By Frederick Seitz and David Turnbull (Eds.)
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In these terms, Aboriginal media production has often emerged as a form of cultural brokerage, advocacy, and/or Aboriginal representation in a doubled sense—both in the sense in which representation entails a kind of political advocacy, by and on behalf of Aboriginal p eople with respect to non-Indigenous interests, and in the sense that representation entails the production of representations—textual, visual, performative, sonic, or other forms by which Aboriginal p eople can also represent themselves to themselves.
23 Much of the scholarship describing and exploring such relations between race, sound, and audio technology has been manifestly concerned with a geographic ally distinct Afro-diasporic cultural formation, a “sonic afro- modernity” (Weheliye 2005), its improvisatory bricolage (Hebdige 1987; Veal 2007), and the signal dilemmas that diaspora and minstrelsy present to the diverse communities constituting the Black Atlantic (Gilroy 1993, 2010; cf. Edwards 2004). This powerful critical historiography, however, does not apply transparently to an Australian embrace of black popular culture.
On the recording “Yaka Bayngu” ’s shouted verses also echo a radio dj as George narrates his travels from Darwin through Katherine and out to Barunga. ” I arrived from Darwin last week, on the bus from Darwin. And you know, when you’re on the bus or in the bus, you’re on the road, you d on’t smoke do you? You can’t smoke in the bus, hey! Well, I have to wait u ntil I get to the Katherine terminal and get out and have a smoke. And there’s some people there sitting down! [I’ve got] one package.
Advances in Research and Applications by Frederick Seitz and David Turnbull (Eds.)