Tag Archives: Community Singing

‘Come and Sing’ in Stawell

“At 7pm on a night in the dead of winter, there’s often nobody but me in the room.  As people come in they’ll say ‘ah there’s only three of us tonight’, then a fourth person turns up and there’s five… By 7:20pm, there’ll usually be eight of us and I’ll joke with them all – but it’s true – that I made this group, because I want to sing, and even if nobody else ever turned up, I’d still stand there and sing!”

It’s been twenty years since community singing leader, Dianne Stewart, made the move to Stawell in the shimmering Wimmera region of Victoria. Dianne relocated from Bendigo, via the Northern Territory: “I did my Grade 6 AMEB in Alice Springs at a time when they’d never had anybody do a voice exam there before, which was interesting. I come from the City of Bendigo which has this huge musical and choral culture, and I moved to Stawell where there was a two-act musical performance once a year which then disappeared. The state musical theatre wasn’t my background and it wasn’t my thing, but it was the only thing that was sitting in town that I could access, and I wanted to sing!”

Dianne approached Stawell Performing Arts Company (SPACi) and asked them about the possibility of creating a singing group or choir in the town. “They said if you put something to it, we can put something together so I spent the next year doing research and connected with CMVic back when Fay White was doing the Vocal Nosh stuff. Fay came to the Grampians to do some work around bushfire recovery and I went to a workshop she was running and I got some lovely feedback from people.”

Receiving the encouragement to ‘just start it and step out’ made Dianne feel a Stawell-based singing group of her own was possible if she adopted the Vocal Nosh model and set it up as a singing circle. Which is exactly what she did.

“I put the proposal to SPACi, told them this was what I wanted to do, how it would run and why it would work really well for them.” Dianne then started the Come and Sing  group and it’s been running ever since.”

“I’d never led a group before, never been a singing leader at all. I’d been a singer in a choir and a voice student, but I’d never run a group, it was all very new to me. I don’t play the piano and I didn’t feel I could do the kind of things I’d been involved with in the past because my choir leader and singing leaders had all played the piano and had been the accompanist as well, but I couldn’t do that… “

Attendance to Come and Sing is very relaxed with no expectation for singers to attend every week. “It’s come as you like; come each week, or just when you can – pay as you go, and there’s only a very small payment each week because it allows access to more people. I’ve done a lot of work with SPACi around people’s capacity to pay. We’ll probably have between 8 and 15, sometimes 16 or 17 people through the door. The ages range from a couple of senior high school students (and their dads come as well) all the way through to people in their 80s.”

Dianne finds the geography of the Western District of Victoria can make connecting up with other leaders and attending events something of a challenge: “Trying to build and connect with anything past Ballarat is more difficult because of the distance.  I see what Community Music Victoria is doing and a lot of the time the workshops are not accessible for me because of the distances involved.”

To stay up to date with professional development and for support in her singing leadership, Dianne seeks out resources and ‘stuff’ she can access online and in her own time at weekends. Despite the tyranny of distance, Dianne’s a member of several organisations including CMVic and the Singing Teachers Association, and these connections to the larger network give her the incentive to work at creating and making more of the community in which she lives.

“It brings me great joy. It’s the connection with other people and the community.”

“We always tell people come and see what we do, try it out, if we are your tribe, if we are your thing then you’ll continue to come, and if we’re not, then that’s ok too. The group is called Come and Sing because it’s for anybody at all who walks through the door who just wants to sing.”

Because Come and Sing sits within SPACi, for some people trying out for shows is a way to build skills and try bigger things. Being part of Come and Sing’s weekly sessions builds their capacity to prepare for the auditions which are a requirement of taking part in a rehearsed show. “They can choose to do that, or not. Quite a lot of our Come and Sing singers aren’t interested in doing that, but others are.”

“SPACi also runs a junior program which is very much a musical theatre program, and the kids who grow out of that tend to come and sing in the group, but being in the country, those kids usually move on and leave the community. “We don’t tend to get that 20 to 30 age group because they’ve moved elsewhere or gone to university and we work with that. I think we attract the people who are interested and we attract the people who want to do what we want to do!”

Dianne is happy to share the role of leader and enjoys encouraging anyone keen to have a go. “I always say if anybody comes along with better skills than me I’d be really happy to sit down and participate or if somebody else would like to step up and lead, I’ll be very happy to learn from them.”

“…As a leader, at the end of the day it’s good to keep reminding yourself that what you’re providing wouldn’t be there if you weren’t.”

By Deb Carveth, online editor for Community Music Victoria, with big thanks to Dianne Stewart.

