1 00:00:02,800 --> 00:00:07,440 When I was 12, I broke my back. 2 00:00:07,440 --> 00:00:07,640 A doctor said, "I'm really sorry. When I was 12, I broke my back. 3 00:00:07,640 --> 00:00:09,960 A doctor said, "I'm really sorry. 4 00:00:11,280 --> 00:00:14,760 "You're not gonna be able to move again." 5 00:00:15,720 --> 00:00:20,960 So I spent quite a lot of time in the children's ward at the hospital. 6 00:00:20,960 --> 00:00:23,560 And much later, many years later, 7 00:00:23,560 --> 00:00:25,600 somebody was working on my back. 8 00:00:25,600 --> 00:00:27,720 And they were pressing on my back. 9 00:00:29,040 --> 00:00:32,000 And suddenly - boom! 10 00:00:33,760 --> 00:00:35,640 I was back in the hospital. 11 00:00:35,640 --> 00:00:38,840 It was the sudden, very vivid memory. 12 00:00:40,560 --> 00:00:44,320 And it was not the way I'd told the story. 13 00:00:44,320 --> 00:00:48,000 I was remembering children, uh, crying. 14 00:00:48,800 --> 00:00:51,200 It was this incredible smell of medicine 15 00:00:51,200 --> 00:00:51,440 It was this and this darkness, 16 00:00:51,440 --> 00:00:54,240 and this darkness, 17 00:00:54,240 --> 00:00:56,640 and the sounds of this hospital. 18 00:00:56,640 --> 00:00:59,800 All of these kids I had erased from my mind. 19 00:01:00,680 --> 00:01:03,360 So I'm like, "Wait a second. 20 00:01:03,360 --> 00:01:05,000 "Who's telling this story?" 21 00:01:06,840 --> 00:01:09,480 "Which events really am I remembering?" 22 00:01:10,440 --> 00:01:13,600 I'm now overlaying another story as I'm telling you this story. 23 00:01:14,480 --> 00:01:17,320 Every time you recall something, it's different. 24 00:01:19,320 --> 00:01:21,840 But you tell the story that you can tell. 25 00:01:45,600 --> 00:01:47,640 NAMILA: It's funny how memories work. 26 00:01:47,640 --> 00:01:50,320 You know, the ways that we attach stories to them 27 00:01:50,320 --> 00:01:50,560 You know, the ways that and how they change over time. 28 00:01:50,560 --> 00:01:52,600 and how they change over time. 29 00:01:54,600 --> 00:01:55,920 Why do some stick, 30 00:01:55,920 --> 00:01:57,440 others slip away, 31 00:01:57,440 --> 00:02:00,880 and some appear when you least expect them? 32 00:02:00,880 --> 00:02:01,160 What I want to know is how do we hold onto the memories that matter? and some appear when you least expect them? 33 00:02:01,160 --> 00:02:06,360 What I want to know is how do we hold onto the memories that matter? 34 00:02:10,760 --> 00:02:13,160 So I'm heading to meet artists 35 00:02:13,160 --> 00:02:14,880 who capture, document 36 00:02:14,880 --> 00:02:18,000 and help us understand memories. 37 00:02:20,000 --> 00:02:23,320 And I think I know just where to start. 38 00:02:30,120 --> 00:02:31,360 ELECTRONIC VOICE: Going up. 39 00:02:31,360 --> 00:02:33,760 I did sound check, make-up, 40 00:02:33,760 --> 00:02:35,680 then meet and greet. 41 00:02:35,680 --> 00:02:35,920 No, no, no. Designer came for then meet and greet. 42 00:02:35,920 --> 00:02:38,600 No, no, no. Designer came for the dress. Meet and greet. 43 00:02:38,600 --> 00:02:38,840 No, no, no. Designer came for Photo shoot. 44 00:02:38,840 --> 00:02:39,840 Photo shoot. 45 00:02:39,840 --> 00:02:43,120 Yep. A day in the life of Alok is a lot. 46 00:02:43,120 --> 00:02:46,280 Poet, performer, fashion icon, activist. 47 00:02:46,280 --> 00:02:46,520 Poet, performer, We are so fucking powerful. 48 00:02:46,520 --> 00:02:48,560 We are so fucking powerful. 49 00:02:48,560 --> 00:02:52,760 Their presence bends time, place and expectation. 50 00:02:53,720 --> 00:02:55,600 Hi. I'm Alok. 51 00:02:55,600 --> 00:02:55,840 Hi. I'm Alok. In tonight's show, I'm going to be weaving comedy with poetry 52 00:02:55,840 --> 00:03:00,200 In tonight's show, I'm going to be weaving comedy with poetry 53 00:03:00,200 --> 00:03:04,120 because I identify as a pretentious piece of shit. 54 00:03:05,920 --> 00:03:09,560 Alok's performance uses the memories that shaped them 55 00:03:09,560 --> 00:03:13,560 to connect with audiences in over 40 countries, 56 00:03:13,560 --> 00:03:13,800 to connect with audiences in turn, creating powerful new ones. 57 00:03:13,800 --> 00:03:17,160 in turn, creating powerful new ones. 58 00:03:17,160 --> 00:03:18,840 Photo shoot. 59 00:03:18,840 --> 00:03:22,080 And then now this. Now this show. When's sleep? When's sleep? 60 00:03:22,080 --> 00:03:22,840 That's important. 61 00:03:22,840 --> 00:03:25,320 You know, the Tricia Hersey Rest Is Resistance. 62 00:03:25,320 --> 00:03:26,280 Yeah. 63 00:03:26,960 --> 00:03:31,800 Tell me, in comedy, how do you choose what to use 64 00:03:31,800 --> 00:03:34,320 and what to leave out, when it comes to memory? 65 00:03:34,320 --> 00:03:38,200 Every single day I write down what I do, what I think, what I feel. 66 00:03:38,200 --> 00:03:39,880 So that when I'm working on a new show, 67 00:03:39,880 --> 00:03:41,040 I don't have to start from scratch. 68 00:03:41,040 --> 00:03:43,160 I can go back to my memory and say, 69 00:03:43,160 --> 00:03:45,360 "Wasn't it so funny when this thing happened?" 70 00:03:45,360 --> 00:03:47,200 I was recently back home in Texas 71 00:03:47,200 --> 00:03:49,920 and my Uber driver was like, 72 00:03:49,920 --> 00:03:51,840 "Alok? 73 00:03:51,840 --> 00:03:55,600 "That's the strangest name I've ever seen. 74 00:03:55,600 --> 00:03:55,840 "That's the strangest name "How do you spell that?" 75 00:03:55,840 --> 00:03:57,120 "How do you spell that?" 76 00:03:58,360 --> 00:04:01,080 I mean, it was written right there on the phone screen, actually. 77 00:04:01,760 --> 00:04:05,280 And I'm constantly in conversation with past versions of myself. 78 00:04:05,280 --> 00:04:07,800 I was excited to learn about a new culture too. 79 00:04:07,800 --> 00:04:10,600 So I asked my driver, 'Nat-han', 80 00:04:10,600 --> 00:04:14,360 what his name meant in his culture. 