The Gurindji people of the Northern Territory are best known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations describes another side of life on Wave Hill Station. Among the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Aboriginal workers across north-western and central Australia meant that Wave Hill Station became a crossroad of desert and Top End musical styles. As a result, the Gurindji people learnt songs from the Mudburra who came further east, the Bilinarra from the north, Western Desert speakers from the west, and the Warlpiri from the south. This book is the first detailed documentation of wajarra, public songs performed by the Gurindji people. Featuring five song sets known as Laka, Mintiwarra, Kamul, Juntara, and Freedom Day, it is an exploration of the cultural exchange between Indigenous communities that was fostered by their involvement in the pastoral industry.Songs from the Stations presents musical and textual analysis of the five sets of wajarra songs below. These five song sets were recorded at Kalkaringi in 1998, 2007, 2015 and 2016, and can be streamed by visiting https://open.sydneyuniversitypress.com.au/songs-stations.html

Archival Returns: Central Australia and Beyond was co-published with the University of Hawai'i Press. It is also available in open access through the Language Documentation & Conservation journal.Winner of the Australian Society of Archivists Mander Jones Award Place-based cultural knowledge - of ceremonies, songs, stories, language, kinship and ecology - binds Australian Indigenous societies together. Over the last 100 years or so, records of this knowledge in many different formats - audiocassettes, photographs, films, written texts, maps, and digital recordings - have been accumulating at an ever-increasing rate. Yet this extensive documentary heritage is dispersed. In many cases, the Indigenous people who participated in the creation of the records, or their descendants, have little idea of where to find the records or how to access them. Some records are held precariously in ad hoc collections, and their caretakers may be perplexed as to how to ensure that they are looked after.Archival Returns: Central Australia and Beyond explores the strategies and practices by which cultural heritage materials can be returned to their communities of origin, and the issues this process raises for communities, as well as for museums, galleries, and other cultural institutions.

Brings together both Australian and international work on Indigenous music and dance, with chapters centred around practices from Arnhem Land, Western Australia, the Tiwi Islands, the Torres Strait, Taiwan, Aotearoa/New Zealand and North America, and Indigenous scholars authoring or co-authoring more than half of the book. Combines practice-led scholarship with research-informed creative practice. Considers music and dance together as often inseparable parts of performance practices, an approach achieved through the interdisciplinarity of its contributing authors. Music, Dance and the Archive interrogates historical access and responses to archives by showing how Indigenous performing artists and community members, and academic researchers (Indigenous and non-Indigenous) are collaborating to bring life to objects that have been stored in archives. It highlights the relationship between music and dance, as embodied forms of culture, and records in archives, bringing together interdisciplinary research from musicologists, dance historians, linguists, Indigenous Studies scholars and practitioners. The volume examines how music and dance are recorded in audio-visual records, what uses are made of these records (in renewal of cultural practice or in revitalising performances that have fallen out of use), and the relationship between the live body and historical objects. While this book focuses on Aboriginal and Torres Strait Islander music and dance, it also features research on Indigenous music and dance from beyond Australia, including New Zealand, Taiwan and North America. Music, Dance and the Archive is an insightful culmination of original, previously unpublished research from a diverse selection of scholars in Indigenous history, musicology, linguistics, archival science and dance history.

Reflections and Voices takes readers on a captivating journey with Yothu Yindu and their lead singer and songwriter, Mandawuy Yunupingu. Locating the band within a continuum of traditional practice that records the beauty of Arnhem Land as experienced by Mandawuy's ancestors, and has guided local engagements with visitors from across the Arafura Sea for countless centuries. It also reveals how Mandawuy's work as an educator and musician championed the continuing importance of traditional Indigenous thought and practice to contemporary life in Australia.

The Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC) has been on the cutting edge of digital archiving, building a significant historical collection and community of practice engaged in the preservation and accessibility of research materials. Over the ten years of PARADISEC's operation, the repository has grown to represent over 860 languages from across the world, including cultural materials from the Pacific region and South-East Asia, North America, Africa and Europe. With over 5000 hours of audio, the extent of the archival material, as well as the inclusion of a variety of styles such as songs, narratives and elicitation, has resulted in an invaluable resource for researchers and communities alike.PARADISEC's innovation in archival practice allows communities to access original recordings of their own cultural heritage, and provides fieldworkers with a wealth of primary material. Research, Records and Responsibility explores developments in collaborative archiving practice between archives and the communities they serve and represent, incorporating case studies of historical recordings, visual data and material culture. It brings together the work of Australian and international scholars, commemorating ten years of PARADISEC, and reflects on the development and future directions of research and language archiving.

The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a "braided" space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.

The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a "braided" space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.