List of figures

Figure 1.1 Performance at Mutong of Ngarigu Snow Song. From left to right: Amanda Harris,
Jacinta Tobin, Lara Troy-O’Leary, Linda Barwick, Peter Waples-Crowe, and Jakelin Troy. Photo by Toby Martin.
Figure 2.1 Warruwi, South Goulburn Island. Photo by Reuben Brown.
Figure 2.2 The group at Amartjitpalk performing manyardi, Goulburn Island, 2012. From left to right: Brendan Marrgam, Sam Wees, Russell Agalara, Maurice Gawayaku and his son, Micky Yalbarr (didjeridu), Solomon Nangamu, Harold Warrabin. Photo by Reuben Brown.
Figure 2.3 Photo of Joseph Gamulgiri (left) and his son Harold Warrabin (right). Photo of
Gamulgiri held by Martpalk Arts and Crafts (original photographer unknown); photo
of Harold Warrabin by Martin Thomas.
Figure 2.4 Song text of MK02.
Figure 2.5 Music transcription of vocal part of MK02, performed by John Guwadbu “No. 2” and Joseph Gamulgiri in 1964 SAA-B-06-MK02.mp3.
Figure 2.6 Music transcription of vocal part of MK02, performed by Harold Warrabin and
Solomon Nangamu in 2006, transposed down a major 2nd from G to F.
Figure 2.7 Music transcription of vocal part of MK02, performed by Warrabin and Nangamu in 2012.
Figure 2.8 Music transcription of vocal melody of MP04 (nigi), performed by Solomon Ganawa
in 2006, transposed up major 2nd from 20060613IB-06-MP03_MP04.
Figure 2.9 Music transcription of Solomon Nangamu’s version of MP04nigi.
Figure 2.10 Solomon Nangamu and Russell Agalara’s inheritance of the Mirrijpu songset.
Figure 2.11 Music transcription of Marrwakara songs MK01 and MK02 “joined together”,
performed by Harold Warrabin at Amartjitpalk, 2012 RB2-20121103-RB_01_03_MK01_MK02.wav.
Figure 3.1 Jack Gray wearing his father’s painting overalls entering Ruatepupuke II, while video repeats its welcome, at Field Museum, Chicago. Photo by Jacqueline Shea Murphy.
Figure 3.2 Dancers assembled to represent the way manuhiri (visitors) are traditionally welcomed
to greet the house, from afar and awaiting a call. Photo by Jacqueline Shea Murphy.
Figure 3.3 Dancers crossing the atea (the area directly in front of the house is symbolic of the atua named Tūmatauenga – the entity of warfare and human conflict) a spatial threshold evoked during the process of cultural protocol, or pōwhiri. Photo by Jacqueline Shea Murphy.
Figure 3.4 Jack Gray physically responding to the inner architecture of Ruatepupuke II as a way of spiritually embodying the carvings and woven universe. Photo by Jacqueline Shea Murphy.
Figure 3.5 Jack and dancers performing at Jackalope Theatre, 30 August 2017. Two days of
rehearsals, embodying the experiences felt in and around the city, and sharing movement transferred from I Moving Lab’s pick-up projects around the world. Photo by Jacqueline Shea Murphy.
Figure 3.6 Post-rehearsal pre-performance release, exploring Skikako (Chicago) as part of
I Moving Lab’s I LAND project. Photo by Jacqueline Shea Murphy.
Figure 4.1 1948 Botanic Gardens corroboree – still from film Darwin – Doorway to Australia (1949).
Figure 4.2 Regina Portaminni and Irene Babui, pictured in Richard Beattie, “Aboriginal Girls to Dance in Sydney”, Sydney Morning Herald, 21 March 1970.
Figure 4.3 Gemma Munkara and Katrina Mungatopi viewing the Tiwi display; Chau Chak Wing Museum, May 2021.
Figure 5.1 Rosy Simas tearing up an oversized Seneca Reservation relocation map during a performance of We Wait In The Darkness. Photo by Steven Carlino for Rosy Simas
Danse, 2015.
Figure 5.2 Installation of fabric and paper of Seneca relocation maps for a traditional Seneca dress design, We Wait In The Darkness exhibition view, All My Relations Arts in Minneapolis. Photo by Rosy Simas, 2014.
Figure 5.3 Rosy Simas in an excerpt of We Wait In The Darkness at the Judson Memorial Church. Photo by Ian Douglas, 2015.
Figure 6.1 Nyungar song lyrics about Miago in the papers of Sir George Grey.
Figure 6.2 Melody for the Nyungar “ship song” about Miago.
Figure 6.3 Melody for the Nyungar “sail song” about Miago.
Figure 7.1 “Maoriland Love Song”, words by Dora Wilcox; music by J. Alexander. London:
Beal, Stuttard & Co., 1912.
Figure 7.2 “The only white woman interpreting the unusual folk lore of the Maori people”, Miss Bathie Stuart.
Figure 8.1 Sai Shi (Game and Play) in Taiwan Fan She Tu (Pictures of the Savage Villages in Taiwan, 1820).
Figure 8.2 A postcard illustrating Taiwanese Indigenous peoples (possibly the Rukai) dancing.
Photo taken anonymously sometime in the Japanese colonising period, around
the 1920s.
Figure 8.3 The scene of an Atayal mother holding her son, who fought against the Japanese colonising force, from “The Flaming Sun” in Pu’ing: Searching for the Atayal Route.
Photo by FASDT.
Figure 9.1 Language map of the Manayingkarírra (Maningrida) region (2016). Courtesy of Bawinanga Aboriginal Corporation, Maningrida College and Batchelor Institute.
Map by Brenda Thornley.
Figure 9.2 Map of An-barra significant sites. The map shows the Burarra language groups
An-barra, Martay and Marawuraba (these two groups tend to call themselves Martay), and Maringa (also known as Gulula).
Figure 9.3 Diyama shells (Tapes hiantina) of the marrambai or “black duck” pattern with radiating dark bars across the shell. This is differentiated from the an-gedjidimiya or “whistle duck” pattern. Photo by Jodie Kell.
Figure 9.4 Members of the Ripple Effect Band and families hunting for diyama on the Na-kara
estate of Na-meyarra. From left to right: Rona Lawrence, Marita Wilton, Zara Wilton
and Tara Rostron. Photo by Jodie Kell.
Figure 9.5 Mary Dadbalag (left) and her daughter, Cindy Jinmarabynana, discussing the story of “Diyama”. Photo by Jodie Kell.
Figure 9.6 The Ripple Effect Band performing “Diyama” at the Darwin Festival in 2020. From
left to right: Jodie Kell, Jolene Lawrence, Marita Wilton, Lakita Taylor (Stephanie’s daughter) and Stephanie Maxwell James. Photo by Benjamin Warlngundu Bayliss.
Figure 9.7 David Maxwell (left) on stage with his daughter, Stephanie Maxwell James (right),
at the Bak’bididi Festival in Ramingining in 2017. Behind is Rona Lawrence on bass
guitar and Tara Rostron on electric guitar. Photo by Eve Pawley.
Figure 9.8 David’s vocals (highlighted) in the middle section of the Ripple Effect Band’s recording
of “Diyama”. Transcription by Jodie Kell.
Figure 9.9 Mulumbuk’s original “Diyama” song recorded in 1960. Transcription by Jodie Kell,
based on transcription by Aaron Corn.