Key Outcomes for Performance Symposium
Day One
Yolŋu Music and Dance
Aaron Corn, Djangirrawuy Garawirrtja, Neparrŋa Gumbula, Mandawuy Yunupiŋu
Chair: Allan Marett
This session started with a brief explanation of the buŋgul on the opening night of the festival. The panellists spoke of the yukuwa (yam) designs painted on the bodies of the performers. Dances such as ŋerrk (sulphur-crested cockatoo) and gananhdharr (white heron) were also explained. This allowed the audience to gain a better understanding of the rich Yolŋu culture relating to performance traditions.
The session's main focus was the importance and influence of the relationships between the Mangkasarra (Macassans) and the Yolŋu which is thought to have begun in the fifteenth century. Not only was the interaction between these two peoples beneficial to trade, it also supported important cultural exchanges. Through these contacts, Yolŋu were informed of the political events that were then shaping the South–East Asian region including the colonisation of Indonesia by the Dutch.
The Yolŋu and the Mangkasarra share many similarities that evidence their historic cultural exchanges. Through visits by the Mangkasarra, Yolŋu adopted Asian vocabularies such as the word for money, rrupiya (rupiah), as well as names for musical instruments including those for drums (dhamburru) and flutes (djoliŋ). Song series relating to the tobacco (djambaku) trade also became an integral part of Yolŋu cultural expression. Songs by Yothu Yindi such as "Macassan Crew" and "Djäpana: Sunset Dreaming" similarly recount these important historical relationships.
For many centuries, North–East Arnhem Land was not considered to be remote by its South–East Asian neighbours, and supported a network of established ports for foreign traders. It was a destination where the Mangkasarra knew their vessels could dock and trade with local people. In turn, Yolŋu viewed the Mangkasarra as the bringers of the anchor, rope and chain.
Yolŋu culture experienced a period of transition as the visits of Mangkasarra sailors were replaced by the arrival of Balanda (Europeans) to Australia. Yolŋu performance traditions reflected this contact as well. Mandawuy Yunupiŋu recalled his grandfather singing about Balanda and their pastimes such as using gramophones to play vinyl records.
According to Mandawuy, Yolŋu must reflect on the past in order for the young to gain an understanding of their own culture. He stated, 'The past is the base to project the future. This is part of the celebration of the coming of age of Yolŋu culture as it strives to maintain a strong cultural identity in the twenty-first century'.
The session concluded with an energetic performance of Atraksi Gendang by part of the Mangkasarra ensemble, Takbing Siwaliya. Led by the master drummer, Daeng Mile Ngalle, it comprised two ganrang (double-headed drums) and a puikpuik (shawm). The performance demonstrated the unique sounds of the drums mixed with the striking sound of the oboe. The Mangkasarra performers were later joined by Djangirrawuy Garawirrtja, Neparrŋa Gumbula and Mandawuy Yunupiŋu in song and on yidaki (didjeridu) in an exploration of possible similarities between their respective musical traditions.