The Phonetics of Sound - An interview with Kenneth Sands

by Ed Drury

First hand experience with the Aboriginal people is essential toward so many things I am interested in. Didjeridu playing, ecology, spirituality and humanity seem like such inadequate topics when compared to the reality of a people who's rich culture has survived thousands of years on a planet where my culture is but a recent footnote. A footnote which contributes to the replacement of the sacred with the profane and mundane day to day realities that comprise my daily struggle on the planet. My everyday world gives little attention to the importance of the past, the awareness of the present or the preparation for the future.

As I think back to getting my first "real" didjeridu, I remember thinking about the man who made it. Wondering what kind of man he might be. What his family and friends were like. What would this stick sound like if he were to appear and play it for me. Eventually, I located recordings of his playing. He sounded much different than I could imagine. Surprisingly, I met a man who knew him almost thirty years ago and learned a little about him as a young man. And more recently, I met a man who knows him now. This meeting brought tragic news that the maker of my didjeridu, a brilliant artist, probably would be dead soon - from alcohol abuse. That he spent his time in a bar doing paintings for the patrons in exchange for beers. Well, that can happen to anyone. Because he is Aboriginal, maybe few people care. Because he is Aboriginal, maybe few are surprised. But it is because he is human, we should be concerned. What is this affliction that we all share? Categorizing everything. Living - nonliving. White - Black. All comes from the same place, I'm thinking. All on it's way to somewhere. Everything contributing to the big picture we're drawing.

This month, I'd like to introduce you to one traveler. Kenneth Sands is a human who has had the experience of knowing the Yolgnu people and has the courage to speak out on some issues surrounding the popularity of the didjeridu, it's influence in the western world and the appropriation, exploitation and misunderstandings which are occurring.

Kenneth just completed production of a CD called `RESONANCE` ,after the didjeridu band he formed with a New Zealand friend and `brother`-Jeremy Cloake. Jeremy is an outstanding yirdaki player and musician, who has lived in Central Australian communities.

They formed the unit 2 years ago and have gigged around New Zealand and played at schools. Spreading the word about the Yolngu and traditional yirdaki.

The CD is 12 tracks, an odyssey through the forests, deserts and oceans of New Zealand and Australia.

They call their music `ORGANIC DANCE DIDJERIDU` and instruments featured are: yirdaki, bilma, djembe, dun dun, samba, shakers, log drums, vocals, orcas, NZ birds, Oz birds, cicadas, crickets and frogs!!!!!!!

[Kenneth] I came to meet Djalu when I was living in Broome,W.A..I contacted a friend who worked in the region where Djalu lives in N.E. Arnhem Land and she was very good friends with him. We arranged for me to come and stay in the area for a month and to subsequently visit Djalu himself.

I spent all this time just getting to know everyone there in simple terms of friendship, without pressing for information or tuition. In becoming `mates` with everyone-I gained a genuine `once-in-a-lifetime` experience and more insight into Yolngu lifestyle than years of 2nd hand knowledge from books and other sources.

I visited Djalu in Dec`96-Jan`97,and went there with my very, very good friend and accomplished didjeridu player from Germany-Henning Gerlt.

[Ed] During this time, was language a problem? Can you comment on the difficulties of learning the language of NE Arnhem Land?

[Kenneth] Language wasn't a problem there.Djalu spoke quite disjointed English but family and friends spoke articulate English. I was told rudimentary words that helps keep a conversation from being disjointed. I learned a little bit, but having been away from the Yolngu for over 2 years, it has lapsed into the mists,apart from a few words.

I bought a dictionary of Gupapungyu-English which helped remind me of the phonetics and tongue positions, but hearing everyone around you talk at breakneck speed was the best inspiration.

There are hand signals that the Yolngu use to communicate and these helped sometimes too. A lot of conversation is unnecessary at times and communication can be used through other means too.

I was astounded by the young lads at N.E. Arnhemland, they constantly practice the dialects for Yirdaki Songs and try to outdo each other by reciting them faster than their mates! This definitely is a major factor in the training of youngsters.

