Astronomy
For many Aboriginal cultures, the night sky is a repository of stories and law. Songlines can be traced through the sky and the land. Stories and songs associated with the sky under many cultural tents. [7]
Australian Aboriginal culture includes a number of practices and ceremonies centered on a belief in the Dreamtime and other mythology. Reverence and respect for the land and oral traditions are emphasised. Over 300 languages and other groupings have developed a wide range of individual cultures. Due the colonization of Australia under terra nullius concept these cultures were treated as one monoculture. Australian Aboriginal art has existed for thousands of years and ranges from ancient rock art to modern watercolour landscapes. Aboriginal music has developed a number of unique instruments. Contemporary Australian Aboriginal music spans many genres. Aboriginal peoples did not develop a system of writing before colonisation, but there was a huge variety of languages, including sign languages.
Cultural traditions and beliefs as well as historical tellings of actual events are passed down in Aboriginal oral tradition, also known loosely as oral history (although the latter has a more specific definition). Some of the stories are many thousands of years old. In a study published in February 2020, new evidence produced using radiometric dating showed that both Budj Bim and Tower Hill volcanoes erupted at least 34,000 years ago. [1] Significantly, this is a "minimum age constraint for human presence in Victoria", and also could be interpreted as evidence for the Gunditjmara oral histories which tell of volcanic eruptions being some of the oldest oral traditions in existence. [2] An axe found underneath volcanic ash in 1947 was also proof that humans inhabited the region before the eruption of Tower Hill. [1]
Australian Aboriginal art has a history spanning thousands of years. Aboriginal artists continue these traditions using both modern and traditional materials in their artworks. Aboriginal art is the most internationally recognizable form of Australian art. Several styles of Aboriginal art have developed in modern times including the watercolour paintings of Albert Namatjira, the Hermannsburg School, and the acrylic Papunya Tula "dot art" movement. Painting is a large source of income for some Central Australian communities such as at Yuendumu.
Basket weaving has been traditionally practised by the women of many Aboriginal peoples across the continent for centuries. [3] [4] [5] [6]
For many Aboriginal cultures, the night sky is a repository of stories and law. Songlines can be traced through the sky and the land. Stories and songs associated with the sky under many cultural tents. [7]
Aboriginal Australians' oral tradition and spiritual values build on reverence for the land and on a belief in the Dreamtime, or Dreaming. The Dreaming is considered to be both the ancient time of creation and the present-day reality of Dreaming. It describes the Aboriginal cosmology, and includes the ancestral stories about the supernatural creator-beings and how they created places. Each story can be called a "Dreaming", with the whole continent criss-crossed by Dreamings or ancestral tracks, also represented by songlines. [8]
There are many different groups, each with their own individual culture, belief structure and language.
To Aboriginal people, some places are sacred, owing to their central place in the mythology of the local people. [10]
The words "law" and "lore" are commonly used interchangeably: "law" was introduced by the British, whereas "lore" relates to the customs and stories from the Dreamtime, which has been passed on through countless generations through songlines, stories and dance. Learned from childhood, lore dictates the rules on how to interact with the land, kinship and community. [11]
Kurdaitcha (or kurdaitcha man, and also spelled kurdaitcha, gadaidja, cadiche, kadaitcha, or karadji) [12] is a type of shaman amongst the Arrernte people, an Aboriginal group in Central Australia. The kurdaitcha may be brought in to punish a guilty party by death. The word may also relate to the ritual in which the death is willed by the kurdaitcha man, known also as bone-pointing.
