Dreamtime (also dream time, dream-time) is a term devised by early anthropologists to refer to a religio-cultural worldview attributed to Australian Aboriginal beliefs. It was originally used by Francis Gillen, quickly adopted by his colleague Baldwin Spencer and later popularised by A. P. Elkin, who however later revised his views. The Dreaming is used to represent many Aboriginal concepts of "time out of time," or "everywhen," when the land was inhabited by ancestral figures, often of heroic proportions or with supernatural abilities. They were often distinct from "gods" as they did not control the material world and were not worshipped, but only revered.
The term is based on a rendition of the indigenous (Arandic) word alcheringa, used by the Aranda (Arunta, Arrernte) people of Central Australia, although it appears that it is based on a misunderstanding or mistranslation. William Stanner remarked: "why the blackfellow thinks of 'dreaming' as the nearest equivalent in English is a puzzle.". It has been argued that the word's meaning is closer to "eternal, uncreated."
By the 1980s "Dreamtime" and "the Dreaming" has acquired its own currency in popular culture based on idealised or fictionalised conceptions of Australian mythology. Since the 1970s, "Dreaming" and "Dream time" has also returned from academic usage via popular culture and tourism, and is now ubiquitous in the English vocabulary of indigenous Australians in a kind of "self-fulfilling academic prophecy" .
The station-master, magistrate and amateur ethnographer Francis Gillen first used the word in an ethnographical report in 1896. Together with Baldwin Spencer Gillen then published in 1899 a major work,Native Tribes of Central Australia. In that word they spoke of the Alcheringa as 'the name applied to the far distant past with which the earliest traditions of the tribe deal'. 5 years later in their Northern tribes of central Australia, they gloss the far distant age as 'the dream times', link it to the word alcheri meaning 'dream', and affirm that the term is current also among the Kaitish and Unmatjera.
Early doubts about the precision of this English gloss were expressed by the German Lutheran pastor and missionary Carl Strehlow who noted that his native informants explained altjira, whose etymology was unknown, as an eternal being who had no beginning.In the Arrernte tongue the proper verb for 'to dream' was altjirerama, i.e., 'to see god'. The noun is the somewhat rare word altjirrinja, of which Spencer and Gillen gave a corrupted transcription and a false etymology. 'The native,' he concluded, 'knows nothing of 'dreamtime' as a designation of a certain period of their history.'
Aboriginal beliefs and culture
Related entities are known as Mura-mura by the Dieri, and as Tjukurpa in Pitjantjatjara.
"Dreaming" is now also used as a term for a system of totemistic symbols, so that an indigenous Australian may "own" a specific "Dreaming", such as Kangaroo Dreaming, or Shark Dreaming, or Honey Ant Dreaming, or Badger dreaming or any combination of Dreamings pertinent to their country. This is because in "Dreamtime" an individual's entire ancestry exists as one, culminating in the idea that all worldly knowledge is accumulated through one's ancestors. Many Indigenous Australians also refer to the Creation time as "The Dreaming". The Dreamtime laid down the patterns of life for the Aboriginal people.
Creation is believed to be the work of culture heroes who traveled across a formless land, creating sacred sites and significant places of interest in their travels. In this way, "songlines" (or Yiri in the Warlpiri language) were established, some of which could travel right across Australia, through as many as six to ten different language groupings. The dreaming and travelling trails of the Spirit Beings are the songlines. The signs of the Spirit Beings may be of spiritual essence, physical remains such as petrosomatoglyphs of body impressions or footprints, among natural and elemental simulacra.
"Dreaming" existed before the life of the individual begins, and continues to exist when the life of the individual ends. Both before and after life, it is believed that this spirit-child exists in the Dreaming and is only initiated into life by being born through a mother. The spirit of the child is culturally understood to enter the developing fetus during the fifth month of pregnancy. When the mother felt the child move in the womb for the first time, it was thought that this was the work of the spirit of the land in which the mother then stood. Upon birth, the child is considered to be a special custodian of that part of their country and is taught the stories and songlines of that place. As Wolf (1994: p. 14) states: "A black 'fella' may regard his totem or the place from which his spirit came as his Dreaming. He may also regard tribal law as his Dreaming."
