2 wa susda vardey> Sq. ve agnajaed ARGS 2 1} waa aay Hay adog ‘osng Spanos LY fo fPajaasREG Uy Buns 0 syof.an0y t ‘op ov ax samo puney pus daup saves {Q 21 sty SpooH F ysoey may Os posed I 00 NG, weHpEM) poo$ ¥ pe Mog, Pople dandicogy IN ms gun apn ond Spy ls ‘mow ng., Sun refines Spear pe Kepacy eum ok aM ppe Pos ae 1024 EN ‘Appama aianaan ur Sasi 95 uostor aus 9p ad paxpwoal | >uakeny at en tana kq pala Apgsen 9g > “pag “ns os fase sig Jo ter sxpay wy “Np oy sooner wind ry 28 "esp paw uno ap joSENSE, EHBODIMENT, SYNESTHESIA ‘ls of song, a sense of place resounding, a simple presence, but ilabseuce” (Leder “psablishing this comy body cleacy implicates anor cf the senses Lived experience Sad ground, constant potentials for rl gr cortepondences, Figare-geound incerplays in which one sease sue fees in the midst of another that recedes, in which positions of domt- ance and subordination switch or commingle, blur into synesthesia, and muleiple presence and absence of the se-and-background, th tan shifts in sensory figures 1 cross-semsory interactions {he eansposition of seasory images or sensory attributes from one m0 {aby to aother” (Marks 1976:8). Spnesthesia points to the complexity of sensory fotos, the rich coneetions inherent in mliple sensation soares, the reverberations that emerge fom simulsneous joint perceptions (Cytowic 1989) ley ofthe sons bleeding into cach other's zone of expectations” (Tausg 1993:57) ‘the metaphoric in general, expands the power of replication .. . wherein the repr power from the reprevented” (1993:2). This same metaphoric and synes- {het pocential also recalls iconieity, oF the ways in which perceiver and peveived blur and merge through sensuous contact, expecienci esemblances that echo, vibrate, and linger as traces for one modality to another, present 2t one level while abseat at others, con~ tincally linking bodily experience t Jackson 1989:119-55; Obmaki Tierney 1nsval presence, i sill more than embodiment, more tore than the pot synesthesia. prescht data of oot senses, we mingle a thousind details out of our pas * (988 Hence, “what you have to explain i ‘bur bow its limited, since it should be the in fact reduced to the image of that which -40), Bergson’s problem—linking the active processes of making memory—is developed rig (1987). le writes:sueaoo sy PEE IES “rag Aq pouto> sta, Ss. jonypoy pue woneisd sponctneg auseard As jos she go wojesiouedioace FR sg ap ers puopeunopsuen eipacn Hurusa9t09 AROIORL sypa], par sma. 020], 30 Asanti, op ae siofoxd nox ‘aro paiccap tana ay, (6g-£S61) MONK peu! aoK UE 92eds oamooe, 30 uoTow aif paIMpoNus wEHN PHA TEHSTERY pee ZUEdN ppomarpy ofee, jnsta se Aoeunad feuonertossadar 20 ramopiaa sures ses soustiods feso-yeane yo Aesneoq, stp ae “Tod ef sasso7eys ase papuaydde Ayesquos 2:8 spposs syprondle owestosoxdor pur Aambur aqpaoq3s pue ishie og wt eope odesspury axp 30 Aroisy Buoy ayp 09 eatta> oy Bun “ponosed 20 Suypunos se soeig Zp pe preay se aoe Jo wey ang (sag somnredn re 4o sabampar parear say pur ats 3o Ane ata or paprose “go ap yeomty phiow 2xp Sucre yo Kean owes ¢ 30 saison Ue par dpeozorsry req poromue> Ajeuutur ax, adeospuey jo sasuas O49 sage aap sansa an03is07 “6: gq) ,22tHn8 3}p2ve oxp jo woRrod pe ~tnjap ¥ sano Aarau xgatoyos Jo spotpst 243 hq poadjewe par pagzaa rduna 2g ueo yy euaucousyyd wean fu jo conestonut Maou09 agp “gpleood onmapene yo st22409 pon seae 24) ey Tefen suegeuig"Bosatag sao, :poute aq 03 seat "grape gas ape ng Sy aes ate Lapa Ba “neaS bot patoooun> Sop ae vowisads? 