History of Coastal Music Communities in SE Queensland

Music Communities are scattered throughout the coastal areas of southern Moreton Bay, on small islands and the mainland south-east Brisbane to Redland Bay. Understanding the music history allows the sites of cultural significance for music-making to be plotted geographically. We can walk to each of the sites of music-making to learn more about who was involved and what was the favourite repertoire of the times. Minjerribah (North Stradbroke Island) is a case example that leads into the development of the Minjerribah Music Walk--a journey that connects sites of historical significance for showcasing local music performances on Country. 

Musicking on North Stradbroke Island: Mapping Sites of Cultural Significance 

Sandra Kirkwood                   

Introduction

This chapter describes the process of scoping a music research project to explore sites of cultural significance for musical development of Australian children on North Stradbroke Island, in the south Moreton Bay region of South-East Queensland. The island is located thirty kilometres east of the state capital, Brisbane. The aim of this chapter is to present a brief outline of the music history and to begin to map sites of people’s music-making on North Stradbroke Island from already published sources and public performances. These sites are important for musical development because they reveal the social, environmental context and peoples’ musical occupations—past and present. Secondly, this study in mapping musicking leads to identification of key stakeholders who may wish to be involved with planning collaborative music research projects in the future. It also shows gaps in knowledge that require further study.

Christopher Small (1998) coined the term “musicking” to describe all the actions involved with music events, as explained further in this chapter. The plan is for the author to invite stakeholders to form a Community of Discovery to study musicking on North Stradbroke Island and to explore what can be done to support and enable children’s musical development in the future. As an outcome of this study, local people may develop a Music Action Plan that helps in navigating the complexity of digital technologies and curating music history knowledge.

This chapter arises as part of a body of research that analyses sites of cultural significance for musical development of Aboriginal and other Australian children from the author’s practice as a Music Museum Curator and Ethnomusicologist, based in South-East Queensland. The concept of mapping sites of cultural significance for early childhood musical development was introduced in a research study by the author that explored the impact of new technologies on the musical learning of Indigenous and other Australian children (Kirkwood and Miller 2014a). “Sites of cultural significance” are understood as locations, events or practices that support and enable musical development and may occur outside of schools and formal education settings. The author’s previous study in 2014 recommended further analysis of sites of cultural significance for early childhood musical development—such as the Lines in the Sand Festival on North Stradbroke Island.

North Stradbroke Island, the third largest sand island in the world, is colloquially known as “Straddie” or Minjerribah, an Aboriginal place name which now refers to the whole island. The historical record of song and dance on Stradbroke Island begins with stories that have been handed on through the oral tradition, and includes written records of European explorers and settlers of Moreton Bay. Quandamooka is an Aboriginal name now used for a designated area of Moreton Bay—the waters and lands of and around Moorgumpin (Moreton Island), Minjerribah (North Stradbroke Island), the southern Moreton Bay Islands and South Stradbroke Island, and certain areas of the mainland.  Moreton Bay includes the Pacific Ocean surrounding the mouth of the Brisbane River, bordered by Bribie Island (north), Moreton Island (centre), and North and South Stradbroke Islands to the south.

The inspiration for this project grew from the author’s family connections of descent from Charles Lee, an Irish mariner who was lighthouse keeper in the 1870s at Cowan Cowan, a settlement on Moreton Island. He is mentioned as lighthouse keeper in newspaper articles (“Brisbane Hospital” 1884; “Golden Wedding” 1939). Oral history indicates that when the family moved to West End in Brisbane, they called their home “Cowan Cowan”. Relatives settled nearby at South Brisbane and there appear to be ongoing friendships with people on Moreton Bay islands. Moreton Island and North Stradbroke Island were closely associated throughout history due to their close proximity within Moreton Bay and movement of people back and forth from the adjacent mainland (Gold Coast, Redland Bay, Brisbane, Redcliffe).

 

Background--Historical context of North Stradbroke Island sites of musical development

The music history of North Stradbroke Island reveals the resilience of Quandamooka People in weathering the waves of European colonisation that devastated much of the Aboriginal peoples of Moreton Bay, their environment, language, culture, social structure, livelihoods, and music occupations from the early Nineteenth century to the present day. The Irish-Australian Barrister, John James Kingsbury MLA who later became Crown Prosecutor, asked as he chaired the Annual Meeting of the Myora Aborigines Mission in 1894, “…what was their crime compared to the crime of the white men who had taken their country and made no provisions for the native people?” (6, emphasis added]. Throughout this turmoil, remnants of song and dance of Quandamooka People survived along with Jandai language that is currently safeguarded by Aunty Margaret Iselin and the Minjerribah Moorgumpin Elders-in-Council Aboriginal Corporation, Sandra Delaney and the Quandamooka Yoolooburrabee Aboriginal Corporation and the Yullu burri ba dancers. Aboriginal Elders are continuing to meet to clarify meanings and revitalise the Jandai language with Quandamooka People and language advisers. The definition of “Elders” varies from place to place, but generally refers to Aboriginal representatives who are respected as cultural leaders and accept responsibility for imparting wisdom and guidance on behalf of a tribe, clan or family group.

The cultural heritage of Quandamooka People’s song and dance on North Stradbroke Island appears to be more complete than the other islands in Moreton Bay, perhaps because the size of the Island is larger and thereby sustained a greater population of Aboriginal and other Australians. Several institutions were sited on North Stradbroke Island including a convict and military outpost of the Moreton Bay Penal Settlement (1828-31), the Catholic Mission to Aborigines (1843-47), the government Quarantine Station (1850-64), the Dunwich Benevolent Asylum (1864), and Dunwich Benevolent Institution – a home for the aged and infirm (1867-1946), and the Myora/Moongalba  Aborigines Mission (1892-1947) which are described in numerous sources (Carter, Durbidge and Cooke-Bramley, 1994; Walker, 1996 and 1998). The 120 year history of government and church institutions on the Island ensured regular shipping, news and correspondence with Brisbane. There are three main villages on North Stradbroke Island: Dunwich which was the location of the government institutions, Amity Point grew up as a fishing village, and Point Lookout developed as a site of tourism from the 1930s.

