When I was very young, I used to experience music in a haze of colours like smoke, full of swirly patterns and textures, and sometimes couldn’t see properly. Synesthesia is associated with really strong emotions (usually really good but can also be scary) and it seems to encourage these artists to want to try and share their experience. Synesthesia is also a little triggering: it makes you want to shout out or cry or jump up and down. You can even offend people, or get very excited.

I’ve been trying to do this with Artaria, with Colours of Home, and investigating other musicians such as Billie Eilish and now, Miriam Hyde OBE, AO. My Creative Arts Fellowship at the National Library of Australia is so exciting- as I felt she might have had synesthesia so can’t wait to get to know her better as a young woman

Colours of Home was designed with Musica Viva in Schools to normalise this experience and prevent bullying- (which does happen, try A Mango Shaped Space)- it’s truly a wonderful program for kids.

When I met and worked with Bernstein, his generosity and passion were so infectious that he inspired absolutely everyone. His conducting, his rehearsing and his speeches were incredibly inspiring. I am so sad to only discover now, decades later, that he was also a synesthete. How I wish I’d known!

It’s often the case with people who have been immersed in the arts since a very early age. I am convinced that Mozart had synesthesia too! 

Having worked in orchestras of the highest level since 1990, I’ve also been lucky enough to work with a lot of arts leaders and at many Festivals. I have heard many inspiring speeches and been mentored by some of the world’s top art leaders. I’m inspired by stories like Benjamin Britten at Aldeburgh.

Since I went out on my own, when ArtsSA kindly gave me the Fellowship “Exploring New Artistic Directions” (so sadly covid-affected) and I tried to develop Artaria’s YouTube channel, for me it’s been about regaining colours and flow, sharing my experience with others, in preparation for an arts life.

Synesthesia only happens when the music is in flow, that means, when everyone is in flow together.

So, I want to enable many more people to experience music through participation or through immersive events, and that includes the performers.

It’s great to live here in Australia’s only UNESCO City of Music. But sadly, is really hard to earn a living.

• “UNESCO Cities of Music are expected to share best practices and projects that ensure music reaches as broad and diverse an audience as possible, locally and globally. They’re also expected to embrace long-term global partnerships and other opportunities that can support and promote the local music sector. The designation helps to not only integrate and engage citizens, music makers and creatives; but also institutions and the tourism sector, through diverse music activities and local, national and global cooperation”

What if … for our own wellbeing, we deliberately invested more in classical music? 

We’ve been famous for our Festivals and cultural community events. Through enabling more focus on classical music and heritage, we could interest our people in history and culture while creating events of extreme focus: in the moment, immersive.

What if a fund was launched funding the employment of musicians to create events, for NTSA for example or for the State? A tax deductible fund which believes that the lives of present and future South Australians will be enriched by the conservation and promotion of our natural and cultural heritage. Promoting groups genuinely living and working in South Australia, teaching the new generation and being proud of their location. South Australia is gorgeous- (as Artaria photographers have shown me!)

What if, building on our progressive artistic history, we made opportunities for our artists to create really authentic performances in stunning buildings? We could make opportunities for audiences to enjoy the experience of being in a period drama, live!  Feed all the senses, bring the atmosphere alive, and 

appreciate the flow of one piece of serious, intense, live art music, with a cocktail party attached: all about being in the building and recreating its atmosphere. This is a real tourist attraction potential.

Imagine what historic fragrances and sounds (crackling fireplaces, candles, swishes of waitressed staff…) would have been experienced in places such as Beaumont, Collingrove, or Ayers House? This is what synesthesia is like: experiencing all the senses!  That childish feeling of awe, excitement or fun.

Authentic or stimulating smells, sounds, dramatic and appropriate lighting, period staff dress, top quality SA catering and wine – with a rock concert vibe.

Imagine if we had the chance to hire South Australia’s own musicians, to rehearse and to entertain: broadening the audience and the work opportunities at the same time, enabling more citizen encounters and museum or tourist income? 

I’m suggesting this strategy because we are a UNESCO City of Music and we need to promote music and musicians. But also because it would stimulate the arts economy, and be fun. 

We’ve just been gifted North Adelaide Baroque Hall, in which people can feel really baroque and travel to places by now increasingly beyond the reach of the average person. How exciting is that.

I’d like to create more opportunities for our citizens to enter buildings like this for an experience atmosphere with real chamber music and for young musicians to build their own sounds as well.

Chamber music was creating for these smaller rooms, not for large concert halls. I’m keen to present it as intended and enjoy the results, in our already built environment, to amplify our arts and cultural reputation by creating a city in which artists, enterprise and audiences flourish.

Celia Craig 2023