The expectation that death would result from having a bone pointed at a victim is not without foundation. Other similar rituals that cause death have been recorded around the world. [13] Victims become listless and apathetic, usually refusing food or water with death often occurring within days of being "cursed". When victims survive, it is assumed that the ritual was faulty in its execution. The phenomenon is recognized as psychosomatic in that death is caused by an emotional response—often fear—to some suggested outside force and is known as "voodoo death". As this term refers to a specific religion, the medical establishment has suggested that "self-willed death", or "bone-pointing syndrome" is more appropriate. [14] [15] In Australia, the practice is still common enough that hospitals and nursing staff are trained to manage illness caused by "bad spirits" and bone pointing. [16]
The complete system of Yolngu customary law is the "Madayin", which embodies the rights and responsibilities of the owners of the law, or citizens (rom watangu walal, or simply rom). Madayin includes the rom, as well as the objects that symbolise the law, oral rules, names and song cycles, and the sacred places that are used to maintain, develop and provide education in the law. [17] Rom can be roughly translated as "law" or "culture", but it embodies more than either of these words. [18] Galarrwuy Yunupingu has described Rom watangu as the overarching law of the land, which is "lasting and alive... my backbone". [19]
It covers ownership of land and waters and the resources within this region; it controls production trade; and includes social, religious and ethical laws. These include laws for conservation and farming of flora and fauna. Observance of Madayin creates a state of balance, peace and true justice, known as Magaya. [17]
Rom includes bush crafts such as basket-weaving and mat-making, and stories which teach history, hunting, spear-making, gathering food, building shelters and rafts, various rituals, and taking care of others. [20]
"Rom" is a word and concept shared by at least one of the nearby peoples, the Anbarra, who also perform a Rom ceremony. [21] [22]
Aboriginal ceremonies have been a part of Aboriginal culture since the beginning, and still play a vital part in society. [23] They are held often, for many different reasons, all of which are based on the spiritual beliefs and cultural practices of the community. [24] They include Dreaming stories, secret events at sacred sites, homecomings, births and deaths. [25] They still play a very important part in the lives and culture of Aboriginal people. They are performed in Arnhem Land and Central Australia with the aim of ensuring a plentiful supply of foods; in many regions they play an important part in educating children, passing on the lore of their people, spiritual beliefs and survival skills; some ceremonies are a rite of passage for adolescents; other ceremonies are around marriage, death or burial. Most include dance, song, rituals and elaborate body decoration and/or costume. Ancient Aboriginal rock art shows ceremonies and traditions are still continued today. [26]
Ceremonies provide a time and place for everyone in the group and community to work together to ensure the ongoing survival of spiritual and cultural beliefs. Certain stories are individually "owned" by a group, and in some cases dances, body decoration and symbols in a ceremony pass on these stories only within the group, so it is vital that these ceremonies are remembered and performed correctly. Men and women have different roles, and are sometimes appointed as guardians of a sacred site, whose role it is to care for the site and the spiritual beings who live there, achieved partly by performing ceremonies. The terms “men’s business” and “women’s business” are sometimes used; neither have greater spiritual needs or responsibilities than the other, but jointly ensure that sacred practices are passed on. Men often conduct ceremonies, but women are also guardians of special knowledge, hold great spiritual power within a group, and conduct ceremonies. Participation in ceremonies can also be restricted by age, family group, language group, but are sometimes open to all, depending on the purpose of the ceremony. [24]
Right of access to songs and dances pertaining to a specific ceremony belong to a certain defined group (known as manikay by the Yolngu peoples of north-east Arnhem Land, or clan songs [27] ); some may be shared with people outside the community, but some are never shared. There is a wide range of songs, dances, music, body ornamentation, costume, and symbolism, designed to connect the body with the spiritual world of the ancestors. Ceremonies help to sustain Aboriginal identity as well as the group's connection to country and family. [24]
The didgeridoo originated in northern Australia, but is now used throughout the continent. Clapsticks, seed rattles and objects such as rocks or pieces of wood are used; in a few areas, women play a drum made from goanna, snake, kangaroo or emu skin. [24]
Animal native foods include kangaroo, emu, witchetty grubs and crocodile, and plant foods include fruits such as quandong, kutjera, spices such as lemon myrtle and vegetables such as warrigal greens and various native yams. Since the 1970s, there has been recognition of the nutritional and gourmet value of native foods by non-Indigenous Australians, and the bushfood industry has grown enormously. [42]
Pituri is a mixture of leaves and wood ash traditionally chewed as a stimulant (or, after extended use, a depressant) by Aboriginal Australians widely across the continent. Leaves are gathered from any of several species of native tobacco ( Nicotiana ) or from at least one distinct population of the species Duboisia hopwoodii . Various species of Acacia , Grevillea and Eucalyptus are burned to produce the ash.
