Deadly Sounds, Deadly Places: Contemporary Aboriginal Music in AustraliaThis is the first comprehensive book on contemporary Aboriginal music in Australia. The names of many well-known Aboriginal artists are scattered through the book’s pages, including such household names as Ernie Bridge, Kev Carmody, Troy Cassar-Daley, Coloured Stone, Jimmy Little, Archie Roach, the Warumpi Band and, of course, Yothu Yindi. The book includes a Discography of the artists featured in the book. |
Contents
Acknowledgments | 10 |
Abbreviations | 13 |
Introduction | 15 |
What is contemporary Aboriginal music? | 16 |
Geographies of contemporary Aboriginal music | 19 |
Situating musical knowledges | 21 |
Audiences and aesthetics | 24 |
Music and country | 26 |
Covering songs changing meanings | 106 |
Prison songs | 108 |
The Tamworth Country Music Festival | 112 |
Conclusion | 116 |
Aboriginality and transnational black culture hiphop and RB | 119 |
Black transnationalism | 120 |
Cominat ya hiphop projects from the bush | 126 |
Rhythm n bounce Aboriginal | 130 |
Terminology | 27 |
Structure of the book | 31 |
Origins institutions industries | 35 |
Music hall vaudeville and gum leaves | 38 |
Evangelical sounds and the influence of missions | 40 |
A new mobility | 43 |
Reggae and rock in the 1970s and 1980s | 47 |
Contemporary music in the era of selfdetermination | 50 |
A national geography | 56 |
Recording companies and the music industry | 58 |
Music place and identity | 67 |
Music and the Aboriginal significance of place | 69 |
Naming practices among Aboriginal music groups | 74 |
Aboriginalisation and music | 75 |
Gender and identity | 84 |
Conclusion music and community | 91 |
Singing country | 95 |
NonAboriginal country music in Australia | 96 |
Aboriginal country music | 99 |
Aboriginal country music performers | 103 |
Conclusion | 132 |
Sites as songs place in the music | 135 |
Warumpinya links to tradition | 142 |
Conclusion after Warumpinya | 150 |
Contemporary music and Aboriginal languages | 157 |
Conclusion negotiating cultural and economic identities | 168 |
Tourism and music in Alice Springs | 182 |
Conclusion | 189 |
Yothu Yindi | 198 |
Conclusion | 208 |
Nitmiluk place and postcolonialism | 211 |
Nitmiluk as map of Jawoyn country | 220 |
Conclusion | 227 |
Mining at Noonkanbah | 236 |
Conclusion | 244 |
The homeland movement | 252 |
Conclusion beyond Mabo | 259 |
| 269 | |
| 290 | |
Common terms and phrases
Aborig Aboriginal and non-Aboriginal Aboriginal and Torres Aboriginal artists Aboriginal communities Aboriginal country music Aboriginal cultures Aboriginal languages Aboriginal musicians Aboriginal performers Aboriginal rock groups Aboriginal songs agendas album notes Alice Springs Archie Roach Arnhem Land audiences Australia Blekbala Mujik broadcasting Broome CAAMA chapter clan contemporary Aboriginal music contemporary music contexts Dance Theatre didjeridu discussed Djabugay cultural Dreaming Dreamtime example Festival Gudju Gurindji hip-hop Homeland Movement identity Imparja inal issues Jawoyn Jimmy Little Kev Carmody Kimberley Koori Mail land ownership land rights listening Luritja Mabo decision means Media Association Meinmuk Moyle music industry musical expression Nitmiluk non-Indigenous Noonkanbah Northern Territory organisation original Papunya political popular music recording references reggae region released repertoire rock songs sing social sound specific Sydney Tamworth tion Tjapukai Top End topic Torres Strait Islander town tralia Warlpiri Warumpi Band Warumpinya Western world music Yolngu Yothu Yindi