Gold Coast

July 7th 2018 Journal Poseidon’s Music Box – Cycles of action

  • The frame and structure

The construction of the main frame is almost complete, it has been a monster effort to get all the dimensions accurate enough for the whole structure to spin and be balanced enough to serve as a musical instrument. I thoroughly enjoy the kinetic aspect of the sculpture, I’m not sure I would be as satisfied with a stationary sculpture and I love the whole piece almost breathing and moving powered by solar energy in this case, but wind or any sustainable energy source. My welding skills have greatly increased on this piece and although Im still learning as I go, burning myself slightly and setting a few things on fire, my welds are becoming cleaner and most structurally sound. I am on track and hope to have the main structure finished this week so I can move onto the paint and decorations.

  • motor gears and speed

The motor and gears have been a little bit of a struggle, I have unfortunately burnt out a few motors and have finally settled on a lower powered, but higher RPM drive that I will gear down to the main axle. The electronic components have been the easier aspect of the whole piece and the main solar inverter, timers, gear switches and lighting controllers were all done in a couple of hours as seen in the above pics. The sculpture will be set to rotate from 6am until 12 midnight for 18hrs of 2amps (36amps/day) and the lighting from 6pm until midnight for 6hrs of 5amps (30amps/day). This will give me 66amps of power needed a day and with the 120watts of solar panels and the 132amphour battery, more than enough power to balance out any cloudy days.

  • Coal and coral wall coverings

One of the biggest things that has been on my mind while constructing the main piece has been the covering of the outer arms. The inner arm will be covered in succulent plants, giving the appearance of colourful coral and life, but I wanted to have the outer arms really explaining the purpose and theme of the sculpture by having the contrast of life and death of coral due to the climate change and directly coal mining. So my thoughts have been moved towards a black and white theme. Black coal wall on one side and bleached white coral wall on the other. As the sculpture rotates, the black and white surfaces of each of the six arms will display themselves to the viewer giving the appearance of life and death in cycles.

How to achieve this has been the biggest issue, I have gone through several options for the coal wall, including fake rock walls, pebble create, styrofoam painted and was even playing with the idea of having a printed 2d photo of coal and coral that would be mounted on the outside of the arm. I really feel that this would be a bit ineffective and wanted to have it be 3d and textual to express the feeling better for the viewer. I have finally settled on finding some charcoal that I will break up and glue onto a flat surface. This is ideal as it is lightweight and looks exactly like coal in texture and reflection.

For the bleached coral wall, I am at this stage going to either find or mould some fake coral pieces and paint them white. I feel like this stage of the decoration could be time-consuming, so I have been calling on some arty friends to help with this in a couple of weeks, once I’m ready to put it all together.

  • Poseidon theme

The whole theme of the sculpture is ocean themed and attempting to make the sculpture appear as it had come from under the ocean in Poseidon’s kingdom while being on land has been a big thought. I believe I can achieve most of this via paint and coverings. My fear is though that I don’t want it to look like a kindergarten class has glued plastic sea turtles all over it. I have a collection of shells, barnacles and ocean life creatures that I will be covering the main body in once all the other aspects are attached with the aid of some advice from my friends. I am leaning towards a black and white main body with deep blue and gold leaf veins running around the structure to make it appear like it has lived it’s life under the ocean. The arm that will be holding the chimes will also be fashioned like Poseidon’s trident and sticking out from the top at an angle.

  • Music composition

I have been playing around with the music score for the actual sculpture melody and the full song for the past month or so and have decided on the Ab Major/F minor key for the bulk of the composition. I wanted the score to be happy and positive along with the lyrics, but to also incorporate some off-putting sense that the reef is dying too. The following playlist has a few of the refined compositions and my preferred ones are 04 and 07. The 07 V3 is a combination of both the 04 and 07 loops with a basic structure of the song. I could add a lot of layers, but I’ll work out the basic structure and main melody and then leave the song open for collaboration with a bunch of local musicians. I have about 30+ players available from 20+ bands I’ve approached and it will all happen fairly fast towards the end of this month. I want the actual sculpture playing the melody before I lay down anything solid for the popular music song.

  • GOMA visit

Finally, with so many things going on recently with the sculpture (I have put in 250 hours of work in the past 4 weeks), I decided to take a break and head to GOMA in Brisbane to take in some other sculptures and artwork to clear my mind. It was a nice weekend and the trip on the train proved to be as meditative as the gallery itself. Also actively taking the time provided some reflection on the whole process and a reaffirmation of what I want to achieve.

