9:00 Whakatau (Ceremonial Welcome) by Te Āti Awa

9:15 Opening Remarks

Kapa Haka (Māori performing arts) and Pasifika Dance

Oro Atua Wānanga Rongoā Puoro | Reviving Ancestral Sound Practices in Modern Times

This workshop and playing by guqin specialist Gao Xinran (Central Conservatory of Music, Beijing) will involve members of the local Wellington guqin club and chaired by Hui Luo.

Goong: Sound Through Fire (Maria Mendonça), 34 mins

(a)shore (Autumn Eckman), 11 mins

Hopa Lide (Petr Nuska), 90 mins

From 18:30 dinner options available for purchase

19:00 Tea Ceremony and Guqin (Central Conservatory of Music, Beijing / Confucius Institute at VUW)

Welcome by Te Kōkī New Zealand School of Music and Victoria University of Wellington

19:30 Chinese Ensemble (Central Conservatory of Music, Beijing)

20:15 Javanese Dance (Triadhika Productions, Jakarta)

Devagan: the Newar indigenous and the Nava Durgā ritual performance (Shan Du), 66 mins

The Shifting Dreams of Tazumuddin (Ripan Das), 22 mins

Innovation within Tradition in Mozambique - From the Midi-Mbira to the Tunable Kankubwe: PAR Research as a source for Creative Accidents (Guillermo de Llera Blanes), 30 mins

Facing Shores: Musical Flows Between the Arabian Peninsula, Iran, and Balochistan (George Murer), 69 mins

Presenters in this session include young and emerging scholars who come together around issues and problems of Indigenous music, arts and language learning. Together, these Indigenous and non-Indigenous community-based researchers, university-based scholars and students consider ways in which Indigenous music, arts and language-based practices can support efforts to Indigenize, decolonize, make education equitable, and empower individuals and communities. Creative practices create space for and include diverse ways of knowing and being, and diverse knowledges, including Indigenous research and pedagogical practices. In this session, we hear localized examples of how creative practices, language and learning intertwine. These stories also demonstrate ways in which creative practices are core to Indigenous languages, research methodologies and learning, including intergenerational and land-based learning; how people, traditions and creative practices connect in/from place to place; how creative practices are intertwined with language (re)vitalization, sustainability, and language-related rights; and with resilience, regeneration and reclamation of Indigenous lands, languages and practices.

San Pablo Cimarrona: Transmission of knowledge from the past to the present (Maria Bejarano, Marcela Ramírez and Daniel Cedeño), 31 mins 

Reviving Rongo: Moriori, Music and Manawa & Hou Rongo: Reviving Moriori Culture (Gianna Savoie and Brady Clark), 2 x 20 mins

The Music of Our Neighbors: Cultural Diversity in Small-Town Germany (Juniper Hill and Cornelia Günauer), 85 min

Nyejerang Swara: Exploring Solutions to a Sacred Music Generational Crisis in Bali (Putu Evie Suyadnyani and Vaughan Hatch), 31 mins

El Porro es Rey | The Porro is King (Ons Barnat), 32 mins 

All members are warmly encouraged to attend the General Assembly of Members

Inyjalarrku ‘mermaid’ singers and dancers from Goulburn Island, western Arnhem Land, Northern Territory led by Rupert Manmurulu (collaborating with Dr Reuben Brown)

Warlpiri women from the Tanami desert region of Central Australia (collaborating with Dr Georgia Curran) and Mayi singers and dancers of Central New South Wales led byWangaaypuwan, Ngiyampaa and Wiradjuri songman/scholar Jesse Hodgetts

Three Films Engaging with Diverse Southern African Music and Dance Traditions (Sylvia Bruinders), 30 mins each

Kantar Goa (Nalini Elvino de Sousa), 55 mins

Gone to the Village: Performing Asante History at the Funerary Rites of the Asantehemaa (Kwasi Ampene), 50 mins

This performance will focus on Gamelan Semara, a hybrid ensemble comprised of gamelan music from four different ensembles from Bali’s court era, and led by Vaughan Hatch and Putu Evie of Mekar Bhuana.  Accompanying dynamic female and male dances led by Putu Evie, the performance features artists Wayan Gede Purnama Gita and Komang Yohana Wandira from Denpasar. This conference will include collaboration with ICTMD members who have expertise in Balinese performing arts, as well as community musicians and dancers from Wellington.

This performance will take place in the Tākina Exhibition Space on Level 1.

The Art of Brazilian Music: Bridging Classical, Popular, and Folk musical styles into a Global Music Art Form - Randy Lee and Welson Tremura (Brazil/USA)

Javanese & Sumatran Music and Dance - Gamelan Wellington & Triadhika Productions plus Mahdi Bahar (Indonesia/New Zealand)

Dancers from Triadhika Productions, Jakarta will perform Gambyong Parianom and the palace dance, Srimpi Catur Sagotra Nusantara, with live accompaniment from Gamelan Wellington's Javanese gamelan, Gamelan Padhang Moncar led by Budi S. Putra, and based at VUW. Mahdi Bahar, from Jambi University, Sumatra, will also perform a selection of dendang Minangkabau songs, on the rabab darek.

Illustrating the documentary 'Nyejerang Swara,' this unique Selonding gamelan performance by Mekar Bhuana (Bali) uses the only active Bugbug Village-style ensemble outside of Bali and showcases rare village styles traditionally heard only in Balinese ritual ceremonies.

Extending the critical, creative dialogue that began in the ICTMD Pre-Conference Symposium (September 2024), in this session, presenters draw on Indigenous traditional knowledge, personal experiences, and learning in and with diverse communities to share how music and dance can support healing and wholistic health and wellbeing. This includes a focus on singing, chant, dance, instruments, and storytelling. It also involves intergenerational learning, care for Elders and the vitality of youth; consideration of how people, traditions and creative practices connect in/from place to place; how creative practices are interwined with the (re)vitalization of Indigenous languages and practices; with resilience, regeneration, reclamation (of lands, and cultural practices); trauma-informed approaches to research; and how creative practices can support pathways to heal the ongoing impacts of colonialism. International research has shown that Indigenous music and language are determinants of Indigenous health and wellbeing. The stories shared in this session speak to ways that wholistic worldviews and lifeways are interconnected and interdisciplinary – and are integral to facilitating and maintaining individual and community healing, health and wellbeing.

With Starr Paul, Graham Marshall and Austin Christmas

In this workshop, Knowledge Holders from Unama'kik share and lead Mi'kmaw drumming, songs, dances, and language learning. These facilitators have traveled to Aotearoa from Mi'kma'kik, the ancestral and unceded lands of their ancestors, the Indigenous First Peoples, the Mi'kmaq – on northeastern shores of Turtle Island (also known as North America). The Mi'kmaw songs, dances and language they share in this workshop make evident the ways in which Indigenous arts are intertwined. They also make clear how these creative practices are core to Mi'kmaw resilience, regeneration and reclamation (of lands, culture, and language) – and to creating pathways to balance, healing in the contexts of ongoing colonialisms, and to individual and community health and wellbeing.

Sharing the Gospel with the Hakka: The Kittelsons' Mission Journey in Taiwan (Hsin-Wen Hsu), 25 mins

Sounds of Weeping: Funeral Marches in Maltese Society and Culture (Simon Farrugia and Philip Ciantar), 31min

The past that sounds and re-sounds (Lucero Enríquez Rubio, Víctor López Menacho, Andrea López Fernández and Pablo Rodrigo Osset Enríquez), 67 mins