Tag Archives: community

Weaving homespun tunes into the fabric of daily family life

“… the fish in the river, the clouds in the sky,
the wattles and gum trees that grow up so high
the kookaburra singing so gaily and free
good morning to you and good morning to me…”

                                                 from the Good Morning song* by Woody Clark

Woody Clark dreams of a world where families find time to make music as they go about their lives together. Over the past fifteen years or more, Woody has been working to build a catalogue of songs and resources available to parents and carers to turn this vision into reality and help integrate the rich experience of intergenerational singing and playing into the familial tapestry of homes and lives across Australia.

For Woody, the value is in ‘creating music rather than consuming it’ and, where possible, within a familiar setting involving children, parents or carers, grandparents, aunties, uncles, cousins…

“Make music relevant and engaging and something that’s just part of the fabric of the household rather than something external to that, find the means to utilise it in your life in a way that will bring expression and joy, or whatever that might be.”

Woody’s own three kids have collaborated with him on musical projects, co-written songs for his album, and in recent years toured as part of the family band ‘Woody’s World’. This includes his parents, folk singer-songwriters Kate Townsend and Dave Clark. Woody’s World played at many regional festivals and events in 2016, including Adelaide Festival Centre, Melbourne Cabaret Festival and Ukulele Festivals, Pt Fairy Folk Festival and Mt Beauty Music Festival.

Woody remembers feeling surprised by the excitement of former classmates in recalling the novelty of a school teacher who would sing and play guitar to them during art classes. For Woody who grew up in a household where music-making was a normal and assumed part of daily life, this occurrence was familiar and common to him. He realised as an adult, the experience at school had evaporated from his memory as something unremarkable tends to.

Years later as a father and classroom teacher himself, Woody is using his experience and knowledge as a songwriter and musician to uphold the tradition set by his own background, advocating for the benefits and joys of the style of unplugged family music-making he’s enjoyed in his own life.

Woody’s tips for anyone who’s keen to encourage kids to make music are:

  • Model the behaviour and expose your kids to live music-making.
  • Have a guitar or ukulele sitting on the couch and build music into your day, for example sing a morning song*, or sing a song before you eat your food, or a bedtime song.
  • Make it fun! A lot of music education is serious and focuses on the classical side, so if you can show kids that learning and making music can be really fun and engaging too, you’re half way there.

“I’m not putting pressure on my kids to be musicians but if when they leave home, they can play instruments, have some appreciation of the language of music, it’s accessible for them and they can express themselves, then I’ll feel I’ve done my job in that regard.”

As a way to facilitate integrated music-making in the home, Woody runs 8 week ukulele classes teaching kids aged from 5-12 years and their grandparents, parents or guardians, to play the instrument together. In doing so, Woody’s observed the positive benefits and effects that intergenerational learning brings:

“The parents who model the behaviour, doing weekly practise with their kids really upskill in the ukulele, they come back the next week and they’re both excited; they can play that new chord or they can do the new strumming technique. By the end of the 8 weeks instead of the uke being a foreign object that they are wondering how to hold and tune, they are learning to speak that language.”

Next year Woody will take this course online, making it available as a learning resource for kids, parents and carers, everywhere. “It’ll be a kind of crash course in how to learn the basics and there’ll also be an opportunity to play along with Woody’s World during our live shows.” The course will provide footage recorded by Woody for all L-plate ukers to strum along to for practise in their own time. Woody describes it as ‘an integrated project, and a preparatory engagement experience.’

Uke 5Woody has been working towards this point for a long time having coordinated a number of musical projects, including reKINDle, a response to the Black Saturday bushfires of 2009 and he’s dedicated to continuing this momentum around family music making and taking it onwards: “I’ve been developing my ideas around family music participation for well over a decade. I am passionate about music and how it can connect families and communities and through my upbringing and my teaching and my work with my own kids, it feels like all these strands are coming together.”

Article by Deb Carveth, online editor for Community Music Victoria, and Woody Clark.

RESOURCES:

* Woody’s Good morning song is available online! Download the lyrics and mp3 here for freeeee! You can also download the chords and to complete the experience, there’s a colour-in poster to download, print off and complete as you learn the song.

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

Listen and learn ‘Catch the leaves’ a song written by Woody’s daughter when she was 7 years old.

For further information and inspiration, visit Woody’s website: http://www.woodysworld.com.au/

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

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

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

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

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

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Source: Brunswick Coburg Anti-Conscription Centenary

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

 

 

 

Sing out and take a stand against domestic violence

White ribbon

Back in April, an invitation was sent to community choirs to unite and sing up at a ‘pioneering choral event’ called You’re the Voice, an element of the 2017 Queensland Music Festival dedicated to highlighting the persistent problem of domestic violence across Australia and building awareness in a bid to ‘turn the tide’ and support positive change.

