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Indigenous rock

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Indigenous orAboriginal rock is a style ofmusic which mixesrock music with the instrumentation and singing styles ofIndigenous peoples. Two countries with prominent Aboriginal rock scenes are Australia and Canada.

Australia

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Main articles:Rock music in Australia andIndigenous music of Australia

In Australia, Aboriginal rock mixes rock styles and instruments (e.g. electric (guitar,bass anddrums) withIndigenous Australian instruments such as thedidgeridoo andclapsticks. Aboriginal rock is mostly performed by Indigenous bands, although some bands include non-Aboriginal members.

Bands includeYothu Yindi,Us Mob andNo Fixed Address. Yothu Yindi, with vocalistMandawuy Yunupingu has politicised lyrics, such as 1991's "Treaty". Other songs relate more generally to Aboriginal culture. Another major band was theWarumpi Band, which toured withMidnight Oil. The Warumpi Band focuses more on the Aboriginal aspects of the music, rather than the rock sound of Yothu Yindi. In the 2000s, Aboriginal bands such asNoKTuRNL have adopted arap metal ornu metal sound. Formal training institutions include the Government sponsoredAboriginal Centre for the Performing Arts.

Famous songs include "Treaty", "My Island Home", and "Blackfella/Whitefella".

Canada

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Main articles:Rock music of Canada andIndigenous music of Canada

Indigenous peoples in Canada includeFirst Nations,Métis andInuit. Some examples of Canadian Indigenous rock bands or artists includeAysanabee,Breach of Trust,Kashtin,Bruthers of Different Muthers,Burnt Project 1,Digging Roots,Edward Gamblin,The Halluci Nation (formerly A Tribe Called Red),George Leach,Derek Miller,Robbie Robertson,Julian Taylor,Ruby Waters, andTom Wilson.

Ecuador

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Several mestizo-bands in Ecuador made use of indigenous musical elements in rock music since the 1990s. Rocola Bacalao integrated Andean rhythms and made in their song-texts references to emblematic indigenous towns, such as Pujilí in Cotopaxi. Sal y Mileto and Casería de Lagartos coined the genre of new Ecuadorian Rock. Nevertheless, in the 1980s and the early 1990s the rhythm of the social as expressed in Ecuadorian rock was characterized by hopelessness and resistance or even resignation against repression. With the emergence of a powerful indigenous movement the rhythm changed. The most emblematic references towards the political impact of the indigenous movement are made by the metalband Aztra and the hardcore band CURARE at the beginning of the 2000s, during the heyday of indigenous social protest against neoliberalism and for (ethnic) democratization.[1]

See also

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References

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  1. ^Olaf Kaltmeier. 2019. 7.Rockin` for Pachamama: political struggle and the narration of history in Ecuadorian rock music.” In: Sonic Politics. Ed. Olaf Kaltmeier und Wilfried Raussert. New York: Routledge 2019, pp. 179-204.

Further reading

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Australia
  • Dunbar-Hall, Peter (1997). Music and Meaning: The Aboriginal Rock Album,Australian Aboriginal Studies, 1997/1, pp. 38–47
  • Dunbar-Hall, Peter; Gibson, Chris (2000). "Singing about nations within nations: Geopolitics and identity in Australian indigenous rock music".Popular Music and Society.24 (2). Informa UK Limited:45–73.doi:10.1080/03007760008591767.ISSN 0300-7766.S2CID 190738751.

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