The Drumley Walk: Promoting Health through Poems and Songs that Remember Yugambeh Aboriginal Leaders and Languages
Title: The Drumley Walk: Promoting
Health through Poems and Songs that Remember Yugambeh Aboriginal Leaders and Languages
(Presented at Gold Coast Health and Medical Research Conference, 2013)
Director, Music Health Australia.
Email: kirkwood13@bigpond.com
Abstract:
The Drumley
Walk is an annual three-day walking pilgrimage from Beaudesert, south of
Brisbane, to Southport on the Gold Coast. The 65 kilometre journey follows the
footsteps of Beaudesert Aboriginal identity Billy Drumley. In the early 1900s
he trekked through farmland and bush to visit his sister Jenny Graham who lived
at Southport with her many children and grandchildren. Rory O’Connor, the Walk
Director states the aim of the Drumley Walk is “to honour Aboriginal Elders of
yesteryear, for their resilience and courage to keep living on their
traditional lands.” The event which is run by Drumley’s descendants also
remembers other local leaders whose stories form an integral part of today’s
community of people associated with the Yugambeh language region. The purpose
of the article is to reflect on my experience as a walker and volunteer on the
Drumley Walk from 2009 to 2011 and features of the songs and poems that promote
health. The Walk is continually evolving, so ethnographic writing and
performance of newly composed song and dance is encouraged as part of the
walkers’ creative activities and reflection on their journey. My ethnographic description
of the Walk relates to my perspective as an occupational therapist and ethnomusicologist.
I analyse how the songs and poems created for the walk promote resilience in
the face of societal, economic, political and environmental change. The
discussion highlights how songs and poems safeguard remnants of traditional
Yugambeh language and reveal a continuous transmission of Caring for the
Country values through to the present day.
INTRODUCTION
The
Drumley Walk is an initiative of Rory O’Connor and other descendants of Billy
Drumley – an Aboriginal man who regularly walked from Beaudesert to Southport
to visit his younger sister Jenny Graham and her large family, in the early
1900s. The organisers describe the Walk as “an annual pilgrimage to honour
Aboriginal Elders of yesteryear, for their resilience and courage to keep
living on their traditional lands.” The three-day walking pilgrimage also
remembers other local leaders such as Bungaree, Sandy, King Coolum and his son,
Joe Culham, Bilin Bilin – King of the Logan and Pimpama, Bullumm (John Allen),
Jenny Graham, Warri and others whose stories form an integral part of today’s
community of peoples associated with the Yugambeh language group. The Yugambeh
Aboriginal language region extends from the Logan River at Beenleigh in
south-east Queensland, to the Tweed River in northern New South Wales –
including North Stradbroke Island, Mount Tambourine and the Gold Coast.[1] Yugambeh language is
similar to other traditional language dialects spoken in the surrounding
Bundjalung area, from the Logan River in Queensland, to the Clarence River –
near Evans Head in New South Wales.[2]
The
purpose of the article is to reflect on my experience as a walker and volunteer
on the Drumley Walk from 2009 to 2011. As an occupational therapist and
ethnomusicologist, I focus on analysing how the songs and poems created for the
walk promote resilience in the face of societal, economic, political and
environmental change. Through discussing examples of songs and poems, I
highlight how ‘Caring for Country’ can be part of eco-tourism, environmental
protection, and cultural heritage maintenance. The relationship of Aboriginal
people to their traditional land, known as ‘Country,’ has been applied to
understanding their health and well-being.[3]
I describe how the knowledge passed down through songs and general features of
the Walk support ‘Caring for Country,’ defined as “viewing and/or actively
interacting with features of the biophysical environment that provides
spiritual, cultural, historical or emotional meaning.”[4]
The Alma-Ata Declaration[5]
addresses the importance of ‘Health for All.’
According to the World Health Organisation, health is defined as, “a
state of complete physical, mental and social well being and not merely the
absence of disease or infirmity.”[6]
Supporting people to create songs and poems on the Walk engenders a performance
ethnography which helps to connect people with Country and maintain use of
Yugambeh language to keep culture strong. Walkers are from diverse cultural
backgrounds, not only Aboriginal Australians, so there is potential for
developing greater understanding of Yugambeh culture and building relationships
to promote reconciliation.
