Category Archives: Play it

The real reason dinosaurs became extinct (& some neurological impacts of music-making)

Dinosaurs couldn’t sing. Perhaps their demise had nothing to do with earth impacting asteroids or the frustration of tiny arms after all and was instead triggered by their physical inability to sing. Now, I’m no scientist but…

Findings from a report published last year suggest the Jurassic age was filled with awkward silences punctuated only by squawks, leaf munching and worse. Without the option to experience the joy of shared breathing patterns, matched heartbeats or the release of life affirming endorphins catalysed by singing together, life in the days of the dinosaurs must have been bleak. Imagine having no way to celebrate the break of a new day or the setting of an evening sun. Imagine a world without song.

The oldest, complete example of a found fossilised syrinx belonged to a species of ancient bird related to the ducks and geese of today called Vegavis iaai, which lived during the Cretaceous period of the Mesozoic Era between 66-69 million years ago.

The specimen was dug up on Vega Island in Antartica by a team from the Argentine Antarctic Institute, led by Julia Clarke, a paleontologist at The University of Texas.  Twenty five years later, upon subsequent re-examination in 2013, Clarke and her team discovered the fossilised bird was found to contain a complete syrinx, the avian equivalent of a human larynx or ‘voice box’.

The team spent the next two years searching records of previous Jurassic finds to establish whether earlier examples of a syrinx existed. Their research came to nothing, with all other examples of fossilised syrinxes occurring in species of birds that evolved long after the extinction of land-based dinosaurs.

This discovery was important as it offered insight into the Jurassic soundscape: Without a syrinx, those poor old land lubbin’ dinosaurs would have been incapable of song:

“To speculate wildly, we might have closed-mouth booms more similar to crocodilians in large-bodied dinosaurs like  T. rex…..said Clarke.”

If you’re thinking okay, enough about dinosaurs already, what does all this have to do with community music? Well, for the sake of this blog, what’s relevant was a subsequent observation of Clarke and her team:

“…the evolution of vocal behaviour can provide insights into other anatomical features… such as the development of bigger brains.”

Aha, now this is more like it! Jumping from the Jurassic age into the 21st century, a study led by Dr Vanessa Sluming from the University of Liverpool and published in 2002 of a British Symphony Orchestra found that musicians exhibited larger volumes of grey matter in Broca’s area, the part of our brains responsible for language and verbal working memory, and this volume varied depending on how many years they’d been playing their instrument.

“Although this area declines with age, orchestral players kept more of their brain cells than non-players, as they aged.” Dr Vanessa Sluming

Furthermore, it’s well documented that singing and learning songs builds neurological pathways, and also boosts levels of acetylcholine in the brain, an organic chemical which functions as a neurotransmitter sending messages through the brain and playing a highly important role in memory retention.

In committing new material to memory and then drawing on that in the context of our singing and music making, we improve our capacity to recall and remember.

Valuable for all this and more, community music making provides the opportunity to simply celebrate being alive. We should all keep learning and singing new songs and playing new tunes, recalling favourites from the archives along the way and our long term mental health and well-being will reap the rewards. And we should all be grateful not to have been born a dinosaur.

Article by Deb Carveth, online editor for Community Music Victoria

Further reading:

Music improves brain power – in some performers
https://www.theguardian.com/uk/2003/sep/12/health.research

Do musicians have bigger brains?
https://www.braintraining101.com/do-musicians-have-bigger-brains/

Boost your memory and your brain by singing
https://www.lifehacker.com.au/2013/08/boost-your-brain-and-memory-by-singing/

And further reading on dinosaurs…

Dinosaurs couldn’t sing
https://scienceblog.com/488716/dinosaurs-couldnt-sing/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+scienceblogrssfeed+%28ScienceBlog.com%29

Fossil evidence of the avian vocal organ from the Mesozoic https://www.nature.com/articles/nature19852.epdf?referrer_access_token=N4n-vV1ZFQa_2ZrBCVDDqNRgN0jAjWel9jnR3ZoTv0POdDZwZ05Pa-IKumwU5iqFPqb9J0RCiSbNodY9t6fsIlllkLV3NV3ydjAEF95r56mcI_GYrpf2Qnn5rc1s0gl6sKaUASwdqhDR20W53nuCUV_E8jqkJBnLnuEms1KFl1PFBulm

 

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Weaving homespun tunes into the fabric of daily family life

“… 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.’

