Tag Archives: community development

The Assyrian Women’s group: celebrating, preserving, and sharing Assyrian Culture in Melbourne.

Foundation House is an organisation set up to help refugees and migrants who are survivors of torture in other countries, assisting them with settlement services and connecting them with other organisations such as AMES on arrival in Australia. It is also the starting point in this story of a group of Chaldean Christian women who have hopes of becoming the Assyrian Women’s Choir.

The Assyrian Women’s group is a group of Chaldean women who have fled persecution and torture in Iraq and Syria. Persecuted for being Christian and for speaking a different language, these women have been migrating to safety in Australia to begin a new life for more than twenty years, and they keep coming.

Whenever new refugees or migrants arrive, the women mobilise themselves into a welcome committee, travelling out to the airport. They help the new arrivals to find their feet in this foreign country where for many of them, language is a barrier. Every Friday, the women meet to sing and cook food together, sharing stories of their lives, old and new, as well as offering skills and support to each other. They are from places in Iraq we’ve all heard about in the news, and they know the pain of conflict, displacement, persecution and loss.

A strong love for singing their traditional Arabic and Chaldean folk songs exists between the women, and this is how Sarah Mandie, Diversity Coordinator with Community Music Victoria came to be involved in their journey.

Sarah approached Foundation House to offer skills and support to the staff and community to in her capacity as a singing leader and facilitator. Carolyn Wilson, one of the senior counsellors there, immediately thought of the Chaldean Christian Women’s group and arranged for Sarah and CMVic’s Coordinator, Oli Hinton, to meet with them. Translator and Foundation house worker, Dr Salam Dankha, made communication possible. At the first meeting, Oli and Sarah were welcomed with traditional food and songs, and a bond was formed.  In 2017 a further two sessions were planned for Sarah to work with the group ahead of their participation at the International Women’s Day celebrations, at Dianella Health in Craigieburn.

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Members of the Assyrian Women’s group in one of their initial sessions with Sarah

screen-shot-2017-06-23-at-10-28-33-am-e1498191904892.pngDuring the first session, the women chose to sing two songs: one, an Iraqi song about the beauty of Iraqi women, and the second a folk song about courtship and the relevance of bringing gifts for the girl. Their enthusiasm was evident and they conveyed their hopes of galvanising the group into something with a more formal structure which would enable them to preserve and share the music as messengers of their culture and as advocates for peace in the wider community.

Sarah has been enabling the women to find a focus and they have plans to write a song together, an anthem unique to the group, written around universal morals and themes such as peace, as part of their journey of healing, participation and empowerment.

The next phase is to obtain the funding necessary for Sarah to continue her work with the Assyrian women because, as she says, “I’ve already developed a relationship with them, and it’s a good one.” Supporting the group in selecting a repertoire and helping them to develop the structure they need to become a sustainable choir constitutes part of a proposed new CMVic led project called ‘Voices of Peace‘.

“It’s about giving the leaders already in place within the Assyrian community some skills and structure to use, it’s also about support in identifying potential new leaders and it’s about assistance with sustainability.” as well as offering suggestions and feedback around how the songs are sung: “It’s one thing for the women to sit and sing music of their culture together but in order to get out and share the material, some guidance is necessary.”

While the group is comprised solely of Assyrian women, these women are open to everyone, no matter where they are from. They don’t have any barriers around ethnicity, religion, etc. Instead, there is open-ness, recognition and acceptance of difference:

“They just understand…I told them I have an Indian husband, and that I’m Jewish and it created this openness, I mean, we’re all just different aren’t we, and we want to get along.”

This is the focus and purpose of the group: to sing their music, celebrate and preserve their unique culture and through sharing this love of it with others, to create greater harmony and understanding in society, improving mental and physical health and well-being along the way on the road to recovery.

As part of the International Women’s Day event, there was a fashion parade and it was a chance for everyone to get dressed up and a celebration for all women, from all cultures. “The Assyrian women came out wearing jewelled gowns, and having a wonderful time with the Indian women; celebrating being women.”

