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S P E C I A L F E A T U R E

Indigenous popular music An example of cultural vitality and a curriculum resource

Dr. Karl Neuenfeldt Central University

In Governor-General Bill Hayden’s 1996 Australia Indigenous popular music provides useful examples Day Address, he spoke pointedly and movingly of of cultural vitality in practice as education, as two things related to cultural vitality: a sense of empowerment and as entertainment (Davison and pride within indigenous communities; and, a sense Neuenfeldt 1996). These overlap and many of synthesis between indigenous and non- indigenous Australian , groups and song . His remarks still hold value writers (such as , and even in the present social and political climate in Kev Carmody) combine all three levels in their which there are serious challenges to the music. They present an indigenous musical voice acceptance of tolerance and diversity in Australian previously either absent or muted or cliched within society, and by extension, the education system. Australian society and education curricula. They are Australian examples of an international group Hayden said the processes of pride and synthesis of articulate indigenous spokespersons whose mode are taking place on several levels: the political, the of artistic expression is popular music and whose social and the cultural. The cultural level is work has impacted on how individuals, groups and addressed here, specifically how cultural vitality is even nations imagine themselves and use music to an integral element of indigenous affairs today and forge identity. how it impacts on the broader society through the education system. The focus here is on a particular At the first level of cultural vitality, as education, kind of popular culture capable of making a indigenous popular music is being used in several contribution across key learning areas: indigenous ways. Two ways are in-school presentations and as popular music. It is a form of artistic expression part of formal courses in indigenous studies. An that can be used as an educational resource by Aboriginal educator who regularly uses Aboriginal music and non-music educators, a springboard to popular music in schools in New South Wales is musical and extra-musical learning (Ryan 1996, Mick Davison, the Aboriginal and Torres Strait Dunbar-Hall 1991, Ellis 1985). I do not offer any Islander Students’ Cultural Support Officer in the particular strategy except that of encouraging Wollotuka Centre at the University of Newcastle. educators to think about indigenous popular music An important part of his work is community and as a teaching resource that has value as artistic school liaison, in which music plays an important expression and popular culture that addresses key and enjoyable role. issues in society.

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Mick observes: ‘All I use is the didjeridu . . . I Wales curricula observes: ‘The goal in using the usually try and leave the last fifteen to twenty music is motivation and to key the kids in and get minutes to actually introduce (it), do a meditation their interest . . . (It) gets them thinking a bit type thing and demystify it . . . I think the end broader and looking at things that on their own result (is) I use the didj to create awareness with might not have any relevance’. Both students and non-indigenous people and Aboriginal people as teacher agree that combining indigenous popular well . . . The ultimate aim . . . is to let those people music texts with the analysis and discussion of walk away thinking about Aboriginal issues’ important socio-cultural issues is an effective way (Davison and Neuenfeldt 1996, p.23). Mick has of learning. recently completed recording an of his music mixed with environmental sounds and hopes Taken together, these two examples show how it will eventually be used in school curricula as a indigenous popular music is being used as way of putting forward an indigenous perspective education. They fit within the suggestion of the and as an example of the cultural vitality of National Review of Education for Aboriginal and indigenous popular music. Torres Strait Islander Peoples (1994), chaired by Aboriginal (with Yothu Yindi) and Another example of indigenous popular music as educator , that indigenous education is found in HSC courses in Aboriginal perspectives should be incorporated within existing Studies in New South Wales. One form its use school curricula. Importantly, indigenous popular takes is the analysis of songs’ poetic texts and the music provides a readily available, affordable and playing of the original recordings (Neuenfeldt accessible educational resource. 1997~). Questions are then posed that encourage students to connect the songs and the artists to At the second level, as empowerment, indigenous broader issues such as social justice, land rights and popular music is being used in diverse ways. An self-determination. Two Aboriginal songs that are innovative use is by the Aboriginal music group currently being used are Yothu Yindi’s ‘Treaty’ and Yothu Yindi. In 1995 they went on- line globally ’s ‘Blackfella, Whitefella’. The over the Internet with a world wide web site (http: poetic texts are presented and contextualised and //www.yothuyindi.com). It offers users the chance then questions are asked about the students’ to hear their music as well as get more information reactions to the poetic texts and how the themes in about the culture of the people of Arnhem them relate to current political issues. Land in the . Yothu Yindi’s use of the Internet is important because it opens up a Preliminary research in this area suggests that big audience and market for its popular music and students and teachers consider the use of song texts its extra-musical aspirations and agendas such as an excellent way of engaging the underlying issues land rights and cultural vitality in language, music (Neuenfeldt 1996b). As students Nicki Marczak and art. Yothu Yindi’s use of the Internet is also and Katrina Schwarz observe: (what comes across important as an example of the movement of in the songs) is the coming together of different indigenous music and culture out of traditional cultures and the fact that Australia is a cultural practice (or museums) and into the global multicultural society and that that’s a major issue cultural economy and cyberspace. What is in defining your identity’; and, ‘It makes it much empowering is the opportunity for indigenous easier to understand how complex issues become’. culture and commerce to transcend the local and Teacher Cathy Burgess, one of the pioneers of the the national and have a global impact via the use of indigenous popular music in New South Internet.