Uke 5Woody 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.

RESOURCES:

* 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.

Woody’s debut album is available from his website which includes wonderful family collaborations. Check it out here here. You can keep up to date with his activities on his Facebook Page

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/

Serenading Adela: Community street opera celebrates choral activism & the Australian anti-conscription movement

One hundred years ago, Australians voted not once but twice against conscription, on October 28th 1916 and again on 20 December 1917 in referendums called by the Prime minister, Billy Hughes. The referendums bitterly divided the nation, with pro-conscription and anti-conscription campaigners spreading their messages in speeches, songs, huge public meetings, articles, and rallies.

An ardent advocate for peace at this time was a young woman named Adela Pankhurst. Adela was banished to Australia by her mother, the famous suffragette Emmeline Pankhurst, who as a supporter of Britain’s role in WW1 was vehemently and unforgivingly opposed to the views of her daughter.

Dispatched on a one-way ticket down under, Adela continued her work as an activist and leader in the anti-conscription movement. As 1917 drew to a close, she was arrested following a women’s anti-war march in Melbourne and sent to Pentridge Prison in Coburg.  On the evening of January 7, 1918, a group of Adela’s supporters met together outside of the women’s prison to serenade her over the walls.

According to newspaper reports from the time, the group ‘from 40 to 60 persons, understood to be Socialists, and a majority of them women’ sang together in a bid to raise Adela’s spirits and to pledge their solidarity and support. Singing Solidarity for Ever, The Red Flag and We’ll keep Australia Free,  “salvos of cheers repeated again and again and the whole gathering at a given signal joined in a coo-ee…” By the time the police arrived, the mob had grown to around 300.

newspaper-clipping-pankhurst-serenade
Source: Brunswick Coburg Anti-Conscription Centenary

To commemorate the centenary of this event, singers and community musicians will again take their voices and music to the street in January as part of Serenading Adela, a street opera written to tell the story of the widespread campaign for peace so under-represented in commemorations of the period,  with specific focus on the moving story of the singing mob who serenaded Adela that night.

On January 72018,  a one off performance of Serenading Adela will begin with a musical march through Coburg, culminating in a mass sing and performance outside Pentridge Prison: a musical echo and re-enactment of a moment in time as well as a testament to the life, courage and inspiring legacy of Adela, anti-war activism and the anti-conscription movement in Australia.

unnamed-1Community choirs, individual singers and instrumentalists everywhere are invited to join the mass choir or street band and be a part of Serenading Adela. Participation is free, anyone is welcome and no prior singing experience is needed. (See end of article for registration info.)

The project is an outcome of the work of the Brunswick Coburg Anti-Conscription Centenary, formed in the Northern suburbs a couple of years ago to record, remember and commemorate the successful anti-conscription campaigns of WW1.

“We’re writing this to tell the story of Adela, in solidarity with Adela but also to encourage people in these times to use singing as a form of protest…choral activism, just as they did 100 years ago.”

With funding from Creative Victoria a small team have been organising and planning January’s event, including Community Music Activist Jeannie Marsh who is the artistic director, Brunswick based Nancy Atkin, Emily Hayes, Dave Evans, and singer/actor Lisa-Marie Parker (playing Adela).