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image from Queensland Music Festival 2017

The project, directed by Dr Jonathan Welch, has received high profile support* from singers including Archie Roach, Kate Ceberano, and Katie Noonan, who is also the festival’s artistic director.

On July 29, 2500 community singers participating in You’re the Voice will congregate in Brisbane, joined by other community choirs and singing groups from around the country via live stream and social media, to deliver their powerful message, singing John Farnham’s song of the same name.

Closer to home and in response to news of the project, Vivienne Colegrove, a singer songwriter from the community music network here in Victoria got in touch, offering to share a song she had written about domestic violence with any other community singing groups and choirs wishing to address the issue, also:

Hi CMVic folk,
following on from your post on FB re Katie Noonan’s call for choirs to sing out against domestic violence, I have a song that I am happy for choirs to use if they wish (just to acknowledge me as the composer obviously!) Here is a (strictly rehearsal-only quality) mp3 recording and pdf score for choir facilitators – please feel free to pass on to anyone who may wish to use it. Free to a good home!
Warm regards – Vivienne Colegrove

‘White Ribbon Anthem’ by Vivienne Colegrove

It’s time to sing out it’s time to speak out
It’s time to shout out we’re making change
We stand together we stand united
It’s time to sing out we’re making change

No more silence about the violence
No more looking the other way
Join our chorus Sing together
Sing as one voice we’re making change

Safe for women safe for children
Safe for men of any age
Safe for my mother safe for my brother
Safe for each other let’s turn the page

(chorus)

Make it change now we’re making change now
Change is what we say and do
Let’s make change now let’s do change right now
Change is me and change is you

(chorus) x 2

Vivienne says “I was inspired to write this song because I feel excited about the power of singing together as a community to bring about the positive changes we want in our world. Music, and especially singing, is such an inspiring, unifying way to invite transformation and change. I have a vision of hundreds, thousands of voices lifted together in song as a heartfelt invitation to create a safe world together for us all.”

Vivienne’s words echo those of Katie Noonan who, when speaking of the potentially transformative power of You’re the Voice said,  “We can sing together for those whose voices have been silenced by fear… I believe that art and music have the power for significant change and that musicians and art have a responsibility to respond to, and reflect on, our society and the things we can do to create change.”

Written by Deb Carveth, online editor for Community Music Victoria with massive thanks to Vivienne Colegrove.

Download the lyrics to White Ribbon here & the mp3 of White Ribbon here 

*Archie Roach, Troy Cassar-Daley, Montaigne, Katie Noonan, Kate Ceberano and Isaiah  have collaborated to re-record ‘You’re the Voice’ as a charity single to raise funds to support young people who are victims of domestic violence. To purchase the single, click here. (All proceeds will be donated to DVConnect.)

References:

Support Services for anyone living with Domestic and Family abuse:

 

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

 

 

StreetSounds festival hits the streets of Geelong with aplomb!

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

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

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

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

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

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

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

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

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

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

1: GEELONG AFTER DARK

2: STREETSOUNDS FESTIVAL

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

Written by Deb Carveth, online editor for Community Music Victoria

Further reading:

Our Community Sounds: an exciting new improv project

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

Dreams Come True at Prahran Accordion Band

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

Have you heard what’s happening in Girgarre?

Girgarre is a small rural township situated in the Goulbourn Valley in Northern Victoria. Surrounded by dairy farms it’s taken a few knocks in recent years. Falling milk prices and drought have impacted the livelihoods of local farmers and in 2012, the Heinz tomato processing factory closed its doors for the last time putting 146 people out of work.

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Girgarre Town Hall

The town’s infrastructure suffered in the fall out. Local shops shut and people started moving away to find work and opportunities elsewhere. But for all the adversity they’ve faced, a big community heart continues to beat strongly in Girgarre. The monthly community music phenomenon, Jigarre Jammin’ has the moto: “Don’t die wishing you’d done it” and it seems this attitude runs deep through its streets.

Not prepared to give in to decline, the people of Girgarre took the bull by the horns and applied to Regional Arts Victoria’s Small Town Transformation initiative; an invitation to small towns across Victoria ‘to be ambitious in imagining what transformation might mean for their town – now and into the future.’

Girgarre was one of  six small towns constituting less than 6,000 people selected to receive $350,000 each over two years “for projects that realise big ideas” and puts artistic practice at the centre of community life.