As the Assyrian Women’s Choir, these women will find new opportunities and ways to meet people, make connections and friendships, to share and celebrate where they are from and and to participate and contribute to the richness of the diverse, inclusive and safe society they have found themselves part of.

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Members of the Assyrian Women’s group singing at an event for International Women’s Day 2017 (above and below)

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Listen to an early session with the Assyrian Women’s group, here.

Written by Deb Carveth with Sarah Mandie for Community Music Victoria

 

 

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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.

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Darth Vader takes to the streets as part of Kyneton Street Band
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Percussionist Steve Schultz & his son drumming up a storm with Invy Horn Jam
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Jane Coker, chair of the CMVic board of management giving cues during the massed play
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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

The Countdown to Count Us In, is on!

Do you know any school aged children? Do you teach school aged children? If you love a chance to sing with your fledgling and older song birds whilst advocating for the value of music and music education in all schools, this year’s Music: Count Us In program might be just the ticket. On Thursday November 2nd at 12.30pm AEDT, more than half a million children across the country will put down their pens to sing up in ‘a celebration of music and music education.’

MA illustrations final selection-educationMusic: Count Us In (MCUI) is a free program conceived and run by Music Australia to celebrate and advocate for music in Australian schools. Now in its eleventh year, it’s a way for students and teachers to develop their skills as they learn and rehearse a specially written song over several months to be sung at the same time on the same day. Music Australia describe it as ‘the song that stops a nation’ and last year it engaged over 600,000 children from more than 2,500 schools.

While it is recognised that exposure to music in schools enhances student engagement and wellbeing, improves learning and promotes personal and social development, less than a quarter of government schools across Australia are currently able to provide a comprehensive music education.

The MCUI program is one way for children of all ages, abilities and backgrounds to access free music education and delivers professional music development and learning resources directly to classroom teachers. This year the professional development sessions will be streamed live for greater outreach to teachers in remote, rural and regional areas.

And there’s more good news. Research based on the participation of schools in previous years indicates that involvement in the program leads to greater recognition of the benefit of music education, within those schools.

 “Generalist teachers develop increased confidence and skills, and specialist teachers use the program as an opportunity to bring the whole school together to celebrate music. Participating in Music: Count Us In is also a great way for schools to engage with their local community, seek local media coverage, advocate directly to their Government representatives and create opportunities to showcase talented and dedicated students and teachers. More students might put their hands up to join existing choirs and music ensembles, Principals might decide to allocate more time and resources to music, teachers might offer more regular music classes per week ….There are so many ways to bring more music into students lives. Music: Count Us In is just the beginning!” Music Australia

A new song is written each year by a selection of school children in collaboration with a ‘music mentor’. This year, the music mentor is singer songwriter  Taylor Henderson who will be working with five students from Queensland, New South Wales and Victoria together with the MCUI program ambassador John Foreman OAM. The song and the teaching resources pack will be good to go in July.

MCUI is open to all schools from early childhood through to high school, in both the government and private sectors. If you are interested in registering or if you’d like to encourage somebody else to, more information can be found here.

The more kids who take part, the more powerful the message to the powers that be about the value and importance of a decent music education for all school aged children.

Deb Carveth: online editor for Community Music Victoria

Ready, willin’ and able: generosity and solidarity are key components of Williamstown singing group

Leaving Melbourne via the Westgate Bridge on a Wednesday evening, clouds of steam cluster and dissipate into the darkening sky. It’s fair to assume these plumes are output from the factories and refineries dotting the coast like pins in a board from Port Melbourne to Geelong. It’s also possible that part of the component entering the atmosphere is a heady mix of CO2 and endorphins being exhaled by the Willin Wimmin of Williamstown, having their weekly sing.