Come and Sing meet on Wednesday evenings, 7-8:30pm; 52 Wakeham Street, Stawell, Victoria, Australia. For info, contact Dianne Stewart: 0427850278

Songs & Chants for Planet Earth: A Compilation of Songs by Jane Coker

“The outpouring of freedom songs went to the core of the struggle and expressed, as nothing else was able, the hope, belief, desire, passion, dreams, and anguish of the conflict.” Mary King speaking of the power of song during the US Civil Rights movement.

I put this selection of songs and chants for climate justice together with the specific aim of helping us all to find stuff that was simple and catchy enough to use outdoors at protests. I wrote a few and gathered a few from other people but this is only the beginning of my collection and there’s loads of other great stuff out there. The problem is finding stuff that is really short and easy to learn, yet effective. (Kavisha Mazzella’s Mother Earth song is a perfect example of all these things).

As yet –  to my knowledge – there isn’t a central place where this specific type of song and chant are gathered but the Extinction Rebellion Choir is a good model and has some good resources available on Facebook. Closer to home, Climate Choir Melbourne is also creating a great collection of resources, available here.

People are writing and sharing new songs and chants all the time. Singing together gives us enormous sense of our shared humanity, makes us feel strong and positive, allows us to express our emotions in these desperate times and communicates in a non-threatening way to people observing and participating in  our protests.

Jeannie Marsh, Jane York, Emily Hayes and others have been bringing singing to this week’s Extinction Rebellion protests in Melbourne. I humbly thank them for making this huge contribution to the campaign. Those of us who have the skills to enable people to sing together – now is our moment to make a huge difference to the face of the campaigns and the strength of the movements.  Act now!

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For recordings of these songs and chants, click below! Feel free to use any of mine as long as your protest is non-violent.

Sing out Strong!

Jane Coker
jane.coker@bigpond.com
October 2019

*Photo of the Spring Rebellion in Melbourne, courtesy of Hilary Walker

 

 

The Journey From The Song, by Stuart Ashburner

It is only a short song. In fact it was just the chorus that started it all.

Perhaps I should start from where it all began. Polly, my wife, has always loved listening to ‘a capella’ so for several years we would go to the Selby Folk Club’s annual a capella concert in Upwey. Then about 5 years ago, after the concert, I made the irrational decision to join Sweet Sassafras, one of our local choirs. Irrational because I’d not sung since my youth, and never in a concert. A few weeks after that our choir director announced that we would be learning Light by Light by Liz Frencham and singing it along with VoKallista, another local choir, at the Belgrave Lantern Festival and if we wanted to get started on the song, go to VoKallista on Wednesday evening.

That song, Light by Light, started a new journey in our lives.

I went along to VoKallista, got an amazingly warm welcome from Libby Price and met Barb McFarlane whose name was vaguely familiar. I knew by the end of the session that I needed to join VoKallista as well as being in Sweet Sassafras. It took a while to get Polly along, for the usual reasons. “I’m not musical, I can’t sing.” etc.  Within three months they were among her best friends, almost like family, and she had done a short solo recitative on stage at Daylesford during the Choirs Concert.

Then one day Barb Mcfarlane told me that she was on the Victoria Sings Steering Group at Community Music Victoria. I’d never heard of CMVic let alone the Steering Group. She said that the group consisted only of women and needed a male to give it a bit of balance and I was that male. That’s how I got involved. I decided to go to Treetops to find out what a CMVic camp was all about. Polly said I was on a high for weeks afterwards.

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Stuart (left) at Treetops, back in 2014

So, we’ve just got home from our third CMVic Singing Camp, met up once again with the loveliest bunch of people on the planet, are both inspired from the workshops, from the interactions, the singing, talking and the warmth. Our lives have changed into totally new directions over the last four years with new confidences, new friends and new adventures. 

And it all started from that one little song.

Thank you Liz Frencham for Light by Light. And thank you Barb Mcfarlane, for getting me into CMVic, and thanks to all of you wonderful CMVic people.

-Stuart ‘Fuzzy’ Ashburner

Postscript: It is as relevant to me now in 2019 as it was when I wrote this in January of 2014. Wild horses wouldn’t keep Polly and me away from the CMVic Singing Camp!**

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Stuart and friends at the 2017 CMVic Singing Camp

**The 2019 CMVic Singing Camp at Amberley runs from October 18-20. It is a weekend of peer exchange for Singing Leaders of all experience levels, new, aspiring or experienced, and anyone who loves to sing! For information and bookings, click here. 

The Peace Choir: A Sanctuary of Song in Castlemaine

Not so quietly getting on with singing together in a little corner of its community is the Castlemaine Peace Choir. A beloved group, not particularly well known outside of the town, its spirit is forged by the values of inclusion and compassion which underpin it and are its reason for being. Peace Choir is a free, no-obligation community choir funded by philanthropy.

