Flying A Kite

[Ric Raftis]

G'day all,

First of all, I have been involved in the bush poetry movement in one form or another for 9 years now and have run this site for 8 years.  Originally it was as a sub-domain of bigpond, but then eventually it was registered as a domain in its own capacity.

Down here in Victoria at the Central Goldfields Bush Poets based in Bendigo, we have pursued a policy of interacting bush poetry and bush music.  As a result of this policy, our group as grown over three years to a significant force in bush poetry and bush music with a large number of people attending our concerts which we hold bi-monthly.  I think it would be fair to say that without the bush music, the concert could end up being fairly dry and patronised by die hard bush poetry purists and consequently our numbers of attendees would be much lower.

Many people who are into bush poetry are also into bush music.  Indeed, many of our performers of bush poetry, myself included, are also competent musicians and singers who thrive on the opportunity to perform the traditional old style bush music to the audiences.

In my humble opinion, bush poetry has ridden on the back of country and western music for far too long.  Bush poets go to Tamworth every year and perform, but what is Tamworth?  It is the celebration of the invasion of American country and western music into our own culture.  Our traditional bush music has its roots in Ireland particularly, but also in England and Scotland - not in America.  

Let me make it quite clear however that I have nothing against country and western music.  Some of it I enjoy.  I also love blues very much.  But it is NOT traditional Australian bush music.  It is this music as much as our traditional Australian bush poetry that we are in danger of losing unless we all do something about preserving it.

So the question is - should Australian bush poets and bush poetry clubs push for the inclusion of bush music?  Will the addition of bush music augment our clubs and help keep both Australian bush poetry and music alive?  What is the best way of going about it?

As far as I'm concerned, it is just as important to preserve our music as it is to preserve our poetry.

Let's see how you go with the poll or at least a response to this post which I feel very passionate about.

Kind regards,


Ric

[Glenny Palmer]

...
....G'day Ric,

Whenever I am involved in organising a B/Poetry event I always include a bush band or bush muso in the programme. (I'm sure it enhances the show & the audience numbers.)
Perhaps if organisers adopted this practice it would at least be a baby step towards bigger things.

Glenny

[Bernard de Silva]

You're right Ric, when I stop and think about it, I havent seen anything in the nature traditional Irish/ colonial, or old bush band music performed up this way for a long long time. Two well patronised C/W clubs hold regular get togethers and concerts, Rock bands still perform with the more modern in the club/ pub entertainment scene...but the bush band seems to have fallen by the wayside already. Probably due to the tourism industry needing to appeal to overseas and predominately city based travellers. The working community here is largely young expatriot southern city dwellers and as always the great God money and popular demand rules. It would seem you and others like yourself who have the ability to promote and perform are bush musics only real chance of survival. Poetry, in its many forms has had a resurgance in recent times and to me it would seem logical to promote bush music and bush poetry, which has an established following, as a package. The sad reality however, like it or not, is that the promotional machine, the almighty dollar, and the career entertainers who subscribe to same, will promote C&W and modern music to the detriment of all else. Getting youth groups somehow involved, or better still lobbying the education system to support something of traditional National culture may be the only way to make meaningful inroads into appealing to younger people to keep interest alive. It's about time the education sector supported something worthwhile for the preservation of the ordinary Australian's cultural heritage, rather than catering for the whims of minority and ethnic groups.
 You have an extremely hard row to hoe, I sincerely wish you success.
                                                            Bernie.

[zondrae]

Hi all,

At all the Folk Festivals I have attended over the past five years, there is lots of Traditional music. A lot of it is based in the Irish tradition and a lot is based on performers playing "new" original music. There is a vast crowd of "folkies" out there ranging from teenagers to the typical "long grey beardies" (with their saggie titted ladies).

If you ever get the change to see Pat Drummond he is the perfect example of an Aussie writing topical songs of sedition. And as for lyrical beautiful love songs, try Enda Kenny. For comedy I recommend Martin Pearson. I could go on (but I won't)

[Carol Reffold]

This is from the perspective of both an event coordinator and a performer.

