Co-Editor Reflection

MATT ROCHE - DEPUTY CHAIR

What do we hear when we listen? A personal reflection to discover what lies beneath the tip of the iceberg...

A few months ago, I was listening to Ripple Effect Band, an all-woman Yolnu rock band from Maningrida in West Arnhem Land who released their debut album last year in 2024. With the blend of singing in Yolnu Matha and English, the music is powerful. The singing in language recalls manikay. I first heard about manikay in 2016 from Wagilak songmen David Yipininy Wilfred who is a Ritharru songmen who lives in Ngkurr and Daniel Wilfred who lives in Ngkurr from South-East Arnhem Land near Roper River. Samuel Curkpatrick, a non-Indigenous researcher who has worked extensively with the Wilfred brothers, states in his book Singing Bones: Ancestral Creativity and Collaboration that manikay is sacred ceremonial songs that are only performed by Indigenous songmen at funerals and other important occasions. Hearing manikay performed live, is a spiritual experience that will resonate years and years later.

When I was listening to Ripple Effect Band, I had my ‘music teacher hat’ on which was difficult to take off. I was drawn to the band’s influences as well as analysing the style. I could hear that there was a strong reggae style with the syncopated guitar chord strums and the drum backbeat. Initially I found some of these characteristics surprising which I will come back to later. Given my “active music mind,” I found it impossible to listen to music, as it is. I am questioning now what I hear when I listen, whether we can hear as it is. When I listen to music, I hear the history of music, a myriad of musical styles making connections in familiar and unexpected ways. But what history am I not hearing? What history am I bringing into this space that has not been invited?

I am currently completing a research project at the University of Melbourne which has involved writing about my teaching practice and decolonising my thinking, in a similar vein to this article. This has been a humbling and vulnerable space to work in – to realise that there are many relationships that I am not hearing or seeing. To make mistakes and to learn many years later.

Ripple Effect Band - Mayawa

Alaska Native Knowledge Network (2006)

What do we hear when we listen to Aboriginal and Torres Strait Islander songs and dances? As a non-Indigenous ‘music’ educator, what am I missing when I listen? After being initially surprised on some first listens to Ripple Effect Band’s Mayawa LP, I realised that I was missing the Indigenous history to these stories. Some of this Indigenous history is sacred and I will never know and do not have the right to know. Some of it can be learnt if you go out and seek it. In my research I came across the iceberg analogy from the Alaska Native Knowledge Network (2006) which I have included below.

At the tip of the Iceberg, is “surface culture” such as storytelling, drumming, fine arts, dress. Underneath the iceberg is “deep culture” which includes language/terminology/concepts, pattern recognition and so on.

Later in the day when I was completing housework, I realised that there were many Indigenous reggae bands, No Fixed Address being one example. With the popularity of King Stingray, another Yolnu rock band who have recently sold out the 2,000 capacity Forum Theatre on Wurundjeri Country, Ripple Effect band are also continuing in the footsteps of Yothu Yindi and there is great appetite for Indigenous rock bands and their many musical influences. Students also enjoy listening to Indigenous rock bands and it is exciting to see them make their own connections, to think critically about what they hear when they listen, to examine their own cultural icebergs that are beginning to form.

As I step into the role of ASME Victoria Chair, a huge thank you to Sue Arney who has led ASME Victoria for five years with strong leadership, energy and deep commitment. As Sue’s Chapter Report brilliantly outlines, Sue has transformed the ASME Vic Council through her ability to bring people with her, and her enthusiasm for music education which is infectious. Sue has seen the size of the council expand as well as the size of our membership expand as well as countless other achievements. I truly hope you enjoy reading all about these achievements as well as other great features in our latest ASME Vic Bulletin.

Matt Roche

Deputy Chair, Co-Editor Bulletin, ASME Vic

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