Dynamic Cosmologies and Aboriginal Heritage

Glowczewski, Barbara

doi:10.2307/2678206

Cited by 12 publications

(7 citation statements)

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“…A science of meaning and values I now approach perhaps the most difficult part of my topic: the fact that socio-cultural anthropology is deeply concerned with questions of meaning and value. One of its most impressive achievements is to show that many traditional cosmologies are thoroughly worked out explorations of the universal riddles of human existence: L6vi-Strauss, for instance, has argued that Amerindian myths are richer and more subtle than the speculations of psychoanalysts (L6vi-Strauss, 1985); and more recently Barbara Glowczewski (1999) has mapped the intricate connections between Australian Aboriginals' religious, aesthetic and ecological domains of experience as sub-sets of a self-organizing system. Whereas it used to be said that kinship or ritual were the core of the subject, most anthropologists would now probably say that it is 'meaning'.…”

Section: Comparative Methodsmentioning

confidence: 99%

Our Genius for the Equivocal

Benthall

1999

Diogenes (Engl. ed.)

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Section: Comparative Methodsmentioning

confidence: 99%

Our Genius for the Equivocal

Benthall

1999

Diogenes (Engl. ed.)

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“…Creation of the physical landscape and the ever-manifesting ecological and social order is commonly known among Noongar as nyiding. "Dreaming", an overly-simple English term, is used to refer to this foundational Aboriginal concept that contains many connotations and is difficult to explain (Dodson, 1988;Glowczewski, 1999;Goddard & Wierzbicka, 2015). Noongar woman Ngilgian refers to nyiding as "in the cold time of long ago" (Bates, 1904a-12: 29).…”

Section: Performance and Ecologymentioning

confidence: 99%

Performing kayepa dordok living waters in Noongar boodjar, South‐Western Australia

Bracknell

Horwitz

Ryan

et al. 2021

River Research & Apps

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Performance through language, song and dance provides alternative knowledges and ways of understanding, in this case, developing deeper relationships with living water. Drawing on Indigenous Noongar culture from south-western Australia, this paper addresses the question: How can relationships between living underground, estuarine and riverine water bodies (kayepa dordok) be performed? Two new interlinked Noongar works in response to local riverscapes were developed for, and performed as part of, the 2021 Perth Festival. The first was to embody the return journey of the bullshark, from the salt water to the riverine fresh water; the second was to enact the presence of the unseen groundwaterwhich emerges as wetlands and estuaries strewn throughout the landscapeon its return to the sea. The method used to derive the song and dance, and the impact of the performance itself, are described. The experiment makes a case for multiple benefits associated with reestablishing connections among culture and nature by drawing on Indigenous perspectives, through performance giving voice to a relationality between river systems and people.

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“…"Dreaming" is an over-simple translation of a foundational Aboriginal concept that contains many connotations. It involves manifestations of ancestral beings as the physical landscape, as the social and ecological order that the ancestors created, and as animals, plants, or natural features, such as wind and fire (Glowczewski 1999). This concept is referred to by different terms in different Aboriginal languages.…”

Section: Dreaming Songsmentioning

confidence: 99%

Conceptualizing Noongar Song

Bracknell¹

2017

yearb. tradit. music

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As of 2011, an estimated 669,900 Aboriginal and Torres Strait Islander people accounted for 3 per cent of Australia's total population (Australian Bureau of Statistics 2015). Of that population, over 30,000 people from a uniquely large urban/rural area in the southwest of Western Australia—including the author of this article—identify as Noongar (also spelled Nyungar). This makes Noongar one of the largest Aboriginal cultural groups in Australia (SWALSC 2009; see figure 1); and yet, the Noongar language is critically endangered, with just 369 speakers acknowledged in the 2011 Australian census (Australian Bureau of Statistics 2015). Noongar language is not unique in this regard; the most recent National Indigenous Languages Survey indicates that only “around 120” of more than two hundred Aboriginal languages are still spoken and that “about 13 can be considered strong” (Marmion, Obata, and Troy 2014:xii). Music traditions, often strongly tied to language, are disappearing too: approximately 98 per cent of Aboriginal musical traditions have been lost since colonization (Corn 2012:240). As is the case with most of Aboriginal Australia, traditional Noongar music is primarily vocal, featuring lyrics in the Noongar language. This implies an inextricable link between Noongar language and Noongar song traditions, a co-dependency that is critical for the vitality of both.

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Dynamic Cosmologies and Aboriginal Heritage

Cited by 12 publications

References 0 publications

Our Genius for the Equivocal

Our Genius for the Equivocal

Performing kayepa dordok living waters in Noongar boodjar, South‐Western Australia

Conceptualizing Noongar Song

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