Submission by Music Tasmania
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The Process of Creating the First Pan-European Shakuhachi Summer
The process of creating the first Pan-European Shakuhachi Summer School with Koto and Shamisen SOAS, University of London 19th-22nd July 2006 From an organiser’s viewpoint. By Kiku Day Photo: Christiane Werner The Shakuhachi Summer School with Koto and Shamisen was part of the SOAS World Music Summer Schools series. SOAS was a perfect environment for this first attempt at a large shakuhachi event, and I feel strongly that many forces came together and made this year a perfect time for this important first shakuhachi event to happen at SOAS. I contacted the music department at SOAS regarding hosting a shakuhachi summer school for the first time in September 2002 after having participated in the World Shakuhachi Festival in Tokyo and Klezfest (one week of klezmer music classes and events). However, SOAS still didn’t have a Music Summer School yet. I graduated from SOAS with a BA in ethnomusicology in 2003 and left England to do a Master degree in performance in California, USA. When I returned and registered in September 2005 the following came together like a natural force: • SOAS has one of the leading departments in ethnomusicology in Europe and is in possession of six koto and five shamisen. • SOAS had had two successful Music Summer Schools and was therefore in a much better position than earlier to host such an event. • Michael Coxall, a Yamaguchi Goro student and excellent shakuhachi performer, who teaches at SOAS was very enthusiastic and willing to co-organise this crazy project. • An active Japanese Music Society was created and led by Arisawa Shino in Sept. -
Vf & Tso Mofo Mr
VIOLENT FEMMES AND THE TASMANIAN SYMPHONY ORCHESTRA World Premiere Monday 22 & Tuesday 23 January Due to popular demand Mona Foma today announced an extra show for the world premiere of the Violent Femmes performing with the TSO. For two nights only, the Violent Femmes will take their acoustic punk-rock and work with the Tasmanian Symphony Orchestra to reimagine it as a full orchestra experience. Conducted by Hamish McKeich they’ll perform a long list of cult classics such as Add It Up, Blister In The Sun, Kiss Off, Gone Daddy Gone, American Song and Gimme The Car at The Federation Concert Hall on Monday 22 and Tuesday 23 January. “Most rock bands would blow off an orchestra with the amplifiers, but for these two shows we’re prepared to back off on the volume and actually play almost at the same volume as the orchestra musicians and create a more unified approach, “ said Brian Ritchie. The Violent Femmes were formed in 1981 as an acoustic band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps and The Velvet Underground. Enduring a couple of hiatuses throughout their 36-plus year career, the band — original members Gordon Gano and Brian Ritchie, along with drummer John Sparrow have been performing steadily since reuniting again in 2013. The TSO’s performance with the Violent Femmes represents another innovative collaboration for the orchestra, which in 2017 alone has seen sold out concerts with vocal star Kate Miller-Heidke, a Dark MOFO collaboration with Norwegian metal band Ulver, an original show with comedy trio Tripod and a sold out concert with ARIA award-winning and multi-platinum artist Megan Washington. -
Music Tasmania 2020 Music Tasmania Is the Peak Industry Body Representing Tasmania’S Contemporary, Popular Music Industries
Premier's Economic and Social Recovery Advisory Council Consultation submission by music Tasmania 2020 Music Tasmania is the peak industry body representing Tasmania’s contemporary, popular music industries. We represent over 500 Tasmanian artists, bands, and small music businesses, who we develop, connect, and promote through our services, while operating nationally as part of the Music is our Australian Music Industry Network. Music Tasmania's strength lies in our capacity to be relevant, engaged, collaborative, and responsive to soundtrack industry need. We invest in our relationships - with musicians, with industry, with Governments, and with partners. As the only organisation in Tasmania that represents the entire music ecosystem, we look at the industry holistically to effectively identify opportunities for intervention. Tasmania has the potential to be Tasmania has a proud history of punching above its weight in contemporary music, with many recognised globally as a music- homegrown artists recognised for the significant cultural and economic contributions they make to making destination, a rehearsal society both locally and abroad. Artists based in Tasmania with successful global careers, including The Wolfe Brothers, Brian Ritchie (Violent Femmes / Mona Foma), Monique Brumby, Asta, Luca Brasi, Tim state, and regional recording hub. Carroll (Holy Holy / A festival called panama), and Fiora Cutler, enhance our reputation on the world stage and build the capacity of our local industry. Music is the soundtrack to Tasmania and we have the potential to be recognised as a music-making destination, a rehearsal state, and regional recording hub - if we harness the power of music to enhance our brand, visitor experience, and sense of community. -
Arts and Health Overseas Experience
