German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri's rendition of 'Silent Night', or what is tradition anyway?

Hurley, A

German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri's rendition of 'Silent Night', or what is tradition anyway?

Hurley, A

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Publication Type:: Journal Article
Citation:: Perfect Beat, 2014, 15 (1), pp. 7 - 21
Issue Date:: 2014-01-01

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Field	Value	Language
dc.contributor.author	Hurley, A https://orcid.org/0000-0001-6717-3537	en_US
dc.date.issued	2014-01-01	en_US
dc.identifier.citation	Perfect Beat, 2014, 15 (1), pp. 7 - 21	en_US
dc.identifier.issn	1038-2909	en_US
dc.identifier.uri	http://hdl.handle.net/10453/34336
dc.description.abstract	© Equinox Publishing Ltd 2015, Office 415, The Workstation, 15 Paternoster Row, Sheffield S1 2BX. This article focuses on aspects of Indigenous musical life in the 1960s at and around Ntaria (formerly Hermannsburg) in Central Australia, and isolates one flow between German missionary sources and the Indigenous musical culture - the Christmas carol 'Stille Nacht' (aka 'Silent Night'), which became 'Inguwa inturtai', now also known as 'Hymn 44'. I explore some of the meanings that are invested in a particularly striking yet ambiguous deployment of that song by Tiger Tjalkalyeri, and argue that, in a setting where white Australians have approached Indigenous music with their own classificatory expectations, an 'Indigenized' German Christmas carol could have a strange power. 'Inguwa inturtai' could upset and unsettle white Australian attitudes towards the 'authentic'.	en_US
dc.relation.ispartof	Perfect Beat	en_US
dc.relation.isbasedon	10.1558/prbt.v15i1.16668	en_US
dc.title	German-Indigenous musical flows at Ntaria in the 1960s: Tiger Tjalkalyeri's rendition of 'Silent Night', or what is tradition anyway?	en_US
dc.type	Journal Article
utslib.citation.volume	1	en_US
utslib.citation.volume	15	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	1904 Performing Arts and Creative Writing	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/e-Press
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
utslib.copyright.status	closed_access
pubs.issue	1	en_US
pubs.publication-status	Published	en_US
pubs.volume	15	en_US

Abstract:

© Equinox Publishing Ltd 2015, Office 415, The Workstation, 15 Paternoster Row, Sheffield S1 2BX. This article focuses on aspects of Indigenous musical life in the 1960s at and around Ntaria (formerly Hermannsburg) in Central Australia, and isolates one flow between German missionary sources and the Indigenous musical culture - the Christmas carol 'Stille Nacht' (aka 'Silent Night'), which became 'Inguwa inturtai', now also known as 'Hymn 44'. I explore some of the meanings that are invested in a particularly striking yet ambiguous deployment of that song by Tiger Tjalkalyeri, and argue that, in a setting where white Australians have approached Indigenous music with their own classificatory expectations, an 'Indigenized' German Christmas carol could have a strange power. 'Inguwa inturtai' could upset and unsettle white Australian attitudes towards the 'authentic'.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/34336