Ethnographic sound collections and Australian Aboriginal Heritage: Kaytetye song traditions remembered

ABSTRACT

Song was one of the principal methods of transmitting knowledge in the fundamentally oral societies of Indigenous Australia. As the breadth of song traditions has greatly diminished over the past 200 years, archival recordings of song now form a significant resource of intangible cultural heritage for Australia’s Indigenous people. The song performances recorded in the past are now being rediscovered, remembered and in some cases revived. This paper presents findings from a recent project involving the return of a set of poorly documented recordings of songs to Kaytetye people in central Australia. These newly discovered recordings, the earliest ever made of Kaytetye singing, are shown to be an important heritage resource for these communities. Working collaboratively with senior song experts in order to gain a better understanding of the meaning and cultural significance of various songs, I document the how this discussion of audio material generated important social-histories and memories, reinforced local understandings of rights in cultural heritage, and revealed both continuities and changes in Kaytetye ceremonial and song practice.     

A Reply to the foregoing Criticism

This paper discusses the vetlatori dance performed on the occasion of a baptised infant's death in the Valencia region of Spain until about fifty years ago. Analyses of historical sources that emphasise the noble spirituality of the vetlatori dance are shown to be based on romantic views of traditional culture and emotions related to the loss of an infant, rather than on authentic information. Ethnographic and ethnomusicological data are presented to illustrate that the music and dances performed during the vetlatori dance were meant for entertainment rather than for spiritual impact. Recourse is also had to oral sources, particularly interviews carried out in the 1960s and 1980s with former infant wake participants who experienced the vetlatori dance, and who confirmed the popular nature of the music, song, and dances that were performed. Analysis of written sources and of the choreographic and musical characteristics of the dance also shows that the kind of music performed was typical of festive celebration in the Valencia region. Functional outcomes for such wakes are also proposed.     

REVIEWS

Book reviewed in this article: Arrernte Present, Arrernte Past: invasion, violence and imagination in indigenous Central Australia. By Diane Austin‐Broos . The Iban Diaries of Monica Freeman 1949–1951: Including Ethnographic Drawings and Sketches, Paintings, Photographs and Letters Edited by Laura P. Appell‐Warren     

The Metrical Structure of the Oral Decapentasyllable

Abstract

What Milman Parry saw as his ‘historical method’ in Homeric criticism has paradoxically relieved students of the Greek folk song from the obligation to approach their subject of study from an exclusively genetic or ‘etymological,’ – in a word, historical – viewpoint. Instead of having to search for – or rather to speculate about – the origins of Greek oral poetry in the mists of antiquity or to assess the extent to which a song can provide reliable historical evidence concerning past events, we are free to turn our attention, as scholars such as Roderick Beaton (1980) and Grigoris Sifakis (1988) have done, to a synchronic study of the folk-song tradition, concentrating as much on the rules that generate the songs as on the significance of actual samples collected in the field (or in the scholar's study or the recording studio).     

CIRCLE DANCE FESTIVAL “GORKA”: TRADITIONS AND INNOVATIONS*

The circle dance festival “gorka” is one of the oldest Russian rituals of the spring and summer cycle, preserved by the Priestless Old Believers (Pomortsy) living in the Ust-Tsilma Region of the Komi Republic. This ritual activity requires the performance of seven dance fi gures or moves. Particular songs that are called “gorka songs,” correspond to each of the fi gures. In the past, the symbolism of the circle dance was linked to the renewal of life. The transition of adolescents to adulthood was arranged in ritual form; dramatized songs helped young people to fi nd potential marriage partners and to approve couples that had been formed earlier. The modern festival is held as a tribute to the ancestors. A recent innovation can be seen in the children's “gorka” and the inclusion of children into a single circle dance.     

Ghostly Voices: some Observations on Song‐Creation,Ceremony and Being in NW Australia

Wangga songs are given to songmen by ghosts in dreams. By singing these songs in ceremony songmen at Belyuen gain power over the ghosts of the recently dead and thereby conduct them away from human society. This paper argues that it is the replication not only of the melodies, rhythms and words of the ghost‐given songs, but also the voice of the song‐giving ghost itself that gives the singer his power. While the accumulation of spiritual power through the replication of the actions of the world‐creating ancestors has been widely discussed in the literature, dreamt song has been less closely examined. It is suggested that dreamt songs such as wangga play a role in facilitating adaptation to new patterns of residency and are thus a significant element in contemporary Aboriginal life.     

