iDIDJ Australia Didgeridoo Cultural Hub

Where does the didgeridoo really come from - which part of Australia if any? Do the Indigenous people of that area have sole custodial and/or intellectual property rights over the didgeridoo compared to Indigenous Australians from other parts of Australia? Why? Why not? Should they enjoy economic benefits from the didgeridoo at the exclusion of other Indigenous Australians?

Given both the archaelogical/anthropological/ethnomusiciological evidence, I am in the view that the didjeridu has its origins with Top End peoples and, as such, they have sole custodial/intellectual property rights. Obviously, this is a complex question indeed- as there are personal livlihoods at stake.

I'd agree with Jason's comment above. Without any evidence to the contrary one has to believe that the instrument's origins lie in the Top End with those Clans whose creation stories refer to the didjeridu and where it has been used traditionally in the song cycles of the region as far back as anyone (Clan members etc) can remember.

The reality of the matter is, however, that there are very personal ramifications to Aboriginal peoples who, while not custodians as we have defined them, still do draw some income and 'worth' from either the manufacture or painting of didjeridu as the instrument has become commodified in the global market.

Well said Jason and I think that we understand that there are Aboriginal groups from elsewhere that rely upon the didjeridu and other practices perhaps borrowed from other regions for their livelihoods, however we have to really target the bootleggers who clearcut forests, drill out the sticks if the hollow is too small and get travellers to paint them with 'aboriginal art' and those who import drilled instruments.

I feel issues of Custodianship and Authenticity are best discussed in relation to these kind of operators.

I definitely agree.

Hi Kyle and Jason, I'm in full agreement with you both. Is there clear evidence or is it speculation to say that following the forced assimilation of young Aborigines by the missions in the 50's the didgeridoo then spread to other areas which previously hadn't had the didgeridoo as part of their cultural heritage, i.e. Queensland?
Thanks,
Colin

I don't know if it was the 'forced assimilation' that really proved the catalyst for the migration of the didjeridu out of the NT. I think it was the building of roads and other infrastructure that made Aboriginal groups more mobile at greater distances, allowing for the sharing of traditions and pieces of material culture. According to some of the literature, there was a tradition of didjeridu in FNQ with some vintage instruments in collections, but there is nothing that remains of what that tradition entailed. Long since extinct, unfortunately.

It seems that the revival of the didjeridu in Queensland was at the hand of government agencies encouraging Queensland artists to paint instrument with Arnhem Land motifs sometime in the 1970s.

Jason

Yes, the Queensland Aboriginal Creations scheme encouraged Indigenous Queenslanders to create bark paintings and crafts painted with 'borrowed' Arnhem Land motifs. You can see one of these barks here:

http://cgi.liveauctions.ebay.com/7094-Painting-on-Bark_W0QQcmdZViewItemQQcategoryZ28272QQitemZ220093170480QQrdZ1

OK, thanks! This whole 'borrowing' and copying thing seems rather analogous to the popular concept of reinventing oneself, whether it be to one of the main religion groups, or just by identifying or aligning oneself with a stream of spirituality. However, purely on its own this can not entitle ownership or confer any rights as to the proper disemination and propogation with that particular cultural belief system. There has to be more substance, tradition and authority in order to do so. Copying without authority is theft. As in western law we are clearly informed that copying a dvd without authority is against the law (FACT), I wonder if it would be helpful, inorder to promote the awareness of Aboriginal law and territorial customs, for Aboriginal film makers to consistently spell out these facts in the opening credits. What do you think?

Colin

I'd agree with Jason, but I think that the didgeridoo also spread as a result of the feeling of unity and solidarity in the days of land rights struggles. The didgeridoo was a common sight at protest marches whether in Sydney or in Darwin. The didgeridoo made a visual and aural impact on 'audiences' and it also made for good copy in newspapers!

There are lots of factors of to why and how the didgeridoo spread across Australia in recent decades but it isn't so easy to investigate these other than to speculate and form hypotheses I reckon.

I hadn't thought of this particular point, Guan, but it most certainly makes sense- what a better way to prove the existence of a vibrant culture than through its most auspicious symbol that makes both a significant visual and aural impact.

I suspect that Top End culture was utilized by urban Aboriginal peoples because it stood as the least infiltrated by European influences owing to its remoteness.

Jason

Hi Jason,

Don't forget that Yolngu and other Top Enders (but mainly Yolngu) made their way to southern cities in those years of land rights struggles. It is quite a bit of work, but if one had time, a perusal of newspapers in state and national libraries and archives would show what made news back in those days. You'll see a few yidaki amongs pics in newspapers in addition to Yolngu painted up in gapan. Try the National Library of Australia, National Archives of Australia, Mitchell Library...

Yolngu did get a lot of media attention in those years because of the issues and court case surrounding the Gove land rights case, so naturally a lot of Aboriginal people around Australia got inspired and looked to the north for strength.

Guan

Ahh yes, like Wandjuk Marika and others. Silly me, didn't think of that.

Hi