Arts Centre Melbourne, Hamer Hall, October 31 2016
Timo-Veikko Valve with the Guarneri cello. Photo: Mick Bruzzese
I had the privilege to enjoy the ACO
concert last night a Hamer Hall. How spectacular. Always a rejuvenating treat,
the ensemble was in full form. One of our party said the previous subscription
concert had been terribly disappointing with the musicians seeming quite out of
kilter. She sent them a note, and although she didn’t receive a response I
suggested that perhaps it had been read out in rehearsal, for tonight was quite
the opposite and she agreed. (I can’t imagine the ACO delivering a disappointing performance,
but we do all indeed have our off days).
The Gordon Kerry premier work ‘So Dream Thy
Sails’ was played superbly and interwove thin tones on the strings with
virtuosic playing and full ensemble sections, reflecting the moods and movement
of the ocean. A particular highlight was the prominence of the harp, which
brought colour, tremendous tonal chiaroscuro and such a beautiful contrast of texture to the work. The concentration was
sharp and the performance excellent.
Alan Davies was relaxed and in fine form at Hamer Hall last night. Sharp observations and reflections on current day to day life as a father of young children were mixed with reminiscences of his own childhood. His relationship with his detailed-minded father (who raised three children after the death of his wife to leukaemia) was grand fodder for comic material. The present day picture of his father now with early onset Alzheimers created the generational book ends in the father-son relationship and we were given insights to all personalities in-between, reminiscent of "My Family and Other Animals" (look it up, kids).
There has been much hype about newcomer to the Victoria St cafe cluster Common Galaxia, so as a long term Seddon local I thought I'd check out what the new neighbours are doing now they've had time to settle in a bit.
I admit Sunday breakfast is a hectic time to visit. I certainly acknowledge that, but the service from the delightful staff was slow, my tepid coffee arrived with half of it in the saucer with no comment or apology and I had to call a staff member over twice to order. Not a very good start.
Festive Christmas Breakfast table. Cupcake centrepiece,
gold cutlery, hand written name baubles.
It has to be said. For many of us, Christmas is in summer. For me the first Tuesday in November is the warning bell; the beginning of summer and the gateway to Christmas. For that is Melbourne Cup Day and the jolting reminder that the end of the year is nigh. What? already? On that warm spring night the golden light starts stretching long shadows at 8pm and I think of sparkling tinsel and fur trees. Christmas is around the corner.
Thanks to the gold rush, Melbourne was once the largest Victorian era city, outside of London, named after Lord Melbourne in the new colony named for his Queen. So you don't get too much more Victorian than that. No wonder then that the full Victorian Christmas tradition transplanted over here amongst the Anglo settlers. The tradition and the city have pretty much grown up together.
Shown in the beautiful Westgarth Cinema, to 10 or so people, getting out to the movies on a midweek afternoon was a rare, great treat. "Cesare Deve Morire" lived up to the dramatic and powerful promises made in the advertising. It has also picked up a nice bag of accolades and awards this year including the Golden Bear from the Berlin Film Festival.
The story is based on a true occurrence of Italian prisoners putting on Shakespeares Julius Caesar. The cast members are indeed prisoners and their quiet, awkward, rough presence is the key ingredient to the films effectiveness.
I found the crown of France in the gutter, and I picked it up.
– Napoleon
At last I went to "Napoleon. Revolution to Empire" at the National Gallery of Victoria during the week. I must say I wasn't quite in the mood, but it was then or never so along I trotted.
Once inside, however, the exhibition stood up to the accolades it has been receiving. It was bigger than I thought it would be, with many more objects on display than previous "blockbuster" exhibitions which I generally find beautiful, but the content thinned out. Not so here.
The layout and flow is good and I was able to move around easily, see the objects and works on display for either a short or longer time as suited me. The audio tour was detailed and did not repeat the information given on the text panels so the viewer got more information and diverse contexts and facts. Often I find an audio tour is a slightly more detailed version of the text panel and isn't really worth it. It was also very easy to use, didn't jam or die and I could flit around it easily finding what I was looking for. I got tangled up in the wires and straps and would have preferred to download it to my own device which I later realised I could have done, here.
The balance of artworks and objects was wonderful. Porcelain pieces, maps, portraits, furniture, personal items, official documents, statues and armoury are just some of the media on display. This is an exhibition of historic objects and works giving a 3 dimensional comprehensive picture of Napoleon and the context of his times, his personal and professional life and the places he lived, conquered, fought and visited.
The large section on the french exploration of the pacific and the Australian coast all of a sudden gives the french history an immediacy and local connection. It was the French publication by Charles de Brosses in 1756 that gave rise to European interest in exploring the area and fuelled French policy to explore "terre Australie" focussing on charting the coastline and scientific study.