John Steel (1972) writes that Captain Cook named Point Lookout in 1770. Cook made no distinction between an island and the mainland which presumably may have been joined at that time (Durbidge and Covacevich 1981). Historian Marion Diamond (2012) describes key events in her history of North Stradbroke Island, such as, Matthew Flinders, the explorer’s visit to Point Lookout in 1803, when he was assisted by Noonuccal Aboriginal people to find fresh drinking water. European settlement of North Stradbroke Island commenced from the 1820s. The island was named Stradbroke in 1827 by Captain, the Honourable Henry John Rous, after his father, the Earl of Stradbroke. Stradbroke Island split into north and south islands at the Jumpinpin Channel in 1898 according to newspaper reports and museum records of oral history.

The general history is outlined by Carter, Durbidge and Cooke-Bramley (1994) as follows. Convicts were involved with timber-getting and growing crops on North Stradbroke Island. Aboriginal people and settlers to the Island took up timber-getting, fishing and oystering with the Moreton Bay Oyster Company 1876 to 1963. Pineapples, bananas and mangoes were grown. The settlers built jetties, churches, schools, houses and shops at Amity and Dunwich was dominated by the infrastructure of the Benevolent Institution. The first passenger boat service to North Stradbroke Island began in 1915. Sand mining has operated on the island for the last sixty years with some contention with native title holders and environmentalists. Mining and tourism are the main industries at present.

The livelihoods of the Aboriginal people and new settlers are relevant to musicking because there may be associations between people’s occupations and the genre of music and lyrics, such as fishermen’s sea shanties, mission hymns and traditional Aboriginal corroboree performance. Immigrants brought European music traditions, musical instruments and folk song with them which sparked some cross-cultural encounters (Casey 2011).

 

Quandamooka People

Archibald Meston, the explorer, politician, and Protector of Aboriginals for Southern Queensland from 1898 to 1903, collected Aboriginal languages and documented his observations on Moreton Island as early as 1874 (Meston, 1867-1960). “Aboriginal” or “Indigenous” are terms that refer to the First Peoples of Australia–which in Moreton Bay include the many Aboriginal tribes that mingled on Stradbroke and Moreton Island, people who identify with Ngugi, Noonucal, or Gorenpul descent and the Jandai language group (Steele 1972; Minjerribah Moorgumpin Elders-in-Council 2001; AIATSIS 2014). Meston (1923a, 1923b, 1923c) indicates that there were distinctions in languages spoken on Bribie Island (Nulla), Moreton Island (Noogee), and North Stradbroke Island; some Aboriginal peoples from Nerang were heard speaking Yucum/Yoocum (Yugambeh language) on South Stradbroke Island.

The Scottish explorer, Thomas Petrie’s papers also have references to Aboriginal lands, languages, livelihoods, and song and dance traditions in Queensland (Petrie 1992). Meston and Petrie had public disagreements in the newspaper about discrepancies in their understanding of the origins of Aboriginal languages and tribal lands because the boundaries were not clear to them in the late Nineteenth and early Twentieth centuries following the European invasion (Petrie 1901). Thomas Welsby (1921b) states “residents of Cooran and Currigee [South Stradbroke Island] were in my time a very mixed lot, very few real natives, some Manila men, others from the South Seas from the Island of Rotuman, inland natives, as well as those locally of Moreton Bay.”  The John Oxley library collection holds photographs of Aboriginal people at the Myora Aborigines Mission and other Stradbroke locations that may inform the research through triangulation of various sources.

The generally accepted contemporary view that is represented on the Redland City Council Website (2010a, 2010b) indicates that on Stradbroke Island, Noonucal people were located in the Pulan (Amity Point), the Gorenpul from Moogalba (Dunwich); the Koobenpul on the mainland coastal areas of Talwarrpin (Redland Bay) to the mouth of the Mairwar (Brisbane River) and Ngugi from Moreton Island. The Redland City Council website states that: “fifty percent of North Stradbroke Island was declared a National Park in 2011 as part of an historic agreement with the Quandamooka People. The park is called Naree Budjong Djara – meaning ‘My Mother Earth’” (Redland City Council, 2014). The land is intimately connected with the musical heritage (songs and dances), language, lore, culture and lifestyle of Quandamooka People.

The Federal Court consented to the Native Title Determination of July 4, 2011, which recognised the Quandamooka People’s native title rights and interest to 54,408 hectares of land and waters on and surrounding North Stradbroke Island. The determination included areas of national parks, reserves, unallocated State land and other leases. The Quandamooka People hold exclusive native and non-exclusive native title rights that include: the right to live and be present on the area, conduct ceremonies, to maintain places of importance and areas of significance to, and to take, use, share and exchange traditional natural resources and seawater for any non-commercial purpose (AIATSIS 2014).

Archival records and oral histories of musicking

A number of sources document traditional Aboriginal musical heritage and culture of Quandamooka such as oral histories from culture bearers and observations documented in books, letters, audio-visual recordings and newspaper articles available on the Trove database, the Music Australia catalogue of the National Library, and manuscripts/books written by local people and descendants (Iselin and Borey 1998; Delaney 2013; Walker 1996). National, State and local cultural institutions on the Island hold records, maps and manuscripts that are relevant to this study and require further investigation to understand the context and historical background of musicking in the Quandamooka area.

