Crossing Roper Bar Young Wagilak Group Australian Art Orchestra Adrian Walter AM Adrian Hodgson, , Head, ANU School of Music GM, Total E&P Australia Leader, Crossing Roper Bar

The collaboration between Paul Grabowsky, Total is proud to support Crossing Roper Bar. I first saw ­­from a barge on the the Australian Art Orchestra and the Young In 2008 and again in 2010 I was fortunate Roper at the end of the Wet in 2004. Flocks The cover illustration depicts birrk birrk Wagilak musicians from Ngukurr in the to be able to join the tour through of black cockatoos flew overhead as dusk (plover) and wata (wind) — both must be represents a unique outback WA and gained first-hand fell over the mighty river. I had never seen present before ceremony can begin. cultural interaction exploring challenging experience of what the collaboration is such a beautiful place. The barge was lifted new creative domains while at the same achieving and how it connects with people onto the back of a truck and we drove into Left: Djambu Barra Barra time respecting the integrity of one of the from all walks of life whether in remote town. An unusual beginning to an unusual Dead Ones 2005, synthetic polymer paint world’s oldest musical traditions, that of towns or large cities. chapter in my life, one which has proven to on canvas, 295 x 130 cm Indigenous Australia. All of us at the ANU be the most exciting musical collaboration Courtesy of Ngukurr Art Aboriginal The response we have had to concerts School of Music are delighted that these of my career. Corporation and Total E&P Australia attended by our guests has reaffirmed our musicians are working at the School as the decision to make an on-going commitment Within hours of being in the town, I had

2010 HC Coombs Creative Arts Fellows. We to this important project which offers the met my friend and mentor Kevin Rogers, Total E&P Australia purchased Dead Ones on are pleased that Paul Grabowsky will also be opportunity for a wide range of people to as well as the man destined to become the behalf of the Ngukurr community so that it presenting a key public lecture on his work make a real connection with indigenous co-director of Crossing Roper Bar, Benjamin could be returned to their ownership. later in the year as part of his role as an HC music and culture. It is the energy and Wilfred. We talked about music, and about Coombs Creative Arts Fellow. respect that the AAO and the Young Wagilak our interest in joining forces to create Djambu Barra Barra was a revered Elder and We have a strong commitment at the ANU Group each share with each other that has something brand new based on the Wagilak renowned painter who sanctioned the School of Music to developing our made it a project that we are proud to manikay which Benjamin had learnt from Crossing Roper Bar collaboration. He was engagement with the music of Indigenous support. his grandfather, the great lawman Djambu born in Wagilak country, near Nilipidgi on the Australia and offering our students the Burraburra. We played our music to each Walker River west of Blue Mud Bay, about opportunity to work with highly regarded other, me via a CD, Benjamin and Roy 200 kilometres north east of Ngukurr. traditional songmen and leading Wilfred via the only real way to do it: an researchers. Through a major public impromptu performance in the room performance during the residency, the where I slept. Canberra community will also have the As improvising musicians, my mob are opportunity to experience the interested in expanding the tonal palette historymaking Crossing Roper Bar of our instruments as far as we can. In the collaboration and deepen their manikay, the textures of the voices, yidaki understanding of one Australia’s most and clapsticks, the complex rhythms, and significant intangible cultural treasures. the intensity of the expressive moment, With the appointment of noted academic with its strong statement about the relation and researcher Associate Professor Aaron of sound and silence, music, time and place: Corn to lead the ethnomusicology program these are the things which excite us. here at ANU School of Music, we are Working together, we are proud to present delighted to see the role that Indigenous our music as many visions, one voice. Australian music plays within our teaching, research and community outreach programs greatly enhanced. I hope you will have the opportunity to join us for some of these very special and important cultural events scheduled as part of the 2010 HC Coombs Creative Arts Fellowship.

