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VIBE ACTIVITIES Issueyears 186 3-4
Years 3-4 Y E A R Name: 3-4 VIBE ACTIVITIES IssueYears 186 3-4 The 2012 Deadlys – Female Artist of the Year page 7 JESS BECK JESSICA MAUBOY FEMALE ARTIST Originally hailing from Mingbool (near Mt Jessica Mauboy first graced Australian Gambier, SA), Jess drifted into singing while television as a shy 16 year old on studying acting at Adelaide University, Australian Idol in 2006. She was runner- OF THE YEAR but she admits music was always her first up that season, but was subsequently love. Jess wanted to be a performer from signed to Sony Music Australia. In an early age. While studying a Bachelor of February 2007 she released her debut Rainmakers with Neil Murray, founder of Creative Arts (Acting) at Flinders University, LP, The Journey, and in 2008, recorded the Warumpi Band. Following her recording Adelaide, she developed an interest in jazz her album Been Waiting which achieved debut on the Paul Kelly single Last Train, and cabaret. She auditioned for a band, double platinum sales, garnered seven Anu’s debut album Stylin’ Up produced which later became the Jess Beck Quartet. ARIA award nominations and produced numerous hit singles including Monkey Jess released her debut album Hometown her first number-one single Burn, as well and the Turtle, Party, Wanem Time and the Dress earlier this year. It is a combination as the album’s other top-10 hits, Because beautiful My Island Home, the song that of jazz, folk and Indie pop. Since then, she and Running Back. In 2010 she released was to become her signature tune. -
Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism
JOURNAL OF RESEARCH ONLINE MusicA JOURNAL OF THE MUSIC COUNCIL OF AUSTRALIA Hop, Skip and Jump: Indigenous Australian Women Performing Within and Against Aboriginalism Introduction KATELYN BARNEY was in The University of Queensland library talking to one of the librarians, James, about my PhD research. He asked, ‘So, what are you researching again?’ and I replied, ‘Well, I’m working with Indigenous Australian1 women ■ Aboriginal and Torres Strait Iwho perform contemporary music, you know, popular music singers’. James Islander Studies Unit looked confused, ‘Oh, so are you going to interview that guy from the band The University of Queensland 2 Yothu Yindi ?’ This was not the first time I had been asked this and inwardly I Brisbane sighed and replied, ‘No, I’m just focusing my research on Indigenous Australian QLD 4072 women’. Streit-Warburton’s words immediately reverberated in my mind: ‘Ask Australia an Australian to name an Aboriginal singer and there is a fair chance that the answer will be Yothu Yindi’s Mandawuy Yunupingu. Ask again for the name of an Aboriginal woman singer and there is an overwhelming chance that the answer will be Deafening Silence. Deafening Silence is not the name of a singer; it is the pervasive response to most questions about Aboriginal women.’ (1993: 86). As Email: [email protected] I looked at James, I wondered if anything had really changed in more than 10 years. The account above highlights how Indigenous Australian women performers continue to be silenced in discussions and discourses about Indigenous Australian 3 www.jmro.org.au performance. -
Media Kit Emma Donovan & the Putbacks
MEDIA KIT EMMA DONOVAN & THE PUTBACKS CHEVRON LIGHTHOUSE SUN 9 FEB TICKETS: $39 Click here for images EMMA DONOVAN AND THE PUTBACKS Acclaimed Indigenous vocalist Emma Donovan and Melbourne rhythm combo The Putbacks burst on to the Australian scene with their album Dawn in 2015, announcing a new voice in Australian soul music. Emma’s songwriting is optimistic, impassioned, and bruisingly honest, The Putbacks’ music is fluid, live and raw, and the collaboration has won friends and admirers all over the world. The project was born of Emma and the band’s shared love for classic US soul and the protest music of Indigenous Australia. Shades of every soul record you ever liked sneak through: Al Green’s Hi Recordsera? Check. Aretha’s Classic Atlantic recordings? Check. Stacks of Stax? Check. It’s all there, but there’s also a whole lot of Coloured Stone and Warumpi Band influences giving this project a uniquely Australian slant. Emma grew up singing church songs with her grandparents on the North coast of New South Wales and her first secular gigs were singing in the family band, The Donovans, with her mother and five uncles. Throughout her career, she has toured and recorded with many of the mainstays of Indigenous music from Archie Roach to Dan Sultan and was a leader of the Black Arm Band project. It was in The Black Arm Band that Emma met members of The Putbacks and their journey together began. The Putbacks are stone cold pros, grizzled veterans of all the tours and all the studios. As individuals, they’re the players behind so many bands it’s difficult to list, but let’s start with Hiatus Kaiyote, The Bombay Royale, D.D Dumbo, Swooping Duck and The Meltdown. -