In writing for Adela, Jeannie has read articles written by women who were vehement in their opposition to conscription and the Great War, and has also spent a swathe of time acquainting herself further with the character of Adela Pankhurst, scouring antique books and researching to give a depth to the musical portrayal of her character:

“She was a fearless ball of energy and apparently a riveting public speaker who drew people to her. There are records of 30,000 people turning up to peace rallies held on the banks of the Yarra… Adela was brought up in this radical family but then expelled by Emmeline from the suffragette family for being too radical. On moving to Melbourne, Adela was taken under the wing of Vida Goldstein and embraced by her pacifist tribe. This street opera is dedicated to singing the story of Adela’s life, and the story of these activists, and keeping it alive.”

Last year as a prelude to the street opera, Community Choir leader and composer, Stephen Taberner, wrote a hauntingly beautiful choral song called ‘Ghosts don’t Lie’. The song was inspired by two workshops held in 2016 for local people in Brunswick and Coburg to share memories of the way wars and conscription have impacted and reverberated through the lives and course of their families and its lasting effects.

Ghosts Don’t lie is comprised of four verses each telling a different story. The song was premiered at the Boite Singers Festival in January 2017 where it was hailed as beautiful and moving work, and will now form a component of Serenading Adela.

Rehearsals for the main choir will start at 3pm on Sunday 3rd September led by Jeannie Marsh, and Brunswick Rogues choir leader Emily Hayes or, for anyone pressed for time there’s the option of waiting until December and joining as a member of the ‘Unruly Mob’. The Victorian Trade Union Choir are already committed to the project, as well as the fifty people who formed the Serenading Adela Choir to sing Ghosts Don’t Lie.

In Serenading Adela the past will be palpable and spines will tingle as words and recollections of one hundred years previous are sung into the ether of Brunswick and Coburg by community music activists in celebration of the legacy of Adela Pankhurst and her comrades, and with ongoing hope for peace in the world.

Written by Deb Carveth, online editor for Community Music Victoria with Jeannie Marsh.

  • TAKE PART in Serenading Adela by making a (free) booking here 
  • For information about rehearsals for Serenading Adela, click here
  • Click here for Ghosts don’t lie: resources to help learn the song written by Stephen Taberner.

 

 

 

 

 

StreetSounds festival hits the streets of Geelong with aplomb!

Sun shone through grey clouds gathered low over Pakington Street in Geelong West last Saturday morning, jostling to catch a glimpse of the gloriously coloured community musicians gathering in readiness on the grass below to play in the StreetSounds Festival parade and fiesta. The previous evening these same musicians had made their way to Geelong to bring the StreetSounds project to Geelong After Dark, illuminating the darkness with beats, riffs, fat sounds, fairy lights and high vis vests.

The StreetSounds project has been lead by Community Music Victoria since 2015, with funding from R E Ross Trust and Helen Macpherson Smith Trust. Over the past two years, street bands have popped up in Kyneton, Bellbrae and Inverloch; Morwell, Dunolly, and Footscray; Sunshine, Windsor and Melton, all kindled and supported with encouragement, advice and input from StreetSounds project manager, Lyndal Chambers.

Each of the bands is open to anyone and experience, skill levels and age are no barrier to joining in. What’s key is the desire to have fun and connect through making music together in a way that is mobile and can be taken out to the streets and delivered to the broader community for everyone to enjoy. Playing loud music and wearing loud clothes present people with an opportunity to escape the mundanities and worries of life once in a while, whilst making new friends and strengthening local networks: what’s not to love?

Many amazing moments have come to light as the StreetSounds project has unfolded. Horns have been dusted down, flutes and recorders have emerged from packing boxes, marimbas have been built and washboards assembled. There are several families now involved across the project: Amy plays in the Fabulous Meltones together with her three kids and her father.  In the Prahran Accordion Band, Hans has dreamed of being able to play the accordion since childhood.  And for everyone, making music in a band where there are no wrong notes adds a dimension to life, hard to beat.

The element of inclusion which has underpinned the StreetSounds project since its inception was evident at the Festival and in this safe space the crowd brimmed with palpable pride, enjoying the energy and enthusiasm generated by merging and becoming part of a bigger picture. A static crackle of excitement sparkled and sparked through the throng and across West Park on Saturday, exploding into a massed rendition of ‘Caderas’ and Shane Howard’s ‘Talk of the Town’, two common tunes learnt and rehearsed by the bands to play together at that very point.

