PUSH ME AND THEN JUST TOUCH ME, TILL I CAN GET MY SATISFACTION..SAMPLED FROM THE OLD TRACK BY I CANT REMEMBER..ANYWAYS, ODE TO THEM - THE REST OF THIS TRACK IS UNIQUELY COMPOSED BY INSTRUMENTS TROY USES LIVE..ESPECIALLY THE DIDGE..
THESE TRACKS WERE THE FIRST COMPOSITION EVER WRITTEN BY TROY ANTHONY WALKER, DIRECTOR AND MANAGER OF OMNI RECORDS STRALIA AND this Record Label ...x-MANAGER OF 'FREE YOUR MIND' EVENTS SINCE 1999..this album was composed around Australia and live with real instruments such as the didgeridoo and drums..STARTED BACK AROUND 2005-6..
credits
released February 17, 2019
SUPERB TRIBAL STOMP AND ABORIGINAL DANCE..INTUITION OF MY BLACK BLOOD AND LOVE AND RESPECT OF MY HERITAGE AND TRIBAL ELDERS!!! I AM A SHAMAN, I LEARNT FROM THE BEST..
SHOUTS TO CALVIN ALEX (RIP AARON) SHOUT TO BUCKY, DALLAS AND BRENDAN OF COURSE, AND HOOPSNAKE FOR HELP ON RECREATING YOTHU YINDIS EPIC "TREATI"
LOVE AND RESPECT TO THE YUNAPINGU DESCENDANTS AND TRIBAL RELATIVES..LOVE YOU ALL..AND MANNDAWAYY IS STILL HERE WITH US..HE CAME TO ME IN A TRIP..NO DRUGS INCORPORATED..OVERWHELMING SENSE OF LOVE AND CONNCTION TO SPIRIT, I CRYED TEARS OF JOY...PEACE LOVE AND LIGHT ALL!!!
ENJOY THIS MASTER OF PEACE!!!!
When you turn on the TV, open a book, flick through a newspaper or browse the internet, it’s likely that if you encounter a story about Aboriginal people written by a non-Indigenous person, you’ll find yourself being bombarded by a range of unhelpful Aboriginal stereotypes. These are stereotypes that perpetuate the myth that the First Peoples of Australia were, and are mono-cultural. Aboriginal art is presented to the world by the Australian media in an uninformed, sloppy and alarmingly negligent manner. It is an overwhelming lack of care which provides a vehicle for the mono-culture stereotype to be perpetuated around the world. That is to say – Aboriginal people in every part of the country are all part of one big group, with a single system of beliefs, laws, language and ways of living. This however is far from accurate.
What are the first things that come to mind when you think about Aboriginal culture? Is it perhaps ‘dot paintings’, didgeridoos or boomerangs? If you answered yes to any of these, you might be surprised to learn that of these only boomerangs were historically found in all parts of Australia. Didgeridoos belong to northern Australia, whilst dot paintings are a relatively recent tradition from central Australia. These differences are just scratching the surface, hence the problem we’re dealing with in the media, and in schools.
Dot Paintings found on Central Australian broad shields
Dot Paintings found on Central Australian Broad Shields
Aboriginal art is presented to the world by the Australian media in an uninformed, sloppy and alarmingly negligent manner. It is an overwhelming lack of care which provides a vehicle for the mono-culture stereotype to be perpetuated around the world. It is also a major reason why Koori people throughout New South Wales and Victoria are more familiar with the art styles of other Aboriginal cultures, and have adopted them in place of our own.
Throughout South Eastern Australia canvases are commonly filled with dots, because for a long time we didn’t know any better. Many Koori people are only now just realising that we can access the artworks created by our ancestors which are held in major collections in Australia and abroad. We can tap into a treasure trove of knowledge and stories. Koori artists are connecting with the past, learning about our own traditional practices and reinvigorating them.
Artists are producing animal skin cloaks, tools and weapons, body decorations and many other aspects of traditional material culture, emblazoned with designs inspired by those created by our ancestors.
