Objects – teachanyclass.org

Introduction

In northern Australia, in a region called Arnhem Land, there are trees that termites eat from the inside out. The termites work slowly, leaving the bark and the outer wood, but hollowing out the soft middle. After a few years, what was a solid branch is a long, hollow tube of hard wood. First Nations people of northern Australia have known this for at least 1,500 years, possibly much longer. They cut the right branch at the right time, smooth a mouthpiece with beeswax, and paint the outside with patterns that carry the stories of their country. Then they blow into it. The sound that comes out is unlike any other instrument in the world. Deep, droning, alive. The Yolŋu people call it yidaki. Other First Nations communities have their own names. The instrument that English speakers call the didgeridoo is among the oldest wind instruments still played in continuous tradition anywhere on Earth. It is a musical instrument, a sacred object, and — for some communities — a very specific responsibility about who can play it and when. This lesson asks how it is made, how it is played, and what we owe each other when one culture's sacred sound becomes another culture's gift shop souvenir.

The object

Origin: Northern Australia, especially Arnhem Land in the Northern Territory. The most well-known traditional name is yidaki (in Yolŋu Matha, the language of the Yolŋu people). Other First Nations groups have their own names — mago, mandapul, ngarrriralkpwina — for related instruments.
Period: At least 1,500 years ago to today. Some scholars believe the instrument may be much older. Still played and made now.
Made of: A branch of a hardwood tree — usually a eucalyptus species — that has been naturally hollowed out by termites. The mouthpiece is shaped with beeswax. The outside is often painted with patterns in red ochre, yellow, white, and black.
Size: Most are about 1 to 1.5 metres long. Larger ones can be up to 3 metres. The wider and longer the tube, the deeper the sound.
Number of objects: Tens of thousands have been made. Tens of thousands more, mostly tourist instruments, are made and sold around the world every year.
Where it is now: Genuine ceremonial instruments stay with First Nations communities in northern Australia. Museum examples are in the National Museum of Australia, the Australian Museum, the British Museum, and many others.

Before you teach this — reflect

Questions for you

Most students will have seen or heard a didgeridoo, often disconnected from its origins. How will you put First Nations knowledge at the centre of the lesson, where it belongs?
The didgeridoo raises real questions about cultural appropriation. How will you teach this honestly, without lecturing students who have used or owned one without knowing?
First Nations Australians are alive and have living cultures. How will you treat them as people with present-day voices, not as the past?

Common student difficulties — tick any you have noticed

My students may think the didgeridoo is a single instrument with one name. In fact, different First Nations communities have many names — yidaki, mago, mandapul — and instruments vary by region.
My students may not know that in some communities, only certain people are permitted to play it. Rules vary widely between groups.
My students may not know that termites do most of the work of making the instrument — humans choose the right branch and shape the mouthpiece.
My students may have seen didgeridoos sold in airport gift shops. Most of these are not made by First Nations people, and many use designs from cultures that did not give permission.
My students may not realise the instrument is at least 1,500 years old, possibly much older — making it one of the oldest wind instruments still in continuous use.
My students may need help with the difference between sharing a culture with permission and taking from a culture without it. The didgeridoo is a clear case where this matters.

Discovery sequence

1

Imagine a tree in northern Australia. Termites move into a branch and start eating from the inside out. They eat the soft middle wood, but they cannot eat through the hard outer wood and the bark. After two or three years, what was a solid branch is now a hollow tube. A First Nations craftsman walks past, taps the branch with a stick, and listens. He can tell from the sound whether the termites have done enough work. He cuts the branch, cleans out the dust, smooths the mouthpiece with beeswax, and paints the outside with the patterns of his country. Who has made this instrument?

Points to consider (for the teacher)

This is one of the most beautiful parts of the story. The didgeridoo is made by three partners: the tree, the termites, and the human. The tree grows the wood. The termites carve out the inside — their tunnels are what gives each instrument its unique sound. The human chooses the right tree at the right time, takes only what is needed, finishes the mouthpiece, and paints the outside. None of these three could make the instrument alone. This is a different way of thinking about craft. Most modern instruments are made entirely by humans, in factories, from materials we have controlled. The didgeridoo is made in partnership with the natural world. Two of the three makers are not human. Students should see that this is not 'primitive' technology — it is a deeply sophisticated way of working with what the land provides. The human knows the trees, knows the termites, knows the seasons. The skill is in knowing.