4 poms trang 8294 jaan Fat jercoueegaudss Ain po Despre ‘sia pespumy snoy autos soso “aoueisas ay amp sag ayp patie ary, Tasensya sajseazed « Surzeys yp0q ‘sdeospuey Jo stonow sounsip fos soy pazkjeue sey anosfisor syeocy aderppuey 30 1ds2u09 weadosns, sao Ajdaop sp Aq pareucanop wa9q sey 29e14 30 satay fo som anyder8008-fesngna pu angleSompo “Brey pue Aq any soe, {0 womezyenidoasos Azosuonnyn 205 uonwionduo catos 03 PED; PINCYS ‘souariadxa yenidaosed Jo ias2uey> A rus ApBurpysAI2K0 OL, ‘2evDSaNaos “29vas 2145034 “SAVISONNT -quouoSeSu yenadoorod pue aouasord dpog prastas Jo unt sfuaaye tuneno>jdena “samH06 fens puE ssury ayp uodn aseap we> wonort asNe59ng lifowwrarlds of Kalli ‘TOWARD AN ACOUSTEMOLOGY fn unison wth the stima- and viscera” (Gonzalez-Crusti sound penetrates the bods). Sound, hearing, and voice mask » special bodily nex dnl emotion because oftheir coordination of ing. “The vocal mechani muscles, organs and ofher structures in the abdomen, chest, throat and hhead. Indeed, virtually the encte body influences the sound ofthe voice cither dieetly or indirectly” Sataloff 1992:108), Moreover, hearing and ‘connected by auditory feedback and by physical resonance, the experience of one's presence through the echo-chamber of and head, the reverherant sensation of sound, principally ones doom voice. By bringing 4 durative, motional world of time and space smoltaneously to front and back, top and bottom, and loft and right, an lignment sufuses the entite fixed or moving body, “This is why hear- ing and voicing link the felt sensations of sound and Balance to those of physical and emotional presence. oblematizes Abu-Lughod and Lotz’s argument that 2s embodied only aftr its socal and culeural—~ iy accepted” (1990:13), Although they ase that “as calrural prodscts [emotions] ate reproduced in indi- viduals inthe form of embodied experience” (1990: to abstract discouste, o the production and cizeulstion speech styles and gences, from the embodied voice, the si theulation, the zesounding place of discourse as folly feelingful habit, Emotions may be created in discourse, but this social creation is con- tingent on performance, which is always emergent through embodied ‘voices ice Urban 1991:148-71), Acousteinstogy. : sensorial-sonic stu sounding 35 condition of and for knowing, of sonic presence and aware- ‘ness a5 potent shaping forces in how people make seuse of experiences ‘Acoustemnology means an exploration of sonic spoeiically of significantly on the intenplay of tha resoundlingaess and reflectiveness “Acoustemology means that asa sensual space experience oF place potentially ean always be grounded in an acoustic is s0 because space indexes the jo of sounds, and(0 ausop Arosussionay ayy ‘opti? 203 OYpe MOSSY aus ys “wossexda put soy 249 Jo Soouatsadya fourtad ut souasaid wopPR Testa Gam. uotsuos oF skeaae suyp sf soKesed AsorE|as04 MODY, “Aeme HopPR Aqqensta toys weas paunouue Ayestuos ae sane aero} Jo ssoussoid ads 20 Bunuts e Jo aouasand oy Aq Ste poyroaar 238 ‘ssaueprp pevor mt Zurenzoyiod suunpour aids jo 2so1p 20 “essuep fersour ~ore> pauinysoa Jo sonuopr am se sat eqn pres 2H Bopeus Aq su uo soya potandu aouo rg potae svoj wap densta 3805 ousopeip asus =u Apzemmonied mur 9082249 St Hos 1ayp0 te ke Ajqesmyn> sora ap st ‘woag “sottqpes pur Arata 40g year tonmmoRt jeuonEsoy aa “RK Bumpunozins ayp jo snap axp 03 Buy se ypns souo auepunin poy aA wOHeAU=TI0 jrucr29} 369 HuEzPIG oINoe dopanap dquownnos rope y “(i661 FTA ‘6 REL MMIAS ‘Ox 61 UTAHETIOS “Sia) core axp nH poypous aney oun sioydesBoxeAD wo 1 Apbuons ey Berto pur mqussy “Fuszeay ysinowya 10 dorrexrst0 Apoq 2qp pue "ha20} peokdoxs ap OF ae J sranosnggp 21,998 104 op Kays Se yp 94 9 rope “taumne oN endeg yo Worox sosoyuLeF Fsqpunoss0s ay Ut PE ‘neon ueadeg 2t025 cn Uo suoqgBroe asiopaEa sD yp WOURTED SLUY ORY ‘S3SN35 “INBHNOMIANG 40 ALINN A110 'ADOTOWALSNODY TA¥SOR -sossaaoid jemvdooiod Asosussia1uy says0 Smaps Se To se rosea 2:9 pie Croup arp yo Lejdiouny xoplazon e pinoy pan ~ord ues —nonesuas se soe ipassi st 40 pur Sorouoriadxo sep s ‘surtay aces uy oS “Bayo pue souBureres se ‘panos’ pur amy se pue wi gpuinos XygesAgeT axuu-22tdg “Gqeuonoanp pu “ipdop iqdray oTuos Jo worsrodstp ay st soeds Aaompne jo Sursed ou spunos jo dousuosat pre ‘Se29p “upeasns Syoene parader axp mag porearn 2 Bored spoageiodua; asrasyyy st eds onsno:luli teansformn these everyday encounters with acoustic