In South Eastern Australia our arts are unique. In fact, no matter where you travel on this continent, the arts of the First Peoples of any given area are unique. Painted works, carved timber artefacts, jewellery, or music from one region will generally contrast quite heavily with the styles, form and reasons found in another. Australia pre-invasion was a land blessed with great artistic diversity. Koori people in New South Wales and Victoria share many common threads in artistic expression, which contrast with the rest of the continent.
SE Australian Aboriginal Shields: Close Up
Artwork found on Koori Parrying Shields from New South Wales & Victoria
Koori visual art is traditionally dominated by concentric lines and geometric shapes interspersed with images of culture, country and daily life. From birth we would be wrapped in our mother’s animal skin cloaks. As children we would learn about our country, and as we transitioned into adulthood we would learn our sacred stories and aspects of culture through music, dance and visual representation. Even in death, our burials were often marked with artistic expressions of who we were. Dots rarely appear in our art, just as lozenges (diamonds), herringbone (zigzags) and chevrons (vee shapes) are rare in the artworks of Aboriginal people in other parts of Australia. Traditionally Koori people didn’t create X-ray style art as found in Arnhem Land, and we didn’t create the breathtakingly beautiful clan designs that were painted onto warriors shields in the rainforest country of Northern Queensland. Ours are works of art that help to define the many Nations of South Eastern Australia as distinct from the rest of the continent, whilst also serving to illustrate variances within the South East.
“I wanted to create a superhero for my son,” says Ryan Griffen, the creator of ABC TV (Australia) / Sundance (USA) co-production of Cleverman.
Set in a dystopian future, Cleverman is a new television series which provides an opportunity for Ryan Griffin’s son to see what many have suggested is the first Aboriginal superhero. But if we look back over past efforts we find that there are a number of prior examples that have set the stage for the appearance of the new newest in a line of Indigenous Australian superheroes.
For a look at the first Koori or Aboriginal superhero, we reach back to 1973 and the first television program written by and featuring Aboriginal people. Basically Black was a program which featured a comedy skit “Super Boong.” Here was a hero with a decidedly racist term for a name, even in the days of the early 1970’s. Super Boong was a parody of Superman in the camp style of George Reeve and was the brainchild of legendary activists and civil rights leaders Gary Foley and Bob Maza. The character was designed to afford a few laughs but along with the rest of the characters of Basically Black, Super Boong gave audiences something rare and important – a glimpse at black Australian people, away from the evening news where we were invariably portrayed as victims or criminals. The show was imbued with a deliberate layer of social commentary which acted to tackle racism head-on.
Condoman
Condoman
The next effort that might be seen as an Aboriginal superhero, is another character whose origins began in social commentary. “Condoman” was created as a tool for the promotion of safe sex practices in the early 1980’s. Condoman took its visual cue from Lee Falk’s “Phantom“, which has a long history as the most popular comic character within Aboriginal Australia. A fact which may be owed to the somewhat unusual point that the Phantom is a character who has always been portrayed as one who treats black people fairly, whilst also being reliant upon them and their kindness for his successes. It is no great surprise then that the Phantom was also licensed from King Features Syndicate for the production of a comic book which showed the character interacting with Aboriginal people, promoting electoral procedures and the importance of voting.
The 1980’s also saw the arrival of a slew of Aboriginal characters, based in US publication houses – DC and Marvel. At this time Australia was the flavour of the month in the US, with Crocodile Dundee having topped the box office charts, whilst Aussie musical acts like Midnight Oil, ACDC and INXS were household names across America. It was only a matter of time before comics jumped on the bandwagon, and that began in 1988 during the bicentenary of the invasion of Australia
What the future may hold for heroic depictions of Koori people, or Aboriginal people in general is hard to tell. Certainly it remains to be seen whether the likes of Lin Onus’ painting of Kaptn Koori, or any other black driven characters will supplant those characters already being produced with respect, but indelibly without any depth, or firsthand knowledge. We can certainly hope.
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