GLOMUS CAMP 2015

GLOMUS CAMP 2015
Inclusion, Collaboration and Global Responsibility in Arts Education
9 – 18 January 2015
Sarawak Cultural Village
Malaysia
INTRODUCTION
GLOMUS Camp 2015 brought together over 120 participants from more than 20 countries and
comprised 10 days of intense music, dance and theatre making, workshops, presentations and
discussions.
The Camp was a manifestation of the GLOMUS network mission to cherish and support
diversity in music and related arts performance and education through the creation of a
sustainable platform for crosscultural exchange.
I PRESENTATIONS
OPENING PRESENTATION, 9 January
What is GLOMUS?
Keld Hosbond, Denmark & Tuovi Martinsen, Finland
The introductory presentation outlined the goals and activities of the GLOMUS network from the
perspective of globalisation (building stronger arts academies, keeping educational focus on
diversity, supporting global mindset and global responsibility through student and staff
exchanges, network meetings, capacity building), and gave a short overview of the themes and
aims of GLOMUS Camps as the flagship activities of the network. The key point raised in the
presentation was the necessity to move from just accepting to actively appreciating differences
as only then will new ways of thinking emerge and new solutions be achieved.
KEYNOTE SPEECH, 9 January
Visions for Inclusion, Collaboration and Social Activism in the Arts
Prof. Dr. Heidi Westerlund, Finland and Nucche Bahadur Dangol, Nepal
Heidi Westerlund (Finland), Stuti Sharma and Nucche Bahadur Dangol (Nepal)
The keynote speech focused on the educational movement and musical activism Professor
Nucche Bahadur Dangol has initiated in Nepal. His work has been dedicated towards educating
the Nepalese people about the musical heritage of their nation regardless of their gender or
caste. The central focus points of his work have been creating connections between people
through music, preserving the tradition through education and documentation of music, and
finding ways of renewing music to give it a new meaning for the next generations.
Through the personal story of Prof. Dangol, the keynote gave a strong example of a man’s
journey and possibilities in acting out the vision through the ability and courage to learn from
others, cross boundaries, resist hegemonic structures and reaching beyond one’s own self.
FUNDRAISING TALKS, 10 - 12 January
Eight Questions You Need to Answer
Types of Funding Sources: Finding the Right Match
Collaboration: Combining Resources
Randall Stubbs, Tanzania
The lecture of Randall Stubbs (Tanzania)
The fundraising talks consisted of three interrelated sessions covering the full pathway starting
from an introductory proposal-writing checklist and practical preparatory suggestions, moving on
to the procedure of selecting the right donor and compiling the application, and ending with the
tasks and obligations to be undertaken after a positive result.
The presentation stressed the necessity of identifying and positioning the project and its needs
in relation to the donor’s funding criteria and conditions. A variety of funding organisations were
introduced and the advantages and disadvantages of each brought out, enabling to select a
donor directly proceeding from the needs of the concrete project. The importance of
collaboration, combining resources and visible connection to the communities was focused
upon as a substantial influence on funding results.
The presentation was illustrated by personal and institutional examples as Randall Stubbs, the
head of the Department of Music of the University of Makumira, is very active and skilled in
proposal writing. This has resulted in a significant increase in Makumira’s music department in
terms of activities, instruments and premises.
The presentation was a valuable possibility for the participants to get access to the relevant
information, increase their awareness and thus improve their proposal writing skills in order to
obtain external institutional, national and regional funding in the future.
KEYNOTE SPEECH, 17 January
Accessibility and Inclusion in Education: The UiTM Way
Dr. Sahol Hamid Abu Bakar, Malaysia
Sahol Hamid Abu Bakar (Malaysia)
The Vice Chancellor of UiTM opened the presentation with an overview of the history,
organisational structure, educational offer and the scope of international cooperation of the
Universiti Teknologi Mara. With the student population of 175 000, UiTM is the largest higher
education institution in Malaysia and the enrolment rate and the number of academic
programmes have continuously increased over the past years.
The presentation introduced a strong case of accessibility and inclusion in education through
the example of the implemented programme Mengubah Destini Anak Bangsa (Change the
Destiny of the Nation), in the framework of which UiTM has provided education possibilities for
20 000 underprivileged students. The programme that is financially supported by the alumni
proceeds from the conviction that accessibility is a right not a privilege. The academic
qualification of these students might not be as high at entrance but from the point of view of
social justice, the focus is set instead on their academic achievement upon graduation.
Transforming the destiny of the poor through education, UiTM plays an important part in
decreasing the national poverty rate and is an outstanding success story of the government.
II REGIONAL PRESENTATIONS
A time slot was reserved in the programme for each region to present their culture and music.
The presenters were free to define the exact content. This resulted in a very interesting range of
presentations with different focus points, structures and styles, characteristic to the region in
question.
WEST AFRICA (Ghana and Mali), 10 January
GHANA
Storytelling in Ghana
Eetu Ranta-Aho (Finland), Vivian Agbovi and Amos Asare Darkwa (Ghana)
The joint presentation of the University of Ghana and the University of Cape Coast introduced
the Ghanaian storytelling tradition. The presentation outlined the main characteristic features of
storytelling, namely the moral message; the interconnection of mime, dancing, singing, music
and acting; audience collaboration and contribution. The presentation was illustrated by live
performance examples with audience participation. The presenters taught a few songs,
involving the audience in the vocals, and acted out an example of Anansem (a story about a
national trickster character, spider Kweku Ananse), inviting audience members on stage for
direct participation in storytelling.
