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A Grammar of Gurindji
Felicity Meakins was awarded the Kenneth L. Hale Award 2021 by the Linguistic Society of America (LSA) for outstanding work on the documentation of endangered languages Gurindji is a Pama-Nyungan language of north-central Australia. It is a member of the Ngumpin subgroup which forms a part of the Ngumpin-Yapa group. The phonology is typically Pama-Nyungan; the phoneme inventory contains five places of articulation for stops which have corresponding nasals. It also has three laterals, two rhotics and three vowels. There are no fricatives and, among the stops, voicing is not phonemically distinctive. One striking morpho-phonological process is a nasal cluster dissimilation (NCD) rule. Gurindji...
Songs from the Stations
"The Gurindji people of the Northern Territory are perhaps best-known for their walk-off of Wave Hill Station in 1966, protesting against mistreatment by the station managers. The strike would become the first major victory of the Indigenous land rights movement. Many discussions of station life are focused on the harsh treatment of Aboriginal workers. Songs from the Stations portrays another side of life on Wave Hill Station. Amongst the harsh conditions and decades of mistreatment, an eclectic ceremonial life flourished during the first half of the 20th century. Constant travel between cattle stations by Indigenous workers across north-western and central Australia meant that Wave Hill Sta...
Keeping Time
Keeping Time: Dialogues on music and archives in Honour of Linda Barwick explores current issues in ethnomusicology and the archiving and repatriation of ethnographic field recordings. The 19 chapters by 36 authors consider archiving practices as a site of interaction between researchers and cultural heritage communities; cross-disciplinary approaches to understanding song; and the role of musical transcription in non-Western music. This volume is international in scope with case studies with Indigenous and minority peoples from Papua New Guinea, China, India, the Torres Strait and mainland Aboriginal Australia; the latter being the focus of the majority of chapters. Topics include the reviv...
The Old Songs are Always New
It’s really great. It’s like they’re all here. I hear all of these voices and I sing with them, you know? — Yikliya Eustace Tipiloura, senior songman and Elder Perhaps the most defining feature of Tiwi song is the importance placed on the creative innovation of the individual singer/composer. Tiwi songs are fundamentally new, unique and occasion specific, and yet sit within a continuum of an oral artistic tradition. Performed in ceremony, at public events, for art and for fun, songs form the core of the Tiwi knowledge system and historical archive. Held by song custodians and taught through sung and danced ritual, generations of embodied practice are still being created and accumulat...
Vitality and Change in Warlpiri Songs
Warlpiri songs hold together the ceremonies that structure and bind social relationships, and encode detailed information about Warlpiri country, cosmology and kinship. Today, only a small group of the oldest generations has full knowledge of ceremonial songs and their associated meanings, and there is widespread concern about the transmission of these songs to future generations. While musical and cultural change is normal, threats to attrition driven by large-scale external forces including sedentarisation and modernisation put strain on the systems of social relationships that have sustained Warlpiri cultures for millennia. Despite these concerns, songs remain key to Warlpiri identity and...
Contemporary Musical Virtuosities
Contemporary notions of musical virtuosity redevelop historic concepts and demonstrate that our present understanding of virtuosity in western art music has shifted from what seemed, for a time, to be a relatively clear and stable definition. In the field and the academy, lively debates around the definition and/or value of virtuosity have always elicited strong and varied ideas. In the twenty-first century, frictions have emerged between traditional definitions of virtuosity and contemporary practices that emphasise collaboration and blur roles between performers, composers, and improvisers. Contemporary Musical Virtuosities embraces the evolving processes, practitioners, and presentation m...
A Grammar of Gurindji
Gurindji is a Pama-Nyungan language of north-central Australia. It is a member of the Ngumpin subgroup which forms a part of the Ngumpin-Yapa group. The phonology is typically Pama-Nyungan; the phoneme inventory contains five places of articulation for stops which have corresponding nasals. It also has three laterals, two rhotics and three vowels. There are no fricatives and, among the stops, voicing is not phonemically distinctive. One striking morpho-phonological process is a nasal cluster dissimilation (NCD) rule. Gurindji is morphologically agglutinative and suffixing, exhibiting a mix of dependent-marking and head-marking. Nominals pattern according to an ergative system and bound pronouns show an accusative pattern. Gurindji marks a further 10 cases. Free and bound pronouns distinguish person (1st inclusive and exclusive, 2nd and 3rd) and three numbers (minimal, unit augmented and augmented). The Gurindji verb complex consists of an inflecting verb and coverb. Inflecting verbs belong to a closed class of 34 verbs which are grammatically obligatory. Coverbs form an open class, numbering in the hundreds and carrying the semantic weight of the complex verb.
Loss and Renewal
Felicity Meakins was awarded the Kenneth L. Hale Award 2021 by the Linguistic Society of America (LSA) for outstanding work on the documentation of endangered languages Australia is known for its linguistic diversity and extensive contact between languages. This edited volume is the first dedicated to language contact in Australia since colonisation, marking a new era of linguistic work, and contributing new data to theoretical discussions on contact languages and language contact processes. It provides explanations for contemporary contact processes in Australia and much-needed descriptions of contact languages, including pidgins, creoles, mixed languages, contact varieties of English, and restructured Indigenous languages. Analyses of complex and dynamic processes are informed by rich sociolinguistic description.
The polyfunctionality of 'still' expressions
Expressions from the semasiological domain of phasal polarity (ʻstillʼ, ʻalreadyʼ, etc.) tend to be highly polyfunctional, with their various uses often extending into a wide range of other linguistic domains, both time-related and non-temporal. Yet these patterns have hitherto been investigated mostly for individual languages or smaller groups. This volume presents the first ever larger-scale survey of the numerous functions of expressions whose meanings include the notion of ʻstill’, making use of a global sample of 76 varieties from 45 distinct phyla. It is aimed at semanticists, typologists and descriptive grammarians alike.
Something's Gotta Change
Indigenous people are pushing back against more than 200 years of colonisation and rejecting being seen by the academy as ‘subjects’ of research. A quiet revolution is taking place among many Indigenous communities across Australia, a revolution insisting that we have control over our languages and our cultural knowledge – for our languages to be a part of our future, not our past. We are reclaiming our right to determine how linguistic research takes place in our communities and how we want to engage with the academy in the future. This book is an essential guide for non-Indigenous linguists wanting to engage more deeply with Indigenous communities and form genuinely collaborative research partnerships. It fleshes out and redefines ethical linguistic research and work with Indigenous people and communities, with application beyond linguistics. By reassessing, from an Indigenous point of view, what it means to ‘save’ an endangered language, Something’s Gotta Change shows how linguistic research can play a positive role in keeping (maintaining) or putting (reclaiming) endangered languages on our tongues.
