Yothu Song Download !!TOP!!

The band combines aspects of both musical cultures. Their sound varies from traditional Aboriginal songs to modern pop and rock songs, where they blended the typical instruments associated with pop/rock bands, such as guitars and drums, with the traditional yidaki (didgeridoo) and bilma (clap stcik). They adapted traditional Yolngu dance performances to accompany their music. More broadly, they promoted mutual respect and understanding in the coming together of different cultures.

Swamp Jockeys were formed in 1985 by balanda (European/non-Aboriginal people) Todd Williams songwriter and lead singer, Michael Wyatt, songwriter and lead singer, Andrew Belletty on drums, Stuart Kellaway on bass guitar and Cal Williams on lead guitar.[1] On their tour of Arnhem Land, in Australia's Northern Territory, they were supported by a Yolngu band composed of Witiyana Marika on manikay (traditional vocals), bilma (ironwood clapsticks) and dance, Milkayngu Mununggurr on yidaki (didgeridoo), Gurrumul 'The Guru' Yunupingu on keyboards, guitar and percussion, and Bakamana Yunupingu on vocals and guitar. They united to form Yothu Yindi (pronounced /ju jndi/).[2][1][3] Yothu yindi is a Yolngu matha (Yolngu language) kinship term for "child and mother".

Yothu Song Download

Download Zip 🔥 https://urluso.com/2y7NPi 🔥

The band combines aspects of both musical cultures. Their sound varies from traditional Aboriginal songs to modern pop and rock songs in which they blend the typical instruments of pop/rock bands, such as guitars and drums, with the traditional yidaki and bilma. They have adapted traditional Yolngu dance performances to accompany their music. More broadly they promote mutual respect and understanding of different cultures.[2][3] Michael Wyatt, from the Swamp Jockeys, went on to become Yothu Yindi's pilot and with Stephen Johnson made Yothu Yindi's multiple award winning music video clips. He was also stage manager on Australian tours and their tour to the New York's World Music festival.

In 1988, as part of Bicentennial celebrations, Australian Prime Minister Bob Hawke visited the Northern Territory for the Barunga festival where he was presented with a statement of Aboriginal political objectives by Galarrwuy Yunupingu and Wenten Rubuntja.[8] Hawke responded to the Barunga Statement with a promise that a treaty would be concluded with Indigenous Australians by 1990.[8] By 1991, Yothu Yindi were Hughie Benjamin on drums, Sophie Garrkali and Julie Gungunbuy as dancers, Kellaway, Marika, Mununggurr, Gurrumul Yunupingu, Makuma Yunupingu on yidaki, vocals, bilma, Mandawuy Yunupingu, Mangatjay Yunupingu as a dancer.[2] Mandawuy, with his older brother Galarrwuy, wanted a song to highlight the lack of progress on the treaty between Aboriginal peoples and the federal government. Mandawuy recalls:

"Treaty" was written by Australian musician Paul Kelly and Yothu Yindi members Mandawuy Yunupingu, Kellaway, Williams, Gurrumul Yunupingu, Mununggurr and Marika.[10][11] The initial release had little interest,[3] but when Melbourne-based dance remixers Filthy Lucre's Gavin Campbell and Robert Goodge adapted the song, their version peaked at No. 11 on the Australian Recording Industry Association (ARIA) singles charts by September.[2][4] The song contains lyrics in both English and in Yolngu matha. It was accompanied by a video showing band members performing vocals, music, and dance.[2][3]

"I Am Australian" is a popular song written in 1987 by Dobe Newton of The Bushwackers and Bruce Woodley of The Seekers.[19] It was released as a single in 1997 by trio Judith Durham of The Seekers, Russell Hitchcock from Air Supply and Yothu Yindi's Mandawuy Yunupingu by EMI Australia and it peaked at No. 17 on the ARIA Singles Charts in June.[20]

In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th-anniversary celebrations, named "Treaty" as one of the Top 30 Australian songs of all time.[10][25] In 2003 Yothu Yindi toured through Northern Territory schools with Mandawuy Yunupingu, yidaki players Gapanbulu Yunupingu and Nicky Yunupingu, and Kellaway using songs, storytelling and open discussions to inspire and encourage some of Australia's most vulnerable young people to attend school and stay healthy. The Yothu Yindi Foundation in May 2007 established the Dilthan Yolngunha (Healing Place) using traditional healing practices and mainstream medicines.[5][6] On 23 July 2008 a 23-year-old woman was stabbed numerous times; "yidaki" player N. Yunupingu, who was described by Northern Territory police as the offender, was later found dead by hanging.[26] N. Yunupingu was the nephew of both Galarrwuy and Mandawuy Yunupingu, and, as members of Yothu Yindi, they had just played a concert for Prime Minister Kevin Rudd some hours before the stabbing of the woman, who was admitted to hospital, and N. Yunupingu's subsequent death.[26][27]