The Peace Choir was born after a couple who manage a small philanthropic fund within the town made it their mission to embrace the people who look on from the sidelines of society, marginalised from the offerings of the mainstream because of mental illness or intellectual disability, and bring them into the frame. Motivated by the effects of a profound personal loss, they approached the district’s community house, mental health support groups and disability services about establishing a choir.

They approached community singing leaders, James Rigby and Jane Thompson, who were aware that they were  running groups for people of a certain age and demographic from within their town: “We always said they were open access, anyone-can-join choirs but we just knew we were missing a whole lot of people who would have benefitted from the experience that these choir members were having.”

James and Jane were initially worried about the concept of mixing together people with intellectual disabilities with people with mental illness. “There’s a lot of stigma attached to both of those groups and we were worried that people with mental illness may not want to be classified as being the same as people with intellectual disabilities and vice versa. We ran separate workshops and then brought the two groups together and it was just a magical event.”

A minister in the town who was helping to coordinate the whole process gave the Castlemaine Peace Choir its name, something James says has been ‘an absolute gift’: “Many people with mental illness are just looking for some internal sort of peace, some stillness. It’s ended up being absolutely a choir for people who feel on the edge and there are also people in the choir who are there because they want to interact with these people who are on the fringes. We’re creating a space that actually and selectively recruits in the corners.”

People who work in the disability services in Castlemaine are aware of the choir. If you live in the district and you suffer from a mental illness, you’re quite likely to be referred to ‘Maine Connection’ and the fellow who runs that group is also on the organising group for the Peace Choir. This means it’s only a matter of time before he’ll say to somebody, ‘well look, why don’t you come along and have a sing?’ There are no processes or paperwork involved and its recruiting methods are pretty organic: Sooner or later you’re going to run across somebody in the town who has heard of the Peace Choir who will invite you along for a sing. “It’s a self-perpetuating thing.”

“We run from 5:30 with a late afternoon tea; then sing from 6-7. That afternoon tea is the best fruit you can get in the district; really beautiful, quality food from the local suppliers, delicious cheeses and good bread, it’s not flashy or extravagant but it’s wholesome and nourishing. A lot of people in this cohort are used to cordial and a plate of mixed bickies when they go to things, so to be able to off them decent, quality food is a way of saying ‘we’re going to look after you here’, and it’s extremely levelling. We eat for half an hour and that’s when all the catching up goes on. “Every time I walk into that gathering my heart just warms, you see this quite extraordinary mix of people carrying on like old friends. Nobody new is ever left on the outskirts. It’s all very low key but I don’t think there’s any chance anyone in this room would ever feel not attended to, or not cared about.”

The choir has borne witness to some pretty extreme behaviour from some of its members over the years too. “It’s not just a warm fuzzy group of lovely people – they are a warm fuzzy group of lovely people – but these are people who are prepared to really actively challenge themselves to look after other people who they might not normally be with.”

“We had a guy in the choir for a while who was floridly psychotic, he was very heavily tattooed and he had a very intense flat aspect to his face and he was lean and dangerous looking; he used to just stand up and sort of prowl during the sessions and start pulling off martial arts stances. He looked like he was about to kick someone’s head in but people in the group would settle him down and he kept coming back for a couple of years. For a time we were able to give this fellow a connection to his town and an introduction to some people who would continue to care for him. He could be an intimidating presence around our town and yet the choir was a place he kept coming back to, somewhere to be present with a group of people who were all happy to have him in the room. We were all a little bit uncomfortable but a little bit of being uncomfortable is a good thing for you, I think.”

James used to be an Emergency Department Nurse at the Royal Melbourne Hospital and has plenty of experience of people disrupting a situation: “I’m not actually scared by scenarios where people come in demanding attention. I guess I’ve worked in places that have been full of very scary people on many occasions and I’m not frightened of people with mental illness or who demonstrate extreme behaviour. The number of people who are actually dangerous is vanishingly small. And there’s a massive amount of compassion and care among the Peace Choir singers. If I have to take somebody outside to calm them down there’s a whole lot of people who have got my back, I’m not going out on a limb or doing this on my own.”

James thinks the choir’s repertoire is absolutely the guts, the heart of the whole thing. “We sing a lot of songs about taking care of each other, caring about other people, and we’ve got some old folk songs from back in the era when peace songs weren’t unfashionable.”

But it’s digging into songs written by Indigenous musicians such as Archie Roach where the group finds relevance. “The group can really see and identify with the marginalisation which comes with being Aboriginal and living on the fringe and songs written about coming from an underprivileged demographic. We sing songs like ‘We won’t cry’ from Archie Roach and they’re songs about resilience and strength and the choir just totally gets it.”

