"Trying out the bullroarer was definitely an experience," says Jeremy.
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Equally strange are the muffled drones of the wooden bullroarer from Papua New Guinea, which resemble the strange nocturnal hums of giraffes.
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Picking through a chest of musical contraptions, he chose a small wooden bullroarer, an ancient ritual instrument consisting of a slat attached to a thong.
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Yet apart from an interlude during which he comes forward to drum the stage, Mr. Kotche keeps to the dim rear, usually behind his heavily accessorized drum kit or another instrument, receding from focus even when he's whirling a bullroarer overhead.
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Yet, Hinkie's manical ways paid off in theory as the Sixers got their man, #1 with a Bullroarer, Ben Simmons...Who, as you know by now, broke his wheel (an "acute Jones fracture of the fifth metatarsal of his right foot" to be exact), and ain't coming back anytime soon (officially, the dreaded "no timetable").
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Instruments in which the vibrating air is not contained within the instrument, for example sirens, or the bullroarer.
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Scandinavian Stone Age cultures used the bullroarer. In 1991, the archeologists Hein B. Bjerck and Martinius Hauglid found a 6.4 cm- long piece of slate that turned out to be a 5000-year-old bullroarer (called a brummer in Scandinavia). It was found in Tuv in northern Norway, a place that was inhabited in the Stone Age.
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Several Ngugi names survive behind European transcriptions of their language, for the Cape Moreton headland area: Mijin Boowell, Gunemba, Boogaram-calleem, and Cangallioon. It has been conjectured that these terms refer respectively to the midjin bush and berry, canumba (honey), boogaram (bullroarer) or buggeree (bugara), i.e., the braided string used to swing the bullroarer. The cape was a ritual centre for bora initiation ceremonies.
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Shamans of the Amazon basin, for example in Tupi, Kamayurá and Bororo culture used bullroarers as musical instrument for rituals. In Tupian languages, the bullroarer is known as hori hori.
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Jesse Lasaten and Von Guzman composed the show's background music using choir, duduk, bullroarer, Yamaha GX-1, and other instruments such as the balalaika for the Kapatiran theme in the drama with a full orchestra. The music was made by the Hollywood Studio Symphony. Jesse Lasaten, after doing work on the epic historical war film El Presidente, composed the background music of Juan Dela Cruz. He used some instruments such as the bullroarer, didgeridoo, Moog synthesizer, and ocarina to make the show's score.
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There are a number of other sounds made by cattle, including calves bawling, and bulls bellowing. Bawling is most common for cows after weaning of a calf. The bullroarer makes a sound similar to a bull's territorial call.
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The pūrerehua is a traditional Māori bullroarer. Its name comes from the Māori word for moth. Made from wood, stone or bone and attached to a long string, the instruments were traditionally used for healing or making rain.
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Gateway is a mutant with teleportation and psychic abilities. Gateway creates wormholes which allow travel through space, time and dimensions. He opens these gateways by whirling his bullroarer over his head. The gateways can be used for both observation and transport.
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Bullroarers have sometimes been referred to as "wife-callers" by Australian Aborigines. A bullroarer is used by Paul Hogan in the 1988 film Crocodile Dundee II. John Antill included one in the orchestration of his ballet Corroboree (1946). See: Corroboree. Bull-Roarers from the British Isles.
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In Ancient Greece, bullroarers were especially used in the ceremonies of the cult of Cybele. A bullroarer was known as a rhombos (literally meaning "whirling" or "rumbling"), both to describe its sonic character and its typical shape, the rhombus. (Rhombos also sometimes referred to the rhoptron, a buzzing drum).
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According to R. H. Mathews, the Bundjalung rite of transition into manhood began with a cleared space called a walloonggurra some distance from the main camp. On the evening the novices are taken from their mothers around dusk, the men sing their way to this bora ground where a small bullroarer (dhalguñgwn) is whirled.
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Karora followed them, seized two of the animals, then cooked and ate them. His hunger sated, he lay down to sleep again and a bullroarer emerged from under his armpit. It took on human form and grew into a young man, and when Karora woke his son danced around him. It was the very first ceremony.
