Tag Archives: Community Singing

Big Sing in a Big Shed under a Big Sky puts Murtoa on the Community Music Map… and it’s happening all over again

James Rigby spent years driving past the mighty Murtoa Stick Shed in awe of its size and wondering how on earth the monolithic structure looming up out of the landscape could still be standing. He never imagined that one Spring day in 2017 together with Jane Thompson, he would lead around 300 community singers in a Big Sing under its cathedral-like roof of bush poles and corrugated iron.

The idea for a Stick Shed Sing was conceived by Judith Welsh, Chair of the Committee of Management which took over the running of the shed when it was gifted back to the community in 2016. The vision was to create an event to reflect the ambience and glory of the Heritage listed building and bring singing into the shed for the first time as part of Murtoa’s Big Weekend celebrations.

“We wanted an event that anyone could join in on but which gave local choirs, the singers from the Wimmera, an opportunity to perform as part of a massed choir, as well.”

As highly experienced community singing leaders, Jane Thompson and James Rigby expressed their interest in coordinating the event, working with Judith to decide a shape for the day, which included a massed singing workshop open to anyone keen to sing in the shed and a concert by any community choirs attending, who were happy to perform.

Jane and crowd

The first Stick Shed Sing was held in October last year, attracting a huge amount of interest from within the local community and further afield with around 6 full choirs performing at the concert and individual singers from many other choirs attending too.

“We had the signing choir from Horsham Primary School where AUSLAN is taught as a second language, which was lovely as it meant there was lots of children’s energy in the building too.”

The Signing Choir sign what they sing, culminating in a dance-like blend of a song’s rhythm and the natural gestures of the signs. This theatrical style of delivery is well suited to the vast, 270 metre-long Stick Shed where you can occupy as much space as physically possible and still feel incredibly small.

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James and Jane found that facilitating singing of any sort in a space the size of the Stick Shed is not without challenge – all part of the excitement of being there. For a start, there is the all-important issue of acoustics.

“The shed is like a tent with an incredibly long, high pitched roof so the acoustics vary dramatically, whether you go in near the edges close to the roof, or whether you stand in the middle of it underneath the ridge, at which point the acoustics disappear. What we found was that about two-thirds out from the edge you hit this magic sweet spot where the natural reverb of the shed is really flattering to the singing and meant we could hear ourselves and, when singing as a group, what the group was sounding like.”

 As luck would have it, this particular area of the shed is well lit by a line of skylights set into the roof enabling the singers to see all that is necessary whilst feeling a part of that beautiful big space, and with the added option of gazing at the clouds moving above them over the Wimmera.

For the workshop, James and Jane used ‘Here in the Stick Shed’ a short warm-up song written for the occasion by Jane, and a song about trees by Scott Wise called ‘Hold up the Sky’.

“We sang a beauty about trees and how they hold up the ground in mines, and on the land they hold up the road, and then when you get to the forest they hold up the sky. It’s a beautiful song about how trees prop up everything all around us and of course we’re standing in a shed where there’re these ridiculously tall little skinny mountain ash poles holding the whole thing up…”

For everyone involved in the Stick Shed Sing, James believes the first show stopper of the day was probably the magnificence and scale of the shed itself:

“You approach this massive looming building through the Wimmera wheat lands, it’s bright, it’s flat and then you go into the shed through this administrative area and suddenly you’re inside this dark and immense space… I can only say that it’s like walking into the most amazing, ancient cathedral in Europe, that’s the sense of scale and the sense of awe it inspires when you first walk in, you can’t quite believe it.”

The venue is too big to simply whip a vacuum or broom over, so a day before the community choirs and singers arrived armed with picnics and BYO seating, a street sweeper from the neighbouring shire was brought in and driven up and down to prepare the space. Pieces of conveyor machinery still hang from the ceilings in some spots, evidence of the shed’s industrial heritage.

On a personal and professional level, James and Jane were delighted to have assembled another group of community singers in such a unique setting.

“Jane and I have worked quite a bit in the North and the West of the state and had probably connected with a lot of the individuals who sang with us on that day at some point previously, but we hadn’t worked with any of the choirs before and had no idea of their skill levels, we were assembling a really diverse bunch of singers. In finding a song by an Australian songwriter which spoke about trees and then feeling like we were standing in a forest was a very powerful thing and it connected the people and the place and the music. On an emotional level it worked really well.”

James and JaneJames and Jane were mindful of the distance some of the singers had travelled to participate in the Stick Shed Sing, and due consideration was given to this in planning the concert element of the day:

“The trick of running an event with multiple choirs is to really balance the effort that choirs are making to get there with the opportunity to showcase what they do and what they’ve learned. You can’t ask a highly rehearsed hardworking choir to drive 3 hours to Murtoa and then only give them time for one song. Neither do you want to force a smaller choir, meeting less frequently, to get up and sing five songs. It’s a challenge to make sure we respect the capabilities and the ambitions of all of the choirs.”

The mighty Murtoa Stick Shed is a monument to an older time, built during the second world war to stockpile grain at a point when no steel was available, it is the world’s largest remaining timber-built shed and its iconic void is filled with echoes of its industrial past where the dust motes carry history as they drift in the shafts of light. It’s an evocative place with the capacity to emotionally move anyone stepping into it.