The official title of the Girgarre Revival is ‘The Sound of Our Spirit Rising’ and will explore the concepts of common ground and connection to place through the medium of sound. Members of the community will work together with three internationally recognised artists to develop the project, which will run until October 2018.

In November, electronic light and sound artist Robin Fox unveiled the first in a series of temporary installations, a huge, human-activated theremin* built in Girgarre’s public reserve next to the town hall. It’s an intuitive structure, activated by the movements of up to eight bodies in the electromagnetic field around it and emitting notes, samples and tones into the air, in response.

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The Theremin by Robin Fox at its launch in Girgarre on November 12. Photo taken from Regional Arts Victoria’s gallery of the launch.

 

Local Girgarre quilters will work in collaboration with Gloria Loughman, an award winning quilter, curator and teacher to create new quilted acoustic sound curtains for the town hall, a focal point in the community and home to the monthly meeting of Jigarre Jammin’.

And for the next three months, composer and musical director Graeme Leake is taking up residency in Girgarre.  Graeme, who has been involved with numerous grass roots music making projects such as Raising the Roof,  and  The Musical Fence in Winton, Queensland, will be working with members of the community to design and build a series of permanent sound installations including an interactive sound sculpture on the boundary of the local school which will become the centrepiece of a community concert, and something everyone can come and play together.

Graeme will also be running a series of open workshops in music skills and instrument making for both Girgarre residents and visitors to the town. The plan is for the community to develop their skills and for a community orchestra to be formed, playing a series of cast off objects which have been salvaged and reinvented as musical instruments.

“All of my activities will be located in the ex-supermarket which will become a music making and playing ‘shed’.  Anyone can drop in and work on their creation, attend workshops or music skills classes, or help design and construct the school fence sound sculpture.”

If you’re reading this and thinking how cool the revival of Girgarre is already sounding, there’s a way you can be involved and support Girgarre and Graeme in their mission. The hunt is on for  ‘junk’ to transform into musical instruments for the orchestra to play. From hubcaps to tea chests, old broken instruments to broomsticks, the list is endless and can be read here together with the important details about how to unite Graeme’s trunk with your junk.

The determination of the population of Girgarre to transform the town and Graeme’s call for cast offs are great reminders that when something is broken, damaged or temporarily impaired, it doesn’t have to spell disaster or the end. A fresh way of looking at things and the ability to find positivity and new purpose in the familiar is what drives innovation and sparks creativity.

Cultivating a brighter future through the involvement of community, sound, music, and collaboration,  the rising spirit of Girgarre is a sound that’s sure to be heard and celebrated, far and wide.

*If you’re in the vicinity,  stop off at Girgarre Public Reserve on Winter Rd and have a play with the giant theremin between 10am and 5pm every day until April 2017.

Follow the transformation of Girgarre and Graeme Leake’s involvement with the project here.

The next meeting of Jigarre Jammin is on February 25th 10.30am til 4pm at Girgarre Hall, 9 Morgan Crescent, Girgarre, VIC 3624

Article by Deb Carveth, online editor for Community Music Victoria

 

 

 

 

 

 

 

 

 

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.

Singing to be Strong: Overcoming anxieties through song

Last Thursday, singing leader Richard Lawton woke up planning to head to the Royal Melbourne Hospital as he has done for the past eight weeks where he runs a singing group for outpatients living with an eating disorder. Except last Thursday Richard felt “a bit crappy with bit of a headache and feeling sludgy.” He could feel his resistance before he’d even emerged from under the covers.

“I was wondering ‘do I have to?… I’d rather stay in bed …’ and it’s a familiar voice in my head because as a card carrying introvert, every night before choir (I have four now) I have to walk myself through this, and it’s the same voice that says ‘I really don’t want to expose my self and be seen by a room full of people’ which is of course what a singing leader does.”

So last Thursday morning, Richard persevered and as he reached the entrance of the hospital it dawned on him how he probably wasn’t alone in his thoughts and how difficult it might well be for the outpatients heading along to his group. Anxiety and eating disorders are good friends, and eight weeks is a relatively short period of time in which to feel completely at ease in a new and unfamiliar situation. Richard senses an element of uncertainty lingering among his singing group at the Royal Melbourne and works to create a welcoming environment in which the outpatients can let down their guard and relax in a safe and fearless space.

“The chairs all have cushions on, and for the first couple of weeks people would come in, sit down and put a cushion on their lap. So they were putting up a defence immediately… There’s a lot of shame involved among patients with eating disorders and it’s important to be mindful of this as somebody encouraging them to open up and let go.”

Supported by a psychologist from within the department, Richard takes guidance from the singing group about ways to put the singers at ease and overcome challenges particular to them, often having to modify approaches and practice he would use readily with his other groups.