A pop-up off-shoot of the non-conventional street band ‘Our Community Sounds’ ran an open improvisation workshop in the Park’s rotunda, drawing in members from all of the bands and encouraging them to experiment spontaneously with sound. ‘Our Community Sounds’, facilitated on Saturday by Conor O’Hanlon, shares the same philosophy as the other street bands – one of removing barriers to participation in music making but the delivery is in the form of spontaneous participatory events rather than performances.

“I realised what a unique thing we were all doing – not a Jazz Festival, not a Folk Festival, not a Brass Band Festival, not a Music Camp .. something that’s inclusive of a diversity of skill level, instrumentation and cultures.” Lyndal Chambers, StreetSounds project manager

The clouds could only contain their excitement for so long, and as the rain finally fell, the StreetSounds mob and their homemade banners moved into the hall at West Park where they played short sets all afternoon, joined by the Zamponistas, Havana Palava, Doowlla of Drum Connection and Geelong’s Tate Primary School marimba band, the Marimbataters.

KSB
Darth Vader takes to the streets as part of Kyneton Street Band
Invy Horn Jam 2
Percussionist Steve Schultz & his son drumming up a storm with Invy Horn Jam
Massed Play 8.jpg
Jane Coker, chair of the CMVic board of management giving cues during the massed play
Havana Palava6
Members of Havana Palava meet members of the Sunshine Street Band, Boomulele, & the Fabulous Meltones. Other players from other bands joined in amongst the crowd for a fantastic finale!

Click the  links below to see two glorious photo stories of the event, by Dr Laura Brearley:

1: GEELONG AFTER DARK

2: STREETSOUNDS FESTIVAL

And there are oodles more photos of everyone to see on the StreetSounds Facebook page!

Written by Deb Carveth, online editor for Community Music Victoria

Further reading:

Our Community Sounds: an exciting new improv project

MELTIN’ DOWN AGE BARRIERS IN MELTON: THE INTERGENERATIONAL STREET BAND SUPPORTING FAMILY MUSIC MAKING.

Dreams Come True at Prahran Accordion Band

**To find out about joining a StreetSounds group near you, contact Community Music Victoria or jump on the website, www.cmvic.org.au

Meltin’ down age barriers in Melton: The intergenerational street band supporting family music making.

‘What I really get out of the band and the practice is simply the fun.’ says Melton resident Amy McDonald who for the past year has played with The Fabulous Meltones, one of the bands to have emerged with support from Community Music Victoria’s StreetSounds project.

There are three generations of Amy’s family in the band: Amy, her 67 year old father, Martin, and her three kids, Nina, Tenzin and Kohana who range in age from 23-6 years old.

“To have the sort of fun that say, Havana Palava have, would’ve been undreamed of for me before, and even though I’m not there yet, I live in hope!”

The experience of being in The Fabulous Meltones has extended the opportunity Amy and her family has to make music together, and brought unexpected and hidden talents to light.

“My father who has done orchard work most of his life learnt to make feathered headdresses for the Dream Big festival, last year. Local artist Krissy Tee, who is currently specialising in the creation of amazing headdresses came to give us all a lesson. Dad made his in record time and was then able to help everyone else. He’s also getting to grips with the finer points of picking out loud shirts (The Fabulous Meltones signature colours are red, orange, pink and yellow because we are Melton…meltin’ hot..”

fab-dad
Martin models his meltin’ hot headdress

Since their inception last year, The Fabulous Meltones have wasted no time making their mark on the local music scene. Lead by John Lane, they have performed at the Dream Big Festival as well as the Platypus and Djerriwarhh festivals in Melton. They’ve also played at the Melton train station for the opening of the underpass artwork unveiling; as part of At The Platform and at the end of year wrap-up party for Linking Melton South.