2

To play a didgeridoo, you put your lips against the mouthpiece and make a buzzing sound, like blowing a raspberry. The buzz makes the air in the tube vibrate. The tube is hollow and irregular inside, so the sound becomes deep and rich. The hardest skill is called circular breathing. The player breathes in through the nose while still pushing air out through the mouth. This means the sound never stops — a skilled player can hold a note for many minutes. Why is circular breathing so important?

Points to consider (for the teacher)

Because traditional didgeridoo music depends on continuous sound. Songs can last for many minutes without a break. The drone underlies a whole pattern of overtones, tongue clicks, voice sounds, and animal calls that the player layers on top. A great didgeridoo player is doing many things at once: maintaining the drone, breathing in through the nose, shaping the mouth to add overtones, using the tongue to make rhythmic clicks, sometimes calling like a kookaburra or a dingo into the tube. Circular breathing also has a deeper meaning. In some traditions, the unbroken sound represents the unbroken connection between living people, ancestors, and country. The breath that does not stop is also the story that does not stop. Students should see that the instrument is not just a technical challenge — it carries a way of thinking about time and continuity. End the discovery here. The science is real. The meaning is real. They are not separate.

3

In many First Nations communities of northern Australia, the didgeridoo is sacred. There are often rules about who can play it. In some Yolŋu traditions, women do not play it in public ceremony, though they may play it informally in private. In some other communities, the rules are different. In all cases, the rules come from the community, not from outsiders. In the last 60 years, the didgeridoo has spread around the world. It is played at music festivals in Europe, in yoga studios in America, in busking spots in many cities. Most of these players are not First Nations. Some are taught by First Nations teachers; many are not. Is it always wrong for non-First Nations people to play the didgeridoo?

Points to consider (for the teacher)

This is a real, contested question and there is no single answer. Some First Nations elders welcome respectful sharing of the instrument with the world. Others ask that women not play it, or that ceremonial styles not be copied, or that the instrument not be sold without proper recognition. Many ask one simple thing: that players know whose culture they are using, and treat that culture with respect. The phrase 'cultural appropriation' describes what happens when one culture takes from another without permission, payment, or understanding. It is different from 'cultural exchange', where there is real connection and mutual respect. The didgeridoo is a useful test case because the line is not always obvious. Buying a tourist instrument made in Indonesia by people with no connection to Australia is one thing. Learning from a Yolŋu teacher who shares the instrument willingly is another. Most cases sit somewhere in between. Students should see that the question is not 'should anyone outside Australia play it?' but 'how can it be played with respect?' End by saying that the same question applies to many sacred objects from many cultures.

4

In the 1960s, a Yolŋu man called David Burrumarra made a careful decision. He believed the yidaki was so important to the world that it should be shared, with respect. He helped foreign musicians and researchers learn to play. His son Djalu Gurruwiwi went on to teach hundreds of people from many countries. Other elders chose differently — keeping their family's specific musical traditions inside their community, sharing only with those who had permission. Who should decide?

Points to consider (for the teacher)

The community itself. This is the most important answer in the lesson. Outsiders cannot decide what a community shares or does not share. They can only listen, ask, and respect. Different communities, and different families within communities, have made different choices. Both the choice to share and the choice to keep have been respected by careful outsiders. The wrong response is to take without asking. Students should see that 'respect' is not just a feeling — it is a practice. It means asking. It means paying when payment is asked. It means crediting the source. It means stopping if asked to stop. The didgeridoo, like many sacred objects, is held within living communities who can speak for themselves. Our job is to listen to them, not to decide for them.

What this object teaches

The didgeridoo is a wooden wind instrument from First Nations peoples of northern Australia, especially the region called Arnhem Land. It is made from a tree branch, usually eucalyptus, that has been naturally hollowed out by termites. The mouthpiece is shaped with beeswax. The outside is often painted with patterns that carry meaning. To play, the musician buzzes their lips into the mouthpiece while using a special technique called circular breathing — breathing in through the nose while still pushing air out — so the sound never stops. The instrument is at least 1,500 years old, possibly much older, making it one of the oldest wind instruments still played in continuous tradition. Different First Nations communities have different names and different rules about who can play it. The Yolŋu name is yidaki. In recent decades, the didgeridoo has spread around the world, raising real questions about respect, permission, and what it means when a sacred instrument becomes a tourist souvenir.