These people who have lived with these scenarios for ‘years and years and years’ tell James that ‘these songs absolutely tell my story and they tell the story of the people who have helped me to survive.’

Another important aspect of the choir there since the beginning is that people come along with their carer, whether that’s their mum, their sister, or whoever: “Every song we sing has an affirmation of the experience and the aspirations of the people in the choir”.

One of the singers in the Peace Choir is David, a man in his mid-30s, who comes along with his mother. David has autism and is nearly non-verbal although he has been known to burst into song in the supermarket. “David is a gentle, beautiful looking man, but vocalises with squeaks, grunts and whistles and makes all these crazy noises through the singing of these sensitive songs about peace, and nobody in the room turns a hair. David’s part of the group and if he’s making noises, good on him, we don’t care.”

At the end of David’s first year with the choir, his mother wrote a letter to James and Jane. In the time since her husband had died, this woman had never been able to do anything without wondering first what she was going to do with David. The Peace Choir was the first time in their life that they had been able to go and do something together and be involved in a community activity together.

James spends a lot of the time teaching people to listen. “As the years have gone by, we’ve sung more and more quietly, we have a massive dynamic in the choir now, and here’s this bunch of people with every problem under the sun and it’s absolutely the most beautiful sounding choir I’ve ever worked with. I find myself in the middle of a tender song about peace or the Melanie Shanahan song, Walk with me, written about mental illness and about crying out for people to just please help, it’s very passionate, a really raw song and we just sing it soooooo beautifully and it’s so achingly tender. And I think ‘how on earth do you teach this lot to sing that song with such commitment or insight?’

I believe it’s because they really care about the people on the other side of the room and they’re really listening to what the other people are singing and nobody in the room wants to be the person singing louder than everyone else… They’ve just become the most incredibly beautifully tuneful choir; we keep shocking ourselves.”

The Castlemaine Peace Choir is run by James Rigby and has around 60 regular singers. It runs for 30 weeks each year on Wednesdays from 5.30pm and everyone is welcome.

For more info, contact office@makingmusic.com.au, 0408 547 511

Written by Deb Carveth, online editor for Community Music Victoria, with James Rigby and Jane Thompson

Photo by Johnson Wang on Unsplash

 

 

 

 

 

 

 

Threshold Choir Tecoma offers Songs for the Dying

For the close-knit community in the hills above Melbourne, comfort and support in the form of song will soon be available to those on the threshold of life, offered by a fledgling new group of singers, Threshold Choir, Tecoma, led by experienced singing leader, Barb Mcfarlane.

“I went to the Sacred Edge Festival about four years ago and there was a singing session which, of course, I went to. The woman leading it was from the Threshold Choir in Melbourne. Speaking with her afterwards I was fascinated by the idea of singing for the sick and the dying and immediately wanted to be part of it, but Melbourne Threshold Choir meets on a Wednesday night which is when my choir Vokallista rehearses.”

Barb let the idea ride for a while until the subject came up again in conversation with her friend, Christina Reeves, who is a trained death doula. A death doula supports the person who is dying and their loved ones in whatever way is required to come to terms and be able to deal with what is happening. Christina shared and encouraged Barb’s excitement about the idea of a Threshold Choir and the possibility of forming one based in the hills. And so, this particular story begins.

‘The Mother Ship’ as Barb calls it, is the Threshold Choir established in California in 2000, by a woman called Kate Munger. The Threshold Choir is a secular organisation run by volunteers which supports people all over the world to establish their own chapter of the choir with the shared goal ‘to bring ease and comfort to those at the thresholds of living and dying’.

Permission to sing Threshold Choir songs is granted only to members of the organisation. There is no set rate to join; singers pay what they are able or would like to, from one dollar upwards. This membership facilitates access to tips, mentorship and a cappella singing resources to support them in their journey.

It was important to Barb to feel completely at ease with the rules set by the Threshold Choir before introducing any of her singers to the organisation. “I thought about going maverick and doing it my way, then I thought some more. The Threshold Choir Mother Ship has many beautiful songs which are tested, tried and trusted. They also offer mentoring support meaning if something happens I can contact my ‘coach’ or anyone else I meet through that network, and say, ‘hey look, this happened…what would you have done?’ It’s a way to de-brief and check in. On balance it’s worth it for the peace of mind.”

Barb’s coach, Cathy, is based in the US and mentoring is possible via Skype and email. Cathy has been available to Barb since the inception of her initial idea through to the launch of Threshold Choir, Tecoma. It’s an ongoing relationship and she offers Barb mentoring and advice on some of the more common questions which come up, and advises how to prepare the singers for the emotional aspect of what they’re preparing to do.