Of course La Peruse had arrived in Botany Bay on 26th January 1788 only just after Arthur Philip and the First Fleet. He spent six weeks there, sailed on to New Caledonia and disappeared; although his maps had been sent back and survive. The exhibition also touches on the efforts of Bourganville, Dufresney and the famous race between Flinders and Louis de Freycinet in the early 1800's.
The maps of de Freycinet were the first complete maps of Australia published in 1811. During that voyage french names had been given to much of the coast and the exhibition concentrates on the Victorian coastline, named "Terre Napoleon". Had things turned out only slightly differently we might be speaking french like the New Caledonians and meet under the clocks at Freycinet Station.
Not leaving this chapter in isolation, the Australian theme is extended through the efforts of Josephine and her expertise and interest in exotic botany and animals. I didn't know that there were kangaroos on her estate and the beautiful botanical sketches are of plants in my back yard. I'm used to looking at Celia Rossers Banksias but not sketches of our native plants from the seventeenth century.
There is a lot to explore in the Napoleon exhibition. I suggest you read the excellent website, download the tour and get yourself to the NGV. I think I'll be going again, perhaps in the wee small hours next weekend.
Now at the NGV St Kilda Rd
Closes October 7th Adult: $26 / Concession: $22.50 / Child (5–15 yrs): $10 Family (2 adults + 3 children): $65 NGV Member Adult: $21 / NGV Member Family: $50 or in person at NGV International
Today has been a hard day for all Melbournians after a difficult week, with the discovery of Jill Meagher's body and then the arrest of someone in relation to her death in the wee small hours this morning.
Jill Meagher
Social media, local radio and TV has been full of the events and everyone's reactions, grief and shock. To be killed just 200 metres from your door, in your neighbourhood, in an inner city suburb of Melbourne that everyone knows so well, makes the danger very immediate and very personal. Yes, we know this was a random attack and more unusual than usual, but it still strikes at your heart.
In terms of the vilification of the man arrested, that's just disappointing. From a position of humanity not to mention legality.
Here's a bit of a different angle. When my brother was killed he was riding a bike and was knocked down by a P Plate drunk driver who was pimply and 18 years old. He was convicted and got 8 years in prison. Before all those outcomes, amidst her grief, my mum called the mother of the arrested guy a few days after the incident. She wanted to give support to the mother who's son was now being jailed and going to court. She put herself in the place of that person and empathised with her. What would it be like knowing a child of yours had killed someone? What would it be like to be the 18 year old? Drunk, driving, feeling invincible and then, spalt. You've killed a 7 year old boy on a bike.
I learnt about empathy from my mother at that time. I learnt that no matter what has happened, there are contexts and circumstances for everyone that deserve respectful behaviour and treatment. Everyone was heartbroken. It just came down to that.
Today, vilifying the accused does not help Jill, her family, the court case or the family of the accused. I fully believe that if found guilty he should pay for his crime. I'm not defending him in any way. Everyone is answerable for their actions. However, I will leave judgements to others and the comments to the judge. I'm not defending him, I simply think we shouldn't stoop to that kind of behaviour.
On another note, it is a relief that we're shocked by this. It does not happen so often in our lovely city that people accept and ignore a sudden death like this. One time a friend from Los Angeles was staying with me and there was a shooting in the city which was looped and looped on the news. He was puzzled as to why it was even covered at all, given no-one died. Yes, I take the point from Catherine Deveny that we should the small things more often than we do. Of which there are many.
I think apologies are also due to the chap listed in the phone book with the same initial as the accused who has received abusive phone calls all day today. Oops. Years ago our family phone number was only one digit different to that of Maritza and Mathew Wales of the "Society Murders". The spitting hatred of callers was cut short and turned to sheer embarrassment when they were told they had the wrong number...
All of our thoughts are with Jill's family and friends and her colleagues at the ABC. Despite the last week, this is still a wonderful city. For Jill's memory and for her family, let's all be gentle with eachother.
Who would think that Richard III and Ned Kelly might have something in common?
Well, they've both had their remains dug up and (almost) identified. In turn, the questions arise regards where their respective final resting places should be. I've been following this issue with Ned Kelly, and now it seems it could be Richard III's turn.
Grave of Red Kelly, Neds Father
Even in these early hours after the release of some detail about the possible bones of Richard III, the physical evidence may be seem to support a positive ID. But you can't say the spine shape or the hole in the head proves identity. That's madness. Possible scoliosis with one shoulder heavier, stronger and perhaps higher than the other might have everything to do with shooting 10 arrows per minute or wielding heavy weapons on a regular basis. And how much of that stuff did a King in battle really do? Don't ask me, I have no idea, but I'm sure there is a lot to consider. No I'm not suggesting the skeleton is an archer or any other person. I'm just saying it might not be as cut and dry as it seems. That's why the DNA analysis will be the confirming factor.
