The Narli Tour

The Narli Tour features Indigenous musical icon Mark Atkins with Judith Hamann (cello), Tos Mahoney (flute) and Joe Talia (percussion).

Travelling to regional centres and remote communities, Narli brings collaborations, story, new music and celebration across the Kimberley.

Community concerts, school workshops and presentations.

15 June – 30 June 2018

Beagle Bay, Djarindjin, Lombadina, One Arm Point, Kununurra, Warmun, Halls Creek, Fitzroy Crossing, Derby, Broome

More info soon

Painting the Wreck

 Across last week in a shed in part of Warmun know as the ‘overflow’ some of Warmun’s renowned artists have been painting up a car wreck. But this is not just any car wreck. This object was transformed during Tura’s residency program in Warmun, East Kimberley in August 2017 where composer/performer/sound artist Jon Rose with composer Catherine Ashley and a small army of local community welders, carpenters, towing agents and handy folk created a massive instrument/installation titled Carpintj – The Wreck. Like some ancient giant percussion and stringed animal it journeyed to the Junba (Dance and Song) Grounds adjacent to the Warmun Art Centre for a special performance by the artists, community members and then dozens of overjoyed school students. Boxes of drum sticks and many cello bows used to hit metal or bow the wires were consumed in this most enthralling performance. Gija elder Rusty Peters commented: “That was fantastic! Its brought the whole community together to experience something new thats been made right here.”

Tura Artistic Director Tos Mahoney, along with Warmun Art Centre Manager Stephanie Raj, had planned to involve Warmun painters in the process at the time but getting the Wreck built and ‘rehearsed’ was challenge enough and took all the time of the residency. So it was planned to do some time in the future and the Wreck left to mature. The community got concerned over the wet and they moved the Wreck to the ‘overflow’ shed, ironically the area of town built for the workers during the rebuild after the flood in 2011 and now sheltering the Wreck. Post flood 2011 was also the time of Tura’s first residency in Warmun with field recording specialist Philip Samartzis spending four weeks recording the Warmun world with elders and artists.

Now with the wet well receded in 2018 and all the forces aligned, including the presence of Broome filmmaker Mark Jones accompanying Tos Mahoney back to Warmun, the artists have started painting ‘that moda car’. For some time they had decided it would be done by a group of elder and young artists. Some telling wreck, some telling stories of country. And so it is. Painting and stories documented for the future, this object which nine months ago was abandoned and covered in the shrub has evolved first into a cross-cultural sonic explosion of deep importance to community and now to a carrier of country and story.

Warmun artists painting the Wreck include Gabriel Nodea, Shirley Purdie, Gordon Barney, Nancy Nodea and Lindsay Malay.

Tura and Warmun Art Centre are planning for Carpintj to travel on its own journey to Perth in 2019 with Jon Rose and some community members for a series of performances and presentation and then a future after that as an installation along with all the many stories that have been recorded along the way.

Stephanie Raj comments: “The Wreck project has been a wonderful opportunity for the community to experience a very different world of music and sound that they have been used to but at the same time one that resonated well with them. Now the painting of the Wreck gives our artists the chance to express their work in a different way and in collaboration with the sound experience.”

Jon Rose returns to Warmun this June assisting his partner Hollis Taylor who will bring 25 violins to Warmun School to created the Warmun Philharmonic Orchestra! Rose will no doubt will absorb the work of the Warmun painters and check on the working of the Wreck in preparation for its journey south.

“This is actually our second wreck project in the Kimberley with the first in Lombadina in 2016. In both communities what started as a trickle of interest turned into a torrent with many folk coming out of the wood work to tell us their wreck stories or, just as likely, tell us someone else’s wreck story. Some full of pathos, many full of humour. The process of retrieving something that has been abandoned and considered useless, then using it in this way, though treated seriously and with respect, brings its own humour, energy and connection. In the various stages of being found, retrieval, the build, performance, storage and now painting Carpintj has garnered a lot of attention and uncovered many stories. I have no doubt that in its future locally and as it travels, it will continue to do likewise.” Tos Mahoney oversaw the Lombadina and Warmun residency projects and has worked with Wreck provocateur Jon Rose over the last 35 years.

Tura’s annual Regional Program is supported by Healthway, promoting the Act-Belong-Commit message, the Ian Potter Foundation and the Rowley Foundation.

Tura’s annual program is supported by the State Government of Western Australia though the Department of Local Government, Sport and Cultural Industries and the Australia Council, the Australian Governments arts funding and advisory body.

10 May 2018

Meet The Summers Night Project Composers

Meet the three composers from Western Australia, South Australia and Victoria who have been selected as part of The Summers Night Project, with the aim to grow the gender diversity in music programs Australia-wide. Each composer has been allocated a lead mentor from their home state, Cat Hope (VIC), Rebecca Erin Smith (WA) and Becky Llewellyn (SA), as well as has access to performer mentors from Decibel New Music Ensemble and Soundstream.