gare rounds, mending their maturnes from the experience of the rin Eire soundscape to their own vocal and instrumental music, Voices and 1 “Tift-up-over” like the trees of the forest canopy; and work tools are made to "ife-up-over” ike rambling ols. These ideas are elaborazed by Kelult Te be in synchrony means thatthe of consistently cohesive part patory experience. Yet the p Jpffeeent and siting points of che same cycle or phase structure at any fnoment, with each of the purts continually changing, even competing, in degree of displacement from a hypothetical unison. ‘Additionally, ft-up-over sourcding” is created ral densification chrough a layering of attacks, decays, bre, by textu- fades, of play- Tengthenings, and shortenings, of the fission and fusion ‘and phrases. Musical parts that interlock, alternate, oF 1 forma of participation that blurs competition and co- petition, mirvoring the lager Kelult tendency toward tense egalita- nism in socal activities ranging from speech and work to negotiation, ‘exchange. voert with these dimensions of ruuscal creativity, face-painting wally mioror sonic “Mif-up-over sounding” through a pale ‘gure and ground principle in the texture contrast between shiny and Gull and the color contast between black and red, Ceremonial costumes farehes exploit textural densification by mixing roany types of materi~ als, blending and layecing fur, bird leathers, red, black, and white paints, shell, woven bands, bamboo, rattles, palm strearners, ad colorfel leaves ‘Re the coreronial dancer bobs wp and down in this paraphernalia, layers ff fin synchrony and oot of phase” sound emanate from bis shells and ‘motion, “lifted-up-over" by his drum, ratte sive evocation. To illustrate how’ this happens tvaye in which Kalult people encoxnter, sense, and name places Sn theic Syodd and then tothe ways this Pow of world sensing turns into a sen- sual poesis of place,5 pur smu por, bic oe SOG ove, ‘Hoy PE PERL, “OH jf oiseq sot ay sas209 ed jo ojos Ssuueusonpd syads yo Sucouanayo2 AL Eric Alaa ‘pan 30 fons oy Jo “SUON 30 72 APs ‘yeouruoraua ysalajures Suypunozans op UY jonsids yas SaSedua dq paruersedsse ano MigdesB008 2 wslooued ay2 oveonpuc 1909 940 ‘paepey ype pe poor Ages nasa ‘oSeseqaxs pus aucys o1 sexpation dood : 2 “Guryoos pur Suapred om our spews sme pve Aur pur ‘souet iad pur uopssodinos Bt0s Jo seoraap Soy ax 30 ‘yor ® Jo Pops Uf suona|as ISOs pu “sou iow goa sey sdeut pasodinop 40 psrtacadar sonns uo apace pie Sos Jo six ur sourmaso9jd yo wolzea> enmuonbas Skea 2p to payentisouon sey (9667 Pipa) soased OPER HO OM MO Ky umsse 02 azysio0s axe ueapyey> goes a9eid yo asuas poryderorg oy sazoszopun eS yfoara ur sousunuoud sy “syexeuased 30 souRTONoE aansaye ayy su: Afpunnos wos sm) sypouzed jo) axanse poms put ‘auonsonote Moors djs nage sp Jo dorzenasts os sotdon vores ~onwoo sejaten pu aed Jo susarunoud oyna freee; any Aephzaaa yo sidtuasuen z0q ang, ‘224 e1tR PamT90 {bsor “e861 uanen9s par IPC ‘966t ‘9861 “eu6t) HOE 08 ey Jo Ayexfours> passiuao-ssinooslp kar syoRpy Agu (rcprsest ups 89 ot SE ye are compl ory a pur sas 28809 "yo IT aT iy seray 0323} ogaen sess mp Jo ep spe0mi0} a9: 9461) pod oe 292 20 9 sped exp 70 dyseqio wr 240 sur 98 # Aaantnan> amogsie Ge fo AaSp) a shaqesoy (pun worseayneapr ype jo Loeunrad ox ‘poztuflooer 20% 28m sutfagsolmng “1 presnp' “oggy 298 Laesog ur WOME “sopen aavq { por sonfieagon dul eqn Upseasox onsale pur omydersomyS 2p uy ans Hinpuns-fuo] ¥ 99g sey uosssozdxs Jerat2 pa ‘ssmooNp ‘sounyiadao dep diane rnpeyy oa soureusor|d pue anepd jo aouevodua yy S2NAINIUXS AVOAUSAA [HMTW KI MOM 40 SHtEve ONIDWTE ONINYN 04 NOLYSHS HOMof place, because evendy expect encod autonomously a5 are izsoparuble from the equally tively distinct, contiguous landforms, Iinking them and revealing their wholeness about them in English chan they mast feel to K: perience them directly as signs of the sensual obvi ulty of grasping them comes from betmeen these Boravi rainforest forms