Tag Archives: cmvic

Diversity & inclusion & why we shouldn’t be indifferent to difference

Life would be boring if we were all the same. Living in the most culturally diverse state in Australia, as Victorians we are encouraged to be inclusive and tolerant of everyone, and to show respect for aspects or characteristics in a person perceived to be different to our own.

Diversity and inclusion are important components of a healthy, happy and effective society where everyone feels recognised, valued for who they are and able to contribute, irrespective of their background, religion, ethnicity, language etc.

Over the coming weeks, this blog will take a closer look at the ongoing work done by Community Music Victoria to promote diversity and inclusion in our music making communities, with focus on two particular projects:

1: The SINC program (Singing for Inclusion) A series of workshops run by Community Music Victoria in conjunction with Creativity Australia to train singing leaders in running inclusive singing groups.

2: Voices of Peace: a project to empower recently arrived and settled refugees from Assyrian Chaldean background to establish a Women’s Choir though which to build and strengthen connections and to reduce the pain of dislocation and loss sustained through the persecution they have endured.

As a prelude to these posts, we felt it worthwhile to re-visit what is meant when we talk about diversity, and inclusion.

Diversity:

According to good old google, diversity is ‘The state of being diverse or ‘a range of different things.’

Through its very essence, diversity is not restricted and defies definition.

While the most obvious and noticeable points of diversity in people such as age, race, gender, and other physical attributes are external, you can never assume anything about a person simply by looking at them. Avoid stereotyping at all cost.

Non-visual or invisible diversity covers a plethora of factors, issues and circumstances that are not seen readily and can only be ascertained if that person choses to share them with you. Again, never judge a book by its cover, and be prepared to ask people about themselves in an open, direct and empathic way.

Put simply, diversity means there is a point of difference.

Global Diversity Practice UK states: “Diversity is about empowering people. Fundamentally, diversity means respect for and appreciation of differences in age, gender, ethnicity, religion, disability, sexual orientation, education, and national origin that are implemented by laws and policies…

…the power of diversity can only be unleashed and its benefits reaped when we recognise these differences and learn to respect and value each individual irrelevant of their background.”

Which brings us on to the other side of the coin: inclusion.

Inclusion:

We each carry a diverse and unique set of cultural beliefs, experiences and attitudes which define us. Inclusion is the practise of allowing our individual differences to be recognised and socially accepted. It is about being welcomed into a situation and feeling fairly and equally treated for the person you are and not judged on your religion, origin, age, gender, marital status, etc.

Inclusion is vital in creating a rich and stable environment where shared learning leads to strength and cohesion and one in which people can thrive. It is about creating what Community Music Victoria refers to as ‘a safe and fearless space’ in which everyone has the capacity reach their full potential because they feel genuinely included, supported and valued. It requires a commitment to the process of continued learning, and in this respect is a journey for us all with a number of positive outcomes.

“Inclusion is a sense of belonging: feeling respected, valued for who you are as an individual or group; feeling a level of supportive energy and commitment from others so that you can do your best… Inclusion is a shift in an organisation’s mindset and culture. The process of inclusion engages each individual and makes people feel valued which is essential to the success of the organisation. Individuals function at full capacity and feel more valued and included in the organisation’s mission. This culture shift creates higher performing organisations where motivation and morale soar.”  Global Diversity Practice UK 

In its 2016-2020 Diversity and Inclusion Strategy, the Victorian Government writes “Inclusion makes us stronger, exclusion makes us weaker…

diversity and inclusion enables us to grow our understanding and find new ways of doing things.”

In a fully inclusive society, diversity is embraced and celebrated as opposed to shunned, feared or stereotyped and the potential and opportunity for connection is greater. Through seeking to understand and educate ourselves about difference, we can move forward more cohesively and, in doing so, create a rich and varied society where commonality and difference co-exist happily, where people feel safe to share their backgrounds and culture whilst retaining the practice, beliefs, characteristics and traits which make each of us so delightfully unique.

Three ways to immediately be more inclusive:

  • Don’t make assumptions about an individual
  • Think before you speak: Understand how what you say and do impacts on others
  • Recognise and celebrate diversity

Article by Deb Carveth, Online Editor, Community Music Victoria

References and further reading:

Global Diversity Practice UK

Victoria State Government Diversity and Inclusion Strategy 2016-2020. Download a copy here.