MALI
Souleymane Dembele, Daouda Dao, Gaoussou Sissoko, Koumba Alimatou Djire, Dalia Boubacar Sangare (Mali)
The presentation given by the representatives of the Conservatoire des Arts et Métiers
Multimédia Balla Fasséké centred on live performance examples from different regions of Mali
with the West-African instrument kora, vocals and dance. Among them was “Duga” (The
Vulture), the oldest and most widespread song known in West Africa, telling the story of ancient
kings. The presenters explained that preserving the ancient stories and traditions orally has
been a vital part of Malian culture and that keeping the stories of the past alive and applicable to
contemporary audiences through music is highly relevant to this day.
ASIA (Afghanistan & Nepal) and SOUTH AMERICA (Brazil & Argentina), 10 January
AFGHANISTAN
Afghanistan National Institute of Music
Camilla Dayyani (Denmark)
The presentation introduced the Afghanistan National Institute of Music (ANIM) and its founder
and leader, Dr Ahmad Sarmast. Due to injury in a suicide bomb attack in Kabul December 2014,
Dr Sarmast was unable to participate at the Camp. ANIM was represented via video connection
and a presentation made by Mrs Camilla Dayyani from Denmark.
The mission of ANIM is to offer high quality education to all students regardless of gender,
ethnicity and social circumstances, and the institute is committed to supporting orphans and
children working in the streets. The long term vision is to strive for the establishment of a
sustainable music education system in Afghanistan (more music schools, national ensembles,
music teachers in primary schools etc.)
On the background of the challenges related to the intense political situation, financial limitations
and the extreme form of musical censorship under the Taliban regime, the work of Dr Sarmast
in the revival of Afghan music traditions is even more outstanding and the influence of ANIM on
the social and cultural life of Afghanistan even more tremendous.
International cooperation is of great importance in supporting ANIM in its mission of reviving and
developing Afghan music and implementing its vision. Examples of cooperation initiatives
include tours in Oman and USA and more specifically, capacity building cooperation with Royal
Academy of Music Aarhus/Aalborg, Denmark through teacher and student exchange as well as
collaborative projects.
NEPAL
An Initiative Towards Introducing Formal Music Education in Nepal
Nucche Bahadur Dangol (Nepal) and Kamrulbahi Hussin (Malaysia)
The presentation introduced Nepal Music Centre, a music school and research centre aiming to
promote and strengthen the musical heritage of Nepal through the creation of an infrastructure
for formal music education. The current situation is challenging due to the lack of trained music
teachers as well as a limited budget for teacher training, but considerable progress has been
made over the past 10 years. The activities include introducing music as an elective in schools,
documenting the music of various ethnic communities, developing research in music education
as well as thorough international cooperation in the form of teacher exchange and cultural
exchange projects for developing teacher education. The far-reaching goal is to implement a
bachelor programme in World Music.
The presentation included live performance examples by Mr. Nucche Bahadur Dangol.
BRAZIL
Escola de Musica Da Universidade Federal do Rio Grande do Norte
Joao Cabral Armando (Mozambique) and Fabio Soren Presgrave (Brazil)
The presentation provided a short overview of the profile of the Music School of UFRN and the
activities undertaken in Natal. The mission of the school is to educate, share knowledge and
promote access to music committing to social justice, democracy and citizenship. The institution
is strongly dedicated to outreach and inclusion activities (e.g. Luis Gomes project, Atitude
Cooperacao project), thus transforming the lives of children of the local communities and
bringing significant creative and social change for institutions, individuals and communities.
The presentation concluded with live performance examples of Brazilian music together with the
participants from Mozambique.
ARGENTINA
Orchestra of Indigenous Instruments and New Technologies
Prehispanic Instruments
The profile and activities of The National University of Tres de Febrero (UNTREF) were
introduced through video presentations. UNTREF is is a potential future member of GLOMUS
and welcomes collaboration with all GLOMUS partners. The institution is characterised by a
focus on pre-hispanic music and music anthropology. They have developed a very special MA
curriculum in “Creation, New Technologies and Traditional Arts”, including a mandatory course
to build own instruments on the basis on ancient models as well as insights into modern
electronics and sound engineering. The institution is also the centre for the famous Orchestra of
Indigenous Instruments and New Technologies.
MIDDLE EAST (Egypt, Syria, Palestine), 12 January
Maral Khoury (Palestine) and Khaled Ibrahem (Egypt)
The presentation by the participants from the Egypt Academy of the Arts, Edward Said National
Conservatory of Music and the Higher Institute of Music in Syria gave an insight into higher
music education and musical heritage of the Arab countries with a special focus on Egypt,
Palestine and Syria.
Although different touches are perceivable in each country and between the regions of each
country, Arab music cannot be separated and the representatives of the music institutions gave
a joint presentation. The educational profiles of the institutions were outlined. The represented
schools are the main higher music education institutions of their countries with the possibility to
study either Western classical or traditional Arab music.
