iDIDJ Australia Didgeridoo Cultural Hub

[flyangler18]

How can dealers of traditional instruments move into larger circles, outside the core group of 'trad heads', promoting artists and craftsmen from within the communities to compete with the saturation of the market with mass-produced sticks while still keeping them at an attractive and manageable price point?

Jason

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www.jdidj.com

[Clay]

That sounds like a question that only dealers can truly answer, Jason. Not knowing what the artists sell their instruments for, or how the dealer acquired the instrument makes it hard to discuss what is reasonable for both buyers and sellers. Visibility and stock would be a good place to start. A traditional player, like Larry or Darryl, who could be marketed well would help the market tremendously. You can already see the accolades they are getting on YouTube.

[ididjaustralia]

Good question Jason! Precisely what I've been asking myself all these years...

I think there is no one solution. There must be the right mix of creativity, determination, perhaps even luck. Having networks is important, knowing people in the art world, music world, or fair trade or conscious consumer sector.

There might be 2 questions inherent in your single question:

1) how do traditional instruments competer with mass-produced sticks that can be seen everywhere, from souvenir shops to ubiquitous didgeridoo websites?

2) how to better promote traditional craftsmen and their works?

I think 1) is more difficult to answer and has a number of issues that need teasing out. For example, is it desirable to compete with mass-produced sticks? What would be the ecological ramifications for Arnhem Land if that were to be attempted? Does competing mean reducing the unit price per traditional didgeridoo so that it is a viable option for retailers as well as tourists? Does it matter if Arnhem Land craftsmen start using mass-production methods in order to compete in the market place?

As for the second part of the question, that is promotions work which could be anything from letter-dropping, setting up a fancy gallery, innovative advertising campaigns... the number of things that could be done are limitless and are restricted only by the imagination! Getting the media to take notice is always good. Over a year ago, iDIDJ Australia got world media giant CNN to notice. Check out this webpage:

http://edition.cnn.com/2005/WORLD/asiapcf/11/28/didjeridu/

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[Clay]

Quote:

She said the problem for Gurriwiwi now is finding someone to be his successor. "He's trying to get his sons to do it but it is something he believes they have to be interested in."

I know this article was written over a year ago, Guan...but has this changed at all since then? Larry is getting lots of face time as a great player and if he were to take Djalu's position, perhaps he could use his style of playing to garner more interest.

[flyangler18]

Quote:

For example, is it desirable to compete with mass-produced sticks?

No, if that mean adopting commercial modes of production!

But I would argue that traditional sticks from Arnhem Land and surrounds are already 'competing' with mass produced sticks on a different level, through the increased visibility of traditional didjeridu playing through YouTube and other venues and more and more players who are becoming interested in traditional styles. One only need take a quick count of membership in both SS forum and this one as well to see this phenomenon taking shape.

Jason

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www.jdidj.com

[pacdidj]

flyangler18 wrote:

One only need take a quick count of membership in both SS forum and this one as well to see this phenomenon taking shape. Jason

Hey Jason,

I wonder. Do you think that proportionally there are more folks interested in traditional playing styles and Aboriginal culture of the Top End, or does this perhaps just reflect increased interest in/awareness of the didjeridu in general, with the number of people interested in trad stuff rising more or less in proportion?
Not really having been to any of the major festivals in the US, and being sort of isolated here in the middle of the country it's hard for me to tell what's going on, at least domestically.
Anyone else have feelings on this?

Cheers,
Phil

[flyangler18]

Quote:

proportionally there are more folks interested in traditional playing styles and Aboriginal culture of the Top End,

As the SS forum and this one are interested in traditional culture, then it stands to reason that an increased membership indicates a growing interest in all things traditional. But of course this is a limited scope sample.

When I was at JT in 2005, little conversation turned to traditional techniques outside of those who gravitated towards Ben's booth. Since that time, we have seen the publication of both 'Hard Tongue Didgeridoo' and 'Mago Masterclass' that is now being offered by the more 'mainstream' retailers that have only the occasional Arnhem Land stick available.

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[martin]

flyangler18 wrote:

How can dealers of traditional instruments move into larger circles, outside the core group of 'trad heads', promoting artists and craftsmen from within the communities to compete with the saturation of the market with mass-produced sticks while still keeping them at an attractive and manageable price point? Jason

Indeed an interesting question Jason. Outside this core group of 'trad heads' it seems to me that there are two important groups.

1. Musicians.
2. People with an interest in Ethnic music in more generality.

1. I believe that one should be able to get to the point that serious musicians that use the didgeridoo will be interested in having quality instruments adapted to making that special yidaki/mago sound. If the quality of traditional instruments is too inconsistent however they will opt for more "modern" materials that are more stable and easier to care for and transport - they will opt for more pragmatic solutions. Professional musicians will be willing to pay for an excellent instrument, and they will expect it to be excellent. This is certainly possible but requires more education amongst musicians, most of the education at the moment is directed at an amateur market.

2. The people with a more general interest in Ethnic music is maybe an easier market. It is certainly a larger market. In this case though I see many such people who are often happy to have an indonesian teak or bamboo instrument and often the curiousity ends there. To get a larger number of these one needs to try to get traditional instruments into that sector of the market. People usually find these instruments in Fair-trade type stores (which seems quite surprising but is the truth) or increasingly in music stores.. and I believe that this is the case due to the large marketing network that has been developed
by people interested in ethnic artefacts but at low prices, and here i believe the important point is the low prices. A bamboo or teak instrument in europe begins at about 30 - 40 euro, a trad instrument from arnhem land 200 or more.

On the other hand, if arnhem land instruments are produced in a much larger quantity with lower prices then this becomes very hard on the environment. .

