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THE BLACK ARM BAND Dirtsong FEATURING TEXT by ALEXIS WRIGHT AUSTRALIA WORLD PREMIERE THE BLACK ARM BAND dirtsong FEATURING TEXT BY ALEXIS WRIGHT the Arts Centre, State Theatre Aboriginal and Torres Strait Islander people are warned that audio and visual material included in this concert has been Fri 23 & Sat 24 Oct at 7.30pm gathered from a range of sources and may contain voices of Indigenous people who have passed away and images of 1hr 40min no interval places that may cause sorrow. Warning: Haze effects dirtsong was developed with the support of City of Melbourne, the Australian Government through the Australia Council for the Arts, its arts funding and advisory body through the Presented by Melbourne International Arts Festival in association Aboriginal and Torres Strait Islander Arts Board and the Music with Arts House and in collaboration with The Black Arm Band Board, VicHealth, Arts Victoria, Lord Mayor’s Charitable Trust, AndyInc and APRA. CDs available for sale from the Arts Centre foyer. Principal Public Partner Public Partners Supported by www.blackarmband.com.au www.melbournefestival.com.au Arts House, a City of Melbourne contemporary arts initiative. CREDITS A NOTE FROM THE DIRECTOR Steven Richardson The Black Arm Band Developed and Produced by Arts House dirtsong is the third major project of The Black Then, if words or phrases are missing, do you Mark Atkins, Lou Bennett, Deline Briscoe, Associate Stage Director Marilyn Miller Arm Band following murundak (2006) and make up substitutes? Should you, and how do Emma Donovan, Kutcha Edwards, Dewayne Hidden Republic (2008). you modernise a language that was last widely Repertoire and Vocals Supervisor Lou Bennett Everettsmith, Leah Flanagan, Shane Howard, Performed predominantly in Aboriginal spoken in the 1800s? And is this engineering of Ruby Hunter, Bunna Lawrie, Djolpa McKenzie, Musical Supervisor Iain Grandage languages, the project is presented in five language right or wrong? Lee Morgan, Shellie Morris, Archie Roach, Cultural Consultant Sarah Jane Bond episodes with songs and music inspired by the Like the polar ice caps it seems that the world’s Bart Willoughby with guests Jimmy Barnes words of Alexis Wright. Many of the pieces are languages are melting away. According to Arrangements and Orchestrations and Paul Kelly structured as musical “conversations” between UNESCO, they disappear at a rate of one every Eugene Ball, Iain Grandage, Kate Neal, the collaborating artists reflecting oncountry , two weeks. And if we don’t stop the decline, 90% With Jocelyn Pook (UK), Julien Wilson conjuring not only a sense of geographical of the world’s languages will be gone by the end Eugene Ball Trumpet with artists of The Black Arm Band Stuart Byrne Reeds place but encounters, memories, obligations, of this century. Additional Repertoire Research Ceridwen Davies Viola community and nature. Aboriginal languages are part of Australia’s rich, Sian Prior, Paul Kelly, Urszula Dawkins Iain Grandage Cello Tonight’s performance is drawn from Aboriginal deep cultural heritage. The inexorable march Anita Hustas Double Bass Linguistics Consultant Dr Julie Reid Australia mixing traditional approaches and of English across the globe is partly to blame Arwen Johnston Tuned Percussion Production Management and Sound contemporary songs, existing repertoire and for the drying pool of language diversity. And Andrea Keeble Violin John O’Donnell newly commissioned music, performed in 13 this is nowhere more evident than in Australia. Andrea Keller Piano Indigenous Australian languages. Since colonisation, we have the worst record Rory McDougall Drums Stage Management Brock Brocklesby, PJ Rosas While the inspiration for dirtsong has been to of language extinction on the planet. Before Michael Meagher Electric Bass Design Consultant Paula Levis awaken some sleeping Australian Indigenous the arrival of Europeans there were hundreds Jordan Murray Trombone of languages spoken here but only around Lighting Designer Jennifer Hector languages and to work in a spirit of mutual Geoffrey Morris Guitar respect and understanding, the project has half of them are left and many of them are Greg Sheehan Percussion Screen Visuals Natasha Gadd, Rhys Graham, required all involved to summon the courage to critically endangered. Sue Simpson Violin Daybreak Films face many dilemmas. I want to pay a special tribute to Alexis Wright Julien Wilson Saxophones Program Images Andrew Curtis, Daybreak Firstly, and most significantly, the deep pain of and in turn Bill Neidjie for the generous use Films acknowledging why and how a language has of their words which have inspired tonight’s Original Text Alexis Wright Image Art Direction Famous Visual Services been removed from use and the associated performance. I encourage you to read