81 00:04:16,400 --> 00:04:18,200 Are there particular memories 82 00:04:18,200 --> 00:04:21,040 that continuously show up in your work? 83 00:04:21,680 --> 00:04:23,000 Yes, so many. 84 00:04:23,000 --> 00:04:28,160 Um, so I have so many stories from just growing up in Texas as a kid 85 00:04:28,160 --> 00:04:32,440 and some of the most horrendous racism, xenophobia, homophobia 86 00:04:32,440 --> 00:04:33,440 I was experiencing. 87 00:04:33,440 --> 00:04:38,640 Tonight, I want to make the argument that trans people are human. 88 00:04:38,640 --> 00:04:40,480 (CHEERING) 89 00:04:40,480 --> 00:04:44,080 So now, as an adult, I get to go back into those painful memories 90 00:04:44,080 --> 00:04:46,920 and use humour to kind of detoxify them. 91 00:04:47,640 --> 00:04:50,960 By which I mean insufferable, just like you. 92 00:04:52,440 --> 00:04:54,360 I know, as a student of history, 93 00:04:54,360 --> 00:04:55,480 it's not a question of if, 94 00:04:55,480 --> 00:04:57,600 it's a question of when we will be erased. 95 00:04:57,600 --> 00:05:00,960 And so I see memory as a political project. 96 00:05:00,960 --> 00:05:02,800 We have to document that we were here, 97 00:05:02,800 --> 00:05:05,960 and we have to become so flagrant and so flamboyant 98 00:05:05,960 --> 00:05:09,240 that any attempt to kind of expunge us from the record won't work. 99 00:05:09,240 --> 00:05:09,480 that any attempt to kind of expunge In revisiting particular memories, 100 00:05:09,480 --> 00:05:11,840 In revisiting particular memories, 101 00:05:11,840 --> 00:05:15,400 do you find, Alok, that they change over time? 102 00:05:15,400 --> 00:05:17,240 100%. 103 00:05:17,240 --> 00:05:20,080 Some of the most painful things that I've gone through 104 00:05:20,080 --> 00:05:20,320 Some of the most painful things now no longer faze me. 105 00:05:20,320 --> 00:05:22,560 now no longer faze me. 106 00:05:24,080 --> 00:05:26,400 What do you hope people take away from 107 00:05:26,400 --> 00:05:28,560 the memories that you share on stages? 108 00:05:29,320 --> 00:05:30,800 Permission. Mm. 109 00:05:30,800 --> 00:05:31,040 Permission. Permission to be complex. 110 00:05:31,040 --> 00:05:33,320 Permission to be complex. 111 00:05:33,320 --> 00:05:34,800 Permission to be human. 112 00:05:34,800 --> 00:05:36,840 Because memory is one of the most beautiful things 113 00:05:36,840 --> 00:05:37,880 that makes us human. 114 00:05:39,880 --> 00:05:41,400 When Grandpa died, 115 00:05:41,400 --> 00:05:46,280 the hospice nurses told us that his death would be painless. 116 00:05:46,280 --> 00:05:48,800 I mistakenly thought that meant it would be quick. 117 00:05:50,960 --> 00:05:55,240 Love means noticing everything about someone, 118 00:05:55,240 --> 00:05:57,280 developing an acute sensitivity 119 00:05:57,280 --> 00:05:59,840 to the aliveness of everything they touch. 120 00:05:59,840 --> 00:06:03,720 And that's precisely why it's so lethal, 121 00:06:03,720 --> 00:06:08,000 because then you end up missing everything when it's gone. 122 00:06:08,000 --> 00:06:10,800 I think one of the defining features of our species 123 00:06:10,800 --> 00:06:11,040 I think one of is our capacity to dream 124 00:06:11,040 --> 00:06:12,960 is our capacity to dream 125 00:06:12,960 --> 00:06:14,520 and our capacity to remember. 126 00:06:14,520 --> 00:06:17,040 I'm just a girl boy standing in front of the world! 127 00:06:17,040 --> 00:06:17,280 I'm just a girl boy standing (CHEERING) 128 00:06:17,280 --> 00:06:19,920 (CHEERING) 129 00:06:19,920 --> 00:06:21,080 Thank you so much. 130 00:06:21,080 --> 00:06:23,480 Thank you so much. Thank you. 131 00:06:26,280 --> 00:06:30,040 As Alok steps up to share their memories with a packed house... 132 00:06:31,640 --> 00:06:34,040 ..their ideas have me thinking. 133 00:06:37,200 --> 00:06:39,600 Some of my most cherished memories 134 00:06:39,600 --> 00:06:42,240 come from my homeland, Papua New Guinea, 135 00:06:42,240 --> 00:06:42,480 come from my homeland, but also Melbourne, where I grew up. 136 00:06:42,480 --> 00:06:44,760 but also Melbourne, where I grew up. 137 00:06:48,800 --> 00:06:52,600 And these artists bring those worlds together, 138 00:06:52,600 --> 00:06:55,760 all while holding onto treasured memories. 139 00:06:55,760 --> 00:07:00,400 The Tatana Village Choir all the way from Port Moresby, 140 00:07:00,400 --> 00:07:04,120 proudly walking through Naarm led by Aaron Choulai, 141 00:07:04,120 --> 00:07:07,320 artistic director of the Australian Art Orchestra. 142 00:07:08,320 --> 00:07:10,200 Hey! Wantok. 143 00:07:10,200 --> 00:07:10,440 (SPEAKS INAUDIBLY) Hey! Wantok. 144 00:07:10,440 --> 00:07:12,120 (SPEAKS INAUDIBLY) Hello. 145 00:07:12,120 --> 00:07:14,360 Good to see you. Oh! Looking forward to this. 146 00:07:14,360 --> 00:07:14,600 Good to see you. I'm excited because the choir 147 00:07:14,600 --> 00:07:16,360 I'm excited because the choir 148 00:07:16,360 --> 00:07:16,600 have invited me I'm excited because the choir 149 00:07:16,600 --> 00:07:19,080 have invited me to the Playhouse in Melbourne 150 00:07:19,080 --> 00:07:22,320 for a sneak peek of the final dress rehearsal for their show 151 00:07:22,320 --> 00:07:22,560 for a sneak peek of the final Ane Ta Abia. 152 00:07:22,560 --> 00:07:24,000 Ane Ta Abia. 153 00:07:25,560 --> 00:07:27,280 Ane Ta Abia in Motu, 154 00:07:27,280 --> 00:07:27,520 translated it really means Ane Ta Abia in Motu, 155 00:07:27,520 --> 00:07:29,560 translated it really means "sing a song". 156 00:07:29,560 --> 00:07:29,800 Like, ane abia, translated it really means "sing a song". 157 00:07:29,800 --> 00:07:31,320 Like, ane abia, 158 00:07:31,320 --> 00:07:34,120 it's like fucking sing. 159 00:07:34,120 --> 00:07:34,320 it's like fucking sing. (SING IN MOTU) 160 00:07:34,320 --> 00:07:37,640 (SING IN MOTU) 161 00:07:42,000 --> 00:07:45,320 This is the sound of Peroveta, 162 00:07:45,320 --> 00:07:49,000 a unique choral tradition in Motuan culture. 163 00:07:50,600 --> 00:07:54,960 The musical form was born during 19th-century colonisation, 164 00:07:54,960 --> 00:07:58,040 combining the hymns of Western missionaries 165 00:07:58,040 --> 00:08:00,360 with traditional Papuan harmonies. 