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.