“I love that we get to perform together, we had never done anything like that together before. My dad always played the guitar, and my mum did and my grandfather does. I had trouble learning written music so I just learnt one riff from every person I came across. Mostly we know that when we’re together we’ll try and have a jam of some sort because everyone’s grown up and moved away, and my dad really loves it.”

The fact that four of the band members are family is important to Amy. “There’s such a difference between the styles of music that each generation likes. When you have family songs that everyone loves singing and those songs remind you of good times that you’ve had, this is a plus because they cross the generation gap.”

Amy and her family practice the pieces they’re learning with the band, together at home.

“I hear my little one, she seems to be singing the songs all the time at home but she will never perform… she sits and draws and she won’t join in, but she’s still listening.”

Amy is adamant that there shouldn’t be any division in society based on age and that being part of The Fabulous Meltones offers people the opportunity to mix socially outside of their own age group and that this teaches tolerance, patience and respect.

“Old people shouldn’t be excluded and young people certainly shouldn’t be excluded…Young people think they’re cool and that we don’t understand their music, but all music becomes old and daggy and it’s only a matter of time until it comes back into fashion.”

meltones-gals
Amy and her daughter, two of the Meltones gals

The fact that there are people of all ages involved in The Fabulous Meltones keeps things interesting and encourages people to be aware and thoughtful of the needs of others.

“Everyone has to be patient… there are little kids there and you have to be patient with older people too… while some people learn things quickly, other people need to be shown things a few times. We’re all different… John (Lane)’s really great and has taught a few of the band members to play the ukulele from scratch, which is so valuable.”

It’s recognised that involvement in an intergenerational community band promotes connection, communication and friendship between the participants, and the benefits of this have a positive effect extending beyond the context of the music making,  strengthening  and reinforcing the fabric of the community.

As Amy says of her experience as a Fabulous Meltone, “It makes you satisfied with your life and with being where you are….”

Article by Deb Carveth, online editor for Community Music Victoria and Amy McDonald from The Fabulous Meltones.

**If you’re interested in joining The Fabulous Meltones, the next practice will be on Thursday 2nd March, at 4.30pm. The band is open to everyone (any age, instrument and skill level)

 

 

 

 

 

 

 

 

A child’s brain develops faster with exposure to music education

A study by researchers at the University of Southern California shows that exposure to music and music instruction accelerates the brain development of young children.

Source: A child’s brain develops faster with exposure to music education

Music and Mayhem in Mirboo North

Twice a week Mayhem breaks out in the life of Gippsland based Singing Leader, Jane Coker. This has nothing to do with escaped chooks or lost car keys, Mayhem is a music and drama group, organised by Scope and facilitated by Jane, for adults from day centres in Traralgon, Wonthaggi, and Warragul. Everyone comes together at the Grainstore, a beautiful old wooden building in Mirboo North, to sing and dance and meet other people. It’s about therapy, fun and having a good time together. It’s about making a racket and making a mess. And it’s awesome.

The group are extremely wide ranging in their abilities, some people are really high functioning, others communicate with the blink of an eye and Jane runs the group by herself. Five or six carers come along and take care of the physical needs of participants, assisting them with morning tea at the start of each session and with lunch at the end, as well as helping them to take part in the activities.

The group was established by Jane’s mate, Kate Jackson, who recognised a need in the area for this type of group and was doing all she could to enable people to have a creative experience. When the time came for her to hand over to somebody else, she approached Jane who had no previous experience of leading a group of people with such diverse abilities.

“Kate was getting people singing, she was getting people dancing, she was doing a bit of drama. I looked at it and thought, well, I reckon I’ve done enough of this in my life, I think I can probably have a go at that and I’ll treat it as a training course because everything I’ve ever learnt around Community Arts Development in my life has been learnt on the job.”

Jane decided to train herself, try leading Mayhem for a year and see if she liked it driven by her guiding principle: To find a way to enable everyone in this group to participate in some way in what’s going on. The next question then, was how? How to do this with such a mixed group?

