Bangarra Dance Theatre

Total Page:16

File Type:pdf, Size:1020Kb

Bangarra Dance Theatre BANGARRA DANCE THEATRE STUDY GUIDE FOR TEACHERS AND STUDENTS 1 ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated June 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that this Study Guide contains images, names, and writings of deceased persons. Photo Credits Front Cover: Rika Hamaguchi and Tyrel Dulvarie, photo by Daniel Boud Back Cover: Rika Hamaguchi, photo by Daniel Boud 2 INTRODUCTION CONTENTS The purpose of this Study Guide is to provide information and contextual background about the works presented 03 in Bangarra Dance Theatre’s 30th anniversary season, Introduction/Contents Bangarra: 30 years of sixty five thousand. Reading the Guide, discussing the themes, and responding to the questions proposed, will assist teachers and students in thinking critically about the works, and form 04 Using this Study Guide personal responses. We encourage students and teachers to engage emotionally and imaginatively with the performance 05 Contemporary Indigenous Dance Theatre and to be curious about how these works were inspired and how they impact audiences. For full details about the performance, please visit bangarra.com.au. 09 Bangarra Dance Theatre 10 Unaipon 15 Stamping Ground 17 to make fire 19 Pre- and Post-Show Activities 3 USING THIS STUDY GUIDE Bangarra: 30 years of sixty five shifting and growing field of CROSS CURRICULUM thousand is Bangarra Dance cultural exchange, art, storytelling, PRIORITY Theatre’s landmark 30th anniversary and shared experiences. Bearing Aboriginal and Torres Strait season. This diverse program of witness to the physical expression Islander histories and cultures three contemporary works displays of traditional and contemporary the passionate storytelling, rich modes of storytelling can both GENERAL CAPABILITIES artistry and deep community challenge and unite us, but Critical and creative thinking connections that have made fundamentally these experiences Intercultural understanding Bangarra the premier Aboriginal illustrate the immutable importance Ethical understanding and Torres Strait Islander performing of identity, belonging and arts company in Australia. connectedness in all societies and LEARNING AREAS cultures. Learning by experiencing The Arts (Dance, Music, Frances Rings’ Unaipon is an either a live performance, or a video Visual Arts) absorbing portrait of the great recording of a live performance, Humanities and Social Science Aboriginal inventor, philosopher, and being free to offer personal (History, Civics and Citizenship) writer and storyteller, Ngarrindjeri responses, enables students to be Science (Physics) man David Unaipon, who features participants in the creative process on the Australian $50 note. as they engage with the work TOPICS/THEMES Stamping Ground was created by through discussions that encourage INDIGENOUS PERSPECTIVES Czech choreographer Jiří Kylián both critical and creative thinking. Contemporary Dance as an homage to Aboriginal and Design Torres Strait Islander people and Students can and should feel free Literature their cultures. Curated by Artistic to explore different perspectives Music Director Stephen Page, to make fire through artistic and emotional Storytelling highlights the breadth, power and landscapes of movement, sound, Australian Cultures beauty of Bangarra’s creations light and shape. This freedom Australian Society over three decades. can inspire an appreciation of the History ongoing impact of historical events, Human Rights With roots in the world’s oldest as well as the role of the Arts in Religion continuing culture, Bangarra: shaping our understandings of Scientific Inquiry 30 years of sixty five thousand the world around us. carries the spirit of Bangarra into its fourth decade, promising many We urge our audiences, including more years of deeply moving and students and teachers, to be curious authentic Aboriginal and Torres about the works they see on stage, Strait Islander stories. and the creative processes that lie behind these performances. This Bangarra: 30 years of sixty five Study Guide provides detailed thousand offers teachers and background about all aspects students the opportunity to explore of the production Bangarra: a broad range of cross-curricula 30 years of sixty five thousand, topics and themes through a and the artists who collaborated live performance experience. We in its creation. strongly recommend that teachers familiarise their students with We invite everyone to feel free to the contextual background and express their thoughts about our historical relevance of the work, work and contribute to the ongoing using the information in this dialogue that continually questions Study Guide and the additional who we are and where we are going. references listed throughout. We hope you enjoy Bangarra: 30 The evolution of Indigenous years of sixty five thousand. contemporary dance can be explored as a continuum – a 4 CONTEMPORARY INDIGENOUS DANCE THEATRE form, and are able to celebrate the PERSPECTIVES, resilience of Australia’s First Nations people and their ancestors through VOICES AND the sharing of works that depict Indigenous stories, cultures and CULTURES perspectives. The concept of contemporary Indigenous dance theatre cannot It is important to consider the be understood as a categorised language we use when talking genre or a particular form because and writing about Indigenous it exists as part of a continuum that cultures in the context of art: responds to a diversity of culture when it is made, how it is made and and developing perspectives. Any where the source material comes contemporary Indigenous