Walakandha Wangga
| Field | Value | Language |
| dc.contributor.author | Marett, Allan | |
| dc.contributor.author | Barwick, Linda | |
| dc.contributor.author | Ford, Lysbeth | |
| dc.date.accessioned | 2019-05-07 | |
| dc.date.available | 2019-05-07 | |
| dc.date.issued | 2016-11-01 | |
| dc.identifier.citation | Marett, A., Enilane, M., Kofod, F., Hoddinott, W., Reilly, L., Crocombe, M., … Marett, A. (2016). Walakandha wangga . Sydney: Sydney University Press. | en |
| dc.identifier.isbn | 9781743325292 | |
| dc.identifier.uri | http://hdl.handle.net/2123/20376 | |
| dc.description.abstract | For the last 40 years or so, the Walakandha wangga, a repertory composed collaboratively by a number of Marri Tjavin singers, has been the most prominent wangga performed in Wadeye. Initiated in the mid-1960s by Stan Mullumbuk (1937–1980), the Walakandha wangga repertory came to function as one arm of a tripartite ceremonial system organising ceremonial life at Wadeye, in complementary relationship with sister repertories djanba and lirrga. The dominant themes of the Walakandha wangga are related to the activities of the Marri Tjavin ancestral dead – the Walakandha – as givers of wangga songs and protectors of their living descendants. Longing for return to Marri Tjavin ancestral country is another common theme. Many specific places are named. Foremost among these is the hill Yendili – one of the places where Walakandha ancestors reside. | en |
| dc.publisher | Sydney University Press | en |
| dc.subject | Indigenous Australian music | en |
| dc.subject | Daly River Region | en |
| dc.title | Walakandha Wangga | en |
| dc.type | Other | en |
| usyd.faculty | Sydney University Press | en |
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