Archive for the ‘collaboration’ Category
The two young women move swiftly and gracefully to the front of the stage, arms outstretched. In the centre of the stage a young man holds a stylized pose. He is supposed to hold a deep knee bend but it is his first time in this role, and the group’s esteemed director kindly, affectionately tells him he can use a chair for this first day. (Observation journal)
I spent the weekend with students from three Sri Lankan state universities – Eastern, Jaffna, and Peradeniya – as they prepare a performance act for the forthcoming Galle Music Festival. They are working under the direction of Dr Arunthathy Sri Ranganathan, and faculty members from their respective Performing Arts departments. The focus is on traditional music and dance, but Sri Lanka’s multi-ethnic population means that these traditions vary widely across the island. What’s more, with the three universities based in geographically distant and somewhat war-isolated areas (one in the North, one in the East – both areas were epicenters of the civil war that ended in 2009 – and one in the central, mountainous region), opportunities for cross-campus exchanges and collaborations are not in the usual course of student life.
What’s been fascinating to observe this weekend are the points of commonality – social, cultural, and aesthetic – and how these are found and navigated.
The first point of commonality is the students’ shared love of music and dance, and Sri Lanka’s traditional folk forms in particular. If they weren’t interested in these, they wouldn’t be here, because the Galle Music Festival is primarily a festival of folk and traditional arts. (There’s a bit of fusion and rap going on to – but folk traditions are the foundation). The students from Jaffna and Eastern Universities are enrolled in Performing Arts degrees; the students from Peradeniya are members of the ‘Music Society’, a university-wide, student club for those with an interesting in performing music together.
Another commonality is their age and stage in life – they are all university students, young people coming of age in a digital era with phones, photos, selfies and Facebook making up some of the artefacts and shareable commodities of their modern lives.
Finding a common language is more problematic. All of the students are being educated in Sinhala or Tamil at university. Some students can speak both Sinhala and English; some speak Tamil and English. A smaller number speak both Sinhala and Tamil (although most of this generation are across the basics of both languages, they tell me). Therefore, conversations happen in second or third languages, or with the help of mime and gesture and a lot of good-natured laughter.
Each of the groups was asked to prepare a musical number to contribute to the workshop. Some had prepared songs with instrumental accompaniment, others had songs only, others had dances.
In the full workshop with Dr Sri Ranganathan, they each first presented the music they’d prepared. Dr Sri Ranganathan made notes, and then proposed a form that would flow from one song or dance to the next. As they worked through this proposed form, students were roped into different roles. Four girls from Eastern University who’d come along to the workshop as singers found themselves dancing alongside the dancers from Jaffna University, who instructed them in the steps. In the very vigorous and rousing ‘Kavedi’, all of the boys had to dance, with very physical choreography requiring lots of jumps and deep knee bends, and Cossack-style kicks while crouching low to the ground. Impressive – and demanding!
The students stayed in Colombo overnight, so I asked one of the Peradeniya students to keep an observation log of the interactions for me, as I’m interested in the ways that music collaborations can foster more positive intergroup group bonds and relations. She reported back to me the next day that in addition to lots of conversations in different languages, a highlight of the evening was an impromptu jam session, lasting into the wee small hours, when the instruments came out and everyone sang each other’s songs, played each other’s instruments, and generally just hung out and immersed in music the way music-loving young people do everywhere.
The collaborations are one of the new programming strands in this year’s Galle Music Festival. Next week there will be workshops for the collaboration between two all-female drumming groups, one from the North, in the Kilinochchi area, and the other from the Academy of Music and Dance in Colombo. They will be joined by Sri Lanka’s premier women’s vocal ensemble – and possibly by me on clarinet, because the piece that is planned needs a Western melody instrument. It’s a bit of a departure from research observations, but what I love about my work is the constant interplay between music, ideas, collaborations, and intercultural learning. Whether I’m watching, writing or playing, that intersection is where the magic lies.
At the end of last year I was awarded one of the Australian Government’s Endeavour Research Fellowships to develop a research project examining music development activities as a vehicle for reconciliation in Sri Lanka. Fast forward a couple of months and here I am in Colombo, sitting in a small apartment in a seaside suburb, getting my research project off the ground.