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Aerophones are one of the four main classes of instruments in the original Hornbostel–Sachs system of musical instrument classification, which further classifies aerophones by whether or not the vibrating air is contained within the instrument. The first class (41) includes instruments which, when played, do not contain the vibrating air. The bullroarer is one example. These are called free aerophones.
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He was born in Oke-Igbo, Ondo State, to Joshua Akíntúndé Fágúnwà and Rachel Òṣunyọmí Fágúnwà in 1903. His paternal grandfather was Asungaga Bèyíokú, an Ifa priest. His parents were originally adherents of the traditional Yoruba religion until they converted to Christianity in the late 1910s to early 1920s. He was born with the name Oròwọlé, referring to the Yoruba bullroarer god, Orò.
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The bullroarer must be cut from a tree which contains his spirit for it to work. For the Guringai, Daramulum is represented by the Alpha Crucis of the Southern Cross, with the remainder of the Cross representing the head of his emu wife (of the emu in the sky constellation). A religion centred on Darhumulan is an identifying feature of the Yuin nation.
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EEMH also created bone whistles out of deer phalanges. Such sophisticated music technology could potentially speak to a much longer musical tradition than the archaeological record indicates, as modern hunter-gatherers have been documented to create instruments out of: more biodegradable materials (less likely to fossilise) such as reeds, gourds, skins, and bark; more or less unmodified items such as horns, conch shells, logs, and stones; and their weapons, including spear thrower shafts or boomerangs as clapsticks, or a hunting bow. Potential EEMH instruments: bone flute (left), whistle (centre), idiophone (bottom), and bullroarer (top) It is speculated that a few EEMH artefacts represent bullroarers or percussion instruments such as rasps, but these are harder to prove. One probable bullroarer is identified at Lalinde, France, dating to 14 to 12 thousand years ago, measuring long and decorated with geometric incisions.
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In this way it resembles a snare drum more than a tambourine, though the latter is often used in translation. The rhoptra were played with the fingers, not sticks. Rhoptra were also known as rhombos, which also designated a bullroarer. Among the Ancient Greeks it also meant a door knocker,Liddell- Scott-Jones Dictionary of Classical Greek, rhoptron a meaning it retains in the modern language.
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The bullroarer (or bull roarer) is an instrument used in ceremonial ritual. They should not be used in any situations where traditionally oriented men or women of Central Australia may hear them, or be otherwise informed of their use, without explicit consent. Improper use of bullroarers has resulted in the unnecessary death of, or serious injury to, both men and women hearing them in Central Australia, within living memory.
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He is depicted in semi-profile, with one arm, an emu-back (i.e. pointed buttocks), and a large foot. His voice can be heard through the medium of the bullroarer which is whirled through the air during initiation ceremonies. He now lives in the trees of the bush, particularly in the burls or growths which are found on the trunks of trees, and only leaves them for initiation ceremonies.
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Marett lists a number of objects habitually possessing mana: "startling manifestations of nature", "curious stones", animals, "human remains", blood, thunderstorms, eclipses, eruptions, glaciers, and the sound of a bullroarer. If mana is a distinct power, it may be treated distinctly. Marett distinguishes spells, which treat mana quasi-objectively, and prayers (which address the anima). An anima may have departed, leaving mana in the form of a spell which can be addressed by magic.
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On their way back they heard the sound of a bullroarer, and as they searched for the source of the noise they caught sight of a sandhill wallaby. They threw their tjuringa sticks at it and broke its leg, and the sandhill wallaby called out that he was now lame and a man like them, not a bandicoot. He limped away. The hunters continued on their way and saw Karora approaching them.
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The trance induction central to the cult involved not only chemognosis,An altered state caused by drug use. but an "invocation of spirit" with the bullroarer and communal dancing to drum and pipe. The trances are described in familiar anthropological terms, with characteristic movements (such as the backward head flick found in all trance- inducing cults) found today in Afro-American Vodou and its counterparts. As in Vodou rites, certain rhythms were associated with the trance.
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One of the insects emerges wounded from the wreckage and poises to attack, but Nausicaä uses a bullroarer to calm it and guides it away from the village. Soon after, Tolmekian troops, led by Princess Kushana, invade the Valley, execute Nausicaä's father and capture the embryo. Enraged, Nausicaä assaults several Tolmekian soldiers and is about to be overwhelmed when the Valley's swordsmaster, Lord Yupa, soothes the belligerents. Kushana plans to mature the Giant Warrior and use it to burn the Toxic Jungle.
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" In ancient Greece it was a sacred instrument used in the Dionysian Mysteries and is still used in rituals worldwide.Bayley, Harold. The Lost Language of Symbolism: An Inquiry into the Origin of Certain Letters, Words, Names, Fairy-Tales, Folklore, and Mythologies Book Tree (2000). p. 86: "The bullroarer, used always as a sacred instrument, is still employed in New Mexico, the Malay Peninsula, Ceylon, New Zealand, Africa, and Australia, and under the name of Rhombus it figured prominently in the Mysteries of Ancient Greece.
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The ancient bullroarer is an unframed free reed made of a stone or wood board tied to a rope that is swung around through the air to make a whistling sound. Another primitive unframed free-reed instrument is the leaf (the bilu), used in some traditional Chinese music ensembles. A leaf or long blade of grass is stretched between the sides of the thumbs and tensioned slightly by bending the thumbs to change the pitch. The tone can be modified by cupping the hands to provide a resonant chamber.
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After returning from a conference in Cairo, Egypt, Raine-Reusch was asked to meet with White and Anderson to pick out some world instruments to flesh out certain tracks. The selected instruments were then brought over to the recording studio, which Raine-Reusch had to transport over by truck. He ended up playing a zheng on "To Be Alive", a didjeridoo on "Can I", a tamboura on "Nine Voices", and a finger cymbal known as a Ching, as well as other effects such as a bullroarer throughout the album.
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In one early report by the Reverend Greenway, the Weraerai were said to share much mythology with the Gamilaraay. Using European analogies, he described their supreme god as Baiame, creator of the murri (aboriginal people) who had an earthly regent called Turramūlan, whose name meant 'one-legged' since 'his locomotive instruments, or feet and legs, (were) in the form of an Indian yale, all on one side; hence his name, signifying 'one-legged'. His consort Muni Burribian was delegated with the task of initiating women into the domestic arts. Turramūlan's presence is summoned by the whirling of a bullroarer during the rites of initiation at a bora circle.
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The transition from dry season to wet is often seen as a symbol of fertility in the story, making this the main focus of this ritual. For weeks, both men and women perform together non-sacred songs until the bullroarer is turned, representing the voice of Yurlunggur. Ulmark ceremony, also known as Ngurlmak, is the final ceremony and while it involves other myths, it 're-emphasizes the fertility elements and the bisexual symbolism already present in the first two' ceremonies. These rituals belong to the Dhua moiety which means that the clans affiliated to it are the owners and custodians of the knowledge shared during them.
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This blood became his food (warb), which he shared with his three unmothered sons: Nalja, Winindjibi and Glabi, and the ritual drink of Baardi men to this day. The three sons took different directions, with Nalja travelling east with the tjuringa, Winindjibi went south introducing initiation rituals and dancing, while Glabi introduced the Law. He speared another fish at high tide and sang his way back to Ngamagun, collecting his galaguru and, on climbing the Burumar sandhill, swung it round while kneeling. The hair-string broke as he did so, and the bullroarer shot skyward, to rest at a celestial zone called 'With the Fleshless' (baug-ara- njara), i.e.
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In Britain and Ireland, the bullroarer—under a number of different names and styles—is used chiefly for amusement, although formerly it may have been used for ceremonial purposes.Haddon, The Study of Man,p 225: "Those given to me were made for me, and may not represent the common form of bull-roarer in the north-east corner of Ireland. My informant stated that once when, as a boy, he was playing with a 'boomer' an old country woman said it was a 'sacred' thing." In parts of Scotland it was known as a "thunder-spell" and was thought to protect against being struck by lightning.
