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Communities, Places, Ecologies Proceedings of the 2013 IASPM-ANZ Conference

Edited by Jadey O’Regan and Toby Wren

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The papers in this collection were subjected to a double blind peer review process and only those that were deemed satisfactory were published. Peer reviewers were chosen according to their expertise in the authors’ areas of investigation and proven publication records in the field of popular music. This volume is © 2014 International Association for the Study of Popular Music (Australia/New Zealand Branch). Authors retain individual copyright over their original intellectual property. Papers re-printed from this volume should acknowledge the original source. All images, lyrics, and other copyrighted materials included in this volume appear on the understanding that permission for the reproduction of these materials has been obtained individually by the author in whose work they appear. The opinions expressed in this volume are those of the authors alone, and do not necessarily represent the views of IASPM or IASPM Australia/New Zealand. Cover image: Cover design by Jodie Taylor Published by: IASPM Australia/New Zealand, Brisbane ISBN: 978-0-9757747-7-9 2013 Conference Committee Sarah Baker (Organising Committee) Kate Barney (Advisory Committee) Dan Bendrups (Conference Convenor) Andy Bennett (Organising Committee) Gavin Carfoot (Advisory Committee) Narelle McCoy (Advisory Committee) Jadey O’Regan (Advisory Committee) Jodie Taylor (Organising Committee) Donna Weston (Organising Committee)

Table of Contents Introduction

Jadey O'Regan and Toby Wren.............................................................................. vi!

Communities

Musical entanglements at the contact zone: Exploring Indigenous and non-Indigenous Australian collaborations through contemporary music!

Katelyn Barney......................................................................................................... 1! “Why not here?” Pinoy metal and peripheral communities!

Catherine Hoad...................................................................................................... 13!Live music performance in virtual worlds: Six musicians' experiences

Matthew Hills, Sarah Hartshorne and Lisa Jacka…………………………………… 23

Re-sounding Coranderrk: connecting past, place, and present-day communities through a commemorative Indigenous music festival!

Aline Scott-Maxwell ............................................................................................... 32!The tango in Australia as popular entertainment and music of ‘place’ before 1970s Latin-American immigration!

John Whiteoak ....................................................................................................... 48!

Places

Devolving folk: Re–establishing Britishness/Englishness!Robert G. H. Burns ................................................................................................ 65!

Voicing linguistic heritage on Jersey: Popular music, language revitalisation and intervention!

Henry Johnson....................................................................................................... 76!Breaking down dominant conceptualisations of place: The transgressive potential in 143 Liverpool Street Familia's engagement with the 'Downing Centre Courts'!

Rachael Gunn ........................................................................................................ 84!Process and intimacy in home recording: A consideration of music and place!

John Encarnacao ................................................................................................... 96!Studio hubs: Changing recording environments!

Pat O’Grady ......................................................................................................... 103!Is classical music ‘boring’? A discussion of fidelity, virtuosity and performance in classical music recording!

Eve Klein .............................................................................................................. 112!Pinching (or taking back) ideas from popular music: Placing the concept album in contemporary classical music!

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Dawn Bennett and Diana Blom............................................................................ 126!

Ecologies

The ecology of ‘sacred space’: Indie music’s exploration and construction of sacred space in the context of contemporary digital music!

Laura Glitsos........................................................................................................ 138!Under the covers: Copyright, cover versions and the Internet!

Matthew Bannister............................................................................................... 147!Cognitive ecology: Music, gesture and cognition!

Bruce Johnson..................................................................................................... 155!Making ‘Soundmarks’: Places and ecologies in contemporary sound art!

Linda Kouvaras .................................................................................................... 164!