dance from. The general application production that incorporates and understandings of the terms music/sound, design and other ‘traditional’ and ‘contemporary’ conventions of the theatre will can be problematic when critiquing inevitably have a deep purpose Indigenous dance theatre. By fixing and an essential spirit that is, and the term ‘contemporary’ to the will always be, about Aboriginal form, it could be argued that we are and Torres Strait Islander cultures. implying ‘post-colonial’, ‘modern’ While drawing on traditional or ‘non-traditional’. Yet with many stories and cultural ways of new works sourcing their inspiration being, Indigenous dance theatre from the Indigenous cultures that provides an important platform for have existed since ancient times, Indigenous people. It gives voice to what is ‘traditional’ and what is the experience of living in a modern ‘new’ can exist simultaneously. world that experiences constant This is often expressed by saying change, where the threat to cultural Indigenous Australian cultures are identityis relentlessly present. the oldest living, and continuous cultures in the world. The growth in availability of technical resources, an increasing number of performance venues, FORM, and the proliferation of new arts festivals and digital platforms, has ACTIVATION greatly supported the development of new Indigenous dance theatre, AND PROCESS as well as the careers of the many One way of exploring the creative artists involved. As more development of Indigenous dance new work is created, support for theatre over the last three or four the infrastructure and training that decades is to trace the journeys of underpins these forms has also some of the artists who have been grown, resulting in a critical mass significant contributors to that of professional artists involved in development. It should be noted producing high quality productions that while many opportunities have that increase the demand we been opened up for Aboriginal and currently see from audiences in Torres Strait Islanders to develop Australia and internationally. One in their choreographic work and of the most important outcomes of their leadership roles, the true force these developments is the fact that behind this development has been more Aboriginal and Torres Strait the commitment and determination islander people are able to see their of the individual artists themselves. Tyrel Dulvarie, cultures reflected in this unique photo by Daniel Boud 5 Artists and leaders like Carole Y. consider themselves activists, and ownership and other interests in Johnson, Stephen Page, Frances there is no doubt that their work has land have been closely associated Rings, Raymond Blanco, Vicki van had a significant impact on the way with human rights, where groups Hout, Gary Lang, and Marilyn Miller, non-Indigenous people have learned can show a perpetual connection are some who have paved the way. about Indigenous cultures and the to the land in order to justify their More recently Elma Kris, Deborah ongoing political struggle of First right to occupy. Brown, Yolande Brown, Daniel Riley, Nations people
Recommended publications
  • The Builders Labourers' Federation
    Making Change Happen Black and White Activists talk to Kevin Cook about Aboriginal, Union and Liberation Politics Kevin Cook and Heather Goodall Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: anuepress@anu.edu.au This title is also available online at http://epress.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Cook, Kevin, author. Title: Making change happen : black & white activists talk to Kevin Cook about Aboriginal, union & liberation politics / Kevin Cook and Heather Goodall. ISBN: 9781921666728 (paperback) 9781921666742 (ebook) Subjects: Social change--Australia. Political activists--Australia. Aboriginal Australians--Politics and government. Australia--Politics and government--20th century. Australia--Social conditions--20th century. Other Authors/Contributors: Goodall, Heather, author. Dewey Number: 303.484 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover images: Kevin Cook, 1981, by Penny Tweedie (attached) Courtesy of Wildlife agency. Aboriginal History Incorporated Aboriginal History Inc. is a part of the Australian Centre for Indigenous History, Research School of Social Sciences, The Australian National University and gratefully acknowledges the support of the School of History RSSS and the National Centre for Indigenous Studies, The Australian National
    [Show full text]
  • Aboriginal and Torres Strait Islander Histories
    BANGARRA DANCE THEATRE EDUCATION NOTES ACKNOWLEDGEMENT OF COUNTRY Bangarra Dance Theatre pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform. We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work. INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated December 2019 WARNING Aboriginal and Torres Strait Islander people should be aware that these Education Notes contain names and images of, and quotes from, deceased persons. Photo Credits Front Cover: Elma Kris, Rika Hamaguchi and Tyrel Dulvarie, photos by Daniel Boud & Jacob Nash, image created by Jacob Nash Back Cover: Elma Kris, photo by Daniel Boud 2 INTRODUCTION Bangarra is rooted in two worlds, and through dance we connect to both, embodying ancient practices and igniting contemporary songlines. Our productions are our contemporary acts of ceremony, our way of protecting and preserving our unique songline. Knowledge Ground: 30 years of sixty five thousand is a curated collection of the arfefacts of these ceremonies – iconic set pieces, soundscapes, and costumes, which reveal the influences and themes that underpin our practice.