Representations of 1968 in French Popular Music: The Case of Dominique Grange

Focusing on the songs written during 1968–69 presented on the album L'Utopie toujours…(2004) by Dominique Grange, this article discusses some of the representations of key themes of 1968 in song. Grange is a politically engaged singer-songwriter who, whilst enjoying limited commercial success, was very much involved with the 1968 protest movement in Paris and was subsequently linked with various Maoist organisations throughout the 1970s. Her songs constitute an immediate response to the events of 1968 and reflect many of the key themes of the period as identified by Kristin Ross, whose seminal work on May ’68 provides the starting point for the article. The themes of disruption, displacement and reappropriation that Ross identifies in the movement generally are analysed within the context of Grange's songs. In particular the representations of these themes in the context of political contestation, the occupation of space and the seizing of speech are considered. This analysis will ultimately show how Grange's songs highlight the complex nature of the cultural construction that is 1968.     

Whose Ethics? Which Cultural Contract? Imagining Arrernte Traditions Today

The paper uses an account of ‘tradition’ by the philosopher, Alisdair MacIntyre, to argue for the view that local Aboriginal culture that has been through extensive change is nonetheless still specifying for the Aboriginal people involved. Therefore these local traditions must be taken into account in discussions about ‘contracts’ or ‘policies’ concerning Aboriginal people today. An example is drawn from the Lutheran tradition of Western Arrernte people in Central Australia.     

Nineteenth-century Irish Anacreontics: the literary relationship of James Clarence Mangan and Thomas Moore

The odes of the ancient Greek poet Anacreon, celebrating wine, women and song, were made newly popular in the nineteenth century through the efforts of Thomas Moore, a writer whose first volume of verse, a loose translation of the Odes of Anacreon, published in 1800, marks him out today as a poet of Romantic sociability par excellence. I argue that the Anacreontic ode popularised by Moore continued to resonate through nineteenth-century Ireland – albeit in a heavily mediated form – in the work of the poet's successor, James Clarence Mangan, who picked up the cup in the series of drinking songs he wrote periodically throughout the 1830s and 1840s, the decades during which Mangan sank into alcoholism and emotional estrangement. The easy charm of Moore's Anacreontic song mutates in Mangan's verse into a more complex, often allusive and fragmented form, a perverse Anacreontics, which corresponds both to the poet's psychic trauma (his alcoholism and self-alienation) and to a broader cultural and political dislocation experienced by Ireland under British rule. This discomfort is registered in Mangan's verse in the playful refusal of a single authorial voice and in the poet's tendency both to ventriloquise and to distort influence – not just that of Moore but also of the British Romantics, notably Byron and Coleridge.     

The Poetics of the Crocodile: Changing Cultural Perspectives in Ambonwari

ABSTRACT Ambonwari people from the East Sepik Province, Papua New Guinea, had a rich repertoire of song‐dances, each of which was associated with specific events and the birth of something new. Together they represented the entire human life cycle as well as the cosmology at large. Visual, verbal and tactile modalities of singing and dancing were tightly interwoven; images and symbols were enacted by the dancers, in their decoration, arrangement, movements and in the whole ceremony and were firmly situated in their landscape. Accordingly, song‐dances were also an important practice in male initiation ritual. The first song‐dance of the ritual was the crocodile song‐dance. This article analyses different transpositions of images and meanings which can be decoded from the dance, from the objects that were part of the initiation rite, and from the parallelism and rich allegory of verses. These transpositions operate at different levels until they converge upon the existential facts of birth and death. In the new millennium and under the influence of a Catholic charismatic movement, however, Ambonwari broke off their relationships with spirits, abandoned the men's houses and stopped talking about male initiation ritual. Along with other traditional song‐dances the crocodile song‐dance has been taken over by the song‐dances of the Holy Spirit. These changes in social and cultural perspectives, which are still taking place, are at the same time products and producers of the changes in their relationship to ‘space’ and ‘time’ which are at the same time changes in visual and auditory perception and expression of their life‐world. All these changes should not be seen merely in some abstract or symbolic terms but as tangible processes generated by people's action.     

The Meaning Of Pepe: God's Law and The Western Arrernte

Using both ethnography and textual material, this paper describes the way in which Western Arrernte people in central Australia interpreted the Christianity brought to them by Lutheran missionaries. The mission became an isolated domestic economy, a context that allowed the Arrernte to interpret its teachings in terms of a "law." This Christian law was often referred to as pepe, the Western Arrernte word for "paper." It involved a particular rendering of literacy and rested on a highly localized order. These conditions of mission Christianity would change with the coming of land rights and a cash economy.     

Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

English and Scotch Fairy Tales

The subject of this article is a zār song about a female character, Umm al-Ghulam (‘mother of the boy’), recorded in a Lower Egyptian village in 1980. The song is short and ambiguous. There is a zār spirit by that name, but there is also a Cairene saint who carries the same name. Zār songs in Egypt invoke both zār spirits and saints; so who are we dealing with in this song?     