Womadelaide 1992 – 2016 Artists Listed by Year/Festival
WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble -
The Black Arm Band Hidden Republic
BIOGRAPHIES David Arden Sally Dastey Bevan Gabanbulu Ruby Hunter Rachael Maza Long Steven Richardson NEW AUSTRALIAN WORK Artist, Repertoire Adviser Artist (Gapanbulu Yunupingu) Artist Artist, Stage Direction, Spoken Word Script Conception, Direction World Artist Premiere David Arden has worked with many Aboriginal As one-third of Tiddas, Sally Dastey released Ruby Hunter is an Aboriginal woman of the Originally from the Torres Strait Islands, Rachael Steven Richardson has broad experience in the artists, from Hard Time Band and Koori Youth two acclaimed albums and four singles with Gapanbulu Yunupingu (Bevan Gabanbulu’s Ngarrindjeri clan of South Australia and was the Maza Long comes from a family of actors that arts spanning 20 years in a variety of artistic, Band to Bart Willoughby and Mixed Relations. accompanying videos, and was awarded an ARIA stage name) is the grandson of Yothu Yindi lead first Aboriginal woman to record her own album. spans three generations. A graduate of the producing and programming roles. He holds a As a guitarist with Archie Roach, he has toured Award. She launched her solo career with Secrets singer Mandawuy Yunupingu, and current yidaki She has recorded two albums, Thoughts Within Western Australian Academy of Performing Arts, Fine Arts degree in visual arts and also studied extensively both nationally and internationally. To Keep (2002) and has performed at numerous (didjeridu) player with Yothu Yindi. Gapanbulu and Feeling Good, and has toured extensively in she has had an impressive career in theatre, film, contemporary dance at Victorian College of the He has also written and performed songs for festivals while working on a range of projects Yunupingu has performed everywhere from Australia and overseas. -
GONDWANA CHOIRS ANNUAL REPORT 2017 Gondwana Indigenous Children’S Choir Outside the Palais Augarten, Vienna CONTENTS
GONDWANA CHOIRS ANNUAL REPORT 2017 Gondwana Indigenous Children’s Choir outside the Palais Augarten, Vienna CONTENTS Gondwana Voices and Sydney Children’s Choir prepare for their European tour 4 Gondwana Choirs 20 Philanthropy 6 Calendar 20 Summary 8 Welcome 20 CPA Matched Funding 10 Major Tours 21 Cairns Philanthropy Dinner 10 Gondwana Chorale 21 Annual Giving Campaign 10 Gondwana Indigenous Children’s Choir 22 Innovations Patrons 11 Gondwana Voices & Sydney Children’s Choir 23 Rio Tinto 12 Collaborations 24 Partners 12 The Idea of North/National Choral School 25 Vienna Project Partners 12 Barangaroo/Aurora Eora 26 2017 Statistics 13 The Australian Chamber Orchestra 28 Performance Repertoire 14 Vienna Boys’ Choir/Austrian National Tourist 30 Board of Directors Office 31 Gondwana Choirs 15 Performances 32 Concise Annual Report 15 Summary 33 Statement of Surplus or Deficit 15 Festival of Summer Voices & Other Comprehensive Income 16 Southern Lights Northern Lights 34 Statement of Financial Position 16 Songs of My Country, Sydney 35 Statement of Changes in Equity 17 Songs of My Country, Cairns 35 Statement of Cash Flows 17 Voices of Angels Lullabies 36 Directors’ Declaration 18 Commissions & Recordings 37 Independent Auditor’s Report 18 Boori Guman 18 Marliya & Spinifex Gum 19 Bursaries GONDWANA CHOIRS Lyn Williams conducts Sydney Children’s Choir and members of Gondwana National Choirs in Voices of Angels GONDWANA CHOIRS comprises the most accomplished choral groups of young people in Australia. The organisation is synonymous with performance excellence and has a reputation for the highest standards of young people’s choral music in Australia and internationally. When Lyn Williams OAM created the Sydney Children’s Choir The SYDNEY CHILDREN’S CHOIR proudly represents Sydney in 1989, she wanted audiences to experience the unique and as the most prestigious and well-known vocal program for young captivating sound of a well-trained children’s choir. -
“We Are Australian”: an Ethnographic Investigation of the Convergence of Community Music and Reconciliation