Their new works will be performed in concerts in each state, alongside works from their mentors – register your free attendance for WA, SA and VIC.

Olivia Davies (WA)

Olivia Davies is a Perth-based composer whose works involve classical, experimental and electro-acoustic approaches to composition and are often texturally driven and ambient in nature. She has participated in Tura’s Totally Huge New Musical Festival (2015 & 2017) and more recently, was one of six emerging composers commissioned for the latest Hush Foundation album Hush 18 which will be premiered by the Australian Chamber Orchestra later this year.

Carmen Chan Schoenborn (VIC)

Image by Brian O’Dwyer

With a Master of Music in percussion performance, Carmen began creating graphic scores in Sweden as a response to her studies into graphic notation and interpretation, from which her project ‘Do You See What I Hear’ grew. She has been active in Melbourne’s experimental music scene since 2014.

Rachel Bruerville (SA)

Image by Amy Herrmann

Adelaide-based Rachel Bruerville is a composer, arranger, cellist, singer, and writer. Some recent, excellent musical moments include composing for The Hush Foundation’s current national project, Hush 18, and composing/ performing her original solo cello/vocal score in award-winning 2017 Adelaide Fringe theatre production Stories in the Dark, which will be further developed in 2018.


Louise Devenish On Her First National Tour

“[An] exciting cross-section of approaches to blending the acoustic and electronic, that shows how diverse percussion music can be”

A passionate advocate of new and Australian music, Louise Devenish has commissioned over 50 works for percussion and premiered countless others. 2018 heralds Louise’s first national tour of her new release music for percussion and electronics, presented by Tura. Performing in May in Perth, Adelaide, Brisbane and Melbourne, she will present a collection of works by Australian composers Andrián Pertout, Stuart James, Cat Hope and Kate Moore.

Louise gave a personal reflection on the works and tour:

“These works are the result of long-term collaborations with composers whose work I really admire. The works are particularly special to perform together because three of them were composed for me, on instruments that I love to play. The rich sound world of the works is one I personally really love, of resonant metal percussion instruments across a wide range of deep, low frequency sounds right through the bright, glittering metallics, enhanced by various electronic processes, both live and pre-recorded. It’s an exciting cross-section of approaches to blending the acoustic and electronic, that I think shows how diverse percussion music can be.

The show exists as an album and as a live performance, where the theme of metal is further explored in the video projection – footage of metals from raw to refined is shown on stage: molten, raw materials, shavings and offcuts, and the highly refined instruments themselves [visual projections will be mapped on the instruments by New York artist Ross Karre].

These works were all originally featured amongst other works in my first solo recital series performed between 2014 and 2016. Reflecting on the series, these four really stood out and so were recorded and released as an album in 2017. I feel that I will have a long relationship with these works and will continue to perform them many times. This is my first solo album.”

-Louise Devenish

See the full tour details

Louise Devenish 2018 National Tour

Tura presents Louise Devenish: music for percussion and electronics as part of Tura’s national touring program in May.

The program of works for percussion and electronics offer an immersive listening experience and a snapshot of Australian music in the twenty-first century. The works by Andrián Pertout, Stuart James, Cat Hope and Kate Moore are taken from her 2017 Tall Poppies release of the same name.

Performing in Perth, Adelaide, Brisbane and Melbourne, Devenish’s ‘breathtakingly deft delivery and sculptor-like attention to detail’ will be complemented by bespoke visual projections mapped to the instruments on stage by New York based artist Ross Karre. 

See the full tour details, dates and ticket information here.


Announcing The Summers Night Project Composers

Tura New Music, Monash University and Soundstream have launched The Summers Night Project. The project has been established to support and mentor emerging composers who identify as women to create a composition for performances in Perth, Adelaide and Melbourne, with the aim of growing the gender diversity of composers in music programs Australia-wide. 

The three composers chosen from a national call-out are Olivia Davies (WA), Rachel Bruerville (SA) and Carmen Chan Schoenborn (VIC). They will create works for a chamber ensemble comprised of members of Decibel New Music Ensemble and Soundstream. Each composer has been allocated a lead mentor from their home state and has access to all performer mentors each possessing different areas of expertise. 

The composer mentors are Professor Cat Hope (VIC), Rebecca Erin Smith (WA) and Becky Llewellyn (SA).

A two-day rehearsal intensive will take place in Perth from 30 June to 1 July 2018 followed by concerts in the three host states:

Western Australia | Monday 2 July | Subiaco Arts Centre

South Australia | Wednesday 4 July | Elder Hall, University of Adelaide

Victoria | Friday 6 July | Music Auditorium, Monash University
as part of the Gender Diversity in Music Making Conference

The Summers Night Project is presented by Tura New Music, Soundstream and Monash University, in association with project partners APRA AMCOS, the Australian Music Centre, and Decibel New Music Ensemble.

