Finely detailed Galpu clan designs
Yidaki: A foreword excerpted from
"The Didjeridu From Arnhem Land to Internet"
Yidaki: A foreword excerpted from
"The Didjeridu From Arnhem Land to Internet"
In Australia's Northeast Arnhem Land, where the so-called
didjeridu originated, the instrument is known to Yolngu (Aboriginal
) people as the Yidaki. The Yidaki is deeply entrenched in Yolngu
spiritual existence. It holds a special place in the presentation
of Yolngu art, music, dance and history. Its basic role in Yolngu
society is to accompany singers, serving as a percussion instrument
as well as setting time for the rhythm of songs. Good Yidaki players
are those who start to play before they are circumcised. Once
they start playing in serious ceremonial business they build the
confidence to play in public with an understanding of the rhythms
of the song cycles.
The Yidaki comes from northeast Arnhem Land and was originally
played only in Australia's Top End. Yolngu understand the
Yidaki has become an Australian icon and accept non-Yolngu people
throughout the world now use it for informal purposes and enjoyment.
Be aware, however, that its origins are sacred and secret to Yolngu
men. Those stories can not be told here, can only be shared with
initiated men. The Yidaki is a male-oriented instrument. In Yolngu
society women are forbidden to play it as its origins are sacred
to men.
The tree from which Yidaki is usually cut is the Stringy Bark
hollowed out by termites. Other trees used for Yidaki manufacture
include the Wollybutt and the Bloodwoods. Yidaki players are the
best people to collect them. They can be collected all year round.
We recognise different clans' individual rhythmic processes and sounds. In northeast Arnhem Land Yidakis tend to be long and therefore the pitch is low. The further west we travel, the shorter the Yidaki and therefore the higher the pitch.
The Yidaki has its own language in that the tongue plays a major
role in transforming the air into sounds.
The Yidaki has a serious role to play in men's ceremony, but it is also used as a popular instrument that can be played for the enjoyment of women and children.
Songs are distinguished between serious and fun, formal and informal.
Formal songs are a set fixed pattern and are practised formally
in everyday Yolngu life. In this context it is centered on history
and important events that effect Yolngu lives today and into the
future. The informal context is 'fun', public enjoyment
which is about contemporary Yolngu life interspersed with its
formal use.
Yolngu people have long recognised the healing powers of the Yidaki.
Through the provision of exercises for breathing, the Yidaki holds
collective powers in the healing process. The sound transfers
peaceful vibrations that penetrate the mind and create inner spiritual
oneness in an individual or group. In some cases, the Yidaki is
used for physical healing with the player concentrating his breath
on an afflicted part of the patients body.
Yidaki playing is a discipline encompassing art, music and history.
Today it is used in the healing process between Yolngu and Balanda
(Euro-Australians). Technology today accepts natural science and
music, thereby, opening new horizons in the study of music which
combine sophisticated contemporary sounds with those of the old
and draw people together in the process.
Cherish the sound, for it is the sound of Mother Earth.
Mandawuy Yunupingu Yothu Yindi