“We are Australian”: An ethnographic investigation of the convergence of community music and reconciliation. “We are Australian”: An ethnographic investigation of the convergence of community music and reconciliation. Julie Ann Rickwood Interdisciplinary Cross-Cultural Research Programme Research School of Humanities and the Arts The Australian National University 21 June 2013 A thesis submitted for the degree of Doctor of Philosophy The Australian National University Canberra Statement of Authorship I hereby declare that this thesis is entirely my own work. This thesis contains no material previously published or written by myself or another person, except where reference is made in the thesis itself. This thesis has not previously been submitted towards a degree or diploma in any university or other higher education institution. Julie Rickwood 21 June 2013 This research project has received clearance from the Human Research Ethics Committee at the Australian National University: Protocol 2009/337 Indigenous readers are advised that the thesis contains names and images of deceased individuals. IN MEMORY OF JEANNETTE HENNESSY-WRIGHT, 1957-2011: A SINGER IN A COMMUNITY CHOIR, A LONG TERM FRIEND AND A DETERMINED WOMAN And the first sound I heard in my heavens was the sound of moving air becoming the wind. Richard Lewis 1991 The second sound I heard in my heavens was the sound of many voices blending into one. Julie Rickwood 2013 IN RECOGNITION OF THE YOTHU YINDI FRONTMAN, 1956-2013: A MUSICAN, EDUCATOR AND CAMPAIGNER FOR RECONCILIATION “On the last day of National Reconciliation Week (Mabo Day) we are extremely saddened to learn of the passing of Yothu Yindi frontman Dr Yunupingu, who died overnight at his home in Yirrkala, East Arnhem Land following a long battle with kidney disease. -
Program Guide Week 16
Program Guide Week 16 Sunday April 10th, 2016 5:00 am CCTV English News - The English language news channel from China Central Television (CCTV) in Beijing, the nation's largest national broadcasting network. 5:30 am NHK World English News - News from Japan's Broadcasting Corporation, NHK, delivering the latest in business, technology, health, environmental and world news, in English. 5:45 am France 24 Feature - News feature in English from France 24, Paris. 6:00 am France 24 English News - International news and current affairs television from Paris, offering a French perspective on world events, in English. 6:30 am Deutsche Welle English News - News and analysis of the top international and European news and current affairs from Berlin, in English. 7:00 am Al Jazeera English News - News via satellite from Al Jazeera Satellite Network, Qatar, in English. 7:30 am Italian News - News via satellite from RAI Rome in Italian, no subtitles. 8:10 am Filipino News - News via satellite from ABS-CBN Manila, in Tagalog, no subtitles. 8:40 am French News - News via satellite from FT2 Paris, in French, no subtitles. 9:30 am Greek News From Cyprus - News via satellite from CyBC Cyprus, in Greek, no subtitles. 10:30 am German News - News via satellite from DW Berlin, in German, no subtitles. 11:00 am Spanish News - News via satellite from RTVE Madrid, in Spanish, no subtitles. 12:00 pm Arabic News - News via satellite from DRTV Dubai, in Arabic, no subtitles. 12:30 pm Turkish News - News via satellite from TRT Turkey, in Turkish, no subtitles. -
Indigenous Music
Hot topics Indigenous music From little things, big Mathinna: a girl's journey things grow directed & between two cultures by written by Trevor Graham. David Page. Walsh Bay, Camberwell East, Vic: NSW: Nikinali Music, 2008. Australian Film Finance CD 305.89 PAG Corporation & City Pictures, This CD is a soundtrack to a 1993. 55 min. DVD FRO Bangarra Dance Theatre production “inspired by a young A documentary about Kev Carmody, girl's journey between two cultures. Born on Tasmania's whose 1989 debut album, Pillars of Flinders Island in 1835, adopted into the household of Society, was described by Rolling Governor Sir John and Lady Franklin, sent to the Queen's Stone as “the best album ever Orphan School and ultimately abandoned with her people at released by an Aborigine and arguably the best protest album Oyster Cove. Mathinna's story is one of vulnerability and ever made in Australia.” This film looks at Kev up close – searching in an era of confusion and intolerance.” – Publisher cattle mustering in southern Queensland, making music in website. A study guide is also available. suburban Sydney and playing Long Bay Jail. Classification: Distributor recommends - Exempt (for educational use only). Move it mob style directed & produced by Shona Devlin. From the desert to the Vibe Australia, 2012. 20 x 30 sea by Jason Lee Scott. min. DVD MOV Sydney: Desert Sea Music, “Move it mob style is a 20 episode 2001. CD 305.89 SCO dance-based fitness television series. Showcasing Aboriginal and Torres “The lyrics are reflective of Strait Islander hip hop and popular Jason’s life thus far, dealing with music Move it mob style is all about everything from the love he has good beats: using dance to stay for his family to his cultural healthy.” – Back cover. -
'I Know That Face'