Submission to Joint Select Committee Preventative Health Care Inquiry Strengthening the contribution that creativity makes to the health and wellbeing of Tasmanians An opportunity not to be missed! Closeknit” Beaconsfield Scarf Project. Beaconsfield District Health Service. Time to be creative network March 2013 Table of Contents Introduction and Time to Be Creative Network 3 How arts can benefit our health 4 Helping communities in times of crisis Building community Contributing to the healing process Creating a healing environment through the arts Caring for caregivers/health professionals Enriching the medical curriculum Effective Health Education/illness prevention Engaging with disadvantaged groups/sensitive health issues Tasmanian experience 6 Research and evaluation Partnerships with the private sector Partnerships with other levels of government National and overseas developments 8 National framework on Arts and Health Overseas experience Arts and a Preventative Health Care System 9 Recommendations 10 Letters of support 11 References 12 Attachments 1. Program can Creativity Save the Day conference 2. Letter from Jerril Rechter, CEO VicHealth, congratulations on the formation of the network 3. Arts and Health the evidence DHHS 4. Arts and Health a Guide to the Evidence, Arts and Health Foundation 5. Letters of support - - 2 Introduction- Time to be creative Network The TTBCN is please to have the opportunity to make a submission to this important inquiry. In considering the terms of reference the network has chosen to address the questions in this written submission but also requests of the committee the opportunity to “Let the Arts speak for themselves” in the form of a presentation. It is envisaged that the presentation will comprise of visual images of a variety of arts programs that has a positive impact on health and wellbeing and particularly include people who are adversely affected by the social determinants of health. -
Review of the Tasmanian Arts Advisory Board and Screen Tasmania Advisory Board – Consultation Paper
This area is used for a longer descriptive document title. Review of the Tasmanian Arts Advisory Board and Screen Tasmania Advisory Board – Consultation Paper CONTENTS 1. INTRODUCTION ............................................................................................................. 1 2. REVIEW PRINCIPLES ..................................................................................................... 2 3. BACKGROUND ................................................................................................................ 3 4. CURRENT ARRANGEMENTS ........................................................................................ 5 4.1 TAAB and Screen Tasmania Advisory Board (STAB) .............................................. 5 5. RECOMMENDATION ..................................................................................................... 7 6. OVERVIEW– RECOMMENDED OPTION .................................................................... 7 7. SUMMARY....................................................................................................................... 11 Appendix 1 -Tasmanian Arts Governance Review ............................................................. 12 1. INTRODUCTION The arts and cultural sector is increasingly important to the Tasmanian community and economy. Culture, and the cultural sector, is a major contributor to the Tasmanian brand, particularly as Tasmania is increasingly being recognised as an attractive destination for tourists and for its cultural environment and -
Violent Femmes Hotel Last Resort Bio FINAL 2
VIOLENT FEMMES HOTEL LAST RESORT bio Gordon Gano: lead vocal, guitar Brian Ritchie: acoustic bass guitar, baritone guitar, vocal, percussion John Sparrow: BBQ, snare, tom, percussion, vocal Blaise Garza: baritone, contrabass and sopranino saxophones, vocal, piano, harmonium, theremin, percussion Violent Femmes 10th studio album, HOTEL LAST RESORT, resides among the groundbreaking band’s finest work, simultaneously refining and redefining their one-of-a-kind take on American music, mingling front porch folk, post punk, spiritual jazz, country blues, avant garde minimalism and golden age rock ‘n’ roll into something still altogether their own. Founded and fronted of course by singer/ guitarist Gordon Gano and acoustic bass guitarist Brian Ritchie, the Milwaukee-born combo remains as warm, wise and weird as ever before, with such new favorites as “Another Chorus” and “Everlasting You” continuing to mine the vast range of ideas, melodic complexity and organic sonic craftsmanship that has characterized the band’s body of work since their landmark self-titled 1983 debut. “I think it’s probably the best [album] we’ve made since HALLOWED GROUND,” Ritchie says. “We didn’t really know that we had something to say, but it turns out that the songs are really good and we were able to sink our teeth into them and come up with something which is just as good as anything we’ve ever done. I’m even a little bit surprised myself.” Violent Femmes are undeniably one of the most inventive and original bands of this or any other era, constantly pushing forward with their singular blend of folk and punk, sarcasm and spirituality. -
Annual Report 2011-12
