The album is the culmination of an ambitious recording and education program, which enabled the women to develop their songwriting skills while learning about all aspects of the music industry.
The collection features original songs from Shana Ray, Eleanor Dixon, Miranda Garling, Jillian Moody, Kiriz Oliver, Bronwyn Stuart, Rita Tomlins and Casii Williams. It celebrates the unique talents of these women who are from remote communities in the Northern Territory and it provides an insightful passage into their stories and experiences.
The Divas were paired with mentors including Nai Palm (Hiatus Kaiyote), Leah Flanagan, Dallas Frasca and Helpmann Award winner, Ursula Yovich, at CAAMA Studios in Alice Springs. The sessions were conducted by musical director Steph Harrison of Bat Hazzard and producer Anna Laverty (Florence and the Machine, Courtney Barnett, Nick Cave & the Bad Seeds.)
For several of the artists, the sessions marked their first time in a professional studio – and for some – the first time recording their own music. The production team strove to provide a comfortable, nurturing environment that would enable each performer to fulfil their potential and overcome any issues of confidence. “The first time in the studio can be pretty daunting,” says Anna Laverty. “We wanted to provide a supportive, friendly environment, so the women felt comfortable sharing their stories.”
Indigenous culture has a strong oral tradition, with the passing of stories and histories communicated through song. Desert Divas serves as an extension of this tradition and is the next chapter in a history that stretches back through time and tells the stories of this country’s first people and rightful owners.
Laverty witnessed this expression of culture first hand, “There was an APRA workshop that was conducted to teach the women about royalties,” she says. “One of the artists said that she felt no ownership over her song because it was given to her in a dream by her ancestors. It was so powerful.”
Jillian Moody is a country singer/songwriter and her track, My Brothers Arms was recorded under the mentorship of Leah Flanagan. “Leah was awesome to work with,” says Moody. “She taught me to sing in a way that tells a story, not to rush it. It allowed me to get my words out and get into the feel of the song.”
Moody works as a health care professional at the Anyinginyi Health Aboriginal Corporation and she often uses music to form connections with her clients. “I’ll take the guitar in and do a couple of songs for them,” she says. “They love it, and it’s beneficial for them too – song and dance – it’s part of our culture.”
Moody believes that that the Desert Divas project was an empowering experience for all of the women involved. “It helped me overcome the shyness within myself,” she explains. “I’m a shy person, and the experience strengthened me. Now I feel that I can share my music. I’m no longer scared.”
Further to the professional development of the artists involved, a portion of the proceeds from Desert Divas Volume II will go towards a number of MusicNT Aboriginal women’s music programs.
Ultimately, Desert Divas Volume II gives a voice to a section of our society that all too often can struggle to be heard. It captures a communal spirit, telling important stories and offers a glimpse into the lives of the individuals behind the songs. The Australian people would do well to listen.
By George Hyde