The skeleton that turned out to be Ned Kellys also had physical markings consistent with those sustained by Ned through his lifetime and the showdown at Glenrowan. Again, any nineteenth century convict bushman might have similar markings of a hard life. It was only mitochondrial DNA that identified the famous bushrangers remains beyond doubt. The comparison sample was taken from 4 generations on (Leigh Oliver is Ned's sisters great grandson). In the case of Richard III the comparison sample goes back 17 generations and they were also fortunate to find a maternal mitochondrial descendant (Michael Ibsen, descended from Richard III's sister, Anne of York).
Regarding the final interrment of the bones, the Kelly descendants wishes were paramount. There were literally hundreds of relations; some had to be found and then there was a big reunion to discuss the issues.
For Richard, going back 500 years, that's a lot of research and a lot of relatives to consult. For a Plantagenet King from 500 years ago, I'm sure others decide. At the moment it seems to be more a national and historiographic issue than a family one. One assumes that Richard III would have had a funeral, albeit a modest one when they buried him at Greyfriars. Is there a need for another? Would not a simple interment be appropriate?
The good news about Kelly is that no more will his bones be amusements for museum visitors. It's interesting that the court had to pass a law to deem it so. Surely no museum in its right mind would display Neds remains in that context these days? Perhaps I'm utterly naive.
On such issues it's interesting that the Australian footage of Kellys dig allows the bones to be seen, photographed etc in situ, but that was not the case with the UK footage of Richard III, despite us being used to it on Time Team every night at 6pm. I'm not sure what prompted that censorship. There would be nothing gory about the bones and it strikes me that there are so many on public view at the British Museums (for instance) that one comes across haphazardly already. Perhaps it's different at the in-the-ground stage or simply was a cautionary measure. Maybe his being such a famous figure makes the difference. I'm not sure.
Screen of Kings at York Minster. Richard III is 4th from R.
But I digress. I hope that Richard or whoever has been find, comes to rest in a suitable spot. If it is indeed Richard the following have been suggested:
* Leicester Cathedral - as he wished it (some say)
* York Minster - as he also seemed to wish it (others say)
* Westminster Abbey - to join his wife
* Fotheringay Cathedral - to join his parents.
Regardless of the outcome there are a few more mysteries to solve; discussions to be had. As you can imagine, the plethora of suggestions, assumptions have already begun. There's even been the suggestion of a full royal State Funeral at Westminster Abbey. As I've already said, he would have been given a funeral at the time of the burial in the friary. You don't inter a body in such a prominent spot without doing so and Mr Buckley the project archeologist has said: "Richard III was buried in the parish in good faith and there's no reason why he should be moved". Hmm. That won't stop them.
While it is just beginning for Richard III I'm very happy that most of poor Ned is being buried at last. May his skull join the rest of him in the future.
I have said already a couple of times that archeologists do not call press conferences for no reason, when they're not sure. I'm sure they're not sure most of the time.
So when the Richard III Dig folks from the University of Leicester Archeology Dpt called a press conference, everyone jumped up (or rather, jumped on.. line) and listened.
Via a live webcast from the BBC, the panel explained the digging area on the old site of the Greyfriars Church, where it was rumoured King Richard III had been buried. The site has been researched and found under a car park in Leicester.
Tacky but clever info panels at the RIII Museum York.
From there they explained the finds, and then talked through some compelling clues regarding the full male skeleton they've discovered. A head injury. An arrow in the spine. An extreme case of scoliosis. A raised shoulder, but no hunch. A burial position within the church in a prime position by the quire.
Tests are yet to be done, but this is quite possibly Richard III, killed at the Battle of Bosworth Field (22/08/1485). The battle was won of course by little known Henry Tudor who was crowned as Henry VII. And so the Tudor dynasty commenced...
If this this is the skeleton of Richard III that would be tremendously exciting. It would give history some answers to his physicality and answer the long debate regarding the hunch and other physical characteristics, mostly now doubted to be true.
There are lots of them....
What it will not give light to are the details of his life, his thoughts, deliberations, character or deeds. It won't solve the ever overhanging shadow regarding the disappearance of the Princes in the Tower.
If this is not Richard III, who is it?
Who is the woman buried close by?
It may have happened hundreds of years ago, but there is still so much more to discover. Tonight many historians are punching the air. We hope indeed that they have found Richard III and have proven Shakespeare to be a great entertainer and writer embellishing the truth, but not the historian which some mistake him for.
