The Bullroarer Atlas
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Ancestral voices across the old continent

Sahul

Australia, New Guinea and the islands between them

Across Australia and New Guinea, a whirled blade can make an ancestor present, turn a novice into an initiate and embody a right inherited from the first owners. Sahul brings these traditions into one view: voices with names, guarded revelations, and instruments whose stories explain who may hold them.

Haddon's fig. 237: five models (A–E) of the bigu bull-roarers swung.
Mabuiag, Torres StraitHaddon's fig. 237: five models (A–E) of the bigu bull-roarers swung.Haddon (ed.), Reports Cambridge Anthrop. Exped. Torres Straits IV (1912), Fig. 237 A-D · Public domain
A long, dark, finely tapered wooden blade incised along its length.
Bukaua (Bukawa), Huon GulfA long, dark, finely tapered wooden blade incised along its length.Ethnologisches Museum, Staatliche Museen zu Berlin (VI 29955); photo Anika Niemeck · CC BY-NC-SA 4.0
Two bull-roarers of the Kurnai (Gunai), figured by Howitt (1904, Fig. 37).
Kurnai / GunaiTwo bull-roarers of the Kurnai (Gunai), figured by Howitt (1904, Fig. 37).A. W. Howitt, The Native Tribes of South-East Australia (1904), Fig. 37 · Public domain

Sources

  1. A. W. Howitt, The Native Tribes of South-East Australia (1904)

    Kurnai Jeraeil, pp. 625–632; Tundun ancestral family, pp. 493–494. The ceremonial company was witnessed in 1884; the myth is separately reported.

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  2. Baldwin Spencer and F. J. Gillen, The Native Tribes of Central Australia (1899)

    Churinga, pp. 128–158, especially the sounding wooden objects at p. 143; Twanyirika initiation voice, p. 246. Stone churinga and unsounding boards are not treated as sounded bullroarers.

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  3. Stefan Lehner, Bukaua, in Deutsch Neu-Guinea III (1911)

    Pp. 402–418, especially 411–412: named dead, bodily carving and wives’ instruments. Serving ngasengomi are distinct from auwi lanqua wives.

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  4. E. W. P. Chinnery and W. N. Beaver, Notes on the Initiation Ceremonies of the Koko (1915)

    Journal of the Royal Anthropological Institute 45, pp. 69–78, especially 71, 75 and 77. Chinnery’s witnessed 1911 ceremony includes female initiates.

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  5. Jan Pouwer, Gender, Ritual and Social Formation in West Papua (2010)

    Kamoro Kaware ceremonies and the very secret payu / mirapoway voices of the dead; based on Pouwer’s 1950s fieldwork. Museum specimen RV-3070-90 supplies the linked object.

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  6. F. E. Williams, Papuans of the Trans-Fly (1936)

    Keraki initiation pp. 181–188; distinct Keraki and Kwavaru origin accounts pp. 307–309. The Semariji locality Setavi carries sosa; the Keraki instrument is moiank.

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  7. Christian Döhler, A Grammar of Komnzo (2018), and Komnzo Lexicon (2022)

    Origin narrative, grammar pp. 348–349, after Ayres’s Rouku fieldwork; lexicon pp. 34, 65 and 78 distinguishes children’s leaf frfr from wooden ŋofoŋofo.

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  8. Christian Keysser, Aus dem Leben der Kaileute (1911)

    In Neuhauss III, p. 34: sister’s discovery of the whirring chip and the feast secret; oral testimony.

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  9. Georg Bamler, Tami (1911)

    In Neuhauss III, p. 495: Tami’s ready-corded blade found in driftwood, distinct from the flying-chip account of the nearby Boang islands by Nassau Bay. Women’s first discovery and transfer to men.

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  10. A. C. Haddon, Reports of the Cambridge Anthropological Expedition to Torres Straits V (1904)

    Muralug, Keriri and Kiwai pp. 217–219; Mabuiag turtle ceremony pp. 330–332; Yam garden charm p. 347. These neighboring accounts are a comparison, not a dated migration route.

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  11. Geoscience Australia, Australian Landforms and their History

    Australia, Tasmania and New Guinea joined at lowered sea levels. Geography defines the broad membership; the ritual synthesis is developed from the particular accounts cited here.

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  12. Jaap Kunst, Music in New Guinea (1967)

    P. 173, note 215: Kanum, Marind and the Trans-Fly Sosom / sosa comparison, after Wirz and Williams. Direction attributed to Kunst’s synthesis, not treated as settled.

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  13. K. A. Gourlay, Sound-Producing Instruments in Traditional Society (1975)

    P. 26 and pp. 70–71 compare Sosom and paired sacred flutes. Gourlay is a comparative source drawing on earlier ethnographers, not an additional field witness.

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  14. Baldwin Spencer, Native Tribes of the Northern Territory of Australia (1914)

    Pp. 214–218: separately told Mungarai Kunapippi origin accounts, including a woman’s sacred boards taken by Kumkum. The male-founder version is a distinct telling.

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  15. J. W. Schoorl, Kebudayaan dan Perubahan Suku Muyu dalam Arus Modernisasi Irian Jaya (1997)

    Printed pp. 170–171: Kamberap’s restricted bullroarers and flutes; ancestors sounding both against the water that makes Kao islands and all rivers. No postglacial date is assigned.

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  16. James A. Davidson, Mathaman: warrior, artist, songman, Art Bulletin of Victoria 29

    NGV primary essay records the Kunapipi bullroarer as snake body, human-hair fangs and voice, and separately narrates Yurlunggur singing the first wet-season rain over the Wawaluk sisters.

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  17. Kevin Michael Murphy, The Cultural Organisation of Social Difference and Relatedness at the Border between Australia and Papua New Guinea (2013)

    ANU PhD thesis, pp. 184–185: guarded initiation stories including bullroarer origins; Williams 1936 p. 293; Murphy’s own Arufi and Serki sky-snake flood accounts.

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