As mentioned previously, “musicking” describes all the actions involved with music events (Small, 1998). As the core of his philosophy, Christopher Small stated that “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing” (9). At times the definition was even extended to piano removalists, roadies, sound technicians, and cleaners, because they all contribute to the musical events (9). Small introduced the word “musicking” as a verb that is needed to separate the action and event from “music” which could be understood as commodities, such as music scores or recordings (7). His emphasis was on music in the real life situation, “music as it is actually practiced by the human race.” Musicking is also linked with places where it is performed. Small argues that music events in concert halls are accompanied by socialising, but the socialising and listening are kept separate by allocating separate spaces (1998, 23). This understanding of musicking is helpful for describing events such as Aboriginal corroborees, which are tribal gatherings in which traditional song, dance, storytelling is performed by Aboriginal peoples as part of spiritual beliefs and cultural practices connecting people with land, sea and life. This is explained more thoroughly by musicologists such as Marett, Barwick and Ford (2013).

Newspaper articles and manuscripts mention song, dance and music-making for the institutions and “tourist corroborees”[1] that were witnessed by Europeans. For example, the explorer Thomas Welsby (1921b) documented the 1890 performance of the “Monkey” and the “Soldier” corroborees that included antics of Nuwhju, known as Billy Cassim from Stradbroke Island. The Monkey performance arose from Cassim’s observation of an Italian organ grinder and his trained monkey in Brisbane. George Watkins (1891, 48-9), naturalist, dispenser and Assistant Superintendent of the Benevolent Institution at Dunwich, describes another of Cassim’s comedic performances:

[based] on the shooting of a stranded turtle by a white man on Moreton Island, that was always popular. A man on all fours acted the turtle, while Billy, with a stick for a gun, acted as the sportsman. The rest danced round in a circle and joined in the finale. Another production of Billy’s: mimicked the antics of a party of Chinamen attacked by sharks while fishing near shore.

These examples reveal how song and dance was part of “tourist corroborees”, and staged public entertainment that involved dramatized storytelling about local events and the natural environment. The art of storytelling has been reinvigorated in recent years through Sandra Delaney’s (2013) publication of the Quandamooka Dreaming book and DVD, and Margaret Iselin and Keith Borey’s (1998) Minjerribah/Moorgumpin stories remembered and told by the Elders. The traditional Quandamooka stories may inform future musical performance and new creative works.

The Dunwich Benevolent Institution which housed over 1,000 residents had a theatre and staged performances or cinema films in the Victoria Hall which seated 300 and contained a pipe organ and grand piano (RRP, 1934). Musicians such as the musical members of the Young Women’s Liberal Club visited from Brisbane to perform concerts for residents (Carter, Durbidge and Bramley 1994; “Concert at Dunwich” 1914). Further documentation of oral history from Island residents and archives could reveal more about the music history of the Island.

 

Literature review

A literature review was undertaken to reveal ethnomusicological studies that have been conducted with First Nations peoples who live on islands, that may inform the current research study. Steven Feld, an ethnomusicologist conducted participant-observer research into the nature of traditional music of Kaluli People in Papua and New Guinea (1990). Feld wrote about how traditional music of Kaluli People mirrors their social structure (1984). This reveals that political factors may be represented by musicking.  For that reason, a broad based understanding of the social relationships and transactions between people is important to exploring the impact of socio-cultural change on musical development.

An example of a culturally engaged study of the music of island communities is Philip Hayward’s (2006), Bounty Chords: Music Dance and Cultural Heritage on Norfolk and Pitcairn Islands. Hayward uses methods of “Culturally Engaged Research Facilitation” (CERF) to investigate past and present music making of Island residents. He also instigates some social action with local people through supporting the development of contemporary music recordings. Hayward negotiates processes for contemporary musical development with stakeholders as part of his music history research.

Karl Neuenfeldt, musicologist and musician is renowned for his prolific recording, producing and raising the profile of musical performances by Torres Strait Islander peoples, such as the life story of Seaman Dan (Dan and Neuenfeldt, 2013). This has helped to safeguard traditional Torres Strait Islander music heritage and culture through ensuring that people are active in musicking and that their creative works are disseminated on their own terms. In 2010, Neuenfeldt was awarded the inaugural Fannie Cochrane Smith Award by the National Film and Sound Archive for his important contribution to sound heritage. This reveals how digital technologies can be used in a way that supports and enables community-led participation and management of music heritage and culture–a pathway that requires respectful negotiation and resourcing.

Cross-cultural musical encounters involving Aboriginal performers and European audiences, such as the Monkey Corroboree have been analysed by Maryrose Casey (2011) from the late 1800s to 1900s. Several ethnomusicologists, such as Gregory Barz and Timothy Cooley (1997), and Peter Dunbar-Hall (1997, and 2005), have questioned the ethics and role of music researchers--particularly the impact they may have on the music scene and culture through applied ethnomusicology initiatives. Social action is a product of cross-cultural exchanges and applied ethnomusicology musical fieldwork research that has produced beneficial outcomes in some locations (Titon 1997; Campbell et al. 2005). Care is needed in interpreting findings of case studies because they may be specific to certain people and locations and cannot be generalised directly to other contexts.

Further review of the literature and case examples from other regions is vitally important to inform the development of a music research proposal in order to learn from past programs about the advantages and pitfalls of identified approaches. The literature review to date reveals that it is essential to consult and plan music research programs with Elders and representatives of community groups, local government, education and cultural organisations. Sarah Holcombe  (2010, 1) advises against the “arrogance of ethnography.” In her article of this title, she cautions about the importance of acknowledging the contribution of co-researchers not only in knowledge production, but also in dissemination of knowledge. Ethics review and informed consent is required before proceeding with research on humans, and particularly in relation to the sensitive cultural heritage of Quandamooka People and other cultural groups on North Stradbroke Island. Chief Executive Officer, Cameron Costello (2013, 8), advises that the Quandamooka Yoolooburrabee Aboriginal Corporation is the prescribed body corporate under Commonwealth legislation to represent and manage, where appropriate, the Native Title rights and interests of the Quandamooka Native Title holders.