Cue the song and the sketch:
Jim Howick as Richard III
With Mat Baynton as Shakespeare
The context in which this puts the "tudor propaganda" will be interesting. There are lots of "ifs" here but had Richard had extreme scoliosis, then it could be a win/win situation. Richard III could be no hunchback but nor did More and Shakespeare simply make it all up. We'll see....
Earlier in the year I rummaged in the drawer, found my camera, purchased a new battery for it, resurrected it from the dust and went out into a beautiful May autumn day and familiarised myself with it all over again. Here are some shots around and about my local Seddon streets from then, in autumn.
Decoratieve Fretwork on the Federation Cottages
In the area the houses are a mix of Victorian, Federation/Edwardian and more modern. Many of the houses were built as workers cottages between 1885 - 1910 and have been renovated and/or restored in the last fifteen years. They're very pretty boxes all in a row taking on the look of a set of little dolls houses. The fretwork or lacework trim in the earlier periods was cast iron and later, wooden, as seen here. Although some of the houses are brick, the majority are timber.
An Old Edwardian Dame
As yet un-restored and in "original condition". The lacework is wrought iron, not the reproduction aluminium stuff. Note the block weatherboard, which I believe to be an imitation of stone. It's all wood. The blocks are on strips that slide into each other, locking together in rows. These days they reproduce them to look the same but as block pieces nailed on board. The edge of the blocks is 3-5mm and they're a *%$^$#@ pain to sand and paint. You have to get all around and in between the blocks. Also note the speckled chimney matching the cable and chimney pots (unusual in Aus.)
REALLY WEIRD!
OK, here is a really perculiar renovation that stopped me in my tracks. It's a double fronted, block weatherboard Victorian house. Lovely lace work, and the've gone to great pains to paint the details in contrast; i.e. highlighting small detailed trim above the lacework and below the roofline in Indian Red. Very typical of the area. But they've re-located the main entrance from the front to the side, filling the space with bock weatherboard. It looks really odd. That's all I'm sayin'.
Stone Chimneys
There are a mix of european and native trees in the surrounding streets. In fact the natives took over the roads and pulled up the pavement and many have been replaced. The European trees have struggled through the summer, dropping leaves in the drought. Now that true autumn has come there is a wonderful vista of gold and red. Unlike in their native climes, the European trees do not lie dormant in winter. It does not get cold enough. So they grow all year.
On a sunny August afternoon, filled with anticipation, I wandered into the Whitechapel Bell Foundry, finally visiting after years of wanting to. It has been one of those things in the back of my mind. "Go to the Whitechapel Foundry".
Walking into the workshop is a step back in time to the world of pre-mechinisaiton. A return to the world of the blacksmiths, ironworks, and master craftsmanship where things were hand made, individually item by item. In this case, the making and repair of bells. The foundry was established in 1570, however bell making in the area goes back further still to 1420. Their history is worth reading here. Now, they're one of only two bell foundries remaining within the UK.
On the "tour" I simply wandered through the foundry from one worker to the next. They each paused at their work and told me me what they did, the context of their task within the whole process of a particular job and just had a general chat. It was on a very personal and individual level and the love and enthusiasm these men have for their job and the foundry is inspiring. Everyone does everything. It's not a factory line where people only do one thing.
The introductory DVD (aimed at kids and well explained) had covered the "how to make a bell 101" at the beginning, so on meeting everyone the conversations could go deeper and I was tuned in to the environment. It's a good introduction to set the scene, given not many people will have been in a foundry before.
The first thing I should say is that they're very busy. There are thousands of bells around the UK still in use, needing repairing and adjusting, and then there is the commission of new bells; the jubilee bells and olympic bell (cast in holland as a bigger factory area was required) are just two they've done of late. I get the feeling this year has been particularly hectic.
Casting
The Whitechapel Bell foundries most famous bell is of course Big Ben, then the runner up to that the Liberty bell in the USA. What they are lesser known for is the sets of handbells, and tower bells, other commissions and quiet day to day work that has kept people employed there for hundreds of years.
The moulds for the bells are still made the good old medieval way, from clay, cow dung and horse hair, mixed to make "moulding loam". The moulding and casting process is quickly explained here, but go to the foundry and see it all there, is my recommendation.
Carillon in the Rain
The lovely Scotsman there told me that he never signs his work, but when they made the Olympic bell he did sign it underneath because he wanted to say he was in the olympics! I thought it was a shame the bells aren't signed. "So historians will never know who made all but one of your bells. Your oeuvre will be a single bell. Sign your work!" He paused and said quietly "Never thought of that".
Tower bells, hand bells, small bells, enormous bells, carillons, full sets, sub sets, casts, rigging, pulleys, timber frames and stands litter the workshop. One worker (sorry, I didn't get names..!) who showed me the handbells he was working on said he recognised them when they came in. He'd made them. They were in for repair where the leather attaches. Not the bell itself he hastily added. That (naturally) needed no repair. It was fine and will last for centuries.
