In doing so, Woody’s observed the positive benefits and effects that intergenerational learning brings:
“The parents who model the behaviour, doing weekly practise with their kids really upskill in the ukulele, they come back the next week and they’re both excited; they can play that new chord or they can do the new strumming technique. By the end of the 8 weeks instead of the uke being a foreign object that they are wondering how to hold and tune, they are learning to speak that language.”
Next year Woody will take this course online, making it available as a learning resource for kids, parents and carers, everywhere. “It’ll be a kind of crash course in how to learn the basics and there’ll also be an opportunity to play along with Woody’s World during our live shows.” The course will provide footage recorded by Woody for all L-plate ukers to strum along to for practise in their own time. Woody describes it as ‘an integrated project, and a preparatory engagement experience.’
Woody has been working towards this point for a long time having coordinated a number of musical projects, including reKINDle, a response to the Black Saturday bushfires of 2009 and he’s dedicated to continuing this momentum around family music making and taking it onwards: “I’ve been developing my ideas around family music participation for well over a decade. I am passionate about music and how it can connect families and communities and through my upbringing and my teaching and my work with my own kids, it feels like all these strands are coming together.”
Article by Deb Carveth, online editor for Community Music Victoria, and Woody Clark.
* Woody’s Good morning song is available online! Download the lyrics and mp3 here for freeeee! You can also download the chords and to complete the experience, there’s a colour-in poster to download, print off and complete as you learn the song.
Listen and learn ‘Catch the leaves’ a song written by Woody’s daughter when she was 7 years old.
For further information and inspiration, visit Woody’s website: http://www.woodysworld.com.au/
“This particular campaign focussed on Adani has really mobilised people across political parties, across age groups and demographics. They’re worried about their children and they’re worried about their grandchildren and what they’re going to inherit…Singing about it gives anyone feeling powerless and outraged a way to feel better and join with other people who feel the same.”
If you were in Melbourne’s Fed Square last Saturday evening, chances are you’ll have heard the recently re-formed Melbourne Climate Choir in action on stage as part of their quest to raise awareness of the ongoing ‘Stop Adani’ campaign.
The Climate Choir first came together two years ago, formed by community musician and activist Jeannie Marsh, in collaboration with the Australian Conservation Foundation (ACF) to bring a singing component to the People’s Climate March. Jeannie was aware of the need for accessible, catchy songs and simple call and response material for the choir to sing on the steps of the State library and along the Climate March route, as an alternative to the throat-wrecking cry of ‘what do we want, when do we want it.’
In her quest, Jeannie unearthed not only the extensive array of tune-age available on the Carbon Canaries website but also dug up Do it Now, a re-working of Bella Ciao, an Italian Partisan song popular in the Union movement and arranged by an ‘excellent’ group of choral activists based in Belgium, called Sing for the Climate.
“Their version of the song comes with all the resources you could possibly need to use at a rally or action: sheet music, instrumental parts, lyrics sheets, different keys, etc and it’s one of the most powerful and catchy pieces of “protest art” I have ever seen”, says Jeannie. “We have sung this song repeatedly at many events around Melbourne, and people always love it.” Do it Now is an urgent plea to world leaders to commit to ‘reducing carbon emissions, year on year, and highlights the need for strong leadership on climate change to put a stop on the devastation it brings to the world.’
Jeannie has found the song’s structure works really well in a protest setting because it’s bouncy, it’s fun, people know the tune and it’s easy to pick up and sing along to:
We need to wake up
We need to wise up
We need to open our eyes and do it now, now, now!
We need to build a better future
And we need to start right now…
“It’s incredibly powerful to be there standing on the steps of the state library with a choir of forty people, an accordion and a trombone and people say that they find it very positive because, you know, Climate Change is a depressing topic…”
Th increased presence of Stop Adani campaigns in the press over the past year or so and the depressing prospect of Australia leading us all into a fossil-fuelled future re-ignited in Jeannie a desire to bring members of the Melbourne Climate Choir back together with a renewed sense of purpose, tuning in once more to the work of the ACF and the group of community singing activists reformed earlier this year:
“I saw all these actions around the place and in politicians’ offices and just thought ‘isn’t that great’ and that maybe it was time to get singing again.”
Jeannie put the word out to all the people who’d identified themselves previously through the work with the ACF in 2015 and before long had a flock of songbirds congregating to sing ‘Do it Now’ outside the office of Josh Frydenberg, Federal MP for Kooyong and Minister for Resources and Energy. Jeannie recalls the event as being ‘really joyful.’
