GLEN DONNELLY - ADVANCED VIOLA STUDY IN SPAIN

Over the course of several Viola lessons, master classes and concerts, Paul ignited a dramatic process within me which ash changed the whole way I approach music.

Paul is one of the best Viola teachers in the world and a wonderful "capacitator" for young musicians. He has recognised my natural musical talent and is the perfect mentor to open me ot as a musician and turn my potential into great artistry.

I was in the perfect relaxing environment to reflect on my life and my music. This has not just affected my performing, but my entire musicality and me as a person. This also extends to my composing, which I am increasingly being involved in. I have a number of projects, compositions and potential artistic partnerships in film, media and contemporary music which have been stimulated by the mentoring that I had with Paul Silverthorne in this project.

The content of this project was very intensive. Individual lessons and mentor sessions, rehearsals and seminars filled the day and nearly every night was a public concert as part of the Central Catalunya Music Festival, in which I would play solo, chamber music and chamber orchestra. I collaborated with musicians from all over the world and networked with valuable future contacts in Europe.
The unique surroundings of regional Spain enabled me to grow musically and personally, and the combination of this with the perfectly timed mentoring from Paul SIlverthorne turned out to be the single greatest opportunity of my career yet. I know that this project gas played a crucial role in my music and development. I cannot thank you enough

ELEANOR BETTS - CELLO STUDY IN VIENNA WITH MICHAEL WILLIAMS

This period of study was invaluable to me not just in terms of the way in which it helped develop my performance both technically and musically, but also in terms of the experience of being able to discuss the challenges of studying Cello overseas as an Australian with someone who has achieved many of the things I would like to achieve in my career.

Michael Williams was a student in teacher in Sydney, before he moved to Europe to study with Antonio Meneses, an eminent Cellist. After studying for six years in Europe, Michael returned to Australia to perform with the Australian Chamber Orchestra, which is has always been my greatest goal.

The experience of being a classical musician from Australia can be daunting one because of the relative lack of funding and support that has traditionally been given to this area of the Arts. Very few classical musicians in Australia achieve success at home without having studied overseas first.

Speaking to Michael about his experience of this and getting advice from him about who to study with in Europe and where, and the challenges involved in this was all really helpful to me.

All in all my time in Vienna was invaluable to me not just in terms of all the advice I received from Michael and the things I learnt about my performance, but also in terms of the confidence it gave me in studying overseas alone and auditioning.

TOM VONCENT - ADVANCED AUDIO STUDY

The last six months have been a very exciting time for me studying with George Goerss and becoming established in the practice of recording. From personal funds I have been augmenting my recording studio with necessary recording tools and equipment. For most of our lessons George came here to my studio. He’s has been extremely helpful including taking calls from me when the need arose for troubleshooting.

Since getting started last year I have conducted recording sessions with twelve different local and interstate musicians including singers, trumpet players, sax players, guitarists, double bass players, drummers and of course myself on piano and keyboards.

On the horizon there are also many projects combining my music with wonderful new animation. As I have lived my life now for 25 years as an improvising musician the prospect of getting my music up on the net and out to people as soon as possible is very much in the spirit of how I create music.

STEVE FALK - MARIMBA STUDY IN JAPAN WITH KEIKO ABE

I studied at Toho Gakuen with Keiko Abe from October 1st 2007 until March 31st 2008. My course of study consisted of private practice in studios at the college and a weekly master class conducted by Professor Abe. International graduates such as myself were expected to perform regularly in the master class which is conducted in front of an audience of about 20 advanced solo marimba students from around Japan and sometimes guest musicians from abroad. All participants in the master class were required to perform major works from the contemporary classical literature from memory.
As I have always been interested in improvisation my work in the master classes often included free improvisation with Keiko Abe and myself improvising together on two marimbas.

I also gave two 40 minute public recitals during which I performed my own new composition for solo marimba, “Romance” which was composed during my studies with Professor Abe in the last six months. I have now completed a total of two years full-time marimba study with Keiko Abe. It has been an incredible opportunity to pursue an artistic interest of mine so intensively after many years of professional musical activity where there was rarely a chance to practice regularly.