If you missed the opportunity to make the sticks ring last year, there’s an opportunity for community choirs and singers to do it all over again and make music together in this amazing space on Saturday October 6. With Jane overseas, James will be going in on his own this year but, as he says, he knows what the challenges are and is already genuinely excited and looking forward to stepping back into the Stick Shed’s phenomenal space:

“…there will be the need for some big moments. You have a big crowd in a big space and it’s very satisfying to have a go at filling that mighty venue with sound.”

 James guitar

Join James Rigby for the second Stick Shed Sing on Saturday October 6th, 2018. For more information and to express an interest in participating in the workshop and/or afternoon concert with your choir (or as an individual!) contact office@makingmusic.com.au  

By Deb Carveth, online editor for Community Music Victoria, with James Rigby
Main image: photo: National Trust @NTAV All other images supplied

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Songs and strong bonds: The community choir celebrating a half-century of harmony

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‘Morefull’ The Maroondah Singers in concert.  Photo supplied

John Williams has been singing for 80 of his 90 years on the planet. Growing up on a farm on the Mornington Peninsula, there was little opportunity to express himself musically and John really had no idea he could sing. “The headmaster of the school would bring in a local girl to sing with us all once a week, My Bonnie lies over the ocean, Rule Britannia, that kind of stuff. When we moved to Mitcham, my mother and I joined the local Methodist Church choir and I started singing alto alongside my mother at the age of 10.”

John has been singing ever since and was a key player in the founding of the Mitcham based Maroondah Singers, which this month celebrates its 50th anniversary as a mixed voice community choir.1 It has encouraged young singers starting out and provided end of life care, too. It is a living, breathing singing entity as vital now as it was half a century ago, and it owes its origins, in part, to John.

“I was there before Maroondah Singers even existed”, he laughs.

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John Williams, singing for 80 years and a founding member of the Mitcham based  Maroondah Singers

The idea for a choir came about through a conversation between John and his good friend, George Irvine. At the time, George wrote a weekly column in the Nunawading Gazette, called ‘As it appears to me’ where he would comment on various social issues relevant to the City of Nunawading. George also worked in the same place as John in South Melbourne and the two men would often travel home together, putting the world to rights as they went:

“I found that usually, whatever we talked about on the way home would appear in the newspaper the week after next where he’d say ‘my friend John says’… I got used to it!”

One of their conversations was about what had happened to all the good choirs. A subsequent column posing the same question elicited a strong response from within the community so the following week George suggested trying to set up something locally and called a public meeting to gauge the level of interest. He hired a space in the Old Orchard Shopping Centre in North Blackburn, set a date and promoted it through the newspaper.

Coincidentally, at that same time, the Mitcham Methodist Church had moved to join the Presbyterians in a joint building venture which had just achieved completion. The very night that George called for the choir meeting, the Mountview Church property committee was meeting to allocate space for community rent.

“I should have been at that committee meeting but I apologised and went over there (to join George) Well, when we looked around and saw the number of people who were enthusiastic about the idea of starting a group, we realised things were going to roll.  The meeting continued with everyone agreeing that Monday night would suit, if only a space could be found.”2

Experiencing a light bulb moment, John told everyone to talk amongst themselves, then hopped in his car and gunned over to the Property Committee meeting. “I rushed in, said, ‘Have you finished the meeting? Do you have any space on a Monday night? With a piano?? Yes? Yes!’ ”

The first rehearsal of the Maroondah Singers was held in Mountview Church Hall the following Monday night in 1968, and has continued as a weekly event ever since. Numbers grew quickly under the leadership of Jim Watsford who, at that time, was conductor of the Mitcham Choral Society:  “Jim came to that meeting in the hope of securing recruits for MCS.  Instead, he got a whole new choir!”

Following Jim’s belief, “if you can follow the words you can sing” the Maroondah Singers was destined to be a success.

Within twelve months the choir had given its first performance with George publicising the event through the newspaper once again, and John continuing to use his powers of persuasion to recruit Lela Wright, his church organist as their first accompanist. (She stayed ten years.)

Fifty years on, and the Maroondah Singers has sung at venues all over Victoria including the MCG for a grand final, for nine years as part of Carols by Candlelight, the Myer Music Bowl, regional church halls, the Dallas Brookes Centre, and Melbourne Town Hall, among others. The Singers is an inclusive and welcoming bunch and Monday night rehearsals are open to anyone keen to drop by and listen. It isn’t essential to read music and there are no auditions, however there is a voice and ear test to determine a singers’ part.

“We’ve never said no – we’re full, to anyone who has wanted to join so we have a lot of sopranos and could do with more tenors. There are more women than men in the choir and a couple of them have moved from the alto line to sing tenor, which works well. And we’re always trying to find younger people, if we can.” Some members of the Maroondah Singers weren’t even born when George and John held that first public meeting, half a century ago!

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Carols by Candlelight circa 1984: Courtesy: Arts Centre Melbourne, Laurie Richards Archive, Australian Performing Arts Collection

Since 1991, young singers have been drawn to the choir each year through a scholarship program established to commemorate three of the choir’s founders, George Irvine, and May and Mervyn Vagg, the choir’s first President. This program has proved a sensational singing springboard with past scholarship singers now working with international and State operas, and the process and experience providing a huge amount of pleasure to the choir members in supporting and encouraging these young singers during the early stages of their musical journeys.

Maroondah Singers pride themselves on performing from memory, firing on all neurological cylinders and giving their brains a weekly work out with songs from a wide repertoire by composers from Handel and Verdi to Rodgers and Hammerstein; Elton John to Billy Joel and beyond.

