This book investigates the discursive and performative strategies employed by Australian Indigenous rappers to make sense of the world and establish a position of authority over their identity and place in society. Focusing on the aesthetics, the language, and the performativity of Hip Hop, this book pays attention to the life stance, the philosophy, and the spiritual beliefs of Australian Indigenous Hip Hop artists as ‘glocal’ producers and consumers. With Hip Hop as its main point of analysis, the author investigates, interrogates, and challenges categories and preconceived ideas about the critical notions of authenticity, ‘Indigenous’ and dominant values, spiritual practices, and political activism. Maintaining the emphasis on the importance of adopting decolonizing research strategies, the author utilises qualitative and ethnographic methods of data collection, such as semi-structured interviews, informal conversations, participant observation, and fieldwork notes. Collaborators and participants shed light on some of the dynamics underlying their musical decisions and their view within discussions on representations of ‘Indigenous identity and politics’. Looking at the Indigenous rappers’ local and global aspirations, this study shows that, by counteracting hegemonic narratives through their unique stories, Indigenous rappers have utilised Hip Hop as an expressive means to empower themselves and their audiences, entertain, and revive their Elders’ culture in ways that are contextual to the society they live in.

How Aussies came to belong to the hip-hop nation.

Adapted from Briggs' celebrated song 'The Children Came Back', Our Home, Our Heartbeat is a celebration of past and present Indigenous legends, as well as emerging generations, and at its heart honours the oldest continuous culture on earth. Readers will recognise Briggs' distinctive voice and contagious energy within the pages of Our Home, Our Heartbeat, signifying a new and exciting chapter in children's Indigenous publishing.

When many voices are joined together, with courage, change can happen. In 1966, more than two hundred courageous Aboriginal people walked off the Wave Hill Cattle Station in the Northern Territory. Led by Vincent Lingiari, these stockmen and their families were walking together to fight for equal pay and land rights. Exquisitely illustrated and designed, this non-fiction picture book brings a landmark historical event to a new generation. Many people have seen the iconic photograph of Gough Whitlam pouring a handful of red soil into the hands of Vincent Lingiari – a symbol of the legal transfer of Gurindji land back to the Gurindji people – and recognise this as a key moment in the ongoing land rights movement. Freedom Day delves into the events that led up to this moment, and makes a rallying cry for the things that still need to change in its wake. Thomas Mayor co-authors this book with Rosie, Vincent Lingiari’s granddaughter, to bring this vital story to life. The story has been written in close consultation with the Lingiari family.

From hip-hop artists in the Marshall Islands to innovative multimedia producers in Vanuatu to racial justice writers in Utah, Pacific Islander youth are using radical expression to transform their communities. Exploring multiple perspectives about Pacific Islander youth cultures in such locations as Aotearoa New Zealand, Australia, Hawai‘i, and Tonga, this cross-disciplinary volume foregrounds social justice methodologies and programs that confront the ongoing legacies of colonization, incarceration, and militarization. The ten essays in this collection also highlight the ways in which youth throughout Oceania and the diaspora have embraced digital technologies to communicate across national boundaries, mobilize sites of political resistance, and remix popular media. By centering Indigenous peoples’ creativity and self-determination, Reppin’ vividly illuminates the dynamic power of Pacific Islander youth to reshape the present and future of settler cities and other urban spaces in Oceania and beyond.

Beginning in the early 1980s Aboriginal Australians found in music, radio, and filmic media a means to make themselves heard across the country and to insert themselves into the center of Australian political life. In The Voice and Its Doubles Daniel Fisher analyzes the great success of this endeavor, asking what is at stake in the sounds of such media for Aboriginal Australians. Drawing on long-term ethnographic research in northern Australia, Fisher describes the close proximity of musical media, shifting forms of governmental intervention, and those public expressions of intimacy and kinship that suffuse Aboriginal Australian social life. Today’s Aboriginal media include genres of country music and hip-hop; radio requests and broadcast speech; visual graphs of a digital audio timeline; as well as the statistical media of audience research and the discursive and numerical figures of state audits and cultural policy formation. In each of these diverse instances the mediatized voice has become a site for overlapping and at times discordant forms of political, expressive, and institutional creativity.

A comprehensive book on contemporary Aboriginal music in Australia.