Tuning a Bell by Laser
Here, a bell is being tuned by honing annular rings on the inside. 5 notes are tuned within the bell to produce the desired strike note, its tone and quality as well as pitch. Within the bell each note can be individually struck by demonstration but in its ringing lifetime, once in the bell tower, unseen and rarely handled, it's the strikenote that will sound.
Despite the fancy electronic tuning equipment, I asked "So ultimately, at the end of the day, what do you tune to?" Given the longevity of the craft, the answer was predictable and instant. "At the end of he day I tune manually. It has to sound right to the ear" And it did.
Back in the day, tuning was done by chipping off the edge of the bell rather than honing. I'm told you can flatten a little bit but there's not too much scope for error. It needs to be accurate.
Set of Tower Bells from Ecclesfield
To the left you can see the chipping on the edge of the bell from tuning hundreds of years ago. This set of bells from High Wycombe date from 1633.
It was a privallage to listen to these men speak so passionatley about their bells, their work, the echoes of their work through the centuries - quite literally- and the pure pleasure and pride they take. News items are updated on their website and you can read about a number of their activities and events, including making the Jubilee Bells, 150th anniversary of Big Ben and the "All the Bells" project for the olympics, here. Time for some noise? An interactive from The Guardian. Talking to the workers at the foundry, one is also a piano tuner, another a maker of bagpipes. I came away with the feeling that these men are both blacksmiths and musical engineers.
Bells have long rung in births, deaths, marriages, war, celebration, worship, liberty, and simple art of telling the time for centuries. Bells are the voice of a community to call them together or express warning, joy or sorrow. May the whitechapel bell boys ring on.
I went for a Sunday jaunt around the NGV yesterday. I DO want to see Napoleon, Revolution to Empire, but not amongst the weekend crowds, and for that matter not amongst the weekday school groups. (Hmm. I'd better pick my time carefully)
The jewel of yesterday was coming across a film installation in the European art gallery, James Fairfax room.
Un Ballo Maschero (A Masked ball) is a lively film interpretation of the assassination in 1792 of King Gustav III of Sweden, the event which inspired the Verdi opera of same name and indeed the film The Cook, The Thief, His Wife and her Lover.
Un Ballo Maschero is a contemporary dance piece, it's an assassination, its a social and political commentary with a homoerotic subsection (my interpretation). It's beautiful, elegant, theatrical and dramatic. The costumes are in the classic styles of 18th Cent. evening dress, however, the costume fabrics are vibrant and patterned with bright orange and reds, contrasted with greens and blues. The amazing colours struck me as quite African.
In fact the artist, Yinka Shonibare is British-Nigerian so that made sense. Read an interview with him on the work and the Crossing Overs project here.
The choreography combined contemporary dance with traditional courtly dance lines and movements of the time, balancing the contemporary and the historical referencing. At times I was reminded of the mood and choreography of The Knights Tale. But this is more subtle.
If you're at the National Gallery of Victoria let me encourage you to go beyond the blockbuster experience, explore the gallery further and seek out Un Ballo Maschero. I would suggest this viewing is a lovely contextual finish to your visit if seeing Napoleon, Revolution to Empire.
In the meantime we all welcome Tony Ellwood back to the NGV, taking up his position of Director this week.
I found this wonderful volume in a bookshop yesterday whilst going for walk on a glorious Saturday wintery morning.
Norman Ellis was a musician who arranged for and worked with the prime swing musicians of New York in the 1930's including Benny Goodman, Billi Holiday and Bunny Benigan. His "Instrumentation and Arranging for the Radio and Dance Orchestra" was released in 1936.
It has many fascinatng passages and by way of example here is an extract from the introduction. As you read remember that this music was already spreading world wide. Artists from Harlem were already touring Europe and Australia and World War II with the GIs (over paid, over sexed and over here) was all about to happen...
Today popular dance music embodies two distinct styles of writing: the smooth "Sweet" style which bears the influence of pure romantic classical music; not of the polyphonic school, and the "hot" or "swing" style which is a refinement of the cacophonic forms previously used in "Dixieland" renditions and is quasi-polyphonic in character due to the partical obsrvance of the laws of harmony and counterpoint. I might add that "Jam" sessions, a revivial of the "Dixieland" style, have become popular but, like any other fad, I believe that they are apt to be merely transitory.
The arranger now holds a very important place in the dance music field. In many cases it is the arranger who sets the style of a band, the orchestra leader merely carrying out the arrangers ideas. To fit the wide and varied demands upon his services, the arranger must be a musician equipped with a thorough knowledge of harmony and must be trained in the classical forms of music. The competitive standards reached today have made it necessary for the arranger to explore his mind in search of new ideas and effects as did the old masters. The resulting efforts have most certainly taxed the musicinaship of all dance instrumentalists.