DANA OGLE - PERTH TO CHENNAI

As a recipient of The JB Seed grant I traveled to Chennai, South India to study the Carnatic instrument mridangam with Guru Tanjore K Murugaboopathi in a challenging and engaging environment. The primary objective of my travels was to refine, progress and consolidate my current musical practice, and to provide momentum essential to my ongoing development.

The timing of my travels to Chennai coincided with the Madras Carnatic Music Festival, allowing me to attend numerous Carnatic music concerts during my stay. This allowed me to both deepen my understanding of and appreciation of Carnatic music and further develop my relationship with many of Chennai’s most highly regarded musicians.

The combined outcomes of my studies with Guru Murugaboopathi and the resulting recoding sessions greatly exceeded my expectations of my travels to India, and ensured my ongoing relationships with several leading Indian musicians. I will continue my student/teacher/mentor relationship with Guru Murugaboopathi. Additional to this I know have a clear understanding of the direction the recording process should take when next I return to India.

On reflection I realize I have completely immersed myself into the depths of Indian culture and music. It is only the beginning of a lifetime relationship with Mother India.

THE FUNKY TURTLES

The “Funky Turtles Song Writing Work Shop with Rebecca Barnard” was a huge success; its positive effects have reached beyond those originally anticipated and stated in the Turtle’s funding applications.In fact, it has so far proven to be a transformative experience for the many people involved, not least of all, Rebecca.

Regarding the creative relationship that was forged, Geoff has said that, “Rebecca knew and approached the Turtles as a bunch of musicians. That set the tone for the whole weekend. That’s why they responded so well to her.” Geoff said of the song writing content of the weekend that, “Some members who aren’t usually very up - front were really involved. Bianca wrote a whole song. Sarah sang, and came in two days after the weekend with a new song she had written at home! There was a meeting of creative minds. The Turtles already see them selves as artists, and this experience validated them, their professional identity. The weekend was an affirmation of being a creative, performing artist.”

The fact of Rebecca’s warm, empathic and relaxed personality, her attitude towards the Turtles, and her approach to music making, heavily impacted on the success of the project.

BRITTLE

We were fortunate to receive the grant in late June 2007. We contacted our mentors Leigh Carriage, vocal teacher, Dave Sanders, drum tutor and tried to contact our guitar tutor Michael Porter in late June to arrange lessons.

Leigh Carriage was able to teach Ben Whiting, Billy Donaldson and Geoff Slingsby.We have gained in confidence and have much better control of our voices. We have improved our tone and breathing and Geoff our drummer, is also able to do some vocals to reinforce our hook lines as he never used to do any before. She has been a most supportive and patient teacher and a wonderful mentor for us.

We are now moving to Melbourne as we have been negotiating for the last year with a manager who is interested in our band.

We now have a fourth member in our band, Ben O’Dwyer who is a guitarist and backing vocalist and studied at the North Queensland Conservatorium of Music in Mackay. He has given our band a denser sound and we are able to do more harmonies and guitar-work. We have also developed an unplugged show that allows us to play at more intimate venues which has helped us to support ourselves.

We feel that we have the necessary persistence and dedication to make it work and thank you for this excellent support to further our skills.

Geoff Slingsby, Ben Whiting, Billy Donaldson and Ben O’Dwyer Members of BRITTLE

CULTURAL ARTS TOUR
To see students watching our performances and trying some dancing or Didge and then kids just yarning with each other, would have to be on of the highlights of my year. To see the look in the eyes of my students as they groove along (they do groove) Swanston Street Mall was so much fun.

Places we performed:
Royal Melbourne Zoo
Australian Centre for Moving Image ACMI
Thornbury Senior High School for class TV channel 31
Geelong Primary School
Church Youth Centre in Geelong
Thanks again for contributing to this community and helping form more positive opinions of Indigenous Australians at a time when media images were very one sided.