THE DRUMLEY WALK AS SHARED EXPERIENCE
Jenny Graham, Billy Drumley’s sister and wife of Andrew Graham, was known as Granny
Graham within her family. She used to say, ‘History begins in your own
backyard.’[7] That is exactly what I
discovered on the Drumley Walk. It provided a unique opportunity for people
living in metropolitan or rural areas to participate in a communal walking
journey that traversed Sid Ludwig, Jack Egan and Fraser’s farms; through the rainforests
and artisan retail outlets and restaurants of Mount Tambourine, to the surf,
sun and sand of the golden beaches of Southport on the Gold Coast in
Queensland, Australia. The experience is physically challenging and helps to
reconnect people with the history and culture of the traditional Yugambeh
Aboriginal language region. The Walk was led by descendants of Billy Drumley,
Aboriginal Elders, and volunteers who form part of the Yugambeh Aboriginal
community and support the work of the Yugambeh Museum at Beenleigh, Queensland.
Having lived in metropolitan
areas for most of my life, it was quite a new experience for me to walk
continuously and camp overnight in picturesque natural settings with diverse
native flora and fauna. I enjoyed socialising with travel companions from a
wide range of ages, who had diverse vocational, recreational and cultural
interests. It was a way of breaking out from the usual routine of the
work-a-day world into the quieter, less densely populated rural areas of the
Gold Coast hinterland. It was no easy ‘walk-in-the-park,’ however, the walk was
physically taxing and I felt exhausted in the twenty-four hours that followed,
but somehow had the sense that I would never be quite the same again. I learned
about my own physical strengths and weaknesses as I was introduced to some
semblance of the very physically active lifestyle of the Yugambeh Aboriginal
peoples. Part of the experience involved composing and sharing songs and poems
to safeguard Yugambeh language and remember Aboriginal leaders from the
Yugambeh languages region. The Yugambeh Elders, descendants and staff of the
Yugambeh Museum were available to provide explanation and advice on cultural
matters throughout the event.
SOCIAL AND ENVIRONMENTAL CONNECTIONS IN
SONGS AND POEMS
The songs and poems created for the Walk are connected with the ideas of
local people and promote environmental awareness. For example, during the walk,
I grew to appreciate the diversity of wildlife through noticing unfamiliar bird
calls, and seeing an eagle soaring overhead, which was pointed out to me by
fellow walkers. This appreciation of the
natural soundscape led to my search for ethnomusicological and anthropological
information about Aboriginal interactions with birdlife and I started
investigating traditional Indigenous songs and stories relating to birds. In
2010, I was informed by Kathleen Williams, one of the Yugambeh Elders that she
thought it would be good to have a song about Jingeri, a word used for greetings, which comes from Jingeri- Jingeri, the sound of the Willy
Wagtail birdcall. The emblem of the Willy Wagtail is prominently displayed on
the front of the walkers’ T-Shirts and other promotional material for the
Drumley Walk so this gave additional significance to birdsong. Through
observations and discussion with Elders, I discovered that songs, stories,
artwork and educational presentations helped to enhance my understanding of the
important relationships between human health and the ecology of the Yugambeh
language region.
In many Aboriginal language groups, the concept of songlines are understood as
spiritual journeys in sacred landscapes, which implies more than our simple
understanding of songs and music. Through walking through the region, I
experienced the natural environment first-hand and could better appreciate the
spiritual significance of the songs and stories from the Yugambeh language region.
The lyrics of new songs and poems which were on show at the Pre-Walk Community
Dinner are part of the heart and soul of the Drumley Walk experience, and
represent peoples’ personal journeys of reflection and storytelling, as the
following excerpts reveal.