Barb knows that it’s difficult for anyone to know what to expect in the emotional sense: “There’s a huge range of possibilities to prepare for in a room where someone’s dying.” Threshold Choir, Tecoma rehearsals runs for three hours and at the end Barb finds people are keen to stay and keep talking and singing.  “It’s common for people to feel that we’ve lost the art of talking about death and dying and the experience of belonging to the Threshold Choir allows a way for the singers to reconnect with memories and share their own experiences of bereavement and loss should they wish to do so, or if they find grief and emotion is triggered by what they are doing. It’s a safe, empathic space where people are free to open up. If you bring it out by way of tears and having other people listen it’s always a healthy process.”  

Having spent a year familiarising herself with the material, Barb now has 15 Threshold Choir songs which she’s taught to her group. “We sing them for a long time, each of them might be the length of a Short Stuff style song, and we’ll sing that for around 15 minutes.”  

As somebody highly experienced in leading community choirs and singing groups, having guidelines to follow has required some adjustment for Barb. “I’m still getting my head around how to behave within the rules, cos that’s a bit of a challenge for me, I’m used to doing my own thing, but I also feel protected by it as well because they’ve all been doing it for a very long time.”

In preparing for a session, Barb sets up a circle with a reclining chair covered with a blanket and cushions in the middle. The singers are then invited into the centre to experience the sensation of being sung to for themselves. “We’ve taken a lot of time to do that. We’ll sing for a good 20 minutes to give the person in the chair the feeling of what they might be giving to someone else when they go out and start singing. We then allow for some space and listen to whatever they might want to share about sensations or how they felt.”

Threshold Choir guidelines suggest that singers go out in groups of 2-4 to avoid crowding  out a space. Most hospital rooms and private bedrooms aren’t able to accommodate more singers than that without their presence becoming overwhelming. This means that the singers who attend not only have to be confident in singing their parts but need to be able to hold it on their own, which is what takes the time for most people.

Barb now has around 30 singers who’ve been to gauge whether singing in a Threshold Choir is something they think they could do, with a good core of 12 coming along to most sessions. She’s happy to allow for a slow build of interest, the work may not be for everyone. Barb’s also working to factor in obsolescence for herself in order to ensure longevity for the group. As an ongoing part of rehearsals, Barb models and shares solid CMVic Singing Leadership skills, offering others in the core group the opportunity to teach and lead songs, encouraging them to develop their own skills in leading rehearsals and eventually, to deliver the actual work with people in the community.

The services of the Threshold Choir, Tecoma will be available for people in Palliative Care at home, or in a hospice. The songs may also be used as a way for soothing the room down after somebody has passed. Effects of the singing are reported as calming, peace inducing and pain relieving for the person who is ill, for their relatives, for the staff if the person is in a facility and, of course, for the singers themselves. 

Living in such a connected community, Barb foresees a high demand for the services of the Threshold Choir Tecoma in time and is hopeful to have enough singers available to manage a roster service available to voluntarily sing for the sick, the dying and their families. 

This weekend, Christina Reeves, Death Doula, is heading up a ‘Dying to Knowexpo being held in the Hills (August 8-11). The focus of the weekend is to explore ways to ‘create a world where we all know what to do when someone is sick, dying or grieving’. Threshold Choir, Tecoma will be singing at this event and Barb will host immersion sessions on Sunday 11th August for anyone keen to experience the songs or who would like to try singing with the group and find out further for themselves, what this incredible service is all about.

Written by Deb Carveth, CMVic Online Editor, and Barb Mcfarlane for Community Music Victoria.

Photo by Bobby Stevens on Unsplash

Stand up for justice with ‘Every Dollar’, a fair trade song.

It takes just over four days for a CEO from the top five companies in the garment sector to earn what an ordinary Bangladeshi woman garment worker earns in her whole lifetime. Source: Oxfam International

When faced with a bargain, it’s tempting to overlook the uncomfortable question of who’s actually picking up the tab if we’re not paying a fair price for what goes into our bag.  Employees at garment factories work six days a week, often for less than USD$1 per hour. Workers are under pressure to meet daily targets and work long days with barely any breaks and their health and safety is not considered a priority by their employers.

In a bid to increase awareness of this exploitation and to address the inherent power we hold as consumers, community singing leaders and musicians, Jessie Vintila, and Emma Royle, wrote a song called ‘Every Dollar’.

The goal of the song is for singers and audience to actually change the way they are shopping, and to be inspired to notice their power and to use that power for good.