The dance musician has reached a high level in execution and when compared to the serious mucisian he stands in a very favourable light. An interesting point, I might add here, is the strange way in which the serious musician attacks a popular number; he is obsessed with the idea that to produce a jazz effect every rule of music has to be broken, whereas this is not the situation at all. Moreover a "so-called good musician" is many times found to be lacking in creative ability (a requirement absolutely necessary for a dance musician for "ad lib" purposes) and in the ability to produce a sweet legato tone required for the performance of solo work in a sweet dance arrangement. Also, many of the serious musicians are not of a sufficiently flexible mind to execute the more intricate dance rhythms which are by all means theoretically correct and not at all difficult to perform. It s a known fact that a Trombonist from the dance field had to be called upon to execute a passage in the high regsiter of the Trombone at a performance of a leading symphony orchestra due to the inability of the symphony Trombonists to execute this particualr type of work, an American creation of jazz. I do wish to state, however, that full respect must be given to the serious musicians for their fine executrion and interpreation of the master works.
While jazz was incubating, it is true that dance musicians were mostly all, with rare exception, illiterate and untrained and the writers themselves were lacking in the elementary knowledge of melody writing and composition, not to mention the higher forms of writing. It is principally for this reason that many people today still fail to recognise the unquestionable merits of modern dance muisc now developed to a degree easily compared in many instances with some of the master works, a statment which no doubt will recieve wide criticism from many. Allow me to state at this point that my musical background as a pianist and an arranger has been crowded with the study of all the master works under many famous teachers and it is therefore without termerity that I venture to make this statement.
A truly wonderful service has been rendered by jazz to music generally. The range of many wind instruments has been extended. Also, the creation of many types of mutes for the Brass has enabled the instrumentalists to produce many tone color effects of beauty and has made possible the blending of Brass instruments with Violins and Woodwind, heretofore not accomplished successfully. A smooth legato style has also been developed on the Trombone.
The requirements and responsibilities of future arrangers will be increased more and more due to the rapid advancement being made in the dance music profession and the demands upon the arranger will be very similar as those in previous years of the trained composer. There is no limit to the fine developmnet of American popular dance music and its subsequent influence on the newer forms of classic music.
I just heard the most terrible repot on News Radio checking in regarding the Jubilee River Pageant in London. The presenters wondered why the Pageant is happening, and disagreeing with Monarchism generally couldn't voice why there are Jubilee celebrations at all. (They were English btw and reporting from London. i.e. it wasn't a local report from here in Aus).
Wot The?
I was horrified. I'm not a Monarchist particularly*, but I certainly see the worth in the celebrations.
As with the returned soldiers from Vietnam, let us not make the mistake again of blaming the individual for a greater policy - or in this case tradition and legislation for Monarchy.
Her Majesty is doing her job. She is the unswerving public servant to the people and we have not heard a single complaint out of her despite the hard times, the terrible times, the gruelling schedule, bad decisions by politicians and the very rude, rather scathing public. Above and beyond politics and political parties, she has quietly reshaped the monarchy, paid taxes, seen the removal of hereditary peers and Royal Dukes from the house of lords. (Which by the way gives them the right to run in an election. Careful what you wish for?)
For sixty years she has provided continuity, focus, stability. As part of the legislature, she's been born to the job, had no choice and just gotten on with it. She serves the public but can have no public voice. She does not vote and cannot choose the people she works with or whose advice she must consider. She leaves those choices to the people.
She actually has a broad outlook on things and when we get a glimpse to her thoughts I'm always struck by her insight and wisdom. I think she quietly demonstrates leadership in a very female way. From the back stalls, encouraging others, gently showing by example, upholding her values and just getting on with it.
The celebrations for the Jubilee are for Elizabeth Windsor and what a long and successful reign she is having. Other questions and doubts regarding the monarchy as an institution are not for now. Leave them be. Not many these days can say they've given dedicated service in the same job for 60 years. Congratulations Lizzie on an amazing body of work.
*Although I have been known to yell loudly "She's my Queen too!" from the Aliens queue at Heathrow Airport.
"Poor Ned, You're better off dead, at least you'll get some peace of miiiiiiind...."
Well. Um, not so far.
The argey-bargey regarding the human remains of Ned Kelly has gone from mysterious to manic now that his skeleton has been formally identified. The law who had such a strong hold on his life shall now dictate where he will lie in death.
