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Re: Health of the didjeridu market [message #2536 is a reply to message #2290] Wed, 11 January 2006 05:13 Go to previous messageGo to previous message
Skyer is currently offline  Skyer
Messages: 294
Registered: September 2005
Location: Netherlands
Senior Member
I took the time to read this entire tread and to be honest I don't even know where to start. I've been nodding my way trough this tread and agree with most of what has been said. That aside, let me answer your questions.

Do you think that the didjeridu industry has grown too quickly, with tourist grade instruments flooding the market?

Yes it has, indeed people are selling about anything that makes noice sometimes for outrages prices. BUT! I do agree that for some people it's not a bad thing to have bought comercial crap, they fall inlove with the didge and than start thinking. Eventualy they will buy a propper didge that suits them and they'll be happy after all. The real fanatic will be able to tell crap and class appart and therefor make a wise choise. We all had to learn right?

Can we reconcile the traditional place of the instrument with the new movement toward performance-based instruments?

As I started to play didge I just "made" noice. As this noice evolved it turned into contemporary music. I really enjoy just blowing my didge and make the music I like. I must say I am honestly interested in traditional play and I am deffenatly gonna develop in that area but as far as I am concernd I play music (for me a traditional style of playing is form of music, and I will play it bacause I like the way it sounds, not because of the traditional aspect). I do not live in australia, I do not do ceranmonies, I am not traditional (indiginas), there's nothing I can change about that. That said I would like to ad that I see the importance of tradition play and admire those who keep it alive in the western world.

As a modern player, do you feel eucalyptus best suits your style?

I value the euca didge because of it's musicly aspects. Some things can simply not be achieved on pvc, bambo, teak, whatever. That's the reason I bought a euca didge, to get the most out of what I enjoy. Therefor I think euca suits me, In my eyes it has little to with being a modern player or not. I've seen aboriginals blow on about anything while they are as tradition as you can posibly be.

What do you think of a grading system on instruments.

It would be a nice asset to the industrie but the real fanatic will know his didges appart. Unfortionaly I do see that some people are just starting and buy what they believe is a decent instrument while instead it is crap. A gradind system would help but as we can see in this tread it is pretty hard to find a grading system where we can classify every didge within. I myself also believe in the feel of instrument I myself bought a authentic didgeridoo and it's key is D#, not the most fortunate key if you like to play with others. Still I bought it because that istrument fit me, I played and fell in love, it's a simple as that.

I thought the whole idea over again and came up with another question. What's wrong with a propper termite hollowed euca didge which has not entirely been made by the aboriginal people, does it not play just as good? As long as people pay a decend amound for the (termite hollowed) wood and then make a didge out of it themselfs and sell it as an real eucalyptish didge what's wrong with that?

Comments and questions are welcome

Greetz Skyer


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Playing the Didgeridoo is taking the time to catch up with mother earth
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[Updated on: Wed, 11 January 2006 07:06]

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