Building a thriving music scene requires regular development activities and opportunities for structured growth including the chance to “have a go.” This is partly why jam sessions and open mic style events are such a critical part of the overall music community, along with music being valued more and better integrated within education curricula. Community choirs, brass bands and ensembles are also great ways to enjoy music, socialise with others and pick up more skills.

All groups commented on the lack of resources for women’s music development. This is not likely to change. What are our priorities? There’s a great need for partnerships, longevity and offering return visits or workshop series. Participants were particularly concerned by the lack of structured, regular music development opportunities, especially in remote regions and the continued reliance on FIFO hip hop or similar programs, often run by interstate providers.

Some participants think there are fewer resources going into regular music development activities now than there were some years ago. Most of the current resources are put into quick fix (mainly) interstate hip hop programs that visit for a week, pump out a video and song or two, leave and then post on their private social media. There’s nothing left with the community other than the video and there can be issues with copyright. These programs don’t provide skills development for locals. They cost lots and this could be put back into regular programs and mentoring programs for mentors.

MusicNT's Divas and Sista Sounds programs were consistently cited as being about the only ongoing music development opportunities for women and viewed as being useful and successful models, except that they lack the resources required to operate regularly enough, especially in remote locations. Nothing happens for women and girls in between Sista Sounds visits and current resourcing means these can only happen in 3 or 4 communities twice a year. Women in our community need a space to practice, consistency and experienced teachers.

Participants commented on the difficulty in engaging with teenage girls and keeping them involved in programs: Men and boys develop their music through all the other male role models and through being able to actively participate. And you run workshops and all the little kids come: the 15+ year old girls are all into TikTok. And we need to start opportunities early and before the girls get shy and too many messages around NOT engaging with music. Whilst this is true for most teenage girls, it is particularly so for Indigenous young women from remote communities. Along with generally being shy, not wanting to stand out from the crowd, and being subjected to harassment or jealousy from males if they do sing or play better, cultural norms and traditions support gender segregation within communities and are further entrenched by sexist beliefs or attitudes. Boys learn from fathers or uncles and whilst a few women might play keyboard or acoustic guitar they are most likely to play or sing with church-based choirs.

Additionally, spaces such as band or music rooms, recording and radio studios are almost invariably occupied by men and boys and therefore off limits for women and girls. Remote schools often have music rooms and equipment but it depends on the Principal and teaching staff how open they are to these resources being used by community or out of school hours. In fact, this is why MusicNT started the Sista Sounds remote music development program for girls and women a decade ago – to provide role models, music development activities and to advocate for community resources to be allocated to support women’s and girls’ music.

There are a growing number of exceptions to the above, the most notable currently being Ripple Effect Band from Maningrida. As band member and manager Jodie Kell said It’s hard not to get kicked off the stage - literally. This is changing in Maningrida as Ripple Effect are now running the PA for more gigs and have learned how to control the stage… When Ripple Effect started up, lots of fellas wanted to play the backing instruments and have female singers but the women wanted to learn how to play instruments themselves and to get their own band together.

Unsurprisingly, where suitably skilled women are employed by RIMOs (Remote Indigenous Media Organisations like PAW Media and TEABBA) or within youth, sport and recreation programs, women and girls are far more likely to participate in activities. The lack of women playing instruments and/or being able to create their own beats or do live electronic mixing was also raised constantly through this consultation and has been raised frequently throughout our Divas sessions which, to date, have mainly focussed on singing, songwriting and stagecraft. “Learn how to sing or play a musical instrument” was one of the most difficult things survey respondents saw for women and girls. For this to occur, women and girls need access to instruments and/or computer programs and to regular tuition. This is well beyond MusicNT's current capacity and arguably our current charter.

As with many industries servicing remote communities, there is little coordination between music development providers. There can be economies of scale when providing blocks of activities across a region and there could be better outcomes if various providers shared more about their objectives and these were better matched with community needs. Identifying and supporting key providers located within the NT rather than continually relying on Fly In Fly Out providers from interstate has clear benefits for musicians and songwriters in remote communities.

We have transient populations across the NT and all groups noted that too often programs stop when the person driving them leaves, especially in smaller towns and communities. It would be great if we could get a musical couple to come and stay. It was great when Rachel was in town for a year – she was a great role model, instrumentalist and singer.

When you create spaces, you need people to manage them – they often fall over when key people leave and all the instruments are locked away. As with schools, there is often infrastructure from regional youth programs setting up equipment and computers with programs such as Garageband as part of remote service delivery, but these need ongoing maintenance and someone on the ground providing ongoing skills development AND ensuring that girls and women can access these.

Divas has been one of the few real development programs in our region, plus Bush Bands which is male dominated. MusicNT has brought in quality female mentors over the years and is continuing to focus on upskilling local mentors, especially Indigenous musicians, to run programs. This has included seeking funding to provide mentor camps which would bring NT and interstate mentors together to learn from one another and extend networks of support.

Supporting the development of local mentors is critical to remote music development, showing that it is possible for local women to lead as well as participate in music. There is a huge need to skill and empower local people to play, write songs, run workshops, produce or stage community concerts and to fix and maintain instruments and other gear.

Initiatives like MusicNT's Sista Sounds and RAMP (Regional Areas Music Program) and Barkly Regional Arts Winanjikarri Music Centre are essential in supporting this but are spread far too thinly. Such programs also need to have agreements and processes in place to support women’s access to instruments, tuition and other resources that are available. Programs need to work with potential female leaders, giving them every opportunity to hone their craft and develop leadership skills to be able to lead in two cultures.

A key aspect of effective mentoring is being able to give accurate yet encouraging feedback. As one respondent put it Be honest. Don’t over inflate ability if not there yet but always support and offer experiences that assist in growth and confidence. This in turn requires the opportunity for mentors and participants to develop trust and rapport with one another slowly and gradually through regular programs.