and ones more experientilly to Westerners. For while doom are celatvely hilly tnd chestlike, and fle elativelydattce and thighlike, these terms do not 3c of the English terms, any more than eleb exactly signifies the head” or the “end” of a small creek "hn addtional pare the problers here is thas doom, fee, and eleb are experienced and distinguished less as purely visual forms and more in & mi 1] way by the coordination of walking, seeing, and heating — the kinesthesia and sonesthesa of shaped place, encountered and learned ‘ing, sensing, experiencing body. Surrounded by dense for- che hei 4 principally fe or hier than the land behind or 10 vaye wot fom rain, so the presence of wetness i the air and the sick, sippery feel of diferens thickness of Tmud on the feerare central to orienting onself in visually dene places. “Additionally, one simaltaneousdy hears what kinds of water presences are hove, below, ahead, behind or to che sides and whether these waterways hing or augmenting in and out of presence. Tis sensuality of x! placing, slong with is kinsthetic-sonesthetic bodily bass fof knowing, is critical to « Kaluli acoustemclogy, a sonic epistemology of emplacement. and and water names often take the 2 descriptive modifier that specifics the place form {henveforth PN'+ __). Although the specific placename gan stand along, a can the descriptive modifier {es an abstract noun), they usually are combined. To tke the most generic instances, one oftenSo uo pou pe ay 08 eT Senge st souaso0d iq 20 Sursopursus, Kperopdiso> 30 * aren, oq soutorpa ox sued ogee, So Ka ay 0 sox "zoypeHon skx09 spe Ox ausyse augod ap ped vot surreanel aytoods © Barqpene Aq 10 or + Na Aa sqped se posoute> Aron aie sora “3sa103 249 vu doop ying, ‘pogey prema syenn 238 pu sey arog, Lene pear Koy, pie] AP MNpLA, ‘Hor ony 20 we, sn Apaatsoiflond seDeyd asatoy 01 souare reruney vo “Suraapre8 uray prodoq proj esa Jo sod ‘sou, sjaaess Aep Aarwrosen> areorpar siatxdiooy ceuiny 20 Hid asoqan tso10} atp over sued en auus-pur-pra zo Sizeaps 169109 [EUS 34 fn spg6 71 9m ware aep Uy souasaad ruourEraan8 pue 299009 pa4saay ur is wep (pros maura zox08 2oy pen, (pty twOMy yop 20 307 one) sien aBeypasoaes apus-s00}-¥aa mf wou Suydues Stzaned om mzapip jesvos yo spent Areworsn9 Aq seaze offs pus ‘stopre3 ti09 aq pom Sune A paresp e ons “ap 30 Baqwop © Sopwp-nq 10 24 + Na 9P posesja spaey siexpur AGoqoaransy 22m ut sroxpue sere oT) ‘Sanurt Ybaoxp Aporns poe Seawoyyon Spoensge _po hprapdinoa axa Sosa ropny uonenisop wo; + Na oares om Sang we pin suis agp uo sooed snomuuoasep fx2A9g ‘stz05 osRPads jp Asap #01 spoute> poe] jo yprans afar & organ ur en a2qpu aq ima oreuane pseotage ae 7g so} 3909 JO 2 Ages 5 4e ry # gp Hed soo] ap seogettuoy puey ur sarod suesydh “aonpme 30 2434 jo an0 30 go qeesuspss par feuatsedy 9 y9 “Gorzaonp stp jo svadre s1empur [pe sioyset ast ie ERIFPE FU NEL ODE Peg cMsacely substitute Six iconic pat- wels to iconi- icoateally mark to regular ver~ Lave a5 Wace as Lan In The Sonow of the Laney an Schiefflin notes the conectedn ce named J gies the and hens ly ener ae? ondigucation ote bn The are of oclty geoph cocina which Vn board ans Ro hough eet (1976 9) Hence, the experience and naming of Boss always interpenetrated. This is mos forcefully indi of attaching landform descriptive modifiers to specific water names an sto specific land names. runing alon 2 ereek named Sula it not just an abstract watercourse but one whose path connects co lands named Subs dorm an Moreover, even Though Sulukeb (Sulu + eet) marks where the Suiu creck comes to 1 forthe arch of land where the Sal stream ends, t beyond this particular place is where members of Bon ir longhousics in the 19606, 19705, tnd carly 1980s, Sule is also alonghouse site namic and, by extension, the primary seferont for people who live there (Sululeb tthe same time, everyone knows that Sulu is quite junetion (Suk tnveen specific and genera, personal and cal resonances for these