Naima explores music, ecology, and the spaces between. Since childhood music and the environment have been her passions. After several years concentrating on ecological work, she returned to composing, only to miss ecology! In the past few years she has finally found ways to start moulding a creative practice that deeply involves both composition and ecology. She is moving beyond familiar compositional processes; and experimenting with cross-arts pieces, new composing techniques and collaborations. She is trying to use her music/ecology meld to reach out to broader communities, hoping her explorations will enable more people to easily access both important ecological information and enriching creative experiences.
Influences include jazz chords; minimalism’s entrancing woven structures; gamelan’s rhythms and microtonality; tonal languages; fractal, harmonic, and microscopic patterns; ecological datasets; anarchism; cultural traditions; intricacate natural phenomena; and strong wom*n. She never practices.
Naima has written music for short film; 2 full-length live circus shows; Orkeztra Glassho Bashalde (a well-loved Melbourne community gypsy band); and professional chamber ensembles. She now lives in the forest in the northern rivers region of NSW, where she works the land, plots to open a residency, works with her community on deepening acceptance of queerness, composes music, makes pickles and dried fruit, and writes a regular artists profile for her local paper, The Terania Times.
Composition major for B. Mus. at Queensland Conservatorium, Griffith University, Brisbane, Australia,1997-1999.
B. Sc. in Ecology and Conservation Biology (First Class Honours), Griffith University, Brisbane, Australia, 2001-2004.
Guest Composer/arranger/conductor: Orkestar Lizmoré, Lismore, Australia, 2017.
Musical Director/composer/conductor: Women’s Circus, Melbourne, Australia, 2010-2013.
Residency: Lìjiāng Studio, China, Feb-Aug 2015.
Intensive: The Modern Academy – Asia’s foremost contemporary classical music summer school, Hong Kong, June 2015.
Commissions and competitions:
3 Shades Black – a professional New Music Ensemble – regular commissions, Melbourne, Australia, 2011-ongoing.
The Committee – a professional New Music Collective – composition But You Could Be selected for performance, Auckland, New Zealand, 2013.
The Australian Voices – composition Islands of Wilderness awarded highly commended in composition competition, Brisbane, 1998.
Works performed at:
Lismore Women’s Festival, Lismore, Australia, 2017.
Midsumma Festival, Melbourne, Australia, 2012; ’13; ’14; ’15; ’16; ’17.
Brisbane Anywhere Festival, Brisbane, Australia, 2016.
Melbourne Fringe Festival, Melbourne, Australia, 2011 and 2015.
Australian National Academy of Music, Melbourne, Australia, 2014.
Auckland Fringe Festival, New Zealand, 2013.
As well as independent events in Australia, New Zealand, and China.
Examples of Naima’s work:
It’s hard to think of anything else
This piece was written for a concert I organised at the Lismore Women’s Festival, with local musicians playing new music by Australian composers with a lived experience of being a wom*n. A friend and I started trading feminist slogans as possible names for my piece, trailing off with the observation: “…it’s hard to think of anything else these days”. The work is driven by my horror at witnessing basic services wom*n world-wide have fought so hard for being monstrously ripped away – juxtaposed with the attempt to keep living a good life.
Julie Metcalfe – violin
Lisa Cameron – cello
Jolanda Moyle – sarangi (Indian violin)
Naima Fine – flute
Kate Gittins – clarinet
Herbarium-derived model predicts Rhododendron phenology
This is a recording of the only performed part of a large body of work I did at Lijiang Studio in China, 2015. The whole work is called “Climate Driven Change in Himalayan Rhododendrons”. It consists of 4 approaches to working with the research, data and analyses of that the wonderful Dr Robbie Hart undertook for his PhD thesis. The Himalayan mountain in question was Yù lóng xuě shān 玉龙雪山, that we could see from the studio. This particular piece is part of Approach 1. It is a direct coded translation of a graph of the same name: a comparison of Robbie’s own data (represented by acoustic instruments) and his analyses of historical data (represented by sine waves).
Laura Moore – Cello; Viola de Gamba (in substitute for double bass)
Matthew Horsley – Percussion (found tuned objects)
Naima Fine – Dizi (Chinese flute); Harmonium; Sound engineering
Miranda Hill and Pietro Fine – Recording and Engineering assistance
Bǎn Zhù Dòng Zuò
版 筑 动 作 (Bǎn zhù dòng zuò) is about handmade mud bricks that are used to build a home. It is an exploration of how to create the idea of stillness using movement; a description of the graceful upward arcs these solid earthy mud bricks make when they are thrown from hand to hand up the side of the building; and an invitation to think twice about “dirt”.
Performed by Ensemble Gô (Singapore), Hong Kong, June 2015.
Monique Lapins and San Win Htike, violins; Victor Williams, viola; Dylan Lee, cello; and Naoto Segawa, marimba.
Crystal Ruth Bell: We Keep Going.
Last year Miranda and I had the incredible privilege to go on a long music residency in rural China. Our trip was facilitated by Kira and Crystal of China Residencies, an awesome young artistic and facilitative duo.
Kira and Crystal had their next trip to China planned while we were at the residency in spring, but Crystal died that winter. I only met her once on skype, but for whatever reason she grew really persistently present in my mind. So when Kira came and visited us in China, we spent an afternoon lying in the hammock in the sunny warm courtyard of Crystal’s favourite place in China, and Kira told me about Crystal.
