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Click the Edit button above to get started. People have knowledge and stories of their own Place. Most people would not know stories and traditions of those who lived far away and with whom they had no contact. As with all Aboriginal story and ceremony, people from one Place will not claim knowledge of another Place.
Most knowledge holders would say "for my people and in my Place, this is not ok" or "for my people and in my Place this is ok". Aboriginal people would not claim a universal rule applying to all Aboriginal people.
All that being said, using any indigenous person's tools or art or stories or instruments should never be done without permission and respect. Even men should be aware of the importance of the didgeridoo and should ensure they have permission from the people of a Place where they wish to play it. Always be conscious that the didgeridoo is far more than a musical instrument, and should be played and cared for with the utmost respect for the traditional owners.
It is alleged that upon seeing the instrument played for the first time, a British army Officer turned to his Gaelic aide and asked "What's that? The earliest occurrences of the word in print include the Australian National Dictionary , The Bulletin in and the writings of Herbert Basedow in There are numerous names for this instrument among the Aboriginal people of northern Australia, with yirdaki one of the better known words in modern Western society.
Yirdaki, also sometimes spelt yidaki, refers to the specific type of instrument made and used by the Yolngu people of north-east Arnhem Land. In Western Arnhem Land, mago is used, although it refers specifically to the local version.
Many believe that it is a matter of etiquette to reserve tribal names for tribal instruments, though retailers and businesses have been quick to exploit these special names for generic tourist-oriented instruments. Click for Contact Details. Click for Ticket Prices. Yes we are OPEN again. The didgeridoo is often said to be 40, years old or as old as the Aboriginal culture in Australia but this is not testable and on the available information, it is likely to be untrue. Evidence of how long the didgeridoo has been used by Aboriginal people is hard to come by and we really only have two angles from which to approach this question.
One is by collecting and studying the oral histories of the Aboriginal groups that traditionally used the instrument. Such accounts may suggest the trade or spread of the instrument from group to group, or region to region, or perhaps even the mythological origins of the didgeridoo within the tribe, but such narratives do not reference any time period.
Indeed, some Aboriginal groups in northern Australia may claim that they have always had the didgeridoo, that it is part of their "Dreamtime" heritage since the beginning.
As such, it is easy to see how the 40, year age has come about. The other form of evidence comes from the archaeological record. No petrified wooden didgeridoos have ever been excavated for radiocarbon dating, however, Yolngu people of eastern Arnhem Land in Australia's north know where old instruments may be buried under sand or lie in the murky depths of waterholes, but these instruments are from their generation and not thousands of years old.
This presents a dilemma. Yet, luckily, the archaeological record does offer us a glimpse of how old the didgeridoo might be through the study of rock art.
George Chaloupka, one of Australia's foremost experts on rock art, determined that there were 11 main artistic styles across 3 environmental periods in what is presently known as the Kakadu National Park in the Northern Territory of Australia. One of those environmental periods is the freshwater period less than years old and it is only in the freshwater period that artistic depictions of the didgeridoo can be found as rock art. In other words, there is no rock art that is older than years that depicts the didgeridoo It is therefore likely that the didgeridoo has been used by Aboriginal people in northern Australia for no more than years, although because of the uncertainty mentioned by Chaloupka in obtaining absolute dates, it is reasonable to suggest a span of years old for the age of the didgeridoo.
It is important to note that paintings of didgeridoos on rock art HAVE NOT been dated by radiometric methods, but instead they appear in the sequence of other rock art which fall under the freshwater period so it is equally valid to suggest that the didgeridoo might be years old, years old, or years old.
It should also be pointed out that there are no known depictions of the didgeridoo as rock art outside of what we now call the Northern Territory. The basic sound of the didgeridoo is the drone. This is done by placing your lips on the mouthpiece of the didgeridoo the smaller end of the instrument and gently blowing into it with loosely vibrating lips.
The embouchure is similar to that of a trumpet player only more relaxed and looser. Imagine the sound typically made by horses with their lips - "pppppfff" - this is what you should aim for. If you try to vibrate your lips with too much tension, you might not get a drone but instead a higher pitch 'trumpet' horn note this is another technique which will be covered later, at the moment we're just concerned with the drone.
Too little vibration in your lips and you might not get a sound at all. Each didgeridoo is different and plays in its own natural key with a different frequency. For example, a longer didgeridoo generally will produce a lower drone and so you should vibrate your lips at a lower frequency to match the instrument. On the other hand, a shorter instrument will have a higher drone which requires your lips to vibrate at a higher frequency. Apart from the basic drone, a good didgeridoo player is also able to produce a variety of other sounds in order to create rhythms and music, instead of a plain continuous drone.
This is done using various techniques. Animal sounds or calls are done using the vocal cords whereby the didgeridoo player creates the drone with vibrating lips whilst also talking, yelling or screaming into the instrument.
Popular animal sounds include bird calls and dingo yelps, in fact, you can imitate any animal you like by playing the drone and using your voice to make those animal sounds at the same time. The vocal cords can also be used in another way, which is to passively allow them to vibrate at a low frequency. Instead of the high-pitch animal calls, you get a low hum from passively using your voice.
This hum is lower than the pitch of the basic drone and adds another dimension to the overall sound of the didgeridoo.
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