 

 

 

 

 

 

 

Sharing more than song: Singing life back into an old, old concept with a brand new barter choir.

‘If I can reduce my living expenses significantly that’s as good as making money.’ says Werribee singing leader, Steph Payne, who recently established ReciproVocal, a Barter Choir where instead of paying a termly fee to join, participants are invited to share and exchange skills and trades and even sing for their supper. (Steph dreams of dentists, desperate to sing, and who wouldn’t?)

At ReciproVocal, your money won’t get you anywhere! Steph’s vision is for the group to experience not only the bond of solidarity and support for each other common between members in community singing and music groups, but to educate themselves in ways of bartering and skills exchange that will extend out to enrich and sustain the wider community in unforeseen ways.

The idea for ReciproVocal germinated from a seed sewn at an inspirational workshop run by community facilitator, Debby Maziarz, at the Wyndam Arts Incubator, in Werribee. The workshop focussed on bartering and the establishment of mutually beneficial connections between artists and businesses, an idea that resonated heavily with Steph, inspiring a steep and positive learning curve. While she is in no doubt about the sense in trying this ‘revolutionary-retro’ approach, Steph acknowledges that she, herself, had to learn a lot of lessons in the lead up to the launch of the singing group, and that other people may also need time to come around to the concept:

 “There needs to be a huge amount of education around bartering and trading. People can’t see how bartering fits into their world because they’re used to a money based currency.”

Steph has also noticed that even amongst her existing  network of singers and ukulele players all keen to continue working with her, there is often the initial response of ‘but I don’t have anything to trade.’

“But they do! We are all so used to being valued monetarily and comparing ourselves based on what we have. People just don’t realise they have loads of things to trade and that you’ve got to look at it more creatively.”

To encourage new participants to dip a toe in the ReciproVocal waters, Steph is willing to accept money from her singers to begin with, gradually introducing the barter model as the group grows and develops its collective understanding of a non-monetary based currency.

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Steph leading Williamstown based singing group, Willin Wimmin

“We’re all fixated by the concept of money. On the one hand it’s a leveller because everything has a monetary value, it’s very open and clear and you can see what you’re buying into. But on a whole lot of other levels it’s incredibly unfair and messed up. Money’s convenient, but it’s a real trap and it only gives things one value, when certain things hold much more.”

A significant piece of the sociological scaffolding required to support the bartering model, is trust. Trust in the validity of the concept by the participants is crucial, and belief by Steph that the services and goods offered will be forthcoming in the way they are promised is important too. A clear, shared understanding of the need for mutual boundaries between the definitions of professional and personal space between members of the group is equally important. This line in the sand is necessary for the sake of all participants because the variety of tendered tasks require varying degrees of access to areas of each other’s lives.

And while response to the idea of ReciproVocal has been hugely positive Steph believes it will be a slow burn to reach a sustainable level of interest, and is prepared for this to take time.  She’s excited by an awareness that the more people she can engage and educate about bartering, the more likely it is that there really can be a functioning level of trading going on, with the possibility of a real alternative economy starting in Werribee.

To help people get their head around the type of things they can bring to the table, there’s an area on the ReciproVocal website which offers examples of what 8 weeks in a choir is worth. Steph has supplied this as a guide to allow people to work out for themselves the equivalent ‘value’ of what they might like to offer.

Again, a sliding scale of value applies because the value is not just monetary. It’s not as simple as being a term’s worth of singing valued at $150. Singers might offer a service which will save Steph time, or produce something she needs or simply just wants, or be able to arrange a lead into further work for her. The option of third party trade also exists. For example, you may not be willing to mow Steph’s lawn but you might know somebody who is for whom you can babysit, who will then mow the lawn and the chain of exchange grows longer and more embedded.

Steph is always looking to enrich and develop communities through the groups that she runs. It’s a strong part of what drives her. In the past she’s run a singing group in a pub because of the immediate social set up, and she’s hopeful that Reciprivocal will grow to enrich the community in a myriad of ways. Her hope is that once people are engaged in the trading and bartering concept, they will extend those terms and values of collaborative, sustainable living to each other, and eventually to people and life situations beyond the singing group:

“There’s a great level of satisfaction in getting your needs met in a way that’s not financial. As a person with something to offer, as a product as a service, any of us have a choice in how we exchange that. We have our needs, we have our resources, it’s about how to match those two things up. “

Article by Deb Carveth, online editor for Community Music Victoria, in collaboration with Steph Payne.