  • Possible Slogans for the paneling around the base of the sculpture.
    • #CoralNotCoal
    • #StopAdaniGoldCoast
    • #ForTheLoveOfTheReef
    • Earth’s Largest Living Organism
    • Please Save Me!
    • Mine not mine
    • Let Me Live!
    • Don’t Let Me Die!
    • Dead Barrier Reef?
    • Marine Sanctuary or Mortuary?
    • Great Barrier RIP
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April 2nd 2018 Sound Sculpture – Poseidon’s Music Box

Construction has begun and figuring out where my focus is.

Throughout the last trimester I have been exploring more theoretical aspects of the sculpture I am creating and thinking more about the ‘purpose’, the why of the physical art and what it can help achieve. The focus was initially based on my own meditative and creative output, exploring the engineering fabrication aspects and design aspects for my own personal education and exploration. Having a creative outlet that was separate from my music and production work to help me relax more. Music hasn’t become a chore, I love it, but my whole life is consumed by musical projects. I think I do a lot of the video, photography and media management work not only to further the music we create, but also to fulfill my desire to explore more art forms.

The construction of sculptures has been exciting, learning how to weld and being able to create what it in my mind without the restraint of not knowing how to physically make it work and put it into action. Through this ‘sculpting career’ move, I have also become more aware of the effect of public art on people and how what I create can affect and inspire the people around me. I saw this in reflection on the ‘Migaloo’s Song’ sculpture last year. I went into it for myself, wanting to build this thing I had an idea for, but I came out at the end with a sea of people I affected with the design and construction of the large-scale machine. The wonderment of the actual object functioning was one thing, but the inspiration that anyone could just buy a welder and make this thing created sense of joy in so many of my friends. Everyone wanted to be a part of it and I had lots of friends wanting to come help make it and the song. A side result apart from the awards and self-fulfillment was the direct inspiration for 4 friends who directly told me that me undertaking the sculpture and achieving it (as well as sharing it online in videos and posts) helped them to overcome the fear of starting a new art form or dream they had always avoided because of insecurity. It also directly affected 2 young Gold Coast school students whom I sponsored with some of the prize money to build their own sculptures for this year’s festival. I didn’t see this effect at the start of the project in Jan 2017, but it’s becoming clearer to me this year. What I could measure though was the effect it also had on the public that saw the sculpture, I wasn’t aware and/or wasn’t concerned with that. Mostly due to the fact that I didn’t even know if I could do it and if I’d be happy with the final result, adding the pressure of making others happy with the result or affecting change would have made it too stressful for me. This year is different though, I have a lot more confidence in the process and now that I have a good model for how the whole situation of designing, building and showcasing public art works, I am keen to create a more defined outcome for the public viewing the piece in addition to my own satisfaction.

So, I want to explore the effect of the audiences sensory and emotional reaction to the sculpture and in turn how public art can help encourage or change or affect the public’s perception on a particular topic. It might not even be a direct actionable response as I had initially suggested a month ago, but may be a change or mindset or a trigger or catalyst for their thinking and this is where I think public art has a purpose.

As I start to propose a question for my final exegesis, I would like to fulfill the following things.

  • Creating a question that I personally don’t know the answer for to ensure I am engaged fully in exploring the topic.
  • Creating an sensory impact in the audience, whether it is emotional, actionable or philosophical, through the visual and sound of the piece.
  • Creating a path for myself to continue exploring and pushing myself in both design and fabrication of the sculpture.
  • Creating a philosophy for my own sculpting career, a 2nd purpose for what I am trying to achieve besides building an awesome thing that interests me.

I will come back to the question, but to start getting the ideas out at this stage perhaps something like,

How can public art create and inspire emotional and change in thinking and philosophical issues?

To help explore the topics above throughout the process of this masters and the sculpture, I am creating an action plan to map out the phases and timeline of both the sculpture design and construction and also the milestones to reflect on the affective qualities and goals of the final piece in relation to an audience. While the Swell Sculpture Festival on the Gold Coast in Sept 2018 creates a deadline and an initial public display and audience, it is not the sole destination, but instead I think that it is an example of public art display.

Action Plan

Here’s how I have practiced in the past (detailed review of how I did Migaloo)

VS

How I am going to go about making this one, what is different. Looking at my practice as if it is brand new.