Question	What many people assume	What is actually true
Who makes a didgeridoo?	A craftsman	A tree, termites, and a craftsman — all three are needed
Is there one didgeridoo tradition?	Yes, one Aboriginal tradition	Many. Different First Nations communities have different names, rules, and styles.
How old is the instrument?	Maybe a few hundred years	At least 1,500 years, possibly much older. One of the oldest wind instruments still in continuous use.
Can anyone play it?	Yes, if you can buy one	Rules vary by community. Many First Nations communities ask for respect, credit, and sometimes specific rules about who plays.
Are most didgeridoos in shops authentic?	Yes	No. Many are mass-produced, often outside Australia, by people with no connection to First Nations cultures.

Key words

Yidaki

The Yolŋu name for the instrument that English speakers call the didgeridoo. Pronounced roughly 'yi-DAH-kee'. Many other First Nations communities in Australia have their own different names.

Example: A Yolŋu craftsman might call his instrument a yidaki. A Mawng person might call a similar instrument a mago. The English word 'didgeridoo' came later and was probably coined by non-Indigenous Australians.

Arnhem Land

A region in the north of Australia's Northern Territory, home to many First Nations peoples including the Yolŋu, Bininj, and others. The didgeridoo tradition is strongest here.

Example: Most genuine ceremonial didgeridoos still come from Arnhem Land or nearby areas, made by people whose families have made them for generations.

Circular breathing

A technique where the player breathes in through the nose while still pushing air out through the mouth, so the sound never stops. Essential for traditional didgeridoo playing.

Example: With practice, a skilled player can hold a single drone for many minutes without a break, while adding rhythmic and animal sounds on top.

Songline

In First Nations Australian cultures, a track across the country that is sung. The song carries the story of how the land was made and how to travel through it. The didgeridoo is sometimes used to accompany songline performances.

Example: A songline might cover hundreds of kilometres. Each section of land has its own verse, melody, and rhythm. The yidaki provides the underlying drone.

Cultural appropriation

Taking elements from a culture that is not your own, usually without permission, payment, or understanding. Different from cultural exchange, where there is connection and respect on both sides.

Example: Buying a mass-produced didgeridoo from a tourist shop is closer to cultural appropriation. Learning from a First Nations teacher who shares willingly, with proper respect, is closer to cultural exchange.

First Nations

A respectful term for the original peoples of a country. In Australia, First Nations peoples include Aboriginal Australians (across the mainland) and Torres Strait Islanders (from the islands between Australia and New Guinea).

Example: There are over 250 distinct First Nations languages in Australia. Each comes with its own culture, traditions, and ways of making music.

Use this in other subjects

Science: Termites are tiny insects that eat wood from the inside out. Discuss how they do this — they have special bacteria in their guts that break down the cellulose in wood. Without termites, there is no didgeridoo. This is a real example of how human technology depends on living systems.
Music: Try making sounds without an instrument. Buzz your lips. Make low and high sounds with your voice. Try cupping your hands and making a low hum. Discuss what makes a sound deep or high (length and width of the resonating space). The didgeridoo uses the same principles.
Geography: Find Australia on a world map. Locate Arnhem Land in the Northern Territory. Discuss what the climate is like — wet season and dry season — and why eucalyptus trees and termites both thrive there. The didgeridoo tradition grew out of this specific landscape.
Art: Look at images of painted didgeridoos. The patterns are not decorative only — they carry stories of country, of ancestors, of the Dreaming. Each student tries painting a small simple design that tells one story from their own life or family. Discuss: how does pattern carry meaning?
Ethics: Hold a class discussion: 'What is the difference between sharing a culture and taking from it?' Use the didgeridoo as a case study. Strong answers will see that respect, permission, credit, and listening are the key differences. End by asking students to think of other objects or practices where this question matters.
Citizenship: First Nations peoples in Australia have lived through over 200 years of colonisation, including loss of land, removal of children from their families, and bans on speaking their languages. Discuss how a tradition like the didgeridoo can survive and even spread despite this history. Strength and respect both matter.