RECIPROVOCAL SEEKS SINGERS!! Open to adults of any age and experience. Rehearsals are Thursdays 7-8.30pm 8 weeks per term. Starting July 28, 2016-08-04  Venue: Wyndham Arts Incubator, Old Shire Offices, Room 4, Cnr Watton St & Duncans Rd, Werribee.VIC 3030 www.reciprovocal.com.au  www.facebook.com/reciprovocal  Email: unstrungmusic@gmail.com

 

 

Sharing Jewish Songs at the Community Music Victoria Music Camp

I recently attended the 2016 CMVic Music Camp at Grantville Lodge. I had never attended a CMVic event before and was somewhat trepidatious. I do not play a musical instrument myself, but I do sing in a choir, and I love singing, so was keen to take part in the singing workshops during the weekend in particular.

On the Sunday morning I took part in the Sharing Jewish Songs Workshop. From the minute our facilitator Sarah started talking to us about Jewish and Yiddish Music, about how (according to the strict Jewish faith) women are not really supposed to sing the songs we were about to learn, and about how we were about to make a song together consisting of only “ay di-di dies” I think we were all hooked. Sarah herself had the most beautiful singing voice, and encouraged us to “put the cry in our voice” in the way that she had been. It worked, we sounded good!

Within what seemed only a few minutes we had all engaged in a very emotional moment together, singing what sounded like a heart-breaking song that lifted all of our souls.

I know that may sound extreme, but that is how it felt at the time. We must have done something right, as Sarah herself had to wipe away a tear and told us we sounded beautiful when we had finished.

Sarah then went on to teach us two other Jewish songs, this time with lyrics, which she explained to us from a Jewish perspective, with an enjoyable sprinkling of humour thrown in. Again, the group very quickly seemed to be able to pick up the nuances and tunes of the songs, and before we knew it we were all singing in a circle, with our eyes shut, and “putting the cry in our voice” in a way we never knew we had in us. This was aided by Sarah’s youngest daughter who had joined us (who I’d had fun learning to play the marimba with the day before), adding the little harmony lines to accompany the songs. We then learned those too.

I enjoyed my whole weekend at Grantville, but this workshop was the one I didn’t want to end. I don’t think I was alone. I had a sneaky suspicion beforehand that I was going to love this workshop, but I had no idea how much.

I have just returned to England where I live and am now thinking about looking into if there is a local Jewish singing group in my area. I never saw that coming. I think Community Music Victoria’s weekend hit the mark in ways I never expected.

By Sarah Jackson

Listen to a recording of the beautiful song Adio Querida from Sarah’s session, here.

 

 

 

Basking in the freewheelin’ warmth of the Sunshine Street Band

The last rays of a Tuesday evening sun can often be glimpsed glinting off the brass horns,  drums and other instruments of the Sunshine Street Band by the runners and dog walkers soaking up day’s end on Albion’s oval.

Every second week, the band throw open the doors of Albion Community House to allow strains of ska, jazz, whatever they’re currently playing to escape into the evening air and across this little patch of Melbourne’s West.

Peter Hinton, band founder and self professed freewheeling trombone player, sees the Sunshine Band as a ‘perfect gateway into playing in a group where different instruments are represented.’ Players of any acoustic instrument are welcome, with age and a lack of experience no barriers to joining. Some people follow dots, others play by ear.

As one of the inaugural bands in the StreetSounds project run by Community Music Victoria, the Sunshine Street Band is a real collective and has evolved to run as a collaborative model after a large dose of input, encouragement and mentoring in the early stages, from Lyndal Chambers, guest tutor Robert Jackson, Brian Strating and Katie Rose Fowler, who still plays with the band.

Peter considers the band an effective way to combat social isolation and improve connectedness between like minded people living in and around Sunshine: ‘It’s a very healthy thing to have a connection with your community..’

Hinton was the catalyst in getting the band started because he was keen to find somewhere for himself and his family – specifically his teenage daughter, to play music together with others and because there was ‘genuinely nothing else like that around where you could play music for the joy of it, where auditions and an expected level of experience didn’t apply..’