them in full in this program. The Black Arm Band has also featured cultural, familial and community ramifications. Andy Alberts, David Arden, Robbie Bundle, For me, as an urban dwelling whitefella it is not We hope that you enjoy dirtsong. Patron of The Black Arm Band Aaron Burrarrawunga, GR Burrarrawunga, John such a huge empathetic leap to understand the and Wurundjeri Elder Aunty Joy Murphy Butler, Kev Carmody, Liz Cavanagh, Carole dire social and political consequences wrought Conception and Direction Steven Richardson Fraser, Sally Dastey, Joe Geia, Jimmy Little, Jessie through the removal of language. Producer Jude Gun Lloyd, Rachael Maza Long, Della-Rae Morrison, Stephen Pigram, Peter Rotumah, Amy Saunders, Dan Sultan, Ursula Yovich, Bevan Gapanbulu Yunupingu and Geoffrey Gurrumul Yunupingu. Thank you to the following individuals and Sarah Caufield, Sarah Ernst, Genine Romagnoli, Vicki Gordon, Jill Shelton, Martine Delaney, Jesse Alderson, Mandy Muir, Travis Vigona, organisations for their generous support Eleni Arbus, Jane Crawley, Morris Bellamy, Janina Noeletta McKenzie, Helene Jedwab, Lisa Watts, Jessica Vigona, Tony Vigona, Micky Mundine, Brett Sheehy, Vivia Hickman and staff of Harding, Siu Chan, Pip Campey, Genevieve Dominic Forde, Kent Johnston, John Paxinos, Aven Noah, Lily Shearer, Billy McPherson, Melbourne International Arts Festival, Sue Beal, Lacey, Sarah Whitteron, Ben Walker, Anna Deirdre O’Brien and staff of Auspicious Arts, Mandawuy Yunupingu, Aboriginal Housing Kate Ben-Tovim, Kara Ward, Deanna Smart, Howard, Annette Herschtal, Alison Edwards, Melanie Rice, Eloise Curry, Martel Ollerenshaw, Company, Redfern Community Centre, Olivia Anderson, Tom Howie, Lexie Wood, Gemina Corpus, Mia Christopherson, Madeleine Loretta Mannix-Fell, Geof Webb, Lydia Miller, Elouera Tony Mundine Gym, Garma Festival of Adrian Aderhold, Angela Calderwood, Brian Bower, Stewart O’Connell, Djarla O’Connell, Liz Gilles, Debbie Dadon, Julie Kantor, Jenni Traditional Culture, Torres Strait Islanders Media Horder, Jim Stenson, Nathan Evers, Zoe Pepper, Teresa O’Brien, Marguerite Pepper, Kate Cashel, Begg, Richard Green, Alan James, Jan Leo, Association, Yothu Yindi Foundation. The Songs episode I – dirtsong episode III – Heartbeat Far Away Home / Gungalaira Big Law It comes from where we bin start off Sing the stories back. Bring the country back. Featuring Archie Roach Featuring Leah Flanagan, Deline Briscoe Far Away Home Sunrise Sung in English and Bundjalung Sung in Alyawarre and Yalanji dirtsong Giidang Musical arrangement Eugene Ball Written Leah Flanagan, Deline Briscoe, Coming up close now Yarian Mi Tji Composed by Graham Tardif with lyrics by Alexis Wright Winnan akk Pupuup Kaleek Rolf de Heer. Words and music from the award- Musical arrangement Lou Bennett, episode II – Big Law Giidang winning filmThe Tracker directed by Rolf de Heer. Iain Grandage I am country. This piece features the vocal talents of Deline Listen to me! episode IV – Side By Side dirtsong Briscoe and Leah Flanagan based on text by I cannot be any other way Side by side. Proper way for this country. Featuring Lou Bennett Alexis Wright. First Contact Chin Wag Sung in Yorta Yorta Deline’s language comes from Kuku Yalanji, Big Law This Land is Mine Written Lou Bennett, Alexis Wright the rainforest country of the Daintree. Musical arrangement Iain Grandage Madha yidi Leah sings in the language of her Nana episode V – Rainstorm I am country From the Echuca, Barmah region, the from east of Alice Springs. She was born Ivy Waakoobawhan yannak Bringing fish. Rainstorm. heartland of Yorta Yorta country, it is a song of Upurla-Dempsey but as part of the Stolen the connection of people, song and country. Dron Wanga Generation her name was changed to Dorothea ‘Baiyan Woka’ is Yorta Yorta for singing for milaythina nika / Rrawa (Dempsey) Berto. country/land. This song comes from the depths Rainstorm of my knowing and understanding that we “All you People, Come and listen to this Spiritual Gungalaira all have connection, we just have to learn connection to land” ‘Gulpa Ngarwal’ (deep listening). Madha yidi Coming up close now Featuring Kutcha Edwards Featuring Mark Atkins Sung in Mutti Mutti Devised and arranged Mark Atkins, Written Kutcha Edwards, Creedence Edwards Julien Wilson Musical arrangement Iain Grandage, Kutcha Edwards In the spirit of the Wongi word GrunGada or Linguist Dr Julie Reid ‘gathering’ from the Coolgardie, Kalgoorlie regions of Western Australia, this is an invitation This song is in Mutti Mutti language from Mutti for people, performers and storytellers to share Mutti country. After all that has been denied of experiences, songs and music – old and new. our people, language is the connection that brings us back home. Traditional Chant Madha yidi (I never) Bunna
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