Ipswich Thistle Pipe BandFirst hundred years 1909-2009Sandra Kirkwood

Music Health Australia

Mainstream or Minority ???

Key Questions Glocalisation of popular music traditions; how

local interfaces with global? Is the Scottish music heritage of English-

speaking Australians, World Music? Is this a tradition that needs to be

safeguarded, assimilated, or terminated? Is it part of mainstream British colonisation of

Australia, or a cultural minority? What approach do I use to investigate the

band’s music history and culture?

The Cultural Challenge: Consider the First

AustraliansFirst steamer: Brisbane-Ipswich; 37 tons, 12 horse power engine.

“The Experiment, carrying a party of distinguished passengers, was farewelled from Brisbane by nearly the entire population on 25 June 1846. Soon after reaching Goodna she ran aground, remaining hard and fast until daylight next morning, when she floated off with the tide. On her arrival in Ipswich almost all the inhabitants turned out to cheer her, and a Scotsman in kilts played a spirited air on the bagpipes, amid the howls of a mob of Aborigines terrified by the ‘smoking monster’.”

Caledonian Society of Ipswich Pipe Band founded in 1909. Second oldest, Queensland

Ipswich Thistle Pipe Band 1909-2009

Scottish music occupation in Ipswich Music is not isolated from the rest of society;

understand socio-ecological perspective. How music builds and enhances

relationships and supports cultural access & engagement

Consider past, present, future of band Find a way to move forward in this place/time Involve communities in creative solutions Write a book on 100 year history of band.

History of pipe bands in Australia

http://www.ipswichthistle.com/

Cultural curiosity Women playing bagpipes in 1940sBrisbane streetfestival

Cultural Ambassadors of Ipswich

Inter-generational sharing of music

Performers and Role Models Actors, Dancers, Musicians, Singers

Red SquareMoscow

Kremlin Zoria 2007

International Military Tattoo

Ipswich Thistle Pipe Band Hall

Dances & Balls

Principles of cultural engagement Socio-ecological approach Creative community collaboration Social justice: equity, advocacy, diversity Give people ‘a voice’ – valued by others Support music performance excellence Strategic planning, dialogue, partnerships

Phase 1: Getting to know the music history/culture Meet people & listen Ethnology Recording Digitising Music discovery groups Dialogue Voice in newspapers Radio Focus groups

Phase 2: Observation and participationRecognising well-being or deprivation Map and describe contemporary music What is happening Level of cultural engagement What do people want to see happen in future Time use, pace, temporality Consider cultural conventions, modes of

expression, materials, environment Social norms, traditions, eco-systems

Phase 3 Consultation, strategic planning, networking Reference group Place-based planning Infrastructure Music Action Plan

Phase 4Addressing unmet need Supporting relationships with local people Identifying music mentors, supporters,

facilitators, therapists, coordinators, managers

Developing local cultural leadership Sponsorship of organisations Enabling music occupations Documenting and safeguarding music

heritage and culture in real world situation.

Philosophy that guides practiceThe effect of our actions or non-action may go on

beyond the time in which we live and may have repercussions for other people, places & cultures.

Take care to ensure that we act wisely and in the best interest of individuals, the environment, communities, societies and future generations of humanity.

Your Culture is your Identity - Be Strong, Be Proud.