I’ve been here a little more than a week now. In that time, I’ve stayed in a guest house in the seaside suburb of Mount Lavinia, flat-hunted in two different suburbs eventually moving into a flat in Dehiwala, jogged on the beach at sunrise several times, eaten different varieties of rice and curry on a daily basis, attended a Carnatic Music Festival and a performance by the Symphony Orchestra of Sri Lanka, and joined the masses at the February Full Moon Perahera (Procession) Gangaramaya Temple in central Colombo. I’ve also had long conversations with colleagues here, mapped my way through the different activities that make up the Sri Lanka Norway Music Cooperation [SLNMC], and begun to scope out what the research project should include.
The Sri Lanka Norway Music Cooperation is, of course, the reason I’m here. It’s a partnership between Concerts Norway and Sevalanka Foundation in Sri Lanka that aims to revive and support traditional music practices, build practical and logistical skills among music industry professionals to raise standards of live performance (for example, supporting the skills development of audio and lighting personnel, music event management professionals, and field recording producers), and engage different sectors of society in music participation. The flagship events of the Music Cooperation are the Jaffna (in the north) and Galle (in the south) Music Festivals, held in either city in alternate years. The festivals attract tens of thousands of visitors, and gather together traditional and contemporary music performers from across the country. Other Music Cooperation activities include workshop programs in universities, a Children’s Festival, training for the next generation of folk musicians (i.e. children) to encourage them to feel proud and excited by the traditional instruments, music and dances of their local area and ethno-religious heritage, a radio program, development of a comprehensive online music archive, and partnerships with three national orchestras (symphony, youth, and oriental) based in Colombo.
So where do peace and reconciliation come into this program of music development? Anecdotally, in all sorts of ways – through the opportunities it provides for performers from around the country to be exposed to each other’s traditional practices and instruments, to present their music to diverse audiences, meet in safe, welcoming, and depoliticized spaces, and importantly, the chance to talk and potential form friendships and collaborations. For audiences, it is in the cultural learning, and the demystifying of the ‘other’ (for during the three decades of civil war, the northern and eastern parts of the country became increasingly cut off and isolated from the capital city, central, western, and southern provinces). The different activities have not necessarily been designed to explicitly address peace and reconciliation needs — they are music activities first and foremost, and they have broad appeal for this reason. But participants and organizers alike feel they have witnessed and experienced positive changes in intergroup relations during the 7 years (so far) that the Music Cooperation has run, and there is a pressing need to examine more critically what impacts the program may be having on reconciliation between country’s divided communities.
And that’s where I come in. My role is to document the changes taking place in peace and reconciliation outcomes, as experienced by participants and organisers across the range of SLNMC activities. I’ll be developing research tools to best capture these changes and also allow for unexpected changes and outcomes so that we get a multidimensional picture of the different ways these music activities may impact people’s lives. I’ll then write a report that can inform future NSLMC activities and establish the baseline for future program evaluations. I’ll be doing this alongside my PhD work which examines music schools in post-conflict countries. There are lots of contextual similarities but also anomalies, and I’m curious to see if and how the emergent themes from my PhD research might play out here.
That’s the broad brushstroke picture of what’s planned; we are now working to narrow down and tighten up the scope. I am only in Sri Lanka for three months (I’ll be doing the write-up in Norway when I am there end-May to mid-July). One very interesting development that I learned of this week is that the presentation I gave for Bangladesh Music Week (at the invitation of Concerts Norway) in November last year on music, human rights, and conflict resolution has inspired a group of students from the University of Peredeniya (Kandy) to initiate a research project on their Music Cooperation activities using Allport’s contact hypothesis as a framework (this was one of the theoretical frameworks I introduced in my presentation). Hopefully I’ll be able to work with them to shape this project and include it as a component of my research.
This is my first blog post in many months, and that is largely because life took so many unexpected turns for me in the last 6 months. Sitting here in my airy (but still hot) little apartment, ceiling fan spinning reassuringly overhead, hearing neighbours call to each other in the street below, my stomach full from the egg hopper with caramelised onion sambal I ate for my dinner, thinking about the project ahead, and the PhD, and the whirlwind of events that have made up my life over the last 6 months, I find I keep thinking, “Wow. What a life!” And what a privilege, to get to engage with things you really care about (music, and social justice) in such diverse and fascinating places. Here goes! More soon.