Currently directed by Lyn Henshall and accompanied by Dr John Atwell (who returned in 2010 for a second stint with the choir having previously accompanied them between 1980 and1997) the choir also sings in Japanese, Italian and Latin, and holds an impressive back catalogue including ‘Big Sings’ such as Mendelssohn’s oratorio Elijah and Handel’s Messiah. From time to time the singers team up for performances with other choirs and their comrades in the Maroondah Symphony Orchestra.

There is no pressure on anyone to ‘perform’ until they feel confident and ready to take this step.

“Everyone is issued with a CD with their part line, explains John, in my case Bass 1, emphasised in a digital recording of the score. All the items for the forthcoming concert are on that CD. Alternatively, they can be downloaded as an MP3 file. Playing these through with the music reinforces the memory, then without the music which strengthens it further.”

Innovation is an important contributor to longevity and the Maroondah Singers is enterprisingly equipped to hit the road and share its songs, thanks to a pop-up tiered platform designed to hold up to 100 singers. Bringing his background in engineering to the fore, John drew up designs for the staging, held a working bee at a college woodworking centre one weekend, and the end result packs down into a trailer, perfect for regional touring.

John’s commitment to the Maroondah Singers and his love of singing and community is evident. For the past 50 years he’s helped out in various ways to keep things going with the choir when needed, including as President for thirteen years and stepping up on the rostrum as leader for a while, in spite of a physical disability in one arm:

“I got the message over, I couldn’t wave two hands about all over the place but I could wave one, nod my head and smile. I get a lot of satisfaction from singing, I get a lot of satisfaction from conducting…. it was deeply satisfying to have to step up at short notice to conduct 104 singers to an audience of 800.”

His warmth and dedication is clear. Every choir needs a John.

Strong endorphin fuelled bonds have been forged between the Maroondah Singers members over the years as they do in all community choirs. When former member, Bill Holmes, was forced to retire due to ill health, he struggled without any family to look after him. ‘Team Bill’ came together from within the choir and closed ranks around him:

“We took care of him in his home until his health deteriorated to a point he could no longer stay. We were fortunate to get  him into respite care. We were then able to continue to support Bill until he died in January this year. We saw him through and the four of us were at his bedside singing to a Maroondah Singers CD to him as he died. We knew he could hear us even though he was in and out of consciousness. And we sang him out.”

What greater testimony could a community choir have? At the end of the day, we sing together to connect. It’s the connections we forge whilst doing what we love that enrich our lives and extend out into the wider community, strengthening the quality of its fabric for everyone.

The story and spirit of the Maroondah Singers is certainly one to celebrate. Here’s to John; here’s to each and every one of the Maroondah Singers, past present and future and here’s to the next fifty years of singing and music making in Mitcham and in communities everywhere.

Written by Deb Carveth with thanks to John Williams and Nick Hansen

1: John was also the founding member of the Methodist Youth Singers
2: there were 45 people present at the public meeting called by George Vagg in 1968

*The Maroondah Singers will celebrate a special 50th Anniversary concert on Sunday June 17 at Melba College Theatre, 20 Brentnall, Road, Croydon starting at 2.30pm. The spectacular concert will feature the choir’s past four Vocal Scholars. Tickets are $30 Adult, $25 Concession, under 12 Free. Bookings: https://www.trybooking.com/373628. Contact: Anne on 0422 050 323.

 

 

How an Ancient Singing Tradition Helps People Cope With Trauma in the Modern World

In Finland, lament singing is experiencing a revival, one sad song at a time.  Tristan Ahtone

“I took pills for my depression

just to smother my emotions.

Doctors said that I would need them,

but I learned to cry without them.

So I stopped taking the tablets,

then I let my feelings rise up

for my mother when she passed on,

for my marriage when he quit me,

left me as a single mother,

with a hard job and no weekends.

Now I weep without taking pills,

yet I still feel very angry,

and the fury seems well-founded,

but the feelings will not hurt me.”

Excell’s lyrics may be modern, but the style of singing comes from an older place.

“Lament [singing] is a very old, traditional way to express your feelings,” says Fihlman, a lament teacher and matriarch of the group. “If you are hurt or you have sorrows or you want to express your feelings, you cry it out. You let it come out. That’s what they would do in the old times.”


In Finland, the ancient musical tradition known as lament singing is seeing a revival.

In the past, the custom was observed at funerals, weddings, and during times of war. But today, practitioners have a modern application for it: musical therapy. By providing an opportunity to process emotions through song, lament singing can confer mental health benefits to modern practitioners.

“[In lament] people can express themselves,” Fihlman says. “Very often people [in my courses] make laments of their grief. They miss their parents or they have troubles in their marriage or maybe they were hurt in childhood and they never had a chance to bring it up.”

While the custom resembles many “new age” practices, Finnish lament singing has a feature that those neo-spiritual systems don’t: It teaches a tradition specific to the region instead of borrowing from other cultures.

Originally, the tradition wasn’t about emotional healing.

“The function of [lament singing] was to establish positive contact with your ancestors, the dead, and help them in some way,” says Jim Wilce, a professor of anthropology at Northern Arizona University and author of numerous books and papers on lament singing around the world. Originally, he says, the tradition wasn’t about emotional healing.

Which, according to Wilce, is what makes the revival so unique.

