Parallelism in Arandic Song-Poetry Myfany Turpin (bio) Introduction The song-poetry performed by the Arandic people of central Australia is characterized by parallelism of sound, form, and meaning in both auditory and visual modalities. Parallelism here refers to the organized co-occurrence of elements to the extent that each resembles the other, but the elements are not identical to one another (for example, Frog 2014 and Fabb this volume). In Arandic song-poetry we find that adjacent elements as well as elements presented simultaneously in different modalities like song and dance, often resemble each other in a variety of ways. Consider the Anmatyerr couplet below, whose lines A and B exhibit parallelism in both form and meaning: (1). 1 (w-ilkew25)2 The rhythm in both lines of the couplet is identical, but the text differs, albeit minimally. The syntax and vocabulary are largely the same, with both lines ending with the verb "to make a whooshing sound." Only the initial words differ in lines A and B, though both have the same number of syllables and refer to the same intransitive subject. Line A begins with a poetic word for a ceremonial headband, lyerlkarr. This term is replaced in Line B with an indirect expression, iltya-kenh, literally "belonging to the hands," a metonym for a hand-held ceremonial dancing prop. Each line thus concatenates different semantic aspects of a single argument: "a ceremonial headband held by dancers." This couplet is accompanied by a dance in which the performers hold both ends of a headband while moving it through the air to create a whooshing sound. Here semantic parallelism spills into the visual domain, as the objects and sounds lexicalized in the text are enacted through the hands and movements of the dancers. A similar dance to the one that accompanies the couplet in (1) is performed by other Arandic groups who have their own set of songs, differing in form but having similar themes (see Fig. 1): Click for larger view View full resolution Fig 1. Lena Ngal and Rosie Ngwarray performing the accompanying dance for the Alyawarr Antarrengeny verse "The headbands made it glisten / The shimmering horizon" (Turpin and Ross 2013:33). (w-ntarr 14) Photo by M. Carew, 2011. Parallelism thus does not only operate at the level of the verse, but also at the level of the "song," that is, the set of inherited verses that belong to each land-holding group (often called "song sets" or "song series"). Across these land-holding groups that span multiple languages there are recurrent themes, dances, and poetic form. In traditional central Australian society, establishing far-reaching social networks was crucial to survival. Parallelism across the song sets of different linguistic groups may have helped create relationships and cohesion at a broad societal level, since a shared poetic-musical style may have contributed to a sense of shared identity. This essay shows that parallelism of form and meaning is a pervasive feature in Arandic song-poetry. As a point of departure, I take Jakobson's (1966) cross-linguistic survey of parallelism, in which he notes that there are gaps in many parts of the world (1966:103). Since the publication of this study, there have been numerous studies of parallelism in poetry from the Pacific (Fox 2014), Papua New Guinea (Rumsy and Niles 2011), and the Americas (Gossen 1974; Sherzer 1983; Sherzer and Urban 1986; and Epps et al. 2017), yet very little from Australia (although see Walsh 2010). Building on the work of Jakobson (1966), I show that parallelism operates at all levels of the structure of Arandic song-poetry (hemistich, line, couplet, verse, song, genre) and activates all aspects of language, including the visual domain of communication. I also consider the functions of parallelism, drawing on Jakobson's (1960) notion of the "poetic function," the use of language to draw attention to itself. One role of the poetic function is to delimit or constrain the interpretation of Arandic song poetry. For example, in (1) above, the line in a couplet acts as a guide or reference point for how to interpret the other line (compare with Jakobson 1966:102). Another role of the poetic function...
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