10583998_1446634612280983_6251822852438359669_nWillin Wimmin past and present were reunited last month to celebrate 25 years as a community choir giving voice to women, and spreading the joy of singing and community to audiences in the west and beyond. By their reckoning, this amounts to roughly 1000 rehearsals, more than 200 performances, over 300 songs and 250 women who have been involved since the inception of the singing group.

Worthy of a knees up, by anyone’s standard. The room was filled with friends, partners and family, everyone brought their own dinner, there was support with sound and lighting from their mates at the Newport Community Choir: it was a community event in every sense of the word.

The group sprung from the John Bolton Theatre School which was based in Williamstown, back in 1991. John employed Bronwen Barton as his music teacher who, with John’s partner and a few friends started singing together. The seeds for Willin Wimmin were sown and interest quickly caught on among the community. The singers were not only Willin Wimmin, they were feisty women with a will and the current members continue to embrace this identity: They set out as sisters doing it for themselves, collaborating as a cooperative and proudly eschewing the committee way of doing things until more recently.

The increasing requirements of funding bodies and venues requiring insurance over the years created a gradual push to become incorporated and adopt a more formal arrangement. Willin Wimmin eventually (reluctantly) bowed to the external pressure, formed a management committee and became incorporated last year.

Back at the start, Bronwen was a great vocal coach whose philosophy that anyone can sing set the value of inclusivity which has underpinned the group ever since. There have never been auditions and the women make it clear that no singing experience or knowledge of music is necessary. A good sense of humour, the will to embrace and celebrate cultural diversity and a shared belief in supporting, and welcoming one another is what counts. Willin Wimmin sing with heart and choose their material from an eclectic selection of genres including world, folk, choral and contemporary.

Julie Merritt has sung with Willin Wimmin for 18 of its 25 years, joining when the youngest of her three children was around 12 months old. The social side of belonging to the group drew her in; she felt a sense of belonging and like she’d found her tribe.

A strong social justice theme runs throughout the choir, and Willin Wimmin have sung on demonstrations and rallies, at sport, art, health and women’s issues events. They’ve trodden the boards at a variety of venues, too: Deakin Edge Theatre, Melbourne Recital Centre, the NGV as well as Fairlea Women’s Prison and Maribyrnong Immigration Detention Centre, to name but a few.

Willin Wimmin have been helped along their journey by the commitment from their leaders:

“We have been fortunate with our directors – they have each been fabulous, feisty, fearless, sometimes fearsome.  Each of them brought unique gifts and talents with warmth, patience and fun.  Without them, there is no Willin Wimmin.”

Bronwen Barton took the helm for the first ten years, followed by Jo Lange, Dan Scollay, Jennifer Lund, and since 2014, the group has been lead by Steph Payne. Collaborations with other choirs have enhanced their song filled journey, too. Willin Wimmin teamed up with Mark Seymour and the Victorian Trade Union Choir to sing in Dust, a musical by Donna Jackson about the devastating impact of asbestos. They were also joined by the VTUC and Newport Community Choir to sing excerpts of Dust when Donna’s book ‘Art & Social Change: Dust, a Case Study’ was recently launched.

Keeping Community and Women’s issues in their hearts and at the forefront of their philosophy, Willin Wimmin have sung at Reconciliation demos; the National Women in Construction awards and at the Victorian apology to women forced to give their babies up for adoption, where they sung for the Association of Relinquishing Mothers (ARMS). The list doesn’t end there.

Willin Wimmin were also way ahead of the current media frenzy that has gained such rapid momentum around women’s football, and sang at the Women’s AFL grand final before women’s footy was officially deemed cool.

“We have, very importantly, also just sung for each other, in times of sadness, joy, longing, celebration and always with love.”

The wimmin are willin in more ways than one and are happy to offer inspiration and support to everyone who comes into their orbit, irrespective of how long they choose to stay on and sing with them.

About five years ago, Julie recalls an influx of women to the group, aged around 40. Each and every one of them found their voice through the supportive environment before moving on to form off shoot groups or find other, more challenging ways of nurturing their singing souls.