With some musical experience playing guitar with friends who then moved across town, Peter was keen for himself and his daughter to have the freedom to try new instruments and keep music going as an ‘outside of school type of thing’.  After a spot of googling, and deciding that a local community band open to beginners would be the most rewarding thing to be part of, Peter discovered Community Music Victoria and picked up the phone.

His timing was perfect. Funding for StreetSounds had just been granted by the Helen MacPherson Smith Trust and the RE Ross Trust, and Lyndal Chambers was in place as project manager. Peter’s passion and palpable conviction of the need for a community band in Sunshine were the perfect sparks to ignite the project, and the Sunshine Street band, and the project, were launched.

 ‘Without Lyndal, this wouldn’t have started… she had all the contacts… Together with Strat she helped set the culture in the first couple of sessions .. they made it clear that you don’t have to be professional to be in a band, there were no wrong notes! It was all motivation and encouragement. And she found us the room too. (thanks to Brimbank Council).’

The band is evolving into a real collective in the way they choose what to play and the way they play it. ‘Katie knows which instruments play in which key which has really helped cos you need somebody like that… and we’ve found there are heaps of good reasons for all sharing the leader role, everyone has a say and when they have a say they feel more involved and connected. It also feels more sustainable and means that all the pressure isn’t just on one person.’

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Sunshine Street Band skills being put into practice at CMVic’s 2015 Music Camp

As the numbers increase, Peter says people are being drawn to the community vibe of the band. ‘There are some strong players coming in now from Sunshine West way, and you can tell from the way they play they like their music.’

As a band open to players of all abilities and musical tastes, Peter believes the key to participants getting the most enjoyment out of belonging to the Sunshine Street Band is to be open to trying different styles of music, be supportive of each other and ‘don’t expect too much, too fast… you have to make the commitment.’

From a personal perspective, Peter says that ‘being in the band and playing a brass instrument has opened up a new world for me… I’ve never done something like this before… It’s loosened up some inhibitions in me, you can feel constrained trying to play by the book and I was feeling musically detached, playing a bit of guitar but not socially, so being in the band is really important.’

The door to the Albion Community Centre is open for the duration of the band’s rehearsals every second Tuesday, and newcomers from absolute beginners to experienced players are always welcome: Drop in and try it out!

The Sunshine Street Band: Meets fortnightly at Albion Community House, 61a Selwyn St, Albion, VIC 3020 For dates and further information, go to www.cmvic.org.au

Article by Deb Carveth with Peter Hinton; feature photograph courtesy of Angela Casella

 

 

 

 

 

 

 

 

 

 

 

Dreams come true at Prahran Accordion Band!

Prahran Accordion Band’s home is the German Club Tivoli on Dandenong Road. It’s not a building to evoke architectural wonder as you pass, but inside on the first and third Thursdays of the month, magic happens.

From around 6.45pm, members of the Prahran Accordion Band (PAB) can be spotted lugging cases out of cars, setting up music stands and testing their bellows in eager anticipation of another fortnightly session, led by Phil Carroll.

PAB is not huge in numbers which means a real sense of connection is being nurtured and as word gets out, the ranks are growing steadily. There’s now an average of ten players on any given week from across a wide area of Melbourne, battling evening traffic and catching trains in their dedication to squeeze in the time and to get to grips with their accordions.

We are a mixed bunch. Our lineage extends out of that big rehearsal room into the streets of Windsor and from there, all over the globe. To Poland, South America, Germany, Italy and the UK. Our ability varies a lot too; some people, like Hans Gruneberg, are absolute beginners while others have been playing since childhood.

Hans moved from Germany to Australia at the age of 22. Raised in West Berlin, he made the passage by sea away from his family and his home. On arrival at Port Melbourne he was put into quarantine where he was forced to shower seven times a day and have all his belongings sprayed with disinfectant. Undeterred, he has made Australia his home for the past 43 years. Speaking English as his second language, Hans found work as a butcher, married an Australian woman and raised a family of his own.

Hans speaks nostalgically of hearing the accordion played in his German family home especially at Christmas time and about how, as a child, it was a dream of his own to learn to play.