“In every traditional lament … you have a connection with what I call ‘the divine powers,’” says Eila Stepanova, a folklore studies Ph.D. at the University of Helsinki. “[This isn’t] a Christian god. It’s something in between—an older layer of traditional beliefs.”

While lament singing exists in communities from Bangladesh to New Zealand, according to Wilce, and has even been documented in the ancient poem “Beowulf,” the form being practiced in Finland has its roots in the area now known as the Republic of Karelia—the region on the Russian side of the Finnish border. Stepanova says the traditional laments—sung for funerals, weddings, war—were performed to help people move from one world to the other, be it to the land of the dead, to a new family, or to the battlefield. At ceremonies for the dead, for instance, laments were sung to wake deceased members of the family in the other world to meet new arrivals.

But traditional laments weren’t simply a style of song: They were a unique language in which nothing was ever named directly.

In lament singing, positive descriptions are used: Things are sweet, light, bright, dear, or wonderful.

“For example, you have substitute names for all personal relations [and] for objects or phenomenons,” says Stepanova. “So in lament language, when you talk about your mother, you don’t use the word mother. You say, ‘the dearest woman who brought me [into] the sweetest world who carried me,’ or ‘my dear carrier,’ or ‘my dear cherisher.’”

Other examples include the sun, which can be called a “golden disk,” or arms, which can be called “shoulder branches.” And in lament singing, positive descriptions are used. Things are sweet, light, bright, dear, or wonderful. The one exception is any description of the lamenter herself.

“She is always the miserable [one]. She never says the word ‘I,’” explains Stepanova. Instead, when describing herself, the lamenter might say she’s the “miserable body,” “woman of great sorrows,” or “body made of tears.”

Stepanova’s mother published the first lament dictionary in 2004 documenting approximately 1,400 different metaphors for words used in the songs. Like any language, it’s evolving with modern times. Cars can be “headless horses,” phone calls can be “messages that come through metal strings,” and televisions can be “talking boxes.”

But while Finland is seeing a revival—instructor Fihlman says she has conducted nearly 200 courses with almost 2,000 students—other parts of the world are seeing a decline in the traditional practice.

Lament singing existed in rural communities for generations, but it was viewed as a pagan tradition.

Wilce says that around the world lament singing is threatened. In Bangladesh, for instance, practitioners often face physical violence in rural Muslim societies.

“People are being shamed by their relatives,” says Wilce. “By fundamentalist Christian missionaries in Papua New Guinea and [in] other places by the values of rationality and urbanizing modernity.”

Yet in Finland, the tradition is blossoming, despite a history that has often threatened its survival. In Karelia, Fihlman says that lament singing existed in rural communities for generations, but it was viewed as a pagan tradition by Orthodox and Lutheran Christians and often driven underground. Urbanization also threatened the continued existence of lament singing. In the last century, as young people moved away from their hometowns to find jobs and schooling in cities, villages began to disappear, along with lament singers. And in the early days of the Soviet Union, authorities often employed lament for ideological and propaganda efforts, creating laments that expressed support for the Soviet system and its leaders.

Stepanova says that, eventually, only old people told ancient stories and sang antique laments. “They were museum items, and they stopped being a living tradition among people,” she says.
But somehow, adds Fihlman, it survived. “We don’t have those old people anymore,” she says. “But [now] we have this new generation.”

Minna Hokka wore a candy-striped turtleneck sweater in chartreuse, cream, and maroon. Fihlman, Excell, and other lamenters looked on as she raised her head and began singing. Unlike Excell’s lament, Hokka’s was a historical ode recalling Karelia’s bitter history with Russia.

“To the people of Karelia,

souls and spirits born in beauty:

Through the windows were your green fields,

in the blue skies larks were singing,

saints and icons stood in silence,

watching over wooden log homes.

Kanteles echoed in the dark rooms,

and the stars blinked in the night sky,

but your thoughts were wrapped in darkness:

iron hail rained on your rooftops.”

Hokka, 41, is part of the new generation learning from Fihlman. She says she hopes to start composing laments for young people struggling with addiction.

“Nowadays crying is seen as losing face, so people avoid and fear it,” says Hokka. “Finland needs its tears.”

For Hokka and other lamenters, the practice isn’t just a hobby: It’s an ancient tradition now finding contemporary use. And in Fihlman’s home on the outskirts of Helsinki, it’s taking root with a new generation, one sad song at a time.

“Does [lament singing] have connection to the past? To tradition? To beliefs or values?” Stepanova says. “Or do we make it a museum item behind glass and go and think, Ahh, nice, yes, and forget about it? It depends on us.”

Tristan Ahtone wrote this article for YES! Magazine. Tristan is a journalist and member of the Kiowa Tribe of Oklahoma. His work has appeared on and in The Newshour with Jim Lehrer, National Native News, Frontline, Wyoming Public Radio, Vice, the Fronteras Desk, NPR, and Al Jazeera America.
This article was first published by Yes Magazine and is reproduced here with permission.

Feature photograph ‘Tough Times’ by Ben White on Unsplash

Community songbirds! Take flight on the airwaves in a new radio show dedicated to singing groups and choirs

A truly unique radio show championing the work of Choirs and Community Singing Groups is filling the airwaves above Upwey and beyond with the sweet sound of a cappella and accompanied singing each week.  The Aka-Pelican show is hosted by Rick Steen, a passionate choir singer and blues guitarist who’s excited to bring this opportunity to the world in what he believes is a first.