Crossing Roper Bar Collaborators Paul Grabowsky Leader/Keyboards Benjamin Wilfred Leader/Voice AAO Board of Directors Tony Hicks Assistant Musical Director/Reeds Joan Spiller (Chair) Daniel Wilfred Voice Patricia O’Donnell (Deputy Chair) Guitars James Hewison Erkki Veltheim Viola/Violin Graeme Gherashe Philip Rex Double Bass Helen Symon SC Evan or David Wilfred Didjeridu Kate Ben-Tovim Niko Schäuble Drums Wesley Wilfred Dance The Australian Art Orchestra Artistic Director, Paul Grabowsky Meat Market Arts House General Manager, Ann Moir Ann Moir, Project Manager Office 18. 5 Blackwood Street, Associate Artistic Director, Scott Tinkler Dr Aaron Corn, Ethnomusicologist North , VIC 3051 Project Coordinator, Margaret Lloyd Tobias Titz, Photographer Tel. +61 (0)3 9329 0936 Development Officer, Olivia Jones Peter Friedrich, Filmmaker [email protected] Kevin Rogers and Paul Grabowsky in Melbourne 2007 Accounts Officer, Thanh Duong Samuel Curpatrick PhD student ANU /NCIS www.aao.com.au Photograph: Julien Wilson Crossing Crossing Roper Bar Roper Bar Performance History

The Roper River is a magnificent waterway Crossing Roper Bar is the focus for an equal 2005 flowing from Mataranka, 100 km south of exchange of knowledge through a dialogue AAO tours to Ngkuurr to kick-off the Katherine, and out across the land of the centred on music. Benjamin Wilfred the collaboration with a performance of Ruby’s Manggarayi and Yungman people. Before it grandson of Djambu Barra Barra, and his Story, featuring and . reaches the Gulf of Carpentaria, it passes the young Wagilak Group have worked closely Postscript: At Aunty Ruby’s memorial ceremony remote town of Ngukurr, which is isolated by with the AAO to create a contemporary in Barmera SA, 5th March 2010, Benjamin the Wet each year from November to April rendering of the Wagilak Manikay or song Wilfred and the Young Wagilak Group sang a when the Roper engulfs all but the highest cycles, a spirit of collaboration symbolised in Wagilak farewell song as funeral procession land. the many crossings of the Roper River which left for the cemetery. have taken place since and from which the Archie Roach and Ngukurr children singing Took the Children Away In 2004, the artistic director of the AAO, Paul 2006 Photograph: Jeff Wassmann Grabowsky, made the journey across Roper name of the project originates. Performance at Garma Festival of Traditional River with Stephen Teakle who had lived in Culture, Gulkula, NT Ngukurr for several months while he was 2007 with Charles Darwin University’s Remote Opening of the FINA World Championships Music Delivery Unit. In the AAO’s mission at Birrarung Marr, Federation Square, statement written in 1993, Paul spoke of the Melbourne desire to work with Indigenous Australians Performance at the National Gallery of , and here there seemed to be a chance of Melbourne finally achieving that goal as Paul outlined his ideas to Kevin Rogers, community leader, 2008 former school Principal and Vice-President of Tura New Music WA tour to Darwin Festival, the Yugul Mangi Community Government Katherine, Timber Creek, Kununurra, Warmun, Council. Fitzroy Crossing, Broome, Lombadina, One Arm Point, Beagle Bay, Perth Concert Hall

2009 Crossing Roper Bar Tour 2010 Music Festival, Victoria Photograph: Tobias Titz National Gallery of Victoria, Melbourne Melbourne Recital Centre, Elisabeth Murdoch Hall At the invitation of The Hon Jenny Macklin to mark Australia’s signing of the UN Declaration of Indigenous Rights, Parliament House, Canberra Performance for Australian Music Centre Awards, Sydney Opera House. Tura New Music and AAO awarded Outstanding Contribution to Australian Music in a Regional Area for CRB 2010 Australian Performing Arts Market, Adelaide Darwin Entertainment Centre May 2010 Museum and Art Gallery of the Northern Photograph: Tobias Titz Territory, for the opening of Colour Country, Art from Roper River curated by Kath Bowdler, Wagga Wagga Art Gallery Darwin Entertainment Centre 4WD tour to Ngukurr for a week of workshops and performances ‘Crossing Roper Bar’ CD released; recorded Alan Eaton Studio, March 2009 Llewellyn Hall, ANU School of Music in association with thehe prestigious ANU HC Coombs Creative Arts Fellowship for 2010 awarded to members of the AAO active in the CRB project working in collaboration with the Crossing Roper River May 2010 Young Wagilak Group. With the Hon Jenny Macklin, Parliament House 2009 Photograph: Tobias Titz Photograph: Ann Moir Marnti Warajanja - Erkki Veltheim we’re travelling Composer, Tract