At the age of 65, thanks to the launch of the PAB as part of CMVic’s StreetSounds project, Hans was finally able to tick this wish off his bucket list.  Having never played an instrument before, Hans was encouraged to join by Paul Smyth, founding member of the band, and Judy Gunson who occasionally leads the group.

Hans describes being able to play the accordion as a ‘dream come true’.

“It’s a great feeling to make music… it’s a great group, a friendly group.  I enjoy taking part and it gets me out…  it’s very supportive… and now I can play tunes by myself.”

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Hans in action on his accordion at the StreetSounds Rough Riffs workshop held in July , 2015

The first thirty minutes of each session, is all about going slow for the beginners and that’s the time to ask questions and focus on tunes covering a range of no more than five notes in the right hand, and two chords or less, with the left.

Even then, it can feel surprisingly hard to correlate the two, and evokes the same looks of confusion and concentration as you see on the face of a child trying to simultaneously pat their head and rub their tum. But with just ten minutes practice every day or so, it’s amazing how quickly skills can noticeably improve.

The more extended part of the PAB repertoire includes classics such as La Paloma, and Roll out the Barrel. If you can’t play a piece with both hands, stick with one, join in when and where you can. In this way, we’re making great progress, and learning major and minor scales in the right hand, too.

The sound of a tune divided into alto and soprano parts can be amazing, the harmonies blending; the bits where we stumble and fall flat half way into a tune and have to go over a particular bar several times or start all over again, serve to deepen our connection and commitment to our practice because nobody minds and we all have a laugh.

The chat around the table during our break is also evolving to include more personal issues as people open up to share stories of their backgrounds and their daily lives.

Hans, for example, has overcome an ongoing battle with joint pain and a recent knee replacement makes him the most bionic member of the PAB. He is also a keen documenter of the club’s progress, taking photos of the group in action at Christmas and in concert last year at the Chris Gahan centre, which he then prints out and shares around. Old school, and precious. Hans is also a regular at the club’s shooting range and is a bit of a champion shot. As Phil says, Accordion Players, beware!

The Prahran Accordion Band meets every fortnight for two hours from 7-9pm. An annual subscription of $40 is paid by each player to Club Tivoli for the rehearsal space, which, as Phil points out, is probably cheaper than a one to one accordion lesson, so we’re onto a pretty great thing and there’s a weekly cost of $10. So if you or anyone else you know is using their cased accordion as a coffee table , get them to come down and see what it’s all about.

Prahran Accordion Band is open to players of all age, skill level and ability and is supported by Community Music Victoria through the StreetSounds project. For further information, email the team at Community Music Victoria

Article by Deb Carveth with Hans Gruneberg

Ideas for Community Music Group Leaders, from Belinda McArdle

150812singingldrshipSeveral community music makers and group leaders gathered at Commonground for peer exchange last weekend. I arrived late and left early and am in no position to summarise the weekend but I write to contribute to the network the ideas that captured my attention while there, in the hope they may be useful to others.

Having facilitated many CMVic weekends over the last ten years it was refreshing to be a participant and to be so warmly welcomed, encouraged, supported, inspired, challenged and heard.

It was wonderful to step away from my own busy life to engage in the wider discussion of values and music making even if only for 5 hours. I left with soup in my being, songs recorded on my phone, a copy of Jane Coker’s fabulous new resource ‘Just Sing’, some plans to song swap on line, fabulous group exercises and warm ups and some hearty food for thought.

The afternoon workshop, mutually devised and well facilitated by Strat and Aaron, challenged us to check in with our values and the notion of inclusivity.

Various exercises drew out philosophical arguments, practical tips and everything in between.

I summarise here what I remember, having handed in my notes to CMVic. The topic was what can we as music making leaders/an organisation keep doing, stop doing and start doing in relation to inclusivity.

include in our leadership our own passion for music making. We may think this is implicit, but all of a sudden notice we have been putting admin before playing, we have been playing it safe in our leadership and not taking risks or simply not playing enough ourselves. So, my ideas and resolutions on this topic are:

  • to ensure I am singing and playing for fun outside of my leadership
  • try some more impro games
  • keep including my own original material as well as a courageous cross section and allow my excitement to grow and be shared

Implicitly and explicitly create a culture of belonging. We value welcoming people to our groups and we discussed the value of every member feeling they are a welcomer and part of the hospitality. We discussed allowing people to opportunity to leave or to feed back when a group isn’t the right vibe for them. We talked about remembering to speak openly about WHY we are welcoming from time to time and we touched on feeling we belong ourselves. So, my take on this for my own practise is:

  • to continue to welcome newcomers individually and ask them to share with me after how welcome they felt
  • to continue to foster a culture of belonging by asking people to welcome people around them at the start of the session
  • ensure I feel included by sharing with the group that I would prefer not to leave alone in the dark at nights and ask them to share staying back with me.