Through live performances and talks, local musical traditions of the countries were presented
and traditional instruments - oud, rabab, qanun, mizmar, mijwiz, ney etc - introduced. The
explanations were illustrated by live demonstrations and video clips. The session ended with a
very lively chain dance where all participants were invited on stage and were taught a traditional
dance from Palestine.
CHINA, 13 January
China
Christopher Chen and the Suzhou University Folk Music Orchestra (China)
The regional presentation by the representatives of the Suzhou University of Science and
Technology, Academy of Music outlined the profile of the institution and continued with an
impressive introduction and demonstration of a wide range of national instruments and
traditional instrumental music.
The presentation brought out two ways of classifying musical instruments: Bayin (according to
the used material): metal, stone, earth, skin, silk, wood, gourd and bamboo, and according to
the performance way: chui (blown), la (bowed), tan (plucked) and da (struck).
It was stressed that the sound of the instruments is generally very soft as traditionally they are
not performed for large audiences but for the emperor or for a selected few in an intimate
setting, whereas loud sounds are characteristic of weddings, funerals and military services.
Thus, every detail acquires a special meaning and importance.
The virtuosity and unity of the performance and the delicate sounds of the instruments were
remarkable.
SOUTH-EAST AFRICA (Tanzania, Mozambique & South Africa), 14 January
TANZANIA
Tanzania
Seth Mesiaki Ole Sululu (Tanzania)
The presentation by the Tumaini University Makumira started with introducing the Music
Department of the University. Considerable progress has been made over the past years with
the help of several international cooperation projects and the active initiative of the staff. Starting
with just 4 students, the department now holds the largest collections of traditional Tanzanian
and working Western instruments, the biggest music library as well as the only recording studio
and computer lab in East Africa. The current student population on the Bachelor programme in
Music is twenty-one.
The second part of the presentation concentrated on Tanzanian traditional dance music with a
special focus on Maasai culture. The specific characteristic features of Maasai traditional music
were brought out: humming accompaniment for men, jumping up, no drums etc.The songs carry
the cultural heritage, ritual, philosophy, beliefs and important historical events of the Maasai.
The presentation ended with a live performance of a traditional dance with audience
participation.
MOZAMBIQUE
The History of Urban Popular Music in Maputo
Onesia Muhlove (Mozambique)
The presentation outlined the trajectory of urban popular music in Maputo in the context of
social and political factors from 1975 when Mozambique acquired independence from Portugal.
Globalisation has played a dominant role in the shaping of urban popular music. The
presentation brought out the focus points and defining aspects of each decade: the growth of
musical movement of the 80s, the international influences through mass media channels of the
90s, the fusion and emergence of styles and stylistic experiments of the 2000s.
Higher education is of great importance in improving the quality and visibility of Mozambican
music as well as in defining the identity of urban popular music with the inclusion of
Mozambican music made abroad.
SOUTH AFRICA
South Africa
Cara Stacey (South Africa)
The presentation began with introducing the Cape Malay connection that has played a major
role in shaping the history and diversity of Cape Town. Bo-Kaap, the historical Malay quarter of
Cape Town was presented and the connection further illustrated through a guest performance
of the Malaysian students.
The second part of the presentation focused on the musical instruments of South Africa. In
addition to smaller instruments made of grass, stones and shell, musical bows are the most
dominant. These single string instruments have been found from all major tribes, the main
differences being visible in the used material and playing methods (string plucked, struck or
bowed; gourd/calabash, tin, bowl or mouth used as the resonator). The different versions and
playing styles of musical bows were demonstrated in live performance.
The presentation was concluded with outlining the profile of the South African College of Music.
SOUTH EAST ASIA, 15 January
MALAYSIA
Malaysia
Rosemary Colony Joel Dunstan (Malaysia)
The presentation by the Universiti Teknologi Mara offered a profound overview of Malaysian
musical culture, styles and instruments. Malaysian music is a reflection of the multi-racial
population of the country and has been influenced by various social, political, religious and
geographical factors. The function of music includes accompaniment to various forms of art,
entertainment as well as religious ceremonies.
A selection of national instruments was demonstrated both by picture and live performance
examples based on the four main instrument groups: idiophones, chordophones, aerophones
and membranophones.
According to types, Malaysian music is divided into four categories: classical, folk, syncretic and
contemporary and pop music. The presentation was concluded with outlining the origins and
characteristic features of all types.
SINGAPORE
Xu Kaixian Rit (Singapore)
The presentation introduced the musical culture of the multiracial and multicultural Singapore
through a selection of video clips. The musical profile of the country is very rich and diverse and
the presented examples ranged from classical music (symphony orchestra), traditional music of
the communities (professional Chinese orchestra), pop music and artists that have become
popular through online media to jazz and rock music.
FRANCE
Lyon CNSMD
The presentation gave an overview of the Conservatoire National Supérieur Musique et Danse
de Lyon. Several key aspects defining the academic and institutional profile and the success of
the institution were brought out: strong academic quality, cross disciplinarity (the institution
combines musicians and dancers and the students are encouraged to participate in crossdisciplinary projects), internationalisation (the conservatoire features a strong international
profile with the 20% population of foreign students and 70 international partners) and the
approach towards employability.