nares, along with the they consummate in place, resp Conners Puacovanes, LinculsTic RHvERENGE, ano MeomiAt DETERNINACY brands, encapsulating smagnicudes vary from muodane ro cosmic. Some Bosavi plas, forex Simple, te named in relation ta asythic origins or events responsite for5 ea ge sp Sous now on ry 9 ony soto rs P8294 pore aoe ov op a oeoaroqeeg Pe bl pow spam iy se nso ogy onaa09 ox pase ot Seo aos, 209 9) > pte Kozo oF Waly SNooue as a 4 osmeg Foch papas womans og oust PANS Tg} Hog anaog sosey Pssotioy pat uouonsi rotons Steet ye potod pe spor ruowaiao jee Sem w ong 34 W728] 8 Sep jo ats anp Sumenpur pep, + Ste, spot Samong pu “+ 4 oy tod pau a ey og, votrouoyong pa ote poutes sozed sousy uD 1 "Zeer TH cpu song, St simp ‘agdomexa 204 Asonsey doqtmuntno9 Je20] at seE0d So. yJost HoneE9} sazem 30 pur] x Furkyods rmoWpt toe 10 10942 tr 0: parr oq gan soe Bu ejat are ano snp ap soSeyped ourexooed paypeng Ayes ‘soquaota sr pu Aarumenaoa agroads yo Aorty amp soduar ae wep soraois pur “ezogpuey posed r“muana ur sureusoed ayn Jo sorutnas naaiapou yp uaaisiag afEqUT ROP es Bog 70 “areusares esnoy a0] ay aprsino peor wiauRNsso8 soft * apisBaoye Saxony mow opsonb uy aed agp osnesog -AsouoU eotOas sszEN2 30 $9 p9 aap ae pur ames Aqpeots03sy 5} wonseudap stop poieauo arya ations 3tp put swosptey penstun pu ensia Apeometesp vst oa pastayas aed 2a, aq punasd aqp ado axjorg ayenbyea axay. aed, Fuente “yeu Ot + 4890-9039, + HH aE UMBHIONDS 378-86 TE MapuENED pur UR aIgOS $p-5T' 961 YBNPS “7 a) sou turypedt-au ‘gat "pRer ‘L6s1 © ogaads wonyjana pur ape Jo spury stp ysnoma pasodxa are ayia fouer0%9 axynb 20 waouy [ose Agere 28 120) Sovzons UE popEOAaR Ome S02 jag usoD04pRAus pudyo zo stebtENUIsT a1e309 fos stbep poprone age suonoUt 30 ‘spz0%che most spee- .iories ate shaved, significant, meaningful, or memorable dheough time for particuh ‘uals o¢ social groups The meanings of these stories far overshadow whatever meanings may be directly linked to the lexi- Cal semantics of the “PN + __” steuccore and its overt content. While ft might be posible to seggest something of 2 hierarchy of pl types say, i Cerms of the amount: of affect iad cary longhouse ste names, garden and sago st crossed leadin from these three kinds of and unleash significance, experienced including the activity of tak, rather ic seructare, physical type, ot function, that invests places swith memorable depths, laminating living co language. ‘The semantics of placenames and their attachable desc nuch more eeferentilly indetermina damental to the descr these names ate decply cover and beyond refer- to implementing sex ugh the ways in wich veebal invocation brings place into fayE UE isND Aq POLI, “~2od poe pasoduuo ‘sped auseusoey Jo stsod pean simp ytoays aed pool ur Soom suos quyey Jo anised pu samed na ot 2a jo sousnonstos ap suo ay ARBooIOR wep Bax oF su Buryeods ory uoneao;swen 9~ pu “tonsod Buos {yey Jo wono yp st punos8-puv-amiy sy "vores pa Reron 7oumea) aa ‘uy Aegoaseyazour axowe 03 Gras suyfiog atau a0 ayes oF “pouryor 99 0 aap asesoyey Aap ‘ araoxpfieans og ‘punos® Aepzase we woureyjan a omy xf a) woremss Msi mang, ye Buope PEE Hog otp Buoite soonsed Buus noge BunH5, “awsog Jo ieoypzou ereUTOTTY aay-Sar0y aap jo soggJ es? It consists of 1 parallel to the oue found in the combine a repeated jal aid pootic simplification sdel in three ways. First, the the shortening of the din + talan eo three pairs from the wsual eight to ten additionally simplifies the structure. One postic consequence of the ‘brevity ib that these are relatively fewer places named than one ly hears in a ceremonial gsalo song, Moreaver, Ushi ae tend, particularly in the dim + tun, t0 be much ficther apart than val in a gislo song tok, which often sings a set of nares progressively closer together on the land, or else alternates distant and very close places asthe din + tales develops. a eye (sling) feos pesching neh large Wace bill swe bie ‘lng nthe of [another big hardvoed