The first hundred years of the Ipswich Thistle Pipe Band: Mainstream or minority?


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Presentation by Sandra Kirkwood at the International Association for the Study of Popular Music Conference at Queensland Conservatorium, Southbank, Brisbane on 28-29 November, 2008. The first hundred years of the Ipswich Thistle Pipe Band: Mainstream or Minority.

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The first hundred years of the Ipswich Thistle Pipe Band: Mainstream or minority?

  1. 1. Ipswich Thistle Pipe Band First hundred years 1909-2009 Sandra Kirkwood Music Health Australia
  2. 2. Mainstream or Minority ???
  3. 3. Key Questions <ul><li>Glocalisation of popular music traditions; how local interfaces with global? </li></ul><ul><li>Is the Scottish music heritage of English-speaking Australians, World Music? </li></ul><ul><li>Is this a tradition that needs to be safeguarded, assimilated, or terminated? </li></ul><ul><li>Is it part of mainstream British colonisation of Australia, or a cultural minority? </li></ul><ul><li>What approach do I use to investigate the band’s music history and culture? </li></ul>
  4. 4. The Cultural Challenge: Consider the First Australians <ul><ul><ul><ul><ul><li>First steamer: Brisbane-Ipswich; 37 tons, 12 horse power engine. </li></ul></ul></ul></ul></ul><ul><ul><ul><ul><ul><li>“ 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’.” </li></ul></ul></ul></ul></ul>
  5. 5. Caledonian Society of Ipswich Pipe Band founded in 1909. Second oldest, Queensland
  6. 6. Ipswich Thistle Pipe Band 1909-2009
  7. 7. Scottish music occupation in Ipswich <ul><li>Music is not isolated from the rest of society; understand socio-ecological perspective. </li></ul><ul><li>How music builds and enhances relationships and supports cultural access & engagement </li></ul><ul><li>Consider past, present, future of band </li></ul><ul><li>Find a way to move forward in this place/time </li></ul><ul><li>Involve communities in creative solutions </li></ul><ul><li>Write a book on 100 year history of band. </li></ul>
  8. 8. History of pipe bands in Australia
  9. 9. IPSWICH TATTOO LIVE 2006 /
  10. 10. Cultural curiosity Women playing bagpipes in 1940s Brisbane street festival
  11. 11. Cultural Ambassadors of Ipswich
  12. 12. Inter-generational sharing of music
  13. 13. Performers and Role Models <ul><li>Actors, Dancers, </li></ul><ul><li>Musicians, Singers </li></ul>
  14. 14. Red Square Moscow Kremlin Zoria 2007 International Military Tattoo
  15. 15. Ipswich Thistle Pipe Band Hall
  16. 16. Dances & Balls
  17. 17. Principles of cultural engagement <ul><li>Socio-ecological approach </li></ul><ul><li>Creative community collaboration </li></ul><ul><li>Social justice: equity, advocacy, diversity </li></ul><ul><li>Give people ‘a voice’ – valued by others </li></ul><ul><li>Support music performance excellence </li></ul><ul><li>Strategic planning, dialogue, partnerships </li></ul>
  18. 18. Phase 1: Getting to know the music history/culture <ul><li>Meet people & listen </li></ul><ul><li>Ethnology </li></ul><ul><li>Recording </li></ul><ul><li>Digitising </li></ul><ul><li>Music discovery groups </li></ul><ul><li>Dialogue </li></ul><ul><li>Voice in newspapers </li></ul><ul><li>Radio </li></ul><ul><li>Focus groups </li></ul>
  19. 19. Phase 2: Observation and participation Recognising well-being or deprivation <ul><li>Map and describe contemporary music </li></ul><ul><li>What is happening </li></ul><ul><li>Level of cultural engagement </li></ul><ul><li>What do people want to see happen in future </li></ul><ul><li>Time use, pace, temporality </li></ul><ul><li>Consider cultural conventions, modes of expression, materials, environment </li></ul><ul><li>Social norms, traditions, eco-systems </li></ul>
  20. 20. Phase 3 Consultation, strategic planning, networking <ul><li>Reference group </li></ul><ul><li>Place-based planning </li></ul><ul><li>Infrastructure </li></ul><ul><li>Music Action Plan </li></ul>
  21. 21. Phase 4 Addressing unmet need <ul><li>Supporting relationships with local people </li></ul><ul><li>Identifying music mentors, supporters, facilitators, therapists, coordinators, managers </li></ul><ul><li>Developing local cultural leadership </li></ul><ul><li>Sponsorship of organisations </li></ul><ul><li>Enabling music occupations </li></ul><ul><li>Documenting and safeguarding music heritage and culture in real world situation. </li></ul>
  22. 22. Philosophy that guides practice <ul><li>The 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. </li></ul><ul><li>Take care to ensure that we act wisely and in the best interest of individuals, the environment, communities, societies and future generations of humanity. </li></ul>
  23. 24. Your Culture is your Identity - Be Strong, Be Proud.