The presentation was concluded with the public statement of the director of CNSMDL in the light
of the Charlie Hebdo attack taking place a few days before the Camp. Stressing the mission of
artists to contribute to the fight for liberty and against obscurantism, intolerance and ignorance,
the letter (can be found in the presentation slides) corresponded strongly to the GLOMUS
mission.
NORDIC/BALTIC (Denmark, Estonia, Finland), 17 January
DENMARK
Rhythmic Music Pedagogy in Denmark
The Danish Song
Participants from the Danish institutions
The Danish regional presentation focused on two topics: rhythmic music pedagogy in Denmark
and the Danish song tradition. The defining features in the development of rhythmic music
pedagogy were brought out, for example the inspiration from jazz and the development of music
pedagogical methods in the 1930s and women’s lib and youth liberation movement as well as
the emergence of big festivals and record companies between 1960s -1980s. The presentation
was concluded with an introduction of the rhythmic music study field of the Royal Academy of
Music Aarhus/Aalborg. Rhythmic music pedagogical education on BA level was introduced in
the 1990s, whereas the last decade has also brought study programmes in Laptop, Electronic
Music, Songwriting and Rhythmic Choir.
Historically, Danish song has been linked to the Folk High Schools where singing together
played an important role. This tradition set the basis for the very popular Folkehøjskole
sangbog, a collection of over 500 songs from 1894. The presentation ended with a joint singing
of Carl Nielsen’s song “Tit er jeg glad, men vil dog gerne græde”.
ESTONIA
Estonia - Sounds Good!
Helena Tulve and Hanneleen Pihlak (Estonia)
The presentation began with a short introduction of the Estonian Academy of Music and
Theatre, the only institution in Estonia providing higher education in the fields of music and
drama. The Academy is thus responsible for a high-quality and diverse educational offer - the
range of the fields of study extends from classical music, musicology and music pedagogy to
contemporary and experimental music, jazz and folk music, dramatic art and cultural
management.
The presentation was illustrated by a selection of videos, depicting examples of folk music,
contemporary improvisation and the Estonian Song Festival, the strongest manifestation and
celebration of the Estonian choir tradition.
FINLAND
Pedagogical Perspective in Arts Education - Sibelius Academy
Music Education at Sibelius Academy
GLOMAS - Nordic Master of Global Music
Kristiina Ilmonen and Vilma Timonen (Finland)
The presentation of the University of the Arts Helsinki focused on pedagogical perspectives in
arts education on the examples of the Sibelius Academy and the Theatre Academy.
As a starting point, the common musical traditions and differences between the Nordic countries
were outlined before moving on particularly to Finland and the University of Arts.
Sibelius Academy is one of the largest music academies in Europe offering a diverse range of
programmes. The presentation focused specifically on the programmes of music education and
folk music.
Music education studies at the academy concentrate on the development of musicianship,
pedagogical thinking and research in the preparation of music teachers for schools as well as
researchers.
The folk music programme serves both as the facilitator as well as the reviver of the folk music
tradition. Three folk music MA programmes have been implemented, aiming to prepare folk
musicians with a dual profile of tradition bearers and contemporary musicians. Presenting one
of the programmes, Nordic Master in Global Music (GLOMAS), it was explained that the profile
of present-day musicians needs to reflect the increased cultural and ethnic diversity and contact
between cultures, and that in addition to musical excellence, the required skills and key
concepts include open and non-judgmental attitude, sense of shared ownership, mutual respect
and collaboration ability.
During the second part of the presentation, the academic profile of the Theatre Academy was
briefly introduced. In theatre, the main instrument is the person’s self, voice and body, and the
line between what is personal and what is acted is often ambiguous. The presentation ended
with an interesting interdisciplinary performance, mixing movement with music and vocal
improvisation.
III SMALL GROUPS
The sessions mixing cultures and musical backgrounds offered a great possibility for the
participants to improvise and exchange ideas and to create music through cooperation. Each
participant was requested to list three small groups by order of preference before the Camp and
was allocated to one of the groups in advance. The groups met 8 times in Malaysia and the
work proceeding from the specific expertise of the facilitators was concluded with two public
performances.
Musical collaboration 1
Facilitator: Dr Shahanum Mohd Shah, Malaysia
Musical jumping off point: Inspiration from the Gamelan
The group started with an introduction to the background, cultural context, instruments and
playing techniques of the gamelan as well as the Malay gamelan repertoire. When the
foundation was laid, they began to work on a new piece based on a Balinese gamelan excerpt.
In line with the Camp’s objectives, the ideas for developing the piece came from the
participants’ themselves and drew on their cultural and musical backgrounds. For the final
concert, the students prepared a Malay gamelan piece Topeng and a contemporary piece
based on an excerpt from Kosalia Arini with the incorporation of African drumming and dance.
Musical collaboration 2
Facilitator: Moussa Diallo, Mali/Denmark
Musical jumping off point: Mali and beyond
The group that started out with 8 musicians ended up comprising 14 people from Asia, Africa,
America, Palestine and Scandinavia as more people wanted to join after hearing the first
practice sessions. The group worked on two Malian compositions of Moussa Diallo, rearranging
them to suit their line-up. There was a lot of excitement working with the music, despite some
rhythmical challenges for participants not used to West African rhythms. The interplay and
synergy of the diverse musical backgrounds and the energy and joy of the music was a source
of inspiration both for the group members as well as the audience.