To begin with, Jane took a lot of guidance from the carers. While it’s obvious to see when some people are participating, with others this is more difficult particularly if you don’t recognise the significance of the sentiment they’re relaying with their eyes or from their movements or the sounds that they make.  For one or two of the participants, it is hard for anyone to decipher whether they’re benefitting from taking part or not and for them Jane believes Mayhem has to exist as a sensory experience in as much as they’re having something happen as opposed to having nothing happen around them and this, perhaps,  is as participatory as it can be.

Jane approaches leading Mayhem as she does all her other groups. People are people.

‘If my main aim is full participation and I’ve got to fathom out how to get somebody to participate where it’s not obvious and it’s not easy, the only way to go about facilitating that is (a) To collect as much information about each person as I can, and I engage the carers to make sure they are part of the whole process, and (b) to actually engage with that person as much as I possibly can and try to find out how I can have a relationship with them. It might just be the tiniest thing like a finger uncurling when I touch their hand but if that happens repeatedly, that’s feedback and that’s me developing a relationship with that person.’

Over the course of the past four years, Jane has learnt a lot about the subtlety of changes in the facial expressions of  participants: ‘I’ve really learnt to to recognise the sounds and the subtle little changes in their faces and their eyes….I’d never had that experience before and it has been amazing.’

Jane begins and ends each session with the same song. To begin with she thought everyone would grow really bored of this, but the opposite has happened, and they love it. And the more they do it, the more they know it. For some of them, it has taken four years to develop the confidence to sing that song and Jane recognises this as something working with Mayhem has taught her: there is so much to be said for repetition of material.

Using the same song also acts as an effective signal to everyone that the class has begun, and that it has ended so that even if they don’t really know what’s going on, people have a sense that something is in process and that they are a part of it.

Music played on the PA gets the Mayhem mob dancing and taking it in turn to pick the tunes which vary from ABBA to YMCA, to Pink and everything in between, reflecting the range in their ages.  While the dancing is taking place, anyone in a wheelchair is helped to move by Jane and the carers: ‘It’s dancing in the broadest sense with some people dancing in their minds.’

‘One guy’s into really heavy aggressive rap, and I draw the line there as the material isn’t suitable to impose on other people and politically I can’t play it myself, but he participates fully in other ways, and I talk to him about why I don’t play his stuff and I think he gets it!’

Singing through the microphone proves popular, offering a lot of fun and visibly increased confidence to the singers. Jane says ‘I never thought I’d think that was a good thing to do but I do! Because it’s what they see on the TV and it enables them to do something that they recognise and they have a LOT of fun doing it… And while they’re doing that, everyone else is dancing and using really nice bright coloured pom poms and stuff to dance with, twirling around, there’s a lot of colour and everyone’s doing their own thing, and it is, well, mayhem!!’

jane
Jane in dress-up mode at CMVic’s 2016 Music Camp

Jane uses a big pile of percussion and dressing up clothes with Mayhem. Because there’s no funding for this, she spends spare time scouring op shops for anything they can use in the group. For anyone who can’t physically grip a shaker or move their hands, Jane has made velcro variations and modified instruments which can be strapped onto an arm, enabling that person to make music and she’s always on the look-out for instruments that can be adapted. Soft stuff comes in handy too, as there are a lot of participants who throw things.

“If I can find a soft ball with a bell inside it, that’s perfect because it can be used as an instrument but when it’s thrown, it doesn’t decapitate anybody…”

Call and response features heavily in Mayhem, techniques learnt by Jane through voice-work training workshops. “I make sounds  to the group, they make sounds back at me, and it’s a beautiful thing because people who are non-verbal do still use their voices a lot  and will do that when invited to do so. So they’ll make sounds and we can make them back, and in this way they are participating fully.

There is a basic sign language called Key Word Sign used by the carers to indicate food, going to the toilet, etc, and Jane feels this is a skill which should be developed and taught more widely: ‘If I was able to go on some sort of course to learn Key Word Sign, or the appropriate sign language to use with people which is used across the board in those kind of facilities, that would really add to my skills.’