Rick’s Aka-Pelican show is broadcast by 3MDR, (Mountain District Radio) on 97.1fm. The community-run station was set up in response to the Ash Wednesday bushfires in 1983 to provide effective and direct communication to locals in the event of emergency, and other than a station manager, it is staffed and run entirely by volunteers.

With a background in folk and blues music, Rick joined the station as a volunteer sound engineer before being trained as an announcer and invited to present a show of his own:

“I thought what would work really well is a show dedicated to supporting choirs and a cappella singing. There are around seven choirs in the Dandenongs between Upwey and Gembrook alone, making it a good niche, good for the station and its membership; people will be all over it!”

3MDR has enjoyed a variety of homes during its 25-year history including a bus, a water tower and a shop. In February, the station relocated to new premises at the Forest Park Homestead, where Rick now has the luxury of a large studio space suitable for live to air broadcasts during his program’s two-hour time slot, from 3 ‘til 5:00pm on Wednesdays.

Rick Steen
Rick Steen: Presenter of the Aka-Pelican radio show on 3MDR, 97.1fm

Having run Aka-Pelican for just over 6 months now, Rick reckons it takes half an hour to settle into the hot seat. “I don’t have a production assistant, I’m handling everything and you have to be highly tuned right from the word go.”

By then he’s in the groove and ready to showcase live or recorded performances from choirs and singing groups from the local area, Melbourne and the surrounds. There’s been one change to the Aka-Pelican format since its inception, the decision taken by Rick to incorporate the material of accompanied choirs into the show. “Too many wonderful choirs felt that they didn’t qualify to participate as their songs were accompanied, so I implemented one ‘Golden Rule’, which is that vocals of the choir must be the dominant feature of the music.”

Broadcasting beyond the hills, the radio’s reach is limitless as people can listen to 3MDR online, and Rick is excited that this provides the opportunity for home grown, grass roots music-making to reach a universal radio audience.

“There’s good reception out in Gippsland and down to Philip Island though most people listen online. It’s a worldwide thing,” says Rick, who is happy to advocate for the joy and benefits of community singing and is also keen to interview community choir leaders as part of the program each week, either in person or over the phone.

If you’ve recorded material with your singing group or choir that you would like to hear on air, Rick’s your man. His vision to provide a voice to singing group and choirs combined with Aka-Pelican’s performance space, two-hour program slot and the option of going live to air will send the sounds of community singing soaring far and wide. Solo songbirds are welcome to contribute songs too, so long as they are unaccompanied.

To contact Rick and share material for Aka-Pelican or for further information, email 3MDR: radio@3mdr.com and mark your message for the attention of the Aka-Pelican Show.**

Aka Pelican.jpg

Written by Deb Carveth, online editor for Community Music Victoria, with Rick Steen

** At the time of publishing this article, Rick is looking to recruit an assistant to help with the admin side of the show who would also be interested in becoming a co-host… full training will be provided!

 

Raising spirits in Brisbane and beyond: Pub Choir celebrates its first birthday

In just one year, Pub Choir has revolutionised the community music scene in Brisbane and beyond, bursting forth in a blast of fresh energy and zest and attracting hundreds of singers to its informal fortnightly singing sessions. The success of Pub Choir can be attributed to a combination of zeitgeist mixed with a twist of right time right place all shaken up with a direct, no frills attitude to music making. That and the fact it’s in a pub…

The ingeniously simple idea for Pub Choir was dreamt up in a conversation between co-founders Astrid Jorgensen and Megan Bartholomew. The women who met at uni, share the belief that everyone can sing and that music belongs to everybody. In talking, they realised that whilst music was their livelihood, they were no longer singing for fun and so, in March last year, Meg called a pub.

Astrid and Meg then recruited guitarist Waveney Yasso, whose job is to keep everyone singing in time and in tune. The Pub Choir dream team came into being and with support from a photographer and videographers to capture the magic, they were set to prove to the world it could sing.

“The hope was that if we put it in a friendly setting then people would come and remember that music is fun with friends. We should all be making music an everyday experience, and if we’re doing it more often and in casual ways then it becomes less ‘scary’.”

Astrid and the team put a single post on Facebook before the first session stating, ‘No Commitment, No Auditions, No Sheet Music, NO WORRIES!’ They smashed their hopes for 30 people that first night when 70 rocked up, and every event from then on has sold out. As Astrid says, “It’s been pretty crazy!”

The Bearded Lady in Brisbane trusted the vision, provided a space and supported the idea of Pub Choir at a time when it wasn’t a ‘thing’. The event soon outgrew the capacity of the room there, but its walls play a significant part in the success and history of the choir’s first year, something Astrid is very thankful for.

So does alcohol play a significant role in the success and phenomenon of Pub Choir? Even though it’s available, Astrid attributes the sense of anonymity that goes with being in a pub along with lots of other people, as the reason new singers feel disinhibited enough to relax and have a go. And once they start singing, the release of endorphins and the sense of connection can work their magic and do the rest.

There is no place for judgement at Pub Choir, it’s all about enjoying yourself and singing to have a good time.  Astrid chooses well known songs, something she finds makes life easier for everyone:

“For each upcoming session I try to pick something in a different style to the last so as not to be too repetitive; something very well known so that the melody doesn’t have to be taught too much, and; songs that are achievable in 90 minutes. I also am constrained by whether or not I can obtain the relevant licenses. Occasionally publishers will say no, so I try to have a few options up my sleeve.”