As most of you who know me from Tamworth know, the first few years I ran bush poetry events it was just poetry.  I found that we were not keeping the audiences because there was not enough variety.  And even though we ran up to six shows a day, all with different themes, there was 'something' missing.

No matter how good the poets were, the audience' attention seemed to waver and the 'energy' of the shows had to be altered.

The die hard poetry fans were happy enough and they complained when I added music (maybe three couples  who I can definately recall)  But perhaps sixty or seventy people came up to me and raved about the inclusion of Jill Meehan, John Memery, Jim Brown and other strong performers into the concerts.  I never had country music 'stars' so I can't comment on what would happen if they were included.  I always stuck with traditional second-tier Australian style singers and musicians - (performers who were amazingly good but didn't charge like wounded bulls, and didn't have whopping great egos) who could play with no amplification - like they did years ago or round a campfire now.

The year we had 'H' and Toni at the showgrounds was spectacular and many of the poets performances were 'lifted' because the music led into their bracket, or, conversely,  led out of their bracket.  The shows seemed to 'build' and the energy of the shows was really balanced.

Poets, and the musicians I selected, was a very workable marriage and I am all for this inclusion.  The wonderful words of Paterson and Lawson have frequently been set to music and is not Australia's most famous song one of Paterson's poems set to Australian Basic Bush Music (Waltzing Matilda)?

Putting on a poetry event, I will not consider putting on two and a half hours of just poetry.  Even when I do an hour, I try and get someone to accompany me acoustically to provide atmosphere and add an extra dimension to the words.

It works so well and I thought this had been recognised by the formation of the Victorian Bush Poetry and Music Association of which I am, currently, the Vice President.

I am a very strong supporter of the inclusion of all facets of Bush entertainment(?)  into a 'Poetry' event.  -  

In Camooweal there was the "Brownie Baking Championship", a "Damper Cooking Contest", as well as Fabulous Bush Entertainers (the year I was there so was Ted Egan, Tom O'Day, and a lovely young man who was everso tall - sorry, I can't remember his name, but was he good!) as well as a raft of Bush Poets and drovers who could recite 'round a campfire.

There's art in the sand things, there's all sorts of interlocking bush art.

There's boil the billy contests, there's frisbee cowpat comtests, chuck the gumboot or the rolling pin.  Some places they have dogs working cattle and sheep, or a sheep shearing demo.  Sometines there is a children's choir or the local school puts on a little play - it's all what was done in the bush before the bloody telly came and wrecked our creativity.  

For me, in organising a bush poet's 'muster' it's about honouring all facets of bush entertainment and keeping the energy of an event 'up'.

I could go on  . . . but I think I've said enough.

[manfredvijars]

.... Nahhh ... stuffem ALL! Bush Poetry, then Bush Music?  What next Bush Dancing? then Bush Carpentry, Bush Mechanics then we'll end up with Bush Bloody Lawyers telling us that the events aren't politically correct (urban-wise) and it's all "Bush-centric"! Therefore Discriminatory. So our PI (Pooncie Idiots) Insurance premiums will rise. Then  of course the City will revolt because they're selected against and not adequatly represented then we'll have to include a minimum number of cissy (oops CITAY) people into our ranks!!

Let's call it Mongrel Poetry,(Never heard of Mongrel Music or Mongrel Dancing) However, then the Mongrel legal-eagles can run in ever increasing circles trying to sort out who has been disadvantaged in the whole shemozzle. given that about everyone in the country is either Mongrel bred, or has a Mongrel Attitude, EVERYONE wins. I just ask you, can anyone here see us paying a MI insurance? (Mongrel Idiocy Insurance)

I rest on my mongrel donkey! (that's Yankee for Bum!!)

Cheers,

Manfred.

[the grey]

It has been a tradition of the inhabitants of this great Island, Australia, to keep the history and the culture of its people, places, and way of life preserved through story telling.

As the inhabitants have come from diverse backgrounds and originated from other lands, it was only natural that their style of story telling would be influenced by their roots. Also the various instruments and styles of playing those instruments that complemented their stories would be just as diverse.