To do this I need to become more critically aware of decisions on my way and make sure that I document them as much as the actual construction process. I need to be able to look back at where I’ve come through my own research so far with regards to sound sculpture. Some of the cycles reflection will be practical construction, some will be on the research and what I have learned.

What is measurable action research?

  • Find way to measure and get data.
  • Do something, reflect, examine, reflect and re adjust.
  • Look deeper into this with a case study on the methodology.

Here’s how I have practiced on the Migaloo’s Song sculpture.

For my initial sculpture last year, I was much more concerned with the actual construction process and simply achieving it for myself. Part of this selfish focus was to remove any excess stress from the project as I didn’t need to do it all in the first place and I was going through chemo at the time. There was probably part of it where I recognized if I put the focus on self development and fulfillment than I could avoid insecurity and fear of judgement from others in the art and sculpture scene as it was a new art form to me and this fear is usually what stops most creative people from undertaking new works.

The sculpture last year started with a 2 month long design process in Dec 2016-Jan 2017, the whale started out as a geometric pattern of strings and plucking parts to a wave made of strings, then a hammerhead shark with strings long ways and ended up being a humpback whale. All three (and the other side tangent designs) were related to sound and music, it was clear to me from the early stage that I was interested in creating sculptures that combined sound, acoustics and music, though it was another 16 months until I discovered the term ‘Sound Sculpture’. I had also just finished an Physics degree in Astrobiology that saw me fixated on the connection of frequency and vibrational wave theory in the development of life in our universe.

Throughout the ‘Migaloo’s Song’ design and construction I was aware and making decisions on the piece based not only on my own interest, but on how it would look and sound to an audience. I think 20 yrs in the music industry has taught me that there is nothing wrong with making music or art that is self-satisfying, but considering how the audience will react or take in the art is also an important skill to have. I think this is where the sculpture moved from being simply a geometric combination of parts to another living creature that would encourage people to ponder the connection between nature and us as humans though music and sound. The following was my artist statement for ‘Migaloo’s Song’ from Jan 2017 before I had begun construction.

Sound and music follows a harmonic structure like that found in nature. There’s connection to our organic world utilizing acoustics & science, to create harmony with our surroundings. Sound is an auditory perception of the brains response to vibrational patterns observed by our bodies. The combination of art, design and psychoacoustics creates a hidden link that resonates between nature and all life. Humpback whales are described as ‘inveterate composers’ of songs that are ‘strikingly similar’ to human musical traditions, a kinship we share with these mammals and a shared language. – Guy Cooper / Migaloo’s Song

For that sculpture I think there was a decent amount of thought that went into the design and construct of creating some response in the audience, a purpose and connection for the sculpture at the start of the design process. But as the actual construction begun, I focused soley on the fabrication and it wasn’t until it was finished (3 days before swell haha) that I came full circle and started to revisit the extra elements of actionable response in the audience. This was achieved in a small way with the press releases and the song I wrote using the harp and a collection of local artists supporting me on the track.

Press Release Sept 2017 – https://www.dropbox.com/s/um0tc3oxxjtpq59/Guy%20Cooper%20-%20Migaloo%27s%20Song%20Media%20Release.pdf?dl=0

https://open.spotify.com/embed/track/7f862NkJeucPguLSLYj2yF

There was a lot of reflective moments in regards to the construction, visual appearance and sound of the harp. Every 4-7 days when I had created a new aspect or failed to construct what I had in my mind, I sat down and reflected on the sculpture. Sometimes it was a forced moment of reflection as my body wasn’t physically able to move or stand up, somedays spent in chemo my mind was redesigning the construction, welding, joints and parts perhaps as a way of distraction from the depressing scenes and news in the hospitals. These moments of reflection and meditation were private and personal, in my head only, I didn’t document them or talk about them with others. It was enjoyable for me to not have to discuss them with others, part of the project was something I could just do myself without having to check and manage multiple other opinions, suggestions and needs. The downside of this is that I have developed a better method of working through the creation process to achieve an outcome, but I don’t have any way of easily explaining this process to others. This did occur to me in 2017 through the process, but I honestly didn’t care as it was just for me, at the time I needed to focus on myself to get through everything that was happening.

So this year I will be using this masters course to improve on the process and outcome and also to find a better way to document and explain the process to others and myself.