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Haddon, The Study of Man, p. 222: "It was believed that the use of this instrument [thunder-spell] during a thunder-storm saved one from being struck with 'the thun'er-bolt'." In the Elizabeth Goudge novel Gentian Hill (1949), set in Devon in the early 19th century, a bullroarer figures as a toy cherished by Sol, an elderly farm labourer, who being mute, uses it occasionally to express strong emotion; however, the sound it makes is perceived as being both eerie and unlucky by two other characters, who have an uneasy sense that ominous spirits of the air ("Them") are being invoked by its whirring whistle.Goudge, Elizabeth.
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The band's new sound was exemplified by the album's two-part title track – a significant change from what King Crimson had done before, emphasising instrumentals and drawing influences from classical, free, and heavy metal music. The record displayed Muir's free approach to percussion, which included using a drum kit, bicycle parts, toys, a bullroarer, hitting a gong with chains, and a joke laughing bag. He also used fake blood capsules applied to his head, becoming a sole example of such theatrical stage activity in the band's history. The album reached No. 20 in the UK and No. 61 in the US. After a period of further touring, Muir departed in 1973, quitting the music industry altogether.
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The heartland of Baardi (and Jawi) religious thought and practice lies in an area some 3 miles southwest of Cape Leveque, called Ngamagun (At the water)/Urgu (water). It is there that many of the key moments of the primordial creation of their world, in what they call būar or the dreaming, are grounded. The oldest supernatural beings in the Dampier peninsula thought- world were, firstly, Galalaṇ, followed by Minau. At some time, a young culture hero, Djamar emerged from the sea at Bulgin and, after resting against a paperbark tree for three days, struck out, whirling his bullroarer, for the south, then dived back into the sea after turning west, only to emerge at Ngamagun creek.
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Further features and details of the women's ceremonial area on the northern ridgeline are not able to be publicly shared out of respect for cultural and gendered sensitivities. The eastern ridgeline of the amphitheatre is heavily inscribed with motifs related to Daramulan. A set of three engravings includes a profile emu with a three-toed foot and large protruding chest, interpreted as Daramulan in emu form, a prostrate male human figure shown pointing west with a small bandicoot alongside interpreted as a "guide", and a one-legged human figure shown holding a large ovoid shape, interpreted as Daramulan using what may be a bullroarer. There are visual, physical and symbolic links known to be intact between individual sites across the Calga ACL.
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Hodgetts, cited in Ross 2011 Such places include the Brewarina Fishtraps created by Baiame, Yambacoona Mountain where he taught community the lesson to share resources with each other and Mt Drysdale where he sleeps.Gordon, Paul 2018 According to the local Darkinjung and Guringai communities, Bootha was originally the holder of the law and gave it to her son Daramulan who in turn gave it to Aboriginal people via initiation ceremony known in this part of Australia as the Bora, Burbung or Boraba. Daramulan is often depicted in rock art as a male figure either in profile or front on with a club foot or one leg or alternatively he is depicted as an emu. Boys are called to initiation by the sound of the bullroarer, which represents Daramulan's thundering voice.
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Traditional Navajo music is always vocal, with most instruments, which include drums, drumsticks, rattles, rasp, flute, whistle, and bullroarer, being used to accompany singing of specific types of song (Frisbie and McAllester 1992). In 1982, there were over 1,000 , or Singers, otherwise known as 'Medicine People', qualified to perform one or more of thirty ceremonials and countless prayer rituals (Frisbie and Tso n.d.) which restore hózhǫ́ which holds the semantic field of 'harmonious condition' and 'beauty', good health, serenity, and balance. These songs are the most sacred holy songs, the "complex and comprehensive" spiritual literature of the Navajo, may be considered classical music (McAllester and Mitchell 1983), while all other songs, including personal, patriotic, daily work, recreation, jokes, and less sacred ceremonial songs, may be considered popular music.