Care also has to be taken around use of words. No allusions to image or physicality or exercise. These boundaries are set by the singers who make it clear that to do so will provoke unnecessary anxiety among them. The group Richard works with does not comprise solely of the stereotype teenage girl. Participants range in age from Year 12 to their 40s and while there are guys in the inpatients at the hospital, Richard’s current singing group is all female.

Not knowing the background or the trigger of the illness among the individuals with whom he is working, it is also important that Richard allows them the freedom to choose which songs they sing to avoid material with unsuitable content or unwelcome connotations which may, again, instigate anxiety and prevent people from taking part. “The Cups song from Pitch Perfect is a favourite, and ‘Titanium’ is another one they like.”

Early on, in the inpatient program, only a handful of patients chose to take part in the singing group and it was a challenge to get those who did come along to sing at all during the hour long session. They looked so glum, Richard was wondering if he’d ever be able to break through. It was feedback from the psychologist which encouraged him to keep going in those initial weeks. Even if few of the patients were singing for the entire session and giving no outward signs of engagement or pleasure, their feedback was that they found it relaxing. In the outpatients program, more of them are singing and the numbers have increased.

“Anxiety levels are high. You want control. The thing about purging and eating is that you feel like you don’t have control over your life or your environment and this is one thing you can control. So when they talked about finding singing a relaxing thing, I thought, “oh right, so it’s doing something.”

One exercise Richard uses to combine movement with sound encourages everyone to stand up and shout as if hailing a taxi: Hey! Heeeey! HEEEEEEY!.. with each exhalation and sound growing louder and more sustained. The group cooperate well with this one, becoming less self conscious and more engaged as time goes on. It’s an activity that produces good vibration and masses of endorphins, too.

“When you enter the building everything is so quiet but when the group leaves, they are vocal and enlivened. They have found their voices. They also appreciate the act of singing together, of doing something with other people.”

Anyone who has sung regularly with a singing group will identify with the sense of connection which develops between members of the group. The act of singing facilitates this bond and even aligns the heartbeats of people singing together. Experiencing this sense of connectedness is an important contributor to mental health recovery and a sense of individual peace and wellbeing.

Richard works to empathise with the group, sharing his own doubts and insecurities. The more they feel at ease, the more they will open up and sing. The more they sing the better they will feel and hopefully, the stronger they will grow. And it really seems to be working.

“Last week, when I started the session I could tell that a few of them were having a rough day and I told them a story about how the night before I’d gone to a Contact Dance class for the first time in months. Contact Dance is something I used to be very good at, but it’s mostly a young person’s form, and my mind was coming up with all the familiar excuses as to why I should stay home. Then, when I was almost there I couldn’t find the venue, and almost turned back. Eventually I got through the door and it was wild – I had a ball.

When I told the singing group that story, a couple of them said ‘yes, I had so many excuses for not leaving home today,’ and ‘I got as far as Central station and very nearly turned back.’ So we talked about the importance of ‘getting through the door,’ and how so many times in life we allow our fears to hold us back, and how important it is to get ourselves through the door…

The door metaphor is about how we sometimes shy away from the very thing that is good for us. We know that singing makes us feel better and yet sometimes it still feels too hard.”

For Richard who leads the singing group on a voluntary basis, reward comes from feeling his work is having a positive impact on the lives and the recovery process of the singers.

“I think what touches me about working there is about those days when my skin feels too thin to be out in the world, to be seen, to have to show up, (and as a white male I have it stacked in my favour). When I’m with these women who are wrestling with the human condition there’s a part of me that’s very humbled. And there’s another part of me that wants to wave a magic wand so they can see how most of the negative thoughts they have about themselves are a cruel illusion. “

While magic wands are scarce, Richard’s work in the outpatients’ department might be the next best thing. The group reports feeling calm, more free and relaxed after singing together.  “A lot of them are perfectionists, seeking something they can never have. Eating disorders are one of the few mental illnesses which can kill you or from which you can make a full recovery. It is very hard to measure the success rate of patients who are discharged as they go off and live a full life.”

As each weekly session ends, the group leaves and the hospital corridor echoes with voices raised in more chatter with less silence. The soothing balm of singing works its wonder, the endorphins flow, and the world feels a better place for it. Just last week, Richard heard from the supervisor how after the group had finished, the singers went out to a café where they were much more upbeat and talked about how much they’d enjoyed getting up on their feet and singing and moving that day. That’s pretty magical.

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Richard at work, leading one of his regular weekly singing groups in Elsternwick
Written by Deb Carveth, Online Editor for Community Music Victoria, with Richard Lawton.