    [Show full text]
  • Stephen Page on Nyapanyapa
    — OUR land people stories, 2017 — WE ARE BANGARRA We are an Aboriginal and Torres Strait Islander organisation and one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for our powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national currently in our 28th year. Our dance technique tour of a world premiere work, performed in is forged from over 40,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra, and represent the pinnacle of Australian dance. Each an international tour to maintain our global has a proud Aboriginal and/or Torres Strait reputation for excellence. Islander background, from various locations across the country. Complementing this touring roster are education programs, workshops and special performances Our relationships with Aboriginal and Torres and projects, planting the seeds for the next Strait Islander communities are the heart generation of performers and storytellers. of Bangarra, with our repertoire created on Country and stories gathered from respected Authentic storytelling, outstanding technique community Elders. and deeply moving performances are Bangarra’s unique signature. It’s this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York. A MESSAGE from Artistic Director Stephen Page & Executive Director Philippe Magid Thank you for joining us for Bangarra’s We’re incredibly proud of our role as cultural international season of OUR land people stories.
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email veronica.fury@wildbear.tv Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • Bangarra Dance Theatre: Rethinking Indigeneity in Australia
    Bangarra Dance Theatre: Rethinking Indigeneity in Australia A thesis by: Charlotte Schuitenmaker 10212795 rMA Art Studies Supervisor: Dr. B. Titus Second reader: Prof. Dr. J.J.E. Kursell University of Amsterdam 21/01/2019 CONTENT INTRODUCTION……………………………………………………………….. 3 1 – BANGARRA’S EXPRESSIONS…...…………………………………………9 1.1 – Dance and Indigenous Australia………………………………………9 1.1.1 – Dance and music as modes of expression…………………...11 1.1.2 – Dance and music as systems of authority…………………...14 1.2 – Contemporary dancing………………………………………………..15 1.2.1 – Contemporary dance: An Overview......................................15 1.2.2 – Bangarra’s dance…………………………………………….20 1.3 – Presenting Indigeneity………………………………………………...22 1.3.1 – Bangarra’s performances…………………………………….22 1.3.2 – Bangarra’s promotion………………………………………. 31 2 – REASSEMBLING BANGARRA: THE INSTITUTION AS AND WITHIN A NETWORK……………………. 34 2.1 – Bangarra’s establishment……………………………………………...37 2.2 – A Page family business: choreographer, dancer and songman………. 39 2.3 – The theatre…………………………………………………………… 45 2.4 – Audiences and tickets………………………………………………....49 2.5 – Institutions and modernity...................................................................51 3 – MESSAGES: THE POLITICS OF IDENTITY AND STORIES…………54 3.1 – Indigeneity as identity…………………………………………………55 3.2 – Contemporary storytelling…………………………………………….60 3.2.1 – Stories: past-present-future…………………………….…....64 CONCLUSION……………………………………………………………….……67 REFERENCES……………………………………………………….……….……71 2 INTRODUCTION The Bangarra Dance Theatre Company is a Sydney-based institution that produces contemporary dance theatre shows inspired by Indigenous cultures in Australia. Carole Johnson, a dancer of African-American heritage, established the company in 1989, with Stephen George Page as Artistic Director since 1991. Page’s Aboriginal heritage stems from both the Nunukul people and the Munaldjali, a clan of the Yugambeh tribe in the south east of Queensland. Since 1992 the company has produced new shows almost annually and the team tours across the country.
