Laments in Transition: The Irish-Australian songs of Sally Sloane (1894–1982) (original) (raw)
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Oceania, 2015
This paper contains a discussion of an unpublished essay by TGH Strehlow concerning the historic wax cylinder recordings of songs from Central Australia made by Walter Baldwin Spencer and Frank Gillen in 1901. The manuscript, written by Strehlow in 1968, begins with an explanation of the historical context of the song recordings, and the distribution of song and dance traditions across the Australian inland. Strehlow elucidates the content via information imparted to him by a number of Arrernte and Luritja men, who first heard these recordings over 50 years after they were made, in 1960. Their explanation of these songs reveals further information on the diffusion of song verses across vast regions in Central Australia (including Warumungu, Anmatyerr, Arrernte, and Warlpiri country), and the incorporation of European words and themes within altharte (public) songs in which men sing and dance. I have expanded Strehlow’s information on Spencer’s recordings further with additional information from other ethno-historical sources and my own contemporary fieldwork. Combined, this research deepens the anthropological understanding of some of the earliest ethnographic sound recordings ever made in Australia.
The Harp in the South: Reading Ireland in Australia
The Oxford History of the Irish Book: The Irish Book in English 1891-2000 (Oxford History of the Irish Book, Vol 5), eds. Clare Hutton and Patrick Walsh. London: OUP, pp. 440-61., 2011
The Australian branch of the modern Irish diaspora has several apparently distinctive features, when compared with the British, American and Canadian branches. As explained by the historian Oliver MacDonagh, these include, firstly, its large size in relation to the total populationover 30% in the eastern mainland states, and sustained at that level down to the First World War and beyond; secondly, its unusually uniform distribution around the country, geographically, socially and even occupationally, with relatively strong Irish presences in all states, and in all classes and occupations (except the higher financial professions), but notably the law, politics, journalism and teaching; and thirdly their unique position within the diaspora, as a founding people, arriving at the beginning of European settlement (mainly as convicts and soldiers), and thereby staking a claim, and an interest, in the shape and destiny of the nation as a whole. 2
Contemporary aboriginal songs and songwriters: post-colonialism, categorisation and orality
1995
Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. represent the views of the University of Wollongong. Recommended Citation Recommended Citation Beniuk, David, Contemporary aboriginal songs and songwriters: post-colonialism, categorisation and orality, Master of Arts (Hons.
The poetics of central Australian song
In A. Marett & L. Barwick (Eds.), Studies in Aboriginal Song: A Special Issue of Australian Aboriginal Studies, Vol 2 (pp. 100-115). Canberra: Aboriginal Studies Press., 2007
Traditional Song in Ireland: Living Fossil or Dynamic Resource?
The Phenomenon of Singing, 2013
When I submitted the abstract of this paper, I did not realize that the late Frank Harrison used almost exactly the same title in an 6 Riada memorial lecture at University College Cork, Ireland some years ago (Harrison, 1988). I can only say by way of excuse that it was not conscious theft on my part, but an example of inadvertant intertextuality. In this paper I propose to give a survey of the traditional song scene in Ireland, its main events and also to attempt an exploration of some of the issues which concern singers and indeed the wider community of musicians in Ireland at the moment. Folk song has long been a subject of interest to scholars and has meant many things to varying groups since the time of its coinage by Herder in the eighteenth century (Bohlman 1988, 32-33). Bruno Nettl (1983, 304) has noted that: the term "folk song" has strong emotional connotations in Western society as already illustrated by Julian von Pulikowski ... who showed, in a large study of the term, how the concept was batted about by politicians of the left and right, by social reformers, nationalists, educators, antiquarians, musicians theoretical and practical, even in the nineteenth century.
Recirculating songs: revitalising the singing practices of Indigenous Australia
2017
Although song has been recognised as the 'central repository of Aboriginal knowledge', this is the first volume to be devoted specifically to the revitalisation of ancestral Indigenous singing practices. These traditions are at severe risk of attrition or loss in many parts of Australia, and the 17 chapters of the present work provide broad coverage-geographically, theoretically and methodologically-of the various strategies that are currently being implemented or proposed to reverse this damage to the Indigenous knowledge base. In some communities the ancestral musical culture is still being transmitted across generations; in others it is partially remembered, and being revitalised with the assistance of heritage recordings and written documentation; but in many parts of Australia, intergenerational transmission has been interrupted, and in these cases, revitalisation depends on research and restoration. This book provides insights that may be helpful for Indigenous people and communities, and the researchers and educators who work with them, across this range of contexts. Cover photograph ulpare-ulpare (Arrernte) 'Perennial Yellowtop' (Senecio magnificus) © Lisa Stefanoff Cover song by M. K. Turner. Transcriptions (text and music) by Myfany Turpin. Kwarre-arle ayenge antyeye-le atyenge-ange tne-me girl-REL 1SG.NOM alongside-LOC 1sg.ACC-CNTR stand-PRS 'The girl who I am is standing with me.' Front cover: an Arrernte women's song received, sung and translated by M. K. Turner ('MK') in 2017. The song conveys two images for MK: a group of girls standing in a line proudly adorned for ceremony; and a girl walking through the grass where ankerte-ankerte 'yellow daisies' and arlatyeye 'white pencil yam flowers' bloom. MK describes this as a song of antethe 'blossom, or small soft feathers' which are used as ceremonial adornment.