中国民歌文化的地域特征及其地理基础

在简述民歌文化研究状况的基础上,作者分析了中国民歌文化区形成的历史基础;并从文化地理的角度,探讨了民歌文化的地域整合性。然后将全国民歌文化区分为七大区域,包括:以江南小调为代表的"江南水乡风格",以北方号子为代表的"粗犷刚劲风格",以"信天游"、"花儿"为代表的"西北高原风格",以云、贵、川山歌为代表的"西南高原风格",以长调为特色的"北方草原风格",异域风格的新疆民歌以及高山雪原上的民歌,作者还论述了各区域民歌文化的特征及形成的地理基础。     

Western Arrernte Pmere Kwetethe Spirits

This article explores the difference between the meaning and use of TGH Strehlow's term pmara kutata (his spelling) and of pmere kwetethe (modern spelling) in contemporary Western Arrernte society. The expression pmara kutata features prominently in TGH Strehlow's oeuvre. He defined pmara kutata, as the ‘centre of a local totemic clan’, ‘sacred site’ and the ‘everlasting home’ where an important local totemic ancestor originated and /or passed to his last rest. Interestingly enough the term pmara kutata or pmere kwetethe seems to have undergone a semantic shift. In contemporary Western Arrernte society pmere kwetethe is used to denote a range of spirit beings with different characters that dwell on and in the landscape. In English the expression pmere kwetethe is sometimes glossed as ‘the spirits of the land’ or ‘the invisible people‘.     

Echoing the Environment in Kam Big Song

Kam big song is an important genre sung within Kam (in Chinese, Dong) minority communities in southeastern Guizhou, China. It has traditionally served as a medium for transmitting historical, philosophical and ecological knowledge. Since the 1978 reforms, this region of Guizhou has been increasingly drawn into the national labour economy and has experienced a surge in economic development. The ensuing youth migration to urban centres, growing school attendance rates, and a marked rise in television viewing have led to a decline in Kam singing amongst younger generations. Nevertheless, in recent years certain forms of big song have featured increasingly in staged Kam cultural performances intended for broader audiences. Kam big song was recognised as a form of National Intangible Cultural Heritage (ICH) in 2006, and was included on UNESCO's Representative List of the ICH of Humanity in 2009. This study draws upon various big songs that I learnt during almost twenty-four months of musical research in rural Kam regions from 2004 to 2011. It illustrates the cultural and ecological significance of this musical tradition, and the importance and complexities of its maintenance at a time of social transformation.     

Shoe-Throwing at Weddings

It has not proved particularly easy to trace what is usually thought of as ‘folk song’ in England back into the eighteenth century. It is, however, possible in some instances to identify vernacular songs of the kind that were later recovered by folk song collectors circulating in earlier centuries in printed form, and to find contemporary references to the ways in which they were being used. This article takes this approach to one such ballad, The Bloody Gardener’s Cruelty, which was sung in England and was eventually collected in Newfoundland, but which in its earlier history strays well outside what might be thought of as the conventional folk song paradigm.     

The Book of Marriage: Histories of Muslim Women in Twentieth‐Century Australia

From 1860 to the 1920s, Muslim merchants and workers from across British India and Afghanistan travelled to Australian shores to work in the extensive camel transportation network that underpinned the growth of capitalism in the Australian interior. Through marriage, South Asian women in addition to white women and Aboriginal women became part of families spanning the Indian Ocean. Yet, the life‐worlds of these women are absent from Australian historiography and the field of Indian Ocean studies alike. When women do appear in Australian histories of Muslim communities, the orientalist accounts work to condemn Muslim men rather than shed light on women's lives. Leading scholars of Indian Ocean mobilities on the other hand, have tended to equate masculinity with motion and femininity with stasis, omitting analyses of women's life‐trajectories across the Indian Ocean arena. In this article, I rethink the definitions of ‘motion’ that underpin Indian Ocean histories by reading marriage records as an archive of women's motion. Using family archives spanning from Australia to South Asia, this article examines five women's marriages to South Asian men in Australia. Challenging the racist accounts of gender relations that currently structure histories of Muslims in Australia, I turn to the intellectual traditions of colonised peoples in search of alternatives to orientalist narratives. Redeploying the Muslim narrative tradition of Kitab al‐Nikah (Book of Marriage) to write feminist history, this article proposes a new framework to house histories of Muslim women.     

Epitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750–1990

Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ‘other’ as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ‘Spanish’ and as the ‘national’ song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ‘concern’ in the Spanish political‐cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation.