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Focusing on the musical production by the Australian Indigenous rock-pop fusion group Wirrinyga Band from Milingimbi, an Indigenous community in Northeast Arnhem Land, North Australia, I propose that popular music is not only an arena where Indigenous people of this region have been negotiating colonial and postcolonial power relations. It is also a 'construction site', a creative space where new ideas, experiences, visions are created. Wirrinyga Band's songs do not only express local ideas, values, principles or a set political agenda in the face of difficult past and present life conditions, but also and most importantly, has contributed to shaping a novel individual and collective identity that – rooted in the past but reaching out towards the future – places performers and listeners in a field of relationships where alternative modes of social interaction can be forged. This is accomplished by employing music as a means of education both in transmitting knowledge from the old to the young generations within the community and the region, as well as sharing and explaining Yolngu ways of being to non-indigenous people. I will conclude the paper by considering how Wirrinyga Band's legacy has been taken up and elaborated by a new generation of Yolngu hip-hop musicians who use music as an educational means of "making people". ; ocusing on the musical production by the Australian Indigenous rock-pop fusion group Wirrinyga Band from Milingimbi, an Indigenous community in Northeast Arnhem Land, North Australia, I propose that popular music is not only an arena where Indigenous people of this region have been negotiating colonial and postcolonial power relations, it is also a "construction site", a creative space where new ideas, experiences, visions are created. Wir-rinyga Band's songs do not only express local ideas, values, principles or a set political agenda in the face of difficult past and present life conditions, but also and most importantly, have contributed to shaping a novel individual and collective identity that – rooted in the past but reaching out towards the future – places performers and listeners in a field of relation-ships where alternative modes of social interaction can be forged. This is accomplished by employing music as a means of education both in transmitting knowledge from the old to the young generations within the community and the region, as well as sharing and explaining Yolngu ways of being to non-indigenous people. I will conclude the paper by considering how Wirrinyga Band's legacy has been taken up and elaborated by a new generation of Yolngu hip-hop musicians who use music as an educational means of "making people".

Focusing on the musical production by the Australian Indigenous rock-pop fusion group Wirrinyga Band from Milingimbi, an Indigenous community in Northeast Arnhem Land, North Australia, I propose that popular music is not only an arena where Indigenous people of this region have been negotiating colonial and postcolonial power relations, it is also a "construction site", a creative space where new ideas, experiences, visions are created. Wirrinyga Band's songs do not only express local ideas, values, principles or a set political agenda in the face of difficult past and present life conditions, but also and most importantly, have contributed to shaping a novel individual and collective identity that – rooted in the past but reaching out towards the future – places performers and listeners in a field of relationships where alternative modes of social interaction can be forged. This is accomplished by employing music as a means of education both in transmitting knowledge from the old to the young generations within the community and the region, as well as sharing and explaining Yolngu ways of being to non-indigenous people. I will conclude the paper by considering how Wirrinyga Band's legacy has been taken up and elaborated by a new generation of Yolngu hip-hop musicians who use music as an educational means of "making people". ; "Creare la tua visione e comprensione". L'eredità musicale di Wirrinyga Band nella e oltre la Terra di Arnhem Nordorientale Concentrando l'attenzione sulla produzione musicale del gruppo rock-pop Wirrinyga Band di Milingimbi, una comunità indigena nella Terra di Arnhem Nordorientale, Nord Australia, propongo che la musica popolare non è solamente un'arena in cui la gente indigena di questa regione continua a negoziare le relazioni di potere coloniali e postcoloniali. È anche un "cantiere", uno spazio creativo in cui si creano nuove idee, esperienze e visioni. Le canzoni di Wirrinyga Band non esprimono solo le idee, i valori e i principi locali o un determinato disegno politico nell'affrontare difficili condizioni di vita attuali ma, e in maniera più significativa, hanno anche plasmato una nuova identità individuale e collettiva che – radicata nel passato ma protesa verso il futuro – colloca i musicisti e gli ascoltatori in un ambito di relazioni dove si possono forgiare modi alternativi di interazione sociale. Questo è compiuto utilizzando la musica come una forma di educazione non solo per trasmettere la conoscenza dalla generazione degli anziani a quella dei giovani nella comunità e nella regione, ma anche per condividere e spiegare il modo di essere yolngu alla gente non indigena. In conclusione, analizzo i modi in cui l'eredità di Wirrinyga Band è stata raccolta da una nuova generazione di musicisti yolngu hip-hop che utilizzano la musica come un mezzo educativo per "formare le persone".

This article deals with the annually held Gattjirrk Cultural Festival organised in Milingimbi, a Yolngu community in Northeast Arnhem Land, and has the objective of analysing its socio-cultural and political meaning. Although this event is considered an amusement (wakal), it nevertheless constitutes an arena to negotiate postcolonial realities in which Yolngu people are forced to live. Focusing on the organisers' overall frame of 'sharing culture' and youths' interpretations of hip-hop dances as 'performative tactics', I suggest that the Milingimbi Festival creates a space in which generational perspectives within the community as well as the tension between Yolngu people and the non-indigenous (balanda) world may be displayed and mediated. While the Festival has been mainly conceived as a space for encountering and 'sharing culture' with other groups and people both within the community and with the balanda world, it is also seized as an opportunity by young people to generate new ways to engage with and challenge others. By weaving together elements of Yolngu heritage and pop culture, I argue that fun or burlesque dances (wakal bunngul) are 'tactics of cultural remix' that through laughter and irony demand a witnessing: a mutual recognition, engagement, and responsibility to participate and to respond. It is thus in their own ways that these performances produce new connections and relationships bringing together old and young, Yolngu and balanda in an effective although fleeting encounter.