BY STEPHANIE ESLAKE
The Australian National Academy of Music finds itself in the middle of a unique COVID-19 situation: not only has it needed to cancel its concerts due to COVID-19 lockdowns, but it’s also closed its doors to musicians who are training at the educational institution.
That is, closed its physical doors.
Musicians, faculty, and arts administrators of the ANAM team are working hard behind the scenes to deliver an online training program — and they show no signs of stopping. That’s why we’ve launched a new interview series about the unstoppable artists of Australia — established and emerging — so we can facilitate an honest discussion about how musicians are continuing to engage in their music education during COVID-19.
In this series, you’ll hear from musicians in training — and musicians who are providing that training! We hope you’ll be inspired to continue your own engagement in music education, whatever form that may take.
Here, we talk with Damien Eckersley, double bass
Damien, who received his own music education from institutions across Australia and Austria, has performed as guest principal bass and soloist with orchestras the world over. At ANAM, his Double Bass Faculty role sees him train the next generation of of musical talent. Here’s how he’s been doing it since COVID-19.
Thank you so much for taking part in our interview series. Aside from answering our questions, what have you been getting up to today?
It has been an absolutely beautiful day! I’m using some of this spare time to make some improvements around the house and garden, with some pillow fort building with my daughter thrown in.
The pandemic is unlike anything our industry has seen before. Where were you in your life, and career, when it all came to a halt due to the lockdowns?
The impact of COVID-19 on our work as performers was slightly more predictable. With large indoor gatherings being one of the first to go, we knew it would be a long time before performing large orchestral concerts would be possible again.
The move to online teaching came on as a little more of a surprise. However, as things unfolded, it became clear that for the safety of everyone in the community, the best decisions were made.
I can honestly say that the artistic and administrative leadership and innovation shown at my institution by so many people has been inspirational. In a timeframe that seemed like overnight, new guests had been engaged, the entire cohort was mobile online, various methods and models were being tried and tested, and Zoom was definitely the new black!
It was heartbreaking to see this year’s incredible program slip away. However, the tireless efforts and remarkable resilience — not to mention the creative innovation shown by the everyone at ANAM — has been heart-warming.
The reason we’ve used the word ‘unstoppable’ is because, despite the restrictions placed on artists in our community, practitioners like you are still spending their time working hard to keep things afloat. What have you done to continue connecting with your students?
Well, things went very quickly from normal lessons — classes and tutorials in the South Melbourne Town Hall, to online lessons — connecting from our homes. In some ways, the traditional approaches to these activities needed to be shelved for the time being, so that new versions that would be the most effective could be imagined.
Particularly with my instrument, double bass, there were challenges transmitting sound in real time. However, recording reasonably high-quality sound and video can be done on smartphones or tablets. The students submit their recorded work, and then we are able to work on aspects of their performance without having to rely solely on the technology and its ability to transmit bass sounds in real time.
As a teacher, what have you found to be some of the best techniques to communicate in this new digital way, in the absence of physical presence? After all, music is indeed a physical practice!
Practically, the analysis of sound and video recordings of my students has proven to be the best method for ongoing development. It is extremely fortunate that we have an incredible amount of quality reference material available at the swipe of a finger these days. Being able to point my students in the direction of specific artists, recordings, or just musical styles or genres has been very useful.
I’m definitely working hard to become more effective in communicating musical ideas verbally, without my instrument. It’s a work in progress.
How connected do you still feel to your community — from your ANAM community through to your friends in the industry? And how are you maintaining or even enriching these connections?
It’s been very tough not being able to see the cohort together doing what they do best. It’s been tough not being able to pop into the office for a chat, or just wander around the building and hear fantastic music coming from everywhere. I still remember how great it was to see everyone at our first Faculty Zoom meeting, and then at our first Zoom string class!
Towards the beginning of the lockdown period, I was checking in on some old students of mine who are in different parts of the country. We thought we would try to collaborate online, started bouncing around ideas, and produced some isolation bass quartet videos. Musical fulfilment aside, it has been a really great way to stay in touch.
I have really, really missed seeing my students and working with them in person. I’m sure I always knew this, but the current situation has really reminded me that not only are they great young musicians, they are amazing people!
Above: Damien reconnected with ANAM alumni to produce this isolation bass quartet video.
So how has your own practice routine changed?
I have definitely had more time to practice for me — revisiting technical specifics that may get overlooked during hectic rehearsal periods; learning a few things I always wanted to but could never quite fit in. I spend a lot more time listening and reading than I normally could.
When things feel like they’re getting too hard, due to cancellations or uncertainty, what do you like to do to feel better?
I have absolute faith in the young musicians in the world. I have no doubt that when we can bounce back, it will be with even more determination and purpose.
What are you most looking forward to doing when it’s all over?
I think the first time we are able to sit down together, in a rehearsal, or in a string class or something will be pretty special. Then, the first time the musicians are able to perform for their audience — it’s going to be crazy!
Catch up on our UNSTOPPABLE ARTISTS interview series with Dasha Auer, viola
Images supplied, Dasha captured by Pia Johnson.
