Cirrus@Austlit

'The concept of circular thinking is readily attributed to patterns of Indigenous knowledge, characterised as distinct from the supposed linearity of Western epistemology; to approach epistemology through this metaphor is to anticipate identity by difference and underscore the autonomy of knowledge within bounded cultural coordinates. In seeking a more nuanced appreciation of the interwoven contours of human knowing, I consider some leading Indigenous Australian thinkers who understand cultural identities to be consolidated through creative repetition and recognised within dynamic relationality. These explorations include Mandawuy Yunupiŋu’s interpretation of Yolŋu thought as a process of making “new connections and new separations”; the performance of manikay (public ceremonial song) by Wägilak singer Daniel Wilfred; Tyson Yunkaporta’s conceptualisation of “turnaround”; Wanta Jampijinpa Pawu’s framework of ngurra-kurlu (home-having); and Stan Grant’s interpretation of an Indigenous Voice to the Australian Parliament. In contrast to the circular demarcation of identity by difference, these voices demonstrate how difference within identity can give impetus to mutual formation and growth, suggesting a Hegelian twist on notions of circularity in which critical differentiation generates an expanding gyre of recognition and meaning.' (Publication abstract)

'This dialogue between Wägilak ceremonial leader Daniel Wilfred and academic Samuel Curkpatrick explores the Yolŋu concepts of raki’ (string), raypirri’ (respect, discipline) and wetj (gift) as they relate to cross cultural understanding and collaborative performance. The ancestral raki’ twines different generations together in song and is strengthened through raypirri’, by which ancestral identities are extended as wetj to a new generation. Through these themes, we consider the role of manikay (public ceremonial song) in the formation of knowledge and responsibility, and the composition of yuta manikay (new songs) through collaborative engagements with the Australian Art Orchestra. By drawing together numerous exchanges between the authors during research activities, teaching and other personal discussions in 2021–22, we emphasise relational textures within Yolŋu epistemology and show how understanding develops through creativity and growth.' (Publication abstract)

'This dialogue between Warlpiri ceremonial leader and educator Wanta Jampijinpa Pawu and academic Samuel Curkpatrick explores important Warlpiri concepts related to social interconnectedness and responsibility. With characteristic narrative dexterity, Pawu develops concepts that originate within traditional Warlpiri thought and performance in provocative ways, interpreting ngurra-kurlu (home within), kuruwarri (system) and wantarri-tarri (travelling route) to generate insight within contemporary issues of cultural and national identity. Extending from Pawu’s appraisal of songlines as a form of hermeneutic activity, we consider how intersecting narratives of people and place allow meaningful relationships to be sustained and communities to be nourished by one another, in their mutual differences. The material presented in this discussion arose through a series of conversations between the authors, and through keynote presentations delivered by Pawu at the University of Divinity and Indigenous Knowledge Institute, University of Melbourne, in December 2021. The themes and narratives of this dialogue reflect Pawu’s teaching ethos, artistic direction, and approach to language and interpretation.' (Publication abstract) 

'Engagement with concepts of Indigenous knowledge can generate valuable conversation on what knowledge is within diverse cultures and their interactions, enriching the intellectual frameworks guiding collaborative research with Indigenous Australian communities. However, significant limitations of this term can be shown by looking to specific traditions of thought and performance within Indigenous Australia. In this article, I argue that use of the term Indigenous knowledge often carries tacit epistemological assumptions that obscure various relational and participatory dynamics of knowledge. This can be seen in tendencies to utilise the term as a marker of cultural separation rather than looking to the ways distinct traditions allow relational growth across cultural differences. I develop this critique with reference to Yolŋu manikay (public ceremonial song) as it foregrounds interactivity between different peoples and places as integral to meaningful engagement with ancestral traditions. These observations echo recent methodological work within Australian ethnomusicology, in which collaborative research activities prioritise ceremonial revitalisation and archival repatriation over ethnographic documentation. I suggest this focus might be further consolidated by emphasising characteristics such as respect, attentiveness and friendship, which can motivate collaborative research and constitute knowledge within unique localities of people and place.' (Publication abstract)

'A prefacing dialogue between senior Warlpiri elder and scholar Wanta Jampijinpa Pawu and Samuel Curkpatrick' (Introduction)

'Manikay are the ancestral songs of Arnhem Land, passed down over generations and containing vital cultural knowledge.

'Singing Bones foregrounds the voices of manikay singers from Ngukurr in southeastern Arnhem Land, and charts their critically acclaimed collaboration with jazz musicians from the Australian Art Orchestra, Crossing Roper Bar. It offers an overview of Wägilak manikay narratives and style, including their social, ceremonial and linguistic aspects, and explores the Crossing Roper Bar project as an example of creative intercultural collaboration and a continuation of the manikay tradition.' (Publication summary)