Development of Theoretical Frameworks and Reflection on Practice

At present, there are no specific, place-based frameworks for musical development that have been identified for North Stradbroke Island. The sites of cultural significance for musical development seem to evolve according to the musical background and interests of those who teach, perform and organise cultural festivals on North Stradbroke Island. The ad hoc developments have generated a climate of enthusiastic musicking at festivals and community events, but possibly a more systematic approach is needed to be scoped through participant-observation research and collaboration in the local area. Further literature review is needed to analyse and learn from programs in other locations. Community consultation is needed to plan and scope the future of musicking on North Stradbroke Island, especially with Aboriginal corporations and other cultural groups.

An example of such a community-based approach was undertaken by the author who developed “Frameworks of culturally engaged community music practice for rural Ipswich, Australia.” This study profiled the creative practice of the author, who is an occupational therapist and ethnomusicologist who established the Purga Music Museum in rural Ipswich, south-west Queensland (Kirkwood 2009). The methods of forming a Community of Discovery to conduct participatory action research with members of the Ipswich Thistle Pipe Band were documented from the author’s Centennial history project with the band (Kirkwood 2008).

The under-pinning philosophy of culturally engaged community music practice relates to the author’s socio-ecological approach to strategic music action planning. Contextual models of community music have been developed through place-based ethnographic case studies of Australian community music scenes, such as the Sound Links research project (Bartleet et al. 2009; Schippers and Bartleet 2013). These are useful to some degree in understanding and planning, but the next step is to generate interest in the local area for long-term and sustainable community music enterprises. Noel Lobley (2014) discusses four practical online projects to support music sustainability that link with community engagement that may be exemplary models for safeguarding music heritage and culture and intangible cultural heritage. Further studies of sites of cultural significance are required to assess the need for stimulating musical development and to determine how this could become sustainable–negotiating respectful partnerships and use of digital technologies in a way that benefits communities.

This ongoing support for children’s musical development is proposed for the author’s future music research. The Quandamooka area is of interest to the author as a descendant of Moreton Island settlers in the 1870s. At this time, Aboriginal people were still speaking traditional language according to Archibald Meston who compiled and published lists of vocabulary with English translations (1923a, 1923b, 1923c). The author’s deep regret for the loss of languages and traditional music heritage and culture inspires music research that focuses on supporting and enabling children’s musical development.  This may result in returning the responsibility for music development back to communities of people who live together in the Quandamooka area. The proposed study involves resourcing people’s participation in musicking with others on the Island to better understand the transactions between people, music occupations and natural environment. Reflection on music practice involves analysing music experiences from personal perspectives of audience, musicians and researchers. Creative musical collaborations may develop shared understandings and cross-cultural appreciation as people work together and develop new knowledge.

Another outcome of the proposed study is to generate theory from reflection on the author’s creative practice as a music museum curator, ethnomusicologist and musician. The findings inform practice frameworks that are tailored to the identified sites of musical development. Because the focus is on action learning and early childhood musical development, the author draws on theoretical models that consider relationships between people, musicking and the natural environment, such as the Person-Environment-Occupation model (Law et al. 1996; Strong et al. 1999), and the Kawa model (Iwama 2006). These models bridge understanding of socio-ecological knowledge frameworks and allow for juxtaposition of musical performance and the use of multi-media technologies (Kirkwood 2014). It is envisioned that further inter-disciplinary practice and cross-cultural research may open new vocational and recreational pathways for musicking on the Island. The University of Queensland Moreton Bay Research Station, Dunwich State School, the public library, North Stradbroke Island Historical Museum, Aboriginal corporations, festivals and community cultural organisations may be sites for cultural and knowledge exchanges to occur. In addition there may be new sites of cultural significance for musical development that are identified and developed as a result of mapping contemporary musicking on North Stradbroke Island.

Mapping contemporary music by Stradbroke Islanders

1.              Yullu burri ba Aboriginal Music is performed by Joshua Walker and the Yullu burri ba dancers at community gatherings and cultural events. Matthew Burns also plays the didjeridu as part of Aboriginal Cultural Heritage education on the Island. The Yullu burri ba cunnjiel, compact disc recording by Joshua Walker (2013) is available at the Dunwich Library. The tracks include:

·                Yullu burri ba yurra

·                Merrikinpah

·                Buangan

·                Karikan

·                Marutchi

·                Kariel

·                Kinyingarra

·                Jara

·                Kabul

·                Yullu burriba yuwai

The songs are generally in 4/4 or 2/4 time with regular strophic form and a brisk tempo. The descending melodic line is a chant with vocal percussion interspersed at natural pauses and endings. The emphatic monosyllabic exclamations are repeated percussively in quick succession: ah, ah, ah (tonic note), Woo (up the octave). The hiss of the carpet snake (kabul) is heard along with clap stick accompaniment on the beat.

The Nunukul Yuggera Dreaming Aboriginal Dance Troupe compact disc (2001) contains songs performed by Shannon (Yuan) Ruska who traces his ancestry from the Nunukul and Yuggera people of South East Queensland. The cover liner states the “language and stories [were] handed down to Shannon by his father Edward Ruska (Boowungun) who in turn was given them by his father and grandfather.” Three of the tracks are labelled as Nunukul songs and stories from North Stradbroke Island, including: Mirrabooka (Southern Cross), Minjeri (Mosquito), and Yungun (Dugong). The inter-generational transmission of musical heritage across geographical borders is relevant to this study. Further audio-visual recordings could be analysed with approval of cultural authorities to document the extent of traditional musical heritage and culture at sites of cultural significance. New works may be created by Quandamooka People and other locals or culture bearers.

