Music, Dance and the Archive

Amanda Harris is a Senior Research Fellow at Sydney Conservatorium of Music, University of Sydney and Director of the Sydney Unit of digital archive Pacific and Regional Archive for Digital Sources in Endangered Cultures (PARADISEC). Amanda is interested in hearing the voices of those often excluded from conventional music histories through collaborative research focused on gender and intercultural musical cultures. Her monograph Representing Australian Aboriginal Music and Dance 1930–70 was published by Bloomsbury Publishing in 2020.Linda Barwick is a researcher and writer whose interests include nurturing creativity, honouring intergenerational wisdom and promoting diversity of thought and compassionate action. She enjoys gardening, bridge, grandchildren and cats, and is Emeritus Professor at Sydney Conservatorium of Music, University of Sydney, and a Fellow of the Australian Academy of the Humanities.Jakelin Troy (Jaky) is Ngarigu of the Snowy Mountains, called by Jaky’s community Kunama Namadgi, in south-eastern Australia. She is Director, Indigenous Research at The University of Sydney and founded the Sydney Indigenous Research Network (https://bit.ly/3SpWQF1). Jaky is conducting research with Linda and Amanda into the use of historical records locked in the archives to support her own and other Aboriginal communities to recover and maintain language, cultural practices, performance and music. Recently she has been working with communities in north-west Pakistan to support their cultural activism as they document and share their language, music and performance.

• List of figuresList of tablesThe contributorsList of abbreviations1 Embodied culture and the limits of the archive (doi: 10.30722/sup.9781743328675.01)Amanda Harris, Linda Barwick, Jakelin Troy2 “I’ll show you that manyardi”: Memory and lived experience in the performance of public ceremony in western Arnhem Land (doi: 10.30722/sup.9781743328675.02)Reuben Brown and Solomon Nangamu3 Ruatepupuke II: Māori meeting house in a museum (doi: 10.30722/sup.9781743328675.03)Jack Gray and Jacqueline Shea Murphy4 Animating cultural heritage knowledge through songs: Museums, archives, consultation and Tiwi music (doi: 10.30722/sup.9781743328675.04)Genevieve Campbell, Jacinta Tipungwuti, Amanda Harris and Matt Poll5 The body is an archive: Collective memory, ancestral knowledge, culture and history (doi: 10.30722/sup.9781743328675.05)Rosy Simas6 Music, dance and the archive: Reanimating 1830s Nyungar songs of Miago (doi: 10.30722/sup.9781743328675.06)Clint Bracknell7 Authenticity and illusion: Performing Māori and Pākehā in the early twentieth century (doi: 10.30722/sup.9781743328675.07)Marianne Schultz8 Bodies of representation and resistance: Archiving and performingculture through contemporary Indigenous theatre in Taiwan (doi: 10.30722/sup.9781743328675.08)Chi-Fang Chao9 Mermaids and cockle shells: Innovation and tradition in the “Diyama” song of Arnhem Land (doi: 10.30722/sup.9781743328675.09)Jodie Kell and Cindy Jinmarabynana

“A radical and necessary intervention in our consideration of the archives and the records, and… a particularly genius approach to bringing the archives to life… This is the task for all of us - we must reanimate the archives, and this is the true decolonisation of the archives… To have the Traditional Owners take these elements of cultural heritage and bring them back to life in their own cultures, reanimating them, re-embodying them, and re-emplacing them in Country… This is the task – liberating the archives, re-embodying the archives.”Professor Marcia Langton launching Music, Dance and the Archive, online, hosted by Indigenous Knowledge Institute, University of Melbourne, 1 December 2022