In 2009 archeologists exhumed, documented and removed from the old Pentridge Prison site, human remains from a large massed grave to the State Coroner for examination and potential identification. Collective community breath was held for over 2 years whilst the boxes of skeletal material underwent extensive testing, sorting, cataloguing and further documentation. Local myth has long held that Ned Kelly could be amongst the material there and so the opportunity was taken to submit the skeletons to extensive DNA testing to be sure.
This was all headline news only five months ago when the State Coroners struck mythology gold. Indeed one of the three skeletons, an almost complete person, was found to be that of Ned Kelly. Eureka! Tantalisingly, the missing skull (stolen from the Old Melbourne Gaol in 1978) which had been handed in (the "Baxter skull) was found not to be that of Kelly, so while we have headless-Ned actually here with us now, the mystery and intrigue continues yet. The fat lady hasn't yet warmed up, let alone sung. You couldn't write this stuff. Truth is way better than fiction in the Ned Kelly saga, now spanning three centuries. It feels a bit like the end of a drama series with a cliff hanger finish to take us to the next set of plotlines. "Whitechapel" eat your heart out.
So now we're much further down the path to resolution than we were 12 months ago. This week the latest dispute is between the Kelly Family and the site Developers at Pentridge Prison.
The Dig at Pentridge Prison
Since the identity confirmation of the exhumed remains last year, the descendants of the Kelly family have been gathering to discuss what to do with their famous relation. There obviously has also been much media interest with a documentary having been made, "Ned's Head", amongst other interview and many newspaper articles etc. This is certainly in the limelight.
Ned Kellys Skeleton.
So where are we now? Well, apparently, in fact, no-one actually "owns" the remains. Heritage Victoria has recently explained that the permit issued to allow the bones to be removed from Pentridge and travel to the State Coroners Office for tests, has the condition that the material is to be returned to the place of origin for burial. Ie back at Pentridge. This is one of the standard conditions under which the permit was issued and is legally binding.
The Kelly Family Trust have been getting everyone together to collectively decide their wishes for the remains. They hope that Ned can go back to the country town of Greta and finally lie to rest with his mother in the local Greta Cemetery.
Beautiful "Kelly Country" in Northern Victoria
So will Ned be have to be buried back at Pentridge or can the familys wishes be considered? At the moment the Pentridge site developers might demand that the conditions of the permit are carried out. There will be a location at the site to acknowledge the dead criminals buried there, the history of that place in a sensitive and appropriate manner. But yet the family have requests that should be considered also. The good news is that there is a recent precedent for this situation which you can see more clearly from the timeline below.
Two sets of remains from the diggings at Pentridge and the Old Melbourne Gaol have been retunred to the current families of the buried. The first has seen Colin Ross posthumously cleared for his deed, and his remains returned to his descendants upon their request.
Ronald Ryan
The second is slightly more relevant. When Ronald, "the-last-man-hanged-in-Victoria" Ryan met his end in 1961 he was buried in the grounds of Pentridge as was still standard practice. His remians were exhumed in 2007 and under the same permit system dictating the Kelly remains, his remains were sent to the Coroners Office for DNA testing where they were indeed confirmed to be that of Ryan. An exception was made for the permit and the remains were handed over to the Ryan family in 2008. There is much pressure for this precedent to also be considered when the family request to have the remains of Ned Kelly returned to them. I understand that this has not occured yet, but will will most likely happen. The Ryan decision is more relevant than the Ross case as the latter was cleared of all deeds. Ronald Ryan and Ned Kelly did committ the crimes they were for. At the moment if there is a clash of wills in the next chapter the courts might yet decide the outcome. I hope its short and sharp process whichever way the outcome falls.
Here's a brief timeline.
Background
=============
1820 - John "Red" Kelly born in Ireland near Tipperary.
1840 - Red Kelly convicted of stealing two pigs to the value of £6 and sentenced to transportation
1841 - Red Kelly sails for Van Diemens land on the "Prince Regent"
For the story of Ned Kelly's life look up the zillions of articles and books. Ian Jones is the long accepted expert in the field although some details are now being challenged.
1865 - Red Kelly dies.
1880 - Ned Kelly Hanged
1922 - Colin Ross convicted of the "Gun Alley Murder" and hanged at Old Melbourne Gaol.
1920's - Closure of Old Melbourne Gaol.
1929 - Work to the Working Men's College next door to Old Melbourne Gaol (Now RMIT) exposed graves.
1929 - All remains of executed inmates that could be located were removed to Pentridge and re-interred in mass graves (30 sets of remains)
1929 - Argus reports discovery of Ned Kelly's grave and siezing of bones by schoolboys.
1937 - 4 burials from hospital grounds Old Melbourne Gaol transferred to Pentridge.
1967 - Ronald Ryan Hanged.
1960s - Drainage pipes installed at pentridge (possible re-location of bodies to mass grave Pit C).