Julie doesn’t pause as she emphatically describes this as ‘brilliant’, seeing it as a natural part of what Willin Wimmin exists to allow; an integral component of its entity and a tangible example of the generosity required for a happy, cohesive community spirit. She acknowledges that seeing people move on is bittersweet “like a parent waving a child goodbye”, but that it is more wonderful to enable people to literally find their voice.

Many members have a story of ‘finding their voice’ thanks to Willin Wimmin.

Confidence, courage and strength are uncovered through singing and performing within a group of supportive, welcoming women, week in, week out. Julie offers herself as a prime example and has felt her confidence grow gradually “not just enough to sing in small groups, but to be back-up conductor, speechmaker, even president of the committee.” This has extended beyond the context of Willin Wimmin and into other areas of her life, proving once again, how impacting and profound the values and benefits of community musicking can be on the lives and well being of its participants.

So congratulations to Willin Wimmin on 25 years of singing together, supporting each other and creating opportunities for community cohesion and connection in lucky old Williamstown. There’s no sign of the sun setting in the west, anytime soon.

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members of Willin Wimmin celebrate the group’s 25th anniversary back in August

Written by Deb Carveth with Julie Merritt, President of Willin Wimmin.

If you’d like to join Willin Wimmin, they meet on Wednesday evenings at 7.30-9.30pm during term time, and further information is available 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

 

 

The Changing Tune of Choral Singing in Germany

This article was first published in Sing Out: the Journal of the Australian National Choral Association (Vol.32, No.2, 2015). It is reproduced here with kind permission of ANCA(1)

Picture1Figure 1: The Nogat Singers, Berlin (Neukölln). Photo (c) The Nogat Singers, 2014.

I arrived at Rathaus Tiergarten, a local town hall of Berlin on a sunny spring afternoon in May, just in time for a celebration. Assorted stalls, abuzz with colour and activity, promoted organisations that support people with disabilities and their carers. On the town hall steps a rock band called Handiclapped was setting up shop as a carload of nervous and excited singers arrived. They were members of the Nogat-Singers (Figure 1), a neighbourhood choir from the Neukölln suburb of Berlin who were star performers for an event to promote, celebrate and advocate for the rights of people with disabilities. Their performance was a vibrant and colourful mix of popular German folk songs and Schlager (there is no equivalent to the Schlager phenomenon in the English speaking world, but think Eurovision or Germany’s answer to American country and western music!). Having joined their dress rehearsal earlier in the week, I was impressed by the choir’s energy and its commitment to fostering a sense of community.

Founded by disability support organisation Lebenshilfe Berlin, the Nogat-Singers rehearses weekly in a local supported accommodation service, and most members live with intellectual disabilities. The choir receives funding from a social inclusion project grant of the European Union for its close neighbourhood ties. This made sense to me – a choir that sings with neighbours in its little patch of Berlin while at the same time fostering social inclusion for people with disabilities. Here was a great example of community music-making in action (or musicking as Christopher Small (1998) describes) and an ideal starting point for my study of choral singing in Germany.

The Nogat Singers is just one of a vast number of choirs singing regularly across Germany. They range from church choirs, to community choirs (defined loosely as amateur or non-professional choirs that perform publically) who perform in local pubs or municipal halls, through to professional choirs employing full-time salaried singers (there are eight at last count, from smaller chamber choirs to large radio choirs). My time in Germany in 2014 as a fellow of the Australian German Association and the Goethe-Institut allowed me to visit many and to explore the rich practice of choral singing in Germany today. Inspired, I returned with ideas for our choral movement in Australia. In this article I set out just a few impressions from my trip.

