‘We don’t show our women’s breasts for nothing’: Shifting purposes for Warlpiri women’s public rituals – <i>yawulyu</i> – Central Australia, 1980s–2020s
Bibliographic record
Abstract
Warlpiri women from the Tanami Desert of Central Australia have across generations passed on their yawulyu ceremonies, which nurture kin, country and cosmological connections. Dussart has previously shown distinct shifts in purpose in the 1990s, as Warlpiri women first began to perform yawulyu for non-Indigenous audiences. In the past decade, a further shift has occurred, with yawulyu being held predominantly as part of community-development arts initiatives. These opportunities are now the primary contexts in which yawulyu are held, while redefining the values, power relations and types of capital central to these performances, be they surrounding prestige, monetary payment or cultural recognition, as well as providing ambiguous and elusive communitas of ‘contentment’ for the performers as they engage with their audiences. In this article, the authors present case studies that span from the 1980s, when Warlpiri women first considered how to present yawulyu to non-Indigenous audiences, through to the pan-Aboriginal Women’s Law and Culture meetings of the 1990s and 2000s, and the Warlpiri-led Southern Ngaliya dance camps of the 2010s, and up to the present day, where they are being invited to perform yawulyu as part of larger theatrical events. As the authors examine performative events during different periods in Australia since colonisation, they draw on Thomas Turino’s definitions of participatory and presentational genres of musical performances to analyse how and why the reasons to perform have shifted. The authors conclude by highlighting that such shifts shed light on how entangled politics of relatedness are also changing.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.020 | 0.014 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.009 |
| Research integrity | 0.002 | 0.004 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".