YouTube Videos from ididj

I recently got an email from my friend Guan at IDIDJ Australia, sharing some videos of a recent trip he made to Arnhemland with Yolngu.

 The videos are available at www.youtube.com/ididjaustralia

 There is a particularly memorable video of Djalu’s son Larry playing ‘Baywara’, a yidaki cut by Djalu that has a rather interesting legend associated with it.

 

 Guan’s comments on this particular yidaki:

“Legend has it that when Djalu cut this yirdaki, he was struck by lightning in the knee and required hospitalisation. When the instrument was completed, the old women would cry whenever they heard this instrument being played, as it reminded them of a yirdaki that was used a long time ago at Galiwin’ku (Elcho Island) – presumably at the funeral of an important person.

This is not an ordinary didgeridoo. It is a manifestation of Ancestral power, a representation of sacred Galpu mysteries. It is Baywara!”

The Great Divide: A Question of Style

I’m venturing into a controversial subject among some didjeridu enthusiasts and players-  a question of style. Technically speaking, I am a modern contemporary player-  I did not grow up in an Aboriginal community nor am I an Aboriginal person.  I come from a Western tradition and I approach traditional style with respect and appreciation.   My own journey with the didjeridu came from a decidedly contemporary perspective-  the first commercial recording I ever heard was Ash Dargan, an Aboriginal player who has a very percussive, vocally rich style.  

As I progressed as a player and become more aware of nuances in style and instrument, learning about both Aboriginal culture in Arnhemland and the style of didjeridu play that arose from it became an increased interest. I came to appreciate the instruments that were cut and crafted in Arnhemland, and the precise techniques that produced a raw, powerful sound. Playing regional traditional styles on instruments from those regions is not an effort to become Aboriginal by any means, but a way of furthering my own understanding of didjeridu’s historical and cultural context. I approach the instrument with great respect, both for its place in Aboriginal communities in Arnhemland and its rich heritage, because I understand it is not simply a musical instrument.

There are some schools of thought that believe playing in a style influenced by traditional techniques or learning traditional techniques is an act of cultural appropriation.  Perhaps this is true on some level, but I believe that there is a great opportunity to foster cross-cultural understanding through an interest in traditional playing styles, and it gives the traditional owners/custodians of yidaki and mago a way of benefiting from the dissemination of their cultural knowledge through the publication of tuition CDs and masterclasses- as interest increases in learning from and understanding a very ancient culture. 

New Milminyina Dhamarrandji Yidaki

I’ve been on the search for a new yidaki to add to my collection, and have come across a real find, thanks to Randy Graves at Buku Larrnggay Mulka.  Lately, I’ve been really drawn to the ‘old-school’ instruments that feature strongly in the old field recordings-  a muted, rootsy sound that reminds of me of some of the ‘Songs from the Northern Territory’ CDs.  As in my earlier post about my new mago, I find that completely natural bores produce the tonality that really resonate with me-  a little stuffy and constricted and with flat (as opposed to bright) acoustics. 

Here’s a few pics (courtesy of Randy), as this instrument is not yet in my hands.  I’ll be able to more fully comment on the sound after I’ve settled in with this yidaki.  More updates to come- I’m looking forward to playing this wonderful looking and sounding instrument.

                

GARMA ‘06

Note: Garma is a Yolngu Matha word for “two ways of learning.” The name refers to the fact that this is a festival where Aboriginal people meet and welcome members of the dominant culture in an exchange of ideas, traditions and culture.

Here’s an interesting read about this year’s Garma from Melbourne, Australia’s The Age:

 ”OPPOSITION LEADER Kim Beazley opened it, the Yothu Yindi band played at the final hurrah, and three Australians of the Year were there too. Regarded as Australia’s leading indigenous cultural event and, for the second year, recipient of the Northern Territory Government’s Brolga Award for best major event, the tents have just been packed up for Garma Festival, held in early August.

“For four days and five nights in the first week of August, about 2000 people – half indigenous Australians and the rest mainly non-indigenous visitors from around Australia and overseas, slept side by side in tents under the one clear sky amid stringy-bark forests near Gove in remote north-east Arnhem Land, where drugs and alcohol are banned and cultural exchange embraced….”

“…But Garma has an underbelly; it’s not nirvana, nor does it pretend to be. Garma’s vision, since its inception eight years ago and defined by YYF deputy chairman and Garma founder Mandawuy Yunupingu, “is for Yolngu and other indigenous Australians to have the same level of well-being and life opportunity and choices as non-indigenous Australians”. And so, along with the many celebrations of Yolngu life, Garma visitors can attend daily forums that attract movers and shakers from around the country who, together with the locals, thrash out matters surrounding the evolving culture of indigenous Australians grappling to balance traditional life with ever-increasing Western influences.”

New Mago

 I’ve recently acquired a new mago from Kyle Maplesden/kdidj.  I’ve never played a mago with such exceptional response to Western Arnhemland techniques, and this F#-G has definitely become my favorite mago.  The passive voice really works the incredibly rich harmonics.  This is the kind of instrument that appeals to me most–  a completely natural bore top to bottom with real rustic charm. The ochre handprints only add to the aesthetic appeal of an already top-notch mago.  It really emphasizes the skill an Arnhem Lander must possess to select a properly hollowed tree for primo playability.

Listening to the old Blanasi recordings has inspired to me to settle in with this mago and fine tune my technique.  The voice of this mago is rough and growly and it reminds me a lot of the hard-edged sound that I hear in the old field recordings of the 1960’s– powerful and raw. The responsiveness of this instrument is just amazing, and it just sings with playing pressure and strong accents from the retroflex.

