iDIDJ Australia Didgeridoo Cultural Hub

I've been staying out of this discussion, Omid, but there are things that you say that distress me. Firstly, I think you have taken your classifactory 'adoption' to mean something far more than what was originally intended. Heed the words of Peter and Guan, because they have an understanding of how Yolngu operate. While it may be comforting to think in pleasant ways about the interconnectedness of life, we must recognize that cultures vastly different from our own order their 'universes' in ways equally different from our own- and it is both shortsighted and arrogant to soundly insert yourself into that place, or to impose your own interpretations and cultural perspective on people you purportedly have great respect and reverence for.

You've shared an experience in Arnhemland that has deeply affected you, but you were a visitor and will always be an outsider to that way of life. Perhaps those words are harsh, but I think you need to reevaluate your direction with respect to Yolngu. Romanticizing and 'Disney-fying' a culture does nothing to promote cross-cultural understanding, I assure you.

Thank you all for your insight and guidance. I assure you that my heart is not a one way street. I do take your voices very close to my heart and it surely has taught me much since we've commenced our conversations; even though my dear dead friend/cousin's spirit was mentioned to prove something that i don't even know what $*#&@ ... and all this is not even about me, but rather a path. it's about a journey through creative ways with structure and rules. in all these thoughts we've shared I don't weigh on you personally but rather what you are saying; so nothing here has been bad for me.

i do feel that if yolngu adopt foreign names, use cars, adopt flags or canoes, that we can just as those grains of sand melt their ways with our, but our way; same approach. they are not afraid to use new technology and are open to it. in the same light, if i live in austin with a powerful spring pool, i won't be painting gudurrku or mutjal. i'll be painting the light under water, and the cormorant bird.

then i can use a computer to create animations and multimedia and be cutting edge geeky! i just feel that if the people in the courtroom that decided to proceed with the mining, or change in native land/culture were aware of Wandjuk's mintji (paintings) , that better decisions would have been made, and if we all combine new and old technologies of painting, computer, etc. that we could all learn from each other's ways and make better decisions for future generations.

thank you for your support, and awesome content on your website that has certainly helped me with my path, and thank you for your care..

omid (hope) aski (tribe of ask) laridjani (from the region of laridjan northern iran)

ps.. still recommend.. not to pump to hard playing yidaki or your lungs will be damaged.. Fact! call Djalu and ask him..

yo! markup!

Hi again Omid,

What I really like about the internet is the diversity of people and views represented and having you here is indeed refreshing. It would be a boring world if everyone thought the same thoughts and had the same opinions. So welcome aboard.

There was a time when I felt similar to how you feel now. After my first trip to Arnhem Land in 1994 I was a changed person, and in hindsight, a confused person. It might not have been said before, but living with Yolngu for the first time and being immersed in their daily lives can be a traumatic experience. When confronted with a culture vastly different to our own, whether it be Yolngu, Ainu, or Kung!, we are forced to adapt or perish and this can place great stress on the mind and the body. How one copes depends largely on personality I think.

Anyway, I reckon that after a traumatic experience like this, there ought to be a way of easing back into mainstream life and counselling and professional help would not be out of place. I certainly think it would have helped me in my recovery. Questions of identity, feeling uncomfortable in public spaces, looking at Western society in a new light and with distain... these things and more are 'normal' when exposed to another culture which we so much want to be a part of when in the 'field'. It took me several years to find my grounding on my own, yet I still struggle with some things. I'm fairly happy with the new equilibrium however, or at least, aren't driven crazy by a hundred and one questions which used to bombard my mind.

Coming back to the issue of playing yidaki too hard, anyone who has visited Djalu in Gove would have heard the same thing. I'm more concerned about Yolngu deaths arising from a multitude of behavioural and lifestyle factors... diabetes, cancer, accidents, suicides, renal failure, substance abuse etc. I've never heard of anyone passing away from playing yidaki the 'wrong' way.