Annual Report 2011-12 Department of Economic Development, Tourism and the Arts Submission to Ministers Dear Ministers In accordance with the requirements of Section 36 of the State Services Act 2000 and Section 27 of the Financial Management and Audit Act 1990, I submit to you, for presentation to parliament, this report on the affairs and activities of the Department of Economic Development, Tourism and the Arts 1 2 3 4 for the financial year ended 30 June 2012. Separate reports will be presented to you by Tasmania 1 Lara Giddings MP 3 Scott Bacon MP Development and Resources, the Board of Tourism Tasmania Premier Minister for Tourism and the Board of Trustees of the Tasmanian Museum and Art Gallery in accordance with state legislation. Treasurer Minister for Hospitality Minister for the Arts Yours sincerely 2 David O’Byrne MP 4 Michelle O’Byrne MP Minister for Economic Development Minister for Sport and Recreation Minister for Innovation, Science and Technology Mark Kelleher Secretary Department of Economic Development, Tourism and the Arts October 2012 Department of Economic Development, Tourism and the Arts © State of Tasmania October 2012 ISSN 1837–9648 Disclaimer The information contained within the Annual Report 2011-12 is considered to be correct at the time of publication. Images used within this publication remain the property of the copyright holder. An electronic version of this report is available at www.development.tas.gov.au 2 :: Annual Report 2011-12 Contents 2 Submission to Ministers 37 Our activities 74 Financial statements 4 About this publication 59 People and culture 132 Photo credits and acknowledgements 5 Message from the Secretary 62 Supporting information 133 How to contact us 7 About us 69 Glossaries and index 3 :: Annual Report 2011-12 About this publication Each year the Department of Economic Development, Tourism and the Arts (department) is required by legislation to produce an annual report. -
Tasmanian Government's Submission
Tasmanian Government's submission Inquiry into the impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts Document title 1 Introduction The Tasmanian Government welcomes the opportunity to contribute to the Senate Legal and Constitutional Affairs References Committee's inquiry into the impact of the 2014 and 2015 Commonwealth Budget decisions on the Arts. The Tasmanian Government recognises the importance of the cultural sector to the Tasmanian community and the economic value it brings to the State. Tasmania currently holds a unique place in the world’s imagination. Our culture, cultural sector and products, and expression are a major contributor to our brand, particularly as we are increasingly being recognised as an attractive destination for tourists and for our cultural environment and industries. This success is the product of work over many years, with the opening of MONA in January 2011 providing a significant boost in the State's development and profile, and the Tasmanian Government is actively working to continue to grow this vibrant sector and encourage more cultural experiences and events in the State. To remain competitive, Tasmania needs to build upon its current unique position through characteristics and capabilities that distinguish it from its competitors and acknowledge both its advantages and constraints – culture is one such attribute. As an island state, with a regionally dispersed population, our unique cultural ecology is somewhat delicate and the impact of changes in policy and funding can have a significant impact on our Arts community. The Tasmanian Government recognises this, and has committed to maintaining State-based funding for Tasmania Arts grant programs, despite challenging budget conditions. -
Esperanza Spalding Wild Ride with a Spirit Guide
MUSIC BLACK SABBATH’S “HAND OF DOOM” & TAB LEARN GEEZER BUTLER’S IRONCLAD BASS LINE ® bassplayer.com THE BEST GEAR ANDY CICHON FROM NAMM 2016 LIVE AND UNSCRIPTED BRIAN RITCHIE WITH BILLY JOEL VIOLENT FEMMES ESPERANZA SPALDING WILD RIDE WITH A SPIRIT GUIDE REVIEWS GALLIEN-KRUEGER APRIL 2016 $5.99 MB800 & CX410 MTD SARATOGA A NEWBAY MEDIA PUBLICATION PRA WiC WIRELESS Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights Originally printed in the April 2016 issue of Bass Player. Reprinted with the permission of the publishers of Bass Player. Copyright 2016 NewBay Media, LLC. All rights reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com reserved. Bass Player, 1111 Bayhill Dr., St. 440, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.bassplayer.com See Emily How A Spirit Guide Inspired The Most Play Complex Music Of Esperanza Spalding’s IT’S BEEN SAID THERE ARE AS MANY WAYS TO WRITE a song as there are songwriters. Some follow a strict regimen to invite Career the muse, while others depend on the harsh reality of deadlines and bills to inspire their creative process. Still others swear by long walks, prayer, yoga, or just the right psychedelics. A few even mine their dreams. Emily, however, needs none of this. She knows exactly what moves her, and she knows how to get it: Complex chords, hard-hitting drums, multi-tracked vocals, shifting time signatures, loud guitars with over- drive, and theatricality are the things that rock her world, and when it’s time to shine, Emily is happy to step up and wail. -
Legislative Council Estimates B