Common misconceptions

Wrong

The didgeridoo is just a hollow stick anyone can make.

Right

It is a careful partnership between a specific tree, termites that eat the inside, and a human who knows the right branch, the right time, and the right finishing. Most mass-produced didgeridoos are not made this way and do not sound like genuine instruments.

Why

'Just a stick' tells us nothing about the skill. The instrument is the result of long ecological and craft knowledge.

Wrong

There is one Aboriginal didgeridoo tradition.

Right

There are many. Different First Nations communities have different names, different instruments, different rules about who plays, and different musical styles. The yidaki of the Yolŋu is one tradition among many.

Why

Lumping all First Nations peoples together is one of the most common mistakes outsiders make. There are over 250 First Nations languages and dozens of distinct musical traditions in Australia.

Wrong

Anyone can play the didgeridoo, anywhere, for any reason.

Right

Different First Nations communities have different rules. Some welcome respectful sharing. Others ask that women not play it, or that ceremonial styles not be copied, or that the instrument be acknowledged as belonging to a specific people. Asking is the right starting point.

Why

'No rules' is not the same as 'permission'. Just because the instrument is for sale does not mean all uses are welcome.

Wrong

Tourist didgeridoos in shops are real didgeridoos.

Right

Many tourist instruments are mass-produced, sometimes overseas, by people with no connection to First Nations cultures. They use traditional designs without permission and provide no income to the communities whose heritage they draw on. Genuine instruments come from First Nations makers and are usually more expensive.

Why

This matters because First Nations artists lose income, recognition, and control over their own traditions when imitations dominate the market.

Teaching this with care

This lesson is about a living, sacred object from First Nations Australian cultures. Treat it with the same care you would give to any other community's sacred objects. Do not assume your students or you are the experts — First Nations peoples can speak for themselves and have done so extensively. Use the proper names where you can: yidaki for the Yolŋu instrument, mago for the Mawng instrument, and so on. The English word 'didgeridoo' is fine in general use but is not what the makers call it. Do not call First Nations cultures 'primitive', 'simple', or 'lost'. They are complex, sophisticated, and alive. Be honest about cultural appropriation but do not shame students who have used or owned a didgeridoo without knowing — focus on what 'respectful use' looks like going forward. Be aware that in many Yolŋu traditions, women do not play the yidaki publicly; this is a real cultural rule, not an opinion to dismiss. If girls in your class want to make sounds with a hollow tube, that is fine for the activity — just be clear about the difference between a classroom exercise and ceremonial performance. Do not present First Nations Australians only as victims of colonisation; they are also creators, teachers, and leaders today. Finally, if you have First Nations students or students with First Nations heritage, give them space without putting them on the spot to speak for their whole culture.

Check what students have understood

Answer each question in one or two sentences. Use what you have learned about the didgeridoo.

How is a didgeridoo made?

A tree branch, usually eucalyptus, is hollowed out by termites eating from the inside. A First Nations craftsman selects the right branch at the right time, smooths the mouthpiece with beeswax, and paints the outside.

Marking note: Award full marks for any answer that mentions the role of termites and the role of the human maker. The partnership is the key idea.
What is circular breathing, and why does it matter for didgeridoo playing?

Circular breathing is breathing in through the nose while still pushing air out through the mouth. It lets the player keep the sound going without a break, sometimes for many minutes.

Marking note: Strong answers will explain both what circular breathing is and why it matters for the music. Either part is enough for partial credit.
Why is it wrong to talk about 'the' didgeridoo as if it were one tradition?

Different First Nations communities in Australia have different names, different instruments, different rules about who plays, and different musical styles. The Yolŋu yidaki is one tradition among many.

Marking note: Award full marks for any answer that recognises multiple traditions. Specific names like yidaki are a bonus.
What is cultural appropriation, and how does it apply to the didgeridoo?

Cultural appropriation is taking elements from a culture that is not your own, without permission, payment, or understanding. With the didgeridoo, it can mean buying mass-produced tourist instruments, or playing without acknowledging where the tradition comes from, or breaking community rules about who can play.

Marking note: Strong answers will define the term and give a specific example related to the didgeridoo. Both halves matter.
How old is the didgeridoo tradition, and why is that important?