    [Show full text]
  • Dubboo Life of a Songman Program Credits
    Dubboo: Life of A Songman Program Credits Directed by WAYNE BLAIR & NEL MINCHIN Produced by IVAN O’MAHONEY Cultural Producers BANGARRA DANCE THEATRE Edited by NICK MEYERS ASE Music by DAVID PAGE “DUBBOO – LIFE OF A SONGMAN” Co-presented by Carriageworks & Bangarra Dance Theatre Artistic Director STEPHEN PAGE Creative Ensemble ARCHIE ROACH DJAKAPURRA MUNYARRYUN URSULA YOVICH BEN GRAETZ HUNTER PAGE-LOCHARD BRENDON BONEY BANGARRA DANCERS STEPHEN PAGE JENNIFER IRWIN JACOB NASH ALANA VALENTINE MATT COX Music Production & Arrangement STEVE FRANCIS String Arrangements IAIN GRANDAGE 1 String Quartet VERONIQUE SERRET STEPHANIE ZARKA CARL ST. JACQUES PAUL GHICA Stage Director PETER SUTHERLAND Director, Technical & Production JOHN COLVIN Rehearsal Director DANIEL ROBERTS Production Manager CAT STUDLEY Company Manager CLOUDIA ELDER Stage Manager LILLIAN HANNAH U Head Electrician CHRIS DONNELLY Head of Wardrobe MONICA SMITH Sound & AV Technician EMJAY MATTHEWS Production Trainee STEPH STORR Bangarra extends their thanks to the many people who helped bring together this celebration. A special thank you to the Page family for entrusting the company with this important work to honour their brother, son and uncle. Featured Bangarra productions Brolga (2001), Fish (1997), Spear (2015 feature film), Skin (2000), Ninni (1994), Bush, Praying Mantis Dreaming (1992), Ochres (1995) Key Credits STEPHEN PAGE FRANCES RINGS DJAKAPURRA MUNYARRYUN DAVID PAGE 2 STEVE FRANCIS JOHN MATKOVIC PETER ENGLAND JENNIFER IRWIN JOSEPH MERCURIO EMILY AMISANO MARK HOWETT ARCHIE
    [Show full text]
  • SOH-Annual-Report-2016-2017.Pdf
    Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free.
    [Show full text]
  • Australian Aboriginal Verse 179 Viii Black Words White Page
    Australia’s Fourth World Literature i BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Australia’s Fourth World Literature iii BLACK WORDS WHITE PAGE ABORIGINAL LITERATURE 1929–1988 Adam Shoemaker THE AUSTRALIAN NATIONAL UNIVERSITY E PRESS iv Black Words White Page E PRESS Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: anuepress@anu.edu.au Web: http://epress.anu.edu.au Previously published by University of Queensland Press Box 42, St Lucia, Queensland 4067, Australia National Library of Australia Cataloguing-in-Publication entry Black Words White Page Shoemaker, Adam, 1957- . Black words white page: Aboriginal literature 1929–1988. New ed. Bibliography. Includes index. ISBN 0 9751229 5 9 ISBN 0 9751229 6 7 (Online) 1. Australian literature – Aboriginal authors – History and criticism. 2. Australian literature – 20th century – History and criticism. I. Title. A820.989915 All rights reserved. You may download, display, print and reproduce this material in unaltered form only (retaining this notice) for your personal, non-commercial use or use within your organization. All electronic versions prepared by UIN, Melbourne Cover design by Brendon McKinley with an illustration by William Sandy, Emu Dreaming at Kanpi, 1989, acrylic on canvas, 122 x 117 cm. The Australian National University Art Collection First edition © 1989 Adam Shoemaker Second edition © 1992 Adam Shoemaker This edition © 2004 Adam Shoemaker Australia’s Fourth World Literature v To Johanna Dykgraaf, for her time and care
    [Show full text]
  • Darkemu-Program.Pdf
    1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers.