166 00:08:04,080 --> 00:08:05,840 But for many, like Aaron, 167 00:08:05,840 --> 00:08:08,240 it carries something deeper. 168 00:08:08,240 --> 00:08:11,200 A bond with home through memory. 169 00:08:12,720 --> 00:08:15,480 My connection to it is I was born in Papua New Guinea. 170 00:08:17,080 --> 00:08:20,560 And when I moved to Australia, 171 00:08:20,560 --> 00:08:22,520 all I wanted to do was to fit in. 172 00:08:23,880 --> 00:08:28,960 And so I ignored any type of cultural connection to PNG. 173 00:08:28,960 --> 00:08:29,200 And so I ignored any type To me it was kind of embarrassing. 174 00:08:29,200 --> 00:08:30,560 To me it was kind of embarrassing. 175 00:08:30,560 --> 00:08:32,600 The food that we ate wasn't the same as other people. 176 00:08:32,600 --> 00:08:34,800 The music I listened to wasn't the same. 177 00:08:34,800 --> 00:08:36,000 We didn't speak the same language. 178 00:08:37,000 --> 00:08:40,080 But there is one language that's universal. 179 00:08:40,080 --> 00:08:43,640 Aaron would find a place to belong in jazz. 180 00:08:44,840 --> 00:08:47,080 And it would take him across the world, 181 00:08:47,080 --> 00:08:49,520 from Melbourne to New York to Tokyo. 182 00:08:52,040 --> 00:08:54,760 But music has a way of circling back. 183 00:08:55,960 --> 00:09:00,840 And eventually he would reconnect with the sounds of his past. 184 00:09:01,320 --> 00:09:03,360 When I was 19, my mother passed away. 185 00:09:05,240 --> 00:09:07,600 And I went back to Port Moresby. 186 00:09:07,600 --> 00:09:09,600 And throughout that whole period, 187 00:09:09,600 --> 00:09:09,840 people would just start And throughout that whole period, 188 00:09:09,840 --> 00:09:11,400 people would just start singing Peroveta. 189 00:09:15,080 --> 00:09:17,480 I remember sitting outside with my uncles 190 00:09:17,480 --> 00:09:17,720 I remember sitting outside listening to the music and was like, 191 00:09:17,720 --> 00:09:19,240 listening to the music and was like, 192 00:09:19,240 --> 00:09:22,200 "This is some of the most beautiful music I've ever heard." 193 00:09:24,440 --> 00:09:26,240 And now, as a composer, 194 00:09:26,240 --> 00:09:28,200 Aaron is creating something new 195 00:09:28,200 --> 00:09:31,840 by combining the musical memories of his family and childhood 196 00:09:31,840 --> 00:09:35,480 with the traditions of jazz improvisation. 197 00:09:35,480 --> 00:09:38,640 (PLAYS JAZZ) 198 00:09:41,840 --> 00:09:44,360 (SPEAKS MOTU) 199 00:09:44,360 --> 00:09:47,080 (ALL SING PEROVETA IN MOTU) 200 00:09:47,080 --> 00:09:48,800 A lot of the music we participate in 201 00:09:48,800 --> 00:09:51,320 has a dark history associated with it, 202 00:09:51,320 --> 00:09:52,760 and people have suffered for it, 203 00:09:52,760 --> 00:09:54,040 and people have suffered culturally. 204 00:09:54,040 --> 00:09:56,640 And it's powerful to be reminded of that 205 00:09:56,640 --> 00:09:56,880 And it's powerful because it makes the motivation 206 00:09:56,880 --> 00:09:58,880 because it makes the motivation 207 00:09:58,880 --> 00:10:01,360 to turn this thing into something beautiful. 208 00:10:01,360 --> 00:10:02,320 Yes! 209 00:10:05,200 --> 00:10:07,560 It takes me back to my childhood days. 210 00:10:08,600 --> 00:10:10,560 Looking at my grandparents. 211 00:10:10,560 --> 00:10:10,800 I'm also in tears remembering Looking at my grandparents. 212 00:10:10,800 --> 00:10:15,120 I'm also in tears remembering how they held onto the Peroveta. 213 00:10:17,520 --> 00:10:20,400 MAN: 214 00:10:40,320 --> 00:10:42,520 Whoo! 215 00:10:42,520 --> 00:10:45,160 What a note to end off on. 216 00:10:45,160 --> 00:10:49,200 Wow. I gotta say, I'm kind of blown away. 217 00:10:50,640 --> 00:10:55,200 To take memories so painful, beautiful and complex 218 00:10:55,200 --> 00:10:57,800 and reshape them into something healing 219 00:10:57,800 --> 00:10:58,040 and reshape them is truly special. 220 00:10:58,040 --> 00:10:59,440 is truly special. 221 00:11:02,960 --> 00:11:06,160 But memories are more than just personal. 222 00:11:06,160 --> 00:11:06,400 But memories They're also institutional, 223 00:11:06,400 --> 00:11:08,640 They're also institutional, 224 00:11:08,640 --> 00:11:10,200 shaped by the places 225 00:11:10,200 --> 00:11:13,920 that collect, display, and claim to preserve them. 226 00:11:15,160 --> 00:11:18,640 To see how institutions decide which memories to keep 227 00:11:18,640 --> 00:11:22,080 and how these stories shape Australia's identity, 228 00:11:22,080 --> 00:11:25,920 I'm heading to meet art historian Mary McGillivray. 229 00:11:25,920 --> 00:11:26,160 I'm heading to meet art historian Let's go in, yeah. 230 00:11:26,160 --> 00:11:27,360 Let's go in, yeah. 231 00:11:27,360 --> 00:11:27,560 (WHISPERS) Let's go in, yeah. 232 00:11:27,560 --> 00:11:28,960 (WHISPERS) 233 00:11:30,280 --> 00:11:32,920 So I've got something pretty special to show you. 234 00:11:32,920 --> 00:11:33,160 So I've got something pretty special Namila, this is an image 235 00:11:33,160 --> 00:11:35,160 Namila, this is an image 236 00:11:35,160 --> 00:11:39,240 of the first public art gallery in Australia. 237 00:11:39,240 --> 00:11:42,160 And here we have a scene of this hall, Queen's Hall, 238 00:11:42,160 --> 00:11:42,400 And here we have as it was set up originally 239 00:11:42,400 --> 00:11:43,680 as it was set up originally 240 00:11:43,680 --> 00:11:46,280 as an art gallery, as a picture gallery for the public. 241 00:11:47,560 --> 00:11:50,320 What I find particularly fascinating about this image, though, 242 00:11:50,320 --> 00:11:54,600 is really how little has changed in 150 years 243 00:11:54,600 --> 00:11:56,920 since this gallery opened. 244 00:11:56,920 --> 00:11:58,920 And look at the people who were milling about. 245 00:11:58,920 --> 00:12:01,840 I'm not seeing any sisters in there, Mary. 246 00:12:01,840 --> 00:12:06,120 Unfortunately, there's a lot of bonnets and petticoats instead. 