Musical collaboration 3
Facilitator: Kristiina Ilmonen, Finland
Musical jumping off point: Nordic soundscapes
The goal of the small group was to create an environment for sharing the musicians’ own culture
and music. The group started with working on tunes the participants of different nationalities
(Finnish, Malaysian, Chinese, Nepalese etc.) had brought to the sessions and developed these
to vocal improvisations. It was beautiful to hear the different musical references and approaches
to the harmonic and rhythmic layers in the improvisation.
Musical collaboration 4
Facilitator: Seppo Kumpulainen, Jenni Nikolajeff, Finland
Musical jumping off point: Movement, voice, dance, theatre
The group work aimed to find the personal self of each participant as well as the courage and
energy to perform: to dance, to play with the others fearlessly with full energy and joy. The
sessions combined exercises from theatre and dance training traditions. Through observing the
students and listening to their feedback and reflections, the form of the workshop and exercises
were developed little by little along the course.
Basic exercises like walking, standing, meeting the others and improvisation with simple texts
and own stories were used to study the unity of body and voice. Emotions were called out from
the most intimate nuances to ecstasy, shouting and jumping in different story telling tasks and
status exercises. The choreography was built by adding new movements every lesson, allowing
the students to use a collection of their own manners as part of the dance.
It was most valuable to meet the students as individuals, personalities, no matter from which
tradition or part of the world they came from.
Musical collaboration 5
Facilitator: Moslem Rahal, Syria
Musical jumping off point: Syrian ney flute
The group focused on different Arab music traditions – especially music from Egypt and Syria.
The participants had the opportunity to learn a variety of songs from Egypt, Syria and Palestine
and were introduced to the basic maqams and improvisation techniques based on these.
Combining traditional instruments from the Arab countries with instruments from other regions,
the work also included culture meetings through the differentiated backgrounds of the
participants (Africa, Europe, Asia).
Musical collaboration 6
Facilitator: Max Tabell, Finland
Musical jumping off point: Improvisation
As the majority of the students didn’t have considerable previous improvisation experience, the
group began with exercises aiming to create a safe environment and encourage them not to be
afraid of making mistakes. Many of these exercises are created by Keith Johnstone for
improvisational theatre. Various rhythm exercises of clapping hands and singing formed another
part of the work. During the sessions, the students acquired the basic tools for tonal
improvisation and composed a new song.
Musical collaboration 7
Facilitator: Nathan Riki Thomson, Australia/Finland
Musical jumping off point: Collaborative composition
The small group was made of participants from China, Ghana, Finland, Greece, America,
Denmark and Malaysia. The task was to compose a piece of music inspired by the keywords
from the camp theme, including unity, diversity, global responsibility and collaboration. The
piece also took inspiration from the surrounding jungle of Borneo. The process was facilitated by
Nathan Riki Thomson, but the piece was created collaboratively.
The result was used as material to teach to a group of 20 local children, aged between 5 and
14. The children joinedfor the last 4 sessions and the approach was to not only teach them the
musical material, but to really collaborate with them by getting their input on actions for the song
as well as ideas for the musical arrangement.
The collaboration culminated in a 10-minute piece involving students, teachers and children all
singing and playing together, which was performed in the concert at the end of the Camp.
Musical collaboration 8
Facilitator: Vilma Timonen, Finland
Musical jumping off point: Creating music through improvisation
The small group aimed to explore different musical styles via improvisation. Various kinds of
acoustic instruments from Finland, South Africa and China were represented. The work sprung
from analysing the characteristics of traditions, e.g. are they based on harmonies, melodies;
what kind of ornamentation is used? Based on the observations, the group composed new
music by improvising as well as learned three songs that represented members’ musical
background, language and culture. An important aim of the group aim was to learn to react to
each other as ensemble members and develop awareness of different roles in the ensemble.
IV LARGE GROUPS
Each participant was requested to select one of the large groups and attend the sessions of the
chosen group throughout the duration of the Camp.
Glomus Orchestra
Facilitator: Jens Christian Jensen, Denmark
The Glomus Orchestra consisted of more than 60 musicians with instruments from all over the
world. This truly unique orchestral set-up rehearsed 7 times through the Camp leading up to two
concerts - Friday evening in Sarawak Cultural Village and Sunday afternoon in Kuching for the
official GLOMUS concert. The music drew on inspiration from all participating countries and the
repertoire was a mix of jazz, Arab, Chinese, African and western classical influences. It was
amazing to see how the highly unusual combinations of instruments, sounds and genres came
together in beautiful colours and diversity.
Glomus Choir
Facilitator: Kristian Skårhoj, Denmark
The GLOMUS Choir was a wonderful mix of vocal traditions from all over the globe. More than
20 singers got together 7 times during the Camp to explore different ways of making music with
voices. Through various vocal exercises and flavours, the exploration of phrases, melodies,
rhythmic patterns and improvisation, the Choir produced an amazing repertoire, consisting of a
variety of soundscapes from Norway via Africa to Asia.
