BY STEPHANIE ESLAKE
Has there ever been a more appropriate time to connect with humans? To listen to stories sung and told? To come together in a physical space, and feel the emotions that inevitably arise when we hear the music of our time?
This is what the RESPECT project has to offer its artists and audience members alike. Presented by Homophonic!, the program is a celebration of story and life through recently commissioned music. But artistic director Miranda Hill describes RESPECT as more than a live performance; it’s a project that also shines the spotlight on queer cultural history, friendship, and pride.
Miranda chats with CutCommon about this performance that honours human connection, and the people behind the music, ahead of their Strings and Voices event this August 29 in Hawthorn Arts Centre, hosted by Boroondara Arts.
Miranda, it’s great to connect with you about RESPECT! Tell us how you first had the idea for this program as part of the upcoming Strings and Voices.
The RESPECT project is one of our absolute favourite projects within Homophonic!, and it came about as an extension of our regional touring program. As we were building meaningful relationships with the LGBTQIA+ arts festivals and the absolute champions who run and organise those festivals for their community, the thought started to arise of how Homophonic! could represent the strength of regional communities and support their communities in our own somewhat unique way. And the RESPECT project was born, making our touring program so much deeper than playing a show and leaving again. It’s honouring the senior members of our community, while also bringing world premiere works to regional pride festivals, which brings a bit of a buzz!
Homophonic! is also dedicated to aural history and creating a lineage between composers of today and the greats of the past, so writing our own history down in music was a logical yet heartfelt next step!
Why was it important not only to share new pieces of music by today’s composers, but to use RESPECT as a medium that could also focus on sharing individuals’ stories and truth?
Queer cultural heritage is as important as any cultural heritage, but it’s one that’s a bit harder to hold on to. We rarely have a multi-generational dinner table to learn our own history, and that leaves the LGBTQIA+ community at risk of only remembering the stories that have been deemed sexy or dramatic enough to make a Netflix special about. But I’ve always felt that while the big moments deserve their big screen adaptations, the quiet lives of real people tell us as much, if not more, about what it was to be a queer and/or trans person in the 1960s, ’70s, and ’80s in Australia.
These people represented in this set of songs are all trailblazers, even if they may not consider themselves in that way. From meeting them all, becoming friends, and watching people interact with music written about their lives, I’ve learnt so much; so much about life, priorities, love, friendship, and community.
When the RESPECT project first started, I had no idea the impact it would have on my life, and of the lives of the ensemble and the people being represented. It’s truly an honour to be part of capturing this musical snapshot of people’s lives.
How did you choose your collaboration partners on this Strings and Voices program, and what were some of the themes that helped you shape it?
Most of these works have been created in collaboration with regional Pride festivals, through a conversation about ‘Who in your community has a story that hasn’t been told?’; ‘Who is a pillar of your community that deserves their moment in the spotlight?’. So the process has been very organic and deeply based in community.
The conversations between composers, librettists, and subjects are whatever it needs to be, and is different for every pairing. Andrew Aronowicz took inspiration from the adventures of Peter H, and wrote a rollicking adventure on the high seas, while Kevin March and Judith Dodsworth had a very profound connection to trans trailblazer Julie Peters, and have written poetry encompassing many facets of her life through fleeting references in the text and music.
Each process is as unique as the artists and subjects themselves, which is a lovely process to witness as an artistic director.
What are some of the stories that audiences can hear through these newly commissioned works?
Robbie’s Daydream, music by Kym Dillon with text verbatim from Robbie Haywood, is a rollicking journey through the skies and gender euphoria. Robbie was a fighter jet pilot — amongst many other high-octane professions! — and this work takes us through her journey of discovery of herself, with the euphoria of flight at its heart. Not only do we hear Robbie’s words as she recalls her life experiences — including a hilarious and affirming interaction with the ‘kinda blokey’ ‘Jim, the guy who helps me build my racing engines’ — Kym has scored this tale of soaring euphoria with string writing that pulsates with the energy of a high-powered engine. Quite literally, as she has transcribed the sound of Robbie’s favourite engine, the de Havilland Vampire Goblin, the strings thrum with energy and forward motion.
