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Nestor Blokhin
Nestor Blokhin

Aborigen Tribal Drums Mix


The band combines aspects of both musical cultures. Their sound varies from traditional Aboriginal songs to modern pop and rock songs, where they blended the typical instruments associated with pop/rock bands, such as guitars and drums, with the traditional yidaki and bilma.[1][2][3] They adapted traditional Yolngu dance performances to accompany their music. More broadly, they promoted mutual respect and understanding in the coming together of different cultures.[1][3] Yothu Yindi's most widely known song, "Treaty", peaked at No. 11 on the ARIA singles charts in 1991 and the related album Tribal Voice peaked at No. 4 on the ARIA albums charts.[4]




Aborigen Tribal Drums Mix


Download File: https://www.google.com/url?q=https%3A%2F%2Fvittuv.com%2F2ufarO&sa=D&sntz=1&usg=AOvVaw0ewYbXN-TfDTuHV6YZxHa2



Swamp Jockeys were formed in 1985 by balanda (European/non-Aboriginal people) Todd Williams song writer and lead singer, Michael Wyatt, song writer and lead singer, Andrew Belletty on drums, Stuart Kellaway on bass guitar and Cal Williams on lead guitar.[2] On their tour of Arnhem Land, in Australia's Northern Territory, they were supported by a Yolngu band composed of Witiyana Marika on manikay (traditional vocals), bilma (ironwood clapsticks) and dance, Milkayngu Mununggurr on yidaki (didgeridoo), Gurrumul 'The Guru' Yunupingu on keyboards, guitar and percussion, and Bakamana Yunupingu on vocals and guitar.[1][2] They united to form Yothu Yindi (pronounced /ˌjɒθuː ˈjɪndiː/), yothu yindi is a Yolngu matha (Yolngu language) kinship term for "child and mother". The band combines aspects of both musical cultures. Their sound varies from traditional Aboriginal songs to modern pop and rock songs in which they blend the typical instruments of pop/rock bands, such as guitars and drums, with the traditional yidaki and bilma.They have adapted traditional Yolngu dance performances to accompany their music. More broadly they promote mutual respect and understanding of different cultures.[1][3] Michael Wyatt, from the Swamp Jockeys, went on to become Yothu Yindi's pilot and with Stephen Johnson made Yothu Yindi's multiple award winning music video clips. He was also stage manager on Australian tours and their tour to the New York's World Music festival.


Bakamana Yunupingu was a tertiary student studying to become a teacher. He became principal at his own Yirrkala Community School, and touring by Yothu Yindi was restricted to school holidays in the band's early years.[1][3] In August 1988 they performed in Townsville, Queensland, at the South Pacific Festival of Arts. The next month they represented Australia in Seoul, South Korea at the Cultural Olympics. Bart Willoughby (ex-No Fixed Address, Coloured Stone) joined on drums in late 1988 and Yothu Yindi toured USA and Canada as support act to Midnight Oil. Upon their return to Australia, they were signed to Mushroom Records, and with Leszek Karski (ex-Supercharge) producing, recorded their debut single "Mainstream", released in March 1989. It was followed by debut album Homeland Movement in May; a second single "Djäpana (Sunset Dreaming)" was released in August.[1][2] Neither their singles nor album had any major chart success.[4] Yothu Yindi toured with Neil Young in Australia, then head-lined in Papua New Guinea and Hong Kong. In 1990 they toured New Zealand with Tracy Chapman, and then performed in festivals in the UK.[1][3] In 1990 five clans of the Yolngu formed the Yothu Yindi Foundation to promote Yulngu cultural development.[5] Chairman of the foundation is Galarrwuy Yunupingu,[6] Mandawuy's older brother, a Yolngu clan leader and sometimes a member of Yothu Yindi on bilma and guitar.[1][3][5] Galarrwuy had been named Australian of the Year in 1978 for his work for Aboriginal communities.[6] Around this time, a relative of Bakamana who bore the same name died, and he therefore changed his first name to Mandawuy, in line with Yolngu tradition.


In 1988, as part of Bicentennial celebrations, Australian Prime Minister Bob Hawke visited the Northern Territory for the Barunga festival where he was presented with a statement of Aboriginal political objectives by Galarrwuy Yunupingu and Wenten Rubuntja.[8] Hawke responded to the Barunga Statement with a promise that a treaty would be concluded with Indigenous Australians by 1990.[8] By 1991, Yothu Yindi were Hughie Benjamin on drums, Sophie Garrkali and Julie Gungunbuy as dancers, Kellaway, Marika, Mununggurr, Gurrumul Yunupingu, Makuma Yunupingu on yidaki, vocals, bilma, Mandawuy Yunupingu, Mangatjay Yunupingu as a dancer.[1] Mandawuy, with his older brother Galarrwuy, wanted a song to highlight the lack of progress on the treaty between Aboriginal peoples and the federal government. Mandawuy recalls:


Yothu Yindi's third album Freedom was released in November 1993, the line-up included Mandawuy, Gurrumul, Makuna and Mangatjay Yunupingu, Marika, Williams, Kellaway, Benjamin and Munumggurr; and new members Banula Marika on vocals and dance, Bunimburr Marika on yidaki, Natalie Gillespie on vocals, Jodie Cockatoo Creed on vocals and clan leader Galarrwuy Yunupingu on bilma and vocals.[1] After intense touring in 1994, Williams left Yothu Yindi and was replaced by Colin Simpson on guitar, they added Ben Hakalitz (ex-Not Drowning Waving) on drums and Baruka Tau-Matagu on keyboards. Gurrumul Yunupingu had left by 1995 to live full-time on Elcho Island, he later formed Saltwater Band to record three albums, and in 2008 released his self-titled solo album.[3] Yothu Yindi's fourth album Birrkuta (birrkuta means wild honey) was released in August 1996.[1]


The first minute of this six-minute song plays a berimbau with a man singing a traditional song in Portuguese about Zumbi and his quilombo Palmares's resistance to the Portuguese. Tin can-sounded drums would start before going into churning metal riffs containing power chords, with drums performed during the rest and then played over the riff. Tribal part is played during the last quarter of the song before ending with the same rhythm in metal.[2]


Spirit Dancer features eleven majestic and mysterious sounding compositions which utilize the unique sounding percussive instruments such as log drums and dumbeck to propel these hypnotic and tribal sounding beats. In addition Kalma employs the sounds of a didgeridoo, an aboriginal wind instrument from Northern Australia on "Didgeridoo Groove". He naturally blends the deep, rich sounds of that instrument with his funky, saxwhaphone (saxophone with a wah-wah pedal) and atmospheric synth washes.


Pumping rhythms of the wild... droning, eternal voices of an ancient future. exotic nature sounds and rapid-fire percussion create an inter-dimensional journey into mindless spirit. Earthy didgeridoo with Australian aboriginal voices blend with UK techno-shamanic, traditional Native American Peyote chant, NYC trip-hop and Afro-Caribbean tribal rhythms... all fused into a thrilling dance compilation.


Happy, beaty bouncey, didgeridoo lead track with an uplifting poppy chorus part. Ideal for cruising along some endless Australian highway..or just up the road the shops. Contains didge, drums, synths, fiddle, bass and strings.


However, today listening to music isn't just a quick way to get yourself in a good mood. Years of studies have shown that there's much more to the benefits of music than just a quick boost for your attitude. Music has a profound effect on both our psyche and body. There's a growing field of healthcare known as music therapy, which uses the power of music, particularly tribal music, to heal.


Research has shown that music with a strong beat, such as African tribal music, can stimulate brain waves to resonate in sync with the beat, with faster beats promoting more alert thinking and sharper concentration. On the other hand, a slower tempo promotes a calm meditative state.


Complementary therapies like tribal drums music therapy can be used in recovery from substance abuse in many ways. Drums have been shown to ease anxiety, provide feelings of comfort and vulnerability and promote relaxation to begin the healing journey. One of the most popular forms of drug therapy is the drumming circle.


Drums, such as those used by the African people for tribal dance music, are beneficial for patients in recovery as they can easily connect and develop deeper bonds. Nowadays, counselors or therapists are trained in drumming, which allows them to lead drumming circles and offer assistance to those new to the practice.


The good news is that you don't have to break your bank participating in these communions. The online environment offers unlimited options when it comes to tribal music. A quick Google search and royalty-free platforms like Melody Loops can help you spot and download the best collection of tribal sounds. Now that we're growing more health-conscious and mindful of what we're putting into our bodies, the same attitude should be exercised in our choice of music.


In response to this underutilization of health services, health-care professionals have moved toward more holistic, culturally sensitive approaches and have endeavoured to blend Western health-care practices with traditional Aboriginal healing practices [22-25]. The blending of Aboriginal and Western research methods, knowledge translation, and programme development has been called Two-Eyed Seeing [9]. Two-Eyed Seeing refers to learning to see from one eye with the strengths of Indigenous knowledge and ways of knowing, and from the other eye with the strengths of Western knowledge and ways of knowing. Two-Eyed Seeing then encourages the use of both these eyes together, for the benefit of all [26]. For many practitioners, care incorporates Sweat ceremonies, a cultural practice performed in a heated, dome-shaped lodge that uses heat and steam to cleanse toxins from the mind, body, and spirit; smudging, the burning of sacred herbs in a small bowl to purify people and places; drumming, the use of ceremonial drums and songs as a way to connect with the Creator and spirit; Sharing circles, a healing method in which all participants, including the Elders, are viewed as equal and information, spirituality, and emotionality are shared; traditional healers, who use a wide range of activities, from physical cures using herbal medicines and other remedies to the promotion of psychological and spiritual healing using ceremony; and Elder teachings [23,27,28]. This holistic view of mental health and addiction not only ensures that care is culturally relevant but also encourages connection to the community [23,29]. 041b061a72


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