ABSTRACT
In the colonial context singing was often a form of protest, for example, through folk songs about the exploits of bushrangers or the brutality of penal colonies. In contrast, in the nineteenth century singing was also perceived as a potentially respectable and improving pursuit. This chapter examines the solo singing that is visible in concert advertisements and reviews, singing that ranged from comic music hall styles to operatic and oratorio arias. In particular, there is a focus on what solo singing, and the supportive role of accompanist, might have afforded settler women. Discussion of competitive singing festivals leads into an exploration of Welsh contributions to the region. Welsh migrants established eisteddfods soon after their arrival to the Newcastle coalfields, advertising them in Welsh, indicating a very specific community involvement. However, eisteddfods proved of interest to other migrants and were adopted by the wider community. This chapter discusses aspects of Welshness in the eisteddfods, then reflects on the colonization of the eisteddfod by other British settlers and its attendant opportunities and challenges.