What Have I done so far and what needs to happen?

Design

I have already begun the design and construction process for ‘Poseidon’s Music Box’. The design started with a combination of research into sound sculpture and geometric design, sound and nature based physics. I had initially wanted to created a sculpture of dying bleached coral using organ pipes, a droning graveyard that re-enforced the environmental issue of coal mining and its direct connection to climate change and the death of the Great Barrier Reef. I would consider myself an environmentalist, there are so many issues with the world, capitalism, greed, violence, poverty, evil motives… lets not get into those, I want to focus on something that I can change. While I work with helping the homeless on the Gold Coast, building a $5,000 whale harp from steel is not the most helpful thing for the homeless.

The design for ‘Poseidon’s Music Box’ begun on Pinterest collecting pictures from the internet and also my own photography with visual design elements that embodied the theme of coral, music, sound, mining and climate change. The concept of having coral out of its ocean environment and on the land, took me towards the succulent plant life which I have always thought looks like land coral. I have a large garden where I spend my time relaxing and meditating and the I have always been fascinated by the geometric patterns in plants and particularly succulent plants. I decided I wanted to create a large scale coral piece that mirrored the underwater coral, but was manmade, this would help explain the concept that our natural coral is dying and one day all we may have is manmade coral to remember what the coral used to look like. The concept also brought the coral issue to the people on the land, not everyone gets the opportunity to go to the reef and dive or snorkel to see the beauty and in turn effect of coral bleaching and death from climate change. I think this is the same concept as ‘Migaloo’s Song’, bringing the 1:1 size and majesty of the humpback whale to the land, so standing next to them you can see and feel the awe of the scale.

 

Migaloo's Song Night

I also wanted to include some music, not just sounds, but a music piece into the sculpture. The more I research this I find it is less ‘Sound Sculpture’ and more satisfying my interest in marvelous machines. From music boxes to Da-Vinci, perpetual ball bearing machines and orchestrion’s.

A more recent example would be something like the Wintergatan, which is amazing, but has no context to me, its just a big ass amazing machine that sort of makes music.

With all this in mind, I spent 2 months again drawing and collecting large scale and macro images and building different designs in my head. I decided early on I wanted to use chime or steel tubes to generate the musical elements instead of strings this time in order to create something more permeant and all weather. The designs ended up closer to the final concept of Poseidon’s Music Box below.

PERSPECTIVEfinal CROP More design and reflection needs to happen as the project continues. Practical concerns arise as the construction begins that require the concept design to be altered along the way. I want to try and document this as much as possible. There also needs to be a reflection on the design at each stage for simple aesthetic purposes and as my understanding of what I want to achieve with the final piece become more clear.

Construction

The construction process is fun and unknown, perhaps it is the unknown factor that makes it fun for me. Part of the desire to create sculptures is that I don’t know how to physically do it and I enjoy a challenge. I do a lot of things in my life, I have too many jobs, but I have always enjoyed doing different things, I sleep less than most people and life is too short to sit around and not get off your ass and do what makes you happy. My time with thousands of musicians, artists, 17 years of lecturing and teaching artists, has taught me that most people never overcome the fear of judgment from being creative. Its sad and depressing to see people trapped in their own minds from fears and insecurities. I have always made it my goal to change this people, I do it for my friends and my students. I have found my purpose in a lot of ways is a catalyst. Either through my words or my actions, it’s what my label does and I can see that effect I have on people in every one of my jobs.

The construction for me is a mountain to climb, it started with sculpture in 2017 where I wanted to learn how to work with metal. Wood was easy and I have built more than enough things (studios, decks, furniture) from wood, but metal was always a disaster for me. I wanted to learn how to weld and overcome the barrier to construct bigger things from steel. I have always been fascinated by steel sculptures that mimicked natural animals and life and wanted to learn to weld steel. It was probably my retirement plan to help me transition from running my businesses into stopping work and relaxing, but when it looked life I wasn’t maybe going to make it that far with the cancer and T1 diabetes, I got up and went and bought a welder. Terrible things and bad times have always snapped me into action, you can sit there and let it drag you into depression, or you can snap yourself out of it and take control of your life.

So the process of learning to weld was watching some YouTube videos and making mistakes. It’s more enjoyable for me to learn through the process and ‘Migaloo’s Song’ has all my first welds. I probably should of started with something smaller, but hey, where’s the fun in that!