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Introduction

The papers in this proceedings came from the 2013 annual conference of the International Association for the Study of Popular Music (Australia and New Zealand Chapter), which was held in Brisbane from 24-26 November at the Queensland Conservatorium Griffith University. 2013 marked 20 years since the first national IAPSM conference in Australasia, convened by Tony Mitchell at UTS, and provided an opportunity to reflect on the achievements that have been made in popular music studies in our region over these two decades. The conference brought together a range of emerging and established scholars of popular music, around the theme of ‘Communities, Places, Ecologies’. It is our hope that the diverse and stimulating atmosphere of that conference is captured in this selection of papers. The conference and this volume would not have been possible without the organisation and planning of the Queensland Conservatorium Griffith University staff, and the IASPM-ANZ executive. We would particularly like to thank the 2013 Conference Convenor Dan Bendrups and IASPM-ANZ Publications Officer Liz Giuffre for their guidance and support throughout the process of putting this volume together. We also thank Jodie Taylor for her cover design. The papers have been subject to a double blind peer review process by an international team of reviewers. We, and the authors are very grateful for their detailed and constructive feedback. Finally, the editors wish to thank the authors for their contributions to this volume. The theme of Communities, Places, Ecologies has been used as a structural spine although it should be noted that these themes are confluent and that each paper contributes to our understanding of the interdependence of these concepts. Authors have engaged notions of community and identity, and the formation of identity around performance, participation and consumption; the ways that collective practices derive from, contribute to and help to define places; and the ways in which cultural practices operate within human, economic and environmental ecologies. Each paper provides a valuable contribution to popular music scholarship, and collectively progress our understanding of global music making and cultural identity. In the Communities section, papers examine a range of contexts for collective practices and the meanings they hold for a group of people. Katelyn Barney’s paper on contact zones in Australian indigenous communities asks whether music can be a methodology for reconciliation, drawing on recent work that shows the kinds of understandings that can be gained from thoughtful music-making across cultural boundaries. Catherine Hoad explores a very different context, the local ‘Pinoy’ (Philippino) metal scene, examining how even in contemporary popular music contexts, exoticisation and othering of Philippino metal musicians creates a sense of frustration for local musicians struggling for recognition and identity. Matthew Hill, Sarah Hartshorn, and Lisa Jacka explore the sense of community around live music performance within the online Second Life, and contribute to our understanding of the differences that might exist between ‘real’ and ‘virtual’ communities. Aline Scott-

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Maxwell’s writing deals with the complex intersections of different communities around the former Corranderkk Aboriginal station in Victoria and issues of cultural identity and appropriation in regards to Australian Indigenous musics. And John Whiteoak gives us new historical research on the origins of Tango in Australia and how that provided a point around which diverse musicians and audiences could collectivise. In the Places section, the focus is on places real, virtual and imagined. Rob Burns explores the idea of ‘Britishness’ as represented in the recent work of Billy Bragg, weaving together musical and historical information, alongside interviews and reflections. Henry Johnson contributes an ethnomusicological study of the history, language and pop music of the island of Jersey, located off the coast of France. The paper by Rachel Gunn examines her participation in the hip-hop and breakdancing community through a Deleuzian framework that unpacks the ways in which meaning coalesces and transforms public spaces. A ‘place’ need not only be found on a map: John Encarnacao’s exploration of the ‘home’ as a recording space and Pat O’Grady’s contribution on the changing space of recording studios and the cultural capital of small scale production contextualise the concept of ‘place’ in unique ways. Eve Klein’s paper on the ‘fidelity, virtuosity and performance’ of Classical music recording explores not only the ‘space’ and ‘place’ of recording, but the place of Classical music alongside the ‘popular’. Similarly, Dawn Bennett and Diana Blom’s paper explores the idea of the ‘concept’ album, a term often reserved for popular music analyses, and places it within the context of Classical music. In the Ecologies section, interdependence and influence is explored in several ways. Laura Glitsos’ paper explores the ‘sacred space’ of indie music in the digital era, through a localised study of the long-standing relationship between popular music and drug use, particularly halucinogens. Matthew Bannister’s paper examines the ecology and sustainability of musicians within the music industry and asks whether copyright has become a way of protecting corporations rather than protecting musicians. Both of these articles express the idea of an ecology existing in a digital space. Bruce Johnson’s paper investigates the ecology of live music performance and its continuing relevance, proposing a cognitive framework for understanding the relationship between performers and audiences. And Linda Kouvaris explores contemporary sound art through the notion of ‘soundmarks’ (as opposed to ‘landmarks’) and the way that an ecology of sound and place is established in four different sound works. We hope you enjoy this collection of papers. From Jersey to Australia, from popular to classical, from the home to the virtual space, this proceedings reflects how flexible the ideas of communities, space and ecologies can be in the study of popular music. Bust a move [drops mic] Jadey O’Regan and Toby Wren November 2014