Crystal was always busy but rarely frantic; she was drop-dead gorgeous; and just starting to figure out her shit. She never got around to learning much Mandarin because Kira already had; she had that infectious energy that gets other folks up and doing things too, and spent lots of time doing just that. She was an artist, a bike rider, an explorer and a baker. Of course she got cranky and had down times. But she and Kira’s general motto about that, was what was the point of sitting around, when there were so many things to do? Kira and Crystal were one of the closest and most active and productive teams I’ve ever known.
So that afternoon at Lijiang Studio I took in as much as I could, and then I went and wrote it back out, and this piece is what came out.
And as Kira wrote in the days after Crystal died: So now what? We keep going.
Recorded rehearsal for the Lesser Heat Festival, Lijiang Studio, July 2015.
Tuned bottles: Jen Torrence; Flute: Naima Fine; Cello: Crystal Pascucci; Double Bass: Miranda Hill.
The People’s Weather Report
Written for the The People’s Weather Report as part of the Going Nowhere Festival, November 2014. From the website:
“Going Nowhere is one event happening on two sides of the globe – in Melbourne, Australia and in Cambridge, UK – exploring how artists, communities and audiences can sustainably generate international creative experiences without getting on a plane.
Through a series of collaborations, Going Nowhere rehearses possible futures and embraces the shared delights of staying put and reaching out.”
“The People’s Weather Report is a global response to the enormity of climate change, from a number of very personal perspectives. In a plant installation created by eco-designer Tanja Beer, audiences are invited to experience a sound work of original ‘weather reports’ collected from participants located around the world.”
This is quite a departure from my previous work. It is my first foray into writing “electronic music” – although none of my sounds are electronic! I wrote a rough score map, rather than a notated score; recorded all the elements; and built the piece in a sound/music editing program. You will hear:
Chorus Radio Waves within Earth’s Atmosphere, recorded by NASA.
Double bass interpretations of various historical and projected graphs of change in sea level, temperature, etc.
Excerpts of studies and articles reporting various aspects and examples of climate change across the world are read aloud.
Performed by Fine Fine Small Mountain. Melbourne, Aus., 2014.
Mat weaving fine (formerly Hat weaving fine).
An ensemble piece composed using prose from a journal entry by my great great grandfather Edwin Wright in the 1850’s. The journal was found by a stranger in an op-shop, who bought it and traced my family through a geneological online resource, and returned it to us. It covers a ~10 year period of Edwin’s life where he travelled from England to Canada by ship and lived and travelled in Canada. Entries include descriptions of ship conditions, personal updates, financial transactions, recipes, and instructions such as those used for this piece. Hilariously, I misread the title of this page to be “Hat weaving fine”. Only in 2016 was my auntie looking at the diary and my piece and pointed out he’d written “Mat”, not “Hat”! Ooops.
Performed by 3 Shades Black. Melbourne, Aus., 2014.
Anna-Louise Cole, Soprano; Ben Opie, Oboe; Laila Engle, Flute; Zoey Pepper, Bassoon; Luke Paulding, Tuba; Jennifer Morrish, Percussion; Zachary Johnston, Violin; Phoebe Green, Viola; Jennifer Mills, Cello; Miranda Hill, Double Bass.
i miss science.
A Moving Score: a score written in the form of a short film, to be read similarly to a graphic score. Every performance is different, and every ensemble interprets the score independently.
Performed by 3 Shades Black. Melbourne, Aus., 2011.
Bettina Crimmins, Oboe; Alisa Willis, Flute; Edward Ferris, Clarinet; Oscar Garrido de la Rosa, Bassoon; Miranda Hill, Double Bass; Dan Richardson, Percussion.
But you could be…
A vocal microscore, composed for a score call-out by NZ composer collective, The Committee. Inspired by an experience of being on a low income without a card to prove it, and being told, It’s not that they didn’t trust me, it’s just that I could be anybody. This made me think about how we are all “anybody”, and the toxicity and distrust implicit in our reliance on externally produced “proof” of ourselves and our lives.
Performed by The Committee. Auckland, NZ, 2013.
Elizabeth Mandino, Soprano; Claire Scholes, Mezzo; Stephen Rapano, Tenor; Te Oti Rakena, Baritone.
A quintet exploring the gorgeousness and essential-ness of deep-pitched instruments.
Performed by 3 Shades Black. Melbourne, Aus., 2012.
Ruby Paskas, Violin; Joshua de Graff, Oboe; Edward Ferris, Bass Clarinet; Oscar Garrido de la Rosa, Bassoon; Miranda Hill, Double Bass.
The Bells, The Bells
A piece for brass quartet and marimba: an attempt to express the constant, deafening/silent-through-satiation, urgent, ignored but imperative call for worldwide radical change. In this premiere, the marimba part is for a single player. I have since changed it to parts for 2 players.
Performed at the Australian National Academy of Music. Melbourne, Aus., 2014.
Louisa Trewartha, Trumpet; Josh Rogan, Trumpet; Kara Hahn, French Horn; Iain Faragher, Trombone; Hugh Tidy, Marimba.