If you’ve strolled through a Darwin festival or community event, chances are the rhythmic beats resonating in the air had some connection to James Mangohig, also known as Kuya James. The term “Kuya
” translates to big brother in his Filipino heritage. Hailing from the outer suburbs of Karama in Darwin, Mangohig has garnered numerous awards that honor his artistic prowess over the years. However, for this Darwin local, it’s all about collective creativity.
In a groundbreaking collaboration with fellow Northern Territory musician Emily Wurramara, history was made in 2024 when she clinched the Best Adult Contemporary Album ARIA Award for “
Nara,
” co-produced by Mangohig. Reflecting on their success, Mangohig notes the positive impact on their audience: “
I’ve noticed the crowds since winning, they’re bigger, they’re singing along more.
” For him, witnessing Wurramara relish these moments is truly fulfilling – a win that nourishes the soul.
Mangohig’s musical journey traces back to his teenage years when he picked up the bass guitar for his father’s church band with guidance from a local family. This early introduction ignited his passion for music genres like rock and funk. His involvement in a Darwin hip-hop collective paved the way for music production, solidifying his presence in Darwin’s vibrant arts and music landscape over two and a half decades.
Over time, Mangohig explored diverse musical avenues such as forming Sietta, a soul duo alongside blues vocalist Caiti Baker. Collaborations with prominent artists like Daniel Johns from Silverchair and songwriting sessions with Jessica Mauboy further enriched his musical odyssey. Despite uncertainties about unreleased tracks created alongside Mauboy during their time in Los Angeles, Mangohig cherishes the creative dialogue shared: “
But what I love about working with [Mauboy] is that you work with her anywhere and you get that sense of dialogue.
”
The multicultural tapestry of Northern Territory serves as an endless wellspring of inspiration for Mangohig: “
I never thought I would have a place in the art world or contemporary dance world.
” Embracing authenticity and feeling at home within this community fuels his continuous pursuit of artistic collaborations across various platforms like Brown’s Mart Theatre and NT Writers’ Centre.
While recognizing the importance of organizational structures and budgets in fostering creativity within communities, he emphasizes the necessity of independent spaces where artists can innovate freely. Investing efforts alongside like-minded creatives into establishing warehouse spaces enables them to create under their own terms unrestrictedly – an environment synonymous with complete artistic liberation.
Mangohig ardently believes that music and art wield transformative powers within society. He envisions Darwin as an epitome of cultural diversity – a melting pot where individuals find resonance irrespective of their backgrounds: “
We need to add value to young mixed-race people who maybe sometimes feel like they don’t have a place to land as their identity.” By celebrating its rich cultural tapestry through art and music expressions truly embodies Darwin’s essence according to him.
In closing remarks reflecting on his profound belief in this city’s potential for nurturing upcoming talents echoing similar mixed-race backgrounds like himself: “And for me art; music is probably one beautiful way we can do that.” Through his endeavors and dedication towards fostering inclusive creative environments enriched by diverse voices; James Mangohig cements himself as not just an artist but also an advocate for cultural harmony through artistic expression.
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