ANALYSIS
OF SONGS AND POEMS
‘Dancing on the Breeze: The
Ballad of Billy Drumley,’ lyrics composed by Gary Williams,
recounts the memories of Billy Drumley’s life that have been passed down
through his descendants’ oral histories: ‘A master of the broadaxe, Drumley
carved the beams with skill of the churches and the houses round the town…He
was a boxer, runner, cricketer of renown…He’d catch buneen – echidna for the kids.’ The chorus excerpt connects with
the experience of walking with friends together, sensing the environment and
being aware of the spiritual presence of ancestors:
Chorus: Yanbelilla - going walking
Ngauraien – plenty walking
Jimbelung – friends together, walking
through the trees
Can you see it, can you hear it
Can you sense it, can you feel it
Bullogahn – Billy Drumley’s spirit,
dancing on the breeze
This ballad commemorates the
leadership example set by Billy Drumley, indicating resilience by continuing
uninterrupted transmission of folklore, language and spiritual values of
Yugambeh people that is critical to ongoing connection to Country. The tone and
lyrics of the ballad promote reconciliation values of journeying together as
friends. I devised a simple tune to accompany the lyrics, but this has not yet
become part of the Walk repertoire (Figure 1). The style of musical composition
is contemporary, to support the strophic form of the ballad lyrics. I chose a
simple melody because Walkers appeared to be comfortable singing ballads and
popular music standards around the campfire during the 2009-2011 Drumley Walk.
Figure 1: Excerpt ‘Dancing on
the Breeze: The Ballad of Billy Drumley’ music by Sandra Kirkwood
‘My Black Heart,’ a
poem by Sally MacKinnon (2008), reveals a desire to learn through embodied physical,
sensory experience and spiritual awareness of the journey. ‘In Murri time these wise guides and elders
arrive as friends, sisters, teachers to oh-so-subtly show us pathways back to
country…’ The last verse excerpt says:
I sit motionless in the sun and
walk the forests
to learn to see and hear again.
This is a quiet underground
journey
with no clear destination
because there is no end point in
a circle.
The awareness of environmental
features and communal social significance is evident in this excerpt of Sally
MacKinnon’s ‘Scar Trees: A Love Poem’
(2008), which begins:
Dotted
across this landscape
of ridges, valleys and flatland
stand the scar trees
Alone
singularly mapping the ancient Yugambeh paths
connecting people and place…
‘My
Father’s Voice,’ a ballad by Rory O’Connor, is written about the true
story of the abduction of a group of boys from the Yugambeh Language region of
south east Queensland, sometime around 1859. O’Connor states that the story was
retold by at least two survivors to local historians in the late 1800s.
Thanks
to their diligent diary work, we are able to piece together the event and give
the characters dimension. As well, the Lt Wheeler mentioned in this poem, had
his public life well documented, as he was a man of notable infamy. He and his
brother were dismissed from the force for excessive violence. And the
Aboriginal people in the story also had their lives documented, as they went on
to be identities in the region (Personal correspondence Rory Connor, August 25,
2011).
The
description of events concerning Lt Wheeler and native police has also been
recorded by descendants of Billy Drumley.[8]
Putting the story into ballad form facilitates the transmission of historical
knowledge concerning Yugambeh peoples from one generation to the next. This
oral tradition is an effective strategy that Aboriginal peoples have used to
build collective memory, remembering how those who have gone before them
triumphed over hardship. It allows contemporary audiences to reflect on their
deeds in relation to the policies and practices which were in force at that time,
concerning Aboriginal peoples. The verses tell the action part of the story,
while the chorus is more reflective:
V1 ‘There was the kid that we called
Poombooran – (he smelt a bit you see)
Plus Slab, Yalloman and Benstead,
Warrum, Kipper Tommy and me.
We played by Coomera River, and from
the Logan to the Tweed,
Just little boys, in my Father’s
country…
V5 Lt
Wheeler ran this camp, and he ruled with whip and sword
We called him Bloody Wheeler, a man of lust and gore
And he brutalised us children to make us soldiers for the cause
And to make us, bloody like him…
Chorus: I hear my father’s voice,
He
says I’m waiting here for you
And
where-ever you find yourself – you’ll always be my son
If
you make it home my boy…
Ah
but even if you don’t
I’m
waiting here, waiting here for you.’
