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as an extension of these networks of songlines that stretch
out over time and space. In particular, I am interested in
how these hymns may be heard as forms of rescripting
and reclaiming. Much as songlines do, 3GD2NMF*DDODQR
traces the journeys and stories of these women. As both
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form for these voices and calls on us to listen in.
Film and music can, of course, work as powerful strate
gies against the erasure of history. This was particularly
apparent at last year’s Melbourne International Film Festival
(MIFF), where 3GD2NMF*DDODQR had its world premiere.
The 2017 festival placed a strong emphasis on Indigenous
stories across a variety of genres, screening Tracey Moffatt’s
classic horror anthology AD#DUHK 9LFWRULD:KDUIH
McIntyre’s western short ,HQN VHYHUDOGRFXPHQ
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!@RS@QCX(2008). Particular attention was paid to the role
of music in Indigenous storytelling and to songwriting
WUDGLWLRQV%HQ6WUXQLQpV6DRSVHMC#I@KTR+DF@BX (2017),Much as songlines do, The Song Keepers traces the journeys and stories
of these women. As both an uncovering and an opening-out, the film
provides a platform for these voices and calls on us to listen in.