Cirrus@Austlit

'Warlpiri songs hold together the ceremonies that structure and bind social relationships, and encode detailed information about Warlpiri country, cosmology and kinship. Today, only a small group of the oldest generations has full knowledge of ceremonial songs and their associated meanings, and there is widespread concern about the transmission of these songs to future generations.

'While musical and cultural change is normal, threats to attrition driven by large-scale external forces including sedentarisation and modernisation put strain on the systems of social relationships that have sustained Warlpiri cultures for millennia. Despite these concerns, songs remain key to Warlpiri identity and cultural heritage.

'Vitality and Change in Warlpiri Songs draws together insights from senior Warlpiri singers and custodians of these song traditions, profiling a number of senior singers and their views of the changes that they have witnessed over their lifetimes. The chapters in this book are written by Warlpiri custodians in collaboration with researchers who have worked in Warlpiri communities over the last five decades.

'Spanning interdisciplinary perspectives including musicology, linguistics, anthropology, cultural studies, dance ethnography and gender studies, chapters range from documentation of well-known and large-scale Warlpiri ceremonies, to detailed analysis of smaller-scale public rituals and the motivations behind newer innovative forms of ceremonial expression.

'Vitality and Change in Warlpiri Songs ultimately uncovers the complexity entailed in maintaining the vital components of classical Warlpiri singing practices and the deep desires that Warlpiri people have to maintain this important element of their cultural identity into the future.' (Publication summary)

'Place-based cultural knowledge – of ceremonies, songs, stories, language, kinship and ecology – binds Australian Indigenous societies together. Over the last 100 years or so, records of this knowledge in many different formats – audiocassettes, photographs, films, written texts, maps, and digital recordings – have been accumulating at an ever-increasing rate. Yet this extensive documentary heritage is dispersed. In many cases, the Indigenous people who participated in the creation of the records, or their descendants, have little idea of where to find the records or how to access them. Some records are held precariously in ad hoc collections, and their caretakers may be perplexed as to how to ensure that they are looked after.

'Archival Returns: Central Australia and Beyond explores the strategies and practices by which cultural heritage materials can be returned to their communities of origin, and the issues this process raises for communities, as well as for museums, galleries, and other cultural institutions.'

Source: Publisher's blurb.

'Wangga is a genre of public dance-song from the Daly region of northwest Australia; the country that lies to the north and south of the mouth of the Daly River. The book (and this website) focuses on the songmen (Medjakarr in Batjamalh; Ngalinangga in Marri Tjavin) who have composed and performed wangga in the Daly region in the last fifty years.'

'Many of these singers are now deceased, though their descendants and heirs continue to perform the songs in ceremonies and various public events. At the core of the book is a corpus of some 150 wangga song texts, organised into six repertories: four from the Belyuen-based songmen Barrtjap, Muluk, Mandji and Lambudju, and two from the Wadeye-based Walakandha and Ma-yawa wangga groups, which are named after the ancestral song-giving ghosts of the Marri Tjavin and Marri Ammu people respectively.' (Source: wangga.library.usyd)

'Academic fieldwork data collections are often unique and unrepeatable records of highly significant events collected at considerable expense of researcher time, effort and resources. While fieldworkers have been quick to take advantage of digital technologies to enable them to collect and organise their data, standards and workflows are only now beginning to emerge to assist researchers to submit their data for archiving and access. This collection of refereed papers from the conference of the same name held at the University of Sydney in December 2006 provides a record of recent research practice by fieldworkers in linguistics, botany and anthropology, and by archive and repository managers.' (Publication summary)

'Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs.  (Publication abstract)

'The article discusses various reports published within the issue, including one by Murray Garde on the endangered genre of songs from western Arnhem Land in Northern Territory and another by Allan Marett on the contemporary relevance of a didjeridu-accompanied repertory recorded by Alice Moyle in the 1960s, the wangga songs of composer Jimmy Muluk.'  (Introduction)

'On 30 May 1996, Australian musicology lost one of its most prominent and original scholars, when, just a few days after her 61st birthday, Catherine Ellis died in Adelaide, where she had moved after her retirement in 1995 from the Chair of Music at the University of New England. Ellis was perhaps best known for her groundbreaking research on Australian Aboriginal music, but she touched the lives of those in many other fields, including music education, music therapy and Aboriginal studies, through her teaching, broadcasting, performances, and participation in conferences and committees' (Introduction)