A forum was held at the recent CMVic Singing Camp between singing leaders working with marginalised sectors including disability.  Jane found being a part of this conversation invaluable because it reinforced her belief that the best way to develop confidence and strength in your own ability is to network with other people who are doing the same kind of thing:

‘Have a phone conversation with somebody, go to their group, see what they’re doing and participate. If you can apprentice yourself to somebody else who is doing it, that would be amazing, but this is a little bit unlikely, given that we are so few and far between. It might work better in the city…’*

Now into her fifth year working with Mayhem, Jane reflects on how it has become easier as time has gone on. “I’d say the training course took two and a half years of me leading the group once a week, and since then I’ve led it twice a week. And now I feel confident in doing what I go there to do. It’s about the fun, the relationships and the positive attitude…

“I love the fact that I’ve proved to myself that the principle of as much inclusion as possible, in the moment that you’re in is the one that works best.”

 Article by Deb Carveth with Jane Coker

 If you have any percussion instruments, shakers, bells, or things which are fun to play that you would like to give Jane and Mayhem, let us know!

RESOURCES:

If you would like to get in touch and speak with Jane about her work with Mayhem, she can be contacted on jane.coker@bigpond.com

*Music Action is a closed Facebook group run by Melissa Murphy for people facilitating all abilities music groups for adolescents and adults. It’s an ideal forum to share ideas, news and conversation.

Dunroamin? Just startin! A hot stepping new street band hits the streets of Dunolly

Picture the scene: a large group of leather clad bikers on a pit stop; add a healthy dose of community musicians into the mix, and what do you get? Broadway, a street through the small, regional town of Dunolly, last Saturday afternoon.

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A scene from Broadway, Dunolly

The latest addition to the CMVic StreetSounds project shook its collective feathers and stepped blinking into the light at 2pm last Saturday as the new and perfectly formed Dunolly Street Band. Emerging from the Ministry of Fun after less than two hours playing together, the fledgling band wasted no time in taking their newly learnt tunes into the street, where the bikers proved an enthusiastic audience for the horns, ukes, flute and accordion players.

Anna and Phil Ashton who organised the afternoon in collaboration with StreetSounds project manager, Lyndal Chambers, declared it it loads of fun and a total success.

“It was nicely low key and I don’t think anybody was scared!”

Anna was inspired to start a Street band in Dunolly after hearing about the opportunities offered by other bands emerging from the project, particularly the Kyneton Street Band, led by Andy Rigby, but still more than an hour’s drive from Dunolly. For Anna and Phil,

“It didn’t make sense to be part of a street band anywhere else.”

The last community brass band in the town finished up about fifteen years ago. A Ukulele group formed a couple of months ago, but for players of more honky and stronger sounding instruments, an opportunity to gather regularly has been a long time coming. Once she knew support from Lyndal Chambers and Community Music Victoria’s StreetSounds* project would support her vision of a Street Band for Dunolly, Anna felt the idea was too good to pass up and set the wheels in motion, posting publicity within the community and on Facebook. A street band is a fantastic way to bring together local people from all age groups and backgrounds, playing different types of instruments in different ways; a wonderful smorgasbord of sounds and skills.

As the promotional poster for Dunolly Street Band promised, ‘absolutely no experience needed, just come and play for fun.’

Anna admits she felt a bit nervous about numbers ahead of the gathering on Saturday. Strat (Brian Strating) and Lyndal were travelling up from Gippsland to help facilitate and Anna wanted them to have a good ole group to lead when they arrived. She needn’t have worried. Keen community musos travelled from the other side of Newstead and Bendigo to join local Dunollians, including a musician fairly new to the area which is what it’s all about, after all.  Anna knows other people are out there and keen for the band to happen, who simply couldn’t make it along last Saturday.

