Latest news with #YothuYindi
Perth Now
5 hours ago
- Entertainment
- Perth Now
Wild Honey: the sweetest sound of remote Australia
Gawukawu Gurruwiwi can't remember a time when music was not part of his life. The grandson of legendary Indigenous artist, Yothu Yindi frontman Mandawuy Yunupingu, he grew up in the Northern Territory's remote East Arnhem always wanting to be in a band. "We used to have this big rock that we'd hang around and imagine that the rock was a stage," he tells AAP. "We used to get some tins and broken tree branches for a guitar and bass." The East Arnhem region has produced some of the country's most loved names in music - Yothu Yindi, Baker Boy, King Stingray and now Gurruwiwi, who is front and centre of his own band and hoping to inspire yet a new generation of Yolngu musicians. Wild Honey have played to multiple festivals across the Top End including Darwin's Nightcliff Seabreeze but there's nothing like taking to the stage on home turf. Their first single was released in time for the national Garma Festival, held in the region each year. To this year perform Common Ground, a song about the way Garma brings people together on stage at Gulkula, was a special moment for the band. "All the families are proud of us," Gurruwiwi says. "It is good to perform in our mother Country." As Wild Honey prepare for their next gig, the East Arnhem Live festival on August 30-31, guitarist Adi Schmidt Mumm marvels at the opportunity to play to an audience more than 1000 kilometres from the nearest capital city. "It's amazing such a remote location is able to hold these festivals and bring thousands of people here to help nurture the music culture and industry," he says. "For us to be able to have a series of gigs throughout the year here is just so special." Wild Honey are in good company on the East Arnhem Live lineup, which is headlined by east coast band Beddy Rays and features local Yolngu talent including Yirrmal, Salt Lake Band, Dhapanbal and Yirrkala School's Lucky Band. When not taking to concert stages or writing, Schmidt Mumm and Gurruwiwi are committed to giving back to community. The pair run workshops at Yirrkala as part of the same music program in which Yothu Yindi bassist Stuart Kellaway taught Gurruwiwi to play guitar as a child. It's a legacy he's proud to continue. "It's pretty good for the young ones as well ... to show them the music industry is a good pathway," Gurruwiwi says. Spreading the word about the strength of Yolngu culture is at one with Wild Honey's aspirations, Schmidt Mumm adds. "Our hopes and dreams are to just keep playing more shows, play interstate and record more music, keep practising our skills."
Perth Now
08-08-2025
- Politics
- Perth Now
Festival started from a broken promise looks to future
When two brothers stood on an escarpment in remote northeast Arnhem Land, they looked into the future, and the Garma Festival was born. Those brothers, M Yunupingu, the lead singer of Yothu Yindi, and Dr Yunupingu, a land rights pioneer, were standing on the Gumatj ceremonial grounds of Gulkula, where the annual festival is held. But the story of Garma starts well before its first festival in 1999, dating back to a different gathering and the words of a prime minister a decade before. Yothu Yindi Foundation chair and senior Gumatj man Djawa Yunupingu said when his brothers had come to stand at the escarpment at Gulkula, there was a pain in his family. Prime Minister Bob Hawke had travelled to Barunga Festival in 1988, promising a treaty would be made with Aboriginal people. That promise was never realised. "When we thought about Barunga we thought about promises of a treaty that had been washed down by the politics of the day," Mr Yunupingu said. "We thought about a prime minister who made a promise to powerful leaders and clans and tribes of the Northern Territory only to leave us high and dry." It is something the Yunupingu brothers never forgot, and as Djawa Yunupingu said, the words are "carved into our hearts and minds". Addressing the crowd at the 25th Garma Festival, Mr Yunupingu quoted the iconic Yothu Yindi song 'Treaty', which his brother penned while sitting around a campfire, bringing etching promise into the memories of wider Australia. "Well I heard it on the radio, and I saw it on the television, back in 1988 all those talking politicians," he said. "You all know the song and you should remember the words." Garma has become an important event in Australia's cultural and political landscape, with policy discussion and announcements sitting on the agenda next to talks about education, land rights and arts. One of the major policy announcements of the festival in recent times came in 2022, when Prime Minister Anthony Albanese promised to pursue a referendum on an Indigenous voice to parliament. Following the failed referendum Mr Yunupingu said he and Mr Albanese shared their disappointment, but knew they had to move on. "Even though we live with shattered dreams we must keep looking to the future," he said. But what does that future look like? Yothu Yindi Foundation chief executive Denise Bowden said to to improve outcomes for people in Arnhem Land and other remote regions of the country, structural change was required. Pointing to the over-representation of First Nations people in the justice system, particularly in the Northern Territory, and the disproportionate rates of rheumatic heart disease in remote Indigenous communities, Ms Bowden said the status quo was not good enough. "If we do not stem this tide of history, it will do its work and wash away the ancient knowledge and the ceremonies and traditions that keep the world in balance and give us hope." she said. "This is truly a terrible thought and would be the greatest of tragedies for all those concerned." Aboriginal people suffered because of the failures of systems imposed on them, Ms Bowden said, calling on the prime minister to work with communities to solve issues. Northern