Frederick Seitz and David Turnbull (Eds.)'s Advances in Research and Applications PDF

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Sample text

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.

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