iDIDJ Australia Didgeridoo Cultural Hub

[flyangler18]

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pulls the didjeridu, a crooked, leaky, heavily caulked, thick-walled, slightly conical-bored, and altogether unsatisfactory instrument 3'8" long with beeswax mouthpiece. The didjeridu was the only one available of correct length to match the singer's voice and required contant sluicing with water to maintain a dubious air seal.

Constant sluicing? Could this perhaps be a pandanus specimen?

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[ididjaustralia]

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Three northeastern Arnhem Land BUNGGULS of the Da'i or Idjduwa song cycle, entitled a. & b. "Wana Gana. Wana Gana. Gojda Jududa." two renditions; c & d, "Da Da Da. Jiri Ganangga Daj-banjdji" two renditions; and e. "Boj Boj Ba," one rendition.

Good stuff Martin! The spelling back then was a little off track... I can't recognise anything there but it seems the titles for these songs are actual song verses.

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The songman is Billy Luganawi, 36 years (Wylaggy and Rembarnnga languages)

'Wylaggy' would be Wulaki. They have their homeland at Gattji outstation near Ramingining. Not many Wulaki people left though.

martin wrote:

At the conclusion of his didjeridu accompaniment, Paddy occasionally joins in duet with Billy for the final few bars of singing.

This is interesting because the song series and Billy are both Yirritja, but Paddy is Dhuwa. For a Dhuwa man to join in Yirritja song is surprising and not usually done, unless it is in a very informal setting and the atmosphere is charged with frivolity.

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Billy had learned the songs during previous contacts with Ridjarnngu visitors from the Goyder River area to Mainoru or Beswick Station

'Ridjarnngu' would be Ritharrngu. This makes sense as Mainoru was a cattle station where Aboriginal men from a wide geographic stretch came together. A bit like Bagot Aboriginal Settlement in Darwin where diverse groups could be found living next to each other.

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A western Arnhem Land WONGGA style song, entitled "Mamungg Nawodaji, Mamungg Wind-jani," sung by Gordon Gulambara, 31 years (Djawanj language), accompanying himself with a pair of firewood billets. Henry Roper, 22 years (Ngalagan and Mara languages), pulls the didjeridu

This is interesting because the combination is unusual. 'Djawanj' or Jawoyn are from near Katherine, and the Ngalakan and Mara from near Roper River.

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[ididjaustralia]

flyangler18 wrote:

Hmm, maybe I should have phrased differently. This often comes up on the forums- looking at traditions as if they are in stasis, and figures such as Paddy Fordham becomes 'examples' for a bit of head-scratching and speculation. Many identify certain geographical regions of Arnhemland and surrounds as being distinctively 'mago' areas i.e Beswick due to the activities of Blanasi, Tom Kelly, Mickey Hall; hence the confusion when Paddy Fordham's rhythmic patterning doesn't fit nicely into this bucket. I think what causes the most confusion are those exchanges within living memory-- and again, the fact that these are living traditions makes simple categorization and pigeon-holing impossible. Short of direct questioning, we're left to grasp at straws. Paddy's recent passing may make any discovery into this question impossible.

Hi Jason,

I had another think about this issue and I reckon it is worth bearing in mind the context and intention of field recordings. With the ALPC recording, I don't think the performances were ceremonial... can you check Martin? It is one thing for Aboriginal people to be performing a certain genre of ritual which has a function within the community, and another thing to sing for a research scholar who has a desire to record as much as possible whilst in the field.

With Darryl's statements about Marrnguny bunggul, it is a ritual that has a social function, namely for the initiation of young boys. Whereas Paddy's and Billy's rendition of Dhay'yi songs on the ALPC recording seems to me to be for entertainment purposes or staged purely for La Mont West, and thus not constrained by the usual roles, resposibilities and obligations that would be expected in a ceremonial context.

This might be what has confused us when it comes to understanding performance styles in Arnhem Land.

Guan

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[martin]

ididjaustralia wrote:

Hi Jason, I had another think about this issue and I reckon it is worth bearing in mind the context and intention of field recordings. With the ALPC recording, I don't think the performances were ceremonial... can you check Martin?

The notes are at home. I am pretty sure that this is correct having read through them all more than once. There are comments about a festive and relaxed atmosphere. Joking.
Need to check though.

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This might be what has confused us when it comes to understanding performance styles in Arnhem Land. Guan

Interesting observations Guan. Thanks for these insights mate.

Martin

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[ididjaustralia]

flyangler18 wrote:

Quote: pulls the didjeridu, a crooked, leaky, heavily caulked, thick-walled, slightly conical-bored, and altogether unsatisfactory instrument 3'8" long with beeswax mouthpiece. The didjeridu was the only one available of correct length to match the singer's voice and required contant sluicing with water to maintain a dubious air seal. Constant sluicing? Could this perhaps be a pandanus specimen?

Not necessarily pandanus and probably isn't because it is crooked suggesting a branch or trunk of a tree. Pandanus specimens I've seen are invariably straight.

As for sluicing, this is common practice regardless of material used. If an instrument has air leaks, it is usual to get the instrument primed prior to use by sluicing with water. Doing this causes the wood to swell and presumably for the air leaks to close up.

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[flyangler18]

Quote:

Doing this causes the wood to swell and presumably for the air leaks to close up.

Good point, Guan- makes perfect sense.

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[flyangler18]

Quote:

I reckon it is worth bearing in mind the context and intention of field recordings.

Absolutely. Certainly the specific circumstances of the performance here recorded will determine the way in which we analyze and discuss them.

I'm inclined to think that Paddy's playing was, as you say, for entertainment purposes.

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