Following this hugely successful inaugural get together, there are plans to carry the band forwards into a bright (and brassy) future, and working together with Phil’s uke group. Anna is also hoping to encourage local school kids and their families to try it, too.

By the time the StreetSounds festival rolls around next May, it sounds like there will be a thriving Dunolly contingent out in the throng on the streets of Geelong.

And what happened to the bikers? They gave the new Dunolly Street Band an encouraging round of applause before heading off through the Central Goldfields, chasing the dissipating, freed-up notes of newly learnt tunes as they dispersed into the atmosphere.

Below is a video clip of the band in action, out on Broadway. (Thanks to band member Judy Meldrum for the footage)

Article by Deb Carveth with Anna Ashton

Join the Dunolly Street Band! The band is in the process of arranging its next rehearsal. To be a part of it, contact Anna and Phil: 0490 077 902

*StreetSounds is a major project that resulted from the Victoria Makes Music Program and started in January 2015 with the help of funding from the Helen Macpherson Smith Trust and the R E Ross Trust.  The project aims to create at least 10 new street bands in Victoria and will run until Dec 2017 – find out more about StreetSounds here.

 

 

Where StreetSounds Meets Sounds of Country

Dr Laura Brearley

Last week, members of Boomulele, the StreetSounds Street Band from Morwell, took part in a Ceremony at the Latrobe Regional Arts Gallery to mark the end of the Sounds of Country exhibition and to celebrate the community of Aboriginal artists within it. The Sounds of Country exhibition explored the Aboriginal concept of Deep Listening, revealing the relationship the Aboriginal artists have to the land and to the natural world.

The Sounds of Country Ceremony was conducted as a Deep Listening Circle. About 45 people participated in the event which included local Aboriginal artists, community members, guests from the Wulgunggo Ngalu Learning Place, the Torch Project and staff from local organisations and educational institutions. The oldest participant was 89 and the youngest was 10.

It was the first time the Boomulele Ukulele and Percussion Group had played in public and they did a marvellous job, performing strongly and including everyone. Boomulele is one of ten Street Bands within the Community Music Victoria’s StreetSounds project, each of which is making a unique contribution to cultural community development within its region.

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Mick Harding ‘Taungwurrung Goork-Ngada Biik Blood Country, 2016 with Lisa Kennedy and Laura Brearley’s ‘Magic Dilly Bag Circle’, 2016

Before the Ceremony, Lyndal Chambers and Brian (Strat) Strating led a rehearsal with Boomulele and other community members, creating a sense of fun and inclusivity. Ronald Edwards, a Traditional Custodian then welcomed people to his Country and Boomulele led everyone in a Gunaikurnai Acknowledgment Song. During the Ceremony, artists and community members shared stories about their creative practice and a dancer from Wulgunggo Ngalu spontaneously performed a Creation Dance around Ronald Edwards’ painting which lay in the centre of the Circle. At the end of the Ceremony, Boomulele performed ‘Djapana (Sunset Dreaming)’ and it raised the roof.

One of the participants in the Circle was Jeannie Haughton, a local playwright. This is how she described her experience of being part of the Sounds of Country Ceremony:

I feel

the embrace

of a safe place

it wraps me in welcome

I listen

heartfelt words

and pictures leave

traces and tracks in the air

breathe deeply

a long slow outbreath

letting go of everything

but the now

stories

the unspoken

reading wisdom in the lines

on faces

voices from the strong

the fragile cradled

all joining in song, and dance

connecting as one

The combination of music, dance, art and the exchange of stories at the Sounds of Country ceremony led to a strong feeling of community and connection in the room. It was a living example of Deep Listening, a way of listening which goes well beyond what we can hear with our ears. To listen deeply, we need to take time to engage and to create space in which genuine contact can be made.

Boomulele and the SteeetSounds project are making a significant contribution to creating spaces like these across the State.

Feature image: Ronald Edwards: Telling stories on Gunai Country, (detail)2016 acrylic on canvas 

For more information about the StreetSounds project, go to https://cmvic.org.au/pages/streetsounds