247 00:12:06,120 --> 00:12:09,440 There sure are. And also a very middle-class crowd. 248 00:12:09,440 --> 00:12:12,360 Yeah, it still feels very recognisable. 249 00:12:12,360 --> 00:12:12,600 Yeah, it still feels What's changed, right? 250 00:12:12,600 --> 00:12:14,080 What's changed, right? 251 00:12:14,080 --> 00:12:17,560 And it's kind of wild when you think about arts institutions 252 00:12:17,560 --> 00:12:20,520 and the objects and collections that they have within, 253 00:12:20,520 --> 00:12:25,440 how it really shapes ideas of nationhood and national identity. 254 00:12:25,440 --> 00:12:27,040 Art galleries and museums 255 00:12:27,040 --> 00:12:29,520 are obviously making decisions all the time 256 00:12:29,520 --> 00:12:32,000 about what they collect, what they keep. 257 00:12:32,000 --> 00:12:34,600 And these types of collections in the 19th century 258 00:12:34,600 --> 00:12:34,840 And these types of collections prioritised European artworks, 259 00:12:34,840 --> 00:12:37,560 prioritised European artworks, 260 00:12:37,560 --> 00:12:38,880 colonial Australian artworks. 261 00:12:38,880 --> 00:12:42,400 They didn't consider First Nations people and their artworks 262 00:12:42,400 --> 00:12:47,480 as being important to hold for the public in a public gallery. 263 00:12:47,480 --> 00:12:49,720 So I think when we think about institutions, 264 00:12:49,720 --> 00:12:49,960 So I think the institutional memory 265 00:12:49,960 --> 00:12:51,200 the institutional memory 266 00:12:51,200 --> 00:12:54,320 that carries so much of our national identity 267 00:12:54,320 --> 00:12:55,760 is something that we need to interrogate. 268 00:12:55,760 --> 00:12:56,000 is something We need to look at images like this, 269 00:12:56,000 --> 00:12:57,440 We need to look at images like this, 270 00:12:57,440 --> 00:13:00,200 think about what's missing, not just what's there. 271 00:13:00,200 --> 00:13:04,080 I've loved seeing both of these, um, books. 272 00:13:04,080 --> 00:13:06,920 I'm a bit disappointed, though, that there were no white gloves. 273 00:13:06,920 --> 00:13:08,560 I thought I could feel official with doing that. 274 00:13:08,560 --> 00:13:08,800 I thought I could feel official But let's keep moving, Mary. 275 00:13:08,800 --> 00:13:10,320 But let's keep moving, Mary. 276 00:13:10,320 --> 00:13:12,040 Thank you for this. 277 00:13:12,040 --> 00:13:14,000 Yep, no white gloves for me. 278 00:13:14,000 --> 00:13:16,240 But maybe that's for the best. 279 00:13:17,800 --> 00:13:21,200 Because holding onto memories doesn't have to mean 280 00:13:21,200 --> 00:13:21,440 Because holding onto memories locking them away behind glass. 281 00:13:21,440 --> 00:13:23,840 locking them away behind glass. 282 00:13:23,840 --> 00:13:26,600 For some, the memories that matter 283 00:13:26,600 --> 00:13:28,440 belong on the streets. 284 00:13:28,440 --> 00:13:29,240 How are you going? 285 00:13:29,240 --> 00:13:32,360 Which brings me to Aretha Brown. 286 00:13:32,360 --> 00:13:32,560 My role as an Aboriginal artist Which brings me to Aretha Brown. 287 00:13:32,560 --> 00:13:33,880 My role as an Aboriginal artist 288 00:13:33,880 --> 00:13:34,120 My role as an Aboriginal artist that have been forgotten 289 00:13:34,120 --> 00:13:36,680 is about telling memories that have been forgotten 290 00:13:36,680 --> 00:13:36,920 or selectively forgotten. So... that have been forgotten 291 00:13:36,920 --> 00:13:38,520 or selectively forgotten. So... 292 00:13:38,520 --> 00:13:38,720 or selectively forgotten. So... (EXHALES) That makes me need a cuppa. 293 00:13:38,720 --> 00:13:40,680 (EXHALES) That makes me need a cuppa. 294 00:13:40,680 --> 00:13:40,920 Let's go and grab one. (EXHALES) That makes me need a cuppa. 295 00:13:40,920 --> 00:13:42,840 Let's go and grab one. Yeah, let's go. 296 00:13:42,840 --> 00:13:43,080 Let's go and grab one. Wow, yum. Look at that pull! 297 00:13:43,080 --> 00:13:44,520 Wow, yum. Look at that pull! 298 00:13:44,520 --> 00:13:45,880 Look at that. See you guys later. 299 00:13:45,880 --> 00:13:46,120 Look at that. For Aretha, keeping memories alive... 300 00:13:46,120 --> 00:13:48,760 For Aretha, keeping memories alive... 301 00:13:48,760 --> 00:13:51,880 Hey, you mob! So we've just finished our big work here in Tokyo. 302 00:13:51,880 --> 00:13:54,560 ..means keeping them loud and proud. 303 00:13:54,560 --> 00:13:57,280 We're always in solidarity with mob all over the world. 304 00:13:57,280 --> 00:14:00,960 She founded the Kiss My Art Collective in 2019, 305 00:14:00,960 --> 00:14:04,400 planting large-scale public murals around the world 306 00:14:04,400 --> 00:14:04,640 planting large-scale public murals from Tokyo to Toronto, 307 00:14:04,640 --> 00:14:06,880 from Tokyo to Toronto, 308 00:14:06,880 --> 00:14:10,240 New York, London and Timor-Leste... 309 00:14:11,280 --> 00:14:12,280 Yeah, definitely. 310 00:14:12,280 --> 00:14:12,480 Yeah, definitely. ..to right here at home. 311 00:14:12,480 --> 00:14:14,320 ..to right here at home. 312 00:14:21,680 --> 00:14:25,640 Aretha's campaign to challenge the power of institutional memory 313 00:14:25,640 --> 00:14:29,600 began in the most familiar institution of them all. 314 00:14:29,600 --> 00:14:31,840 Yeah, so I remember I, like, only finished high school 315 00:14:31,840 --> 00:14:33,080 a couple of years ago, 316 00:14:33,080 --> 00:14:34,680 and I moved at that point in time 317 00:14:34,680 --> 00:14:36,440 from living with my mum and community 318 00:14:36,440 --> 00:14:37,320 up in northern New South Wales 319 00:14:37,320 --> 00:14:39,800 to living with my dad in the city, which was like a big change for me. 320 00:14:39,800 --> 00:14:43,160 And I remember, yeah, I would walk pretty much into history class 321 00:14:43,160 --> 00:14:44,960 and there would be our history textbook, 322 00:14:44,960 --> 00:14:48,920 and the first page would be, you know, the Aboriginal people here. 323 00:14:48,920 --> 00:14:51,160 The next 400 pages would be all colonial history. 