For Poseidon’s Music Box, I can easily see the improvement in welding, planning and machinery. I have suppliers for steel, baring’s, gears, motors, solar and renewable energy and I have a much better understanding of the engineering requirements and the bending moments and sheer forces of steel and aluminum. I have had some fabrication advice this year from other sculptors I met through the process last year and also tradies at the supply shops. My welds are cleaner, stronger and the process is much quicker now, I’m also not physically disabled this year being off chemo and have my strength back.

I think the design and construction are combined, you can’t just design whatever you want, physical and logistical restraints need to be considered along with the design aesthetics. For me the construction is simply looking at the physical building and engineering process, but I think I will combine the design research and outcome aesthetics into the construction discussion for the months to come.

Reflection on process and research.

What do I want to know next?

Through this masters course, my direction on what I want to explore has changed and I expect it will continue to do, but each time I’m getting closer to a more defined goal. I feel like I’m spiraling, but spiraling inwards towards a central point that has clarity on what I think and feel. A month or two ago I was focused on sound sculpture and then on art activism, both of which describe what I do and what I want, but as I look at focusing my attention to a more measureable goal and exegesis question, I find that both of those aspects can be discussed with more final intent by applying what I do to the topic of how public art can affect people’s emotions and thinking.

I don’t want to go into this too much right now, I think this is going to be my main topic for the weeks to come and I want to dive into the case study on the action research cycles first so that when I explore the topic more deeply I’m coming at it with more framework for the aspects I need to focus on.

Public art (for the weeks to come)

  • Look at my own ethics and morals.
  • Seeing the relationship between my own morals, and my practice and how I present myself.
  • How can public art affect emotions and thinking in the audience?
  • How can I enact actionable changes with public art installations?
    • How can I focus my public art on a local issue? (Coal mining & Adani?)
  • How much impact does Kinetic Sound Sculpture have over static silent sculpture?

Basic Action Plan

Jan 2018

  • Research
    • Masters based research from 2017 into ‘Sound Sculpture’, affect and aesthetics, personal sculpting career aspects, public art.
  • Design & Construction
    • What do I want to design? Reflecting on how my design can inspire others, how can I affect change
    • What can I physically build and how am I going to draw a concept of this thing in my head?
    • Learning how to draw better, taking design cues from nature and science.

Feb

  • Research
    • What is Sound Sculpture?
  • Design & Construction
    • How will the sculpture work mechanically, specifics on the gears, bearings, loading values, sheer forces and bending moments, statics, math and physics.
    • How will the musical element be scored and played?
    • Where can I source all the materials?
    • How can I build it so I don’t need to hire a crane and truck again?

March

  • Research
    • Art activism and how I can enact change with my art
  • Design & Construction
    • Get stuck into the construction, start at the centre and work my way outwards on the sculpture slowly, reassess at each stage and alter design to suit the visual and practical issues.

April

  • Research
    • Public art and how I can enact change in the audience.
    • How do I measure and document the process?
    • What do I need to be doing for my exegesis?
  • Design & Construction
    • Finish basic elements and reassess how the aesthetics of the whole structure are working, what needs to be changed to achieve the effects I want.

May
(I will be on tour in japan for most of May with two different bands, so I will use this month as more research and reflection)

  • Research
    • How can I enact the change I want with my sculpture?
    • What other aspects and methods can I employ to re-enforce the concepts? (recording of the musical piece and produce a song again?)
    • How effective have others been in their public art with effecting change in people?
  • Design & Construction
    • Take lots of pics of sculpture to date so I can reflect while in Japan.

June

  • Research
    • How do I feel about the effect of the sculpture?
    • How do other people see the effect of the sculpture?
  • Design & Construction
    • Using the visuals and concept so far, compose the musical score that re-enforces the topic and end goal.
    • Embed solar panels, motor, battery and lighting into the structure.
    • Finish main structure.

July

  • Research
    • Is my sculpture fitting into the goals I have set out to achieve?
    • Deeper reflection on the overall process and am I starting to answer my exegesis question?
  • Design & Construction
    • Begin work on finishing aspects (painting and plants)

Aug

  • Research
    • Finishing up the exegesis and bringing all the thought processes together.
  • Design & Construction
    • Reflect on the design and make final alterations and submission to MCI.