I
concluded from discussion with some of the authors in 2011 that self-expression
through newly composed songs may assist people to come to terms with hardship,
loss, grief experienced by Stolen Generations communities due to forced removal
of children from their families and communities. Kingsley and colleagues[9]
indicate that “Aboriginal Australians suffer from higher levels of
psychological stress, discrimination, distress and trauma compared with other
Australians.” The concept of ‘singing trauma trails’ through songs of the
Stolen Generations has been described as a form of social justice that brings
healing by ethnomusicologists Katelyn Barney and Elizabeth Mackinlay.[10]
Further development of Aboriginal Australian healing practices may occur
through the inaugural Symposium on Aboriginal and Torres Strait Islander Music
Well-being, which is to be held in Melbourne, Australia later in 2013.[11]
Australian
music therapist, Felicity Baker, and Tony Wigram provide extensive guidance on therapeutic
song writing which may further processes of healing for people who have
experienced cumulative trauma or disadvantage. This is mostly described as led
by the music therapist rather than self-initiated.[12]
Lar Ole Bonde has attempted to define the diversity of approaches to music and
health, stating that ‘ “Musicing” is a relational term. Even when there is no
music therapist, community musician or music educator present, a person will
establish a physical, psychological or spiritual relationship with the music
chosen or offered.’[13]
Elizabeth Mackinlay has outlined the value of performative pedagogy and
dialogue in teaching and learning Indigenous Women’s music and dance in
tertiary education contexts; similarly the process of dialogue is facilitated
by the educator.[14] Throughout
Australia, educational programs provide service learning opportunities for
tertiary students who visit Aboriginal Australian communities to learn from
immersion experiences. These short-term projects may incorporate examples of
song-writing and dance within digital storytelling by students, provides mutual
exchange that is aimed at supporting musical development and cultural
maintenance.[15]
Ethnomusicologists, such as Gregory Barz[16]
and Benjamin Koen[17]
have written about social action which they undertake as a form of medical
ethnomusicology with people and communities that experience social inequities
and health issues. All of these new areas of practice research have some
relevance to facilitating peoples’ cultural engagement. The Drumley Walk is
markedly different in that the songs, poems and education has been developed by
the community of people associated with the Yugambeh language group themselves.
This exemplifies a community-led approach to cultural development. My role has
been as a participant-observer, rather than therapist or facilitator of song
and poem writing.
Performance Ethnography
My
understanding is that the songs and poems created for the Drumley Walk
constitute a form of ‘performance ethnography,’ while possibly related to some aspects
of therapeutic, educational and community cultural development agendas. In a
previous article,[18]
I wrote about how my experience of actually performing on the piano while
recounting a story or song, facilitated my emotional expression. In a similar
way, the action of walking through Country can evoke song creation and
storytelling about remembered fragments of languages, and new experiences and
ideas. There is a parallel in performance ethnography -- that has been
described by Norman Denzin[19]
as ‘a critical pedagogy which relates to the politics of culture.’ Bryant
Alexander[20]
describes performance ethnography as ‘the re-enacting and inciting of culture.’
In an
earlier work, Denzin[21]
speaks of ‘interpretive ethnography’ in this way:
I
seek a language, a theoretical framework through which to talk about the
relationships among these terms, about the ways in which capitalism, race,
gender, class colonialism, postcolonialism, pedagogy, and performance
(auto)ethnography are connected. I seek a way to talk about ethnographic texts
turned into performance events, into poems, scripts, short stories, texts with
narrators, drama, action, shifting points of view, plays that are read,
dramaturgical productions co-performed with audiences – life, narrative, and
melodrama under the auspices of late capitalism.
The
poem About Cows by Rory O’Connor is
an example of performance ethnography, because it imparts to walkers the
expectations of how they are to behave on Ludwig Farm so as not to disturb the
cattle. The required social response was adopted by the walkers after Rory
O’Connor performed the poem on Ludwig’s Farm in 2009 - 2011.
About Cows by Rory O’Connor (2007)
(The
Drumley Walk – Ludwig Farm Experience)
Though soft of eye and
big of heart,
Cows… it seems, are not
that smart.
But our job is to grant
them leave,
To wander by and cause
no grief.
Buggerawanna Cows we
say
(means leave them
alone… be on your way)
Don’t cause them fright
nor tease for fun
And most of all don’t
make them run.
They are worth big
money, each bovine
So we approach them
slowly, just take our time
The Ludwig Farm is a
special place.
Please respect it, and
shut gates.