In the words of Jessie, “it’s about going ‘wow every time I spend a dollar, I’m communicating something, I’m either communicating, ‘yay’ I want that business to succeed, or I really don’t want that business to succeed… We go along being complicit and supportive of a whole lot of things that, if we stopped to think about, we’d find morally reprehensible.”

Jessie’s community choir, ‘Raise the Roof’ sang Every Dollar at Mullumbimby Music Festival in 2016. Throughout the course of rehearsing and performing the song, many of the singers told Jessie how their experience of learning and singing the words was actually changing the way they shopped and many were switching to fair trade options, where they could.

This is precisely the outcome Jessie and Emma had hoped would happen each time the song is taught, learned, sung and heard. While progress in the bigger picture can feel slow, Every Dollar is a reminder about taking small steps in the right direction and doing what we can as a community to support the liberty and rights of workers in the clothing industry and beyond, whenever we can. The recent announcement by Kmart, Cotton On and Target to ‘strengthen their commitment to a living wage for their clothes makers in response to the Oxfam initiative, ‘What she makes’ is testimony to the effectiveness of this approach. These outcomes are in direct response to action and pressure from shoppers who have had enough of the injustice.

Jessie applauds consumer activism of this nature: “What I love about consumer power is that you don’t have to be fighting; you don’t have to be campaigning, you don’t actually have to be doing anything other than making conscious choices when spending your money. And you know you’re doing something really powerful but it doesn’t give you the burn out feeling that other forms of activism can do over time. It’s completely sustainable at a personal level.”

Jessie and Emma were thorough in their research for the song and the verses about Ranya the seamstress and Abdul the cotton picker from India are both based on real stories and statistics.

Activism runs in Jessie’s blood. She grew up in an environment where accountability and sound ethics were highly valued. “I remember as a child, a friend of my parents’ being all excited about finding a woman down the road in a suburb of Perth who worked in a Vietnamese clothing place and could make t-shirts. At the time I didn’t get why she was so excited about what I thought were these really boring T-shirts!”

Jessie’s now adamant about sourcing fair trade clothing herself and has t shirts for her Raise the Roof choirs and her Sing the Camino* tours made by fair trade manufacturers. This anecdote about T-shirts is a lovely testimony to the outcome of conduct and influence. The repercussions of the choices we make and the effect of the songs we sing ripple out into the world in ways we can never know.  So, in the words penned by Jessie and Emma, lets ‘Stand up for justice, Turn every dollar to good’. (Full song below)

Every Dollar                      Lyrics: Emma Royle & Jessie Vintila
Music from Rarely Herd’s version of Mary Don’t You Weep (Spiritual)

Chorus

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

Well Ranya was a seamstress
In a Dhaka factory
Worked fifteen hours seven days of the week
Can’t feed her family

Well Abdul picked the cotton
In the fields of Gujarat
Eight years old, twelve hours a day
Forced out of school to work

Well Wendy clothes her family
From her favourite shops in town
Pays the money never stopping to think
How they keep their prices down

Every dollar sends a message
Every dollar plays a hand
For somebody somewhere
Think of the people and the land
Oh, well singin’, if I could
You know that I should, I surely should
Stand up for justice, stand up for justice
Turn every dollar to good

References:
https://whatshemakes.oxfam.org.au/
https://www.vox.com/2018/2/27/17016704/living-wage-clothing-factories
https://www.oxfam.org/en/even-it/one-pair-shoes-we-make-valued-more-our-whole-months-salary

By Deb Carveth, online editor for Community Music Victoria, with Jessie Vintila. Thank you, Jessie! 

*You can ‘Sing the Camino’ with Jessie Vintila in Brunswick on Saturday, 23 March: 2-5pm! (Hosted by the Brunswick Rogues Choir). Info and bookings: https://www.singthecamino.com/singing-workshops.html

The story of ‘Lingmarra’ and the CMVic network

**This article and the following story contains references to Aboriginal and non-Aboriginal people who have died. It also contains words from the language of Australian Kriol. Permission has been sought and given for its use in this context.

Lingmarra, a beautiful song about coming together was brought to the CMVic network by  Barlang T. E. Lewis*, a Murrungun man, actor, singer and songwriter from Arnhem Land in the Northern Territory, who first learned it as a traditional song from the Dalabon Corroborree, Bongiliny Bongiliny.

Lingmarra is a song which enchants singers and listeners alike and one which Flip Case, a Melbourne based singing leader has taught to singing groups many times:

“It’s a song that feels ethereal and earthy at the same time, there’s something elemental about it, you feel transported by it and my choirs always respond to it really strongly.”

