Advertisement

From Moomba to the Dreaming: Indigenous Australia, Popular Music and Reconciliation

  • Andrew King
Chapter
Part of the Palgrave Entertainment Industries book series (PAEI)

Abstract

This chapter argues how the idea of social justice has become a very mainstream one, particular with the rise of the entertainment industries keen to promote Indigenous performers. It focuses on mainstream music in Australia, and the extent to which Indigenous pop stars have gained global popularity and recognition. King’s analysis of the history of Indigenous popular music shows how individual performers and performances are a useful means for mainstream audiences to engage with Indigenous reconciliation in Australia.

References

  1. ARIA (1991) ‘End of Year Charts – Top 50 Singles 1991’, Australian Recording Industry Association, http://www.aria.com.au/pages/aria-charts-end-of-year-charts-top-50-singles-1991.htm.
  2. Baker, G. A. (1992) ‘40,000-Year-Old-Culture Surfaces on Aussie Chart’, Billboard, Vol. 104, no. 2, pp. 1, 12.Google Scholar
  3. Barney, K. (2005) ‘Celebration or Cover-Up? “My Island Home”, Australian National Identity and the Spectacle of Sydney 2000’, in (eds.) Mackinlay, E, Collins, D, and Owens, S, Aesthetics and Experience in Music Performance, Cambridge Scholar’s Press: Newcastle, pp. 141–150.Google Scholar
  4. Barney, K. (2006) ‘“Women Singing up Big”: The Growth of Contemporary Music Recordings by Indigenous Australian Women Artists’’, Australian Aboriginal Studies, no. 1, pp. 44–56.Google Scholar
  5. ‘Council for Aboriginal Reconciliation Act’ (1991), http://www.austlii.edu.au/au/legis/cth/num_act/cfara1991338/
  6. ‘A Dream Came True! Our Singing Ambassador’, (1952) The Koori History Website, http://www.kooriweb.org/foley/images/history/1960s/dawn/dawn33.html.
  7. Dunbar-Hall, P. (1995) Discography of Aboriginal and Torres Strait Islander Performers, Australian Music Centre: Sydney.Google Scholar
  8. Dunbar-Hall, P., and Gibson, C. (2004) Deadly Sounds, Deadly Places: Contemporary Aboriginal Music in Australia, UNSW Press: Sydney.Google Scholar
  9. Gibson, C., and Dunbar-Hall, P. (2008) ‘Contemporary Aboriginal Music’, in (eds.) Homan, S and Mitchen, T, Sounds of Then, Sounds of Now, ACYS: Hobart, pp. 253–270.Google Scholar
  10. Hawley, J. (1981) ‘The Unshakeable Black Conscience’, The Age, 25 September, p. 11.Google Scholar
  11. Hayward, P. (1993) ‘Safe, Exotic and Somewhere Else: Yothu Yindi, Treaty and the Mediation of Aboriginality’, Perfect Beat, Vol. 1, no. 2, pp. 33–42.CrossRefGoogle Scholar
  12. King, A.S. (2013) A History of Popular Indigenous Music. In Wheeler, Belinda (Ed.), A Companion Guide to Australian Aboriginal Literature, Camden House, New York, pp. 187-201.Google Scholar
  13. Kleinert, S. (2011) ‘Bill Onus’, Dictionary of Australian Artists Online, http://www.daao.org.au/main/read/7530.
  14. Lander, N. (1983) Wrong Side of the Road, Australian Film Institute with assistance from the Dept. of Aboriginal Affairs: Lindfield, NSW.Google Scholar
  15. Maxwell, I. (2003) Phat Beats, Dope Rhymes: Hip Hop Down under Comin’ Upper, Wesleyan University Press: Middletown, CT.Google Scholar
  16. McFarlane, I. (1999) The Encyclopedia of Australian Rock and Pop, Allen & Unwin: St Leonards, NSW.Google Scholar
  17. McMillan, A. (2008) Strict Rules: The Blackfella – Whitefella Tour (Rev. ed), Niblock Publishing: Nightcliff, NT.Google Scholar
  18. Mitchell, T. (1992) ‘World Music, Indigenous Music and Music Television in Australia’, Perfect Beat, Vol. 1, no. 1, pp. 1–16.CrossRefGoogle Scholar
  19. Pederson, A., Kennedy, S., Haines, F., and Young, S. and ABC-TV (2004) Jimmy Little’s Gentle Journey published by: ABC TV.Google Scholar
  20. ‘Untitled Newspaper Clipping’, (1951) ABC, http://www.abc.net.au/rn/awaye/galleries/2010/3082910/.

Copyright information

© The Author(s) 2017

Authors and Affiliations

  • Andrew King
    • 1
  1. 1.Media and CommunicationQueensland University of TechnologyQueenslandAustralia

Personalised recommendations