Nations of Song (original) (raw)

Whether we evoke them willingly or whether they manifest in our minds unannounced, songs travel with us constantly, and frequently hold for us fluid, negotiated meanings that would mystify their composers. This article explores the varying degrees to which song, and music more generally, is accepted as a medium capable of bearing fact. If, as Merleau-Ponty postulated, external cultural expressions are but artefacts of our inner perceptions, which media do we reify and canonise as evidential records of our history? Which media do we entrust with that elusive commodity, truth? Could it possibly be carried by a song? To illustrate this argument, I will draw on my fifteen years of experience in working artistically and intellectually with the Yolŋu people of north-east Arnhem Land in Australia’s remote north, who are among the many Indigenous peoples whose sovereignty in Australia predates the British occupation of 1788.4 As owners of song and dance traditions that formally document their law and are performed to conduct legal processes, the Yolŋu case has been a focus of prolonged political contestation over such nations of song, and also raises salient questions about perceived relations between music and knowledge within the academy, where meaning and evidence are conventionally rendered in text.