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Another example of indigenous popular music as and (who are respectively aunt and empowerment is the use of songs as ‘ethnographic niece). Both are major music award winners with indigenous media’ (Ginsburg 1991). Songs, such as Mills winning a Red Ochre award, the top award those composed by Ruby Hunter, , for Australian indigenous musicians, as a member and Blekbela Mujik are ethnographic in that they of the Mills Sisters; and Anu winning an ARIA communicate indigenous culture across time, place award for best song performance on Neil Murray’s and situation; and medial in that they help mediate ‘’. Mills admits singing an ‘old the social construction and social relations of fashioned way’ but admires Anu’s adaptations of indigenous and non- indigenous peoples in traditional songs in contemporary styles; while Australia. As ethnographic indigenous media, the Anu suggests that for her singing and dancing are songs now comprise a sizeable repertoire that also part of ‘a living culture, a living history’. Both are can be appreciated as ‘identity narratives’ (Martin proponents of indigenous popular music as a way of 1995); that is, musical stories invented and used to bridging not only generations but also the musical help pursue specific aims and to propose fresh traditions of Australia’s indigenous and non- interpretations of the world in order to change it. indigenous peoples.

A case in point is the work of Archie Roach, Another example of indigenous popular music as especially those songs that chronicle his personal entertainment is the exporting of indigenous experiences of forced removal from his family, artists, their recordings and expertise. Alan Dargin, homelessness and the reclaiming of his heritage. David Hudson and Gnarnayarrahe Waitairie are When Roach sang his song ‘They Took the just a few didjeriduists who tour regularly in Children Away’ at a 1996 hearing into the effects Australia and overseas where they are in demand as on Aboriginal people of forced removal from their performers, teachers and personalities. A recent families, he was not only relating a personal overseas example is a several day celebration of experience but those of others similarly affected. indigenous Australian music and dance that took place at the Hilton Hotel and the Museum of Taken together, these two examples show how Ethnology in Vienna, Austria and was advertised indigenous popular music is being used as on the Internet. Indigenous expressive culture is empowerment by groups and individuals as a very marketable in the global cultural economy cultural means to social ends. As one indigenous and groups such as Yothu Yindi tour constantly. remarks about mixing of politics and popular music, ‘Culture is a weapon that does not Taken together, these examples show how rust and music provides endless ammunition’. indigenous popular music is being used as Popular music has the advantage of being a pliable entertainment, but entertainment that by its very medium that also can be politically effective. presentation of an indigenous voice at home and overseas also can serve as empowerment and At the third level, as entertainment, indigenous education. popular music is being used in several ways. One way is as a bridge between generations within So as not to leave the impression cultural vitality indigenous communities. The work of the in the form of indigenous popular music is some Country singer Frank Yama and his kind of panacea for the present challenges facing late father is one Aboriginal example. An example Australian society and educators, my concluding from the Torres Strait Islander community is recent comments present several positions along a performances by two well known singers, Rita Mills continuum that can be extrapolated to educational