In time, though still influenced by each one's roots, they would establish a style of story telling and choice of instrument and style of playing that became uniquely Australian, but still diverse and choosing to champion various aspects of our nation's culture.

Freedom to choose has always been the right of any inhabitant in this country and many have favoured one particular style or perhaps a wide range of styles. Variety certainly is the spice of life.

I hold with high esteem those who work hard at preserving our Folklore and culture through the various styles of story telling and not only those who are gifted enough to write and perform, but those who work at promoting each form and to all those loyal supporters who follow and support the artists and style.

Like all small children, I too loved to listen to the traditional fairy stories of old, but as I grew older I began to relish the true to life experiences, as told by our historians, motion pictures, novelists, songwriters and balladeers, of those who pioneered this great nation and helped make it what it is today. Sometimes I have almost wished I could have been a part of that early history, though doubt I may have been made of that sterner stuff, which was required.

Still I have endeavoured to make a contribution and play a part in that I have told my stories in the form of bush verse, ballads and yarns.

I have found throughout the years that many folk are proud of their Australian heritage and enjoy the diverse styles available today. For a number of years now my wife Chris and I have in our show, Laughter and tears from the Bush, used all three of the above styles in our shows.

We have enjoyed inviting various bush poets, balladeers and yarn spinners to join us when we organize various festivals.

Many story tellers are not always able to champion every style, but do their best in keeping the culture of this country in their own way.

Beside the rhyming verse style championed by Paterson, Lawson & Co. I enjoy the uniquely Australian Bush Ballad fostered by the Australian Bush Balladeers' Association and congratulate them in their endeavour to preserve our Australian culture through that unique form.

I have posted below the guidelines established for judges as to what constitutes the two types of Australian Bush Ballad so that folk can gain a better understanding of what this Association is trying to preserve.

To all the other story tellers I wish you all the best in your endeavours to preserve the cutlure of this country in your own unique Australian style and your endeavour to keep it alive.

It is only reasonable to conclude that not everyone can be a member of all the various associations of story tellers. I have found that many Bush Balladeer followers do enjoy bush verse and I therefore offered my services some four years ago to be their Bush Poet Rep and endeavour to keep those members informed as to what is happening with bush poetry around Australia. Though I am also a member of the Australian Bush Poet's Association and have promoted the organization for many years, I feel this way I can broaden the base of bush poetry and The Australian Bush Balladeers have always included bush poets in their organization, compilation albums and shows.

Also any organizations that are including bush poetry events in their festival programme or you meet as a group, we are happy to include them on the page. I am doing my best as the re-elected Poet’s Rep. to keep the art form before as many folk as possible, but we need your contributions as well. ANY NEWS? Please contact me with news items, results of competitions, forthcoming events, poetry, queries or new releases. If you want to clarify or know anything about material on the page please phone 07 4159 1868 or email me by pressing the email icon available with each post.

http://www.bushballadeers.com.au/bushpoet.htm

http://www.bushballadeers.com.au/default.htm  


The following compiled and approved by A.B.B.A Committee, Bush Balladeer identities and Judges.
August 2004
GUIDELINES - JUDGING OF AUSTRALIAN BUSH BALLADS AT FESTIVALS ETC.

There should be 2 CATEGORIES for BUSH BALLAD CONTEMPORARY & TRADITIONAL BUSH BALLAD.

The Traditional Bush Ballad should be judged from songs deemed to be sung in the traditional way, ie: in the style of artists/albums from Stan Coster, Glenn Jones, Dean Perrett (The Real Thing, Kings In Grass Castles), Reg Poole (When The Big Mobs Come Down To Bourke), Brian Young, Ernie Constance, Ian Quinn, Keith Jamieson (Picture Of Australia), and Slim Dusty (West Of Winton, Cattlemen From The High Plains, The Man Who Steadies The Lead)
The songs 'Leave him in the Long yard' and 'Ballad of Camooweal' in the original Slim Dusty arrangement are true bush ballads and should be used as part of the platform to judge a Traditional Bush Ballad.