I’ve just got home from leading family workshops for the West Australian Symphony Orchestra’s Beethoven Festival. I led two projects – Beethoven’s Big Day Out, and a Jam on the Ode to Joy.
Jams for families on big orchestral works are a core part of my creative work and musical direction, but I was particularly thrilled to get to present Beethoven’s Big Day Out for WASO. It’s a project that has developed through a number of other projects, and it’s interesting to reflect how it evolved through these influences.
Beethoven’s Big Day Out has its origins in a Jam for Juniors I led for the Melbourne Symphony Orchestra in 2011, but that project employed ideas that I’d begun exploring in response to the very beautiful, detailed, and insightful work for pre-school children by Pocketfool Productions, and in particular a project that Jennifer Anderson from Pocketfool and I developed together for ArtPlay earlier in 2011 – the Camel Caravan (read about it here).
Working with Jen really changed my thinking about approaches to creative music work with under-5s. When we were developing our workshop, Jen talked about how she wanted to try and create language and opportunities around listening, and deliberate choices about sounds. We discussed how transformative that shift from a very self-focused, blocking-out-others way of playing to a more alert, aware, connected experience could be, even for very young players.
It was a beautiful project, with a big range of musical experiences for the children. In one lovely activity, children could “buy” sounds in a musical market place. They had to think about what kind of sound (a big sound, a shiny sound, etc) that they wanted, and then, after paying their money, they would play an instrument that made that sound.
This idea of careful, considered listening and choices then became central to the planning for the first Jam for Juniors with the MSO. I was a bit skeptical about the whole Jams for Juniors concept at first. There would be 50 little children, with their parents, in a large open space, with instruments. How could we get them all creating as well as playing, while ensuring musical integrity and variety, and not have everyone leave at the end of the 30 minute jam feeling assaulted by the cacophony?
The idea of a “journey”, which we’d used in the Camel Caravan, was a useful frame, so I utilised it here. Journeys require us to undertake different tasks. There is a sense of adventure and imperative about the different stages of the journey too. A journey through an imaginary environment gets the children’s creativity firing from the outset.
That first Jam for Juniors was strong. It involved way too many props to be practical (we changed multiple instruments and props five times in the half-hour workshop), but it offered a big variety of ways of engaging with music and instruments, all while introducing the music of Beethoven to the children and their parents, using themes from Symphony No. 6, the Pastoral Symphony.
Two further projects grew out of that Jam for Juniors experience, and both have become ‘flagship” projects for me in my stable of projects to offer to orchestras and arts centres around Australia and internationally. One is Nests (which I’ve written about here) and the other is Beethoven’s Big Day Out.
So what has changed in this most recent evolutionary phase? The bones of the original Jam for Juniors are still there. It is still a jam for under-5s, although we’ve narrowed it to an age range of 2-5 years. I’ve incorporated more opportunities for the children to get “up close” to the musicians from the orchestra and their instruments, so that they can feel the physicality and voice of the instruments, and the air vibrating in response. I’ve adjusted the language I use to introduce the different stages of the journey (adjusting and refining language is an ongoing process. It’s an aspect of workshop leading and facilitating that constantly fascinates me). And I removed quite a lot of the props! (Now we only have three changeovers).
The next thing I’d like to create is a ‘travelling’ version of Beethoven’s Big Day Out, where the participant group moves through different sites (such as a series of foyer spaces in a large performing arts centre) as part of the journey. If that sounds like something you’d like to present, let me know! But regardless of the site, Beethoven’s Big Day Out is a very imaginative, movement-filled, multi-sensory experience of a symphony orchestra, its music, and its sounds, that involves all of the children as participants in the music-making in many different, creative, and exhilarating ways. The singing, chattering voices, and bouncing little bodies in the foyer afterwards, and the smiles on parents’ and musicians’ faces, were testament to that.
Last weekend I worked with graduates of the MSO ArtPlay Ensemble to create music for a special event – ArtPlay’s Tenth Birthday.
ArtPlay is Melbourne’s children’s arts centre. Actually, it is probably Australia’s only dedicated arts centre for children. The ArtPlay philosophy sees children and artists as co-creators – it is a space where children get to work and create alongside professional artists in a rich and diverse program of workshops, performances, installations, and exchanges. It’s my favourite place to work, because the staff are all so dedicated to optimum experiences for everyone who comes into the space. There is such impeccable attention to detail, and so much love, care and appreciation – mutually shared, I should add. I’m very proud to have such a long association with ArtPlay.