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contexts. The first position is at the sceptical end, politics of music and the music of politics. epitomised by Aboriginal politician-activist Noel Pearson: ‘It’s no good making people feel good In the limited area of indigenous popular music’s about Aboriginal art, and Aboriginal culture, and use in education curricula, any final end-effect lies making people feel that Aborigines are cuddly somewhere along this shifting continuum. As then bears. No one will benefit from feel-good messages Governor-General Hayden noted in his 1996 without real change being made to the position of Australia Day speech, art in general has a pivotal Aboriginal people in this country’ (Coolwell role to play in the processes of pride and synthesis 1993). because ‘it is the nature of art to seek resolution, not division . . . to be constructive not destructive. The second position is at the optimistic end, The great achievement of recent years is that epitomised by Patrick Dodson, chairperson for the through creative cultural exchange, there is a real Australian Council for Aboriginal Reconciliation: hope we may reach some lasting convergence ‘(indigenous popular music) has a vital role to play between us’. in bringing people together . . . It is obviously bringing the indigenous perspective on issues of I end by referring to a song written by Kev social justice, land and cultural support, and Carmody and Paul Kelly that ironically and also spirituality very much to the fore. The (artists) prophetically won an Australian realise and know that music is a great medium for Golden Award in 1994 as Heritage Song of breaking down barriers and for building up positive the Year. It illustrates the two main points I have images and relationships . . . They are seeking to addressed here: indigenous popular music is an show that (Australians) are capable of example of cultural vitality; and second, the transcending prejudices and the ignorance of the education system and educators can profit from past and getting on with new starts’ (1992). taking advantage of a relatively un- tapped resource that has both musical and extra-musical A third position is experiential, mid way between uses. The song title summarises very succinctly the sceptical and optimistic, epitomised by Archie potential and potency of the use of indigenous Roach. He recognises a conundrum for indigenous popular music as education, as empowerment and musicians, and other popular music artists for that as entertainment by music and non-music matter. It is that indigenous popular music in educators across key learning areas. The title of the particular, and indigenous arts in general, are often song is, ‘From Little Things, Big Things Grow’. politicised forms of artistic expression that nonetheless are also part of international arts References industries. This requires artists to effect a balance Coolwell, W. (1993) My Kind of People: between the demands of culture, commerce and Achievement, Identity and Aboriginality, St. creativity. As Roach notes: ‘Because you’re an Lucia: Press. Aboriginal person (and a musical artist), people think that you must have a statement or an Davison, M. and Neuenfeldt, K. (1996) ‘Education, opinion on everything. I think that slowly they’re Empowerment and Education: An Aboriginal starting to see the music as being just good music . . Perspective on the Didjeridu’, in The Didjeridu: . As music that says something and still sells’ From to Internet, K. Neuenfeldt (Coolwell 1993). Indigenous musicians are (ed.) : John Libbey/Perfect Beat sometimes called on to be culture brokers and most Publications have successfully found a balance between the

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Dodson, P. (1992) Chairman, Aboriginal Council for Reconciliation. Interviewed at Edith Cowan University, Bunbury, Australia. October 15. VCE Music

Dunbar-Hall, P. (1991) Aboriginal Music: An Performance Annotated Music Education, Bibliography, Sounds Australian Vol.42: 6-7. Seminar

Ellis, C. (1985) Aboriginal Music, Education for Sunday 2 March 1997 Living: Cross Cultural Experiences from South Korowa Anglican Girls’ School Australia, St. Lucia: University of Queensland 10.00am - 4.00pm Press. $20.00 all day/$12.00 half day

Ginsburg, F. (1991) Indigenous Media: Faustian Morning Contract or Global Villages?, Cultural Presentation and clarification of the Anthropology, Vol.16 No.1: 92-111. criteria for CATS 1, 2 and 3 for solo and group perfomance Martin, Denis-Constant. 1995. The Choices of Identity. Social Identities, Vol. 1 No.1: 1-20. Afternoon Discussion and demonstration of repertoire National Review of Education for Aboriginal and and program planning for CAT 2 Torres Strait Islander Peoples (1994) Canberra: Australian Government Publishing Service. Contact Kevin Kelley (03) 9428 2317 for bookings and enquiries Neuenfeldt, K. (1996a) ed. The Didjeridu: From Arnhem Land to Internet, Sydney: John Libbey/ Perfect Beat Publications.

—— (1996b) Ethnographic Interviews with Many Sounds — Cathie Burgess and Year 12 HSC students, Sydney. One Voice 1997 VSMA Secondary Music Conference —— (1997) ‘Sounding Silences: The Inclusion of Indigenous Popular Music in Australian Call for papers and workshops Curricula’, Out For Review. Friday 7 November Saturday 8 November Ryan, Robin (1996) Aboriginal Music Modules, Melbourne High School VSMA No.4: 31-37.

Presenters are invited to submit abstracts by Dr. Karl Neuenfeldt Communication and Media Studies 4 April Central Queensland Univesity North Rockhampton, Queensland 4702 Contact Kevin Kelley (03) 9428 2317 Telephone (079) 309 686 Fax (079) 309 501 for further information Email

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