Ceremony: The Djunnguwan of Northeast Arnhemland

  

 I’d read about this release on a number of forums, so needless to say, I was excited about viewing this film record of Djunnguwan. 

Through song, dance, art and ritual, the Yolngu people of northeast Arnhem Land pass on their sacred knowledge. The Djungguwan is one of their most important ceremonies. Now, at the request of Yolngu leaders, this two-DVD set brings together three rare films of the Djungguwan from 1966, 1976 and 2002 – including, for the first time, secret and sacred scenes – plus an introductory film and five mini-documentaries. It explores the role of ceremony in Indigenous Australia and provides an extraordinary cultural record for future generations. (Courtesy of Film Australia)

After having viewed this extensive DVD set, there are some issues raised by the film record of 2002 that I’m not entirely comfortable with- namely, the subversive claim that most Yolngu are just fat alcoholics that no longer care about their culture or ceremonial ritual.  It’s a little distressing to view, because I’m not entirely sure that the film makers fully appreciated the fallout that may come in the greater Australian and world dominant culture after viewing these scenes, as misconceptions and misunderstanding are allowed to breed unchecked.  On the other hand, there is an element of genuine emotion and poignancy during sections where Yolngu men directly address the camera, speaking to future generations of Yolngu, pleading with them to remember their culture and Madayin law.

Why Warriors Lie Down and Die

I’ve just finished reading this powerful book that explains some of the dire and very real problems that Yolngu face in today’s world. It really helps to promote cross-cultural understanding on several levels by pointing out that misunderstanding and misconceptions are the largest obstacles to true reconciliation and mutual respect. Why Warriors Lie Down and Die is absolutely essential reading for anyone interested in indigenous peoples. It provides hope and new direction for those simply searching for answers as to why “the problems’ seem to persist in Aboriginal communities. It also offers insights to those who want a greater understanding of those issues involved in acheiving true reconciliation.

Trudgen writes:

The crisis for Yolngu is grave, but there is a way forward. When we understand the factors that create this loss of control, then strategies can be developed to counter them. This will require a multi-disciplinary approach that is able to take in the total life needs of the people. Yet it is my strong belief that Yolngu can learn the knowledge and skills needed to equip themselves for life in a modern world– if those of us from the dominant Australian culture will learn to construct knowledge in the way Yolngu construct knowledge and deliver it in a language that Yolngu think in. (Introduction, p. 9)

Djalu Tribute Project

 

[Randy Graves currently lives in Yirrkala, NT, Australia, and is the Assistant Coordinator and Yidaki specialist at the Buku Larrnggay Mulka Centre. For those who don’t know his work, I urge you to check out his site at www.gingerroot.com. Besides his great musical CDs, he has some excellent instructional CDs on didge playing. And if you are unfamiliar with Djalu Guruwiwi, leader and elder of the Galpu clan and expert yidaki craftsman, be sure to visit his site. ]

Randy Graves writes on Serious Sticks Interactive forum (”Aboriginal Music, Culture and Instruments”), the following :

So I’ve had this idea bouncing around in my head for a while, and just recently discussed it with some of Djalu’s family because of some of other stuff going on around here. I was told, “start it right now!”

Basically, there’s been so many people who have visited Djalu’, and who have met him on his travels, many of them very moved and inspired by the experience. Many have filmed a lot of stuff with/of him, and a lot of short films have been done by these individuals. But nothing really big that captures much beyond the mundane of one quick visit. I was thinking that an interesting thing to do would be gather up heaps of amateur and semi-pro footage of Djalu in different contexts, plus new tribute clips.

Basically, this would be open to anyone who wanted to film themselves making a short statement to Djalu, thanks, tribute, sharing a story of your meeting with him, etc. It’d be a big project (assuming there’s good feedback), but could all be edited together into a rough film that would mean a great deal to him. As his family acknowledged, he’s getting older and won’t be around forever. It’d be nice to get something like this done for him before it’s too late.

The immediate goal would be just for Djalu to see it, but then it could possibly be sold, either just to cover expenses or expenses plus something for Djalu’s family.

Any takers? Contact me off list at yidaki @yirrkala.com.

Please forward to any other Didj email lists and forums.

Randy Graves
www.gingerroot.com
www.yirrkala.com

Kluge-Ruhe

Visited the Kluge-Ruhe Collection at the University of Virginia. The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia came into being in 1997 through a gift by American businessman, John W. Kluge. Influenced by the Dreamings exhibition in New York, Mr. Kluge began collecting Aboriginal art in 1988. Over the next decade he compiled one of the finest private collections of Australian Aboriginal art in the world.

In 1993, Kluge purchased the collection and archives of the late Professor Edward L. Ruhe of Lawrence, Kansas. Ruhe began collecting Aboriginal art while visiting Australia as a Fulbright Scholar in 1965. He built a collection of the highest quality rivaling many museum collections in Australia and exhibited it widely in the United States between 1965 and 1977. Ruhe’s research on Aboriginal art resulted in the publication of several exhibition catalogues and articles. His archives comprise the core of the Kluge Ruhe Aboriginal Art Study Center.

There are some exceptional barks in this collection, including some by Wandjuk Marika and Djalu Gurruwiwi.

Welcome to Hollow Log Notes

A blog about my personal experiences with the didjeridu, also called yidaki or mago among the Aboriginal people of Arnhemland. 

Stay tuned for my impressions on exploring technique, culture, and the didgeridoo community.  I’ll be sharing my own experiences with this fascinating and powerful Aboriginal wind instrument, as well as the culture from whence it came.