324 00:14:51,160 --> 00:14:53,800 Yeah, I would then go home and I'd talk to Nan on the phone 325 00:14:53,800 --> 00:14:56,720 and we'd be talking about stuff that's still relevant. 326 00:14:56,720 --> 00:14:59,360 You know, her history with the Stolen Generations, 327 00:14:59,360 --> 00:15:01,640 Uncle Gary Foley and the Tent Embassy. 328 00:15:01,640 --> 00:15:02,600 And just, like, incredible, 329 00:15:02,600 --> 00:15:05,320 important black history in this country. 330 00:15:05,320 --> 00:15:05,560 important black history And I would go to school 331 00:15:05,560 --> 00:15:06,760 And I would go to school 332 00:15:06,760 --> 00:15:08,840 and I'd want to talk about them and have more answers. 333 00:15:08,840 --> 00:15:10,920 But we weren't learning about any of that. 334 00:15:10,920 --> 00:15:13,720 And so I always felt like kind of educationally gaslit, you know? 335 00:15:13,720 --> 00:15:16,240 Oh! I was like, "I feel crazy!" 336 00:15:16,240 --> 00:15:18,040 That's the term! Educationally gaslit. 337 00:15:18,040 --> 00:15:18,280 That's the term! 'Cause I knew that this stuff was... 338 00:15:18,280 --> 00:15:19,280 'Cause I knew that this stuff was... 339 00:15:19,280 --> 00:15:21,160 Shaped by that experience... 340 00:15:24,520 --> 00:15:26,560 ..Aretha fought back... 341 00:15:30,080 --> 00:15:32,720 ..and started making new memories. 342 00:15:40,120 --> 00:15:43,440 How do you choose what stories to put on those walls? 343 00:15:43,440 --> 00:15:45,280 I really like responding to what's happening now, 344 00:15:45,280 --> 00:15:47,880 as well as mixing in historical moments 345 00:15:47,880 --> 00:15:51,160 and historical figures and stories that I also think is important. 346 00:15:52,280 --> 00:15:54,520 But it's also important for me physically, 347 00:15:54,520 --> 00:15:55,520 as a young Aboriginal woman, 348 00:15:55,520 --> 00:15:58,240 to paint that work, and for people to see me paint it. 349 00:16:00,440 --> 00:16:03,040 Because there's been moments where I've been in another country, 350 00:16:03,040 --> 00:16:04,960 even in the UK, where someone came up to me and said, 351 00:16:04,960 --> 00:16:07,560 "Oh, I didn't even know Aboriginal people still existed." 352 00:16:07,560 --> 00:16:09,760 What? Yeah. Can you believe that? 353 00:16:10,720 --> 00:16:12,640 So for me, it's about decolonising 354 00:16:12,640 --> 00:16:15,400 by literally taking up space with my body, 355 00:16:15,400 --> 00:16:17,320 not only as an Aboriginal person, but as a woman. 356 00:16:17,320 --> 00:16:17,560 not only as an Aboriginal person, (CHEERING) 357 00:16:17,560 --> 00:16:19,480 (CHEERING) 358 00:16:19,480 --> 00:16:22,600 I mean, I think art is a really great way to do that. 359 00:16:23,920 --> 00:16:26,480 (CHEERING) 360 00:16:28,240 --> 00:16:30,560 Aretha, so good to chat. And we haven't even eaten. 361 00:16:30,560 --> 00:16:32,640 I know! Should we try? Yeah, I'm gonna have more of this. 362 00:16:32,640 --> 00:16:36,640 Aretha has shown me how memories aren't just stories we tell. 363 00:16:36,640 --> 00:16:40,840 By holding onto the ones that matter and fighting for them, 364 00:16:40,840 --> 00:16:44,920 they can promote change and help us let go of false narratives. 365 00:16:46,640 --> 00:16:50,160 But what happens when memory meets technology? 366 00:16:50,160 --> 00:16:53,160 Is the cloud just a digital dumping ground? 367 00:16:53,160 --> 00:16:58,400 Or in a modern world, can computers save the memories that really matter? 368 00:16:59,800 --> 00:17:02,040 Are you good? (MAN SPEAKS INDISTINCTLY) 369 00:17:02,040 --> 00:17:03,680 Are you alright? 370 00:17:03,680 --> 00:17:05,400 You got it. Oh, look at that! 371 00:17:05,400 --> 00:17:08,120 OK. Alright. OK, here's a clap for you. 372 00:17:08,120 --> 00:17:10,000 I know you're never going to use that, but... 373 00:17:10,000 --> 00:17:11,120 MAN: Take one. 374 00:17:11,120 --> 00:17:12,280 Laurie Anderson. 375 00:17:13,640 --> 00:17:15,160 For nearly five decades, 376 00:17:15,160 --> 00:17:19,000 she's embraced technology in the most unexpected ways. 377 00:17:21,160 --> 00:17:22,760 A pioneering artist, 378 00:17:22,760 --> 00:17:27,440 she's woven together music, performance, visual art and cinema, 379 00:17:27,440 --> 00:17:30,720 crafting experiences that defy definition. 380 00:17:31,640 --> 00:17:33,120 I met this guy. 381 00:17:33,120 --> 00:17:36,560 At the heart of it, Laurie is a storyteller... 382 00:17:36,560 --> 00:17:36,800 At the heart of it, To walk around in my dreams. 383 00:17:36,800 --> 00:17:38,600 To walk around in my dreams. 384 00:17:38,600 --> 00:17:42,160 ..who explores the past, present, and future. 385 00:17:42,960 --> 00:17:44,880 (DISTORTED VOICE) You've been on this road before. 386 00:17:44,880 --> 00:17:49,440 So how does Laurie explore the domain of memory? 387 00:17:53,880 --> 00:17:57,400 You have a long and wonderful history 388 00:17:57,400 --> 00:17:57,640 You have a long of working with art and technology. 389 00:17:57,640 --> 00:17:59,960 of working with art and technology. 390 00:17:59,960 --> 00:18:00,200 Can you tell us about the I'll Be Your Mirror project? of working with art and technology. 391 00:18:00,200 --> 00:18:04,520 Can you tell us about the I'll Be Your Mirror project? 392 00:18:04,520 --> 00:18:07,360 I got the chance to do that in Adelaide 393 00:18:07,360 --> 00:18:07,600 I got the chance at the Machine Learning Institute. 394 00:18:07,600 --> 00:18:09,160 at the Machine Learning Institute. 395 00:18:09,160 --> 00:18:10,400 And I got there and they said, 396 00:18:10,400 --> 00:18:15,040 "OK, this is the largest language supercomputer in the world. 397 00:18:15,040 --> 00:18:17,560 "You're the artist in residence. What do you want it to do?" 398 00:18:17,560 --> 00:18:21,440 Anyway, I said, "Let's teach this supercomputer to read the Bible." 