Walkers
are also encouraged to be active in developing their own ethnographies of the
Walk – through creative writing, storytelling, artworks, musical compositions, multi-media
recording, sharing and reflecting on the Walk experience with others. This creative
activity supports the walkers to listen and become deeply connected to the
natural environment and to collaborate with others. The physical,
social-emotional experiences of the walkers are reviewed informally during
mealtime conversation and en-route socialisation. Some people contribute new impromptu
creative works and performances during the Walk or perform at the related
Yugambeh Museum events that are held throughout the year. The Yugambeh
Corroboree was held as a celebration and festival at the conclusion of the Walk
in 2009 to 2011, but this became a separate annual event from 2012 onwards.
Traditional and newly composed song and dance workshops are part of the Yugambeh
Corroboree cultural experience (see www.thedrumleywalk.com).
Traditional language maintenance and
cultural education
In
2012, “the Jaran Dance Company took learners and experts alike through their
paces at the didgeridoo workshops at The Southport School More than thirty
students, all male, watched the professionals at work.”[22]
.An example of a song and
dance that is taught at the Yugambeh corroboree workshops is ‘Choongarra’ (meaning Pelican). The
lyrics were transcribed by Jack Gresty[23]
and reproduced by Yolsa Best, Candace Kruger and Patricia O’Connor.[24]
Candace Kruger, a Yugambeh music educator can be viewed performing the Choongarra song and dance to a
self-composed melody in an interview by Baojing Cai[25]
available through the ABC Indigenous website (http://www.abc.net.au/indigenous/stories/s2753476.htm). This demonstrates the use of
traditional languages in music education programs with children as a way of
safeguarding language and keeping culture strong. Choongarra also highlights the significance of social interaction
with birdlife, through people acting out the sounds and movement of birds – and
the way in which adults transmit this Indigenous knowledge to young people.
A
further example is Nali yanbellila
Yugambeh Jagun, song lyrics that I wrote during the 2011 Walk for
maintenance of traditional Yugambeh language.
In 2009, participants on the Drumley Walk were given a handout of
traditional Yugambeh words and their English definition which was intended for
use in everyday conversation during the Walk. The walkers seemed to have
difficulty learning and remembering to use the new vocabulary, so I
incorporated the traditional language words into a song which I composed with a
simple tune and steady walking beat -- Nali yanbellila Yugambeh Jagun, which
means ‘Let’s go walking in Yugambeh country.’ There is some debate in research
literature about whether putting words to music, or in visual form improves
memory capacity for adults.[26]
The method is considered to be beneficial because it aligns with customary oral
traditions of language transmission through song. The song includes greetings,
place names, and vocabulary for conversing with people about the weather and
native animals that they may encounter on their journey. The cultural education
is supported by Yugambeh Elders who explain traditional practices such as
making string, and showing locations of cultural significance.
Nali
Yanbellila Yugambeh Jagun (Let’s go walking in Yugambeh country)
Lyrics by Sandra
Kirkwood: Yugambeh Museum.
I’m
[…..] walking in Yugambeh country,
Jingeri jingeri all my friends,
Let’s
start at Yilbagan, known as
Beaudesert,
We’ll
gather and have a good feed.
When
all of you mob come back in the morning,
Minyahgu, (Hello),; Jingi Wahlu (How are you)?
Say Yawu, bugal ngay if you are well today,
Or Yugam, yilyal ngay if you are feeling
unwell.
Nali yanbellila Yugambeh Jagun,
(Let’s
go walking in Yugambeh country),
Billabira – It’s a fine day; or I see Duban (fog), and Jugun (clouds) today,
Yanbellila bugal, Good walking!
Along
the way we might see,
Bilin
bilin (King parrot),
Kargaru (Kookaburra) laughing at me,
Nyunga nyunga (Bower bird), and Wogun (Scrub turkey).
Have
you ever seen a Borobi (koala)
Eating
gum leaves? Look out!
There’s
a Buyugulan (goanna) in the tree,
And Karil (pademelon) is looking at me.
Come
along my Kuyahn (possum) through the Kaban (rainforest),
Nali yanbellila Yugambeh Jagun, (Let’s go walking in Yugambeh country),
See
you at Wanalbun (Mount Tambourine)
and Kuwayn (Southport).