To teach the song, Astrid, who is qualified in choral conducting and voice, divides the group into three sections, taking them through line by line and within 90 minutes everyone is revelling in the buzz of singing in three part harmony.

There has been such an amazing outpouring of support for Pub Choir from the online community, that Astrid and the team are now in the process of booking dates for a tour. The idea is to travel around the country later in the year and share the experience of Pub Choir more widely in its original format. Astrid likes to combine elements of comedy into all aspects of her work including Pub Choir in the belief that if people are having a laugh they will relax and sing better, and she’s keen to share this out on the road too.

“Everyone is saying the same thing: We could really use this in our community, this looks so much fun.”

Pub Choir has received hundreds of emails from people across the country who are keen to use the same model, and asking if they can start up their own Pub Choir. This includes requests for Pub Choir’s budgeting, licensing, event planning, and even web content creation – some of which Astrid admits makes her feel a little uncomfortable.

Whilst the level of interest from other singing leaders keen to borrow and learn from the model of Pub Choir is flattering, Astrid feels this has to be done in conjunction with a good dose of self-assessment and points out that the Pub Choir model might not translate and work as well for everyone. She explains:

“I like being at the pub and I like joking around and I’m definitely more into casual community music making than something more ‘high brow’, but I think people may try to copy and paste something that might not necessarily fit their skill set as an educator, or even their personality. I mean, consider 500 drunk people who you don’t know,” laughs Astrid, “it won’t suit everyone, so play to your strengths and find what you are passionate about!”

An unexpected challenge faced by Pub Choir is the number of costs involved in running such a simple idea. Each singer pays $10 cash on the door and pretty much every cent of that goes back into licensing to pay for arranging and then filming the song. “Sometimes it’s thousands of dollars.”

This was an area they didn’t anticipate but their popularity and strong online presence thrives as a result of the high quality film clips they post, and their recent clip of the Cranberries song ‘Zombie’ sung and posted as a tribute to Dolores O’Riordan was shared by the band and went viral, a real high point for Astrid and everyone involved.

Pub Choir will be celebrating its first birthday in March with a party to end all parties at the Triffid in Brisbane, a venue with capacity for over 700 singers. It’s a beautiful old aircraft hangar which is a brilliantly apt place to celebrate a singing group that has taken off so fast. Go, go Pub Choir: the sky’s the limit.

Written by Deb Carveth for Community Music Victoria with Astrid Jorgensen from Pub Choir

Featured image by Jacob Morrison, supplied by Pub Choir

**Interest in Pub Choir has come from each of the capital cities and beyond and the team hope to have visited them all by the end of the year, returning in between times to sing with their Brisbane crowd. If there are any pub landlords or venue managers reading this in Victoria who are open to the idea of hosting Pub Choir, hop onto their website and express your interest now!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Undermining Adani with the Melbourne Climate Choir

“This particular campaign focussed on Adani has really mobilised people across political parties, across age groups and demographics. They’re worried about their children and they’re worried about their grandchildren and what they’re going to inherit…Singing about it gives anyone feeling powerless and outraged a way to feel better and join with other people who feel the same.” 

If you were in Melbourne’s Fed Square last Saturday evening, chances are you’ll have heard the recently re-formed Melbourne Climate Choir in action on stage as part of their quest to raise awareness of the ongoing ‘Stop Adani’ campaign.

The Climate Choir first came together two years ago, formed by community musician and activist Jeannie Marsh, in collaboration with the Australian Conservation Foundation (ACF) to bring a singing component to the People’s Climate March.  Jeannie was aware of the need for accessible, catchy songs and simple call and response material  for the choir to sing on the steps of the State library and along the Climate March route, as an alternative to the throat-wrecking cry of ‘what do we want, when do we want it.’

In her quest, Jeannie unearthed not only the extensive array of tune-age available on the Carbon Canaries website but also dug up Do it Now, a re-working of Bella Ciao, an Italian Partisan song popular in the Union movement and arranged by an ‘excellent’ group of choral activists based in Belgium, called Sing for the Climate.

“Their version of the song comes with all the resources you could possibly need to use at a rally or action: sheet music, instrumental parts, lyrics sheets, different keys, etc and it’s one of the most powerful and catchy pieces of “protest art” I have ever seen”, says Jeannie. “We have sung this song repeatedly at many events around Melbourne, and people always love it.” Do it Now is an urgent plea to world leaders to commit to ‘reducing carbon emissions, year on year, and highlights the need for strong leadership on climate change to put a stop on the devastation it brings to the world.’

Jeannie has found the song’s structure works really well in a protest setting because it’s bouncy, it’s fun, people know the tune and it’s easy to pick up and sing along to:

We need to wake up
We need to wise up
We need to open our eyes and do it now, now, now!
We need to build a better future
And we need to start right now…

“It’s incredibly powerful to be there standing on the steps of the state library with a choir of forty people, an accordion and a trombone and people say that they find it very positive because, you know, Climate Change is a depressing topic…”

Th increased presence of Stop Adani campaigns in the press over the past year or so and the depressing prospect of Australia leading us all into a fossil-fuelled future re-ignited in Jeannie a desire to bring members of the Melbourne Climate Choir back together with a renewed sense of purpose, tuning in once more to the work of the ACF and the group of community singing activists reformed earlier this year:

“I saw all these actions around the place and in politicians’ offices and just thought ‘isn’t that great’ and that maybe it was time to get singing again.”

