ABOUT TO COUNTRY

To Country is a pioneering program by Artology designed to foster creative acknowledgments of the Indigenous custodians of the land we live on and thrive. Under the leadership of Christopher Sainsbury and Lyle Chan, this initiative seeks to inject authenticity, freshness, and freedom into Acknowledgements of Country through musical compositions.

What is an Acknowledgement of Country?

An Acknowledgement of Country offers a means for anyone to express respect for Traditional Owners and recognise the enduring connection of Aboriginal and Torres Strait Islander peoples to their ancestral lands. Distinct from a Welcome to Country, which is performed by Traditional Owners, an acknowledgment can be made by any individual at the outset of various gatherings, including concerts. It should be conducted with genuine respect, underpinned by thoughtful research into the land being acknowledged.

Building on the success of our esteemed Fanfare program, “To Country” represents the next chapter in our journey to enrich and diversify the ways in which we honour musical and artistic traditions. Stay tuned for future “To Country” opportunities and be a part of this evolving tribute to the land and its Indigenous custodians.

Stay tuned for the announcement of the next “To Country” program.

“To Country” introduction with mentors Lyle Chan and Christopher Sainsbury and participants.

MUSICAL ACKNOWLEDGEMENTS OF COUNTRY

Artology commissioned three Acknowledgements of Country, showcasing the diverse styles created by our program mentors.

Christopher Sainsbury ‘Two Fires Talking’

Two Fires Talking by Christopher Sainsbury. Chris is a Dharug man of the Eora nation, and wrote this piece based on a little-known Aboriginal tradition when two clans gather, they each light a fire, and before the humans begin conversing, they sit and let the fires talk to each other. In its world premiere performance by the Queensland Youth Chamber Orchestra, it acknowledged the land of the Turrbal people where the performance took place.

Lyle Chan ‘A walk in the paradise garden’

A walk in the paradise garden by Lyle Chan. Composed on the lands of the Gadigal people. This music ultimately pays tribute to the Indigenous management of land and sea estates developed over millennia and recognises that whatever the solution is to our climate condition, there is no solution that does not incorporate the wisdom of the oldest people on earth. Recorded by the Australian Youth Orchestra.

Jessica Wells ‘Emu in the Sky’

Emu in the Sky by Jessica Wells. Indigenous peoples have used astronomy in their culture for thousands of years. The Emu in the Sky is seen near the Southern Cross constellation and it’s body is made up of the dark patches of sky between the stars. It is common between many Aboriginal language groups and highlights connections between sky and land, between living things and the environment. In this piece I wish to portray the beauty of the night sky, and contemplate and respect the vast knowledge and culture of Aboriginal people which encompasses our country. Recorded by the Australian Youth Orchestra.

FAQs

What is the difference between an Acknowledgement of Country and a Welcome to Country?

Acknowledgement of Country can be presented by anyone, Indigenous and non-Indigenous. A Welcome to Country can only be made by Indigenous people who are auspiced by an Indigenous Governance body. This project focuses only on Acknowledgement of Country.

Does my orchestral Acknowledgment of Country need to include words?

No. As the composer, you simply declare your intention in the program notes to acknowledgement country. You can also choose to make it clear in the title of your music that it is an acknowledgement of country.

Does my work acknowledge the region where it was written, or where it is performed?

The principle is that no matter where the music is written, it acknowledges where it is performed. So you do not need to know in advance which region or language group is being acknowledged.

What kind of music should it sound like – should it be fast or slow?

The music can be fast or slow, joyous or contemplative – this is entirely up to you, as any kind of music can have the intention to acknowledge country.

Should it sound like Indigenous music? Can I use Indigenous melodies?

There is no need to make it sound like Indigenous music, regardless of whether you are an Indigenous composer. Indigenous composers are free to draw on their own culture to write their music. Non-Indigenous composers should be aware that the only people who can use Indigenous melodies or other elements are Indigenous people or if you have gained permission by Indigenous people. Remember that the basic idea is to acknowledge the traditional custodians by respecting them. Before you start composing please check the orchestral instrumentation list provided here.

Can I reference an Indigenous story or custom or ritual in my music? Can I use an Indigenous word as the title of my music?

This is broadly called ‘Indigenous referencing’. In the past, Australian composers have freely used Indigenous words for titles of works and Indigenous customs as inspiration for their works. Today, non-Indigenous composers wanting to reference Indigenous elements are encouraged to gain permission from the relevant peoples. Again, Indigenous composers are free to draw from their own culture.

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We acknowledge the Traditional Owners of the lands on which our events and activities are held. We recognise and respect the enduring connection to land, waters and culture. They were the first storytellers. We pay our respects to Elders, past and present, and acknowledge that sovereignty was never ceded.