The MSO ArtPlay Graduate Ensemble is made up of children from past MSO ArtPlay Ensembles – we create a new Ensemble every year, and have graduates from the first iteration, in 2005, all the way through to 2013. In this particular Graduate Ensemble project many of the older graduates came back to be part of the project – that was pretty special. Some of them are now in university!
In our opening circle on Saturday, as I welcomed them all, I pointed out that every graduate of the Ensemble is part of a musical community, and that with every year that passes, their musical community grows. It includes people they meet from youth orchestra, from university, and it includes me and the MSO musicians they have worked with over the years. We are all part of the same community of Melbourne-based musicians.
Here in the Graduate Ensemble, everyone has shared an experience of working collaboratively as a group and the strategies you can use to get your creative faculties firing. This was immediately evident as we started the warm-up games. We passed a clap around the circle – straight away, it was whizzing its way round, speedy, focused, and committed. “These are my kids,” I thought proudly!
Next, we walked through the space, each person choosing their own path but committing to straight lines in a particular direction, and to focusing their eyes on their chosen destination. With inexperienced players, this task of walking autonomously doesn’t make a lot of sense. But with a group that understands and follows the instructions, it is magic. A focused group is able to ‘read’ each person’s intentions and make small adjustments accordingly. It looks impressive when it works – people walk their chosen path deliberately, and there are no collisions! Even more importantly, it is a very connecting task, which heightens the sense of ensemble. We upped the speed – still no collisions. Yep, I thought. We are all on familiar territory. What’s more, everyone is here because they want to be, because they like what happens in this territory.
We broke off into small groups. Some of the older graduates took on leadership roles in their group. We didn’t ask them to do this – they just did it. I imagine that this may have been in part because they work in Ensembles in other contexts, where older people lead the younger participants. But it was also about familiarity and confidence with the creative processes we use in the Ensemble, and that I use in projects with older kids, which some of them have taken part in as well. It was a cool thing to observe. Again, flushes of pride!
At ArtPlay on the Sunday, we had a beautiful stage to perform on. As always, figuring out the configuration of groups, instrument sections, power leads and sight-lines took a bit of time (it’s the part of these projects I like the least), but our rehearsal went well, and in the last five minutes (nay, three!) we also devised a rhythmic groove to play outside, in order to draw the audience into the ArtPlay building from the playground and performances outside.
It was a lovely event to be part of, a celebratory event for ArtPlay that was also a chance for the staff, the MSO musicians and myself, and all the parents that we have come to know over the years, to reflect on the creative musical community that we share. It will only grow more.
“ I don’t improvise,” the musician told me, the lightness of his tone belying the tension I sensed he was feeling. “Most of us here don’t improvise. It’s the opposite of what we do in this job.”
That’s okay, I thought. We don’t need to call it improvising. We’ll just make stuff up.
This interaction came on the first day of a 2-day training project I ran for a symphony orchestra recently, aimed at encouraging the musicians towards performances that moved beyond standard concert formats into more interactive, informal, and responsive models, such as those that are appropriate in many community contexts. I describe it as flexible musicianship, and it involves breaking down the intentions behind a performance, and exploring processes like workshopping, teamwork and collaborative decision-making, composing, and yes, the i-word, improvising.
Why does improvising create such tension for a lot of orchestral musicians? As this man said, and as others have pointed out in many training sessions before this one, improvising is pretty much the complete opposite of what a professional orchestral musician is asked to do musically in his or her daily job. Orchestral rehearsal and performance are about honouring the intentions of the composer whose music sits on the music stand in front of you. The group of 50+ musicians all make that commitment. They place their trust in a conductor whose interpretation of the score will determine the nuances of the performance, and their job is to perform their part accurately, honouring the vision of the conductor and the composer, ahead of their own personal preferences or choices.
By contrast, improvising is all about personal preferences and choice. Of course there are stylistic ‘rules’ or parameters that govern the choices that you may make in any particular context, but there is a trust in the moment and in the work you have done to prepare beforehand. Something that comes out slightly differently to what you’d intended is not necessarily a mistake; it can also be a new path, opening up a serendipitous set of possibilities. This is quite a different mindset to playing and performing in an orchestral context.
