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The study decolonises pedagogical practices by placing them in the hands of Indigenous Elders and musicians, and documents musical interactions arising from students’ collaboration opportunities. Drawing on the author’s observations and collaborators’ accounts, the paper highlights relationship building, colonial guilt, Otherness construction, and how engagement shapes undergraduate students’ understanding of Indigenous cultural practices.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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students in Tennant Creek  \nBrydie-Leigh Bartleet  \nQueensland Conservatorium, Griffith University  \nAbstract  \nIn this paper I look at what happens when a university music classroom is exchanged for a remote Indigenous community. I explore what happens when pedagogical practices are decolonised and placed into the hands of Indigenous Elders and musicians, and reveal the sorts of musical interactions that transpire when students and Indigenous musicians are given the opportunity to spend time together and collaborate. In order to do this, I describe a cross-cultural project I facilitated between Indigenous musicians at the Winanjji-kari Music Centre in Tennant Creek and undergraduate music students from Brisbane. In the paper, I bring these interactions to life for the reader through my own personal observations, and the words and experiences of my students and our collaborators. I construct a narrative that explores the centrality of relationship building, issues of colonial guilt, the construction of Otherness, and the impact that this kind of cross-cultural engagement can have on the ways in which undergraduate music students understand and connect with Indigenous cultural practices.  \nKey words: Indigenous Australian studies; cross-cultural collaboration; field experiences; immersion experiences  \nAustralian Journal of Music Education 2011:2,11-21  \nIntroduction  \nAs we board the Greyhound bus for Tennant Creek late one afternoon in June we don’t quite know what to expect. We have equipped ourselves for thirty-six hours of travelling and two weeks at Winanjji-kari Music Centre as best we can, but in all honesty we are entering the great unknown. No orientation sessions, journal articles, or words of advice can really prepare us for what lies ahead. The familiar lights of Brisbane fade into the distance as we travel the road northeast to Mt Isa and Camooweal. The landscape starts to change into dry red earth and the late afternoon sun turns the termite  \nmounds a warm orange colour. Just after we pass Cloncurry a dramatic sunset gives way to a stunning night sky of stars. As I lean against the frosted window and watch the outlines of trees flashing past, it occurs to me how unusual this situation is. University courses rarely venture beyond the walls of their institutions like this, and consequently students and Indigenous musicians are seldom given the opportunity to build meaningful relationships with one another. As I think ahead to our two weeks in Tennant Creek, I am keen to observe what happens when we make such a shift, and exchange our university classroom for an Indigenous community. I want  \nto understand what happens when pedagogical practices are decolonised and placed into the hands of Indigenous Elders and musicians. Iam curious to observe what exchange of music and ideas might transpire when students and Indigenous musicians are given the opportunity to spend time with one another and collaborate.  \nAs I stretch my arms above my head and glance behind me I notice the contorted shapes ofthe students’ silhouettes. All seem to be sleeping soundly despite their awkward positions. This group of students come from Queensland Conservatorium (Griffith University), the School of Education & Professional Studies (Griffith University), and the School of Music (The University of Queensland). Amie, Andrew and Ryan are studying music technology and Carly, James, Lecia and Rhiannon are studying music education. I have been given the task of organising and facilitating the trip with the assistance of my colleague Myfany Turpin, who has been working in Central Australia for a number of years. Our decision to travel to Tennant Creek was not an arbitrary one. The Queensland Conservatorium was invited to bring a group of students to work at the Winanjji-kari Music Centre in 2009. This transpired after the Cons","cbCaitVuaEygfhQG","https://ap.wps.com/l/cbCaitVuaEygfhQG","pdf",375101,11,"English","# Abstract\n# Introduction","[{\"question\":\"What is the core focus of the paper?\",\"answer\":\"The paper explores what happens when a university music classroom is exchanged for a remote Indigenous community, emphasizing decolonised teaching practices and collaboration between students and Indigenous musicians.\"},{\"question\":\"How was the cross-cultural project implemented?\",\"answer\":\"A cross-cultural project was facilitated between Indigenous musicians at Winanjji-kari Music Centre in Tennant Creek and undergraduate music students from Brisbane.\"},{\"question\":\"What kinds of activities did the students participate in?\",\"answer\":\"Over two weeks, students played music with Winanjji-kari musicians, helped set up a new music centre, worked on recording projects, took part in songwriting and lyric/chord work, and supported holiday programs for Indigenous school children.\"}]","Stories of reconciliation - building cross-cultural collaborations between Indigenous musicians and undergraduate music students in Tennant Creek - Brydie-Leigh Bartleet | PDF",1792079188,28]