iDIDJ Australia Didgeridoo Cultural Hub

For the discussion and appreciation of the traditional Aboriginal didgeridoo and 'Top End' Indigenous culture.
 
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 Post subject: Knowledge and Secrecy in an Aboriginal Religion by Ian Keen
PostPosted: Wed Apr 22, 2009 2:29 pm 
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Joined: Thu Apr 02, 2009 7:09 am
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Location: Portland, OR. & Burlington, VT.
Just picked up this one as well. An excellent description of this work can be found in the ididj store:

"Describes the control of religious knowledge in north-east Arnhem Land through the agency of ambiguity and indeterminancy, primarily from the point of view of Yolngu men. This book was a joint winner of the 1997 Stanner Award. 366 pages, line illustrations, maps, tables, bibliography."

Anyone read this? Comments? Thoughts?

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 Post subject:
PostPosted: Wed Apr 22, 2009 10:30 pm 
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Joined: Thu Mar 22, 2007 12:39 pm
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Location: Australia
Hi Simon,

Ian Keen is a shining light in the area of Yolngu studies and research. I love the book. The one little annoying thing, though of course Keen had good reason for doing it, is that names of clans etc. are not spelt out but eluded to through descriptive terms like Cloudy Water group, Honeybee group etc. Anyone who is serious about knowing more about Yolngu and ritual and identity must read this!

Guan

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 Post subject:
PostPosted: Thu Apr 23, 2009 5:06 pm 
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Hey Guan,

Does the book have an academic taste to it?

Mahir

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 Post subject:
PostPosted: Thu Apr 23, 2009 5:44 pm 
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Hi Mahir,

It can be heavy going as it goes quite deep into Yolngu identity and ritual, there's also a sprinkling of key words in Yolngu Matha (the meaning of which are explained) and use of anthropological terms. But at the same time, the reading is easy and sometimes feels like a story book narrative. For example:

Quote:
"Once the preparations were complete, the ceremony lasted for thirty-three days. I arrived at Nangalala outstation community, where we had been based for several months, on the fourth day of dancing. One three separate days through the course of the ceremony no dancing took place.

The first phase consisted on daily dances at the inside group and at the Riyawarra Tree, with a similar form each day.

Days 1-18 During the afternoon of each day, the young male dancers of the Dhuwa moiety gathered under the shady trees near the inside dance-ground, painted their bodies with vertical stripes in red and yellow ochre and white clay (the 'inside' meaning of which should be known only to men), then began to dance in the late afternoon, unaccompanied by singing..." - page 200


Guan

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