I wonder if alternative materials (used already in the past in arnhem land and thus part of the tradition) like Bamboo or Pandanus can be used to get access to this larger market but in a sustainable way, keeping the more precious termite hollowed eucalypt for a more elite second tier type market. .

Martin

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[pacdidj]

flyangler18 wrote:

indicates a growing interest in all things traditional.

Encouraging to hear.

Thanks!

[flyangler18]

Quote:

2. People with an interest in Ethnic music in more generality.

Hi Martin-

This is the area that I suspect needs the most attention and fostering, where conscientious and ethical retailers/consumers together can make some real changes. In my experience, most interested folk in didjeridu are intially attracted by loud, crisp, bright tones that traditional instruments, generally speaking, don't have. The challenge is meeting market demands with instruments that 'fit the bill' while still supporting the cultural traditions of Top End peoples.

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[kdidj]

As I've said earlier I believe education is paramount in this regard. If the public were more aware of the instrument's history and cultural importance I feel it would naturally encourage support of the traditional craftsmen and custodians.

It's the misinformation that propegates the belief that these touristy sticks are the 'real deal' that keeps the tourist market and trade in inferior or, for want of a better word, inauthentic sticks afloat.

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www.myspace.com/kylemaplesden

[flyangler18]

Quote:

If the public were more aware of the instrument's history and cultural importance I feel it would naturally encourage support of the traditional craftsmen and custodians.

I agree with you completely- education is certainly key. I'm just struggling with ways to boost awareness about the instrument's history and cultural importance in a sustainable and effective manner. Clearly, the art centres have a distribution network, an embryonic one at least- but I'm just not sure how to merge cultural education with a commodified object like didjeridu.

Jason

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www.jdidj.com

[ididjaustralia]

Clay wrote:

I know this article was written over a year ago, Guan...but has this changed at all since then? Larry is getting lots of face time as a great player and if he were to take Djalu's position, perhaps he could use his style of playing to garner more interest.

I don't know... that is an internal family issue. 'Tis a difficult thing for Larry to step-up to because he doesn't like the attention. Yet he is fiercely proud of his father and wants to do the right thing by him.

Guan

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iDIDJ Australia - Didgeridoo Cultural Hub
E-mail: info@ididj.com.au
Web: www.ididj.com.au
YouTube: www.youtube.com/ididjaustralia

[ididjaustralia]

pacdidj wrote:

Do you think that proportionally there are more folks interested in traditional playing styles and Aboriginal culture of the Top End, or does this perhaps just reflect increased interest in/awareness of the didjeridu in general, with the number of people interested in trad stuff rising more or less in proportion?

A bit of both I reckon. Information on trad is a lot more accessible now compared to, say, 13 years ago when I first traveled to Arnhem Land. For a while there were only the 3 'musketeers' that I knew of who were intensely passionate about trad and who were in regular contact: John Burrows, Ed Drury and Peter Lister. Now there are literally hundreds of trad heads on all continents! So we have these pioneers to thank, as well as the generation before: Moyle, Jones, Le Brun Holmes et. al.

_________________
iDIDJ Australia - Didgeridoo Cultural Hub
E-mail: info@ididj.com.au
Web: www.ididj.com.au
YouTube: www.youtube.com/ididjaustralia

[danielsaan]

martin wrote:

flyangler18 wrote: How can dealers of traditional instruments move into larger circles, outside the core group of 'trad heads', promoting artists and craftsmen from within the communities to compete with the saturation of the market with mass-produced sticks while still keeping them at an attractive and manageable price point? Jason Indeed an interesting question Jason. Outside this core group of 'trad heads' it seems to me that there are two important groups. 1. Musicians. 2. People with an interest in Ethnic music in more generality.

Hi everyone, this is my first post on this site! I have been lurking for a while. Some of you folks I know from Serious Sticks, so I doff my hat to all of you. I can't help sticking my penny worth in on this one, as its a favourite topic of mine (in a way).

There is a third group! I only just discovered it in the last few days (and dropped Randy's website into a post for them) - Xavier Rudd fans!

There is a forum there, and a massive body of people to convert, if SS and Ididj people felt like converting them. Xavier has been making the Yidaki (he uses the term interchangably with didge) popular in a unique way: he does not sing particularly political songs (like Yothu Yindi), he does not play the didge in that way Si Mullumby used to (as a rhythm instrument). Instead he simply writes and records songs, then sings them in front of screaming fans. He has a pretty big following in Oz (at least he did while I was there). There are fans of his, who don't know where to go. His style is not trad by any means (he does not do dup pu dirrl dirrl!) but his angle is promotional for 'things-indiginous' within certain limits, and his fans are interested.

And then, while I have been writing about Xavier, I got to thinking about group four - the tourists that go to tourist venues in Sydney, who want to learn but are not learning the "best quality" information. Guan, Peter, Randy (and all the another anthropologists in Australia), couldn't your respective websites be used to change how information is disseminated down through the ranks to the "common man" (okay, okay too many speech marks!)? For example, information packs?

But, I am going off point... the idea is to educate people about the "correct" information, then with a bit of a push, they will flock to "trad"-dealers themselves, creating a large market, a larger group thirsting for knowledge. The didge is still the emblum of Australia, and the Australian Backpacking experience, so go where the backpackers go - all those places where they want to pick sticks up from and educate the shop owners, especially in the NT. Backpackers who get that far off the beaten track are more receptive than those guys that stand around Circular Quay in sydney.

I was going to add more, but I have to think how to word it.

Anyway, nice to see so many friendly faces.


Dan


P.s. Perhaps this is a long shot, but can anyone recommend some good reading about Redfern in the modern world? Thanks for listening.