Bugarahm naangay (hot weather) is on the way.
RECOMMENDATIONS
Remembering
the purpose of the Drumley Walk, which is “to honour Aboriginal Elders of
yesteryear, for their resilience and courage to keep living on their
traditional lands;” the Yugambeh community may wish to devise further songs and
poems related to their history and culture. Knowledge of certain Yugambeh
leaders is available from primary source documents and oral history recordings,
such as the story of Bilin Bilin (name meaning “many parrots”). Bilin Bilin is
described as a prominent leader because in 1875 he was given a kingplate which
stated that he was King of the Logan and Pimpama. In 1887, he was granted a
free pass on the new railway to visit his married daughter at Beaudesert.[27] Referred to as ‘Jackey
Jackey,’[28]
Bilin Bilin ‘spent time with Pastor Haussmann at Bethesda Mission near
Beenleigh. Haussmann taught Bilin Bilin to read and write and said that he
recognised him as an important man among his people.’[29] Bilin Bilin is reported
to have moved widely throughout the Logan area until he eventually was coerced
to reside on the Deebing Creek Mission in the late nineteenth century.
A newly
composed song about Bilin Bilin’s life may be fitting as a way of passing on
knowledge about him and inspiring participants on the Drumley Walk through his
example of leadership and resilience. There are also features of the native
flora and fauna that can be performed, such as songs inspired by the birdsong
of the Willy Wagtail – as requested by Yugambeh Elder, Kathleen Williams. The
songs created by those associated with the Drumley Walk attest to peoples’ ongoing
connection with cultural traditions of leaders, and the deeply felt value of
continuing to care for Country, now and into the future.
CONCLUSION
The Drumley Walk and the
Yugambeh Corroboree encourage active participation of peoples from diverse
cultural backgrounds through creating new songs, stories and poems as a form of
performance ethnography. The songs and poems attest to the resilience of the
community of peoples associated with the Yugambeh Aboriginal language group
during the period of colonisation, and to the present day. The educational
workshops and cultural experiences which occur throughout the Walk and Yugambeh
Corroboree provide opportunities for safeguarding Yugambeh language, song and
dance. The new song compositions and inter-generational performance of song and
dance supports traditional language maintenance. This creative collaboration
has many possible benefits that could be explored further to develop a model
for Caring for Country that is relevant to Australian geographical and cultural
heritage contexts.
The article highlights the
important role for musicians, composers, linguists, therapists, educators and
ethnomusicologists working in partnership with Aboriginal Elders and culture
bearers to promote connection to Country and health for all. The initiatives of
Billy Drumley’s descendants, such as Rory O’Connor and Douglas James, and the
Elders and cultural advisers are exemplary in demonstrating ongoing connection
to values inspired by Yugambeh leaders, past and present. Further
research is needed to evaluate the efficacy of the community cultural
development initiatives on the Drumley Walk – particularly the potential of the
songs and poems for supporting social-emotional wellbeing of Stolen Generation
communities and reconciliation with other Australians. The learning opportunities
provided through cultural experiences and social inclusion on the Walk actively
reinforce the value of Aboriginal Australian culture. There are indications
from analysis of poem and song compositions and ethnographies of the Drumley
Walk that the shared experience of walking through Country is beneficial as a
way of re-vitalising Yugambeh Aboriginal culture in post-colonial Australian
society. The strategies used on the Drumley Walk may have relevance to people
and communities in other locations that wish to safeguard Aboriginal cultural
heritage and ongoing connection with Country.
[1] Best, Ysola, and Alex
Barlow. Kombumerri: Saltwater People. Aboriginal Peoples. Port
Melbourne: Heinemann Library, Reed Educational & Professional Publishing,
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[2] Gummow, Margaret.
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(2002): 48-75.
[3] Burgess,
P, and J Morrison. "Country." Social determinants of Indigenous
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2007. 177-202.
[4] Kingsley, Jonathan, et
al. "Developing an exploratory framework linking Australian Aboriginal
peoples' connection to country and concepts of wellbeing." International
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[5] "Declaration of
Alma Ata: International Conference on Primary Health Care, Alma-Ata, USSR, 6-12
September 1978 " (1978). March 27,
2013 <http://www.who.int/publications/almaata_declaration_en.pdf>.
