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A female Rainbow Serpent, as the original mother creator, and, a male Rainbow Serpent, as the transformer of the land, are the two Rainbow Serpents most commonly depicted in Aboriginal ceremonies, art, and oral traditions When the Rainbow Serpent is not respected or laws are transgressed, the Rainbow Serpent can act as a destructive force, bringing floods and storms.
The original ancestor spirits taught others many songs for healing; for
controlling the weather, and for telling tribal history. The propagating powers
they left behind in the country to ensure plenty were best accessed during
corroborees through their Dreaming symbols and songlines.
Aboriginal Australia music included traditional ceremonial songs handed down through the generations which replicated the songs sung by the ancestors during the Dreamtime. When these songs were sung, living men felt they were in the Dreamtime. Music, song, and dance played an important part in Aboriginal Australia culture. It was learned and passed on to others by performing it in Corroboree Ceremonies. Both the Songman and Danceman were integral to the Corroboree Rituals, These were respected men who were esteemed by the group because of their specialized song and dance skills. The songman performed songs passed down from his ancestors and also composed songs about everyday life. He was often asked to perform for other groups where he led others in a chorus. The Danceman specialized in miming the movements of animals and other ceremonial totemic portrayals. Songs could vary in length from several days to several weeks to several months. Although dance techniques vary between tribal groups, most of the dancing was done with lots of foot stomping which is now called shake a leg. There were also arm, foot, and body movements that imitated the actions of birds and animals. Headdresses and body decorations enhanced the connection between dancer and totemic Dreaming. There were sacred ritual dances. There were dances for Dreaming events, for rain, and for successful hunts. There were also campfire dances where women, children, and men shared clan totem dances. Dreamtime songs were a series of short verses that described happenings or locations associated with ancestors. Ceremonial songs included portrayal of pertinent occurrences with dance movements. The songlines of the Dreaming Tracks have one characteristic melodic form throughout, even songs that depicted the travells of an ancestor across thousands of miles. The story of the Aboriginals is in the land; the law is imprinted upon their sacred spaces. The Dreaming Tracks distinguish all features of the land created by their Spirit Ancestors as they travelled across it. These songlines are the footprints of their Spirit Ancestors as they sang Beingness into the landscape, setting the law. Today the journeys of the Spirit Ancestors are brought to life through these songlines. By performing the appropriate ceremonies and singing certain songs at precise points along the Dreaming Track, the Aboriginals gain direct access to the Dreaming. Many groups travell along Dreaming Tracks with their children, educating them by telling them stories of the Dreamtime. Through the verses of these songs, Aboriginal Australians know every part of the landscape and where to find sources of water and food. They also use the songlines when they move about within the territory of the tribe or when visiting other tribes.
Although dance techniques vary between tribal groups, most of the dancing was
done with lots of foot stomping which is now called shake a leg. There were also
arm, foot, and body movements that imitated the actions of birds and animals.
Headdresses and body decorations enhanced the connection between dancer and
totemic Dreaming... Go back
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