Swerve, music by Meta Cohen and text by Leona Cohen, is inspired by Jenni George-Evans from Shepparton. Jenni is a driver: buses, taxis, you name it. Swerve, which was a finalist for Work of the Year at the APRA AMCOS Art Music Awards, uses the metaphor of roads to explore Jenni’s journey through life, and how she comes to finally allow herself to feel butterflies for the first time, much later in life. There’s a moment at the end when three treble voices flutter around each other like butterflies, and it takes my breath away every time.
Shimmer, music and lyrics by Louisa Trewartha, is a joyous exploration of found family and community inspired by Max Primmer, an icon of the Daylesford region, who presents about 20 hours a week of community radio, amongst many other activities. Shimmer is dedicated to ‘the people who make us shine’ and has four distinct musical characters of people in Max’s life, including his late partner of many years. It’s affirming, heartwarming, and deeply moving, while also revelling in the ridiculous — much like many of my conversations with Max!
There are so many powerful stories in RESPECT, and it seems like there is a heart-on-your-sleeve approach to the real experiences that underpin the music. What do you think it is about live music that can create such a powerful environment for sharing emotion and connection?
Music is a profoundly human way to share and remember stories. Opera, folk music, murder ballads; culturally, we seem to remember best the stories we set to music, so it’s a powerful choice to choose to tell the story of a Mardi Gras ’78er in this way. Historically, art music has been very selective about whose stories get written down in this way, so it feels pretty great to be part of elevating these extraordinary yet everyday life stories to the main stage.
The Consort of Melbourne brings so much to this project. Their ability to connect an audience with emotional depth within an instant blows me away every time I hear them sing. The combination of six voices and string quintet is one with an amazing depth and variety of timbral and stylistic possibilities.
As the curator of these works, it’s always such an exciting moment to get a new piece, and take a moment to appreciate how all these composers have created such different emotional soundworlds from the same set of tools, all inspired by the people each work represents. From the very first note, each piece is unique, which feels to me like something that only music could achieve.
How has working on RESPECT changed you?
For the better! The relationships the core Homophonic! team and I have built with the amazing people represented in this set of works has been truly affirming and life changing.
It’s a truly unique experience to perform music that represents elements of a person’s life, and to then see them hear that piece for the first, second, or tenth time. It’s an honour to be able to bring these stories to such a wide audience, and I’m constantly humbled by the life experiences we have been entrusted to portray.
I didn’t realise that intergenerational connections within my LGBTIQ+ community were something I was missing until I gained them through the RESPECT project. I feel more connected to my own history, and have gained a broader perspective on what it means to be queer, what it means to celebrate pride, and how we can continue to advocate for the community as we age. Supportive aged care is a real issue for LGBTIQ+ people, especially in regional areas, and I’m constantly inspired by the work being done already.
Pride is a party, but it’s essential that pride also goes beyond the dance floor. The RESPECT project has taught me how to appreciate those moments, and has galvanised my desire to continue working to make our world a safer place for all types of people and lives.
Seeing the connections between the composer/librettists and the people who inspired these works is so beautiful, rare, and true. I don’t know if I can describe it in words, but I do know that you’ll be able to hear and experience that connection live at the Hawthorn Arts Centre!
What do you hope audiences will take away from RESPECT in Strings and Voices?
A sense of connection, a rollicking good tune, some new favourite composers, and some amazing life stories. Some moments that make you laugh, moments that make you cry, and so much in-between in these songs. And it’s such a joy to be sharing the bill with the amazing QiQi Lu’s Elysian Blues. Genre-bending guzheng, performing with Kym Dillon. I’m so excited to finally hear them play live. I’ve been a fan of theirs for ages, and we’ve got some secret plans that you’ll have to be in the room to hear!
Anything else you’d like to share?
Respect your elders! We all have a lot to learn from each other.
Experience Strings and Voices: Homophonic! and Elysian Blues when doors open at 7.30pm August 29 in Hawthorn Arts Centre.
Images supplied. Credit: Darren Gill.
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