Guan

Hi guys,

I'll second your ocmments about culture shock Guan. My stints in AL have been brief compared with yours but depending upon what's happening in the community, one can at times feel really disconnected, yet at other times completely immersed and a part of every activity. These waves of mood seem to run through the place and each visit can present a very different experience. As an outsider, culture shock can be significant - especially once you return home.

PL.

Hi Omid,

I guess we all nocked on your door pretty hard I reckon, including me. But with the best off intent. Like Guan sad having you here is indeed refreshing. And since it is all about experiencing and sharing this common love, I do like to invite you for the following. You seem to have a clear voice on how the Yidaki should be played! There for enlighten us with your vision. Let me learn about your world through your eyes and reflect upon.

I all ready started a tread in the section "NEAL -north-east Arnhem land style and technique" Gapanbulu E/F# second Attempt. This is not a very popular tread, hence there is not much response. But I know a lot of people out there visiting this Forum like to learn more about NEAL. Truly I'm a No-No on this style/way of playing. What I have learned is only by emulating exerpts and the well know CD's out there. Never met the big name's coming across this forum and a big possibility I never will.

Maybe start your own tread on "How to.....................Larrpan's journey". This will most certainly attract all the experts on the forum (Guan, Peter Lister, Flyangler18, Kdidj and all the others I forget to mention!), and reflect on your saying and playing. All to gain more insight and respect for what we carry so deeply in our hearts.

Peter

Dear Omid (and all the others),
I do aslo think that this is an interesting discussion. Very good we're back on topic!
I didn't mean to offend you by writing your friend's name but I always thought that he, one of the best yidaki players and teachers I ever met, translated old style in to rock and roll style, he made things a bit faster with more vocals. I my opinion this transformation is still going on and fortunatley Yolngu culture is not stactic and young boys like Elijah could break way to alot of new listerners out there and show them the beauty of his culture and music.
Greets & Rezzzpect to you Omid!
Michiel

Actually, to pop back on topic fully, I was searching for a particular recording on the weekend and was reminded of Gunydjurruwuy's playing when I heard Magun playing yirdaki on one of Alice moyle's recordings - Vol 2 track 8. Just superb playing - a brolga track of course...

PL.

PS: stay with us Omid - as I said before, you are one of a handful who have had the chance to spend time with people at home in Arnhem Land and can contribute to a different viewpoint.

This is a point that shouldn't be glossed over. I've had this sort of experience including a general disdain for Western society(or more specifically, American society) whenever I get the chance to travel abroad. I suspect it is significantly more profound when one spends long periods of time 'in country'. I can only guess that there has been lots written on the subject of this sort of lasting culture shock as we give pause to reexamine certain aspects of our characters and the zietgiest of our world.

I have learned a lot from www.didgeman.com - really love you internet site, Omid, and I love you way of playing - almost like Larry Winiwini.

Respect.

I will maybe never expirence what you have learned in Australien, Omid, but I hope I'll learn to imitate the sound of the great trad players, - including you, but i'll also love to play like many of the other player does, like MT-yidaki, Marcus Meurer, Ash Dargan, David Hudson, Alan Dargin, Jeremey Donovan, Xavier Rudd and many many many more. In my didgeridoo "travel" I listen to all the great player on you tube, and I'm very facinatet of all of them. Sometimes I "borrow" something from Ash Dargan, and put it a little together from something I have heard from MT-yidaki (using much of sounds, like human beatbox) and use something together with some of the things that I can do and have "inventet", and mix it all up in a great rhythm. In the time I'll develop my own style inspired by all the great players. But beside all this modern playing, I want to be able to play the didgeridoo the trad way, and NOT mix it with all the other styles from Europe. But be able to play some rhythm all in the trad way, just like it should be done - or at least so it sound the right way

For me the didgeridoo is a musical instrument, - and I love the sound an what it do to my body - I have a lung ilness almost like some sort of astma, and after I started playing every day for an hour or more the last year, I almost never feel the ilness more. It does much for the soul (make me happy when I play and injoy that other like the sound when I'm playing) and for the body (I got a good feeling in my body, and my ilness is going away)


Søren Dahl