Is a collaboration between Wangka Maya Adelaide Festival 2010 commissioned CRB Pilbara Aboriginal Language Centre, collaborator, Erkki Veltheim, to write Tract photographer Tobias Titz and the Museum for the combined forces of the London of Australian Democracy. In their own Sinfonietta and the Young Wagilak Group. words Indigenous and non-Indigenous The work incorporated traditional, Australians bear witness to momentous ceremonial Manikay from the song historical movements and reflect on their men with an orchestral score drawing on ongoing work for social and political elements of their singing style. change at a community and national level. Tract was premiered at the Adelaide Town In Tobias Titz’s unique collaborative Hall and was described as an ‘intense piece’ portraiture process, each person is representing a ‘courageous step forward in photographed with a large format camera developing a fusion between these two using Polaroid Type 665 film. He then distinctly different musical traditions.’ photographs the same space without the (Graham Strahle, The Australian 20th person in it. Following this, the subjects March 2010) write something of their choice into the wet ‘empty’ negative. The texts relate to questions about major events such as the Pilbara Strike of 1946, the 1967 Referendum and the 2008 Apology to the Stolen Generations.

Tobias says that providing a place where often long-buried stories can be told “allows us to understand where we come from and how to move forward”.

www.moadoph.gov.au

Top to bottom Benjamin Wilfred Desmond Wilfred Paul Grabowsky Wesley Wilfred Tony Hicks

Top to bottom Stephen Magnusson Philip Rex Evan Wilfred Niko Schäuble Dr Aaron Corn A Work of Rare Integrity