Cultural burning, identified by Australian archaeologist Rhys Jones in 1969, is the practice of regularly and systematically burning patches of vegetation used in Central to Northern Australia to facilitate hunting, to reduce the frequency of major bush-fires, and to change the composition of plant and animal species in an area. This "fire-stick farming", or "burning off", reduces the fuel-load for a potential major bush fire, while fertilising the ground and increasing the number of young plants, providing additional food for kangaroos and other fauna hunted for meat. It is regarded as good husbandry and "looking after the land" by Aboriginal people of the Northern Territory. [43]
The Australian Aboriginal languages consist of around 290–363 [44] languages belonging to an estimated 28 language families and isolates, spoken by Aboriginal Australians of mainland Australia and a few nearby islands. [45] The relationships between these languages are not clear at present. Many Australian Aboriginal cultures have or traditionally had a manually coded language, a signed counterpart of their oral language. This appears to be connected with various speech taboos between certain kin or at particular times, such as during a mourning period for women or during initiation ceremonies for men.
Avoidance speech in Australian Aboriginal languages is closely tied to elaborate tribal kinship systems in which certain relatives are considered taboo. Avoidance relations differ from tribe to tribe in terms of strictness and to whom they apply. Typically, there is an avoidance relationship between a man and his mother-in-law, usually between a woman and her father-in-law, and sometimes between any person and their same-sex parent-in-law. For some tribes, avoidance relationships are extended to other family members, such as the mother-in-law's brother in Warlpiri or cross-cousins in Dyirbal. All relations are classificatory – more people may fall into the "mother-in-law" category than just a man's wife's mother. [46]
Australian Aboriginal English (AAE) is a dialect of Australian English used by a large section of the Indigenous Australian (Aboriginal Australian and Torres Strait Islander) population. Australian Kriol is an English-based creole language that developed from a pidgin used in the early days of European colonisation. The pidgin died out in most parts of the country, except in the Northern Territory, which has maintained a vibrant use of the language, spoken by about 30,000 people. It is distinct from Torres Strait Creole.
At the point of the first colonisation, Indigenous Australians had not developed a system of writing, so the first literary accounts of Aboriginal people come from the journals of early European explorers, which contain descriptions of first contact. [47]
A letter to Governor Arthur Phillip written by Bennelong in 1796 is the first known work written in English by an Aboriginal person. [48]
While his father, James Unaipon (c. 1835–1907), contributed to accounts of Ngarrindjeri mythology written by the missionary George Taplin in South Australia, [49] David Unaipon (1872–1967) provided the first accounts of Aboriginal mythology written by an Aboriginal person, Legendary Tales of the Australian Aborigines (1924–25), and was the first Aboriginal author to be published.
The Yirrkala bark petitions of 1963 are the first traditional Aboriginal document recognised by the Australian Parliament. [50]
Oodgeroo Noonuccal (1920–1993) was a famous Aboriginal poet, writer and rights activist credited with publishing the first Aboriginal book of verse: We Are Going (1964). [51]
Sally Morgan's 1987 memoir My Place brought Indigenous stories to wider notice.
Leading Aboriginal activists Marcia Langton ( First Australians documentary TV series, 2008) and Noel Pearson (Up from the Mission, 2009) are contemporary contributors to Australian non-fiction. Other voices of Indigenous Australians include the playwright Jack Davis and Kevin Gilbert.