Territory independent politician Yingiya Mark Guyula said Aboriginal people had the answers, but their voices were not being heard. "We are fed up with being told we know what is best for you... I've heard this so many times in my time in the parliament," he said. Gumatj Corporation operations coordinator Michael Yunupingu used the analogy of a tree to outline a vision for the future of his people and Country. The roots of the tree were the vision, growing as the tree grows; the trunk was the plan, the branches were the areas of focus, and the leaves were the actions and outcomes, which grew as the tree came to fruition. The Gumatj vision was to lead the way in sustainable development, balancing culture, traditional knowledge and economic self-sufficiency for the region. "Our next generation of leaders must step up now and carry on the legacy into a world that is transitioning towards a new future, a new era," Mr Yunupingu said. Just as it was time for the next generation to take the reins, Mr Guyula said this work must also be informed by those who started the journey. "We need to honour our ancestors, our Yolngu lore and the original Garma ceremonies that happen all around Yolngu Country," he said. "This must exist in all our decisions today and it is the way we will move forward to genuine truth-telling and treaty."
West Australian
08-08-2025
- Politics
- West Australian
Festival started from a broken promise looks to future
When two brothers stood on an escarpment in remote northeast Arnhem Land, they looked into the future, and the Garma Festival was born. Those brothers, M Yunupingu, the lead singer of Yothu Yindi, and Dr Yunupingu, a land rights pioneer, were standing on the Gumatj ceremonial grounds of Gulkula, where the annual festival is held. But the story of Garma starts well before its first festival in 1999, dating back to a different gathering and the words of a prime minister a decade before. Yothu Yindi Foundation chair and senior Gumatj man Djawa Yunupingu said when his brothers had come to stand at the escarpment at Gulkula, there was a pain in his family. Prime Minister Bob Hawke had travelled to Barunga Festival in 1988, promising a treaty would be made with Aboriginal people. That promise was never realised. "When we thought about Barunga we thought about promises of a treaty that had been washed down by the politics of the day," Mr Yunupingu said. "We thought about a prime minister who made a promise to powerful leaders and clans and tribes of the Northern Territory only to leave us high and dry." It is something the Yunupingu brothers never forgot, and as Djawa Yunupingu said, the words are "carved into our hearts and minds". Addressing the crowd at the 25th Garma Festival, Mr Yunupingu quoted the iconic Yothu Yindi song 'Treaty', which his brother penned while sitting around a campfire, bringing etching promise into the memories of wider Australia. "Well I heard it on the radio, and I saw it on the television, back in 1988 all those talking politicians," he said. "You all know the song and you should remember the words." Garma has become an important event in Australia's cultural and political landscape, with policy discussion and announcements sitting on the agenda next to talks about education, land rights and arts. One of the major policy announcements of the festival in recent times came in 2022, when Prime Minister Anthony Albanese promised to pursue a referendum on an Indigenous voice to parliament. Following the failed referendum Mr Yunupingu said he and Mr Albanese shared their disappointment, but knew they had to move on. "Even though we live with shattered dreams we must keep looking to the future," he said. But what does that future look like? Yothu Yindi Foundation chief executive Denise Bowden said to to improve outcomes for people in Arnhem Land and other remote regions of the country, structural change was required. Pointing to the over-representation of First Nations people in the justice system, particularly in the Northern Territory, and the disproportionate rates of rheumatic heart disease in remote Indigenous communities, Ms Bowden said the status quo was not good enough. "If we do not stem this tide of history, it will do its work and wash away the ancient knowledge and the ceremonies and traditions that keep the world in balance and give us hope." she said. "This is truly a terrible thought and would be the greatest of tragedies for all those concerned." Aboriginal people suffered because of the failures of systems imposed on them, Ms Bowden said, calling on the prime minister to work with communities to solve issues. Northern Territory independent politician Yingiya Mark Guyula said Aboriginal people had the answers, but their voices were not being heard. "We are fed up with being told we know what is best for you... I've heard this so many times in my time in the parliament," he said. Gumatj Corporation operations coordinator Michael Yunupingu used the analogy of a tree to outline a vision for the future of his people and Country. The roots of the tree were the vision, growing as the tree grows; the trunk was the plan, the branches were the areas of focus, and the leaves were the actions and outcomes, which grew as the tree came to fruition. The Gumatj vision was to lead the way in sustainable development, balancing culture, traditional knowledge and economic self-sufficiency for the region. "Our next generation of leaders must step up now and carry on the legacy into a world that is transitioning towards a new future, a new era," Mr Yunupingu said. Just as it was time for the next generation to take the reins, Mr Guyula said this work must also be informed by those who started the journey. "We need to honour our ancestors, our Yolngu lore and the original Garma ceremonies that happen all around Yolngu Country," he said. "This must exist in all our decisions today and it is the way we will move forward to genuine truth-telling and treaty."