“There was an accordion, the media turned up, people gave speeches, there were plenty of placards and people with banners all processing across the middle of busy Camberwell Junction (where Frydenberg’s office is based). Passers-by were blowing their horns and waving in solidarity. So, I then decided to take up an offer from the ACF to use a room and go through some other songs.”
Jeannie continues, “this particular campaign focussed on Adani has really mobilised people across political parties, across age groups and demographics. They’re worried about their children and they’re worried about their grandchildren and what they’re going to inherit…Singing about it gives anyone feeling powerless and outraged a way to feel better and join with other people who feel the same.”
The Climate Choir has collated a sheet of songs using material from the Carbon Canaries, including Why dig up coal.. to the tune of YMCA complete with all the actions, and Love and Marriage as you’ve never heard it before, the words of which go something like ‘Reefs and fossil fuels, reefs and fossil fuels, go together like babies and power tools…Jeannie feels that ultimately it’s about keeping things fun but being heard about a subject which incites passion in people who would otherwise feel disempowered:
“Community Choirs are such a huge thing in Melbourne. You can really make noise and it’s beautiful and it’s uplifting and it’s ultimately empowering.”
Written by Deb Carveth, online editor for Community Music Victoria with Jeannie Marsh
To find out more about the Melbourne Climate Choir, contact Community Music Victoria
*Feature photograph and all photographs in this article were taken by Julian Meehan for the Melbourne Branch of ‘Stop Adani’ at the screening of Guarding the Galilee in Federation Square, Melbourne, Saturday September 16th, 2017
This article is part 2 of the previous CMVic blog article: Carbon Canaries sing out for Climate Change.
If the ongoing issues surrounding climate change and the proposed Adani Coal mine leave you wanting to blow your top we’ve unearthed a way to help channel that frustration and anger into inspiration and joy. Let us begin. Pop a coin into your cerebral jukebox and select the tune to the chorus of the Abba song Fernando substituting the words penned by Bjorn, Agnetha and co with the following:
There’s more carbon in the air each night
We’ve got to fight Adani
Causing climate change for you and me
It’s planet’ry Adani
And we know that we must never lose
The stage is set
We’ll occupy your office suite
Until you’re beat Adani…
Great isn’t it? Spirits depressed and deflated by overwhelming environmental concerns are momentarily lifted and buoyed with the added bonus that the familiar tune makes it an easy song to pick up and join in with in no time: empower yourself and others by engaging in a spot of choral activism and sing out against climate change. And there’s plenty more material where that came from, including for traditional folkies ‘Stop Adani Stop the mine’ to the tune of Oh my darling Clementine, guaranteed to stick firmly in ears everywhere:
Stop Adani, Stop Adani, Stop Adaaaani, Stop the mine
Shouldn’t aughta poison water
It’s an order – Stop the Mine
Clever and simple, these songs are addictive and accessible and are the work of two radically minded musician/activists from Queensland and NSW, Jenny Fitzgibbon and Paul Spencer, who have together created Carbon Canaries, an online song resource ‘enabling people everywhere to sing out for climate action with songs that ‘poke fun at fossils & fuelish humans, celebrate renewables of all genders and make choirs spring up at an action or staffroom near you.’
To date, Carbon Canaries have parodied and posted the tunes of 35 well-known songs re-writing the lyrics to reflect, as Paul writes, ‘the human experience of the social change movement and of living in a world that’s so beautiful, so alarming and so inspiring all at the same time.’
Jenny is motivated by the desire to offer protesters and climate campaigners a source of ‘joy and energy’ and to enable people everywhere.
The Carbon Canaries’ website provides all the tools group facilitators could wish for to get singing for positive change. Song sheets and tunes are available to download as well as backing tracks and videos of Carbon Canaries’ songs and climate inspired parodies of songs by other activists, such as the superb Specials-inspired ‘A Message to you Turnbull‘ by Melbourne’s Glorious Rabble led by Stephen Taberner and accompanied by the Horns of Justice, (below). In the spirit of solidarity, Carbon Canaries resources don’t cost the earth, in fact they are all available absolutely free, although visitors to the site are invited to support their great work by donation.
Source: singing out for climate action
Tune in to the next CMVic blog post to read how the Carbon Canaries’ work is being used in Victoria by the Melbourne based Climate Choir in their singing for social change.
Article by Deb Carveth, online editor for Community Music Victoria