1978 - Skull stolen from Old Melb Gaol, rumoured to be that of Ned Kelly.
1999 - Pentridge Prison site sold by the State Government.
2002 - Archaeologists from La Trobe Uni working at Old Melbourne Gaol unearth an intact coffin buried against bluestone walk the area the former Gaol hospital. This triggers the archeological investigations of prisoner burials at both the old Melbourne Gaol and Pentridge Prison.
2006 - Archaeological testing of Pentridge cemetery site, to define number and locations of burials approved
2006 - One burial discovered in Pentridge Cemetery site and believed to be that of Ronald Ryan.
2006 - Further grave sites are located of the 9 prisoners buried at pentridge 32 - 51 and a single mass grave believed to be the 4 re-located from OMG in 1937.
2008 - Exhumation of discovered sites approved for remains' identification purposes.
Parthenon/Elgin Marbles Exhibition hall at the British Museum 2010
Here we go again! Hold onto your hats. In recent days the issue of the restitution (return) of the Parthenon/Elgin Marbles (from the British Museum back to Greece) has been raised again.
In case you've been under a rock (or a marble) Stephen Fry has suggested that the UK government, at this time of the London Olympics, make the offer to return the statues. It would be a sign of maturity, trust, recognition of everything Greek culture has given the west and just plain old goodwill.
For me the issue is not the actual returning. It's the offer to the Greek government by the UK to resolve the dilemma once and for all that is important. It's time to be the bigger person, to recognise the place of origin, to make an incredibly mature gesture and simply "get it sorted".
This could mean many things. This might indeed mean repatriating the marbles to Greece. It might mean paying Greece for them legally and shaking hands on the deal (goodness knows they need the funds). It might mean casting replicas for one or both museums and making a separate decision on the marbles themselves. Who knows? The outcome could be anything they want it to be. The point is it's time for them to both want to move on and realise no-one and nothing is threatened by resolving this. Not their dollars, institutional policy, popularity or reputation. In fact those elements could improve for all parties.
The Parthenon
It's time for the Greek and UK governments to sit down in a mediation session and discuss the possibilities and opportunities, having first made the pact for a resolution. Athens now has a museum able to house the collection adequately, so the conservation issue is subsiding.
The argument of precedence (ie "If we return the marbles we'll have to return everything else in the BM too") is fading also. Collection repatriation is considered on a case by case basis within any museum and I think museum professionals have matured well beyond that very simplistic fear-wrought- thought. We know there is no "one rule fits all" regarding deaccessioning or repatriation and just because something came from somewhere else, it does not mean it must go back there.
When reading all these articles over the last few days I kept thinking about the ongoing prgramme for the restitution of Australian Aboriginal remains in public and private collections. These are ancestral skeletons collected 150 years ago or only 50 years ago or anytime in between.
It's immediate, very recent, in my community and not only concerns "cultural heritage", but families and people. People with very different views, from very different cultures. I'll say it again. From very different cultures. Still didn't get it? one more time...from very different cultures.
At least the UK and Greece are western-civilisations-together. I know it's not all jolly hocky-sticks and Haloumi, but they're neighbours. These nations have a shared historical base and a mis and/or /under -standing that dates back thousands of years. Ok. I get it that that's part of the problem.
Australian Aboriginal cultural traditions do not share the same roots as UK/European culture. They're different. In some aboriginal cultures you do not mention the names of the dead. That's disrespectful and taboo (We have a vastly modified version; speaking ill of the dead). In some cultures to take an image of someone is to take part of their soul. So some people have trouble with photographs. As with any community, some practice those cultural traditions, others don't. When I was in central Australia one elder was complaining about the youth of their community taking photos on iphones. Their ancestors would not approve and the youth were careful around their parents. In the meantime European culture is all for digging
up their ancestors. You can see skulls and bones and dug up people every night
of the week on telly. I love Time Team!
Ned Kelly's Skeleton currently being returned to the Kelly Descendants.
No, really. Listen to it. The stories are very personal. It discusses a myriad of dilemmas. From arriving on the doorstep of the BM to ask for their relatives back, to committees forming, undergoing the mediation processes, appreciating enlightened museum policies, to the return ceremonies themselves and what it means to a community. Please have a listen.
There's also a plea to the locals in Melbourne to check your cupboards, and, if you find anyone - the literal skeleton in the closet - please call Museum Victoria or call (03) 8341 7777.
Nothing is easy or simple in any situation. Not in that of human remains (be they aboriginal or Ned Kelly) or iconic statues torn from a building in Greece which have become the corner-marble for this debate. But the trust and discussion that can come when the time is right can help everyone. I wonder if that will be at the conference in London this year.
I hope I see the day when the time is right for the UK and Greece.