399 00:18:21,440 --> 00:18:21,680 Anyway, I said, "Let's teach this They took everything that I've ever 400 00:18:21,680 --> 00:18:23,320 They took everything that I've ever 401 00:18:23,320 --> 00:18:26,480 written, said or recorded or whatever, 402 00:18:26,480 --> 00:18:26,720 written, said or recorded and they crossed it with the Bible. 403 00:18:26,720 --> 00:18:28,640 and they crossed it with the Bible. 404 00:18:28,640 --> 00:18:31,880 "And for some, it was the inevitable last stage." 405 00:18:31,880 --> 00:18:33,560 And I was like, "This sounds like me." 406 00:18:34,400 --> 00:18:38,040 It was in my language, the ways I was talking. 407 00:18:39,600 --> 00:18:41,560 I felt I wrote that Bible. 408 00:18:42,880 --> 00:18:45,200 And then Laurie tried feeding the same machine 409 00:18:45,200 --> 00:18:45,440 And then Laurie the words of her late husband, 410 00:18:45,440 --> 00:18:47,400 the words of her late husband, 411 00:18:47,400 --> 00:18:47,640 the words of her late husband, the Velvet Underground frontman and pop icon Lou Reed. 412 00:18:47,640 --> 00:18:51,960 the Velvet Underground frontman and pop icon Lou Reed. 413 00:18:51,960 --> 00:18:58,600 Can we talk about AI Laurie and AI Lou and creating together? 414 00:18:58,600 --> 00:18:58,840 Can we talk about AI Laurie Well, obviously I don't think that 415 00:18:58,840 --> 00:19:00,480 Well, obviously I don't think that 416 00:19:00,480 --> 00:19:00,720 I'm making songs with Well, obviously I don't think that 417 00:19:00,720 --> 00:19:02,960 I'm making songs with my dead husband, but we did. 418 00:19:05,000 --> 00:19:08,440 "But my life is so much easier now." 419 00:19:08,440 --> 00:19:11,360 It's really pretty hideous 'cause it doesn't have a sense of humour. 420 00:19:11,360 --> 00:19:14,280 "I can't get into it, I'm not looking for it. 421 00:19:14,280 --> 00:19:15,040 "What do you want..." 422 00:19:15,040 --> 00:19:16,200 It doesn't have his laugh. 423 00:19:16,200 --> 00:19:19,360 You don't hear him breathing, 'cause machines don't need to breathe. 424 00:19:19,360 --> 00:19:19,600 You don't hear him breathing, 'cause "Let's have a little fun." 425 00:19:19,600 --> 00:19:20,480 "Let's have a little fun." 426 00:19:20,480 --> 00:19:23,960 When a machine starts speaking in your voice, 427 00:19:23,960 --> 00:19:27,200 telling stories in the words of your loved ones, 428 00:19:27,200 --> 00:19:30,120 it raises a strange kind of question. 429 00:19:30,120 --> 00:19:30,400 (DISTORTED VOICE) Exactly who is in charge here? it raises a strange kind of question. 430 00:19:30,400 --> 00:19:33,760 (DISTORTED VOICE) Exactly who is in charge here? 431 00:19:34,640 --> 00:19:36,840 If memory can be simulated, 432 00:19:36,840 --> 00:19:39,200 rewritten or reassembled, 433 00:19:39,200 --> 00:19:39,400 rewritten or reassembled, then what makes it truly yours? 434 00:19:39,400 --> 00:19:41,880 then what makes it truly yours? 435 00:19:43,160 --> 00:19:45,920 What does memory mean to you? 436 00:19:45,920 --> 00:19:48,160 I have come to the conclusion 437 00:19:48,160 --> 00:19:50,640 that there's no such thing as memory. 438 00:19:50,640 --> 00:19:53,520 For example, I was asked to write a book of memoirs. 439 00:19:53,520 --> 00:19:53,800 "I want to tell you a story about a story." For example, I was asked to write a book of memoirs. 440 00:19:53,800 --> 00:19:57,160 "I want to tell you a story about a story." 441 00:19:57,160 --> 00:19:57,400 And one of those stories was called about a story." 442 00:19:57,400 --> 00:19:59,840 And one of those stories was called 443 00:19:59,840 --> 00:20:01,560 A Story About A Story. 444 00:20:02,400 --> 00:20:03,960 When I was 12... 445 00:20:05,400 --> 00:20:07,160 ..I was jumping off a high board. 446 00:20:07,160 --> 00:20:09,720 And I thought, "I'm gonna do a triple flip." 447 00:20:11,240 --> 00:20:13,440 It was really hard, and I ended... 448 00:20:13,440 --> 00:20:17,320 Whoo! Landed on the side of the pool, and I broke my back. 449 00:20:17,320 --> 00:20:17,560 Whoo! Landed on the side of So I was in a brace like this... 450 00:20:17,560 --> 00:20:21,240 So I was in a brace like this... 451 00:20:21,880 --> 00:20:23,720 Uh...uh. 452 00:20:23,720 --> 00:20:26,720 ..for two years, 12 to 14. 453 00:20:26,720 --> 00:20:30,480 And then much later, many years later, 454 00:20:30,480 --> 00:20:33,320 somebody asked me what it was like in the hospital. 455 00:20:33,320 --> 00:20:36,000 And suddenly - boom! 456 00:20:37,560 --> 00:20:39,400 I was back in the hospital. 457 00:20:40,480 --> 00:20:42,760 I was in the unit with the burn victims, 458 00:20:42,760 --> 00:20:46,080 and so it was the sounds of all these children, 459 00:20:46,080 --> 00:20:46,320 and so it was the sounds all night, screaming. 460 00:20:46,320 --> 00:20:48,080 all night, screaming. 461 00:20:49,280 --> 00:20:52,080 And it was not the way I'd told the story. 462 00:20:53,720 --> 00:20:56,960 I had forgotten all of this. 463 00:20:57,920 --> 00:21:03,560 So I'm not sure sometimes what really is in the past. 464 00:21:07,400 --> 00:21:11,080 "You get your story and you hold onto it. 465 00:21:12,480 --> 00:21:19,120 "And every time you tell it, you forget it...more." 466 00:21:25,000 --> 00:21:29,640 As much as we're compelled to hold onto our dearest memories, 467 00:21:29,640 --> 00:21:34,200 Laurie's work is a reminder they're neither fixed or forever. 468 00:21:37,640 --> 00:21:39,680 But even as they fade, 469 00:21:39,680 --> 00:21:44,640 through art, our memories can still have an extraordinary impact. 470 00:21:46,640 --> 00:21:48,080 (ON TAPE) My name is Gwlad McLachlan, 471 00:21:48,080 --> 00:21:48,320 and I'll be presenting a program My name is Gwlad McLachlan, 472 00:21:48,320 --> 00:21:49,560 and I'll be presenting a program 473 00:21:49,560 --> 00:21:51,840 about the role of women during the war. 474 00:21:53,160 --> 00:21:57,840 These tapes were recorded by an award-winning oral historian... 475 00:21:57,840 --> 00:21:59,560 MAN: (ON TAPE) You've got no idea what the winters were like. 476 00:21:59,560 --> 00:22:03,040 ..who spent much of her life documenting other people's memories. 