| Re: Health of the didjeridu market [message #2882 is a reply to message #2880] |
Sat, 25 February 2006 15:40   |
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JKon380
Messages: 322
Registered: November 2005
Location: USA
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Senior Member |
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What I was implying is that a didge made by a "white fella" can be as great as an orginal Yidaki aslong as the person(s) who was involved in the making of the didgiridoo wants to sell you a propper didge for the right price. It's all a matter of what you are looking for.
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Bravo, well said- this was my point exactly. Depending on the sound character you are after, an euc made by a 'white fella' can be 'better-suited' than a more traditionally crafted instrument, but this is a BIG generalization. Even quality amongst yirdaki and other didjeridu (mago, yiki-yiki, etc) craftsmen varies significantly, and a great deal of this is by nature of necessity.
I wasn't suggesting that ALL Aboriginal made instruments are exceptional- in fact, some are rather poorly constructed and only average acoustically. Quite the opposite: as you know, every euc didgeridoo is unique and nuanced in its own way.
And just a minor correction- only Djalu Gurruwiwi (a Galpu clan eleder) can make Djalu instruments. He is THE master yirdaki player and craftsmen amongst Yolngu, bar none. Both Yolngu and, in some cases, white fellas who have apprenticed with Djalu(Frank T. and Nathan B., for example) craft yirdaki. Yirdaki is only the name for didjeridu amongst Yolngu, but does mean something both in form and sound.
Best,
Jason
Jason,
Once again, remember policy.
Paul
Jason
[Updated on: Sat, 25 February 2006 21:28] by Moderator Report message to a moderator |
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