Support for the Arts and amateur music making in Germany has a long history. I once heard a passing comment about the three historic features of German village life: a shooting club (Schützenverein) for community defence; a fire brigade (Feuerwehr) for community safety; and a choir (Gesangverein or Liedertafel) or brass band (Kapelle) for community wellbeing! In 1871, 38 territories and free cities united under a common German federation. Most brought with them their own opera houses, concert halls and musical ensembles that had serviced the historic royal courts. Churches too played a crucial role in preserving musical traditions; in smaller communities church musicians were often school music teachers and community choir leaders too. One contemporary example of this long-held tradition is the St Thomas Boys Choir (Thomanerchor Leipzig) – perhaps the most famous boys’ choir worldwide – that celebrated its 800th anniversary in 2012 (Wydra, 2015).

Germany’s historical experiences with music – both negative and positive – have shaped its contemporary community singing culture. The atrocities committed by Germans during the period of National-Socialist (Nazi) government from 1933 to 1945 overshadow German attitudes toward music, singing and cultural practices. The Nazi government’s approach to music education, known as Musische Erziehung, manipulated music to suit its own agenda (Kertz-Welzel, 2008; 2013). This period defines to this day the parameters of “acceptable” music making. As Germans distanced themselves from the Nazi period after 1945, therapeutic uses of music were restricted to clinical settings rather than practiced out in the community. This was particularly the case in former West Germany and came at the expense of practices and initiatives that supported community wellbeing. Key scholars at the time supported this position. Theodor Adorno, in a series of speeches and public discussions between 1959-69, argued that after the manipulation of the Nazi period, music could not and should never be used to pursue goals of healing or social transformation (Kertz-Welzel, 2005). Adorno argued instead for the pursuit of musical excellence and individuality and against collective, community-minded music by amateur music-makers with transformative goals. Rather than teaching and enjoying singing with explicit goals such as community wellbeing in mind, music in West Germany was increasingly seen as an activity for its elite musicians, professionals, and with learning focussed on musical excellence. In the former East Germany, community singing was more widespread with its community wellbeing benefits recognised, but it frequently also served a propaganda purpose for that government. Opinions across reunified Germany in recent decades have shifted. Music education scholars are once again discussing the place of community music and the potential extra-musical benefits of music in schools, including for community wellbeing (Kertz-Welzel, 2008; 2013).

Yet the emphasis on the aesthetics of music across post-war Germany (East and West) preserved and nurtured a vital and historic cultural asset. Culture and the creative arts remain highly valued and comparatively well funded within German society and by all levels of government (McCaughey, 2005). A 2007 federal government report reinforces this view, arguing: “Culture is not simply ornamental; it is the foundation of our society and the platform upon which it grows. The role of politics is to safeguard and strengthen culture[i]” (Deutscher Bundestag). A total of EUR11.2 billion was spent in 2011 to support Germany’s cultural activities, including EUR8 billion from its federal, state and municipal governments, with the remainder from its Christian churches[ii] and private funding. Germany’s 16 States (Länder) together contributed more than one third of this total (EUR3.4 billion). The Länder retain powers in educational and cultural matters and a large say in preserving Germany’s many cultural identities.

Musical life in Germany today is “noted for its diversity, high quality and geographic density – keywords that continue as ever to define Germany‘s special reputation as a land of music” (German Music Information Centre, 2011, p. ix).

There were at last count 133 publicly funded symphony and chamber orchestras, 83 music theatres, nearly 500 regular music festivals, and thousands of amateur, semi-professional choruses, orchestras and ensembles (GMIC, 2011, ix). It is not surprising then that community music making is the largest civic movement within Germany (Reimers, 2012, p.1).

Choral singing today is an opportunity for many to partake in some of the musical delights and masterpieces of Germany’s rich choral music history. A leading scholar of German choral singing (Brusniak, 2003, p.69) suggests choral music and a vast and diverse tapestry of choirs are essential and integrated parts of its public and private musical life. There are nearly 59,100 associated choirs and choral organisations in Germany, including about 29,900 secular and 37,200 religious organisations. These choirs engage nearly 2.3 million singers regularly (Reimers, 2012, p.2). There is a large audience base for choral concerts too. A 2004 study estimated about 60 million people attend some 300,000 choral concerts annually in Germany (reported in Reimers, 2012, p.1). These formal choral activities do not include the multitude of established and ad hoc choral groups and public singing that is an increasing feature at large gatherings – the 2014 World Cup football tournament comes to mind!

