著者

松山 利夫 Toshio Matsuyama

出版者

国立民族学博物館

雑誌

国立民族学博物館研究報告 = Bulletin of the National Museum of Ethnology (ISSN:0385180X)

巻号頁・発行日

vol.13, no.2, pp.407-435, 1988-10-17

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The National Museum of Ethnology dispatched staff tonorthern Australia during September and October, 1986 to makean ethnological film record of the Djinang tribe, of Arnhem Land.This article reports on the general process of how this record,especially that of the Maradjiri (Star Ceremony), which wasperformed during the period, was made, edited and released.The whole record was completed as four separate films;① "Maradjiri-Star Ceremony of Arnhem Land" (2 hours20 minutes).Details of Maradjiri. Djinang people adore Venus astheir mythological ancestor, and worship their ancestor's spiritin the ceremony;② "20,000 year-old Rock Paintings of Arnhem Land-Beyond Time" (18 minutes).Paleo—environmental change is examined from rockpaintings in Kakadu National Park. The development of thepaintings and the worldview of Arnhem Land aborigines isanalyzed from these paintings;③ "Bungowa returns to the bush-Way of Life in ArnhemLand" (1 hour 40 minutes).The daily life of contemporary aborigines is presentedthrough a detailed record of the Gamardi Outstation of theDjinang, which was established in 1975; and④ "Talking Spirits-Songs and Dances of Arnhem Land"(60 minutes).Myths regarding "Dreamings" (totems) of the Djinangtribe, which were celebrated by a series of songs and dancesduring the two weeks of Maradjiri, were analyzed through thecontents of songs and dance performances.Mr. Jacky Wunuwun and Mr. Terry Gandadira, fromGamardi Outstation, and Mr. David Bond, of BawinangaAboriginal Cooperation, from Maningrida, were invited to theNational Museum of Ethnology to complete these films and toverify the suitability of the contents for public release.

著者

松山 利夫 Toshio MATSUYAMA 平安女学院大学国際観光学部

雑誌

平安女学院大学研究年報 = Heian Jogakuin University journal (ISSN:1346227X)

巻号頁・発行日

vol.16, pp.1-7, 2016-03-01

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Originally didjuridu was a local musical instrument used in Arnhem Land, the northern part of Australia. It is still played in funerals, initiation rites or Corroboree.In the 1960s, through Kimberley or Balgo Hill, or directly from Arnhem Land, didjuridu spread to the central and western desert areas. It was played to attract the attention of tourists who visited tourist attractions such as Uluru and to sell art crafts representing Aboriginal culture. Around this time some white people started playing this instrument.After the 1980s, didjuridu was widely played as "an ethnic instrument" in southeastern cities.Around this period urban Aboriginal people learned how to play it. In this way didjuridu became popular among white Australians, but yet it was still played at traditional ceremonies or rituals inArnhem Land. Thus, for urban Aboriginal people, playing didjuridu assured their Aboriginality.In the 1980s it became known overseas. In concert with the New Age movement or along with the World Music Boom, it came into fashion in America, Europe, and Japan. In Japan didjuridu lovers formed some groups such as Earth Tube, Dincum OZ Club, etc.Globalized didjuridu is now under the control of Aboriginals in Arnhem Land, as they have held the Garma Festival each year since 1999, where they give lectures on didjuridu and their culture, and teach performing techniques of didjuridu, asking people all over the world to join them.