 

2.              The Island Vibe Festival has been held annually on North Stradbroke Island for the last nine years (“Solid, Awesome and Now Greener Vibe” 2013). The key organiser in 2014 was Nikki Michail, with major contribution by Delvene Cockatoo-Collins. Local performers for 2014 included:

·               Clara Durbidge and children from Dunwich State Preschool perform “The Turtle Song”

·                Kyle Bryant

·                Danielle Walsh

·                Local Youth Showcase

·                Cumulus Nimbus

·                Stradbroke Island Singers (choir)

·                Stradbroke Island Collective

·                Midjimberry Rd (Paula Boosamra)

·                Spoken Word (Vicki Kelleher and Clara Durbidge)

·                Yullu burri ba dancers

·                Q-Crew contemporary youth dancers

·                Suva Mai (Youth Hula dancing group)

Cultural exchanges are facilitated through performances by guests from Pacific Islands such as, Vanuatu, Solomon Islands, and New Zealand. In 2014, a welcome ceremony was held on the Dunwich waterfront at which the Yullu burri ba dancers performed along with the overseas guests for Elders and Quandamooka People. Music workshops were conducted in Dunwich School and the adjacent Learning Center with: Dunwich preschool children, Maree Goebel (senior teacher), Clara Durbidge (local musician); One Saltwater dance troupe (Brisbane); Yullu burri ba dancers; and the musicians from Leweton Kustom Village (Vanuatu), Joe Geia (Aboriginal singer/songwriter), Quandamooka People, Quandamooka Elders and the author (ethnomusicologist). The groups shared contemporary and traditional songs and dances to create a shared performance for the Island Vibe festival. This supports Indigenous knowledge exchanges and dialogue between performers and Island residents.

 

3.              Cultural Collections, Museum Resources for Musical Development

The North Stradbroke Island Historical Museum collection contains digitised multi-media footage and photographs of the Island Vibe musical performances over several years. The audio-visual recordings show adults teaching songs to groups of children with vocal, guitar or drum accompaniment. There are also solo performances of music in diverse cultural styles which reveals the eclectic nature of the Island Vibe Festival program. The musical instruments are easily portable and this may be due to cost and the need for some musicians to travel from the mainland by water taxi or barge, and walk or catch buses.

Salt Water Murris Art Gallery have books for sale that are published by residents of North Stradbroke Island which refer to Quandamooka stories, songs and dances, some of which have been recorded by Sandra Delaney (2013a, 2013b; and Kerr, 2013). The Stradbroke Dreamtime legacy of Oodgeroo Noonuccal, Aboriginal writer, poet, and activist from North Stradbroke Island, provides insights into the association between people, the natural environment, creative arts education, and transmission of Aboriginal cultural knowledge (Noonuccal 1972).

Aboriginal peoples are drawing on Oodgeroo’s writings for new song compositions and performances. The Queensland Performing Arts Centre and Queensland Theatre Company staged the theatre production Stradbroke Dreamtime based on Oodgeroo’s writings and was performed by young Indigenous Australians including Kaleenah Edwards, her great-grand daughter (“Dreamtime Drawn in Lines in the Sand,” 2013). Stradbroke Dreamtime was performed four times at the Lines in the Sand Festival on Stradbroke Island, and also Macleay Island in 2013. Oodgeroo’s poems such as “A Song of Hope” may inspire further creative collaboration and musical development – because it introduces the vision of hope for the future “gingin ngaliya marimba gudjundabu--to our children’s children a glad tomorrow” (Noonuccal 1970, performed on YouTube by Sririn Buppapirak 2014).

In 1974 the Royal Society of Queensland held a symposium at Point Lookout on North Stradbroke Island. With more than 200 people attending, there was knowledge shared between diverse disciplines including geology, biology, anthropology, economics, education, and planning. The proceedings are an important resource for understanding the transactions between environment and cultural heritage of North Stradbroke Island (Durbidge and Covacevich 1981). Further multi-disciplinary collaboration would be beneficial to better understand the eco-social relationships that impact on musicking.

Minjerribah Morgumpin Elders-in-Council Aboriginal Corporation and Aunty Margaret Iselin (Chairperson) produced a Jandai Language Dictionary (2011) subtitled “of language spoken on Stradbroke and Moreton Islands based on words remembered by all Elders and recorded by interested visitors to our shores”. The project sponsored by the Sibelco Straddie Sand Mining Community Fund is an important resource for language revival. The remnants of Jandai traditional language are documented in several primary sources (Curr 1887; Curr n.d.; Holmer 1983; Meston 1867-1960; Steele 1984; Watkins 1891; Welsby 1916, 1921a, 1968).

Further archival research of primary/secondary source material and oral history research would be beneficial to catalogue the names and details of performers, origins of songs and musical repertoire performed. The findings could be used to curate public displays and performances of historical works in the museum or at sites of cultural significance for musical development. Guidance may be provided by Elders, cultural advisers, museum curators and ethnomusicologists on organising the collection and recordings with ethnographic descriptions and interpretive program notes so they can be more easily retrieved.

4.              Dunwich State School Musical Innovations

Preschool Senior Teacher, Maree Goebel teaches the children to sing the national anthem in Aboriginal language which they performed at the North Stradbroke Island Historical Museum, aged care centre, and other public events (Australian Broadcasting Commission, 2009). A preschool boy played the didjeridu for this performance which celebrated the presentation of the 2009 Regional Museum’s Award to North Stradbroke Island Historical Museum. Clara Durbidge, a local musician, also assisted the children at the preschool to compose and sing “The Turtle Song” as part of a creative arts and environmental education initiative. The children sang “The Turtle Song” with Clara Durbidge at the Island Vibe Festival in 2014.[2] Dunwich State School hosted end of year concerts to entertain students/parents and showcase the students’ achievements in the instrumental music program (keyboard, strings, percussion).