The Lee Kernaghan version of 'Leave Him In The Long Yard' from the album 'Three Chain Road' is delivered in a Contemporary Bush Ballad style. The best way to distinguish between the two is to study the two versions at the same time, the difference is obvious.
There are contemporary versions of these songs eg, Slim Dusty's version of the 'Rain Tumbles Down In July' is delivered in Traditional Bush Ballad style, whilst the Graham Connors version is Contemporary Bush Ballad.
'Diamantina Drover' is a Contemporary Bush Ballad in its original form, unless played with pick and strum in bush ballad style then it would become Traditional Bush Ballad.

Hillbilly Ballad is typified in many of the songs of the late Buddy Williams/Tex Morton often with references to 'prairies' yodelling, "ranches" etc, and artists performing such works are deemed 'hillbillies' and not in the category of either Bush Ballad sections.
Australiana/folk/Bush Music does not constitute a Traditional Bush Ballad.
Rodeo songs have always been a part of Australian Bush Ballad music. Examples; "Isa Rodeo", Old Riders In The Grandstand", "Warwick Rodeo". The word 'cowboy' has been excepted the world over since rodeo stepped onto the international stage. Therefore, if the song is delivered curtailing to the above requirements and not in the context of ' Mama's Don't Let Your babies Grow Up To Be Cowboys' then that may be accepted as a bush ballad song.

WHAT DEFINES A TRADITIONAL AUSTRALIAN BUSH BALLAD
The Australian Traditional Bush Ballad lyric/music is drawn from the Slim Dusty/Stan Coster style and this can either be a song/narration in verses plus choruses (refrains) or just verses alone. The same song structure applies to the Contemporary Bush Ballads.
The Pick n' Strum is one of the dominating factors regarding a Traditional Bush Ballad, while the Contemporary style guitar (finger picking/strumming/rock styles) move the song from the Traditional Bush Ballad realm to the Contemporary Bush Ballad.
Pick n' Strum' (Bush ballad guitar) is defined by the thumb/flat 'pick' striking the top root note of the chord and the following 'strum' playing the remainder of the chord, followed by an alternate root note and the following 'strum' playing the remainder of the chord.
No ' Americanisms' should be used in the Traditional Bush Ballad or the Contemporary Bush Ballad.

ALL AUSTRALIAN BUSH BALLAD TRADITIONAL OR CONTEMPORARY SECTION VOCALISTS -
MUST USE AUSTRALIAN ACCENT (unless the performer is of international origin.)
To define bush ballad musical backing, starting at the bottom;
Firstly - Pick and Strum Guitar. Ballads may contain Drums, Electric Guitar, Electric Bass, Banjo, Mandolin, Fiddle, Harmonica, Steel Guitar, Piano, Dobro or any instrument providing the bush ballad song structure indicated above is adhered to in the style of the albums mentioned above.
IN SUMMARY
TRADITIONAL BUSH BALLAD (EXAMPLE)
Stan Coster "Fire Of Gidgee Coals', Slim Dusty "Leave Him In The Long Yard", Reg Poole, "When The Big Mobs Come Down To Bourke" Slim Dusty ' Things Are Not The Same On The Land', Slim Dusty ' Paddy William', John Williamson 'Three Sons'. Material relating to heritage/past/present/country or city life within the above style of delivery.

CONTEMPORARY BUSH BALLAD (EXAMPLE)
John Williamson, "A Bushman Can't Survive, Graham Connors ' Let The Cane Fields Burn" Lee Kernaghan eg, 'Three Chain Road' 'Boys From the Bush' Sara Storer eg, album ' Beautiful Circle'. Material relating to heritage/past/present/country or city life within the above told in Contemporary style.
TRADITIONAL BUSH BALLAD REFERENCE ALBUM;
Slim Dusty - West Of Winton - defines most subject matters in the definition of Traditional Bush Ballad.
Footnote;
Festival Organisers should ensure the backing band for the traditional Bush Ballad section is supplied with a copy of this guideline so that they may present the contestant in either of these sections with the correct backing.
· A Solo Bush Ballad vocalist (who does not play accompaniment to him/herself) would still be required to sing in the style of Slim Dusty/Stan Coster when performing in Traditional Bush Ballad section.
The above guidelines are for judging live performance or recorded material.