What the conversation about improvisation reveals is the way that our musical enculturation establishes within us a set of values and beliefs about music-making. These values and beliefs determine what makes sense and feels comfortable to us.
Orchestral music – performance, and the training that prepares musicians for this work – is underpinned by values such as precision, virtuosity, and accuracy (e.g. there are right and wrong ways of playing this music); expertise; and clear communication of hierarchies (leaders need to act with authority so that players can relax and feel they are in good hands – more a benevolent dictatorship than a collaboration). When the intention is one of honouring the music as a thing that exists autonomously, the finished ‘product’ is the focus, rather than the process or experience of getting to that end goal.
When my non-improvising musician talks about ‘not improvising’, he is revealing his musical enculturation in two ways. One is the discomfort of working musically in a more open-ended or less predictable environment. This jars with the expectation of predictability, and his perceived responsibility for accuracy and ‘correct’ realisation of the music. The other is about the way those values are loaded into a word like ‘improvisation’. In a musical world where music is presented to others, rather than a platform for participation, ‘improvising’ refers to a different musical expertise – that which is developed by a musician who has studied in depth the techniques and language of musical styles that are not dependent on notation. It takes years of dedicated, focused, painstaking work to develop that language in order to improvise with fluency. I can see why he wants to say from the outset that he doesn’t “improvise”.
Therefore, I don’t use the word ‘improvise’ in these contexts, at least, not at the start. It invokes too much immediate resistance and fear. In reality, the improvising you do in a workshopping situation or participatory performance environment, is more about creative thinking, responding spontaneously ‘in the moment’, and seeing your musicianship as a kind of arsenal of possibilities that can be applied in any number of situations, rather than only when particular parameters are in place. We can all do this – extremely specialised and detailed training cannot help but establish this kind of skill base – but we may need to learn to dismantle some of the preconditions our musical enculturation has attached to those skills.
Sometimes it is so hard to choose. This week I needed to make a Final List of offers for the 2014 MSO ArtPlay Ensemble, a composing and improvising ensemble for 28 children and professional musicians from the Melbourne Symphony Orchestra, working under my direction. We held our annual weekend of try-outs at the start of February.
Around 120 children took part in 6 free 1-hour composing workshops. The workshop process is the same each year – it gives children a taste of the strategies we use for collaborative composing in the Ensemble, and shows us who is out there to invite into the Ensemble for 2014. (Read more about the workshop process here).
At the end of each workshop, the two MSO musicians and I discuss each participant, noting how they responded and the sorts of strengths and preferences they showed. We look for “bright, sparky kids” – children who like the idea of making things up on their instrument, who are open, who feel comfortable working in a group made up of adults and other children, and who are happy to try out other people’s ideas as well their own. They need to be comfortable on their instrument, but high-level skills are not a primary criterion.
We score each child with a Yes, No, Maybe/Yes, or Maybe/No. Usually the Ensemble is made up of children on the ‘Yes’ and ‘Maybe’ lists. Other ‘Maybes’ go on the Reserve list in case someone doesn’t take up their place.
By the end of the weekend I had 41 ‘Yeses’. There are only 28 places in the group… I had to take a deep breath, and steel myself to do a Big Cull. It hurt! While it is great that we are attracting so many children who are such a good match for the program, it’s tough to know that there were children – fabulously imaginative, perceptive, inventive kids, with a deep connection to and love for their instrument – who would be awesome contributors to this Ensemble, that I couldn’t offer a place to this year.
Choosing is always difficult, especially in an education context, where the goal is one of supporting each child’s development, rather than just finding the best players. There are always children that we see who, for whatever reason – maybe shyness, or self-consciousness with the shift away from notation and right/wrong notes into this inventive and open-ended process – don’t shine as brightly on the day as others but who we believe have great potential and would benefit from participating in the Ensemble. Finding the right balance of personalities, potential, and instrumentation is important.
I think the process we use is a good one, and a fair one. There is space for children to come in and just be themselves – every ensemble benefits from a mix of extrovert leaders as well as quieter, rock-steady leaders, and section players. We get a lot of quirky children coming to us – their out-of-the-box thinking is such an asset in creative projects like this, and they often thrive in a social environment with lots of other non-conformist thinkers.
