Deadly Sounds, Deadly Places Contemporary

This 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.

Chris Gibson is a Senior Lecturer in the Geography Program at the University of New South Wales.

Acknowledgments

10

(3)

Abbreviations

13

(2)

Introduction

15

(20)

What is 'contemporary Aboriginal music'?

16

(3)

Geographies of contemporary Aboriginal music

19

(2)

Situating musical knowledges

21

(3)

Audiences and aesthetics

24

(2)

Music and country

26

(1)

Terminology

27

(4)

Structure of the book

31

(4)

CHAPTER 1 Origins, institutions, industries

35

(32)

Origins

35

(3)

Music hall, vaudeville and gum leaves

38

(2)

Evangelical sounds and the influence of missions

40

(3)

A new mobility

43

(4)

Reggae and rock in the 1970's and 1980's

47

(3)

Contemporary music in the era of self-determination

50

(6)

A national geography

56

(2)

Recording companies and the music industry

58

(9)

CHAPTER 2 A Music, place and identity

67

(28)

Music and the Aboriginal significance of place

69

(5)

Naming practices among Aboriginal music groups

74

(1)

'Aboriginalisation' and music

75

(9)

Gender and identity

84

(7)

Conclusion - music and community

91

(4)

CHAPTER 3 Singing country

95

(24)

Australian country music

95

(1)

Non-Aboriginal country music in Australia

96

(3)

Aboriginal country music

99

(4)

Aboriginal country music performers

103

(3)

Covering songs, changing meanings

106

(2)

Prison songs

108

(4)

The Tamworth Country Music Festival

112

(4)

Conclusion

116

(3)

CHAPTER 4 Aboriginality and transnational black culture - hip-hop and R&B

119

(16)

Black (trans)nationalism

120

(6)

Comin' at ya! - hip-hop projects from the bush

126

(4)

Rhythm 'n' bounce - Aboriginal R&B

130

(2)

Conclusion

132

(3)

CHAPTER 5 Sites as songs - place in the music of Warumpi Band

135

(18)

'Warumpinya' - affirming place

137

(5)

'Warumpinya' - links to tradition

142

(3)

'Warumpinya' as world music

145

(5)

Conclusion - after 'Warumpinya'

150

(3)

CHAPTER 6 Djabugay - language, education, tourism, music

153

(18)

Djabugay culture

154

(3)

Contemporary music and Aboriginal languages

157

(5)

Culture, commodification and compromise

162

(6)

Conclusion - negotiating cultural and economic identities

168

(3)

CHAPTER 7 Recording and cultural tourism in Alice Springs

171

(20)

The Central Australian Aboriginal Media Association

172

(1)

CAAMA - policies and output

173

(9)

Tourism and music in Alice Springs

182

(7)

Conclusion

189

(2)

CHAPTER 8 A Meinmuk mujik - the Top End sound

191

(20)

Meinmuk- music from the Top End

192

(6)

Yothu Yindi

198

(1)

Land'related events in Yothu Yindi songs

199

(4)

References to Yolngu land

203

(5)

Conclusion

208

(3)

CHAPTER 9 Nitmiluk! - place and post-colonialism

211

(18)

Nitmiluk - creation and colonialism

212

(4)

Blekbala Mujik's 'Nitmiluk'

216

(4)

'Nitmiluk' as map of Jawoyn country

220

(2)

The Jawoyn land claim for Nitmiluk

222

(3)

'Rebuilding the Jawoyn Nation'

225

(2)

Conclusion

227

(2)

CHAPTER 10 A Mapping the Kimberley - music and regionalism

229

(18)

Kimberley Aboriginal music

230

(2)

Broome

232

(4)

Mining at Noonkanbah

236

(3)

Music and politics - regionalism and Kimberley music

239

(5)

Conclusion

244

(3)

CHAPTER 11 A Reclaiming country

247

(16)

The Wave Hill strike

248

(4)

The homeland movement

252

(2)

Mabo

254

(5)

Conclusion - beyond Mabo

259

(4)

Discography

263

(6)

References

269

(21)

Index

290

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Deadly Sounds, Deadly Places Contemporary Aboriginal Music in Australia

Summary

Author Biography

Table of Contents

Supplemental Materials