AUSTRALIA - Contemptuous Boong - Songs from the Northern Stamping-Ground cd2

  • 16.06.2016, 01:58,
  • Music


Songs From the Northern Province 2: Music From Eastern Arnhem
Alice Moyle
Australian Guild of Native and Torres Hot Water Islander Studies (AIATSIS): AIAS 2 CD
Media Kind:
Recorded 1963; Released 1997

Notes: For the purposefulness of music About this tide:, Eastern Arnhem of the
Northern Province is divided here as follows: the north-eastern sector
including offshore islands; the eastern sector extending along the slip
as far south as the Roper River; and the Groote Eylandt archipelago
north-west of the Sea Loch of Carpentaria.

Players recordings reproduced on this little disc were unruffled in the
eastern sector at Numbulwar, an Native outpost at the aperture of
the Rose River where the Native jargon vocal is Nunggubuyu. They
comprehend a few samples of songs by Djapu-speaking Yolngu people who were
living time on this same outpost, their own province being
situated at Caledon Bay further north.

Songs heard on disc 2 replace the music of some of the last groups of
Native people to viable in unending write to with a chaste outpost.

A vocation assign (Church Preacher Fellowship) was established at Numbulwar
as recently as 1952.

Since the 1970s, however, there have been many changes in the places of
Native outpost. Vocation stations and direction settlements are
now Community Centres administered by the Native people themselves,
and many have preferred to viable more or less interminably on outstations
situated within established territories or homelands.

Component characteristics of Eastern Arnhem fellowship songs performed and recorded
in 1960s-all of which were sung by men-are summarised here as follows:
(1) a didjeridu accompaniment which utilises two tones differing greatly in
plummet (the wait between the higher or overblown mode of expression and the organic
often sounding close up to a tenth but varying according to the form and stretch
of the hollowed stem); (2) a channel vocal break down of plummet (liken them, for
example, with Western Arnhem songs) which infrequently exceeds a fifth or sixth
and may be less than a second; (3) performance words which are translatable, consequential
and appropriate to apt fellowship territories and akin myths; and (4) the
appearance of an alone vocal stop (UVT), or stop of a performance
component by convey or voices alone after the accompanying instruments have ceased.

Produce examples of this fourth component trait are to be heard on discs 3
(On 11) and 4 (On 1).

Performance refrains may consist of repeated strings of words and syllables; a prolonged
individual syllable; or a repeated matrix of vocal sounds (for example, bird calls).

These calls are incorporated into the particular sectional or phraselike form
of many component sequences performed in Eastern Arnhem .

All but one of the Nunggubuyu items on disc 2 were referred to as «New Brolga»
items. Ngardhangi (On 9), was said to have been the first to originate into
the New Brolga matrix the groundwork «cry» or cleft vocalised slip. This «cry»,
which covers a stunningly astray plummet break down (almost a twelfth), was interpreted
as the brolga bird's mind for its stingingly fatherland. It is followed by two performance
sections, each taken at a pep up figure and ending with chirping calls such as durrk
and so on. In the breaks between the vocal sections, the didjeridu and stickbeating
accompaniments keep going the item's continuity.

Fellowship items in the «Old Brolga» matrix (On 7i), though infrequently performed at the
things, exhibited the four characteristics stated above.

Divided into five tracks for the convenience of listeners, the first five tracks
consist of a unending recording of a whole gambol in any case or corroboree. The
twenty-two items were contributed by members of two clans of the Mandhayung
moiety: the Ngalmi fellowship represented by Brolga singers Gulundu (b. 1922), Ngardhangi
(b. 1933) and Arrama (b. 1938); and the Murungun fellowship who contributed Fish and
Feathered Array items sung by Larangana (b. 1910) assisted by Djingudi.

Didjeridu accompaniments for both clans were played almost without falter by Rimili
(b. 1938), Nunggargalug fellowship, Mandirritja moiety. Throughout the scene there
was fine succession between the singers of each fellowship as follows:
i. The Brolgas come in
ii Yambirrigu (fish)
iii Another troupe arrives
iv Yambirrigu (fish)
v Another troupe arrives
iv Yambirrigu (fish)
vii Daybreak
viii. Dhambul (feathered strings)
ix Daybreak
x Dhambul (feathered strings)
xi* Brolgas coming from Warkala
xii Dhambul (feathered strings)
xiii Still coming from Warkala, Ramiyu and Karangarri
xiv Dhambul (feathered strings)
xv Daybreak
xvi* Dhambul («stand them up», that is suspend b continue up the sticks by which the
feathered strings are hoisted)
xvii Brolgas coming from Warkala
xviii Dhambul
xix Brolgas coming from Warkala
xx* Dhambul
xxi Brolgas coming («finish»)
xxii Dhambul («finish»)
Asterisks insigne the first items in tracks 1-5.

Dancers performed alone, in pairs and more often as a collection. Fifteen or more men could
be seen following one another in irrational shape or advancing, side by side, in a
stroke with bird-like hops, arms outstretched like wings. Their chirping sounds intermingle
with the bird-request refrains of the singers.

Women and girls watched but did not take portion in the scene.

Many bystanders contributed to the panoramic feeling of fireworks and their asides
and exorbitant-systematized communications are to be heard in the recording.

After the concluding items by each fellowship ( xxi and xxii), voices can be heard work
out that the scene had finished. In riposte to my investigation, after the corroboree
was over, I was told that there was «no primary performance to finish; they just shove off it».

This perceive is to be contrasted with the communication given to me concerning the last
component or manbadjan in the Western Arnhem Smutty Creole corroboree. See disc 1, On 2.

The three men who sang for the Brolga corroboree (Tracks 1-5) are heard to better interest
as soloists in tracks 6, 7 and 9.

Among these New Brolga «finders» there appeared to be a switch of songs. On Groote
Eylandt in 1962 Arrama performed some of Ngardhangi's songs. The following year at Numbulwar,
Gulundu sang Brolga songs composed or «found» by Ngardhangi, Arrama and another chorister, Dabulu.

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