Nevertheless, there is no ‘perfect’ choice. The choices I make will create the Ensemble that we get – a different set of choices will create a different Ensemble. By choosing, I am also laying the ground for a set of experiences and relationships for those children, and for me. The first MSO ArtPlay Ensemble was formed in 2006, and that year, there was no selection process. We just accepted everyone who applied. That group is now finishing school, some are even at university. Quite a few have kept in touch over the years, letting me know what they are up to with their music. They are making choices now that will see them becoming the next generation of orchestral musicians, jazz musicians, music therapists – I’m sure. I’m not suggesting those choices are due to their experience of the MSO ArtPlay Ensemble! But I believe that if you experience yourself as musical and creative in your formative playing years, this creates a strong foundation for seeking and trying out new musical ventures as you mature.
Being the one to choose is both a privilege and a responsibility, because choices open as well as close… and set new things in motion. Ah well… I’m looking forward to this year’s journey, despite the challenge of choosing!
In the September school holidays, the 2013 MSO ArtPlay Ensemble got together for its final composition project for 2013. This time our focus was Beethoven’s 1st symphony, and we explored some of its rhythmic language, orchestrating this in a very 21st century way, given our Ensemble included electric guitar, drum kit and djembe, along with more usual orchestral instruments.
(Press play and listen while you read!)
This year’s group has been an interesting one. For the first year ever, we have an ensemble dominated by boys – 18 boys to 10 girls. They were bright, smart, very creative boys, mostly aged 11 and 12 (there were a few 9-10 year olds as well). We found that the male majority brought quite a different energy and dynamic to the group than we’d had in previous years. They engaged differently in the group. I think that this took me slightly by surprise each time we re-convened in each school holiday period – I’d start the warm-up using my usual approach and within five minutes be thinking, “Oh that’s right! This group needs something different from me.”
This is part of the facilitator’s art – to think on one’s feet, and be ready to adapt and respond. Lately I’ve been reading about “complex adaptive systems”, and realising that the creative workshop process is a micro complex system of human interaction, response and constant adaptation. The alternative to this responsive adaptation is imposing a system – and this can work effectively too, of course! But it also entails an assertion of power, and therefore the potential for power struggle. It offers less room for creativity and shared ownership, which are foundational values in my work.
That’s not to say I didn’t use some coercive tactics of my own, especially to get us through the rehearsing stage. Wandering attention needed to be brought back to task if we were going to be ready for the performance of our newly-composed piece by 3pm on the 2nd workshop day.
I loved the final piece – it has a confidence and upfront quality that felt very characteristic of this group. In the recording above you will hear some of Beethoven’s rhythmic motifs woven into a rock groove (opening movement), a minuet and trio in ternary form (and in miniature), and an extended rondo form. Sadly we were missing a couple of key members of the group for this final workshop, due to illness, but I think they were with us in spirit!
City Beats 2013 workshops drew to a close last week. We finished off this year’s Landscapes theme by creating music inspired by the sounds and rhythms of the city – City Beats. (It was only after I’d planned the project that I realised this third workshop would have the same name as the whole program).
Can you feel the heat rising up from the street?
It’s the City Beat – Aha, Aha
It’s the City Beat.
For this city-focused workshop, the whole-group composition consisted of a short rap linked to a vocal soundscape depicting all sorts of sounds of the city. I asked the groups to think about words that rhyme – like ‘street’ and ‘beat’ and ‘feet’ – and that would fit well with our theme. The children brainstormed rhyming words, putting them into sentences, and these came together pretty quickly to form the rap. You can see some of their words in the images below.
We created the soundscape using a Grid Score, setting it up over a cycle of ten beats. Why ten? At first I thought I’d do twelve, but then thought that might be too long. So I thought about doing an eight-beat cycle – but eight seemed too square, too solid and grounded. Ten was the perfect cycle length – uneven enough to give the sounds a sense of never quite landing, and short enough to be achievable (and to fit across the width of the white board).
I brought along a few bells and whistles to get the soundscape started – we had a bicycle bell, a honky horn, a train whistle, and a strange siren-like whoopee whistle (I don’t know what it is called, it is the kind of thing that might accompany a clown act. The children loved it). We chose numbers in the cycle for these sounds to land on and practiced that first.