 

Youth Musical Activities

Col Cunnington reports that when the Dunwich State High School was in operation a Lantern and Music Festival was held as an annual “whale-welcoming” celebration. He states, “it inspired performers of all kinds to come together from the three island townships. The final annual festival was held in 1998.” Following this, Youthlink was incorporated in 1999 as a theatre association and expanded into arts, cultural and sporting events. Youthlink took on the popular annual sand art and whale welcoming celebrations that were usually held on the Island in the Winter school holidays, but reduction of grant funding in 2013 curtailed the annual whale welcome activities and Youthlink tried to recruit more parents and community volunteers (“Funding Set Back Leaves Whales Without a Welcome” 2013). Youth are currently involved with three dance troupes on North Stradbroke Island: the Yullu burri ba (traditional Aboriginal), Q-Crew (contemporary) and Suva Mai (hula dance). Mentoring of band members has been suggested as a way forward for musical development.

 

5.              Island-inspired multi-media compositions, performances and installations by local artists

Clara Durbidge is a vocalist and guitarist who performs as a soloist at the Lines in the Sand and Island Vibe festivals and as part of Salt Lick’n Hicks. The Redland City News reports that Salt Lick’n Hicks is a group composed of Jess (Allom) Scott, Adrian Scott, Marty Smith, Clara Durbidge and Chris Hutton (It’s an Ocean Thing 2013). In 2012, Clara Durbidge and Salt Lick’n Hicks received a Regional Arts Development Fund grant to produce Island Glide Soundscape – original music inspired by North Stradbroke Island’s ocean which formed part of a collaborative exhibition with five artists in ISLAND GLIDE: An Exhibition of Surf, Sound and Image from Stradbroke Island. The multi-media exhibition of surf, sound and images from the island which was displayed at Redlands Art Gallery, Cleveland, focussed on creativity and surfing. As part of the exhibition, Clara Durbidge wrote a soundscape inspired by the ocean, on a seven track CD. A performed was held at the Redland Art Gallery on 14 February, 2013 and one of the tracks “Surf’n’Blues” was played on ABC Gold Coast radio (It’s an Ocean Thing 2013).

 

6.              Stradbroke Island Singers (SIS) is a choir conducted and led by singing tutor, Ann Bermingham. The SIS perform a capella songs and roots music at community events on the Island and the mainland; sometimes joining forces with other choirs. The Straddie Singers website has audio-recordings of some of their songs: “Tchoongie”, “Freedom” and “Isa Lei”.[3] Col Cunnington, SIS Secretary describes the group and repertoire in this way:

The Stradbroke Island Singers formed in 1997 in preparation for the North Stradbroke Island Lantern and Music Festival at Point Lookout in June 1998. The intention was to develop a community choir with a repertoire of songs that could be a musical link for other performances at the festival, including fire-dancing, drumming and dance featuring Indigenous performers. The Stradbroke Island Singers’ song “Minjerribah” was composed by a collective of members to be the finale for the 1998 festival.

From the start one of the Stradbroke Island Singers’ main goals was to sing in support of a wide range of community events on the island. By invitation they have sung at many NAIDOC celebrations over the years. Noteworthy was their first performance of Kerry Fletcher’s “Sorry Song” at NAIDOC in 1999. In the same year they performed at the Dunwich Visitor Centre for the opening of the Lockhart River Art Exhibition, featuring the work of Rosella Namok and other Indigenous artists.

On 31 August, 2003 the group sang “Tchoongie” (the west wind), composed by member Sean Ogilvie, at the Hope 200 reconciliation ceremony at Point Lookout, in conjunction with a performance by the Yulu Burri Ba Dancers. This marked the 200th anniversary of the vital assistance given by the Quandamooka People to Matthew Flinders and other shipwreck survivors who were trying to reach Sydney in the cutter they had called Hope.

In 2004 the Singers brought Brisbane-based songwriter Mark Shortis to the island to lead workshops to develop songs to celebrate the Dunwich School’s centenary. The participants (both schoolchildren and adults) used local people’s reminiscences–with those of Quandamooka Elders featuring prominently–to create two songs, the “School Centenary Song” and the “Dunwich Rulz Rap”. These were performed by the students and the Singers for the Governor’s visit on 18 August and the centenary celebrations on 11 September.

A recent addition to the group’s repertoire is “Yullingbilla”, composed by choir members Ngaire McLean and Sean Ogilvie, and inspired by Aunty Margaret Iselin’s memories of her childhood (Cunnington, personal communication, 2014).

 

7.              Stradbroke Chamber Music Festival

The Stradbroke Island Chamber Music Festival has been held at North Stradbroke Island annually from 2007 to the present (with the exception of 2009). In 2012 the Regional Arts Development Fund allowed the Festival to commission a seven-minute island inspired piece of music for string quartet to be performed at the Festival’s fifth anniversary in 2012. Robert Davidson (2012), Brisbane composer and musician, composed “Stradbroke for String Quartet” which was performed at the Point Lookout Community Hall in 2012.

The Festival program indicates that most of the performances are of European classical music, with some innovations, such as performance of a composition by Peter Sculthorpe, an Australian composer, which includes didjeridu in the ensemble. The 2012 Chamber Music Festival also included George Crumb’s “Vox Balaenae” (Voice of the Whale), inspired by humpback whale song. The score and recording is available on YouTube (Crumb 2013).