In the Wangga genre, the songs and dances express themes related to death and regeneration. They are performed publicly with the singer composing from their daily lives or while Dreaming of a nyuidj (dead spirit).
Dreaming stories vary throughout Australia, with variations on the same theme. The meaning and significance of particular places and creatures is wedded to their origin in the Dreaming, and certain places have a particular potency or "dreaming." For example, the story of how the sun was made is different in New South Wales and in Western Australia. Stories cover many themes and topics, as there are stories about creation of sacred places, land, people, animals and plants, law and custom. In Perth, the Noongar believe that the Darling Scarp is the body of the Wagyl – a serpent being that meandered over the land creating rivers, waterways and lakes and who created the Swan River. In another example, the Gagudju people of Arnhemland, for which Kakadu National Park is named, believe that the sandstone escarpment that dominates the park's landscape was created in the Dreamtime when Ginga (the crocodile-man) was badly burned during a ceremony and jumped into the water to save himself.
An early reference is found is Richard McKenna's 1960 speculative fiction novelette, "Fiddler's Green", which mentions "Alcheringa...the Binghi spirit land", i.e. the Aranda concept translated as "Dream time". Early (1970s) references to the concept include Peter Weir's films The Last Wave (1977) and Picnic at Hanging Rock (1975).
"Dreamtime" became a widely cited concept in popular culture in the 1980s, and by the late 1980s was adopted as a cliché in New Age and feminist spirituality alongside related appeals to other "Rouseauian natural people", such as the Native Americans idealized in 1960s hippie counterculture.
Philip K. Dick uses Dreamtime, among a plethora of other concepts, to describe his breakdown in his novel VALIS (1981).
A 1982 album by Kate Bush is entitled The Dreaming, the title track of which deals with the upheaval of the Aboriginal people.
During the 1980s, the UK band The Stranglers recorded an album called Dreamtime, with a title track inspired by the Aboriginal concept.
The Cult's 1984 album is entitled Dreamtime. The album deals with Aboriginal themes, owing to singer Ian Astbury's interest in the book Bury My Heart At Wounded Knee.
Werner Herzog's Where the Green Ants Dream (Wo die grünen Ameisen träumen) (1984) posited an Aboriginal protest against uranium mining based on the taboo against disturbing the dream of green ants and thus causing the destruction of the world.
Frog Dreaming (1986) (renamed The Quest when released in the USA) included certain aspects of Aboriginal Dreaming.
Daryl Hall solo single "Dreamtime" (1986).
Bruce Chatwin wrote the blended fiction/non-fiction novel, The Songlines (1987), in exploration of some important aboriginal concepts.
The Star Trek novel Strangers from the Sky (1987) by Margaret Wander Bonanno has Captain Kirk using Dreamtime to investigate an altered reality.
Steve Roach's 1988 album is entitled Dreamtime Return. The album deals with the concept of the Dreamtime.
The Marvel Comics character Gateway, an Aboriginal "mutant" that lives in the Outback and first appeared in a 1988 Uncanny X-Men comic, accesses Dreamland through his mutant powers, giving him precognition and the ability to teleport others from place to place.
Neil Gaiman's graphic novel The Sandman (1989–March 1996) is partially set in "The Dreaming", referred to in early volumes as "Dreamtime", and also reference "Fiddler's Green".
Dreamtime Village, an intentional community in Wisconsin founded in 1990, dedicated to "various permaculture, hypermedia, and sustainability projects".
British Folk Metal band Skyclad have a polemical song on their debut album The Wayward Sons of Mother Earth (1991) called "Trance Dance (A Dreamtime Walkabout)", whose narrator is an Aborigine.
Spider Robinson's trilogy Stardance touches upon this in the second volume (1991).
In The Maxx, The Outback represents a primeval landscape of a fictional Australia where the characters travel from the real world. The Outback takes heavy inspiration from Australian Aboriginal Dreamtime.