A couple of years ago, Flip was covering a session with Sue Johnson’s Prana Choir and decided to sing the song with them as she’d recently been teaching it to her own choir.

At the end of the session, a woman called Victoria approached Flip and explained how her partner had been involved in the arrangement of the song, working in collaboration with Barlang T. E. Lewis and another singer-songwriter, Melanie Shanahan.

Flip was immediately intrigued.

“I’d actually only really known the song through Melanie and I thought, wow, that’s an important thing to know about”.

It transpired that Victoria’s partner is Stephen Costello who was then Coordinator of the Community Music Forum and later the Executive Officer of Community Music Victoria. Flip set herself a mission: Work with Stephen to capture the story of how the song was arranged as a way to preserve the provenance of Lingmarra for all of the leaders singing and sharing it, in the CMVic network and beyond.

 “It’s important to have as much understanding as we can. We’re always talking about provenance and recognition of a song’s origins and whether we’re allowed to use songs for the general population and whether it’s appropriate to use it.”

As so often happens in life, for one reason and another, the two never quite got around to the task. Then, following the sad news of  Barlang T. E. Lewis’ passing last year, Flip decided it was time: “I thought, Stephen’s the last one to really tell the story of how that song came about”.

Below is a version of Lingmarra overlaid with lyrics by Barlang T. E. Lewis; upon listening to this version, the way he extends it becomes clear. (From this point on, the story becomes a personal recollection, and Barlang T. E. Lewis is referred to as ‘T’.)

Stephen explains, “T added to the traditional song in so many ways. The call to the young people Aair yawodi is his idea and this is Kriol. When the old people sing Lingmarra gumbah they are not sad. They are having fun. T added his story to the song, which is about his search for his brother, but also about travelling through his “church”, the country and communities of southern Arnhem land.”

The version of Lingmarra taught by Melanie and included in the CMVic Songbook, Sing itis the chorus of the song, “part traditional and part T”.

What follows then is an account by Stephen of his part in the arrangement of the song as it was sung by Barlang T E Lewis, written in response to Flip’s quest.

Lingmarra Story, as told by Stephen Costello

“Before Community Music Victoria was incorporated, there was a group called the Community Music Forum and we operated under the auspice of the Community Arts Network (Victoria). In 1990 I was the Coordinator of the ‘Forum and one of the first events we held was called “Everything you wanted to know about Aboriginal Music but were afraid to ask”. (Barlang) T. E. Lewis was our guest speaker. He was well known as an actor (The Chant of Jimmy Blacksmith) and as a musician with Lewis and Young (didgeridoo and clarinet) and his own original band, ‘The Anthropologists’.

T was brilliant, honest, charming, compelling and generous with listening to our questions and responding with stories and facts. This was the beginning of our friendship and collaboration.

As I shook T’s hand in appreciation after the ‘Forum, he said “Stephen. Let’s do something really big together.”

I joined The Anthropologists as a guitarist. I travelled to Canberra with T for a Music Council of Australia Conference. In the car T sang the Country as we drove along. In the hotel room we co-wrote This is My Country. A few years later, Community Music Victoria was formed, and then Melanie Shanahan came to town. CMVic backed Melanie to stage The Choral Sea in the Great Hall of National Gallery of Victoria. T and I taught This is My Country to Melanie and Melanie taught and conducted the massed community choirs. This was in the late 1990s.  (It was a bit before the Great Southern Sounds Festival and the Millennium Chorus.)

Community Music Victoria won a grant from the Aboriginal Arts Board of the Australia Council to support T to record his music. T and I played with The Anthropologists and we started to work with classical guitar and didgeridoo. T had bought a new F# didgeridoo (called Bambu or Yidaki in Yolngu country) and we started to harmonise with this.  I asked Melanie Shanahan to work with T on some of his songs in the development and pre-recording stage.

The three of us worked out simple harmonies for three songs. Lingmarra, with the F# Yidaki was one of these. At this stage it was just a chorus with guitar and Yidaki in between. Then T had to go home to southern Arnhem Land to help out during some major flooding around Beswick (Wugularr) and the Roper River. He came back to Melbourne inspired and knowing that he was needed in his community at Beswick (Wugularr). But first we had to get into the studio to record.

I put down the guitar part for Lingmarra, and then T, Mel and I sang the choruses. T said “I can sing over that”. Melanie and I and the sound engineer were treated to an improvised one-take recording where T sang his heart out. The playful calling together, Lingmarra, lingmarra gumbah became instead a deeply heartfelt searching for T’s lost brother. T re-voiced his time travelling around Arnhem Land searching for his left-handed brother (ballajugor). He calls for all the young people (yawadi) to help him, to walk and sing with him calling the spirit (warral) to come and be with him.