I was interested to find out who spoke for choral music in Germany. At first sight, the coordination and advocacy of choral music across Germany evoked images of Franz Kafka’s writings: a confusing landscape of overlapping organisations, funding bodies and responsibilities all claiming to represent and advocate for the interests of choral music. Yet when viewed through Germany’s unique historical lens this overlap, it seems to me, provides safety in plurality (Vielfältigkeit). It avoids a single, central point of control for a mass movement and all the negative consequences this represents in many German minds.

Germany therefore sings with two voices when it comes to choral singing. Two peak bodies represent choral singing nationally: the Bundesvereinigung Deutscher Chorverbänder e.V. (BDC) and the Deutscher Chorverband e.V. (DCV). Together they include and advocate for the vast majority of German choirs. The DCV is the world’s largest choral association and represents the vast majority of Germany’s non-religious choral associations (including over 30 state-based and regional associations). DCV designs and oversees a host of innovative programs and schemes for its member choirs and leaders, supported by a paid, full-time staff. It also publishes Chorzeit, Germany’s monthly national choral music magazine with 35,000 subscribers and on sale in newsagents across the country (DCV, 2014).

The BDC counts among its members Germany’s peak catholic (katholische) and protestant (evangelische) choral organisations, those representing youth music, and its 500 concert choirs. The Federal President of Germany bestows the Zelter Plakatte to choirs that reach 100 years of age – an important initiative administered by the BDC (2014).

In 2014, Germany’s choral music culture is in transition. When I talked about my research project to non-choral music enthusiasts (or better said, yet-to-be converted choral music enthusiasts), many pictured the all-male Liedertafel choir, Germany’s dominant historical choir model. Yet this traditional picture of “choir” is rapidly changing. A 2012 New Zealand film/TV documentary about folk singing in Germany, Sound of Heimat – Deutschland Singt (http://www.soundofheimat.de/), helped to raise awareness about the diverse types of music out there. The sheer variety of musical styles and the ability of singers to seek out choirs according to their musical tastes and less limited by their location have fundamentally changed Germany’s choral community. Children’s, youth and women’s choirs are growing while the more traditional choral organisations (such as the Liedertafel) are in decline. Mixed choirs have grown in popularity and now outnumber male choirs (Arit, 2014) and there has been a boom in jazz and pop genre choirs (AlumniPortal Deutschland 2014; Tip Magazin, 2014). Singing-related talent competitions, television series and films, as popular in Germany as in Australia, have contributed to this popularity.

Picture2Figure 2: Die Rheintöchter, lesbian comedy choir, Cologne. Photo (c) Magdalena Hutter, 2013.

I took particular interest in community choirs with members who may have experienced social exclusion at some point in their lives. I observed many choirs of the Lesbian, Gay, Bisexual, Transgender and Intersex and Queer (LGBTIQ) communities (Figure 2 for example), choirs for people with disabilities, church-based choirs supporting new migrants to Germany and choirs for people experiencing homelessness. I led a rehearsal of Hard Chor ELLA (Figure 3), an innovative school-based community choir based in Pankow, a suburb of the former East Berlin. I was also fortunate to observe Berlin’s two professional choirs in rehearsal (RIAS Kammerchor and Rundfunkchor Berlin) and the Rundfunkchor in performance. You can find a full list of choirs, interviews and more detailed case studies in my report.

Picture3Figure 3: Hard Chor ELLA, Berlin (Pankow). Spring Concert. Photo (c) Inés Weinmann, 2013.