Jeannie put the word out to all the people who’d identified themselves previously through the work with the ACF in 2015 and before long had a flock of songbirds congregating to sing ‘Do it Now’ outside the office of Josh Frydenberg, Federal MP for Kooyong and Minister for Resources and Energy. Jeannie recalls the event as being ‘really joyful.’

“There was an accordion, the media turned up, people gave speeches, there were plenty of placards and people with banners all processing across the middle of busy Camberwell Junction (where Frydenberg’s office is based). Passers-by were blowing their horns and waving in solidarity. So, I then decided to take up an offer from the ACF to use a room and go through some other songs.”

Jeannie continues, “this particular campaign focussed on Adani has really mobilised people across political parties, across age groups and demographics. They’re worried about their children and they’re worried about their grandchildren and what they’re going to inherit…Singing about it gives anyone feeling powerless and outraged a way to feel better and join with other people who feel the same.”

The Climate Choir has collated a sheet of songs using material from the Carbon Canaries, including Why dig up coal.. to the tune of YMCA complete with all the actions, and Love and Marriage as you’ve never heard it before, the words of which go something like ‘Reefs and fossil fuels, reefs and fossil fuels, go together like babies and power tools…Jeannie feels that ultimately it’s about keeping things fun but being heard about a subject which incites passion in people who would otherwise feel disempowered:

 “Community Choirs are such a huge thing in Melbourne. You can really make noise and it’s beautiful and it’s uplifting and it’s ultimately empowering.”

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

To find out more about the Melbourne Climate Choir, contact Community Music Victoria

*Feature photograph and all photographs in this article were taken by Julian Meehan for the Melbourne Branch of ‘Stop Adani’ at the screening of Guarding the Galilee in Federation Square, Melbourne, Saturday September 16th, 2017

This article is part 2 of the previous CMVic blog article: Carbon Canaries sing out for Climate Change.

 

 

 

Carbon Canaries sing out for climate change

If the ongoing issues surrounding climate change and the proposed Adani Coal mine leave you wanting to blow your top we’ve unearthed a way to help channel that frustration and anger into inspiration and joy. Let us begin. Pop a coin into your cerebral jukebox and select the tune to the chorus of the Abba song Fernando substituting the words penned by Bjorn, Agnetha and co with the following:

There’s more carbon in the air each night 
We’ve got to fight Adani
Causing climate change for you and me
It’s planet’ry Adani
And we know that we must never lose
The stage is set
We’ll occupy your office suite
Until you’re beat Adani…

Great isn’t it? Spirits depressed and deflated by overwhelming environmental concerns are momentarily lifted and buoyed with the added bonus that the familiar tune makes it an easy song to pick up and join in with in no time: empower yourself and others by engaging in a spot of choral activism and sing out against climate change. And there’s plenty more material where that came from, including for traditional folkies ‘Stop Adani Stop the mine’ to the tune of Oh my darling Clementine, guaranteed to stick firmly in ears everywhere:

Stop Adani, Stop Adani, Stop Adaaaani, Stop the mine
Shouldn’t aughta poison water
It’s an order – Stop the Mine

cropped-c__fakepath_carbon-canariesrect-320x110Clever and simple, these songs are addictive and accessible and are the work of two radically minded musician/activists from Queensland and NSW, Jenny Fitzgibbon and Paul Spencer, who have together created Carbon Canaries, an online song resource ‘enabling people everywhere to sing out for climate action with songs that ‘poke fun at fossils & fuelish humans, celebrate renewables of all genders and make choirs spring up at an action or staffroom near you.’

To date, Carbon Canaries have parodied and posted the tunes of 35 well-known songs re-writing the lyrics to reflect, as Paul writes, ‘the human experience of the social change movement and of living in a world that’s so beautiful, so alarming and so inspiring all at the same time.’

Jenny is motivated by the desire to offer protesters and climate campaigners a source of ‘joy and energy’ and to enable people everywhere.

The Carbon Canaries’ website provides all the tools group facilitators could wish for to get singing for positive change. Song sheets and tunes are available to download as well as backing tracks and videos of Carbon Canaries’ songs and climate inspired parodies of songs by other activists, such as the superb Specials-inspired ‘A Message to you Turnbull‘ by Melbourne’s Glorious Rabble led by Stephen Taberner and accompanied by the Horns of Justice, (below).  In the spirit of solidarity, Carbon Canaries resources don’t cost the earth, in fact they are all available absolutely free, although visitors to the site are invited to support their great work by donation.

Source: singing out for climate action

Tune in to the next CMVic blog post to read how the Carbon Canaries’ work is being used in Victoria by the Melbourne based Climate Choir in their singing for social change.

Article by Deb Carveth, online editor for Community Music Victoria

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

 

 

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.

Tides of Welcome keep on rolling: A Queenscliff community choir celebrates 13 song-filled years

Tides of Welcome Choir has been celebrating diversity and harmony through a shared passion for singing, and has just blown out the candles on its thirteenth anniversary cake. The choir comprises locals from Queenscliff on the Bellarine Peninsula in Victoria, who enjoy the experience of singing together and creating soulful harmonies under the direction of their dedicated leader, singer songwriter, Andrea Robertson.Tides of Welcome

Based in Queenscliffe Neighbourhood House, Tides of Welcome has never struggled with numbers enjoying a consistently strong turn out and cohesion from day one, back when it was lead by Sarah Carroll and known as The Ripchords.

