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There was traditional Sacred Music used for secret ceremonies that could only be performed by initiated men for a specific reason in a specific place that was generally linked to totemic Dreaming. For instance, there was a sacred men's instrument made from a flat piece of wood with a long plant string attached to one end called a Bullroarer. When it is whirled round and round the body, it makes a low, deep, resonant sound that is the voice of Biami, the creator all father, communicating with men. Women are forbidden to listen to this highly sacred instrument used in men's initiatic rites. Women also had secret ceremonies that were usually connection to reproduction, with songs for children. There were also ceremonies for youths wrapped in secrecy, where women and adult men were not allowed. After decorating their bodies with their totemic symbols, the young men use dance movements to express their totemic Dreamtime. It is an important step for the youths in integrating their tribal law and lore. There were non-secret ceremonies around campfires where one group of men will chant songs while another group of men whose bodies are decorated with sacred symbols will enact legendary occurrences through dance movements before men, women, children, and Elders. There was also non-sacred music which could be performed by anyone, any place, any time. For instance there were Corroborees where the women and children sang for hours; while, the men danced. Non-sacred songs were traded freely between tribes and spread easily, often crossing from one language into another.
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. Dreamtime songs are a series of short verses that describe happenings or locations associated with ancestors. Ceremonial songs include portrayal of pertinent occurrences with dance movements. The songlines of the Dreaming Tracks have one characteristic melodic form throughout, even songs depicting the travells of an ancestor across thousands of miles. By painting the sacred Dreaming symbols of their ancestors on their faces and bodies with the paste of grounded ochres, ceremonial performers maintained their connection to country and to the Dreaming. These symbols represented the sacredness of the Dreaming landscape and the Ancestral Spirits who created all the creatures. 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... Go back
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Aboriginal Australia Totemic Dreamtime 