Writers coming to prominence in the 21st century include Kim Scott, Alexis Wright, Kate Howarth, Tara June Winch, Yvette Holt and Anita Heiss. Indigenous authors who have won Australia's Miles Franklin Award include Kim Scott, who was joint winner (with Thea Astley) in 2000 for Benang and again in 2011 for That Deadman Dance. Alexis Wright won the award in 2007 for her novel Carpentaria. Melissa Lucashenko won the Miles Franklin Award in 2019 for her novel Too Much Lip . [52]
Traditional healers (known as Ngangkari in the Western jester areas of Central Australia) are highly respected men and women who not only acted as healers or doctors, but also generally served as custodians of important Dreaming stories. [53]
Aboriginal people have developed unique musical instruments and folk styles. The didgeridoo is often considered the national instrument of Aboriginal Australians; however, it was traditionally played by peoples of Northern Australia, and only by the men. It has possibly been used by the people of the Kakadu region for 1500 years.
Clapping sticks are probably the more ubiquitous musical instrument, especially because they help maintain rhythm. More recently, Aboriginal musicians have branched into rock and roll, hip hop and reggae. Bands such as No Fixed Address and Yothu Yindi were two of the earliest Aboriginal bands to gain a popular following among Australians of all cultures.
In 1997 the State and Federal Governments set up the Aboriginal Centre for the Performing Arts (ACPA) to preserve and nurture Aboriginal music and talent across all styles and genres from traditional to contemporary.
Woggabaliri is a traditional Indigenous Australian "co-operative kicking volley game". [54] The Indigenous in areas of and near New South Wales played a ball game called Woggabaliri. The ball was usually made of possum fur, and was played in a group of four to six players in circle. It was a co-operative kicking game to see for how long the ball can be kept in the air before it touches the ground. [55]
The Djab Wurrung and Jardwadjali people of western Victoria once participated in the traditional game of Marn Grook, a type of football played with possum hide. The game is believed by some commentators, including Martin Flanagan, [56] Jim Poulter and Col Hutchinson, to have inspired Tom Wills, inventor of the code of Australian rules football.
Similarity between Marn Grook and Australian football include jumping to catch the ball or high "marking", which results in a free kick. Use of the word "mark" in the game may be influenced by the Marn Grook word mumarki, meaning "catch". [57] However, this is likely a false etymology; the term "mark" is traditionally used in Rugby and other games that predate AFL to describe a free kick resulting from a catch, [58] in reference to the player making a mark on the ground from which to take a free kick, rather than continuing to play on. [59]
There are many Indigenous AFL players at professional level, with approximately one in ten players being of Indigenous origin as of 2007 [update] . [60] [61] The contribution of the Aboriginal people to the game is recognized by the annual AFL "Dreamtime at the 'G" match at the Melbourne Cricket Ground between Essendon and Richmond football clubs (the colors of the two clubs combine to form the colours of the Aboriginal flag).
Testifying to this abundance of Indigenous talent, the Aboriginal All-Stars, an AFL-level all-Aboriginal football side competes against any one of the Australian Football League's current football teams in pre-season tests. The Clontarf Foundation and football academy is just one organisation aimed at further developing aboriginal football talent. The Tiwi Bombers began playing in the Northern Territory Football League and became the first all-Aboriginal side to compete in a major Australian competition.
Coreeda is a style of folk wrestling practiced in Australia and is based on Aboriginal combat sports that existed in the pre-colonial period before the 19th century. [62] Combining the movements of the traditional kangaroo dance as a warm up ritual, with a style of wrestling that utilizes a yellow 4.5 meter diameter circle that has black and red borders (similar to the Aboriginal flag), Coreeda is often compared to sports as diverse as capoeira and sumo. [63]
A popular children's game in some parts of Australia is weet weet, or throwing the play stick. The winner throws the weet weet furthest or the most accurately. [64]
The didgeridoo is a wind instrument, played with vibrating lips to produce a continuous drone while using a special breathing technique called circular breathing. The didgeridoo was developed by Aboriginal peoples of northern Australia at least 1,000 years ago, and is now in use around the world, though still most strongly associated with Indigenous Australian music. In the Yolŋu languages of the indigenous people of northeast Arnhem Land the name for the instrument is the yiḏaki, or more recently by some, mandapul. In the Bininj Kunwok language of West Arnhem Land it is known as mako.