PARLIAMENT OF TASMANIA TRANSCRIPT LEGISLATIVE COUNCIL ESTIMATES COMMITTEE B Hon. Elise Archer MP Tuesday 24 November 2020 MEMBERS Hon Rosemary Armitage MLC Hon Ivan Dean MLC Hon Jo Palmer MLC Hon Tania Rattray MLC (Chair) Hon Jo Siejka MLC Hon Josh Willie MLC WITNESSES IN ATTENDANCE Hon. Elise Archer MP, Attorney-General; Minister for the Arts; Minister for Corrections; Minister for Environment; Minister for Justice; Minister for Racing Ms Ginna Webster, Secretary, Department of Justice Ms Kerrie Crowder, Acting Deputy Secretary, Corrections and Justice, Department of Justice Mr Gavin Wailes, Director of Finance, Department of Justice Ms Penelope Ikedife, Administrator of Courts, Supreme Court, Department of Justice Ms Ann Owen, Manager, Births, Deaths and Marriages, Department of Justice Mr Nick Evans, Deputy Secretary, Regulation & Service Delivery, Department of Justice Ms Catherine Edwards, Manager, Victims Support Services, Department of Justice Mr Andrew Hawkey, Tasmanian Electoral Commission, Department of Justice Mr Daryl Coates, Director of Public Prosecutions, Office of the Director of Public Prosecutions Mr Michael Varney, Director, Crown Law, Department of Justice Ms Amber Mignot, Director, Child Abuse Royal Commission Response Unit, Department of Justice Ms Brooke Craven, Director, Strategic Legislation and Policy, Department of Justice Mr Wayne Johnson, Director, Monetary Penalties Enforcement Service, Department of Justice Mr Nick Evans, Deputy Secretary, Regulation & Service Delivery, Department of Justice Ms Amanda Russell, -
[email protected]
14 January 2011 Dale Webster Project Manager Department of Justice GPO Box 825 Hobart TASMANIA 7001 By Email: [email protected] Dear Project Manager, Submission on the proposed Tasmanian Human Rights Charter The Arts Law Centre of Australia (Arts Law) is pleased to provide its submission in relation to the Directions Paper (Paper) on a Charter for Human Rights in Tasmania (Tasmanian Charter) and commends the Tasmanian Government’s commitment to engage with the broader community, including the arts, in this consultation. Our submission is informed through being unique in the service we provide, straddling the worlds of both art and law and representing a large group of Australian artists, including Tasmanian artists. We base our submission on the objective of both increasing the rights afforded to artists and promoting their ability to access those rights. Executive Summary We note that the Paper assumes support for a Tasmanian Charter and seeks input on the model to be adopted. Arts Law endorses the Paper’s support for a Tasmanian Charter and we agree with the statement that the charter ‘should be enacted as an ordinary Act of Parliament of Tasmania’ (8.1.1). Tasmania should act on the recommendations of the United Nations Human Rights Committee to implement legislation dealing specifically with protection of human rights.1 A Tasmanian Charter would act as an important signifier of the Tasmanian government’s commitment to upholding the human rights standards endorsed by the international community (and Australia as signatory to many international treaties). Tasmania has an opportunity to be among the States leading the way on the human rights agenda. -
Tasmanian Aboriginality at the Tasmanian Museum and Art Gallery
Article Type: Original Article Corresponding author mail-id: [email protected] “THIS EXHIBITION IS ABOUT NOW”: Tasmanian Aboriginality at the Tasmanian Museum and Art Gallery Christopher Berk UNIVERSITY OF MICHIGAN ABSTRACT This article focuses on the design and execution of two exhibits about Tasmanian Aboriginality at the Tasmanian Museum and Art Gallery. The first is a Tasmanian Aboriginal group exhibit from 1931, which was heavily informed by ideologies of Tasmanian primitivity and extinction. The second is the 2008 tayenebe, a celebration of the resurgence of fiber work among Tasmanian Aboriginal women. In each instance, the Tasmanian Aboriginal people are on display, but the level of community control and subtext is notably different. This article builds on discussions of cultural revitalization and reclamation by showing the process and how it is depicted for public consumption. [cultural revitalization, representation, indigeneity, Tasmania, Australia] Australia’s Aboriginal peoples have been central to how anthropologists have historically thought about progress and difference. Tasmania’s Aboriginal peoples receive less attention, both in Australia and in discussions of global indigenous movements. Before and after their supposed extinction in 1876, they were considered the most “primitive” culture ever documented (Darwin 2004; Stocking 1987; Tylor 1894; among many others). Ideologies of primitivism have historically been perpetuated and disseminated by cultural institutions around the world. James Clifford (1997) recounts a 1989 community consultation meeting with Tlingit representatives at the Portland Museum of Art during which the Tlingit Author Manuscript people told politically motivated tales about community concerns like land rights. The story of This is the author manuscript accepted for publication and has undergone full peer review but has not been through the copyediting, typesetting, pagination and proofreading process, which may lead to differences between this version and the Version of Record.