Ideas for Australia’s Choral Movement
I believe Australia can enhance its choral music movement by strengthening its supporting institutions and drawing upon innovations and ideas from Germany. I offer ideas for policy-makers, committees, and musical and administrative leaders who work with community choirs particularly. My report aims to complement recent reviews of other aspects of music in Australia including state and national music education reviews. Here are just a few ideas:

  • Create a vocational pathway with appropriate professional development and recognition for community choral leaders
  • Establish a national community choir awards scheme, including a “long service” citation for choirs that reach a certain age (similar to Germany’s Zelter Plakatte)
  • Appoint a high profile patron to promote and advance choral music within communities
  • Lighten the reporting load for committees and choral music staff by negotiating an agreement with the Australasian Performing Right Association (APRA) for a single annual fee that covers all choir arrangement and performance rights across a pre-approved list of songs (similar to an agreement reached between DCV and Germany’s APRA equivalent: http://www.deutscher-chorverband.de/leistungen/gema/)
  • Create an accreditation program in early childhood education (similar to Germany’s Die Carusos: die-carusos.de/) where choir leaders “teach the teachers” to ensure young children receive high quality and pedagogically sound singing experiences from an early age
  • Establish a national professional choir that includes within its mandate significant outreach work to choirs and communities of all ages.

To achieve these things we would need to first properly resource our expert national organisations already doing such great work in the area – the Australian National Choral Association (ANCA) and Music Australia – along with state-based institutions such as Community Music Victoria. Let’s start this conversation and draw upon lessons and ideas from countries such as Germany to give us a head start.

Choral music in Germany, a celebrated and treasured cultural asset, is gradually changing its tune to include people of all abilities and backgrounds and in a way that improves community wellbeing and cohesion. My time there provided refreshing ideas, valuable lessons and ongoing inspiration for my practice as a choral leader and researcher in Australia. Above all, it was a reminder to celebrate both the act and the art of choral music making and the joy it brings to communities here and in Germany.

(1): My thanks to Dr Alex Crooke for his insightful comments on earlier drafts of this paper.

Article by Ben Leske

BenLeske2015

Ben Leske is a Melbourne-based choral conductor, community music facilitator, and PhD candidate in the National Music Therapy Research Unit in the Melbourne Conservatorium of Music (The University of Melbourne). Ben’s thesis explores choral singing and social inclusion for young people. From 2009-2014, Ben was Music Director of the Melbourne Gay and Lesbian Youth Chorus (now shOUT Youth Chorus).

Ben is passionate about all things German and was awarded the Australian German Association and Goethe-Institut Fellowship to explore choral singing in Germany in 2014.

You can read Ben’s full report at: http://www.aga.org.au/fellowship/past-winners/.

You can contact Ben by email: benleskemusic@gmail.com or benleskemusic.com

References cited in this article

Arit, Alexander. (2014, 1 July). Graphical statistical reference of number of choirs by type (historical) – 1951-2005. Unpublished data provided to author.

BDC (Bundesvereinigung Deutscher Chorverbände e.V.). Die Zelter-Plakette. Retrieved from http://www.chorverbaende.de/de/zelter-plakette.html

Brusniak, Friedhelm. (Ed.). (2003). Chor – Visionen in Musik. Essener Thesen zum Chorsingen im 21. Jahrhundert..Arbeitsgemeinschaft Deutscher Chorverbänder.

DCV (Deutscher Chorverband e.V.). (2014). Chorzeit: Mediadaten: Anzeigenspreizliste 3/14. Retrieved from http://www.deutscher-chorverband.de/fileadmin/media/downloads/neue_chorzeit/Chorzeit_Mediadaten.pdf

Deutscher Bundestag. (2007). Schlussbericht der Enquete-Kommission: „Kultur in Deutschland“. (16/7000), author’s translation.

German Music Information Centre (GMIC). (2011). Musical Life in Germany: Structure, Facts and Figures: German Music Council (Deutscher Musikrat).