Then, working in small groups, the children decided on other sounds that they would hear in the city that they could depict with their voices or body percussion, and decided where they should appear in the cycle of ten beats, and how many numbers they should cover. Once all the decisions had been made and the relevant squares on the grid had been filled with appropriate symbols (you can see below why I am a musician and not a visual artist), we rehearsed it until it was memorised and ready to record.
The choices of city sounds varied somewhat between the groups, but it was the children from the English Language School who really created something unique. Their city soundscape was influenced by the cities they knew well – like Quetta, and Kabul, and Bangkok. They included the sounds of goats and sheep bleating, of the loudspeakers on the minarets of city mosques calling the faithful to prayers, and a traditional song/chant that street sellers from Afghanistan sing. All the children from Afghanistan knew this chant (perhaps it embeds itself into the vernacular the way “Mind the Gap” does in London). The child who sang the ‘call to prayer’ sang it into a loudhailer, in imitation of the thin, slightly tinny sound that the minaret speakers can have. Yes indeed, the city soundscape from the Language School children was an evocative and energetic affair!
With the whole-group chorus finished, we divided into groups of 6, each accompanied by a musician from the Melbourne Symphony Orchestra, to create additional sections of music. One group took xylophones and created melodic material based on the rhythms in our rap chorus. Another group extended the chorus with further verses and some drumming.
The third group worked with a fabulous array of orchestral percussion and ‘found sounds’ – bass drum, pitched tom-toms, a tam-tam, a suspended cymbal and two suspended brake drums) – to create a rhythmic city groove, working with interlocking patterns, dynamics, and cues.
Then, in the last ten minutes of the workshop, we gathered together again, performed our music to each other, recorded the performances, and said good-bye.
City Beats days are probably some of my favourite days in the year! There is so much to love. The children come along to ArtPlay thinking they will get to learn a bit of music, and they leave at the end of each 2-hour workshop just buzzing with excitement and energy at all the music that they have created with us. Their teachers are constantly amazed at how much they achieve, and how quickly. And the MSO musicians, ArtPlay staff and I get to spend two glorious days a term hanging out with fabulously creative children, composing and playing original music. Everyone leaves at the end of each day with all sorts of infectious earworms buzzing in our heads.
The schools that take part in City Beats each year are ‘disadvantaged’ schools – schools without music specialist teachers, or that have student cohorts from less advantaged circumstances. They may have high numbers of families in receipt of the Education Maintenance Allowance, or who are from refugee backgrounds, or who, because of financial circumstances, never get to take part in any ‘extras’. The program is fully-funded, including travel subsidies, thanks to the generousity of wonderfully supportive and visionary funders, who know that for young people to recognise their talents, they have to have the chance to explore and discover them first.
City Beats was part of the ArtPlay/University of Melbourne’s Mapping Engagement 4-year research project at ArtPlay. You can read/download a report of the City Beats program here.
One of the songs created in workshops at Djarindjin-Lombadina Remote Community School evolved slowly, and was the amalgam of three different musical ideas. It took us a couple of sessions to work out how to make it all fit together.
One section was purely instrumental music created by half the group. Playing chime bars, metalophones and violins, I got them working in E minor and inventing melodies by getting rhythmic ideas from favourite songs. The violinists were total beginners (as am I on the violin) so we worked on open strings and established a simple rhythmic accompaniment.
Another section of the music was a guitar-driven section that used G major and C major 7 chords. Tony had taught the students how to play E minor and A minor the day before and they were keen to expand on this.
Together, we added lyrics to this progression and it sounded like a chorus. The lyrics were in the local Bardi-Jaawi language and listed the names of different family members.
Nyami, mimi, goli, garlu, [grandmother(mother’s side), grandfather (mother’s side), grandmother (father’s side), grandmother (father’s side)]
Budda, tidda, jaji [brother, sister, cousin]
Birigul, gulamor (mother, father]
My lian feels good when I belong in my buru [my heart feels good when I belong in my country]
Lian burr, lian burr [heart place, heart place]
A third section was created by one of the students working with one of the Aboriginal Teaching Assistants. Together they wrote lyrics about belonging to country, feeling the presence of the ancestor spirits, and the sense of strength and belonging that comes when you are in your own land.
Have a listen! One of the short melodies was inspired by Macklemore’s Thrift shop. See if you can spot the connection.