    [Show full text]
  • A Reflection on the First 30 Days of the 1972 Aboriginal Embassy
    A REFLECTION ON THE FIRST THIRTY DAYS OF THE EMBASSY By Gary Foley From the book: Foley, G, Schaap, A & Howell, E 2013, The Aboriginal Tent Embassy. [electronic resource] : Sovereignty, Black Power, Land Rights and the State, Hoboken : Taylor and Francis, 2013 It was in the first four weeks of the 1972 Aboriginal Embassy protest that a small group of Aboriginal activists rapidly improvised and transformed an opportunistic accident into an effective protest that captured world attention and brought significant historical and political change in Australia.1 What had begun as a simple knee-jerk reaction to an Australia Day statement on Land Rights by the Australian Prime Minister, resulted in the accidental discovery that there was no law in Canberra that prevented the activists from staging a protest camp on the lawns of Parliament. The swift action of the activists to take advantage of this situation enabled them to gain political advantage over the McMahon Government in the propaganda war and political battle that would take place over the next six months. Exactly how these events unfolded has never been written about in detail. Even in Scott Robinson’s (ch.1 in this volume) or in Kathy Lothian’s (2007) accounts, the crucial early days are not fully examined. Yet if we are to gain a better understanding of why the Aboriginal Embassy was able to become such an effective protest action, it is important to gain an awareness of how it all began. So in this chapter I will examine some of the factors that enabled the already highly effective group of Aboriginal activists from the Redfern Black Power collective to create a highly effective challenge to the political power structure and force a major change in policy.
    [Show full text]
  • Bangarra Releases 2016 Annual Report
    MEDIA RELEASE For immediate release 6 April 2017 Shining the spotlight on Aboriginal and Torres Strait Islander stories: a resilient Bangarra releases 2016 annual report Strong philanthropic growth, steady box office income, highly praised new Australian dance worKs, and one of The company released its 2016 annual report after the arts’ fastest growing social media communities holding their Annual General Meeting in Sydney were the highlights for Bangarra Dance Theatre in yesterday. A moderate surplus of $57,000 was 2016 amongst a year of significant adversity. achieved – but even more impressive was a 20% increase in philanthropic income, helping to reduce The company were extremely saddened by the loss of reliance on core Government funding to 38% and offset Music Director David Page, who passed away in April the increasing costs of delivering core activity. 2016. Bangarra displayed its strength and resilience by presenting a national tour of OUR land people stories The Executive Director of Bangarra, Philippe Magid, from June to September, with all 59 performances says the positive result was due to a number of factors. dedicated to his memory. Almost 34,000 people nationally attended shows in Sydney, Canberra, Perth, “An appetite for exciting and original programming Brisbane and Melbourne to see three incredible worKs: showcasing Aboriginal stories led to robust box office Nyapanyapa by Stephen Page, Miyagan by dancers income, and increasingly our marKeting has become and cousins Daniel Riley and Beau Dean Riley Smith, more focused and effective with an emphasis on digital and Macq by dancer Jasmin Sheppard. and data-driven campaigns, ” says Magid.
    [Show full text]
  • For All Media Enquiries, Please Contact: Anna Shapiro, Media & Communications Manager Bangarra Dance Theatre M: 0417 043 20
    MEDIA RELEASE For immediate release 18 November 2017 Bangarra stronger than ever in 2017 with two brand-new works Bennelong and ONES COUNTRY – the spine of our stories: now on sale! Bangarra brings two brand-new contemporary dance seasons to the stage in 2017, marking one of its biggest years to date. Charged with creativity after a successful 2016, the company is ready to do what it does best: generate engagement with all Australians and illuminate the art of storytelling. Bennelong, choreographed by Artistic Director Stephen Page will tour nationally, while ONES COUNTRY – the spine of our stories, has been commissioned especially for our second Sydney season at Carriageworks. Artistic Director Stephen Page says that 2017 will be significant for Bangarra: “Bangarra’s backbone lies in its ability to carry the power of Australia’s first cultures – blending old with new – and embracing the diversity and strength of our people. Next year we bring two transformative new seasons to the stage, which embody exactly this.” “I’m really looking forward to cultivating our storytelling in the studio and above all, sharing it nationally and internationally with Australia’s finest artists by my side.” “2016 has been challenging, but our art-form is a powerful medicine and it has helped us to heal. We will have a special celebration of our brother David Page’s life at the Sydney Opera House in June.” Says Executive Director Philippe Magid: “The company’s strength is its capacity to create inspiring and positive Aboriginal and Torres Strait Islander experiences for all.” “Next year’s footprint provides us with incredible opportunities to connect with all corners of the country, with one of our biggest years of creation and delivery on record.” BENNELONG The national tour of Bennelong will premiere on 29 June at Sydney Opera House, before travelling to Canberra, Brisbane and Melbourne.
    [Show full text]