It is at least 1,500 years old, and possibly much older. This makes it one of the oldest wind instruments still played in continuous tradition anywhere in the world. The tradition has survived over 200 years of colonisation in Australia.

Marking note: Award full marks for any answer that mentions the age and the continuous tradition. The point is that this is a living heritage, not an ancient curiosity.

Discuss together

These questions have no single right answer. Talk in pairs or small groups, then share your ideas with the class.

Is it ever right for someone outside a culture to use one of its sacred objects?

This is a real question with no single answer. Some students will say no — sacred objects belong only to their community. Others will say yes, with permission and respect. Strong answers will see that the answer depends on what the community itself says, not on what outsiders decide. The didgeridoo case shows that some First Nations communities welcome respectful sharing, while others ask for stricter limits. Both choices deserve respect. End by saying that 'asking the community' is the starting point for any honest answer.
What is the difference between a didgeridoo made by a Yolŋu craftsman and a mass-produced one sold in an airport gift shop?

Push students to think about more than just craftsmanship. Differences include: who made it, where the materials came from, who profits from the sale, whether the maker has the right to use the patterns, whether the buyer knows what they are buying, and what message the sale sends to the world. Strong answers will see that 'authentic' is not just about quality — it is about relationships, permissions, and respect. End by asking: what would you want a buyer to know before buying a didgeridoo?
Are there things in your own culture that you would not want others to copy without permission?

This is a personal question that brings the lesson home. Students may suggest religious symbols, family traditions, sacred sites, particular foods, traditional clothing, or stories. Push them to think about what they would feel if they saw these things sold cheaply by people who did not understand them. The deeper point is that empathy with First Nations Australians on the didgeridoo question is not just an abstract exercise — it is the same feeling students might have about their own traditions. Once you have felt it once, it is easier to recognise.

Teaching sequence

THE HOOK (5 min)

Without saying anything about the lesson, ask: 'What is the oldest musical instrument you can think of?' Take guesses. Most students will name modern instruments or maybe drums. Then say: 'There is one that is at least 1,500 years old and still played today, made partly by termites. We are going to find out about it.'
INTRODUCE THE OBJECT (10 min)

Describe the didgeridoo: a long wooden tube, made from a tree branch hollowed by termites, with a beeswax mouthpiece and painted patterns. Played by buzzing the lips and using circular breathing. From northern Australia, especially Arnhem Land. Pause and ask: 'What does it tell you that termites do most of the hollowing?' Listen to answers. They will lead naturally into the idea of partnership with the natural world.
UNDO THE WRONG STORIES (15 min)

On the board, write three statements: (1) The didgeridoo is just a hollow stick. (2) There is one Aboriginal didgeridoo tradition. (3) Anyone can play it, anywhere, for any reason. Take each in turn. Replace each with what we now know — the instrument depends on careful ecological knowledge; there are many traditions with different names and rules; respect and permission matter. End by asking: 'Why might it be hard for outsiders to learn these distinctions?'
THE BREATHING ACTIVITY (10 min)

Try a small experiment. Each student takes a deep breath, then makes a long humming sound until their breath runs out. Time it. Now teach (very simply) the idea of circular breathing — keeping cheeks puffed with air to push out while breathing in through the nose. Do not expect anyone to master it; this would take weeks. The point is to feel how hard it is, and to respect the skill of musicians who can do it for many minutes. Discuss: what does it tell you that this is the basic skill needed?
CLOSING (5 min)

Ask: 'If you could ask one question to a Yolŋu yidaki maker, what would it be?' Take a few honest answers. End by saying: 'The didgeridoo is one of the oldest instruments still played in the world. It is also a sacred object for many First Nations communities. The question is not just how it works. The question is how we listen to the people whose tradition it is. They are alive. They are speaking. We can listen.'

Classroom materials

The Three Makers

Instructions: On the board, draw three columns: Tree, Termites, Human. In each column, list what that maker does for the didgeridoo. Tree: grows the right wood, hardens with age, stands in the right place. Termites: eat the soft inner wood, tunnel through, leave the hard outer shell. Human: knows the species, knows the right time to harvest, taps the branch to test, smooths the mouthpiece, paints the outside. Discuss: which maker do we usually credit? Which do we usually forget?