tee] toca mo: g2 telling from the close-by hate fa lone pln} See kd ylation ‘elling inthe af these ayehing back wo ou ‘beaters ange) feos hi waterpool ng to tay over the ccesde eaves coming 1 say at Waseye: hil waxerpol sys Hooded bouchesbird (alg) perching inthe large of tee ae Wao Bll Saling 8 he ah {Elling fro the loe-by fds falling inthe af there aac did't sy anything back to your Pin coming 0 coming to aay 32h Fn coming 1 say at Diyos: watespook sep Hood burchesbied Derching inthe nrge le a Wasfeyo il felling inthe »f falling foun th clove by ido ‘sling inthe of | Tim coming 10 stay t Fla wiaspol, vii comming to way over the recs ese,low 6} spies oy suo EN YOR, aod sous €204..9, eee Sq. ss oD je sousmcd a 4 70m 24 30 aealaBos y YORE HY wane + 20H {eo put mo Soruozp peparee jo panos) oye 2a e208 on ou [poe 294 02 es | Soy yous 20399 se <2i00, 30 Sq dy sq gone apa an no Bs dang Bek aj 00 Sey dag | (924 Suro» puro sages) pray ssoge Sunken wpe 42mg 00] ap sano | ‘os sey f prt 5483010 Sea os ep 295 on He | Jets soy asa Se 53 | “e498V “968, a agen pones eco Bicep penalive pattern of the throe B 5 quite exp [bird can tay only with fish in waterpools, cm stop only by diva serub a creekside; through abundoranent, someone his been reduced to the ‘of a bird, in effect reduced to a "gone reflection” a living absence transformed into a spirit presence. the mo: tala segments construct ne and rupture. in the morning. bird is flying around in but someone is angry abos the bird’s being there. Like 1 bird is eaving the village, following Bolekini’s main finally arciving atthe vil ¢ joined together with Toward, All of these are forcefully united through sound and the pees- tence of a bitd’s voice calling in a progression of verbs linking reported to quoted specch, Sucens “The as-gulab breaks this narative and reframes it, fst through the sensual pore musicality of ts “waterfallig” sound, a drone coaal center incor- porating the p ia of outward reaching “o” and returning rever- Ferint "e” This is followed by a major thematic develop! vl: This fine conjoins tno: + taken, bat all Kal or sok, of the Kidsin is where its waterfall empties place tthe “junction, jnto the Worlu creek, considerably downstream from Blade the song now takes 2 large step ott the narrative “branches” to follow will ing back co the “tronk” ofthe line is just “Arborlo: a pig name, No linguis- tt how ¢o toad the juntap and tpothing pinpoints whether the pig i at that place calling from tha Staying at that place. Nor is there any Lingus te mating to indicate that a voice i caling thismame out by ehat pace. ating the expecta he story ofthe placesnis aug, soamioas aneod mop snaond ny pl 8A soureuaoyidyem>e we py sour] puones ax. (ea) Soe e pee (ca) doses nat (1a) dowyecnow e Suyarey dq ssax8oud sou 115 oq, 1 pus ‘suseus2egdl Soxpuodsais0>e wnsoxpu] au 288 (20ejp10q at pa yea apeuStpered S4xos Bag Suey ang Apopsus sures) ¢g pe peUIDP 904 30M ML, ‘uo 2jetuay es Bos ag Jo 90104 pa Tapas sou Sef 1TROIG, on ypeg pub ep 08 tpg, aIOR Ypres mosaed ap HHL EOD TS Senngiaos eapEy por npoy ap Sore dem or Suge page 6a peo Buiaq axe sed ays sou aetp s¢ a70q asta oy SosomsTEN Buje ype fjpenst dong Stopad mons eo Ov oazoye ep or ae sen 3ep 01 2 ssmiom aoqag Sum 57 NE poppe s poe Seagal oypoue yo ou bq pen ove soe ound ayp 01259 sepryy sama 4 90 Soave peocion ay poet sande pen wou yy oy pos ee dsymton pa ory. Sioe9 day, 7 aos asp 2a8 0» ps weal op pie Sede on Beas ans p08 HOR es pops port Feaeadaravees sn) weeps yp ok “2a 1a) 190 pur (q) oyesar pane san sopops anes mp gE nas + x0 ‘ures oxy suro2aq 09 afar qe 2>r0n Bayes axp 0 yep pu sores jo Same 2ep ype “Buos a4 Sac ea Uuaaaaet aaa reaee Teaoveutqiios pur Susroeg0 jeuront awp er pospeus Aiporu63: . soypard saxo) o2t0a Sumuzead © jo 1eep pie (9 “e soysard ping) seponee Surya jo aeqp Sno Segpes ‘uotasodeaxn{ >uos pur AUX. SHEL Sieh Afaaneanopied st Byd ay on 180 Bayes saxo nf S99}08 ECAR pouor-rasb} 24 jo wor squos e axe