Carolyn Williams is one of the founding members, and has been heavily involved in the development and evolution of the choir from its outset, participating in the fun stuff at the front end, and overseeing the administrative nuts and bolts behind the scenes:

“Myself and a few other people were keen to start up a choir and had been for some time but we knew we had to find the right person to lead it, somebody charismatic who would bring people along with her or him. And we found Sarah Carroll who at that stage was in the Melbourne based country band, Git, and had recently moved down to the Bellarine Peninsula. We approached her and she was very keen, so we advertised and on the first night we had about 40 people. Given that Queenscliff is a small population this was a real coup!”

So was it something in the sea air, or was there simply a gap in the singing market?

Carolyn believes it was Sarah’s reputation that drew singers in and the hard to resist attraction of what she had done previously in her own musical right. The group found a home in the senior citizens centre in Queenscliff, changed their name to Tides of Welcome Soul and Gospel Choir, and remained singing with Sarah, for the next 7 years.

One clear problem emerged extremely early on, during the group’s first year, and stemmed from an ebb and flow in the number of people attending. “At times there were 20 people who’d turn up, while on other nights there’d be 40. Sometimes there would be an entirely different group from one week to the next based on who came to sing and who stayed at home. “

This caused a few challenges around the practicality of teaching songs to a group whose dynamic would shift and change, and where people were remembering the repertoire in varying ways and to differing extents.

The choir committee decided to nip the problem in the bud by introducing termly rates, and this immediately fixed the problem. “Once people weren’t paying on a weekly basis it really sorted things out, reiterated everyone’s commitment to the group and regardless of whether you were on holiday half way through term or whatever, you were in it for the duration.”

By 2004, the choir was performance ready and scored themselves a spot at the Queenscliff music festival. Their debut turned into an annual place on the bill, and offers incentive and focus to the singers, and a shape to the year.

A strong set of values underpin the group. As an inclusive community choir, there are no auditions and everyone’s welcome. Tides of Welcome have had a range of experiences over the years including recording five CDs and the production process has been so tight that every voice counts. There are people within the choir who are happy to do solo spots while others can think of nothing worse than being out there by themselves. If a person joins the group who is less confident in their ability to hit the notes, they’ll be put alongside stronger, more confident singers until they find their groove.

So what’s the secret in the success and longevity of the choir? Carolyn believes that comes down to a combination of factors such as the willingness of individual choir members to support the group. For example, they’re fortunate to have a guy who makes time to record all the songs and put them on Soundcloud so that everyone can rehearse in between choir practise, and who has also prepared the website, a fantastic resource richly populated with photos of the group in action, songs and lyrics.

Another huge bonus is the auspicing received by Tides of Welcome from Queenscliffe Neighbourhood House. Not only does this assure them a rehearsal space, it means the administrative and financial needs of the group are all taken care of by the House; the emails which need sending around; the printing of the lyrics, any photocopying; the list of admin and back house tasks which are necessary to underpin all community music groups, are entirely taken care of. And the cherry on the cake is that Carolyn is not only a founding member of the choir, she is the Coordinator for the neighbourhood house, too.

“We have always had the wider community as our heart and the Queenscliffe Neighbourhood House as our heart beat.”

A small Tides of Welcome executive committee meets regularly to take stock, review guidelines and ensure things are on track for everyone, while the final choice about material sung by the group, is made by the leader. During their incarnation as a soul and gospel choir. Sarah Carroll sourced some amazing and rare gospel songs for the group to sing, “what she’d call white gospel from the southern states of America.” Tiffany Eckhardt who went on to direct the choir later on, wrote songs specifically for the choir which was also wonderful, and choir members are always welcome to contribute ideas for material, at any point in time.

Tides of Welcome have benefited from three sessions of professional development over the course of the past 13 years, including a ‘tune up’ from Jonathan Welch, which Carolyn feels was extremely valuable. They continue to be led by experienced leaders, rich in musical background and experienced in teaching a variety of age groups and abilities. Local musician and educator Andrea Robertson is the current director.

“Andrea is a singer songwriter based in Ocean Grove… whilst new to directing a choir like Tides of Welcome, she is an experienced singing and piano teacher and has worked with children’s choirs and church groups. We were very fortunate to have Andrea join us. She’s embraced the role of Director and continues to teach and inspire us to create our soulful sound layered with rich harmonies. She’s also expanded our repertoire to include many songs that she has written specifically for us.”

Thirteen years constitutes many, many weeks of singing together and a handful of the original singers involved since the start are still coming back for more.

While people come and go, for Carolyn, it’s the camaraderie of being in a group and just the fun of singing together that keeps her engaged.

“There is something undeniably powerful about the experience of singing together where the feelings of warmth, joy and harmony are enjoyed and shared…people will often say “I’ve had a really hard day and I didn’t want to come tonight but I forced myself and I feel so much better.”

Tides 13th Birthday
The 3 founding members still involved with the choir: Janelle Jenkins cutting the birthday cake, next to Jacinta Farrugia and Carolyn Williams, standing.

By Deb Carveth, online editor for Community Music Victoria, with Carolyn Williams.

Join Tides of Welcome in concert to celebrate their 13 year anniversary on Wednesday September 14th,from 7.30pm at the Uniting Church in Queenscliff or join them at 6pm for a community meal (by donation). For tickets and further information, click here.