Shortlisted for the 2021 Prime Minister's Literary Award for Australian History. Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures.
"A performance-centered history of the Australian "assimilation" era that centralizes auditory worlds and audio-visual evidence of Aboriginal music and dance"--
27 The name Oenpelli originated in Paddy Cahill's mishearing of the local name Unbalanj as 'Owenpelly' in 1901. See Derek John Mulvaney, Paddy Cahill of Oenpelli (Canberra: Aboriginal Studies Press, 2004), 37.
Tracing the Melanesian Person: Emotions and Relationships in Lihir. Adelaide: University of Adelaide Press. doi.org/ 10.20851/lihir. Lihir Cultural Heritage Committee. 2009. The Lihir Cultural Heritage Plan: Defining the Lihir Cultural ...
Surveys the latest developments in Aboriginal music across Australia and traces some of the historical influences which have shaped it
"Music can be a way of crossing cultural barriers, of coping with the unexpected and the expected, and of communicating with peoples of different ages and different lifestyles. To the...
Papers on government and institutional policies on collecting, documenting and disseminating information relating to dance and music; papers on Aboriginal music by S. Wild, C.J. Ellis, A. Marett, M.J. Morais...
1 (2007): 7–21; Katelyn Barney, “Sending a Message: How Indigenous Australian Women use Contemporary Music Recording ... of the Bush from the MidTwentieth Century,” in Representing Australian Aboriginal Music and Dance 1930-1970, ed.
These documents are not the only sources to put forward an Aboriginal regional agenda in the Kimberley . ... Come in Between : Aboriginal Viewpoints in the East Kimberley Prior to 1982 ( Shaw , 1992 ) and Nyibayarri : Kimberley Tracker ...
This collection shows how traditional music and dance have responded to colonial control in the past and more recently to other external forces beyond local control.
Musical Visions presents a unique way of thinking about and debating the many facets of contemporary popular music. Under the theme of music as sound, image and movement, this book brings together a vibrant range of perspectives.