MEDIA RELEASE Tura New Music announces The Summers Night Project

Prof. Cat Hope on Mentoring and Supporting Female Composers

To give further insight into The Summers Night Project, Tura spoke to composer, performer and Head of the Sir Zelman Cowan School of Music at Monash University, Professor Cat Hope, about why she was compelled to put the spotlight on female composers, and what this project means to her.

Cat Hope by Catherine Gomersall

“The Summers Night Project is something I have been trying to off the ground for a while. When I took part in Soundstream’s Emerging Composers Forum in 2016, Artistic Director Gabriella Smart and I decided teaming up to support composers was a good idea, and that focusing on composers identifying as women  – irrespective of their musical style, age or level of experience – was an important focus for a mentorship project at this time. I reached out to Anne Summers, whose work in support and recognition of women in Australia has been an enormous inspiration to me, with the name idea – and so with her approval, and Tura’s facilitation, the project is finally underway.

I believe we need to support and nurture composers who are fighting to be visible. Recent statistics show us that on average, music created by women is programmed and performed less often than that by men, and that is why we have made this project to support women in their endeavours as composers. Mentoring builds confidence in a unique way that I really believes adds something important to the development and presentation of new creative work.

The mentors are a mix of men and women, composers and performers. I think the composition and performance link is an important one, as many of us work as both, and the emphasis may shift depending on the project or career point. Likewise, we work in a field with men and women together, and so a mix of mentors was important. Having members of Soundstream and Decibel new music ensembles work closely with mentees means not only the experience of writing a new work is covered, but also the need to enable repeat performances on the road is part of the preparation too. Commissioning new works for a single premiere performance is a shame, so I am pleased we are able to offer not one, by three significant national performance opportunities in which the composer will be a part, and will hopefully begin a longer life for these works in Australian music communities.

For the inaugural year, the focus is in the Australian states that host the instigators and mentors on the project – South Australia, Western Australia and Victoria – the latter being where I now live and work. I hope that it can expand to other states in the future and become a truly national project with an even broader impact on composers and audiences alike.”

-Cat Hope

Learn more about The Summers Night Project and apply for the mentorship.

Call For Submissions for The Summers Night Project

Tura New Music invites female composers to submit an application for The Summers Night ProjectThis project aims to provide support and mentoring for women composers to create new compositions for performances in Perth, Adelaide and Melbourne.

Three female composers, each based in Western Australia, South Australia and Victoria respectively, of any age, genre or background will be chosen to be part of this project, with the aim of growing the pool of female composers in music programs Australia-wide.

A mentorship team selected from each state and the new music ensembles, Decibel (WA) and Soundstream (SA), will work with the three selected mentees toward creating a new work for their combined ensembles to workshop and perform. The mentor mix of composers and new music performers aims to facilitate a practical opportunity for mentees to create and render their work a reality. Mentees may also propose to be part of the ensemble and involved in the performance of all works. The instrumentation for the compositions should include any or all of the following instruments: percussion, cello, flute, saxophone/clarinet, electronics and piano.

After initial consultations, planning and development, workshops of the works begin in Perth, and will then go on to be performed in concerts in Perth, Adelaide and Melbourne. The mentees will travel to these cities for each concert.

The participants will be provided with a commission fee, travel and accommodation in each city they visit.

More detailed information about the project, the mentors and the application process can be found here.

Local Experimental Music Heads to Mandurah and Bunbury

Outcome Unknown, a regular experimental concert series presenter in Perth, is bringing together local musicians from Perth, Mandurah and Bunbury for two nights.

A new generation of experimental musicians showcase their works at Mandurah Performing Arts Centre and Bunbury Regional Art Galleries. Expect works ranging from improvisation to precise electro-acoustic composition.

Catherine Ashley & Zoe Kilbourn
Rhys Channing
Eduardo Cossio / Djuna Lee / Dan O’Connor
Ben Greene & Kirsten Symczycz
Michael Terren
Alexander Turner

Mandurah Performing Arts Centre | Dance Studio
Saturday 17th of February
Free improvisation workshop – 2pm, entry by donation
Concert – 7.30pm, $10 entry

Bunbury Regional Art Galleries | Courtyard
Sunday 18th of February
Free improvisation workshop – 2pm, entry by donation
Concert – 6pm, $10 entry

Prior to each concert is a participatory improvisation workshop with the artists, open to all ages and skills.

Head here for more information.

New Waves Podcast: Totally Huge New Music Festival 2017

The first two instalments of the New Waves podcast from the 13th Totally Huge New Music Festival are now available to stream. Produced by Stephen Adams and captured by Gavin Fernie, the first two instalments feature interviews and live performances from the Breaking Out concert at the Perth Town Hall on the 23rd of October 2017.

Featuring 10 local young and emerging composers, the Breaking Out concert continues to be an important part of the Totally Huge New Music Festival and creates opportunities for these composers to have their works performed to a wider audience.

Special thanks to Stephen Adams for his ongoing support and work in the area of new music in Australia. Listen to the podcasts and stay updated with the New Waves podcast by subscribing.