The Wawalag sisters, also written as WauwalukWawilakWaggilak, Wagilag, or Wawalik, are ancestral creator beings whose story is part of widespread sacred rituals in the Aboriginal culture from Arnhem land, Northern Territory, Australia.
Indigenous Australian art includes art made by Aboriginal Australians and Torres Strait Islanders, including collaborations with others. It includes works in a wide range of media including painting on leaves, bark painting, wood carving, rock carving, watercolour painting, sculpting, ceremonial clothing and sandpainting; art by Indigenous Australians that pre-dates European colonisation by thousands of years, up to the present day.
Mandawuy Djarrtjuntjun Yunupingu, formerly Tom Djambayang Bakamana Yunupingu, and also known as Dr Yunupingu, was a teacher and musician, and frontman of the Aboriginal rock group Yothu Yindi from 1986. He was an Aboriginal Australian man of the Yolŋu people, with a skin name of Gudjuk.
Arnhem Land is a historical region of the Northern Territory of Australia. It is located in the north-eastern corner of the territory and is around 500 km (310 mi) from the territorial capital, Darwin. In 1623, Dutch East India Company captain Willem Joosten van Colster sailed into the Gulf of Carpentaria and Cape Arnhem is named after his ship, the Arnhem, which itself was named after the city of Arnhem in the Netherlands.
Indigenous music of Australia comprises the music of the Aboriginal and Torres Strait Islander peoples of Australia, intersecting with their cultural and ceremonial observances, through the millennia of their individual and collective histories to the present day. The traditional forms include many aspects of performance and musical instrumentation that are unique to particular regions or Aboriginal Australian groups; and some elements of musical tradition are common or widespread through much of the Australian continent, and even beyond. The music of the Torres Strait Islanders is related to that of adjacent parts of New Guinea. Music is a vital part of Indigenous Australians' cultural maintenance.
The Yolngu or Yolŋu are an aggregation of Aboriginal Australian people inhabiting north-eastern Arnhem Land in the Northern Territory of Australia. Yolngu means "person" in the Yolŋu languages. The terms Murngin, Wulamba, Yalnumata, Murrgin and Yulangor were formerly used by some anthropologists for the Yolngu.
A songline, also called dreaming track, is one of the paths across the land within the animist belief systems of the Aboriginal cultures of Australia. They mark the route followed by localised "creator-beings" in the Dreaming. These routes serve as crucial connections between individuals and their ancestral lands, carrying intricate geographical, mythological, and cultural information.
Aboriginal Australians are the various Indigenous peoples of the Australian mainland and many of its islands, excluding the ethnically distinct people of the Torres Strait Islands.
The Garma Festival of Traditional Cultures (Garma) is Australia's largest Indigenous cultural gathering, taking place over four days each August in northeast Arnhem Land, in the Northern Territory, Australia. Hosted by the Yothu Yindi Foundation, Garma is a celebration of the cultural traditions of the Yolngu people, and a major community gathering for the clans and families of the Arnhem Land region. The event showcases traditional miny'tji (art), ancient story-telling, manikay (song), and bunggul (dance). It is held at Gulkula, a significant Gumatj ceremonial site about 40 kilometres (25 mi) from the township of Nhulunbuy, attracts more than 2500 guests each year and is often sold out months in advance.
Bark painting is an Australian Aboriginal art form, involving painting on the interior of a strip of tree bark. This is a continuing form of artistic expression in Arnhem Land and other regions in the Top End of Australia, including parts of the Kimberley region of Western Australia. Traditionally, bark paintings were produced for instructional and ceremonial purposes and were transient objects. Today, they are keenly sought after by collectors and public arts institutions.
