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 Queensland 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 musicians, groups and song indigenous Australians. His remarks still hold value writers (such as Archie Roach, Yothu Yindi 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. 42 COUNTERPOINT S P E C I A L F E A T U R E 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 album 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 musician (with Yothu Yindi) and Another example of indigenous popular music as educator Mandawuy Yunupingu, 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 Warumpi Band’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 Yolngu people of Arnhem them relate to current political issues. Land in the Northern Territory. 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. FEBRUARY 1997 43 S P E C I A L F E A T U R E Another example of indigenous popular music as and Christine Anu (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, Bart Willoughby, 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 ‘My Island Home’. 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. songwriter 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.