BY STEPHANIE ESLAKE
National Reconciliation Week takes place from 27 May to 3 June. This year, the theme is: Be a Voice for Generations. Voices will be shared through music and conversation in Ensemble Offspring’s upcoming event Mondays @ The Church 2: Reconciliation.
First Nations artists Nardi Simpson, Sonya Holowell, Kaleena Briggs, and James Henry will discuss the reconciliation journey of Australia, and between words, you will hear music performances including the world premiere of a movement from James’ new work.
James is Ensemble Offspring’s First Nations Composer in Residence (pictured below with artistic director Claire Edwardes). We had a chat about what this role means to him in light of next week’s event.
James, you’re doing heaps of work with Ensemble Offspring this year. How have you enjoyed the role of First Nations Composer in Residence?
Working collaboratively with the musicians of Ensemble Offspring has been a thoroughly enjoyable experience. From the early stages of the composition process, they have provided me with invaluable guidance and encouragement, serving as a supportive team. I have felt their genuine investment in the composition’s final outcome and the performance, which has been a refreshing change from composing in isolation.
One of the highlights has been witnessing the exceptional skills and experience of the Ensemble Offspring musicians come to life through the beautiful tones they produce on their instruments. It has been an absolute treat to hear the quality and nuance they bring to the music. Their mastery enhances the overall depth and richness of the compositions, making the collaborative process all the more rewarding.
The collaborative nature of this project has not only enriched my own creative journey but has also contributed to the creation of a high-quality musical experience that I am excited to share with audiences.
So what does this residency look like on a practical level? What do you get up to each day?
As I juggle multiple projects, finding dedicated time for the commissioned work can be challenging. However, when I do sit down to compose for the ensemble, it feels like a refreshing stretch, both for my creative abilities and my musical toolkit.
As a First Nations composer in residence, I sense a certain responsibility and perhaps even an expectation to represent First Nations people and culture through this position.
Given the limited repertoire of classical and art music composed by Aboriginal artists for ensembles, there lies an opportunity to create something truly distinctive within the genre from my unique perspective. The process has involved thoughtful consideration of how to strike a balance between cultural integrity and authenticity while maintaining musical relevance and coherence. This task poses some complexity as it involves bridging the realms of traditional Aboriginal culture and the contemporary world of Ensemble Offspring.
By embracing this challenge, I aim to contribute something meaningful and innovative, infusing my compositions with a harmonious blend of cultural heritage and contemporary artistic expression.
There’ll be a showcase of your music at the upcoming Mondays @ The Church event. I understand one of your pieces, Big Swell, is from a new work called Dreamscapes.
I will be featuring the first movement of a series of pieces I’m writing for Ensemble Offspring based around dreams that I had, set around Sydney, also using musical themes that have come to me in dreams over the past year. This piece I call Big Swell [is] about a dream I had about taking a swim at Bondi Beach when the waves were extremely large and dangerous.
This event takes place during National Reconciliation Week, and audiences will hear discussion and performances; words and music. Why do you think there’s a place for important conversations inside a live music event like this?
Certain genres have the power to bring together diverse crowds, uniting them in a shared experience. While it’s common, though not always the case, for these gatherings to attract like-minded individuals who are open to exploring new artistic expressions, it creates a comfortable environment where people can freely and passionately express themselves. This interest in and support for Aboriginal culture and its people within Western society plays a significant role in the reconciliation process.
While music can convey emotions and messages, there are limitations to how much can be explained solely through instrumental pieces. However, it does provide a unique opportunity for artists to communicate the inspiration and significance behind their compositions.
As Reconciliation Week approaches, it presents an ideal occasion for individuals to focus on sharing their personal perspectives, further fostering understanding and unity.
How do you feel the music on this program will help us connect with the topics of conversation, which range from Australia’s reconciliation journey to ideas for the future?
I believe that the reconciliation process becomes easier as Aboriginal and non-Aboriginal people come together and share their experiences. Unfortunately, in many regions across the country, there still exists a divide between the Black and White communities, even when they coexist in the same space.
The realm of classical and art music, historically dominated by White individuals, remains significantly disconnected from contemporary Aboriginal life, not to mention traditional Aboriginal culture. Efforts must be made to bridge this divide, and the initiatives aimed at creating spaces where barriers can be broken down are highly valuable.
Each art form provides a unique platform for expressing different perspectives and reaching diverse audiences.
In addition to the words you will be sharing @ The Church, what words would you like to share with readers today?
There is currently an immense surge of interest in Aboriginal art, which has opened up numerous opportunities for Aboriginal artists throughout the country. This newfound attention allows them to create artwork that reflects their unique experiences as both Aboriginal and Australian individuals. In fact, this artistic expression has become a vital aspect of the truth-telling process for many Aboriginal people, as well as for Australia as a whole.
It is worth noting that many Aboriginal artists have not followed conventional paths to success through formal education and established career trajectories. Consequently, programs that dismantle the barriers hindering their progress are crucial in ensuring that their voices are heard. Moreover, these initiatives help pave the way for future generations to embark on similar paths, particularly in fields where Aboriginal representation has been limited.
Hear Ensemble Offspring’s Mondays @ The Church 2: Reconciliation at 6.30pm May 29 in Alexandria. Full details online.
Images supplied