Glomus Drama
Facilitator: Seppo Kumpulainen, Finland; Jenni Nikolajeff, Finland; Kamrulbahri Hussin,
Malaysia
The work of the GLOMUS Drama group proceeded from the theatre practices of Scandinavia,
Africa, Asia, as well as the specific expertise of the facilitators, namely in stage fighting,
improvisational dance and shadow puppet theatre. Meeting 7 times during the Camp, the group
began with exercises developing skills of stage movement and presence, partner
communication and perceptiveness. Through individual, pair and group work, the participants
were introduced to the different traditions and requirements for movement and encouraged to
achieve a natural as well as focused stage presence. Based on the work during the sessions,
the group prepared a joint music, movement and shadow puppet performance drawing on
various ideas connected to the theme of inclusion.
V GENERAL ASSEMBLY, 16 January
Thomas Winther (Denmark)
At the end of the Camp, a joint General Assembly session was organised with the participation
of all students, teachers and administrators. The session was divided into different sections:
GLOMUS future, Camp 2015 evaluation and practical information about life after the Camp.
Future
Future Glomus
It was stated that GLOMUS should remain a non-bureaucratic network, but it is necessary to
build an organisation to support the activities, visions and aims as well as to secure
sustainability of institutional contribution in terms of finances and workload. Proposals for
changes in terms of membership categories and the envisioned division of tasks were
presented.
Evaluation
GLOMUS short evaluation
As a humorous inspiration, six questions had been prepared for the participants to reflect on:
What I thought I would do in GLOMUS Camp
What my friends thought I would do in GLOMUS Camp
What my institution thought I would do in GLOMUS Camp
What I actually did in GLOMUS Camp
What I will remember having achieved in GLOMUS Camp
What should have been in GLOMUS Camp but wasn’t
The participants were given time to discuss in pairs, followed by a joint discussion session.
The outstanding work of the organising team and the inspiring and rewarding influence of the
project was unanimously emphasised. Based on the discussion it can be said that the most
valuable impact of the Camp was the widening of horizons in all senses: through getting
together (meeting people, enlarging personal networks) and acquiring knowledge from the
others: (learning about other cultures, instruments and music, sharing pedagogical approaches).
It was also agreed that the time schedule was very intensive and more time for individual
teaching lessons, free discussions and workshops as well as just for processing and
assimilating the new information would have been beneficial.
When talking about future Camps, the participants suggested to try out a different organisation
of small group sessions as the current parallel format did not allow seeing the work of others.
The suggestions also included the inclusion of themed jam sessions inspired by instrument
groups.
In conclusion, the participants agreed that the Camp was an extremely important step in
developing the appreciation of cultural diversity and in the creation of understanding that would
resonate in the partner institutions and countries.
In addition to the evaluation session, all participants were requested to fill out a written
evaluation form at the end of the Camp as well as a more profound online feedback a few
weeks after returning home.
Life after the Camp
The sites launched before and updated during the Camp will stay in use as the main
communication and information channels:
● GLOMUS website (www.glomus.net), where all practical information and presentations
have been uploaded;
● Facebook group, where the participants are encouraged to share news and updates as
well as start discussions on topics of mutual interest;
● Glomus Camp blog (glomuscamp2015.blogspot.com), where the participants can post
reflections about the Camp
The Camp 2015 documentary film will be launched in spring 2015 and shared with all
participants. The videos will be uploaded to the GLOMUS webpage and can be embedded on
the member institutions’ webpages.
CONCLUSION
GLOMUS Camp 2015 was a kaleidoscope of intensive music, dance and theatre making,
interesting presentations, inspirational networking, exciting excursions, jam sessions and
concerts.
With the unique opportunity for meeting, knowledge-sharing, playing and learning across
cultures, it was a great source of inspiration, information and motivation for the participants.
Active multilateral cooperation and mutual development is a common goal of the partnership.
Based on the ideas and suggestions presented at the Camp, the GLOMUS Steering Group will
proceed with defining the future organisational structure of the network as well as the scope and
form of its activities.
The importance of GLOMUS lies in its role as a facilitator and a forum. Bringing young people
from different countries and cultures together through art, fostering cooperation and creation
reflecting the various cultural influences and traditions contributes to the integrity and versatility
of them as professionals but even more importantly, makes them grow as human beings.
GLOMUS Camps are strong examples of initiatives that arts academies can take to influence
the society, thus fulfilling their mission of preparing not only qualified and skilful artists, but also
open-minded and active members of the community, demonstrating respect and appreciation
towards cultural diversity.
Programme
Date/Day
Time
Itinerary
Facilitator
Location
Travelling Day
8 Jan 2015
(Thursday)
Permai Rainforest
Resort (Students)
1330-1430
1600-1730
Registration of Participants
2200-2330
Damai Beach Resort
(Teachers)
2000-2100
Dinner for Early Arrivals
0800-0830
Welcoming remarks and
introductions (presenting
Permai Rainforest Cafe
GLOMUS & previous camps)
Panggung Budaya
Prof. Dr. Heidi
Auditorium @ SCV (10)
0830-0930
Keynote Speaker 1
Westerlund,
University of the Arts
refer to map
Helsinki
0930-1000
Tea
Participants seated in hall.