Cultural Studies Review volume 20 number 2 September 2014 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 115–40 Sue Gillett and Charon Freebody 2014 ‘I Know That Face’ Murundak: Songs of Freedom and the Black Arm Band SUE GILLETT LA TROBE UNIVERSITY AND CHARON FREEBODY LA TROBE UNIVERSITY Coming together with the Black Arm Band you realise that, you know, you’re not alone—you’re not the only one doing this, you’re not the only one going out there, you know, singing songs about, you know, about the injustices that have happened to our people. Archie Roach, Murundak: Songs of Freedom —INTRODUCTION This essay selects particular moments within the 2011 film Murundak: Songs of Freedom which reveal and create strategies used by Aboriginal people to maintain individual memories, recreate collective memory, revive culture and seek justice at both the personal and national levels. Just as the touring concert documented by the ISSN 1837-8692 Cultural Studies Review 2014. © 2014 Sue Gillett and Charon Freebody. This is an Open Access article distributed under the terms of the Creative Commons Attribution 4.0 Unported (CC BY 4.0) License (https://creativecommons.org/licenses/by/4.0/), allowing third parties to copy and redistribute the material in any medium or format and to remix, transform, and build upon the material for any purpose, even commercially, provided the original work is properly cited and states its license. Citation: Cultural Studies Review (CSR) 2014, 20, 4134, http://dx.doi.org/10.5130/csr.v20i2.4134 Figure 1: Murundak: Songs of Freedom film poster Source: Daybreak Films film enacted deliberate cultural interventions at the specific locations of its performances, the documentary film continues to mediate this intervention, linking the local sites of the national (and British Imperial) reception and swelling the ranks of audience. -
Black Arm Band's Day of Reckoning
Black Arm Band’s day of reckoning Lou Bennett in Black Arm Band’s Dirtsong at the 2012 Darwin Festival. • The Australian • 24 April, 2018 • Matthew Westwood A year ago, the Black Arm Band celebrated its 10th anniversary with a concert at Sydney’s City Recital Hall. As with so many of the band’s performances during the previous decade, it was a celebration of black pride in music. Among the performers that Saturday evening were Black Arm Band regulars including Emma Donovan, Deline Briscoe and Mark Atkins, and Yirrmal Marika, a talented young Yolgnu singer from that hotbed of creative talent in northeast Arnhem Land. It was a birthday to celebrate. Black Arm Band was a kind of movable festival made up of longtime returning artists and newcomers. In earlier years, luminaries such as Geoffrey Gurrumul Yunupingu, Archie Roach, Ruby Hunter and Jimmy Little had appeared in the line-up. It also gave early exposure to now-established stars such as Dan Sultan. The group played all of the major Australian festivals, and when it toured internationally it was hailed as Australia’s answer to the Buena Vista Social Club. It was great music delivered with a powerful indigenous voice. Eight months later, the party was over. The end was announced in a Facebook post last December: despite ongoing support and appetite for its work, the Black Arm Band had made the difficult decision to close down. 2 Why did this vital outfit with so much community goodwill suddenly leave the stage? Certainly, the funding environment had changed, as it had for many other small to medium arts companies. -
Black Arm Band Dirtsong
Sunday, February 12, 2017, 7pm Zellerbach Hall Black Arm Band dirtsong Created by Black Arm Band Original Text Alexis Wright Original Concept Steven Richardson Black Arm Band Artistic Director Emma Donovan Artistic Director— dirtsong Fred Leone Musical Director Michael Meagher Arrangements and Orchestrations Andrea Keller, Eugene Ball, and Julien Wilson, with artists of Black Arm Band Lighting Designer Michelle Preshaw Production Management Daniel Gosling Stage Management Brock Brocklesby Audio Engineer Patrick Murray Screen Visuals Natasha Gadd, Rhys Graham, Daybreak Films Producer Sarah Greentree Vocalists James Henry Ursula Yovich Shellie Morris Troy Brady Nicole Lampton Band Tjupurru , yidaki /didjeribone Michael Meagher, bass Rory McDougall, drums Patrick Wolff, tenor saxophone and clarinet Benito Cortez, violin and viola Jacob Smolowe, piano Black Arm Band is assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body, and supported by the Victorian government through Arts Victoria. This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund. This evening’s performance will be performed without intermission and will last approximately 90 minutes. Black Arm Band and Cal Performances wish to gratefully acknowledge that we are standing on the ancestral lands of the Muwekma Ohlone Tribe. We thank them for the privileged use of their ancestral lands. Cal Performances Classroom activities with Black Arm Band are generously supported by the Jacques M. Littlefield Foundation. Cal Performances Classroom activities throughout the season are made possible, in part, by Wells Fargo. PROGRAM NOTES he purpose of Black Arm Band is to dirtsong develop, perform, promote, and celebrate Sung in Yorta Yorta Tcontemporary Aboriginal and Torres Written by Lou Bennett and Alexis Wright.