477 00:22:03,040 --> 00:22:05,240 WOMAN: (ON TAPE) You could join the Land Army at 17. 478 00:22:05,240 --> 00:22:05,480 WOMAN: (ON TAPE) You could Quite a few of us did that. 479 00:22:05,480 --> 00:22:06,560 Quite a few of us did that. 480 00:22:06,560 --> 00:22:06,760 Hi, there, Gwlad! Quite a few of us did that. 481 00:22:06,760 --> 00:22:08,040 Hi, there, Gwlad! 482 00:22:08,040 --> 00:22:10,000 And I've come to meet her today. 483 00:22:10,000 --> 00:22:12,520 Good to meet you. Oh, lovely to meet you, too. 484 00:22:12,520 --> 00:22:12,760 Good to meet you. Oh, lovely to meet you, too. I actually met Gwlad two years ago. 485 00:22:12,760 --> 00:22:15,040 I actually met Gwlad two years ago. 486 00:22:15,040 --> 00:22:16,640 Have we met before? 487 00:22:16,640 --> 00:22:17,800 Yeah. 488 00:22:17,800 --> 00:22:18,040 There's a reason Yeah. 489 00:22:18,040 --> 00:22:20,280 There's a reason Gwlad doesn't remember. 490 00:22:20,280 --> 00:22:24,000 For 10 years she's been living with advanced Alzheimer's. 491 00:22:24,000 --> 00:22:24,240 For 10 years she's been living At the Preston Town Hall. 492 00:22:24,240 --> 00:22:25,320 At the Preston Town Hall. 493 00:22:25,320 --> 00:22:25,560 Preston Town Hall. At the Preston Town Hall. 494 00:22:25,560 --> 00:22:27,040 Preston Town Hall. True? 495 00:22:27,040 --> 00:22:27,280 Preston Town Hall. And for the past 40 years, 496 00:22:27,280 --> 00:22:29,000 And for the past 40 years, 497 00:22:29,000 --> 00:22:31,680 best friend Cheryl has been by her side. 498 00:22:32,640 --> 00:22:34,320 Sometimes I say to her, "Who am I?" 499 00:22:34,320 --> 00:22:34,520 So I can be the secretary. Sometimes I say to her, "Who am I?" 500 00:22:34,520 --> 00:22:36,200 So I can be the secretary. 501 00:22:36,200 --> 00:22:38,680 I can be the carer. I can be the driver. 502 00:22:38,680 --> 00:22:41,600 But there's one area where Gwlad... 503 00:22:41,600 --> 00:22:43,600 Now let's see if we can play this. 504 00:22:43,600 --> 00:22:46,120 ..will always have the upper hand. 505 00:22:46,120 --> 00:22:47,520 Have I got it up the right way? 506 00:22:47,520 --> 00:22:48,800 The other way around. 507 00:22:48,800 --> 00:22:50,200 Oh! And I... (LAUGHTER) 508 00:22:51,760 --> 00:22:53,240 I'm ready. 509 00:22:53,240 --> 00:22:55,080 # For the Bible tells me... # 510 00:22:55,080 --> 00:22:57,800 I think we'd better not sing it. 511 00:22:57,800 --> 00:23:00,400 (LAUGHTER) 512 00:23:06,200 --> 00:23:09,600 Incredibly, even as Gwlad's memory deteriorates, 513 00:23:09,600 --> 00:23:12,440 her lifelong connection to music remains. 514 00:23:13,520 --> 00:23:15,080 Oooh! 515 00:23:15,080 --> 00:23:18,320 This led to participating in a research project 516 00:23:18,320 --> 00:23:21,480 studying the impact choir singing could have 517 00:23:21,480 --> 00:23:25,080 for people living with dementia and their care partners. 518 00:23:25,080 --> 00:23:25,320 for people living with dementia Excellent! 519 00:23:25,320 --> 00:23:26,320 Excellent! 520 00:23:26,320 --> 00:23:29,760 Out of it came the Rewire Musical Memories Choir, 521 00:23:29,760 --> 00:23:30,000 Out of it came the where daughter Helen, 522 00:23:30,000 --> 00:23:31,480 where daughter Helen, 523 00:23:31,480 --> 00:23:33,400 along with Gwlad and Cheryl 524 00:23:33,400 --> 00:23:35,880 come to sing every Friday. 525 00:23:35,880 --> 00:23:37,760 Sorry, Gwlad, they're going to make a fuss of you. 526 00:23:37,760 --> 00:23:40,000 You're not camera shy or anything, are you? 527 00:23:40,000 --> 00:23:40,240 You're not camera shy or anything, I don't know what's happening. 528 00:23:40,240 --> 00:23:42,240 I don't know what's happening. 529 00:23:42,240 --> 00:23:43,800 (LAUGHTER) 530 00:23:43,800 --> 00:23:44,920 That's OK. 531 00:23:44,920 --> 00:23:46,920 I've got a lovely person with me. 532 00:23:46,920 --> 00:23:48,520 You do? You brought a guest? 533 00:23:48,520 --> 00:23:50,640 Yes. Guest of honour. 534 00:23:50,640 --> 00:23:51,640 Namila. 535 00:23:51,640 --> 00:23:53,760 May I ask for a song from you? 536 00:23:53,760 --> 00:23:55,640 We Are One. We Are One. 537 00:23:55,640 --> 00:23:56,840 Oh, I Am Australian? Yes. 538 00:23:56,840 --> 00:23:57,080 Oh, I Am Australian? Yeah. 539 00:23:57,080 --> 00:23:58,240 Yeah. 540 00:24:00,280 --> 00:24:04,120 ALL: (SING) # I came from the Dreamtime 541 00:24:04,120 --> 00:24:07,840 # From the dusty red-soil plains... # 542 00:24:07,840 --> 00:24:08,080 # From the dusty As Gwlad begins to play, 543 00:24:08,080 --> 00:24:09,280 As Gwlad begins to play, 544 00:24:09,280 --> 00:24:13,200 you can literally see her musical memories spring to life. 545 00:24:13,200 --> 00:24:13,440 you can literally see # The keeper of the flames... # 546 00:24:13,440 --> 00:24:16,120 # The keeper of the flames... # 547 00:24:16,120 --> 00:24:18,640 But what's really going on here? 548 00:24:18,640 --> 00:24:21,120 Can you talk me through your understanding of 549 00:24:21,120 --> 00:24:24,600 what the connection is between music and memory? 550 00:24:25,680 --> 00:24:27,640 We know that when we're listening to music 551 00:24:27,640 --> 00:24:27,920 and when we're singing or playing an instrument We know that when we're listening to music 552 00:24:27,920 --> 00:24:30,240 and when we're singing or playing an instrument 553 00:24:30,240 --> 00:24:31,560 that our whole brain is lighting up. 554 00:24:32,560 --> 00:24:34,240 We also know that the hippocampus, 555 00:24:34,240 --> 00:24:37,400 which is kind of the memory processing centre, if you like, 556 00:24:37,400 --> 00:24:40,240 is really close to the amygdala in the brain. 557 00:24:40,240 --> 00:24:42,520 And the amygdala is responsible for emotions. 558 00:24:42,520 --> 00:24:42,760 And the amygdala So when we're listening to music 559 00:24:42,760 --> 00:24:44,400 So when we're listening to music 560 00:24:44,400 --> 00:24:44,640 that might be connected to So when we're listening to music 561 00:24:44,640 --> 00:24:47,040 that might be connected to a really important part of our life, 562 00:24:47,040 --> 00:24:47,280 that might be connected to like a wedding or a funeral... 