DOCSLIB.ORG

30Years Studyguide.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
30Years Studyguide.Pdf 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 September 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
Load more

Recommended publications
  • Can’T Be What You Can’T See’: the Transition of Aboriginal and Torres Strait Islander Students Into Higher Education
    ‘Can’t be what you can’t see’: The Transition of Aboriginal and Torres Strait Islander Students into higher education Literature Review 2014 Fremantle Broome Sydney Cover Artwork: ‘Seeing Country’ by Yangkana Laurel Yangkana Laurel is a Walmajarri artist and educator from the Kadjina Community in the Kimberley region of Western Australia on the edge of the Great Sandy Desert - part of Millijidee Station. Along with her sisters, brothers and mothers, Yangkana advocated to set up the remote Wulungarra Community School. Yangkana’s commitment to education in this small community is replicated across the many universities we visited and encapsulated in the innovative models that support more Aboriginal and Torres Strait Islander students to transition to higher education. ‘Can’t be what you can’t see’: The Transition of Aboriginal and Torres Strait Islander Students into higher education Literature Review 2014 The University of Notre Dame Australia (UNDA) Southern Cross University (SCU) Batchelor Institute of Indigenous Tertiary Education (BIITE) Project Leaders: Professor Lyn Henderson-Yates (UNDA), Professor Patrick Dodson (UNDA), Professor Marguerite Maher (UNDA), Project Management: Bruce Gorring (UNDA), Sue Thomas (UNDA) Project Team Members: Stephen Kinnane (UNDA), Dr Judith Wilks (SCU), Katie Wilson (SCU), Terri Hughes (BIITE), Sue Thomas (UNDA), Professor Neil Drew (UNDA), Dr Keith McNaught (UNDA), Dr Kevin Watson (UNDA) Report Authors: Dr Judith Wilks (SCU), Katie Wilson (SCU) “Can’t be what you can’t see”: The Transition of Aboriginal and Torres Strait Islander students into higher education: Literature Review: 20/12/13 OLT ID SI11-2138 (UNDA; SCU; BIITE) Support for the production of this report/publication has been provided by the Australian Government Office for Learning and Teaching.
    [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]
  • A Collaborative History of Social Innovation in South Australia
    Hawke Research Institute for Sustainable Societies University of South Australia St Bernards Road Magill South Australia 5072 Australia www.unisa.edu.au/hawkeinstitute © Rob Manwaring and University of South Australia 2008 A COLLABORATIVE HISTORY OF SOCIAL INNOVATION IN SOUTH AUSTRALIA Rob Manwaring∗ Abstract In this paper I outline a collaborative history of social innovation in South Australia, a state that has a striking record of social innovation. What makes this history so intriguing is that on the face of it, South Australia would seem an unlikely location for such experimentation. This paper outlines the main periods of innovation. Appended to it is the first attempt to collate all these social innovations in one document. This paper is unique in that its account of the history of social innovation has been derived after public consultation in South Australia, and is a key output from Geoff Mulgan’s role as an Adelaide Thinker in Residence.1 The paper analyses why, at times, South Australia appears to have punched above its weight as a leader in social innovation. Drawing on Giddens’ ‘structuration’ model, the paper uses South Australian history as a case study to determine how far structure and/or agency can explain the main periods of social innovation. Introduction South Australia has a great and rich (albeit uneven) history of social innovation, and has at times punched above its weight. What makes this history so intriguing is that on the face of it, South Australia is quite an unlikely place for such innovation. South Australia is a relatively new entity; it has a relatively small but highly urbanised population, and is geographically isolated from other Australian urban centres and other developed nations.
    [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 [email protected] 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]
  • The Uniqueness of the Blackwords Resource: Memoir of an Indexer
    The Uniqueness of the BlackWords Resource: Memoir of an Indexer IRENE HOWE AustLit, University of Queensland Since its launch in 2007 BlackWords has enjoyed strong Indigenous leadership and a dedicated Indigenous team, allowing Indigenous storytellers, academics and researchers to determine its look, content, and scope. The BlackWords team of researchers and indexers is a community consisting of individuals from across institutions such as the University of Queensland, the University of Western Australia, Flinders University, the University of Sydney, the University of Wollongong and AIATSIS, each of whom has brought their own expertise and specialist interest to the database (BlackWords; Holt; Kilner 62). In a sense, Indigenous control of BlackWords falls within the context of the traditional Aboriginal kinship system. BlackWords has had many mothers, fathers, aunties, uncles, sisters, brothers, cousins and non-Indigenous members, who have nurtured it from its early establishment. Within this relationship, they represent the national team consisting of national coordinators and research assistants. This extended family are those people who are members and/or descendants of diverse Aboriginal and Torres Strait Island groups and communities as distant as Western Australia and the Torres Straits Islands. The non-Indigenous, or those with no blood relations, come in the form of the cross-cultural connection between BlackWords and AustLit. For example, Joan Keating, a Senior Researcher and Content Editor from AustLit, gave valuable help to the BlackWords team. From its establishment in 2006, she contributed her knowledge, guidance, training and skills, providing information on bibliographic protocols, and indexing procedures. Kerry Kilner, in her role as Director of AustLit, has also been instrumental in the establishment and continued development of BlackWords.
    [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]
  • The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture
    The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture Benjamin Miller A thesis submitted to the School of English, Media and Performing Arts at the University of New South Wales in fulfilment of the requirements for the award of Doctor of Philosophy 2009 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname: MILLER First name: BENJAMIN Other name/s: IAN Degree: PhD School: ENGLISH, MEDIA AND PERFORMING ARTS Faculty: ARTS AND SOCIAL SCIENCES Title: MR ABSTRACT This dissertation argues that a fantasy of white authority was articulated and disseminated through the representations of blackness and Aboriginality in nineteenth-century American and Australian theatre, and that this fantasy influenced the representation of Aboriginality in twentieth- century Australian culture. The fantasy of whiteness refers to the habitually enacted and environmentally entrenched assumption that white people can and should superintend the cultural representation of Otherness. This argument is presented in three parts. Part One examines the complex ways in which white anxieties and concerns were expressed through discourses of blackness in nineteenth-century American blackface entertainment. Part Two examines the various transnational discursive connections enabled by American and Australian blackface entertainments in Australia during the nineteenth century. Part Three examines the legacy of nineteenth-century blackface entertainment in twentieth-century Australian culture. Overall, this dissertation investigates some of the fragmentary histories and stories about Otherness that coalesce within Australian culture. This examination suggests that representations of Aboriginality in Australian culture are influenced and manipulated by whiteness in ways that seek to entrench and protect white cultural authority. Even today, a phantasmal whiteness is often present within cultural representations of Aboriginality.
    [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]
  • 2008, WDA Global Summit
    World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns.
    [Show full text]