Example: In Mr Yunupingu's class, students filled in all three columns and were quiet for a moment. The teacher said: 'In most modern factories, the human is the only maker. With the didgeridoo, the human knows so much that they can let two other makers do most of the work. That is not less skill — it is more. It is the skill of knowing.'

Many Names for One Idea

Instructions: On the board, write the word 'didgeridoo' large in the middle. Around it, write the First Nations names: yidaki (Yolŋu), mago (Mawng), mandapul (Iwaidja), ngarrriralkpwina (Anindilyakwa), and others. Each student picks one and tries to learn the pronunciation by listening to a recording (if available) or by careful copying from the teacher. Discuss: why are there so many names? Because there are many First Nations peoples, each with their own language and tradition.

Example: In Ms Marika's class, students learned to say 'yidaki' (yi-DAH-kee), 'mago' (MAH-go), and 'mandapul' (mahn-DAH-pool). The teacher said: 'Each name is the right name for a specific instrument made by a specific people. None of them is the right name for all of them. The English word 'didgeridoo' is just a general label outsiders use. The First Nations words are the real names.'

The Respect Test

Instructions: In small groups, students examine four scenarios: (1) A Yolŋu elder teaches a foreign student to play the yidaki, and the student credits her teacher in every public performance. (2) A tourist buys a mass-produced didgeridoo at an Australian airport, made overseas. (3) A school music teacher asks her class to all try playing a didgeridoo. (4) A music festival invites a Yolŋu band to perform. For each, students discuss: is this respectful, problematic, or somewhere in between? Why?

Example: In one class, students agreed that scenario 1 was respectful, scenario 2 was problematic (the maker has no connection to the tradition, and the community gets no benefit), scenario 3 was complicated (depends on context — is it a learning exercise or a performance? Are women in the class included or not?), and scenario 4 was the best. The teacher said: 'You have just done what every culture asks for — you have thought about respect, not just about whether you are allowed.'

Where to go next

Try a lesson on the moai of Rapa Nui for another sacred object from a community whose ancestors are involved. Both lessons raise questions about how the world treats living traditions.
Try a lesson on the Benin Bronzes for another case of cultural objects taken without permission. The didgeridoo is rarely 'taken' in that way, but the questions of respect and credit are similar.
Try a lesson on the Quipu for another tradition that is partly understood and partly hidden — and where the descendants are alive and speaking for themselves.
Connect this lesson to music with a longer project on instruments from around the world that depend on specific local materials — the bamboo flute, the conch shell trumpet, the drum from a particular wood. Each tells a story about place.
Connect this lesson to science with a longer project on termites and other insects that shape ecosystems. Without termites, several human technologies would not exist.
Connect this lesson to citizenship with a discussion of First Nations rights in Australia today. Many First Nations communities are still seeking land rights, recognition, and a voice in their own country.

Key takeaways

The didgeridoo is a wooden wind instrument from First Nations peoples of northern Australia. It is at least 1,500 years old and is one of the oldest wind instruments still in continuous use.
The instrument is made by three partners: a tree, termites that hollow out its branch from the inside, and a human craftsman who knows the right branch, the right time, and the right finishing.
The Yolŋu name is yidaki. Other First Nations communities have other names — mago, mandapul, and many more. There is no single 'didgeridoo tradition' but many.
Playing it well requires circular breathing — breathing in through the nose while still pushing air out — so the sound never stops.
Different communities have different rules about who plays the instrument. Some welcome respectful sharing; others have specific limits. The right starting point is always to ask.
Mass-produced tourist didgeridoos, often made outside Australia, raise real questions of cultural appropriation. Buying from First Nations makers, learning from First Nations teachers, and crediting the source are all ways to be respectful.

Sources

Yidaki: The Sound of Arnhem Land — Karl Neuenfeldt (editor) (1997) [academic]
The Didjeridu: From Arnhem Land to Internet — Karl Neuenfeldt (1997) [academic]
Yidaki Story (Buku-Larrnggay Mulka Centre) — Buku-Larrnggay Mulka Art Centre, Yirrkala (2024) [institution]
Indigenous Australian musical instruments (object pages) — National Museum of Australia (2024) [museum]
Cultural appropriation and the didgeridoo — ABC News Australia (2020) [news]

Choose your language

The Didgeridoo: A Tree, a Termite, and a Sacred Sound

Questions for you

Common student difficulties — tick any you have noticed