Voicing linguistic heritage on Jersey: Popular music, language revitalisation and intervention Henry Johnson

University of Otago / Te Whare Wānanga o Otāgo

Introduction This paper discusses cultural sustainability in the context of linguistic heritage on the island of Jersey (one of the Channel Islands just off the north of France) in three spheres of analytical and critical enquiry: language revitalisation, intervention and popular music. Over the past century, the island’s indigenous language, called Jèrriais, has undergone a period of rapid decline because of increased anglicisation, and the number of native speakers of Jèrriais is now so low that the language might be labeled as severely endangered (UNESCO, 2012). While song has been a long tradition of entertainment amongst Jèrriais speakers, and in the twentieth century became a tool for helping to celebrate the language (Johnson, 2008), in 2012, local Jèrriais educators commissioned a local musician to arrange a selection of old and recent songs using the local language, and to produce recordings in a pop music style that would accompany an educational resource (L'Office du Jèrriais, 2012). A folk-pop band was soon created, and not only did the band record upbeat songs in Jèrriais for use in the educational resource, but later in the same year it also released an album, and continues to create transformed and original music in the local language. The cultural transformation that took place through the commissioning and assemblage of the band (the first on Jersey to sing upbeat songs in Jèrriais in a pop music style), as well as the production of the recordings, helps show intervention in a small island context where linguistic heritage is at the core of a notion of cultural sustainability in this sphere of local identity. The methods and theoretical influences found in this research draw primarily from ethnomusicology and popular music studies. The ethnographic part of the research has included fieldwork on the island on several occasions over the past few years, which has mainly involved working with language educators, as well as carrying out key-informant interviews as a way of gaining qualitative data for the study. The main theoretical orientation of this research takes a critical approach to popular music studies in connection with intervention in popular music. Such a topic has featured prominently in pop musicology, especially in connection with the often contradictory binary of intervention vis-à-vis the marketplace economy. Scholarly research in this field has taken several approaches. While Kong (2000, p. 389) has called for more debate on this topic, Shuker (2001, p. 67) has summarised key issues connected with state music policy, cultural imperialism and globalisation in the context of state intervention (cf. Scott and Craig, 2012). Issues regarding intervention and

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marketplace economy have also been stressed by Cloonan (1999), who theorises the connection between pop music and the nation-state, especially regarding cultural policy. Indeed, "the results may be contradictory but it is hard to see what other mechanisms to promote domestic talent might be available" (Cloonan 1999, p. 204). In the context of this paper, while one side of the binary involves intervention, which in this case is based on cultural capital (Bourdieu, 1997) in the form of linguistic heritage, the other side is far removed from promoting a successful commercial recording, but more to do with the recontextualisation of (neo-) traditional music through a pop music genre with the aim of popularising language rather than only the music. Moreover, income from the band’s album was directed back into language education and to help support aspiring musical talent:

50% of the proceeds from the sale of ‘Hècque Badlabecques!’ [the album’s title] will go to local community projects in Jersey – 25% to L’Assemblieé d’Jèrriais [an organization that promotes Jèrriais], for the promotion and development of the Jèrriais language, and 25% to La Motte Street Studios, to help support local young musicians (Badlabecques, 2013).