Sept

  • Research
    • Collecting info and measurable feedback for my own processes.
  • Design & Construction
    • Transport and installation

 

I will start to the use the information above to mold a method around creating a repeatable process that can be modified and therefore create a model that can be measured. I will find this by looking at other models, which is where the next goal of creating a case study for the action research cycles and visual ethnography will help.

Migaloo’s Song sculpture heading to Concert for the Planet on March 24th

Migaloo’s Song will be lifting off again and heading to Home of the Arts for the Concert for the Planet on March 24th to help celebrate Earth Hour.
He will be singing his song and our HOTA Choir will also be performing on the day. Guy Cooper Sculptor

https://www.facebook.com/events/182512795686997/

LANE-HARRY x IKE CAMPBELL THE DASH single hits 130,000k & 360 tour supports + Surfers Paradise LIVE shows

The Dash ARTWORK FINAL 2000

The latest single THE DASH from Lane-Harry x Ike Campbell is killing it on Spotify and with Triple J. Racking up over 35,000 listeners a month and just hit 130,000 plays on Spotify. The Gold Coast duo are also all set to support 360 on his ‘Vintage Modern’ tour next week for the Brisbane shows on March 3rd and 4th. 360 recently named them the artists to watch in 2018 (https://otchiphop.com/2018/02/06/whos-next-360/amp/).

Fresh from taking out album of the year at the Gold Coast music awards in 2017 for YOUTH, having poured countless hours into the writing and production of the album, the duo and label decided to make YOUTH a free album for all their fans that have helped bring them to where they are today, which you can check out at www.lanexike.com.

360 Vintage Modern Tour

The boys are busy in the studio again working on a follow up to THE DASH and planning some upcoming live shows, including a free concert alongside Daryl Braithwaite, Jon Stevens and Kate Ceberano as part of the Surfers Paradise LIVE festival on the Gold Coast in May. 2018 is set to be a huge year for the duo and their indie label Human Records with some big announcements coming soon as they work on the new album CASABLANCA. Touring continues following shows supporting 360, Allday, Seth Sentry, Ivan Ooze, Tkay Maidza, David Dallas, Remi, USA hiphop lords Tech N9ne and Brother Ali.

SURFERS LIVE

Lane has also been busy working on his Saint Lane solo project down in Sydney with Dan from the Griswalds and Duestch Duke. The video for THE DASH is worth a watch (https://www.youtube.com/watch?v=wLV7tYXTdXY) filmed and directed by Swedish filmmaker Nils Nilsson (Pirates of the Caribbean, San Andreas) and Lane & Ike sparring off in Kung-Fu style battle.

The ethereal soundscape of Lane-Harry x Ike Campbell is not to be missed, an act that will go down as one of the defining sounds at the forefront of the golden era of hiphop music in Australia. The two charismatic young men plan on breaking past all creative ceilings and influence the artists of the future. Not only are they delivering gorgeous sounds and visuals but their mesmerizing fashion, emerging celebrity status & wild personalities are making them true game changers.

Generation Y has a new face and that face is that of Lane-Harry x Ike Campbell. Be sure to check out the new single at http://www.lanexike.com

Gold Coast, Australia Day

You can wait for someone to change “Australia Day” or you can take the time and effort to use this day to educate yourself, remember and acknowledge. Never wait for the government to make the right moral decision.
Have a dig online today about the culture of the Australians that owned and belonged on the land your live on for thousands of years, before our Brittish ancestors changed that. You can love our country and still respect others and the history of what happened. Doing a bit of research on your own can uncover some info about the land you stand on.

The Gold Coast where I live is part of the Bundjaling tribe and more specifically the Ngarahgwal people on Yugumbah land.

The Bundjalung people believe the spirits of wounded warriors are present within the mountains, their injuries having manifested themselves as scars on the mountainside, and thunderstorms in the mountains recall the sounds of those warriors’ battles.

So enjoy your BBQ and celebrate being proud to be Australian, but don’t do so without paying respect to the real history and celebrating what was lost, so that we can all enjoy what we have today.

The history some of us got in school in the 80’s and 90’s isn’t exactly the full story. Don’t wait for our government to make the right decision, make it yourself please.