Sydney Morning Herald
08-08-2025
- Entertainment
- Sydney Morning Herald
‘I will never get over being an artist': Jessica Mauboy joins Indigenous Hall of Fame
You learn to expect the unexpected as a journalist. But receiving a personal serenade from the voice of Jessica Mauboy when you pop into an afternoon Zoom call isn't on the list of likely scenarios. First shock. Then appreciation. Then you just sit back and enjoy the ride. Much like her effortless vocal riffs, Mauboy is a joy to behold. Even through a screen, she radiates kindness and warmth. The musician credits her upbringing in the Northern Territory as one of the reasons she's remained so grounded, even after a music career that's spanned more than 20 years. Mauboy is the newest inductee into the National Indigenous Music Awards Hall of Fame, a place reserved for First Nations artists who have had a longstanding and significant impact on the industry. The annual NIMA ceremony has been a celebration of First Nations music in Australia for more than two decades. Award recipients in 2024 included Malyangapa Barkindji rapper Barkaa and hip-hop collective 3%. Other recent winners include Baker Boy, Thelma Plum and King Stingray. Mauboy speaks fondly of the event, held in her hometown of Darwin. She remembers being in the mosh pit as a 10-year-old, dancing to the music of Yothu Yindi. Looking back as an adult, she says she is grateful that she experienced culture, community and advocacy through song. 'The NIMAs, and what it holds in that space, opens doors and paves pathways … It's more than an award show. For me, it's a space where community, culture and creativity comes together,' Mauboy says. 'It's such a melting pot of diversity … All the performers and all the different First Nations people coming from community and from their language groups. And it's such a space of recognition and acknowledgment.' Mauboy's induction means that she stands among superstars such as Archie Roach, Kev Carmody and her own childhood favourite, Yothu Yindi. But fame doesn't come from nowhere. In her own words, Mauboy started 'way from the bottom'. The musician cut her teeth busking at the Arcade Mall in Darwin and sang with a local choir during childhood. She even had a brush with the professional industry as a teenager, winning a Telstra-sponsored 'Road to Tamworth' competition in 2004 and releasing a country-inspired version of Girls Just Wanna Have Fun. 'You've just got to start somewhere,' she says. 'It doesn't always have to be the big stage. There are different places and different spaces … every stage is going to be different. Every audience is going to give something to you that is completely different.' That's the advice she would give to up-and-coming Indigenous artists in Australia. And her message to the industry? To support and book the young musicians who are embarking upon such a time-consuming career. 'Allow them to be part of your space … it's about collaborative spaces. And I think that's why I love music so much … we allow artists to collaborate, and we make amazing stuff. And then it's about people giving us the space to go out and perform.' Now 36, Mauboy started her career in 2006, when she was a runner-up in the fourth season of Australian Idol. A year later she joined the Y oung Divas alongside Paulini, Kate DeAraugo and Emily Williams. The pop group gained recognition for their noughties-style covers of hits from Diana Ross and Patti LaBelle among others. Career milestones have been plentiful since. Mauboy starred in 2012 film The Sapphires (winning an AACTA award for best supporting actress). She represented Australia on the Eurovision stage in 2018, making the finals and placing 20th. She even returned to her competition TV roots, this time as a judge on The Voice Australia. But accolades aside, 2025 has been a year of firsts. In January, she gave birth to her first child, Mia. In August, she released While I Got Time, the first single under her own independent label. The track's stripped-back production creates a raw and intimate atmosphere for listeners. Mauboy says it was an intentional decision to bring attention to what the song is really about – her loved ones. 'The deep reflection and focus on what truly matters in life is our family … I obviously miss my family and have been living away from them for a long time,' she says. 'Particularly being a new mum ... we really drew from those emotions. The impact of people coming into your life, and people going. And also just letting go of the past, moving on with grace and just embracing a new future,' she says. As a girl growing up in the country's Top End, Mauboy learnt that music was a way of expressing community and connection. This is a relationship that she's maintained with her craft. 'I will never get over being an artist, and how amazing it makes me feel to make music and be creative,' she says. 'Everything I know I've learnt from growing up in Darwin. The way, the culture, the body language and communication, the smell of the place … 'It taught me so much about never forgetting where I come from … I think it's really shaped me into being respectful, being connected.'