In 2013-14, the Chamber Music Festival provided a link with Dunwich State School through performances of the Jani Haenke Young Musicians Program of Queensland Conservatorium, Griffith University (Cunnington 2013). Cunnington explains that:

Since the festival’s inception, the founders (Jani Haenke and Rachel Smith) made it a priority to develop an educational program to provide tuition and musical inspiration to the students of the Dunwich State School. In the lead-up to the festivals, the musicians have conducted workshops at the school in order to further the instrumental students’ skills, and to provide them with opportunities for close learning and playing with professional musicians.

In 2014, in the week before the festival, cellist and inspirational teacher Louise King directed an interactive musical re-telling of the Aboriginal Dreamtime story “Tiddalick – the Frog Who Caused a Flood”. The project involved Dunwich State School students and the Stradbroke Island Singers, and called upon the students’ musical skills as well as conducting, composing, movement and dance. The project culminated in an afternoon performance that involved the whole school.

There is further information on the Stradbroke Chamber Music Festival website.[4] The blog articles provide insights about performers’ experiences and lifestyle at the event (Smith 2012; Fraser 2014), and Col Cunnington has written publicity articles for Stradbroke Island News (2012 and 2013). In summary, Col Cunnington reports:

Where possible, the Stradbroke Chamber Music Festival programs include repertoire items that will foster musical appreciation and knowledge in young people. Notably, in 2013 the ‘Musical Menagerie’ concert at Dunwich presented a host of engaging animal-themed pieces to delight children and their families, and the 2010 festival featured an enthusiastically received performance of Prokofiev’s Peter and the Wolf and other accessible pieces.

The festival also tries to provide a platform for cross-cultural exchange. At the 2010 festival, Petrina Walker, a descendant of Oodgeroo Noonuccal, read from Oodgeroo’s poetry. Plans for future festivals include the commissioning of a work based on Oodgeroo’s Stradbroke Dreamtime children’s stories (Cunnington, personal communication, 2014).

 

8.              Redland City Bands

Ensemble development is problematic for residents of the island because the closest community bands/ensembles are on the mainland at Redland Bay. However, this location coincides with the daily commute of teenage students from the Island to Toondah Harbour, Cleveland to attend high school on the mainland.

The Redland City Bands Inc. has concert bands, stage band, jazz band, beginners’ band, wind ensemble and an improvisational group.  The Redland City Bands website indicates that there are vacancies for several instruments and a conductor is needed for the Big Band.[5] Some instruments are available for hire through the band. The total cost of participating in a band increases when students and families bear transportation fares as well as the cost of music lessons and band membership. Some may be reluctant to attend band practice due to the inconvenience of commuting, and may benefit from local ensemble formation on North Stradbroke Island.

 

9.              Lines in the Sand Festival
The Lines in the Sand Festival program includes musical performances, such as Brisbane composer Nicholas Ng who provided free sensory meditations on the beach using sound, visioning, movement, natural objects, qui gong breathing and tai chi on June 27, 2014. The Welcome to County for the festival is usually performed by an Elder and/or the Yullu burri ba dancers, followed by a cultural education program by Matthew Burns.

The Lines in the Sand Festival is described on the festival’s website blog (2014):

Lines in the Sand stands for the intrinsic values of nature and the environment, and for the power of art to express the ineffable; to bring people together and in individual relationship to nature and art; to question and affirm; to engender insights and understandings. Lines in the Sand embraces locals and visitors, nature lovers and art lovers, families, Indigenous and non-Indigenous art and culture. We bring people together in sharing respect for the island and its peoples.[6]

 

10.           Carols and annual community music celebrations
“Carols by Torchlight” Christmas celebration concert was presented by the North Stradbroke Island Golf Club at Dunwich on 20 December, 2014. The inaugural event was organised by local people and the program included performers from the Island and surrounding region including: Anglican Priest, Allan Shepard; vocalist, Myora; the Bay Players, local singers and children. Island residents were encouraged to come along and join in singing Christmas songs. The children enjoyed participation in the festivities with the arrival of Santa Claus and dancing with Mickey Mouse. The plan is for the Golf Club to continue the Carols annually which brings people together from all the North Stradbroke Island townships.

 

11.           Multi-media technologies for recording, producing and distributing new creative works
“Follow the Sun” is an original composition by Xavier Rudd from his Spirit Bird Album that can be viewed on YouTube with Rudd performing along with video footage of the Yullu burri ba dancers and natural scenes of North Stradbroke Island, filmed by Nikki Michail and Anthony Broese (Rudd, 2012). The video-clip demonstrates the potential for technologies to link newly composed song with images of traditional dances and the natural environment, as mentioned in article, “Music Clip Sings the Praises of Straddie”(2012).

Further research is needed to continue to map sites of cultural significance for informing strategic planning of musical development on North Stradbroke Island.  This list is not exhaustive of all the local bands, mentors/teachers, performers, composers, repertoire, musical recordings and technological resources available on the island. For example, advertising on billboards indicated that a local band, “Shag Rock” performed at the Little Ship Club for New Year’s Eve 2014. In 2014 the Mama-dukes featuring the MoTronics launched their Hi Point Lo compact disc at Tillers café. This reveals a vitality of local music. Participant-observation analysis of musical performances, recordings and festivals would help to describe the current state of musicking on the Island. The perceptions of stakeholders about their musical development needs for the future could be canvassed through focus groups on North Stradbroke Island. Early childhood musical development may a priority, but this will only be known after community consultation that may produce a Music Action Plan for the Quandamooka area.

