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Creative Works Portfolio: Connecting music writer and producers with underrepresented communities
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Creative Works Portfolio: Connecting music writer and producers with underrepresented communities

Taylah Jade Jensen, Kevin Starkey, Andy Ward and Lachlan Goold
2021
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99629436502621 Research Statement144.46 kBDownloadView
Research Statement (supplemental) Open Access
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https://open.spotify.com/artist/0SkENV5WtxyapzcAGro2dU?si=jXw4ycCnTE6lilBkRPOO6AView
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https://www.youtube.com/watch?v=rZ9yv5LiR3gView
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Abstract

Music technology and recording Aboriginal and Torres Strait Islander culture, language and history Aboriginal and Torres Strait Islander community services not elsewhere classified Music First Nations Music Cultural consultation Music production Consultation and collaboration
Research Background Democratisation of recording technology since the proliferation of digital recording technology is broadly debated and problematised (O’Grady 2020). In commercial music production models, knowledge hierarchies and access to technology continues to disadvantage First Nations (FN) and Aboriginal and Torres Strait Islander (ATSI) artists seeking to create marketable artefacts for global release. Connecting FN and ATSI musicians with the appropriate level of capacity in commercialisation remains largely under researched (Chadwick 2004). The question that emerges is how do modern music writers and producers work with ATS and FN communities given these challenges? Research Contribution Through invitation from Darkwood Studios, the only ATSI owned and operated record label service in Australia, this work speak to the need for music alternative commercialisation approaches in ATSI music. Two works result from a co-design methodology that explores the barriers of accessibility, equity, and capacity in music production in ATSI Australia. The work represent a model for embedded cultural consultation in commercial music production processes embedded in ATSI owned and operated music business. The team worked in an innovative collaborative approach to co-write, co-record, and co-produce two singles for commercial release including delivery to commercial markets. The works emerge from a unique position where ATSI stakeholders have owned every commercial process from writing to release, with appropriate cultural consultation and collaboration. This model establishes the commercial viability of a new approach to ASTI music production through true co-design. Research Significance Through this work, Taylah J achieved feature artist on Triple J unearthed and was a finalist in Triple J’s Unearthed High competition. Both songs have received national airplay on Triple J and is included on the First Nations media Australia and CBAA compilation collection First Sounds Vol. 6.

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