SCV Cafe (12)
Arrival of Guests
refer to map
1000-1015
1015
Arrival of honorable Minister
of Tourism Sarawak YB.
Datuk Amar Abang Haji Abdul
Rahman Zohari Tun Datuk
Abang Haji Openg
1025
Recitation of prayer
1030
Welcoming remarks by Prof.
Dato' Dr. Jamil Hj. Hamali
9 Jan 2015
(Friday)
DAY 1
(UiTM Sarawak Rector)
1035
Welcoming remarks by Assoc.
Prof. Dr. Ramona Mohd Tahir
(UiTM Faculty of Music Dean)
1040
Welcoming remarks by
Thomas Winther (Royal
Academy of Music Aarhus/
Panggung Budaya
Auditorium @ SCV (10)
Aalborg & GLOMUS)
refer to map
Speech by Minister of Tourism
Sarawak YB. Datuk Amar
Abang Haji Abdul Rahman
Zohari Tun Datuk Abang Haji
1050
Openg
Officiation of GLOMUS Camp
2015
Presentation of GLOMUS
Camp 2015 partners
1110
Presentation of Cenderahati
to YB Minister of Tourism
Sarawak
1130
SCV Cultural Show
1215-1400
Friday Solat/Lunch
(1315)
(breakouts briefing at
SCV Cafe (12)
refer to map
auditorium)
1400-1600
1600-1700
Small group breakouts 1
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
Persada Alam @ SCV
(4c)
Tea
refer to map
Please refer to Small &
Please refer to
Large group breakouts
description page and
description page
map for venue
Large group breakouts 1
1700-1830
1830-2000
Break
*free time*
2000-2200
Dinner & Jamming Session
Bidayuh Longhouse @
SCV (1)
refer to map
0930-1030
Local culture experiences*
Please refer to Local
Culture Experiences
section in booklet.
Fundraising Talk 1*
0930-1030
'Projects with a Purpose:
Eight Question You Need to
Randall Stubbs
SCV Board Room
Answer'
SCV Cafe (12)
1030-1100
Tea
refer to map
Panggung Budaya
Regional presentations 1:
1100-1230
10 Jan 2015
Auditorium @ SCV (10)
West Africa (Ghana & Mali)
refer to map
(Saturday)
SCV Cafe (12)
DAY 2
1230-1400
Lunch
refer to map
1400-1600
Small group breakouts 2
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
SCV Cafe (12)
1600-1700
Tea
refer to map
1700-1830
1830-2000
Large group breakouts 2
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
Break
*free time*
Dinner & Malay Gendang
2000-2200
Permai Rainforest Cafe
performance
0930-1030
Please refer to Local
Culture Experiences
Local culture experiences*
section in booklet.
Fundraising Talk 2*
0930-1030
Randall Stubbs
SCV Board Room
‘Types of Funding Sources:
Finding the Right Match’
SCV Cafe (12)
1030-1100
Tea
refer to map
Regional presentations 2:
Panggung Budaya
1100-1230
Asia (Afghanistan & Nepal)
and South America (Brazil &
Auditorium @ SCV (10)
refer to map
Argentina)
11 Jan 2015
SCV Cafe (12)
1230-1315
Lunch
(Sunday)
refer to map
DAY 3
Excursion to Orang Utan
Sanctuary at Semenggoh
Busses at SCV,
Semenggoh Wildlife
Wildlife Centre and Kuching
Centre and Kuching
Tour
City
1900-2100
Dinner
Top Spot
0930-1030
Local culture experiences*
Please refer to Local
Culture Experiences
1315-1800
section in booklet.
Fundraising Talk 3*
0930-1030
Randall Stubbs
SCV Board Room
‘Collaboration: Combining
Resources’
SCV Cafe (12)
1030-1100
Tea
refer to map
Regional presentations 3:
Panggung Budaya
1100-1230
12 Jan 2015
Middle East (Egypt, Syria &
Palestine)
Auditorium @ SCV (10)
(Monday)
SCV Cafe (12)
1230-1400
Lunch
DAY 4
refer to map
1400-1600
Small group breakouts 3
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
SCV Cafe (12)
1600-1700
Tea
refer to map
1700-1830
1830-2000
Large group breakouts 3
Break
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
*free time*
Dewan Lagenda @
Dinner & Malay traditional
2000-2200
SCV (4a)
music
refer to map
0930-1030
GLOPAN (NoSoSo Meeting)**
SCV Boardroom
0930-1030
Local Culture Experiences*
Please refer to Local
Culture Experiences
section in booklet.