 

Discussion and Conclusions

This brief mapping of musicking on North Stradbroke Island highlights where there are gaps in knowledge and indicates pathways for collaborative investigation of musical heritage and culture of North Stradbroke Island through a Community of Discovery. The findings indicate that traditional Quandamooka Aboriginal song and dance has been revitalised by Aboriginal peoples after sustaining loss of language and cultural practices from the onslaught of colonisation. The Yullu burri ba dancers perform Quandamooka Aboriginal song and dance at cultural events and festivals on the Island. Jandai language revitalisation workshops are underway, inspiring new works containing Jandai language vocabulary in consultation with QuandamookaYoolooburrabee Aboriginal Corporation, Elders, and native title holders. There is vitality in local music scenes because Island residents participate actively as musicians, vocalists and in bands, choirs, cultural groups and compose new educational songs for public performance. Important innovations are occurring in music education at the Dunwich State School that have been led by the Principal, Maree Goebel, Clara Durbidge and the instrumental instructors. The Island Vibe Festival is a site for local music performance and cross-cultural exchange, organised by Nikki Michail with key contributions from Delvene Cockatoo-Collins. The collections of writings about Aboriginal knowledge by poet, Oodgeroo Noonuccal, Sandra Delaney, the Minjerribah-Moorgumpin Elders and other writers are inspiring new musical performances and creative development. There is potential for supporting the creative use of digital technologies in a way that enables community engagement at events such as Lines in the Sand, and to support Quandamooka cultural education. Building capacity for musical development has occurred through the Stradbroke Chamber Music Festival and youth participation in Redland City bands and school music education.

While there are currently opportunities for children to participate in a range of musical events and festivals with their families, it appears that community music development is sporadic and poorly resourced on North Stradbroke Island–perhaps due to the geographical isolation and economic restrictions of being an island community with no high school at present. Community groups and education/cultural services are networking effectively and already attempting to bridge the gap through inter-disciplinary collaboration and resource sharing. There may be potential for health and other services to contribute to supporting Music Health initiatives for health promotion. Further literature review may reveal benefits of musical programs designed for social and emotional well-being as part of recovery following institutionalisation of Stolen Generations communities.

Further research in collaboration with stakeholders would be required to map the full extent of musical development opportunities for children and to identify gaps in services. At present, the music history of North Stradbroke Island has not yet been recorded. Systematic oral history and archival research is needed to explore musicking at various sites of cultural significance: home, churches, hotels, dance halls, festivals, community events, formal and informal music education, and especially early childhood musical development before and after school entry. The findings of this chapter reveal cultural leaders, teachers, curators and musicians who could be invited to form a “Community of Discovery” to more comprehensively map music services, expertise and resources available on North Stradbroke Island. Further study of musicking on North Stradbroke Island could inform strategic planning and development of a Music Action Plan that leads to place-based funding submission for enhancing early childhood music programs.

 

Significance and recommendations for future research

To ascertain the key sites of cultural significance for musical development on North Stradbroke Island, several phases of research are suggested–which correspond to the following key questions:

1.              The primary question of significance for Native Title Holders and keeping culture strong is:
“How does song, dance, and musicking link with Quandamooka Peoples’ occupation of caring for country and inter-relationships with the land, sea and living things?”

2.              Secondly, in order to map people’s participation in musicking the key question is, “What is the nature of people’s participation in musicking, particularly songs, dances, and repertoire created by Islanders and inspired the local environment/social context?”  “How has this musicking been influential in children’s musical development?”

3.              Thirdly, community consultation and literature review informs strategic planning and recommendations for the future: “What understanding of musicking exists on the Island? Where are the gaps in services and needs for musical development—as expressed in a Music Action Plan for the Quandamooka area?”

Summary

This chapter, aimed at scoping a music research project, has provided a brief introduction to the historical context and musicking that occurs on North Stradbroke Island up to 2014. The findings are helpful for exploring the transactions between people-environment-music-making occupations and how this may impact on strategic planning for early childhood musical development. Further archival research and mapping of musical activities and events is needed in consultation with stakeholders including Elders, culture bearers, curators and representatives of community organisations, teachers, cultural services and language advisers, researchers, musicians, various experts in technology and the general public—Island residents. A whole team and a Community of Discovery are required to develop and conduct the music research project. Working together in a Community of Discovery allows the researcher and participants to negotiate the ethics and scope of future music research projects. The findings may inform new creative works and performances, or production of a book and multi-media resources--negotiated with authors, performers, producers, and stakeholders.

The inspiration for musicking is the DreamTime poetry of Oodgeroo Noonuccal, and the poem by Arthur William Edgar O'Shaughnessy, “We are the Music Makers and we are the Dreamers of Dreams…For each age is a dream that is dying or one that is coming to birth”. The vision for this study was to learn to understand and further musicking and dreaming to ensure suitable musical development occurs in the Quandamooka area: “gingin ngaliya marimba gudjundabu”–“to our children’s children a glad tomorrow” (“A Song of Hope,” Oodgeroo Noonuccal 1970).

 

Acknowledgements
The author is thankful for the helpful feedback and guidance on this chapter received: Col Cunnington, Stradbroke Island Singers and Stradbroke Chamber Music Festival; Del Cockatoo-Collins, Saltwater Murris; Clara Durbidge, singer-songwriter; Cameron Costello, Quandamooka Yoolooburrabee Aboriginal Corporation; Maree Goebel, Dunwich State School; Philip Matthias, Music Conservatorium, University of Newcastle; editorial support from Melissa Cain, Diana Tolmie, Lauren Istvandity of Griffith University and other editors, reviewers, and publishers of this book.

 

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[1] Alan Marett et al. (2013), refer to “tourist corroborees” that are public performances of song, dance and storytelling staged by Aboriginal people for the entertainment of non-Indigenous people.

[2] www.islandvibe.com.au

[3] https://myspace.com/straddiesingers/music/songs.

[4]http://www.stradmusic.org/.

[5] http://redlandcitybands.org.au/.

[6] http://www.linesinthesand.com.au/