563 00:24:47,280 --> 00:24:48,840 like a wedding or a funeral... 564 00:24:48,840 --> 00:24:50,480 # We are one... # 565 00:24:50,480 --> 00:24:50,720 ..a song that reminds us # We are one... # 566 00:24:50,720 --> 00:24:52,560 ..a song that reminds us of someone special... 567 00:24:52,560 --> 00:24:52,800 ..a song that reminds us # But we are many... # 568 00:24:52,800 --> 00:24:55,040 # But we are many... # 569 00:24:55,040 --> 00:24:57,440 ..that's really being coded through that music as well, 570 00:24:57,440 --> 00:24:57,680 ..that's really being coded that emotional content is in there. 571 00:24:57,680 --> 00:24:59,320 that emotional content is in there. 572 00:24:59,320 --> 00:25:01,000 And music's very emotional. 573 00:25:01,000 --> 00:25:04,720 # We are Australian. # 574 00:25:04,720 --> 00:25:06,160 (APPLAUSE) 575 00:25:06,160 --> 00:25:09,320 That was beautiful. Oh, what an emotional song. 576 00:25:10,600 --> 00:25:14,480 And sitting with Gwlad, I can see it too. 577 00:25:14,480 --> 00:25:18,240 Through music, distant memories come alive. 578 00:25:18,240 --> 00:25:22,240 When I was little, I lived on a farm. 579 00:25:22,240 --> 00:25:25,480 And it was a lovely childhood, really. 580 00:25:26,720 --> 00:25:28,560 I can remember 581 00:25:28,560 --> 00:25:31,120 my sister was a good musician. 582 00:25:31,120 --> 00:25:34,080 She used to play at church. 583 00:25:34,080 --> 00:25:35,520 That's right. 584 00:25:36,720 --> 00:25:38,920 And then when she wasn't around, 585 00:25:38,920 --> 00:25:42,040 I'd muck around on the piano. (CHUCKLES) 586 00:25:43,000 --> 00:25:44,960 That's when it started. 587 00:25:47,920 --> 00:25:49,640 Holding onto memory 588 00:25:49,640 --> 00:25:51,880 has always mattered to Gwlad. 589 00:25:51,880 --> 00:25:53,360 She began as a nurse, 590 00:25:53,360 --> 00:25:56,520 but her true calling was capturing stories. 591 00:25:56,520 --> 00:25:59,040 GWLAD: (ON TAPE) In 1991, Mary Lowe, with the help 592 00:25:59,040 --> 00:26:01,240 of former Land Army women, published a story. 593 00:26:01,240 --> 00:26:06,440 She spent years recording the voices of everyday Australians, 594 00:26:06,440 --> 00:26:10,120 documenting memories so that they wouldn't be lost in time. 595 00:26:10,120 --> 00:26:10,400 WOMAN: (ON TAPE) We were working out on the flats at Riddells Creek. documenting memories so that they wouldn't be lost in time. 596 00:26:10,400 --> 00:26:14,760 WOMAN: (ON TAPE) We were working out on the flats at Riddells Creek. 597 00:26:14,760 --> 00:26:17,000 We had a little song about it. 598 00:26:17,000 --> 00:26:18,840 "Relax in these pretty flats 599 00:26:18,840 --> 00:26:20,800 "Over the hills at Riddell. # 600 00:26:21,680 --> 00:26:25,400 After dedicating herself to documenting the memories of others, 601 00:26:25,400 --> 00:26:29,120 now music is helping preserve Gwlad's story. 602 00:26:32,040 --> 00:26:34,800 Whoo! 603 00:26:34,800 --> 00:26:36,960 Thank you. (LAUGHS) 604 00:26:36,960 --> 00:26:43,800 This is so funny because I was a bit in a dream yesterday, wasn't I? 605 00:26:43,800 --> 00:26:44,040 This is so funny because I was a bit You were. Yep. 606 00:26:44,040 --> 00:26:45,080 You were. Yep. 607 00:26:45,080 --> 00:26:48,120 And for daughter Helen and best friend Cheryl... 608 00:26:48,120 --> 00:26:48,360 And for daughter Helen CHERYL: Who am I? 609 00:26:48,360 --> 00:26:49,360 CHERYL: Who am I? 610 00:26:52,040 --> 00:26:54,760 You're my very best friend, Cheryl. 611 00:26:54,760 --> 00:26:55,920 Oh, my God. 612 00:26:55,920 --> 00:26:58,640 ..these fleeting moments are precious. 613 00:26:58,640 --> 00:27:01,160 I'm glad that you remembered me like that. 614 00:27:01,160 --> 00:27:02,400 Thank you. 615 00:27:02,400 --> 00:27:02,640 And this lady, just over offering me Thank you. 616 00:27:02,640 --> 00:27:07,160 And this lady, just over offering me a cup of tea or coffee, 617 00:27:07,160 --> 00:27:07,400 And this lady, just over offering me has ended up our friendship today. 618 00:27:07,400 --> 00:27:09,640 has ended up our friendship today. 619 00:27:09,640 --> 00:27:11,160 That's beautiful. Mm. 620 00:27:11,160 --> 00:27:11,400 That's beautiful. Ah, love it. 621 00:27:11,400 --> 00:27:12,960 Ah, love it. 622 00:27:12,960 --> 00:27:14,520 You're like my daughter. 623 00:27:14,520 --> 00:27:16,040 She wants to officially adopt. 624 00:27:16,040 --> 00:27:17,600 (LAUGHTER) 625 00:27:22,480 --> 00:27:24,400 After spending time with Gwlad 626 00:27:24,400 --> 00:27:27,560 and the other incredible artists I've met on this journey, 627 00:27:27,560 --> 00:27:33,640 it's clear that art can help us hold onto the memories that truly matter. 628 00:27:33,640 --> 00:27:35,880 Whether it's the places we've lived, 629 00:27:35,880 --> 00:27:38,080 the wrongs we tried to right, 630 00:27:38,080 --> 00:27:39,840 or the friends we met along the way, 631 00:27:39,840 --> 00:27:42,960 our stories are what we leave behind. 632 00:27:43,560 --> 00:27:45,800 GWLAD: (ON TAPE) After talking with a number of people, 633 00:27:45,800 --> 00:27:47,800 it became clear that there were many women 634 00:27:47,800 --> 00:27:49,720 who played vital roles during the war 635 00:27:49,720 --> 00:27:53,520 and the women we're going to hear from are Kit Brown, Mary White, 636 00:27:53,520 --> 00:27:56,000 Mary Lowe, Elaine Peters and Vi Malcolm. 637 00:27:56,000 --> 00:27:57,720 WOMAN: (ON TAPE) In spare time we either played tennis 638 00:27:57,720 --> 00:27:59,840 or went to the pictures or whatever. 639 00:28:00,760 --> 00:28:03,200 But before I head home, 640 00:28:03,200 --> 00:28:05,680 there's some new memories I want to make. 641 00:28:07,200 --> 00:28:11,240 (CHOIR SINGS PEROVETA IN MOTU) 642 00:28:52,440 --> 00:28:54,440 Captions by Red Bee Media 643 00:28:54,440 --> 00:28:56,640 Copyright Australian Broadcasting Corporation