Of course the discussion was richer and broader but they were my standard tips personally. Other big and little resolutions I took away were:

  • I purchased a copy of Search and Reflect by John Stevens based on the workshop Jane Coker delivered
  • I will be gathering my group at start/after session with either a hum or a clapping exercises
  • I used to ask participants to bring their instrument on last week of term and then run 3 chord song so it was accessible and interesting in a different way. I need to start that again.
  • Go to more CMVic events
  • Use the microphone in Facebook Messenger to send little voice files to other leaders and receive them back.
  • Contribute more to the blog/wider discussion so I can hear what others are doing and be reminded of our very important differences that keep us interesting.

I enjoy sharing what I have and know and think and am open to emails from other leaders and the exchange of ideas, songs and challenges. Conctact: Belinda@acabellas.net.au http://www.acabellas.net.au

Belinda McArdle

Sing a song of skylines: The inspiration .. & the idea…

A still taken from the work of Koshi Kawachi
A still taken from the work ‘note drawing’ by Koshi Kawachi

A recent article in the Huffington Post talked of a project by Japanese artist, Koshi Kawachi. Tracing an outline of the world around him and punctuating the pinnacles and troughs along it with strategic dots, Kawachi transposed what was laid out before him into music, the pitch rising and falling with the undulating level of the marked points. And from this representation of the skyline emerged a very simple yet unique tune: a topographical tune, the outline of an area of Japan mapped musically in a way not too far removed from a songline.

This caught my attention for a multitude of reasons. Our own continent is woven by an invisible network of songlines, after all, which continue to exist extremely effectively as communication and navigational highways and which did so long before google maps tried to conquer cartography and squash the arguably potential romance in ever getting lost. But Kawachi was not trying to communicate anything deeper than a musical translation of the mountains and cityscape of Sapporo, as he saw it laid out before him. And rather than being a song cycle carrying thousands of miles and shared between clans, his was the work of one person, starting and ending there.

More than anything, it was the beauty in the simplicity of Kawachi’s idea which inspired me and got me to thinking… a dangerous thing, late on a Thursday afternoon when there’s nothing in the house for dinner.

From the urban landscapes of our cities and townships to the wilds of the promontories and coastlines; the green rolling hills, mountains and wide open expanses in between, we each occupy very different spaces with which to identify and call home. And dotted across all these regions are singing groups telling stories through song, weaving communities together and creating a network, via which to communicate.

So as Thursday wore on, my imagination became fired until I arrived at the point of suggesting we borrow Kawachi’s idea of mapping in music, the variety and diversity of what our respective regions represent to us, physically and emotionally. The outline of a favourite view, a place of deep personal meaning, or just the familiar, and combining this with the idea of a song carried across the land with each community reached, owning a part of it.

If singing groups spanning the length and bredth of Victoria were to write a simple song with a tune defined by the rise and fall of local chimney pots, lone gums, sharp bends, dense forests, gullies, or whatever affects and appeals to us from the uniqueness of our surroundings and connects us to our little piece of earth, then perhaps we can devise a song cycle of our own.

Shared across the statewide singing community, we could create a cycle stretching from Mallacoota to Mildura, from Wodonga to Warracknabeal and everywhere else around and about, in any old geographical way. Sitting here in a chilly house by myself, I dream of this taking shape and of a massed sing of all our skylines, and it warms my heart.  Would we be able to identify the region from which a song came? How varied would the resulting songs sound? Does this idea, in fact, sound bonkers?  We won’t know until we try, so come on, how about it? Let’s get Victoria singing Victoria!*

*If you feel inspired to take up this idea in your singing group and have time to make it happen, please send us your song, we’d love to hear it! (info@cmvic.org.au) We’ll share any songs we receive on the CMVic blog, and see what unfolds.

Article by Deb Carveth, Online editor for Community Music Victoria