Kertz-Welzel, Alexandra. (2005). The pied piper of Hamelin: Adorno on music education. Research studies in music education (25), 1-12.

Kertz-Welzel, Alexandra. (2008). A matter of comparative music education? Community music in Germany. International Journal of Community Music, 1(3), 401-409.

Kertz-Welzel, Alexandra. (2013). Internationalizing and localizing: Shaping community music in Germany. International Journal of Community Music, 6(3), 263-272. doi: 10.1386/ijcm.6.3.263_1

Luehrs-Kaiser, Kai. (2013, 22 February). Chor@Berlin Festival im Radialsystem. Tip Berlin. Retrieved from http://www.tip-berlin.de/kultur-und-freizeit/chor-berlin-festival-im-radialsystem

Masso, Alex. (2013). Community Choirs in Australia. Music In Communities Network (Music Council of Australia).

McCaughey, Claire. (2005). Comparisons of Arts Funding in Selected Countries: Preliminary Findings: Canada Council for the Arts.

Reimers, Astrid. (2012). Laienmusizieren: Deutsches Musikinformationszentrum.

Small, Christopher. (1998). Musicking: The meanings of performing and listening. Hanover: University Press of New England.

Wydra, Kristina (2014). ‘Wherever people sing, you can happily settle…’ – Germans are flocking to join choirs. Alumniportal Deutschland. Retrieved from http://www.alumniportal-deutschland.org/en/germany/culture/article/choirs.html

 Other useful reading

English language

  • Higgins, Lee. (2012). Community Music: In Theory and In Practice: Oxford University Press.
  • German Music Information Centre. (2011). Musical Life in Germany: Structure, Facts and Figures: German Music Council (Deutscher Musikrat). Retrieved from http://www.miz.org/musicl-life-in-germany/
  • Bartleet, Bridie-Lee, Dunbar-Hall, P., Letts, R., & Schippers, H. (2009). Sound links: Community music in Australia. Brisbane: Griffith University.

German language

 [i] Original German text: Kultur ist kein Ornament. Sie ist das Fundament, auf dem unsere Gesellschaft steht und auf das sie baut. Es ist Aufgabe der Politik, dieses zu sichern und zu stärken

[ii] An important note that Germans pay an extra income tax to the church according to the denomination into which they were baptised. The Federal Government collects these taxes to fund church activities.

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.”

Accordion (1)
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

Going the distance: Taking music on the road to schools in remote regions.

The benefits of music in childhood are multiple, impacting and well documented. Yet in spite of proven positive connections between music and early learning, and music and emotional development, mainstream education too often seems to view it as a peripheral extra, a luxury that can easily be dispensed of, and budget cuts in schools seem to hit music departments especially hard.

So it’s particularly great to read heart warming stories such as the one about Dennis Winbanks, from North Western Victoria, who travels over 550 kilometres each week to deliver music and music making opportunities to remote and geographically isolated students at schools in regional and rural Victoria.

The story, ‘Travelling music teacher going the distance for regional students’ by Sophie Malcolm,  was featured on the ABC news website on Wednesday, and is a celebration of Dennis’s recognition of the value and importance of music and his desire to ensure kids living in these remote areas are exposed to the same kind of opportunities enjoyed by their peers living in the state’s larger towns.

Dennis teaches about 350 students in four different schools, arriving in a ute and towing a trailer full of instruments. It’s no wonder there’s a strong attendance on the days Dennis rolls up, with his musical cargo in tow.

As if its contents and the accompanying diversion from the usual school timetable weren’t magical enough, what Dennis delivers has the potential to transcend all that.

He brings not only the opportunity for these children to experience music in a way they may not get anywhere else in their lives, but the subsequent potential for personal enrichment and the development of new pathways: neurological, emotional, educational and creative. Go Dennis! Go music teachers, music group leaders and facilitators, everywhere!

Read the full article from the ABC, here.

Deb Carveth. Online editor for Community Music Victoria.