ANMATJERE MAN

A 35 minute documentary film entitled “Anmatjere Man” was produced by PAW Media and Communications. Tony Scrutton wrote, edited ad starred in the film. The crew was comprised entirely of local Anmatjere people.

The project also included the recording of a CD from the Central Desert Band (6 Mile Band) at PAW’s recording studio in Yuendumu. Three of these songs were then used in the film.

This is the first film produced by all members of the crew and was an extremely valuable opportunity to develop media and production skills as well as creating an outstanding film that is an achievement in itself.

PAW has a long history with the Anmatjere communities, organisations and the people involved in making the film. This established relationship enabled open communication throughout the production as well as the ability to work ‘in country’ with ease.

The project reinforced the learning that where local people initiate and direct projects, the production will see completion.

CDEP – BIRIPI AND WORIMI COUNTRY

This project for me was a great opportunity. When I heard that there was an Indigenous “landcare” group at Taree, being interested in Indigenous people and conservation of the natural environment, I started thinking about a film straight away.

The film has given the people at Purfleet a chance to have their say in an area that is pivotal to their life and the well-being of their community. It was wonderful to do a full interview with John Clark, for example, who is regarded by many as an elder. Those tapes are archival treasures, and I would love to do similar interviews with all o the elders in that area and in my own local area of Maleny, Queensland.

This film has given an opportunity for the Indigenous people of Purfleet-Taree to give voice their feelings about not only CDEP (Cultural Development Employment Program) but also the preservation of their culture and other important issues. It gives them a tool in approaching government bodies and in harnessing solidarity for keeping the CDEP program alive.

THE NUCLEAR POSTERS

PART 1: THE NUCLEAR POSTERS
We are extremely happy with the quality of the publication. The posters themselves are beautifully printed on 100% recycled paper and are shrink-wrapped together to form one publication. We feel this poster series is a real leap in production value from our last poster series and is also a lot easier to distribute and sell in bookshops etc. This correlates with the general feedback we are getting from a range of people.

PART 2: THE EXHIBITION
The Nuclear Posters launch at The Artery on November 13th was a great night and really well attended. The Artery gallery was also a great connection for us to make as political poster makers as they have a history of exhibiting political posters and work with poster collectors and collectives.
Being a comercial gallery and bar meant that the exhibition was accessible and the artists involved were give the oportunity to exhibit in a recognised gallery.

PART 3: THE NUCLEAR ROCK POSTERS HITS THE STREETS!
We felt this was an extremely successful aspect of the entire project. The designs chosen were very striking, were easy to spot at a distance, and seemed to communicate the message very effectively particularly as the designs were pasted side by side. It has been difficult to gauge the actual impact of the posters on the general public, but we received numerous excited text messages from people having spotted them in different locations in Melbourne and we have received emails from individuals and organisations who want to get copies of the actual rock posters themselves.
The rock posters were also an amazing project for the two artists whose work was chosen. Both these artists were extremely happy to have their work so publically displayed. The posters were not only politically effective but artistically as well.

ARTIST STATEMENTS

Van Thanh Rudd - Being part of the Nuclear Poster Series was really worth the effort. The visual arts absolutely needs avenues like this to allow artists the chance to help change the world. Go Breakdown Press!!

Peter Kneebone -The competition and exhibition was well organised and run; I was very happy to be a part of it.

It was very exciting to see the final Nuclear Posters, even slicker and shinier than the previous Breakdown press posters issues.

In future it could be good to have some volunteers to help with publicity and organise interviews and longer articles in the media. We received strong grassroots support and publicity in the anti-nuclear movement and on community media.

Possibly on reflection, future poster series for Breakdown Press could have a selected committee of relevant people who could help in the selection process and the technical and printing details. However, lifting the production value of the posters has been a big achievement for us and has helped to establish Breakdown Press as a more serious and established independent publisher. The response we have received from bookshops, community organisations, polical poster collectors and historians has been really positive.

STEPUP