___________________________________________
The following taken from – http://yesaca.com/first-australians/

First Australians Overview History of Yugumbeh Land (Gold Coast).
The Ngarahgwal people (Salt water tribe of the Yugumbeh language speaking tribes) were the traditional custodians of the area from Nerang River to the Tweed River, they referred to this area as “Kurrungul”, a name derived from their word for endless supplies of special timbers. This area had been the Ngarahgwal peoples homeland since God Himself put them there.
Kurrungul was a place of abundant food, vegetables, fruits, nuts, meat, shellfish & seafood. Red Cedar, Rosewood, Mahogany. The forests were magnificent & full of life.

The Yugumbah peoples were family orientated & community minded, intelligent, good people. Modern day dating of shell mittens found in Yugumeh land (Gold Coast area) prove that this area is one of the oldest inhabited areas in the world.

In 1840 the Australian Government had this area surveyed. They found Kurrungul to be full of precious boat & furniture making timbers. Armed government gangs of timber cutters (single men with no European women) descended upon Ngarahgwal land cutting down every good tree. They chop down as much wood as their bullock teams could drag up to Brisbane for use in the Moreton Bay shipping industry. The timber cutters treated the local people with little respect. Greed & the lust for money drove the European men to lay waste to Kurrungul.

There were approximately eight clans that made up the Yugumbeh language speaking tribes. In 1845 two European cedar cutters were killed at Murwillumbah, the colonizing white European people reacted to these murders with brutal force. Dispersing ( a code word for killing) first Australians around the Northern Rivers & the Yugumbeh land area.

Yugumbeh people were rounded up and place into a government sanctioned camp at Nerrang. Once all the good timber had been removed from Yugumbeh lands the colonizing white European started to settle and set up farms. The Government Prison Camp at Nerrang became to close for comfort for the farming community so the government moved the Yugumbeh people further west to Beaudesert. As the new Gold Coast farming and European settlement expanded the Aboriginal camp at Beaudesert became once again to close for comfort and the aboriginal people were relocated off their traditional land and forcibly moved 375km north west of Brisbane to Barambah. Aboriginal people were brought from all over Queensland and Northern New South Wales to this government reserve. Under the Aborigines Protection Act of 1897 the settlement then called Barambah, was gazetted and established in 1904. In 1932, the name Barambah was then changed to Cherbourg due to a nearby property called “Barambah Station” which caused confusion in mail delivery.

However one fresh water tribe that was able to intermarry under trbal law with the Yugumber people was the Githabul tribe. They were never moved off their traditional lands. They eventually were moved to a government camp called Muli, at modern day Woodenbong Northern NSW.

Can’t Stop Me It’s Christmas! – Charlie Rebel release new xmas song to brighten your holiday cheer

It’s that time of year again and Charlie Rebel is here to help celebrate with a Christmas song, You can’t stop me it’s Christmas!

www.charlierebel.com

This Christmas time there are still lots of Gold Coast families and children struggling this time of year. You can help by donating to Paradise Kids at paradisekids.org.au or Angels for the forgottenwww.angelsfortheforgotten.org

Spend a little of your Christmas cheer to help those in need.

www.serotoninproductions.com
www.humanrecords.com.au

Being Jane Lane supporting Frenzel Rhomb tour – Gold Coast July 22nd.

Wooo excited to announce that Being Jane Lane will be supporting Frenzal Rhomb on Sat 22nd at Miami Shark Bar Gold Coast. The new single SAILBOAT is on the way followed the new album on Human Records.

www.beingjanelane.com

Sat 22nd July Miami Tavern Gold Coast
+Totally Unicorn and Being Jane Lane
Tickets: http://bit.ly/2o7QuLw

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Frankensteining a white whale !

Frankensteining a white whale !

Serious construction has begun for the sculpture i’m making for the Swell Festival on the Gold Coast in September this year. Its a 1:1 scale kinetic wind harp shaped after Migaloo the white humpback whale. Tuned to Emaj7 and it will be playing a song I wrote to mimic the humpback whale song.

Sound and music follow a harmonic structure like that found in nature. There’s connection to our organic world utilizing acoustics & science, to create harmony with our surroundings. Sound is an auditory perception of the brain’s response to vibrational patterns observed by our bodies. The combination of art, design, and psychoacoustics creates a hidden link that resonates with nature and all life. Humpback whales are described as ‘inveterate composers’ of songs that are ‘strikingly similar’ to human musical traditions, a kinship we share with these mammals and a shared language.

#migalooguycooper
SWELL Sculpture Festival
https://guyserotonin.wordpress.com/…/migaloos-song-sculptu…/