Genevieve Campbell Genevieve Campbell i(8364752 works by)
Gender: Female
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1 1 y separately published work icon The Old Songs Are Always New : Singing Traditions of the Tiwi Islands Genevieve Campbell , Sydney : Sydney University Press , 2023 25427823 2023 multi chapter work criticism lyric/song

'Approximately 1300 ethnographic field recordings of Tiwi songs, made between 1912 and 1981, are archived at the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) in Canberra.

'In November 2009, Genevieve Campbell and eleven Tiwi colleagues travelled to Canberra to reclaim these archived songs and song texts. The Old Songs are Always New explores their return home to the Tiwi Islands and reveals that the fundamentally contemporary, topical and current nature of the Tiwi song culture has resulted in the preservation of a rich social, cultural and historical oral record.

'Campbell describes the melody, rhythm, vocal technique, language, performance context and function of the twelve Tiwi song types, and gives an overview of the language and poetic devices used in song composition.'(Publication summary)
1 Song as Artefact : The Reclaiming of Song Recordings Empowering Indigenous Stakeholders - and the Recordings Themselves Genevieve Campbell , 2014 single work criticism
— Appears in: Circulating Cultures : Exchanges of Australian Indigenous Music, Dance and Media 2014; (p. 101-127) 'The culture of the Tiwi Islands, northern Australia, has been the subject of much anthropological literature but none focuses on music. Since 2007 I have been working with senior Tiwi song-men and -women and studying contemporary Tiwi song culture in the context of the maintenance of traditions in the development of new music forms. In 2009 I was closely involved in the return to the Tiwi community of a large amount of ethnographic song material housed at the Australian Institute for Aboriginal and Torres Strait Islander Studies (AIATSIS) in Canberra. In this chapter I give an account of the process undertaken by a group of Tiwi people to reclaim that song material, including the emotional, socio-political, legal and ethical issues that my Tiwi colleagues and I encountered, as well as the effect that the material is now having on Tiwi song tradition itself. Documenting the experience of the group of Indigenous owners of the material is essential to an understanding of how their journey to Canberra has informed the reception of the recordings in the context of the four areas listed above. Importantly, the pro-active nature of the Tiwi group’s involvement with the repatriation has added an extra level to their understanding of the procedure and therefore resulted in a personal investment and heightened sense of ownership of the recordings.' (Introduction)
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