Can You Keep a Secret? an Artefact and Exegetical Essay Investigating
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Can You Keep a Secret? An artefact and exegetical essay investigating the poetics of children's rhymes and verse Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Mark Carthew Swinburne University of Technology Lilydale, Victoria, Australia 2011 Abstract This submission consists of two complementary creative works: an anthology of children's rhymes Can You Keep a Secret? Timeless Rhymes to Share and Treasure (Carthew 2008a); and a companion music CD, Timeless Songs to Share and Treasure (Carthew 2009). Random House Australia published both the anthology and the CD. The submission is accompanied by an exegesis that explores how these creative works came into being, and the attraction of the rhymes and songs that led to their selection. The exegesis also explores the resonance of these children‘s rhymes; and the poetic, musical and kinaesthetic features that led to their grouping in the six chapters—nursery rhymes, playtime rhymes, action rhymes, counting rhymes, finger-plays, and lullabies and gentle rhymes. The overarching genre of ‗nursery rhymes‘ is acknowledged as part of the oral tradition in literary lore and for the purposes of this exegesis are defined as rhymes for early childhood often, though not exclusively, characterised by a traditional or historical heritage. The selections, placement and musical arrangements in these collections provide a distinctive way of connecting with or being with these rhymes, therefore providing insight into their individual and collective aesthetic and poetic functioning. Key Words: Children‘s rhymes, musicality, anthology, poetics. i Acknowledgments I would like to thank the following people for their support in the completion of this project and PhD submission: my principal supervisor Associate Professor Dominique Hecq for her academic wisdom, poetic inspiration and constant encouragement to hear my own voice; my associate supervisor Dr Christine Sinclair for her professional insight and guidance; Professor Emeritus Barbara van Ernst AM for her mentorship, encouragement and vision for the creative arts; and Joan Howard for her proofreading and assistance with formatting. At Swinburne University of Technology, I would also like to thank: Professor Kay Lipson, Dean, Faculty of Higher Education; Associate Professor Everarda Cunningham; Professor Josie Arnold; Dr Carolyn Beasley; Dr Martin Andrews; Professor Pam Green; Professor John Bowden; Graeme Baker; Nadine White; Carol-Anne Croker; and Glenice Whitting for their support throughout my candidature. Thanks also to the following people and organisations who have been most generous in assisting with background information: Carla Pascoe, Assistant Curator of the Children‘s Folklore Collection at Museum Victoria; Dr June Factor and Dr Gwenda Davey; Celia Lottridge; Sarah Carpenter-Davis; Professor Emerita Alma Flor Ada; Dr Priscilla Clarke; Dr Patricia Clarke; Margaret Mahy ONZ; Denise Ryan; Emeritus Professor Richard Moyle; Casablanca Kids Inc. and Sharon, Lois and Bram and for their assistance with ‗Skinnamarink‘; the Te Kakano Information Centre at Auckland Museum; and the archive staff at The National Library of Australia; Tanya Batt and the Once Upon an Island Story Centre, Waiheke Island NZ; The Parent-Child Mother Goose Program, Canada; the Australian Association of Writing Programs (AAWP); the Australian Society of Authors (ASA); the Australian Postgraduate Writers Network (APWN); and the Society of Children‘s Book Writers and Illustrators (SCBWI). I am also indebted to the publishing house and editorial staff at Random House Australia who assisted with the production and publication process for the Can You Keep a Secret? book and CD, especially my publisher Linsay Knight, editor Kimberley Bennett, illustrator Jobi Murphy, Lisa Shillan, and designer Lori Loy. With the CD production I would also like to acknowledge the support of: Adriana ii Rosamilia, former Education Manager at Random House; Sean Cunningham - Highway 9 Productions Studio Director and Sound Engineer for his expertise and musicianship (keyboards, guitar, drums, percussion, guitar and additional pro tools); Michelle Meehan for her wonderful vocal and instrumental skills (violin, flute and guitar); and Kristine Petkovska for her cameo voiceovers. As well, I would like to thank Ernestine Shargool, Associate Professor Dominique Hecq, Celia Lottridge, Sarah Carpenter-Davis and Professor Emerita Alma Flor Ada for their assistance with translation and transliteration queries. Throughout this project I have been indebted to the love and support of my wife Carolyn; my children Michael, Laura and Simon; my parents Shirley and Charles Carthew; and my parents-in-law Ethel and Michael Perry. Completion of this PhD has also been made possible by virtue of a Swinburne University Australian Postgraduate Award Scholarship, a privilege for which I am most grateful. iii Declaration This thesis contains no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome. To the best of my knowledge and belief, it contains no material previously published or written by another person, except where due reference has been made in the text of the examinable outcome or subsequent post production editorial mark-ups for re-printing. Pre-press editorial proofing of the published book was carried out in consultation with Random House children‘s editor Kimberley Bennett and children‘s publisher Linsay Knight. Production of the book and music CD was organised by Random House Australia‘s design and production team. All illustrations for the book and CD were completed by Jobi Murphy. The music CD was produced and arranged by me in conjunction with Highway 9 Productions recording studio and sound engineer Sean O‘Sullivan. A transcription of the song arrangements was commissioned from Katie Wardrobe at Midnight Music www.midnightmusic.com.au. Proof reading and document formatting was conducted by Joan Howard in accordance with the Australian Standards for Editing Practice (ASEP) for research students‘ theses and dissertations. The typed transcript of the Margaret Mahy interview recording was commissioned from SmartDocs Pty Ltd. In respect to both artefacts every effort has been made to acknowledge ownership via the permissions process and due diligence has been exerted in the research of works attributed to public domain. Due to the commercial nature of the published works and copyright restrictions related to artwork and permissions, copies of the final published works are located in the Swinburne library. Signed: Mark Carthew iv Dedication For my wife Carolyn and our children Michael, Laura and Simon. Their love, support and encouragement is the inspiration. v Table of Contents Abstract ..................................................................................................................... i Acknowledgments ..................................................................................................... ii Declaration ............................................................................................................... iv Dedication ................................................................................................................. v Table of Contents .................................................................................................... vi List of Figures ......................................................................................................... viii Preface ..................................................................................................................... x Chapter 1 ........................................................................................................... 1 Introduction ............................................................................................................... 2 Anthological gathering as method and practice ......................................................... 6 Back to Front (The Journey Begins) ........................................................................ 11 Back to the Future................................................................................................... 13 Knowing as Knowledge: Children‘s Anthologies as Genre ...................................... 15 The Art of the Almanac ........................................................................................... 17 Chapter 2 ......................................................................................................... 22 In Search of the Poetic ............................................................................................ 23 Position, Position… ................................................................................................. 25 ‗Being with‘: Encountering the Aesthetic ................................................................. 26 Chapter 3 ......................................................................................................... 28 Commentary on book chapters with an exploration of selected rhymes and songs . 28 Nursery Rhymes ..................................................................................................... 30 Playtime Rhymes .................................................................................................... 45 Action Rhymes ........................................................................................................ 55 Counting Rhymes