Elcho Island, known to its traditional owners as Galiwin'ku (Galiwinku) is an island off the coast of Arnhem Land, in the Northern Territory of Australia. It is located at the southern end of the Wessel Islands group located in the East Arnhem Region. Galiwin'ku is also the name of the settlement where the island's largest community lives. Elcho Island formed part of the traditional lands of the Yan-nhaŋu, according to Norman Tindale. According to J. C. Jennison, the Aboriginal inhabitants were the Dhuwal, who called themselves the Kokalango Mala
The Tiwi people are one of the many Aboriginal groups of Australia. Nearly 2,000 Tiwi people live on Bathurst and Melville Islands, which make up the Tiwi Islands, lying about 48 kilometres (30 mi) from Darwin. The Tiwi language is a language isolate, with no apparent link to the languages of Arnhem Land on the Australian mainland. Their society is based on matrilineal descent, and marriage plays a very important part in many aspects of their lives. Art and music form an intrinsic part of their societal and spiritual rituals as the Tiwi people tend to follow a certain form of indigenous Animist belief system. The Stolen Generations saw many Indigenous people brought to the Tiwi Islands who were not of direct Tiwi descent.
Indigenous Australian customary law refers to the legal systems and practices uniquely belonging to Indigenous Australians of Australia, that is, Aboriginal and Torres Strait Islander people.
Raymattja Marika, also known as Gunutjpitt Gunuwanga, was a Yolngu leader, scholar, educator, translator, linguist and cultural advocate for Aboriginal Australians. She was a Director of Reconciliation Australia and a member of the Australian Institute of Aboriginal and Torres Strait Islander Studies. She was also a director of the Yothu Yindi Foundation and a participant in the 2020 Summit, which was held in April 2008. Marika advocated understanding and reconciliation between Indigenous Australian and Western cultures.
Barnumbirr, also known as Banumbirr or Morning Star, is a creator-spirit in the Yolngu culture of Arnhem Land in the Northern Territory of Australia, who is identified as the planet Venus. In Yolngu Dreaming mythology, she is believed to have guided the first humans, the Djanggawul sisters, to Australia. After the Djanggawul sisters arrived safely near Yirrkala in North East Arnhem Land, Barnumbirr flew across the land from east to west, creating a songline which named and created the animals, plants, and geographical features.
Gali Yalkarriwuy Gurruwiwi (1942–2020) was an internationally acclaimed Aboriginal Australian artist from Elcho Island (Galiwin'ku), an island off the coast of Northeast Arnhem Land. Gali was a Yolngu Mala leader and Gälpu clan representative, a clan group of the Dhuwa moiety, as well as a prominent member of the Galiwin'ku Uniting Church. He was best known for his Morning Star poles which have been featured in international exhibitions in London and the United States and for his unique melding of traditional Yolngu beliefs and Christian theology.
Ishmael Marika is a Yolngu musician, filmmaker, director and producer. His installations have been exhibited in many of Australia's most important museums, including the Museum of Contemporary Art in Sydney and the Art Gallery of South Australia in Adelaide. He is currently the Creative Director for the pre-eminent Indigenous media unit in Australia, the Mulka Project, based at Buku-Larrnggay Mulka Art Centre at Yirrkala in Northeast Arnhem Land. The Mulka Project seeks to preserve and disseminate the sacred languages and cultural practices of the Yolngu people by collecting and archiving photographs, audio and video.
A cleverman is a traditional healer and keeper of culture in many Aboriginal cultures of Australia. The roles, terms for, and abilities of a cleverman vary between different Aboriginal nations. Some clevermen heal bodily injuries and illnesses, while others heal spiritual ailments. They heal using plants, songs, and spiritual knowledge. Exceptionally powerful clevermen are believed to have magical powers and may heal both physical and spiritual ailments. Some sources also refer to clevermen having the ability to kill using magic, although this may be illegal within the culture or a separate form of harmful 'sorcery' from that used by cleverman healers. Clevermen also serve as cultural keepers and are experts in stories and spiritual beliefs. They have a strong understanding of sacred places and lore and a deep connection to the Dreaming. Clevermen may be men or women, depending on the culture.
The first ROM ceremony, a 'ritual of diplomacy', performed outside Arnhem Land was held when the Anbarra people...presented a Rom to AIATSIS in 1982.
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Indigenous Australian culture travel guide from Wikivoyage