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It took from one to two months to complete, and was participated in by members from both patrimoiety groups in neighbouring clans. The young men who are the subject of the Karwadi rite of initiation are candidates who have already been circumcised, but require this last stage of initiation because they are still regarded as refractory to the discipline of full maturity. Karwadi is a secret name for the Mother of All, alternatively known as The Old Woman and the core of the ceremony consists in revealing to them her emblem, the ŋawuru (bullroarer). After consultation the young men, without compulsion, are taken to a ŋudanu (ceremonial ground) where the fully initiated men (kadu punj) circle them and chant a long refrain which concludes at sundown with the exclamatory of the Mother of All's hidden name, invoked with the cry Karwadi yoi!.
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Rico and his men track their quarry to Australia, where they hire some local thugs to assist them, but their Aboriginal tracker abandons them when he hears that their quarry is Mick (the implication being that Mick is a good and respected friend of his). The gangsters then take Mick's friend Walter as a hostage, but Mick saves his friend by faking an attempt on Walter's life. Walter convinces the gangsters that Mick's failed attack was due to Walter being the only person suitable to guide them, so they take him as a replacement tracker. He then leads the gangsters on a false trail through the Outback territory, during which Mick, with the help of his Aboriginal friends that he summoned with a bullroarer, manages to reduce the opposition's numbers one by one, leaving the rest increasingly nervous.
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The changes he wrought were associated with the transformation of Baardi parkland estates into mulga scrub, perhaps with the advent of colonial cattlegrazers. A fourth figure that came into prominence in Baardi lore is Djamba. Worms found the cult dominant among the nearby Yawuru by the early 1930s, yet all absent among the Nyulnyulan speaking groups such as the Jabirr Jabirr, Nyulnyul and the Baardi, and hazarded the conjecture, with some evidence, that it came from the central Australian group, the Arrernte, via the Gugadja. This Djamba, a prototypical figure in widespread Aboriginal lore characterized by crippled feet, is associated with the introduction of guraṇara (ritual intercourse with exchanged women matters, tyuringa and instruments like the love bullroarer, mandagidgid; magic daggers and spindle-shaped sticks used as points (wadaṇara/durun), many associated with innovative sexually explicit corroborees and rites.
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Genoways' first book, a collection of poems entitled Bullroarer: A Sequence, was a narrative his grandfather "from his birth in a poor rural family to his work in the Omaha stockyards to his final years." Marilyn Hacker, who selected the book for the 2001 Samuel French Morse Poetry Prize, wrote in the book's introduction: "Perhaps it says something about the movement of American poetry that the stockyards and slaughterhouses choired in operatic open form by Carl Sandburg are rendered (a word that takes on another meaning in one poem) by Ted Genoways in a metered verse that spares the reader no detail. There is no romance to the blood and heat and animal terror communicated to workers (and readers) as it emanates from the killing floors of the Omaha meatpacking industry." In 2003, while he was still a doctoral student at the University of Iowa and working at the Iowa Review, Genoways was hired by the University of Virginia to edit the Virginia Quarterly Review.
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The Murrinh-Patha conducted a bullroarer ceremony, known secretly as Karwadi, and publicly as the Punj. This was analysed by W. E. H. Stanner in terms of a pattern he discerned underlying the more general rite of sacrifice in other cultures, consisting of (a) something of value consecrated to a spiritual being, and whose aim lies beyond the common ends of life; (b) te object of sacrifice undergoes transformation;(c) The object of sacrifice, whose nature has thereby been transformed, is restored to those who made the offering; and (d) and then shared by the community, allowing their loss of the earlier state to be offset by a gain. In the general context of aboriginal religion, such initiations instill the idea that in the dreamtime, extraordinary events once took place which set the fundamental pattern of man's life in his given environment, and the living must commemorate and keep actively in touch with the symbolic truths and paths outlined illo tempore. Broadly speaking he writes that: > The Karwadi ceremony may be described as a liturgical transaction, within a > totemic idiom of symbolism, between men and a spiritual being on whom they > conceive themselves to be dependent.
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