I use some of these dialects to practice my playing and to strengthen the tongue and facial muscles. But my pronunciations are obviously, through only minor exposure to the languages, not as articulate.

I could not pronounce certain phrases no matter how hard I tried, my tongue, because of the English language, was severely inflexible for the articulations!!

I managed to get DAT recordings of some clan songs and the Yolngu were extremely helpful in letting me record them pronouncing the exact dialects (phonetics). This is Gold mine material for a didj-player!!

[Ed] Gold mine indeed. Can you explain a little bit, what constitutes a "Clan" song? Is it a matter of ownership, style or a bit of both which separates it from other types of songs?

[Kenneth] From my limited knowledge ,the songs were distinctive in both style and ownership,to the people staying in that area of N.E. ArnhemLand, these people WERE from different clans but the song styles are different from Central and Western ArnhemLand mobs. I am not sure where each song I heard, came from, clan-wise but I do know everybody involved in the singing and playing spoke similar languages, of which there are MANY in N.E.ArnhemLand. So, perhaps the clan songs are unique to collections of language groups within regions of ArnhemLand. From what I have heard from Central and Western ArnhemLand recordings, the group I was with had a very distinct yirdaki-style.

[Ed] Do you feel that part of the distinctiveness of the NE Arnhem Land yirdaki style is related to the languages of the region?

[Kenneth] I feel that the dialects are more distinctive than the actual influence of the languages themselves. Sure, it will have some degree of influence, but considering I haven`t heard (firsthand) any Central or Western ArnhemLand languages I can't be concrete about that.

But,personally, I`d say that the dialects (phonetics) of a clan area, dictate the yirdaki style. The delivery and complexity of N.E.Arnhem Land dialects, for yirdaki, seem to be faster and greater,respectively.

I can't say whether that is the same for the languages though.

This is from my experiences of listening to the great archive recordings of A.P. Elkin and my own time in Arnhem Land.

[Ed] How about instrument selection? You've spent time with Djalu who makes some of the most sought after instruments on the planet. What are your understandings of the requirements to make a 'proper' yirdaki?

[Kenneth] In its simplicity, yirdaki-making was a question of timing. If you cut a StringyBark (the material used in Djalu`s area) too soon before the termites have finished their job-the internal diameter will be too small at the top of the log (the mouthpiece), and conversely, if you cut the tree too late the diameter will be great at the distal (bell) end but hopelessly too wide at the mouthpiece. Djalu`s yirdaki are typical of the region-heavy and around 6ft tall (men`s ones, smaller for boy`s). There is a belief that Yothu Yindi/N.E.ArnhemLand Yolngu prefer high key yirdakis -F/G etc., but my friends,including Djalu,always had low pitch instruments. When I made my yirdakis to E#, Djalu and company found the sound quite different. They still attain fast, complex rhythm patterns on low key sticks, unlike EVERY balanda player I know who insists that 'the higher the key,the faster the didj!!'.

It is obviously our lack of phonetic dexterity that instills this belief.

All my time with Aboriginal players has shown me an important fact: What constitutes a 'great yirdaki' , may be seen as average by Balanda. We have different playing , sound requirements for didjeridu than the Yolngu. I find that we seem to prefer instruments that have a reverberative sound and medium back-pressure (on the whole).

Yolngu I met prefer low-key 'dull'/short sounding sticks that have enormous back-pressure!!

It is amazing to hear the difference when you try to play a respected Yolngu stick, and then it`s owner plays it right after you! They play with such power, speed, emphasis; and (most noticeably) with such infectious rhythm!!!

And that's just the 7 year-old boys we spent time with!!

The kids play yirdaki better than any balanda I've heard!!

Djalu was quite distinctive when shaping his sticks. I learned that a lot of profiles of yirdaki are actually attained through shaping the logs. Bells are shaped from BIG logs with narrow diameter holes at the mouthpiece end and WIDE diameters at the distal end. A lot of wood comes off the log at the mouthpiece end!!

