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More about the Sydney Cove Project
There are a great number of folk songs written about transportation of convicts and an equal number about the life of the squatter and the gold digger in the 19th century. Surprisingly, there are very few that relate the fascinating stories of the First Fleet times and few if any that tell stories of aboriginal Australians at that time (at least none sung by the Europeans).
In white Australia's collective guilt about the invasion that began with the First Fleet and in considering modern day issues of reconciliation and stolen generations, it is hard to remember that at the very beginning there were no massacres, no wars upon aboriginal people. Instead there was a mix of ingrained prejudice and genuine humanity, intense mutual curiosity, confused diplomacy, misunderstanding, patience, humour, friendship, exchange of gifts, even mutual dancing.
As time passed, it seems we turned down the wrong path, but in those first few years, many potential paths in Australian history were open, ready to explore. Respect, a treaty, even more, were possible.
This project began when I read the only surviving letter written by the great indigenous leader from first fleet times, Bennelong, in Tim Flannery's book "The Birth of Sydney". I was struck by the way the letter eloquently captured the difficulties he faced, trying to be an ambassador for his people, and also fitting into this new society that must have been so alien. It is very emotive stuff and I wrote a song, called ‘Bennelong’, based on the writings. More songs followed, retelling other personal stories of central characters in the early European settlement of Sydney. In singing these songs I have been encouraged by interest and enthusiasm by listeners. It seems that many people share the feeling that we have a one-dimensional view of those early stages in our history.
In writing the songs of the Sydney Cove Project I have aimed to contribute folk songs about the First Fleet era - the gap between "Bound for Botany Bay" and "Moreton Bay". I also hope to add dimension and colour to our understanding of black and white relations in that critical period. The stories related are tender (e.g. Patyegorang), disturbing (e.g. A Child For a Hat), amusing (e.g. Scrabbling in the Dirt) and jubilant (e.g. Black and White Ball). They are emotional because they relate real experiences and events.
The material is suited to folk clubs and music festivals, musically drawing on a range of styles, particularly Celtic and Australian folk, with arrangements utilising vocal harmony, guitar, mandolin, whistle and double bass. It has also been successfully presented in the form of a workshop for trainee teachers exploring the role of folk music in history. Such a workshop, exploring the stories around the songs as well as those told by traditional folk songs, would be ideal for history students and historical groups.
Bookings are possible for workshops or concerts. For further information, contact and booking details can be found on the contact page.
I hope to see you at a gig sometime or perhaps in the session bar at the National Folk Festival!
Cheers,
Ben Scott.