Don Rosa's comic book The Life and Times of Scrooge McDuck contains a chapter, Dreamtime Duck of the Never-Never, where Scrooge encounters an aboriginal wiseman on a pilgrimage. After helping to return a priceless relic, a giant opal the size of an ostrich egg, to its place in a sacred cave after it was stolen by a bushthief, the wiseman helps Scrooge find his lost lucky dime. As thanks for his help with the relic, the wiseman helps Scrooge decide where to go next in his quest for riches - it sets him on the path to the Klondike gold rush, where he would eventually strike it rich. Unknown to Scrooge, a set of nearby cave paintings depict the future of Scrooge's life, including his discovery of the Goose Egg Nugget, the Money Bin, and his future nephews.
Grant Morrison's character King Mob in his comic The Invisibles (1994–2000) visits Uluru and speaks telepathically with an aboriginal elder, he remarks that this is possible because he is a 'Scorpion dreaming'.
Tad Williams four-volume science fiction epic Otherland (1996) touches upon Dreamtime and other aboriginal myths.
"In the Dreamtime", a song written by Ralph McTell, was used in Billy Connoly's World Tour of Australia (1996)
Terry Pratchett's novel The Last Continent (1998) uses several dreamtime concepts
In Big Finish Productions Doctor Who audio drama, Dreamtime (2005), the Seventh Doctor and his companions deal with Aborigine mysticism and Uluru.
Alexis Wright's novel Carpentaria (2006) alludes to Dreaming narrative from the Gulf of Carpentaria through her stories of contemporary Aboriginal characters, a form of Australian magical realism.
Sandra McDonald's novels, The Outback Stars, The Stars Down Under and The Stars Blue Yonder (2007–2009), use Aboriginal myth extensively.
The film Australia (2008) includes aspects of aboriginal Dreaming (songlines).
The Finnish band Korpiklaani recorded a track called "Uniaika" (Dreamtime) on the album Karkelo in 2009.
Tuomas Holopainen's 2014 album Music Inspired by the Life and Times of Scrooge includes a track entitled "Dreamtime," which directly references the Scrooge McDuck comic Dreamtime Duck of the Never-Never, and includes a didgeridoo in its instrumentation.
Sam Kieth's comic Maxx relies heavily on the psychology and concept of Dreamtime.
Jeff Smith says that aspects of his cartoon/fantasy epic Bone were inspired by Dreamtime, among other things.
Queenie Chan's manga The Dreaming (2005) takes place in Australia and deals with students from a boarding school who mysteriously go missing. Aboriginal legends feature in the series.
Betty Clawman from DC Comics' New Guardians was an aboriginal girl chosen to be part of the next stage in man's evolution - i.e. the New Guardians. Dreamtime figured in the story.
In issues #89–90 of DC Comics' Hellblazer, John Constantine ventures into the Dreamtime.
Wildstorm's Planetary issue #15 briefly deals with the Dreamtime.
In the graphic novel Y: The Last Man, the protagonist's love interest, Beth, spends time in Australia. Events in the Dreamtime are presented as a possible reason for the worldwide plague that killed almost all male mammals.
"Project Alchera" from the computer game Dreamfall: The Longest Journey draws heavily from the concept of Dreamtime, as well as from other Aboriginal mythologies.
In the episode "Walkabout" of the animated series Gargoyles, an Aborigine mentor to Dingo teaches him of the Dreamtime. In the same episode, Goliath and Dingo enter the Dreamtime in order to communicate with an AI nanotech entity called the Matrix.
In Ty the Tasmanian Tiger, the Dreaming/Dreamtime is an alternate universe inhabited by mystical beings known as the Bunyip, the title characters family is sealed within the Dreaming by Boss Cass before the events of the first game, and in Ty the Tasmanian Tiger 3: Night of the Quinkan, Dreamtime becomes a warzone between the Bunyip and the Quinkan.
In the third Sly Cooper game Sly 3: Honor Among Thieves, Murray is a student of Dreamtime, and his master joins the gang as well.
In the animated series ExoSquad, two of the main characters talk to an aboriginal aid who explains the nature of the Dreamtime and the cave art are shown depicting their current events.
The Australian fantasy superhero television series Cleverman draws its premise and many concepts from various Dreaming stories, including those of the "hairymen", a monster known as the Namorrodorr, and the Cleverman himself. The Dreaming is referenced explicitly several times.