SCV Cafe (12)
1030-1100
Tea
refer to map
Panggung Budaya
Regional Presentations 4:
1100-1230
Auditorium @ SCV (10)
China
refer to map
SCV Cafe (12)
1230-1400
Lunch
refer to map
13 Jan 2015
1400-1600
Small group breakouts 4
(Tuesday)
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
DAY 5
SCV Cafe (12)
1600-1700
Tea
refer to map
1700-1830
Large group breakouts 4
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
1830-1945
Break
*free time*
1945
Departure for Dinner
Busses at Permai
Rainforest Resort &
Damai Beach Resort
Lim Hock Ann @
2000-2200
Dinner
Kampung Buntal
Bus leaves Damai for
0845hrs
Departure for Nature Walk
Permai
Permai Rainforest
0900-1000
Nature Walk
Resort
1030-1100
Persada Alam @ SCV
(4b)
Tea
refer to map
1100-1230
Regional presentations 5:
South-East Africa (Tanzania,
Panggung Budaya
Auditorium @ SCV (10)
Mozambique & South Africa)
refer to map
SCV Cafe (12)
1230-1400
Lunch
refer to map
14 Jan 2015
(Wednesday)
1400-1600
Small group breakouts 5
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
DAY 6
1400-1600
Leadership Forum 1***
SCV Board Room
1600-1700
SCV Cafe (12)
Tea
refer to map
1700-1830
Large group breakouts 5
1830-2000
Break
1945-2000
Departure for Dinner
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
*free time*
Bus leaves Damai for
Permai
BBQ dinner and Shadow
Jungle Hall @ Permai
Puppet Play performance
Rainforest Resort
2000-2200
Bus departs at Permai
0730hrs
Bus departs for School Visit
& Damai
0830-0930
School visit
Kuching City
Depart from School back to
Bus departs from
SCV
Schools
Tea
SCV Cafe (12)
0930-1030
1030-1100
refer to map
Regional presentation 6:
South East Asia (Malaysia &
Panggung Budaya
Auditorium @ SCV (10)
Singapore)
refer to map
1230-1400
Lunch
SCV Cafe (12)
refer to map
1400-1600
Small group breakouts 6
1100-1230
15 Jan 2015
(Thursday)
DAY 7
1400-1600
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
Leadership Forum 2***
SCV Board Room
1600-1700
SCV Cafe (12)
Tea
refer to map
1700-1830
Large group breakouts 6
1830-2000
Break
1930hrs
Bus departs for Dinner
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
*free time*
Bus departs at Permai
& Damai
2000-2200
0900-1000
Dinner and Cultural show
Keynote 2
Santubong Homestay
Dr. Ahmad Naser
Sarmast, Founder &
Director of the
Afghanistan National
Panggung Budaya
Auditorium @ SCV (10)
refer to map
Institute of Music
SCV Cafe (12)
1000-1030
Tea
refer to map
1030-1200
Panggung Budaya
Auditorium @ SCV (10)
General Assembly
16 Jan 2015
(Friday)
refer to map
SCV Cafe (12)
DAY 8
1200-1400
Friday Solat/Lunch
1400-1600
Small group breakouts 7
refer to map
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
1400-1600
Leadership Forum 3***
SCV Board Room
1600-1700
Tea
Persada Alam @ SCV
(4c)
refer to map
1700-1800
Free and Easy
SCV
1800
Soundcheck/run through
Panggung Budaya
Auditorium @ SCV (10)
refer to map
1830
Dinner (packed dinner box)
SCV
2000-2200
Camp Concert
Panggung Budaya
Auditorium @ SCV (10)
refer to map
Concert ends
2200
0930-1030
Keynote 3
Tan Sri Dato’ Sri Prof.
Ir. Dr. Sahol Hamid
Panggung Budaya
Auditorium @ SCV (10)
Abu Bakar, UiTM VC
refer to map
SCV Cafe (12)
1030-1100
Tea
refer to map
1100-1230
Regional presentations 7:
Nordic & Baltic (Finland,
Panggung Budaya
Auditorium @ SCV (10)
Denmark, Sweden & Estonia)
refer to map
SCV Cafe (12)
1230-1400
Lunch
refer to map
17 Jan 2015
(Saturday)
1400-1600
Small group breakouts 8
DAY 9
1400-1600
Leadership Forum 4***
1600-1700
Tea
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
SCV Board Room
SCV Cafe (12)
refer to map
1700-1830
Large group breakouts 7
1830-2000
Break
1945hrs
Bus departs for dinner
Please refer to Small &
Large group breakouts
Please refer to
description page and
description page
map for venue
*free time*
Bus departs from
Permai & Damai
2000-2200
Dinner
Lim Hock Ann
0900hrs
Depart for Kuching State
Bus departs from
Legislature Hall (DUN Baru)
Permai & Damai
1000-1300
Rehearsal
1300-1400
Lunch
(Sunday)
1400-1530
Preparations
DAY 10
1530
Arrival of guests and media
1545
Arrival of VIPs
18 Jan 2015
DUN Baru
Arrival of TYT Governor of
1600
Sarawak
1605
Concert
Concert Ends & Presentation
1730
of Cendera Kenangan
1830
Participants depart to Permai
Rainforest Resort & Damai
Bus will depart DUN
Baru for Permai and
Beach Resort
Damai
Bus departs at Permai
1945
Bus Departs for Dinner
& Damai
2000
Goodbye Dinner
19 Jan 2015
Departure - Travelling day
(Monday)
Bayridge Restaurant
* Parallel Sessions comprising of music/cultural activities
** To be attended by Heads of Departments/Official Representatives from the following NoSoSo
member countries - Ghana (Cape Coast and Accra), Mali, Malaysia, Egypt, Palestine, Mozambique,
Tanzania and South Africa
*** To be attended by VIPs and Heads of Departments