Dr Aaron Corn charts the resonances of The people of Ngukurr had been among the Beyond the stunning virtuosity of the Crossing Roper Bar is nothing less than a Dr Aaron Corn is an Australian Research Crossing Roper Bar earliest causalities of the pastoral wars in musicians who recreate it with each new collaborative and artistic triumph. Seldom Council Future Fellow and Associate that commenced with the performance, Crossing Roper Bar succeeds in Australia do traditional Indigenous Professor of Ethnomusicology at the The Australian Art Orchestra (AAO) enjoys a construction of the Overland Telegraph artistically because it observes the very performers find ways to explore their Australian National University. He is a long history of crossing musical and Line at Roper Bar in 1870. Over the following structures that drive musical interest within talents with such dedicated collaborating Director of the National Recording Project cultural boundaries. Founded in 1994 by decades, numerous pastoral ventures the Manikay tradition. Performed with artists, and share the beauty of their songs for Indigenous Performance in Australia, the enigmatic pianist, Paul Grabowsky, the turned the surrounding district into a voices, bilma ‘sticks’ and yidaki ‘didjeridu’, and dances with audiences elsewhere. This and his recent book, Reflections and Voices band comprises some of Australia’s most bloody killing field on which police, Manikay are structured in epic series of alone is an achievement of which all (2009), explores the cultural and political visionary musicians whose deep roots in prospectors and pastoralists shot many short songs. Each individual song ebbs into involved in creating and supporting this legacy of Yothu Yindi. He has worked to jazz and avant-garde experimentation local people on sight, and those who being with a gently hummed introduction, work can feel especially proud. Crossing support the on-going development of have frequently inspired them to explore survived were forced to labour on cattle builds in intensity with the entry of the Roper Bar is a work of rare integrity that Crossing Roper Bar since 2005. new musical possibilities with a diverse stations. The mission’s establishment at accompanying bilma and yidaki, and flows sets an exciting new benchmark for artistic array of other artists. Their collaboration Ngukurr brought an end to this slaughter, out of being with a return to dialogues with Australia’s traditional with musicians of the southern Indian but not to the attrition of local languages unaccompanied voice. This ebb-and-flow Indigenous musicians, and in this one vital tradition led to the creation of Into the Fire and traditions. Strict regimes of work, creates a natural sense of tension and regard, it stands alone on the musical (1996). Passion (1997) was inspired by the St school, prayer and dormitory life were release, just like breathing in and out, or the landscape. Matthew Passion by J S Bach, while Sita imposed on local residents, alongside an lapping of the tide. Songs at the beginning of (2000) in steeped in the rich traditions of active program of assimilation that a Manikay series typically start slowly, and Balinese gamelan music and shadow discouraged them from speaking their own intensity builds as faster and faster songs puppetry. languages and performing traditional are gradually introduced with greater ceremonies. frequency. Crossing Roper Bar has built on these successes through a long process of Eventually, only one resident group at The AAO exploits these overarching dialogue with Indigenous owners of a Ngukurr, the Wagilak Yolu, had retained its structures in its accompaniment of Wagilak uniquely Australian music, the Manikay traditional repertoire of songs and dances Manikay to searing dramatic effect. Their tradition of ceremonial songs from eastern for performance in public ceremonies. beginning is slow and contemplative, and Arnhem Land in the Northern Territory. Wilfred inherited responsibility for this gradually builds into awesome wall of Co-directed by the gifted young ceremonial repertoire from his father’s father, Sambo sound. The spaces in between each leader, Benjamin Wilfred, from the remote Barabara, who was the Wagilak leader at musician on stage are electric. They are town of Ngukurr in southeast Arnhem Land, Ngukurr until his sad passing in 2005. It filled with the kind of ensemble and this adventurous new musical work was these very songs that initially inspired intuition that can only be held among marries the complex fluidity of Grabowsky to collaborate with Wilfred, and musicians who are masters of aural and experimental jazz with the nuanced have since become the beating heart of improvisatory traditions, who are attuned to permutations of traditional Manikay to Crossing Roper Bar. Drawn from the listening to others and exploring the musical create a cross-cultural experience of rare Manikay tradition, these songs capture the possibilities of a central idea as at unfolds. artistry. observations of the original ancestors who Aaron Corn in Ngukurr founded the remote Wagilak homeland of It is difficult to comprehend how so few Photograph Tobias Titz 2010 The journey towards this collaboration Nyilapidji and all the innate beauty found musicians can create such an effect. But began when Grabowsky first visited therein. again, this is the beauty of the Manikay Ngukurr in 2004. There he found a tradition, which weaves individual lines into community with a vibrant musical life, and a unified whole creating one voice made of many gifted musicians. These fellow many that seems to dissolve the shroud of musical wayfarers had adopted blues and reality itself. Here, there is no complacency rock in the 1960s as a release from the to simply accompany the Wägilak Manikay austerity of the Roper River Mission with a conventional progression of chords, founded at Ngukurr in 1908. However, of or to insist that it conforms to Western their own Indigenous music and dance ideals of tuning and timing. Nor is there any traditions, little remained. musical apartheid where the Wagilak and the AAO take turns to play their respective parts due to some perceived incompatibility. Through deep listening, they have cracked each other’s codes to create a work that gels musically at a deep structural level.

Rehearsal Space in Ngukurr is limited Photograph: Tobias Titz 2010 Australian Art Our Members and Orchestra Supporters

Founding Artistic Director, Piano “... An artistic enterprise of tremendous If you’d like to be part of our journey you can Paul Grabowsky (1993—) scope whose ambitious aims are executed start by visiting our website and subscribing Trumpet & Laptop with passion and commitment... I was to our occasional e-news bulletins http:// Phillip Slater (1999—) unprepared for the sheer beauty, power www.aao.com.au and originality of the group.” (Peter Jordan, ANU School of Music: A World of Ideas to the Pacific & Regional Archive for Digital Trumpet Sydney Morning Herald) The AAO has shown it can do a lot with very Sources in Endangered Cultures. These Scott Tinkler (1993—) little. The ANU is an internationally-recognised visionary initiatives not only provide a Trumpet The Australian Art Orchestra, Australia’s We have a small group of individual donors centre for research and postgraduate study unique new context for collaborative (2007—) premiere contemporary music ensemble, who would love some company. If you are into the diverse and vibrant cultures of Asia, research with talented musicians and mines the rich ground between jazz and Trombone interested in making a donation or assisting the Pacific and Indigenous Australia. The dancers from throughout our region, classical traditions and between western James Greening (1995—) in other ways please call: ANU School of Music supports a range of but also stand at the forefront of shaping and non-western music. Grameme Gerashe, Director, 0407 610 393 research projects and graduate programs the digital media collections of the future Trombone, Shakuhachi, Didjeridu Helen Symon SC, Director 03 9640 3174 that contribute significantly to this and safeguarding this rich cultural Adrian Sherriff (1993) Formed in 1994 by Paul Grabowsky the AAO James Hewison, Director 03 9419 5444 expertise, and provide important outcomes heritage for all. is a collective of ‘musical wayfarers’ from Saxophones, Flute, Clarinet, Ann Moir, General Manager, 03 9320 0936 for different communities of cultural modern jazz which is recognised Oboe, Cor Anglais practitioners throughout Australia and From further information about research worldwide as a bold leader and pioneer in Lachlan Davidson (1995—) The AAO Fund is a tax deductable fund listed the Asia–Pacific region. and postgraduate study at the ANU contemporary Australian music. Alto Saxophone, Clarinet, Bass Clarinet under the Register of Cultural Organisations. School of Music, or undergraduate study