The Age
08-08-2025
- Entertainment
- The Age
‘I will never get over being an artist': Jessica Mauboy joins Indigenous Hall of Fame
You learn to expect the unexpected as a journalist. But receiving a personal serenade from the voice of Jessica Mauboy when you pop into an afternoon Zoom call isn't on the list of likely scenarios. First shock. Then appreciation. Then you just sit back and enjoy the ride. Much like her effortless vocal riffs, Mauboy is a joy to behold. Even through a screen, she radiates kindness and warmth. The musician credits her upbringing in the Northern Territory as one of the reasons she's remained so grounded, even after a music career that's spanned more than 20 years. Mauboy is the newest inductee into the National Indigenous Music Awards Hall of Fame, a place reserved for First Nations artists who have had a longstanding and significant impact on the industry. The annual NIMA ceremony has been a celebration of First Nations music in Australia for more than two decades. Award recipients in 2024 included Malyangapa Barkindji rapper Barkaa and hip-hop collective 3%. Other recent winners include Baker Boy, Thelma Plum and King Stingray. Mauboy speaks fondly of the event, held in her hometown of Darwin. She remembers being in the mosh pit as a 10-year-old, dancing to the music of Yothu Yindi. Looking back as an adult, she says she is grateful that she experienced culture, community and advocacy through song. 'The NIMAs, and what it holds in that space, opens doors and paves pathways … It's more than an award show. For me, it's a space where community, culture and creativity comes together,' Mauboy says. 'It's such a melting pot of diversity … All the performers and all the different First Nations people coming from community and from their language groups. And it's such a space of recognition and acknowledgment.' Mauboy's induction means that she stands among superstars such as Archie Roach, Kev Carmody and her own childhood favourite, Yothu Yindi. But fame doesn't come from nowhere. In her own words, Mauboy started 'way from the bottom'. The musician cut her teeth busking at the Arcade Mall in Darwin and sang with a local choir during childhood. She even had a brush with the professional industry as a teenager, winning a Telstra-sponsored 'Road to Tamworth' competition in 2004 and releasing a country-inspired version of Girls Just Wanna Have Fun. 'You've just got to start somewhere,' she says. 'It doesn't always have to be the big stage. There are different places and different spaces … every stage is going to be different. Every audience is going to give something to you that is completely different.' That's the advice she would give to up-and-coming Indigenous artists in Australia. And her message to the industry? To support and book the young musicians who are embarking upon such a time-consuming career. 'Allow them to be part of your space … it's about collaborative spaces. And I think that's why I love music so much … we allow artists to collaborate, and we make amazing stuff. And then it's about people giving us the space to go out and perform.' Now 36, Mauboy started her career in 2006, when she was a runner-up in the fourth season of Australian Idol. A year later she joined the Y oung Divas alongside Paulini, Kate DeAraugo and Emily Williams. The pop group gained recognition for their noughties-style covers of hits from Diana Ross and Patti LaBelle among others. Career milestones have been plentiful since. Mauboy starred in 2012 film The Sapphires (winning an AACTA award for best supporting actress). She represented Australia on the Eurovision stage in 2018, making the finals and placing 20th. She even returned to her competition TV roots, this time as a judge on The Voice Australia. But accolades aside, 2025 has been a year of firsts. In January, she gave birth to her first child, Mia. In August, she released While I Got Time, the first single under her own independent label. The track's stripped-back production creates a raw and intimate atmosphere for listeners. Mauboy says it was an intentional decision to bring attention to what the song is really about – her loved ones. 'The deep reflection and focus on what truly matters in life is our family … I obviously miss my family and have been living away from them for a long time,' she says. 'Particularly being a new mum ... we really drew from those emotions. The impact of people coming into your life, and people going. And also just letting go of the past, moving on with grace and just embracing a new future,' she says. As a girl growing up in the country's Top End, Mauboy learnt that music was a way of expressing community and connection. This is a relationship that she's maintained with her craft. 'I will never get over being an artist, and how amazing it makes me feel to make music and be creative,' she says. 'Everything I know I've learnt from growing up in Darwin. The way, the culture, the body language and communication, the smell of the place … 'It taught me so much about never forgetting where I come from … I think it's really shaped me into being respectful, being connected.'