sauor ml asaqy. {8-2-9 Sogou) ‘opogy auueu Bid sep Jo soqqeypds cuss ae ays 303 a59U99 ypuod aga TO ‘pu 2 poy o1 pap sour x dn soaunog ae WOK puE ates WOOT 8 91 S008 Apopeus ays “aqnd = row Pue puoseap som * SeEpHyt prow op Jo soyqerlde cued xp 505 pucosesoto1 a4 21qeTAs 20d asad acusIXyr 240 09 402 Apoyo ‘ut ‘st ap “ages sf atoy axmtonuns tpojsux pur army Ags ay “UOTE: sadien step 05 404 ap sf 2a afoqse oy Fo moro> ompoysut a “suorsusustp -aopied pase apojsu siaxp jo Avpdaonue wiosy Apefnanzed ‘see por sweassed rye at 39 oH Spy tie your anos wonsfodeaxel amp Fanzone 303 suo on,(peaking? “turned over words” and “sound words” Yer eompaced with oct pelo songs. particularly Ones vesformed during gilo ceremony, Tus song does not name many places. Its evocative power depends for on the quantity oc detail of places named but on their connected fess on the extent £0 which they map a place narrative that emotionally Trromates with persomal, biogtaphical, and historical self-consciousness teners, Through song, a Kalsli pended into nd through ther, makes an ineriorized macto-tour ero-space-time of listening. Path naming creates a ‘prot, contigous, ad continues, thotgh not nec- sof paced connections. Ulabi's song, emerging in the ead up with almost nwice the places and details But the sarmatve strategy leads Kabul listeners to imagine « path of significant Tonnections, creating a rich and coberent rok, a path evoking the inter- play of presence and absence at Bolekini. “These poetic practices arsiculate strongly with Keith BassoS gener proposal that ly among the rot highly changed and eichly avoeative “bole Becase of their ieeparble connection to spec Tealitceolacensines may be wsed t sumnmon forth ax enoremons range of of pees sad social ativiies of onexell ad stages im one Tie Poets and tonguriten have long understood dat economy of ex prsuoa may enhance the qui eihetie diacoure, and shat Ploenan Rand ceady 0 be explo pupa. (Basso 1988:103) anes Understanding the personal and social evocation of Ulshi’s song requices Somme greater sense of her life a¢ Bolekini and of how her biography colors what typieal listeners might fecl when they heat her sing. The host silent feature of Ulahis social position at Bolekini i that she isan ‘om a distant area where people speak the eastern, ent, is addition to fusing the song to a close w 1c Bossi language. Married into the ceotral Kalli second wife of a lan Bono: man named Tulune’, ber Jingastie outsidernes is overtly marked by the fat that she pronounces | Tone Slanesofees uesaug)-Toe copnquue> ofp aioe ue sou se Bucs goa? Suda 09869 0F 2960 21988 EY roy raeogREST pe Sopdises your 242 fe Buos axed: suo S486 Y295 ssouaassuodsa: yo 3poy axp ynoge tryjdiso> 07 20 2038 s9pjo te 01 #9q 09 2 Baoan gg sandy ay Sora 0D “apy 30 28 ood 224 0: woTssouAp rue yong Surmo> pur Keave Suro Sypeq Suraz09 eae Suto noyseA fou papses sey ays aoe arp 20m ‘taoy;sotioy ays aoe aap tou— 2uroy ry ap anoge ped fos e Ace 1 got sey oes ays 130g sKeaAE Se A FO} “OETA 20) HOUND. sso Jo ass jetosad our pin poewores ary esau Ov UM ped pu wor Suryer-anea, Gane ‘SpeMonIppy “worm Jo Asay e peg sonar arays anefd on eq Begao>, eyo mH ‘er paSroura Hos sayen og seo uo] aA op EHO, HID AEN I ssoaoe RY z0Kop¢my anoge asnoy ateredos e Seqpying yo sio>0ed oyu sea Aquary sy, Tu>toR BF aed mote s:ouoG or y>eg paxom ApE0ez PEE ‘Ajnusey sng 29 “gger seB0y wy paprooas sem Fs SATIN WIGAN “seal a9} # Cpe soulog oF 9264 Suny agp fxg puE ADE mot aap ur toueaisie atdos a porozqura sauionsg sAeae 2] 291 10 u008 nq Grates zeqiowe 0% 30 Sune sry Sunyzed uo Apsancrusp pure Ayronewnp smut o: spaay fouapsy, WouTED mc] yen IMO-sBUPEy 50 ssoiy 242 uf -TaRypjow 3° ony AMALIA oA puE (2HS sNOYBIOG UHIOG ej € 5] wep pawo Zun[39j Jo pur wormage yo usaned Suess soSty¥ ovur yey pouze> sey ryejq] 42u0m 20 spoo8 apen arrsdoadde ox sudan sn Suopeafs3omayny. 