Paul Cutlan (1998—) The School of Music currently hosts the options in world musics, please visit The AAO plays a vitally important role in Donations to the AAO are tax deductible. Secretariat of the International Council www.music.anu.edu.au Saxophones, Flute commissioning and developing music that for Traditional Music. Administrated by Sandy Evans (1995—) is reflective of Australian culture and others The Robert Salzer Foundation supports Dr Stephen Wild as Secretary-General, The HC Coombs Creative Arts Fellowship of our region. The AAO has a vision of the AAO. Saxophones, Bass Clarinet, Sopranino this organisation exists to further the study was established in 1965 at the instigation of Australia as a nation in constant and Elliott Dalgleish (1993—) and dissemination of musics from all over Dr HC Coombs, ANU Pro-Chancellor at the meaningful dialogue with the world The AAO is supported by Australia Council for the world. time, to encourage creative work in the arts Saxophones, Bass Clarinet, Flute around us; a nation open to new ideas, the Arts, the Commonwealth Government’s in Australia. The ANU H C Coombs Creative Tony Hicks (2007—) interested and critically engaged. For the arts funding and advisory body. The School also hosts the Australian Arts Fellowship 2010 is supported by the Violin AAO, music is a language which establishes Research Council Future Fellow, Dr Aaron Research School of Humanities & the Arts Erkki Veltheim (2007—) and builds connections between people, The AAO is supported by the Victorian Corn, who directs the National Recording and the ANU School of Music. The support whether as individuals, societies, cultures Government through Arts Victoria Guitar & Electronics Project for Indigenous Performance in of the ANU National Centre for Indigenous or as nations. Carl Dewhurst (2000—) Meat Market Arts House Australia, and whose work also contributes Studies is also gratefully acknowledged. Guitar 18/5 Blackwood St North Melbourne, Vic 3051 Stephen Magnusson (2007—) Key Projects ph: (03) 9329 0936 Piano & Laptop Into the Fire with South Indian master E: [email protected] Alister Spence (1995—) percussionist Guru Kaaraikkudi Mani and the Sruthi Laya Ensemble. Crossing Roper Bar’s Major Sponsor is Total Double Bass, Tuba (Collaboration 1996 —) E&P Australia Philip Rex (1993—) Ruby’s Story with Ruby Hunter and Archie Drums Roach whose life stories are told in a series Niko Schäuble (1993—) of specially commissioned songs. The Drums extended version for the whole orchestra is Simon Barker (2007—) Kura Tungar River Songs and Stories. Percussion Ringing the Bell Backwards a suite of songs Vanessa Tomlinson (2001—) from 1920s to 1940s popular European Percussion culture such as Lili Marlene and Non, Alex Pertout (1993—) je Ne Regrette Rien, interpreted by Paul Grabowsky. Passion: Adaptations of JS Bach’s St Associate Members Matthew Passion from which four Guru Kaaraikkkudi Mani composers have taken key passages as Benjamin Wilfred and the Young Wagilak points of departure employing the Group language of contemporary improvisation. Miles Davis, Prince of Darkness: A Tribute featuring Anthony Pateras’ Ontetradecagon. Recordings

Crossing Roper Bar Australian Art Orchestra Young Wagilak Group

Crossing Roper Bar

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