The group have been described as a "fluid collective", with other musicians quite often joining them on stage. Shane Howard, frontman of the band Goanna, has regularly played with them.[39] They released the Yothu Yindi song "Mabo" for the first time as a single in April 2019.[41]

Mandawuy Yunupiu's daughter Dhapanbal Yunupiu, daughter of Mandawuy Yunupiu, is a singer-songwriter, who credits the band with providing inspiration to many young Yolngu musicians. Among these are the band King Stingray, whose line-up includes Mandawuy's nephew, Yirra Yunupingu, as lead vocalist, and Stuart Kellaway's son Roy Kellaway on guitar.[46]

'Treaty' was released in 1991 and it remains as exciting, powerful and thought provoking as ever. Written by Yothu Yindi and Paul Kelly, the song catapulted the band to new commercial heights both here and overseas.

"I said, 'I want to write a song that is centred on treaty'. So, we started playing around with some lyrics. My lyrics at that time were that I'd heard it on the radio and I saw it on the television, but where is it? Where is the treaty?"

The songs for their second album were in pretty good shape and Kelly thought his involvement in the album was over. The band travelled to Melbourne to make the record with producer Mark Moffatt. Kelly received another call.

"That was the song that went up the charts and was played in clubs all over the place. I remember, everywhere you went in those days that song was playing and people would jump on the dancefloor as soon as it came on."

"It was one of the first commercial songs in about 20 years that had Indigenous input into it. We have Jimmy Little in the '60s and Lionel Rose, and then you have 'Treaty', it was a real high point and a pinnacle from an indigenous point of view in music."

"I think a treaty is still strong in people's minds. And I think it will always be a reminding song for people. It will always be a reminder for people. When I wrote that song I wanted it to be a kind reminder. Not a down your throat, in your face kind of thing.

I feel like 'Treaty' is as relevant today as it was when it was first released in 1991. The song gave Aboriginal people, those in urban Australia and those still living on country a voice. A voice to raise awareness of the main issue that still exists in Australia.

I feel it has significance on the political landscape of Australia as well as the indigenous landscape. As most people know, the song was about a promise from the Hawke government for a treaty by the year 1990, something that never materialised. Unfortunately, no government following has been able to make good on that promise of a treaty.

The legacy that the Yunupingu family had has quite a lot to do with how the song came about. They had a great history of activism in the Northern Territory, it wasn't just that song, there'd been a lot of stuff going on in that family for many years and suddenly that broke through.

It was the first song I knew of that was addressing those topics and even addressing Indigenous culture at that level. It's a shame, over 25 years on from the song that says 'Treaty now', that we're still so far from that.

The song takes inspiration from an old recording of the djantpangarri/djedbangari song 'Storm', which is part of the Waterman Collection of sound recordings that were donated to AIATSIS by American musicologist, Richard Waterman.

The djantpangarri dance and song form is attributed to Dambidjawa, a Gumatj speaker of the Yirritja moiety and brother of Rrikin (Stubington, 1994, p. 254). It is a form of song that is about fun and entertainment which dominated the popular music scene among Yirrkala youths from the 1930s through to the 1970s (Knopoff, 1997, p. 603).

Their sources were Manikay, the ancestral Yolu song tradition performed in public ceremonies, and Djatpaarri, a playful and exuberant popular song form composed and performed by young men in Yirrkala from the 1930s to the 1970s. These overt borrowings afforded Yothu Yindi their distinctive sound.

At a time when other Yolu popular bands were emulating imported country and gospel styles, the composition of Djpana: Sunset Dreaming changed music history. It drew on the Manikay tradition, the vast body of public ceremonial songs that were bestowed on Yolu clans of northeast Arnhem Land countless generations ago by the original ancestors who named, shaped and populated their homelands.

This revolutionary artistic act initiated an entirely new genre of popular music from Arnhem Land, with Yothu Yindi at its vanguard, which would build new bridges with audiences worldwide. Yet, unknown to most listeners is that this song echoes long histories of early engagements with Southeast Asian visitors that remain integral to Yolu ceremonial law to this day. 006ab0faaa