ABSTRACT
Following the success of tours to Europe, Asia and North America by Aboriginal groups such as Yothu Yindi, Blekbala Mujik and the Bangarra Dance Theatre, attempts to promote Aboriginal music overseas have increased. Such attempts are partly fueled by an increasing perception of the existence of more sympathetic audiences overseas, and ultimately by greater demand for Aboriginal music. For Aboriginal country musician Bobby McLeod, “You’re not sort of thought about in this country in a positive way, but people overseas look at us like we’re magicians or masters of something. It makes you want to do more for your culture. It’s a pity [Aboriginal culture and people] are not respected as much in this country as in other countries’ (quoted in Condie, 2001: 33). Driven by similar concerns, Blekbala Mujik signed North American distribution deals, and at various times toured Europe (including a performance at the 1997 WOMAD Festival in the Canary Islands); Yothu Yindi continue to sell out concerts throughout Europe; Tiddas toured America after their albums were distributed there by U.S.-based record companies; and, despite lack of interest in their native Melbourne, Blackfire have twice toured China:
Our performance on China Central Television was an outstanding success. We’ve been basically ignored by the mainstream music industry in Australia and to reach an audience like that [est. 20 million] was just something other artists in Australia dream about. This was our second tour of China and the response from the Chinese people has been overwhelming. It’s ironic that the Asian audiences have taken us into their hearts whereas in Australia it feels like we’ve been hitting our heads against the wall . . . if we can crack the market in Asia and become popular over there, I guess that just increases the focus for other Indigenous bands in Australia to try their luck. It’s trying to create an awareness somewhere else to try and expose ourselves back in Australia.