Djalu was extremely dexterous when using his heavy two-hand ax with one hand!! 4 chops to the tree trunk, around the base, about 2 ft up from the ground, check the internal diameter and (if it's suitable)down comes the tree. He would leave the downed logs where they fell and we`d head off to find other ones. After cutting about 7 logs, he'd take us back (how he navigated the Stringy Bark forests I will never know!) to find the logs and then lug them back to his place for stripping,shaping.

I found out that Djalu would only ask for $100Aus for an unpainted yirdaki, so when you see a Djalu stick in a gallery,and there are a lot that have them, for around $800-$1000 US,ask yourself where does the money go? It certainly DOESN`T go back to the Yolngu.

I have been told by my Yolngu friend about one individual who got 25 PAINTED yirdakis from Djalu,involving a few Yolngu to paint them, and only paid him $1000 Aus for the lot!! Djalu was promised $4000Aus (which is still ludicrously under paid). These sticks will appear in these aforementioned galleries around the world. This information, to date, is straight from one of Djalu`s close friends.

I was privileged to learn how to make yirdaki from a master.Djalu is a BUFFALO of a man but working in the humidity and heat takes it out of the guy and every time he gets a big order from his balanda `friends`,it`s more time away from his other duties as a father,clan elder and lawman for the Yolngu. I feel he doesn't get NEARLY enough remuneration for his efforts. But he is such a sharing,caring man that he wont say no to work.

[Ed] Do you know the members of Yothu Yindi? How do you feel about their music and the use of traditional songs in their performances and recordings? Are their instruments as you described above? Are the intsruments they use for performing different from those heard on say, "Tribal Voice" or "Homeland Movement"?

[Kenneth] I met Mandawuy Yunupingu and Yoemunu, their present Yirdaki player, stayed next to Djalu so I had a few chats with him too!

I met one of their dancers, Tony, too.

I like some of YY`s music,mainly the more traditional upfront-yirdaki tracks; 'Homeland Movement' being their showcase of the best yirdaki anywhere!! They do think carefully about what songs to release to balanda ears. I don`t think any are culturally sacred except from the obvious significance of traditional music!

Djalu and Yoemunu were flattered at my attempts to imitate their Yolngu style (based on 'Homeland Movement' inspiration), not angry at any 'plagiarism'. For me to have developed this style, showed them my commitment to yirdaki as a musical instrument, not as a 'fad'.

I feel this was catalytic to them sharing so much 'culture' with me and traditional yirdaki techniques!

I have read about the production of YY`s albums from Neuenfeldt's 'From Arnhemland to Internet' book, if the article is correct, I am appalled at the yirdaki-loops employed, and generally on the 'rock' tracks, I feel the yirdaki is mixed too low compared to the bass guitar/drums.

I am proud of what YY has done, they are heroes in N.E.Arnhem Land, and they regularly put on free shows for the communities there. They have done so much to bring to awareness RAW Aboriginal culture and music, which, apart from commercial exploitation,has highlighted the need for cultural preservation. And they have shown the world THE way to play Yirdaki!

The instruments they play, I have only seen in concert, but considering they ARE Djalu's, I'd say they would be fashioned the same way and play much the same. The classic 'flared-bell' bell didjeridu seen on covers, etc, is a very rare instrument indeed. Djalu said there where only a few places to get them, and a lot of exterior work was required to wittle the shape correctly. A few of YY yirdakis seen on stage look very narrow and unspiring, but again , the man at the mouthpiece makes all the difference.

Yoemunu complimented me on my playing - he said I was great - my ego took a while to shrink back to normal,in fact , it did so the next day during a tutorial with Djalu; VERY HARD!

I watched him pick up a `rough-as-guts` log at a craft centre and play it like the best yirdaki you would ever hear!! I had tried to play it earlier but the WIDE mouthpiece and sharp,unworked wood made it impossible!

Incidentally, when we cut a log with Djalu, it was playable the moment the mouthpiece was cleared of debris-wood!

Sometimes I couldn`t get a note, but of course, Djalu pumped away on them!!