The transformations of traditional music has been the subject of much scholarly research, but in the context of this study, the aim of revitalising a severely-endangered language is at the core of this particular band’s raison d'être. Drawing on studies on the interconnection between language and music, especially endangered or minority languages, including the work of Grant (2010), Donaghy (2011), and Kuznetsov (2009), this paper focuses on the promotion of a language through a style of popular music. In such a context, while the production and distribution of the music has intervention at its core, the consumption of what appears to be a pop music style offers a further parameter that contradicts much to do with popular music in a global perspective. That is, the number of listeners who would actually understand the lyrics of the band’s songs is very few, and those who do understand the lyrics are usually of an older generation. Such a process might be interpreted as offering a type of unpopular pop music to a limited audience who might not always consume such a style of music in the first place. Here, cultural heritage is linguistic heritage, which itself is a type of cultural capital. The theme of popular music as cultural heritage has been explored in special issue of Popular Music and Society in 2008. In that issue, and writing on Aboriginal music, Neuenfeldt notes that "the interplay of contemporary music and cultural heritage . . . is not only a major site for artistic expression but also helps embody social memory" (2008, p. 453). In Jersey, and in this study, an example of amateur popular music has become a site of cultural recontextualisation and creation as a product of intervention and linguistic activism. The first part of the paper explores local identity in connection with the history of Jèrriais, language decline and language revitalisation. The second part introduces the idea of intervention and the use of popular music as a revitalisation tool that on

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the one hand aims to promote cultural sustainability, yet at the same time may culturally transform or recontextualise the linguistic heritage it aims to sustain. In this part of the discussion, a case study is shown where the band is attached to a site of contested natural heritage, and how linguistic activism through song is used as part of an ecological campaign to voice political concerns to the local community and government. The paper shows Badlabecques as a site of music and linguistic activism, and a band that links to community, place and ecology.

Jersey and Jèrriais Jersey was already a Norman territory when the Normans conquered England in 1066, and it has maintained a version of the Norman language to the present day. Once the everyday spoken language of the island, anglicisation over the past few centuries, along with an historical context of disrespect in such contexts as compulsory school education, meant that Jèrriais entered a period of rapid decline in the twentieth century. By 2012, it was estimated that while two thirds of the island’s nearly 100,000 population could understand some words or phrases, less than 100 people could actually speak the language fluently (States of Jersey Statistics Unit 2012, p. 56). Jersey now has a number of organisations that help to promote Jèrriais, many of which were established in the latter half of the twentieth century, and some of these also make inter-island and island-mainland links to connect with other branches of the Norman language (i.e., to Guernsey and mainland France). Also, some scholars have shown an interest in the language and helping to promote revival (e.g. Jones 2000; 2001). Currently, the language is being actively promoted by L’Office du Jèrriais, which receives funding via the government’s Department of Education, Sport and Culture to support 2.8 full-time staff. In the twenty-first century, Jèrriais faces a major challenge. Fluent and native speakers are few, and while the promotion of the language is being supported in some sectors, there is still no official policy of widespread language promotion that embraces the support of producing a culture of new speakers. However, the government document, Development of a Cultural Strategy for the Island (States of Jersey, Education, Sport and Culture Committee, 2005), notes the importance of island culture and the need to maintain Jèrriais in the present day, which is an indication that the language is part of the island’s cultural heritage and cultural capital: “Language brings distinctiveness, a sense of localness and a whole new set of skills all of which are important qualities in attracting the creative economy. It is fundamental to the Island’s identity” (States of Jersey, Education, Sport and Culture Committee, 2005; see also Le Rendu, 2004; Riddell, 2007). Over the past 50 years or so, adults have been able to learn Jèrriais at evening classes. Language classes in schools were only made available from 1999, and mainly on a voluntary basis with students learning during lunchtime or after school. In fitting with the policy of promoting the language, from 2012 there has been a

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series of classes as part of a citizenship strand in the curriculum that extends Jersey Studies, which is taught to Year 4 (8 and 9 year olds) students.

