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Related to didjeridus: Didgeridoos


or didj·er·i·doo (dĭj′ə-rē-do͞o′, dĭj′ə-rē-do͞o′)
n. pl. didg·er·i·doos or didj·er·i·doos
A musical instrument of the Aboriginal peoples of Australia, consisting of a long hollow branch or stick that makes a deep drone when blown into while vibrating the lips.

[Imitative of its sound.]


(Instruments) music a deep-toned native Australian wind instrument made from a long hollowed-out piece of wood
[C20: imitative of its sound]


(ˌdɪdʒ ə riˈdu, ˈdɪdʒ ə riˌdu)
n., pl. -doos.
a musical instrument of Australian Aborigines made from a long wooden tube that is blown into to create a low drone.
[1915–20; < an Aboriginal language of N Australia]
bambusová píšťala
ausztrál õslakók fából készült kürtjedidgeridoo
bambusová píšťala


[ˌdɪdʒəriˈduː] n (= instrument) → didgeridoo m
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References in periodicals archive ?
This is strange when one considers that artisans from those Kimberley communities that once made stone and glass points began to produce artefacts such as boomerangs and didjeridus (with which they were traditionally never associated) for the market, rather than the points that Harrison believes were in such keen demand.
Perhaps the most controversial chapter is Chapter 6, 'Gender 'Taboos' and Didjeridus', where Linda Barwick draws on field work with traditional communities and examines the extent to which the didjeridu can be considered as a proscribed 'male' instrument in traditional Aboriginal cultures.
The Didjeridu: From Arnhem Land to Internet, as the tide suggests is a collection of essays and interviews placing the didjeridu in a number of traditional, contemporary and unusual contexts.
The foreword, is appropriately by Mandawuy Yunupingu where he states the Yolngu origins and importance of the didjeridu and the Yolngu people's 'both ways' philosophy -- of seeking to preserve the traditional culture while also engaging with contemporary issues, institutions and people of multicultural Australia.
The following articles take various forms including interviews with performers, individual analyses and extracts from threads' or internet discussions concerning various aspects of the didjeridu.
One aspect of the program involved women making and painting didjeridus.
As far as stories about women not being allowed to even touch the instrument, most didjeridus made for the tourist industry are painted by Aboriginal women.
This is illustrated in arguments about women readily buying didjeridus from Aboriginal and non-Aboriginal vendors or about Aboriginal women painting them.
He established a business as a tour operator, artist and supplier of didjeridus, all of which helped to support his extended family of some 60 dependants.
Those who think they know about Aboriginal Australia assume they know all about didjeridus and many even think they can play one.
For Turner it is the playing of music, especially non-verbal melody of an instrument like the didjeridu, which enables us to access the enForms on this and on the other side.
Quite a few didjeridus were sold--as Margaret Carew put it (Wright 2000), `MAC discovered that there is a huge worldwide demand for didjeridus and they could meet a niche market for them .