[Ed] You told me in an earlier conversation that Djalu had told you to share the things you learned from him with as many people as possible. What do you suppose is the most important thing which you learned from him that he would want you to tell people?

[Kenneth] Definitely that his culture, Yolngu culture HAS to be preserved. Even though he is converted towards christian beliefs (sometimes above his Yolngu background!!!!!!), he is insistent that their lifestyle be preserved as much as possible.

Through sharing with those races of people responsible for threatening this lifestyle (historically) , he believes the message will get through. Spending time immersed in this culture taught me the true value of Australia: a place where the oldest culture is still strong, struggling, but STRONG. We have to honour these people through respect and space for cultural expression and NOT through exploitation or choking them with waves of visiting Balanda, eager for the BEST yirdaki or bark paintings.

I worry that 'Garma' in July and advertising workshops with Djalu on the Internet will abuse the Yolngu`s sharing nature and open up the flood gates to all the weasels that have diluted and exploited Aboriginal culture throughout the rest of Australia.

It seems the sanctity of Arnhem Land could be dangerously close to be despoiled by US.

[Ed] How, in your opinon, is the best way to honor and respect these people and at the same time support their efforts to maintain their traditions and most importantly the land which sustains them?

[Kenneth] Best way to honor and respect these people would be achieved through :
1.Abandon the Western New-Age preconceptions of Aboriginal people. I have never badgered the Aboriginal players about 'healing' with the didjeridu. This is a obsession with a great many 'balanda', who ( I feel) miss the point of traditional playing and don't see the power of intense rhythmic playing. Perhaps because we can't achieve this level of playing, we go down the 'meditation' road of passive playing and start grafting bizarre beliefs, from totally inappropriate cultures, onto Aboriginal playing. The intoxicating, hypnotic effect I felt witnessing traditional playing/singing and dancing (extremely fast, complex yirdaki) cannot be approached by so called 'healing' didjeridu. To be blunt: stop being lazy and honor the instrument by making it dance!!!

Djalu was (in a different turn of phrase!) insistent that yirdaki be played hard and fast! This contradicted what I learned in my years of playing and learning from 'balanda'!!!!

This philosophy of no preconceived notions of spirituality can apply to all aspects of Yolngu culture, I feel it is an insult to presume to understand the spiritual beliefs of the Yolngu without ever having lived for a long time in their way of life. I will not approach this aspect due to my personal lack of experience in this area. But many people profess to know how to heal 'like the Aboriginals' with the didjeridu!!!!I hope they have the authority of the people who showed them if this is true.

The Yolngu would NOT be happy. All in all, my Yolngu friends were bewildered when I told them about people healing, they just laughed and went on playing 'full-on' yirdaki, whilst everyone tapped their feet or danced. The true spiritual quality of Yirdaki is the way the Yolngu communicate the essence of manikay (song) to the dancers and singers to really create an atmosphere of ceremony or celebration. The fact that yirdaki is an everyday pastime reflects how it is a complete part of their culture and not reserved for secret sacred ceremonies, though their may well be occasions where this is the case.

2.Learn about what's happening in Australia to Aboriginal societies; the political and social implications of mining, development, tourism and commercial trade in Aboriginal goods. There is no substitute for first hand experience and I had my eyes opened wide by my experiences in Australia. No books or chats could have prepared me for that. It is a truly awesome country, and when you feel the power and ancientness of her skies, oceans, deserts and forests you will re-evaluate everything you have believed about Yirdaki and Aboriginal people. And be wiser for it.

There are some disgraceful social situations in Australia at the moment, its as if balanda society there cannot see the value of the indigenous people, their wisdom and culture are completely lost to the modern Australian. Perhaps the world doesn't need to be taught as much about the Yolngu ways as Australians themselves do.

3.The Yolngu need their Land and their personal space. They appreciate our desire to learn their culture, almost flattered, but we must apply the same rules of basic human etiquette to them as we do to each other. This is common sense, but I see it forgotten so many times. The same goes for trade. I feel it is our duty to spread the value of their culture throughout the world, those of us who have been privileged to share in it, but without diluting it, confusing it or exploiting it.