This is mostly in the Kriol spoken in this part of the Northern Territory. Thanks to Gloria Lane from Beswick (Wugularr) for her partial translation of the song. Kriol is a new language developed by multilingual Aboriginal people. It uses many English sounds, because English is the language of the colonialists, the pastoralists and the missionaries, but also words and ideas from the old languages of the people drawn to Beswick (Wugularr). These languages are Dalabon, Rembarrnga, Mialli, Ritharngu/Wagaluk, Jingili, Gorindji, Ngalakan, Marra, and Nungulbuyu. Kriol is the meeting place language between all of these and English.

I will keep working with Gloria to get a fuller translation and a deeper understanding. Why is T calling only the young people to help in this search? Is it to show respect to the old people, who we have no right to ask to help? I think so. Does T call his brother “the left-handed one” and not use his name because he suspects he has died and therefore he can’t use his name? Or is it just the game people play in Arnhem Land of not using names because they are more interested in relationships and kinship and skin names? It will be fun to find out.

What we do know is that Melanie taught the chorus of the song in schools and to community choirs all over Australia, and it has become part of our folk tradition with the continued support of Community Music Victoria. That’s the part of the Lingmarra story that I know about.”

-Stephen Costello 

Deep gratitude to both Stephen Costello and Flip Case for bringing this beautiful story into the light and sharing it with the CMVic network.

Deb Carveth, online editor for Community Music Victoria. 

*In recognition of his extraordinary life, the family of  Barlang T. E. Lewis has given permission for the use of his image and voice by the media.

Further links to Lingmarra

Auslan signing for the song “Lingmarra” as part of the VoiceMob project, produced by Yarra Ranges Council.


Further reading:

The Conversation: ‘Explainer: the largest language spoken exclusively in Australia – Kriol’ 
https://theconversation.com/explainer-the-largest-language-spoken-exclusively-in-australia-kriol-56286

Community Music: finding your place, finding your voice

It started with a milestone birthday and an unexpected, life-changing gift: a three-day singing workshop at the Body Voice Centre in Footscray.

This was not something I had ever asked for. Frankly, it was terrifying. Not only singing, but also improvisation and “exploring extended voice.” All that… in front of people… without the comfort of a loud, late-night karaoke backing track, or friends who had checked their dignity at the bar earlier in the evening.

When I look back on this three-day journey from awkwardness to awakening, two moments resonate. Firstly, a bell-strike of wisdom from the teacher, Linda Wise: “Find you place and you will find your voice.” At the time I took this to be a call to first listen to the sonic space – i.e. to tune into your emotional and physical surroundings – before beginning to improvise. I thought, “That’s all well and good, but I was scared to sing anything at all. What if I was out of pitch? What if the sound was ugly or uninteresting or ruined others’ enjoyment of the exercise?…”

As an acutely perceptive and experienced teacher, Linda could see these thoughts causing me to take what she called a “panic breath” – constricting my throat – just as I was about to sing. She could see how my fear of judgment was robbing me of my voice. Linda’s solution was partly physiological – having a colleague press gently down on my larynx while I sang until I could feel how to stop pushing against his fingers. It was also subtly psychological – replacing my fear of being judged with a curious mindset, open to learning and expressing whatever it is that my unique voice can do. This was my first step toward finding my voice.

The second moment was being heartily encouraged to join my local community choir (by the same person who had been pressing down on my larynx just a few hours earlier – CMVic stalwart and singer, improviser, performer extraordinaire John Howard). I knew nothing about group singing or harmony but was keen to try out my newfound instrument.

That summer my world was tipped upside down. My job was made redundant, I gave up on my calling as an academic, my marriage ended, I sold the family home and moved my things into an apartment of my own. Though I had found my voice I had now lost my place. I no longer knew who I was or how to find my way.

In this topsy-turvy state I arrived at Brunswick Rogues choir for Term 1. The friendliest welcome opened onto the most joyful 2 hours of singing, which immediately became the highlight of each week. I gained a new circle of friends and admission to the sublime world harmony singing. 40+ voices resonating together is felt so much more in the body than in the ears; and this provided much needed physical and emotional therapy as I gradually came to once again find my place.

This new place I now know as “community music”, and I take every opportunity to join CMVic camps, workshops and events. I now sing in many groups (from a Junkman’s choir to Madrigals and a band with the wonderful Nicki Johnson).

Group singing, along with the values of CMVic, have become part of who I am and how I find my way.

While I still have much to learn from the very practical wisdom shared by the CMVic elders, I know it is worth the journey, each time I experience the power of the circle in which we can each find our voice and find our place.

By Craig Barrie for Community Music Victoria