Popular Music, Intervention and Heritage In 2012, L’Office du Jèrriais collaborated with local musician Kit Ashton, who had recently returned to the island from the UK, to produce some recordings of songs in Jèrriais for use in school education. The plan was to commission Ashton to record six songs to be used in conjunction with a newly produced booklet on Jèrriais which would form part of the curriculum in Jersey Studies (L'Office du Jèrriais, 2012). The booklet and songs were attached to specific island themes that had been identified as important for students to learn about at the same time as learning Jèrriais, including landmarks, traditions and celebrations. The context of teaching and learning Jèrriais in island schools points to a close association with the notion of cultural heritage. As noted above, Jèrriais is supported by the island’s government in the development of a cultural strategy, and by linking the language to island studies in the school curriculum with themes on island history and identity, the connection of the language with the notion of heritage is strengthened. The band that was formed as part of this intervention process is called Badlabecques, which is a Jèrriais term meaning ‘chatterboxes’. The pop-folk band is a group of nine amateur musicians who share the aim of playing their style of music to a wider island community. Since their formation, they have released an album, Hécque Badlabecques! (Long Live the Chatterboxes), and have performed regularly on Jersey. The band has even performed on the neighbouring island of Sark at a folk festival, and on mainland France as part of a broader celebration of Norman language. The type of venue that Badlabecques performs at adds strength to the band’s links with island heritage and the promotion of Jersey’s endangered language. As the band’s vocals are primarily in Jèrriais, the band is faced with a conundrum: if the language is endangered then who will understand the songs? As noted above, many islanders understand a few Jèrriais words, but less than a hundred islanders can speak Jèrriais fluently. Moreover, fluent speakers are generally of an older generation and might not be comfortable attending the type of pop music contexts so often associated with pop bands. Nevertheless, one of Badlabecques objectives is to promote Jèrriais to a broader public as part of its collaboration with L’Office du Jèrriais, and by doing this through the pop-folk genre is a way of encouraging a new generation of potential Jèrriais speakers, or at least exposing a greater number of listeners to Jèrriais through song. Rather than only performing in bars, nightclubs or other venues that are typically associated with pop bands, the type of performance context chosen by Badlabecques tends to be linked with heritage sites, especially where there is a link with Jèrriais, either in terms of linking the language to the past or by social

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connection in terms of those who are present at the events. An exploration of several such events shows this connection. For example, the band has played at the Nièr Beurre (Black Butter) event that is organised by Jersey Heritage, which is “a local charity that protects and promotes the Island’s rich heritage and cultural environment” (Jersey Heritage, 2013); at La Fête Nouormande (Norman Fête), which is an inter-Norman language festival held annually at one of the main Norman locations (e.g. Jersey, Guernsey or Normandy); and at La Faîs'sie d'Cidre (Cider Festival), which is sponsored by Jersey Tourism and held at Hamptonne Country Life Museum, which is run by the National Trust for Jersey. The band has performed at numerous similar events that further consolidate its connection with a cultural heritage theme, and especially linguistic cultural heritage. One of Badlabecques most publicly visible actions in alignment with heritage politics on Jersey was its involvement in the Plémont (place name) campaign that was championed by the National Trust for Jersey in an attempt to restore an area on the north coast of the island after decades of use as a holiday camp during Jersey’s days of mass tourism (Pontins Holiday Camp dates from the 1920s and closed in 2000). There was a possibility that Jersey’s government would acquire the land for preservation, but after a robust debate, island politicians voted 25 to 24 in favour of not purchasing the land, thus giving the developers permission to built 28 new homes on the site. However, since the vote, there have been renewed calls to save the land by various activists and organisations, and the situation seems to continue to be debated for some time more. In the last few months of 2012, Badlabecques became increasingly involved in the campaign to save the Plémont headland from development, and a press release by the National Trust for Jersey on 25 November referred to the band’s involvement as “Singing To Safeguard Plémont” (National Trust for Jersey, 2012). The following day, Badlabecques released a song, “Little Green Shoots”, as a download available through iTunes for 79p (about NZ$2), the proceeds of which were donated to the campaign. The band was helped by 1970s pop star Gilbert O’Sullivan, who lives on Jersey, who provided free use of his recording studio. A video of the song was produced as part of the promotion of the song (Badlabecques, 2012). While linking to island heritage and environment, the song is interestingly sung in a mixture of Jèrriais and English. The song was co-written by Kit Ashton (band leader) and Geraint Jennings of L’Office du Jèrriais (Jersey Office). None of the members of Badlabecque speak Jèrriais fluently, and Ashton relies on the help of Jèrriais activitist, educator and poet, Geraint Jennings, for help with pronunciation. As part of L’Office du Jèrriais, Jennings has also been pivotal in helping to promote the band around the island and beyond as part of the ongoing campaign to promote Jèrriais more widely and to a younger sector of the island. The video of “Little Green Shoots” shows many island themes that link the band to the save Plémont campaign. As noted by Ashton:

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It’s really special for us to contribute to the Love Plémont campaign in this way, and we hope we’ve got the right balance between the genuine message and a positive, inclusive sound – as well as between English and Jèrriais! There used to be a beacon at Plémont, and the song focuses on this as a metaphor for hope – that taking this unique chance to undo the mistakes of the past will also show how Jersey’s public does really value and respect nature, and our legacy for future generations – the ‘Little Green Shoots’ of tomorrow’s community (Ashton, 2012).

The song is a plea for help and its lyrics are loaded with this message along with the theme of the site’s natural beauty. On the video, the band performs at Plémont, and includes a person dressed as giant Atlantic puffin, which is an endangered species that is known on the north coast of Jersey. The mix of English and Jèrriais in the song makes it more accessible to a wider audience, and allows the band to move away from only using traditional Jèrriais songs.

Conclusion This paper has discussed an example of language intervention using a popular music style. In this case study, the pop-folk style of an amateur band is underpinned by linguistic activism, not for any sense of financial gain, but with a mission to promote an endangered language that is a part of the cultural capital of this small island’s identity. Intervention has produced pop-folk musical culture that offers a counter-cultural perspective of popular music’s raison d'être; it foregrounds a linguistic objective over a purely musical purpose; and it provides a site for the recontexualisation of island heritage in a popular culture context as a form of cultural capital.

Reference List

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Cloonan, M. (1999). Pop and the nation-state: Towards a theorisation. Popular Music 18(2), 193-207.

Donaghy, K. (2011). The language is the music: Perceptions of authority and authenticity in Hawaiian language composition and vocal performance. Unpublished Ph.D.

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dissertation. University of Otago, Dunedin, New Zealand.

Grant, C. (2010). The links between safeguarding language and safeguarding musical heritage. International Journal of Intangible Heritage 5, 46-59.

Jersey Heritage. (2013). Who we are. Retrieved from http://www.jerseyheritage.org/who-we-are.

Johnson, H. (2008). Localising Jersey through song: Jèrriais, heritage and island identity in a festival context. Shima: The International Journal of Research into Islands Cultures 2(1), 73-98.

Jones, M. (2000). Swimming against the tide: Language planning on Jersey. Language Problems & Language Planning 24(2), 167-96.

Jones, M. (2001). Jersey Norman French: A linguistic study of an obsolescent dialect. Oxford, England: Blackwell.

Kong, L. (2000). Introduction: Culture, economy, policy: Trends and developments. Geoforum 31, 385-390.

Kuznetsov, N. (2009). The role of pop music and other phenomena of modern culture in the preservation of Komi language. Folklore: Electronic Journal of Folklore 41, 119-130.

Le Rendu, L. (2004). Jersey: Independent dependency? The survival strategies of a microstate. Bradford on Avon, England: ELSP.

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Neuenfeldt, K. (2008). Aboriginal contemporary music as Australian cultural heritage: The Black Image's CD, Beautiful Land and Sea. Popular Music and Society 31(4), 453-467.

Riddell, A. (2007). Jersey: The development of an island cultural strategy. Shima: The International Journal of Research into Island Cultures 1, 72-87.

Scott, M. & Craig, D. (2012). The promotional state ‘after neo-liberalism’: Ideologies of governance and New Zealand's pop renaissance. Popular Music 31(1): 143-163.

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States of Jersey, Education, Sport and Culture Committee. (2005). Development of a cultural strategy for the island. Lodged on 19 July 2005 by the Education, Sport and Culture Committee. St Helier, Jersey: States Greffe. Retrieved from www.statesassembly.gov.je.

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States of Jersey Statistics Unit. (2012). Jersey in figures, 2012. St Helier, Jersey: States of Jersey Statistics Unit.

UNESCO. (2012). Atlas of the world's languages in danger. Retrieved from http://www.unesco.org/culture/languages-atlas/index.php?hl=en&page=atlasmap.