Hello and welcome to this site where you can find audio pieces and other treats. I’m Anna and I set up this site to post old and new audio projects that do not necessarily fall into a particular genre, but are typical of my explorative nature. This site is home to an eclectic mix of work that demonstrates a genuine fascination and passion with audio as an expressive medium spanning many years. A web presence with professional projects is under construction, stay tuned.
As a First Nations woman, my activism is about giving voice to diverse experiences of colonisation, through art and education.
Making audio projects for over twenty-five years has led to explorations of many kinds.
Utilising live instrumentation (guitar – electric, acoustic and slide, violin, percussion, baglamas, clarinet), field recordings, sampling and voice my work intersects song, soundscape and score across genres including; film, theatre, performance, radio, television and installations.
For 25 years I have explored sound as a creative medium through live performance and collaborative projects with her sound ranging from hard rock to ethereal soundscape. In 2022 I composed the score for Rolf de Heer’s new film, The Survival of Kindness; and have had sonic installation work appear at major institutions and festivals including Samstag (2021), MONA FOMA (2020), and the National Gallery of Victoria. My compositions for Dee and Cornelius’s plays SHIT and LOVE were shown at the Venice Biennale in 2019 and in Melbourne. In addition to being an artist and live performer, I am an Aboriginal Academic and award-winning educator and was awarded Creators Fund in 2021 to research the intersection of education, art theory, and performance practice. During this time I developed the concept of a respectful empathy pedagogy for Indigenous art and education and began exploring the formation of a decolonisied performance practice centered around Indigenous Methodologies.
Other collaborations across genres have been with Brown Cab Productions (Heart is Wasteland, The Hunter, My Lovers Bones, In the light of the Shadow), Illbidjerri Theatre (Foley, Body Armour, Tiddalik), Steve Stelios Adam (Revealed, Eel Trap, Fuge of the Infinite Loop, Singing Scar Tree), The Treaters (Outlaws, Ther-Happy, The Little Worlds of the Treater Universe), Maree Clarke (Ritual and Ceremony) and Robyne Latham (The Empty Coolamon’s) to name a few.
Conceptual and practical performance development has been with Helen Sharp and John Howard and Margaret Cameron as part of Performance Practicum, In the company of Others. With John Brennand there has been over 100 hours of sustained sounding (vocal) training of focused body, breath and vocal work.
Formal stuff: I am currently a Master of Education candidate at Deakin University, I have a Bachelor of Education, and an Honours in Fine Art, as well as a Diploma in Sound Therapy and a Certificate IV in Training and Assessment. As an Aboriginal woman, making connections through Indigenous and Arts-based methodologies, embodying practices and decolonising theories inform current research, teaching and making practices. For 20-years I have worked in education as a specialised curriculum developer and teacher in Aboriginal and Torres Strait Islander health education and currently work with pre-service teachers in higher education.
I was born, live and make most of my work on the lands of the Kulin Nations. I would like to pay my respects to Elders past, present and future. I also acknowledge survivors of the Stolen Generations and their children.
Anna Liebzeit
sounds like us 