Lumen Autumn 2024 - Flipbook - Page 7
CASM attracted great interest from within the music industry
Walking through the University’s eastern gates on Frome Road
in 2023 brings a familiar historical tone to my steps. I’m heading
to a department where, as a student (late 1981-1984) and then
staff member (1985-2008) my life changed track – the Centre for
Aboriginal Studies in Music (CASM).
and the Finniss Street location was a hive of activity for bands of
all descriptions looking for Aboriginal musicians to fill in on gigs/
tours or become full time members. The bands that were formed
at CASM during this time were incredibly creative thanks to the
diversity of musicians from across Australia.
I first heard about CASM when I was picking grapes in the
Riverland and, on a Sunday off, I met a Māori man called Milton
Ruhi who had an Aboriginal friend, Randall Butler, in Adelaide
where I was heading. When I contacted Randall, he said he was
involved with a place called CASM and that they were looking
for a guitarist for one of their bands – so I agreed to go with him.
CASM launched the movie Wrong Side of the Road in late 1981
which featured CASM bands, No Fixed Address and Us Mob as they
faced racism across venues in metropolitan Adelaide and regional
areas. There were scenes in the movie highlighting racism and
social problems within South Australia, and the urgent need to
build programs like CASM to enhance and support Aboriginal
In Adelaide, Randall took me to a soup kitchen on Pulteney
Street at the back of St Paul’s Cathedral. Bands were rehearsing
there, and I was introduced to the mob who told me they were
studying at CASM. I was feeling shame because I could only play
three chords and didn’t know what they were. They asked me if I
could play drums because they had too many guitarists. I said yes,
and then I jumped up on the kit and after rehearsals the mob said
you should join CASM.
youth from incarceration through music and education.
In 1985, CASM received funding from the National
Employment Scheme for Aboriginals (NESA) which allowed it
to employ three graduates to undergo teaching training for three
positions (studio engineer, drums and flute). I was one of them,
and began training as a drum teacher under CASM lecturer
Ron Nicholls. It was a very steep learning curve, helped by
When the gear was pulled down and transported back to Finniss
Street (then the North Adelaide home to CASM), they took me
with them. They introduced me to a very tall, well-dressed African
man called Ben Yengi, the Administrator of CASM, and he
introduced me to the Chairperson of CASM, Auntie Leila Rankine,
who gave me the biggest hug and made me feel completely at home
and welcome.
my experience during my student years as a drum teacher for
Aboriginal youth at Warriapendi School on South Road, a
school for disadvantaged Aboriginal youth who had fallen
out of the system.
CASM also gave me and others a chance to travel, including to
the Urban Corroboree project at the South Pacific Festival of Arts in
“I STRONGLY BELIEVE THE CASM PROGRAM HAS PRODUCED EXCELLENT
INDIGENOUS MUSICIANS AND EDUCATORS FROM ACROSS AUSTRALIA.”
Auntie Leila explained the history behind CASM and what they
were striving to achieve through educating Indigenous musicians
within their communities to help reduce incarceration of Aboriginal
youth in South Australia. Needless to say, I signed the papers and
started as a full-time student in 1982. I had a close relationship
with Auntie Leila, and she saw leadership qualities in me well
before I did. I became a member of the Adelaide University
Student Union and was also elected to a student position on
the CASM Committee.
During the earlier part of my study, while learning Pitjantjatjara
language and songs with senior elder Minyingu Baker, it made me
refocus on my Torres Strait Islander (TSI) language, songs and
creations. I was the first Torres Strait Islander to be a student at
CASM. CASM was predominately South Australian Nungas
within the course then, but through word of mouth (bush
telegraph), Indigenous musicians from across Australia started
to arrive on its doorstep.
Tahiti in 1985. Later the same year I was asked to play with
Papunya band Warumpi on the 10th Anniversary of Independance
for Papua New Guinea tour.
Somewhere between all of this, my commitment to my
teaching, meetings, boards, panels and mentoring still had to be
maintained at a high standard to honour my commitment to the
CASM program.
I strongly believe the CASM program has produced excellent
Indigenous musicians and educators from across Australia. CASM
provided me with the opportunity to become the person, musician
and educator that I am today.
Lifelong skills are gathered over time with the encouragement
and guidance of Elders and personal dedication from within
yourself. CASM – the best door I’ve ever walked through.
Mulapa.
I started a children’s program with my nephew Getano Bann
(Tudtu Children’s Theatre) to retain culture and take this to
perform in schools to educate and earn extra dollars. CASM played
a critical role at these times and was the central point for contacts
and people working within the wider Aboriginal community and
also the music industry.
Jardine Kiwat was a student, graduate, teacher and mentor at CASM
from 1981 until 2008. He returned as a cultural mentor in 2023 for
CASM’s 50th year. The main image, by Isaac Freeman, is of Jardine
playing his drums on campus near the Hartley Building on Kintore
Avenue which once housed CASM.
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