30 skeEstp eotse200 105 arend © 999 seq Sgd6r-PmE 2p anus syesase uoHESHEN pus onduoeuen s9fnd62 re myegers Hee emoae poeso1 Kouapwsr sanaoyoaun pure ora nas Uru :peurex Asoo pue roy est pueg ype 29 20 tm Pctnos go axdag poor ors Aa Pom sweep age Saqumstenn gage go souspuee depAasaa 947 sieiaoo eumuRsed st fpse sen Sar aa IN pw PEMA (sy 6sE METES ey A uP 2 JP Lowey Seay sy pee og “yn “fosmsiog sptegy Jy da prrtnsop booq ersnale gale means the song did't spring from an agenda to provoke « 1, ava ceremonial song might. Instead of having + directed outward toward another, Ulshi’s song, For herself only, Rather than beingameansof ‘ber song emerged at something to sing alone, to explore her ‘out coming back to Bono: lands aftera considerable time away. ‘waar Ane Yous Mawes? “Moments after finishing her gisalo, Ulaki continued with a second song, ‘short tag, in the Roskibe genre: (cing 90) thy Auten en ect yone nme? Ty Auman women srhstare our aun? thy meres en (Chg ot ny Aarne ing thy Ansan women ‘theca your tame? lor kept ninning, Ulbhi paused, shen continued in yen #9! wo” And then she asing Sovitched to full speaking voice, Se your saree? That’ wat ¥ as thinking. I don't relly Thad umes, jst Amores, Australia 90 ip sadly singing ike hat so that they can hear it ‘The backgiound and contest for these remarks was a conversation: LUlahi and T had had as we walked together from Bolckini to the spot ot ‘Woslu creek where she sung her songs that day. Ulbizsked why Twanted to record her songs again. Irepled that ths time many new people wouldon 4 ayuda 1h sepa eens, nak segue dood + © soryon sho sofeoee rE so jSoypHE, sauihy v ‘emma op spa Buss gen Ags gp pe soxnsxpo 221p se Yan st ue Buus fq sioqpo But Jo une agn s Boe Gales Te od uno moqp 2oueyus oy SSE ‘uo fimaesp inoge 23y- Jonson 27 daa EDIT aK ayn Bos 09 asoyss soBus nae qed Bur sp Jo soMOLDRAE oreupop sw sou ‘apy sonped Tey) om pa ag, jo xoquro0g jogo agp mio as10a eaoy “Let HARPS) woud caf, Jo sodeasounps axp yo aurexe Stremfoqeioao ese 2yoosys ‘ping ‘Moy ar FSi stom 2 at pakeie sof aia Semnes pasSuy uonesiaxuo9 sm 0 asuas 2p Aisnoxaqoy eos ot apt on tien Bron moe pay Brey oan Ta peduio> sy op 29 01 Sur08 seas stp Noy ‘unéso pjnos 1 Aum ou sna azaga puy 92s por soe partum ay moy ainasedap snore # 99 04 sas sige sno ZONSUIEN FEY © UF yepdk Appear yupyno> J Bempz094of yates oF the thers call out to one anowi iis ike a brother to snily to each other, so fox “composing” “ike a wate a song i ¢) taamjoa sip fase ay sed eonied se oxnyjno sy uous} Aayp seyas uso3y 2iqeaedaser pre seqpog Saarsonag, susnpon sign 20p sso sg ot soarayg s,s) prespy {30 240 sosidas Spararouo3 sig 1 f0 To pomoy 2 se Ase se ASMP qemidosiod om Yoeq soy 389 JF IR sMouy Suu PUP UO soEsIED soIE, xp oy sag ao “asa ays two Seas wp pe Saysvese 3805 € Aq Buqpies ways (05 “soermoped ur Suton mse ue jo Aoupautat qprsdoazad oy puokog Crouraur patpoqiua un siaBury pue saqaie “alle art Eumpunoses yo prozar peraodand § Javea ‘nog 2101 ‘oton Fees ep agp cay pur adeaspunos se aoeyd yo sfousnonstis 242 Uta yo soeod ay sayy 32104 paxpoquna Hv ayy Facog ses een ronem gum ins “sftanzenem anoge Sus yey, M09 3th Sexqrosqe, pur Sunsoyar, 27 sje oosBiag ys FUL ‘soto xp shea st Kpog Seco 2¢p 39 aouesaed eaonouto pue prs ‘tp anq ipog ap ySuaxp pie ur saacts aovon sSoqeu Aqpog AQ po: uy sy waatua>epduns sx. ate prmoze pus ue sSeae s pa] seat PUR] Gnomp put i Funaows Aq mog sesmoo ovem she jo dotaeaeanieT Aoostes saajoaur wowaoy lus pepe wouersmn fensies Jo suorsoNIp puopsudxo ymoxp ewe 392644 (9E[ 8061] #861 HOSEOR) ,qrOsgE OF 128 “aaye ‘Spoq sip fo aod Supzegos oop ssanseoua dondantod 97433, noteeaeong “auamnang “Deg gnoge Sopro:s rootu0D Keane sped asoxp vega Bamsat seoefd Bucery Aq 0380 sno pe iuaeisqzonas oem spnururog rarsog YBnoakp stog pure Fapuest “ary Sues ays aay e219 pom. ap ay] BGs |.RPE|A ‘oes step UT sfood soqR0 mt asso poE of Parne 0} watonanaiop eso pur sum) Uo squoMoWW sus0s 203 a0efd He peso Ssponln "ode oe as aut 7 sean SBuos 29q| jo au0 Azaa eq uo doaps spsipouoyd yffnoigs aoussard oT0F