[6] World_Health_Organization.
"Preamble to the Constitution of the World Health Organization as adopted
by the International Health Conference, New York, 19-22 June, 1946; signed on
22 July 1946 by the representatives of 61 States (Official Records of the World
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[7] Best
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[8] Best
& Barlow. Kombumerri: Saltwater people. 29-34.
[9] Kingsley, Jonathan, et
al. "Developing an exploratory framework.” 679.
[10] Barney, Katelyn, and
Elizabeth Mackinlay. ""Singing trauma trails": Songs of the
Stolen Generations in Indigenous Australia." Music & Politics
4.2 (2010). 10 March, 2011
<http://www.music.ucsb.edu/projects/musicandpolitics/archive/2010-2/barney-mackinlay.pdf.
[11] See http://conference.ampsociety.org.au/ held on 27 Nov. 2013.
[12] Baker, Felicity, and
Tony Wigram. Songwriting: Methods, Techniques and Clinical Applications for
Music Therapy Clinicians, Educators and Students. London: Jessica Kingsley
Publishers, 2005.
[13] Ole-Blond,
L. (2011). Health Musicing - Music Therapy or Music and Health? A model,
empirical examples and personal reflections. Music and Arts in Action, 3(2),
120-140. P. 134.
[14] Mackinlay, Elizabeth.
"Performative pedagogy in teaching and learning Indigenous women's music
and dance." The Australian Journal of Indigenous Education 29.1
(2001): 12-21.
[15] Bartleet,
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between Indigenous musicians and undergraduate music students in Tennant
Creek." Australian Journal of Music Education. Special Issue:
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[16] Barz,
Gregory. "The performance of HIV/AIDS in Uganda: Medical ethnomusicology
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Ed. Koen, Benjamin. New York: Oxford University Press, 2008. 164-84.
[17] Koen,
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[18] Kirkwood,
Sandra. "Doing, being and becoming more active through playing part in
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(2011). March 27, 2013 <http://www.musichealth.com.au/attachments/File/PublishedKirkwoodFinal.pdf>
69-70
[19] Denzin,
Norman. Performance ethnography: Critical pedagogy and the politics of
culture. London: Sage Publications, 2003.
[20] Alexander,
Bryant. "Performance ethnography: The reenacting and inciting of
culture." The Sage handbook of qualitative research. Eds. Denzin, N
and Y Lincoln. 3rd ed. London: Sage Publications, 2005. 411-91.
[21] Denzin,
Norman. Interpretive ethnography: Ethnographic practices for the 21st
century. Thousand Oakes: Sage, 1997. Chap. 4.
[22] The
Drumley Walk website news update 7 June, 2012 (see http://www.thedrumleywalk.com/).
[23] Gresty,
Jack. "The Numinbah Valley." Queensland Geographical Journal (1947): 57-72. 68.
[24] Best,
Yolsa, Candace Kruger, and Patricia O'Connor. Yugambeh Talga: Music
Traditions of the Yugambeh People. Southport, Queensland: Keeaira Press,
2005. 33.
[25] Candace Kruger. 2009. Television interview. Heath, Majhid, 15
December.
[26] Deason,
Rebecca, et al. "Music as a Memory Enhancer: Differences Between Healthy
Older Adults and Patients With Alzheimer's Disease." Psychomusicology:
Music, Mind, and Brain 22.2 (2012): 175-79.
[27] Buchanan, R. Logan:
Rich in history, young in spirit. Aboriginal History. Retrieved from
Logan City Council Website: http://www.logan.qld.gov.au/__data/assets/pdf_file/0015/7323/richinhistory-aboriginalculture.pdf, p. 5.
[28] Buchanan states: Information
about Bilin Bilin from: Hinchcliffe, F. (1931, 12 June). Jacky Jacky King of
the Logan and Pimpama, Beaudesert Times; and O’Connor, R. (1997) The Kombumerri Aboriginal People of the Gold Coast.
[29] Aird, M. (1993). Portraits
of our Elders: Queensland Museum Exhibition. Keeira Press.
The Drumley Walk Poster, Nov 2013
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