Ailan Dans: Critical Issues in Torres Strait Islander Dance and the Curriculum Lynette A. Costigan BA with Dist (CQU), Grad Dip Ed (UNE) A thesis submitted in partial fulfilment of the requirements of the degree of Master of Education (Honours) of the University of New England February 2003 CERTIFICATE OF ORIGINALITY I certify that I am the sole author and that the substance of this thesis has not already been submitted for any degree and is not being currently submitted for any other degrees. I certify that to the best of my knowledge that any help received in preparing this thesis, and all sources used, have been acknowledged in this thesis. ACKNOWLEDGEMENTS A number of people deserve thanks for their support during the completion of my thesis. Because of a horrendous work schedule and serious family illnesses, I was faced with the daunting task of writing my thesis in little over a year while also working. My supervisor at the University of New England, Dr Cathryn McConaghy, was a voice of calm and reason, putting my thesis into perspective. Her assertions that I was capable of completing the thesis and on time helped dispel self-doubts. Her encouragement, support, constructive feedback, clear-sightedness and intellectual stimulation were invaluable and truly appreciated. Writing a thesis is a challenging task, but thanks to Cathryn, it has also been an enjoyable experience. Several colleagues at Central Queensland University deserve special mention. Dr Karl Neuenfeld's links with the Torres Strait through producing Torres Strait Islander music paved the way for my research endeavours, for which I am very appreciative. Karl introduced me to the Torres Strait and many of the Torres Strait Islander Participants in this research and provided me with some valuable resources. Being an external student can be isolating, but Karl's interest in my research kept me motivated and enthusiastic. My sub-dean, Ms Angela Schlotzer, deserves thanks for being instrumental in the reduction of my workload and for motivating me to type the first word. This thesis would not have been completed without the Torres Strait Islander Participants who willingly gave their time to talk to me about their perceptions, feelings and meanings of dance and its place in the curriculum. I thoroughly enjoyed my time with them and am truly indebted to them. I hope that, even in some small way, this research will be of benefit to them. This thesis is dedicated to my family: my husband John, my children Danielle and Dane, and my gorgeous grandson Connor. In particular, John's unfailing love, patience, understanding, support and encouragement helped enormously in the successful completion of my thesis. I also thank other family members, friends and colleagues who provided support and encouragement. ABSTRACT The question of the place of culture in the curriculum is complex and, at times, problematic for educators and community members. The issue is frequently at the heart of debates within fudigenous education. fu particular, the critics of culturalism in fudigenous education argue that too often there is an over-emphasis on cultural issues to the detriment of other aspects of the curriculum. fu addition, representations of fudigenous cultural practices often reify and essentialise Indigenous peoples. Despite these critiques, many Indigenous community members argue for respect for their cultural practices, standpoints and beliefs in education. This thesis considers the issues surrounding the incorporation of dance in the curriculum for Torres Strait Islander students. It does so through a critical discourse analysis of Torres Strait Islander community discourses. As with other Indigenous peoples throughout the world, Torres Strait Islander perspectives are diverse. Among the dominant discourses identified was a discourse that linked dance to broader social imperatives. Not only a cultural practice, Island Dance (Ailan Dans) emerges as an important aspect of postcolonial social movements amongst Torres Strait Islander people. Visual and performing arts such as dance are important in a postcolonial society and postcolonial curriculum in providing spaces to interrogate and engage with colonialist legacies, structures and representations. Dance is more than a practice or commodity in, for example, tourist performances: it is also a political product, in that fudigenous peoples can assert their rights through dance. Indigenous cultural practices are crucial as forums of Indigenous expression and 'voice', allowing people to resist dominant practices. The research suggests that Ailan Dans is important in community healing. Cultural practices such as dance also provide the possibility of interrogating stereotypical representations and images of Torres Strait Islander people. This thesis interrogates anthropological representations of Ailan Dans and suggests the need to consider the significance of Torres Strait Islander dance in the curriculum as an important, although contested, aspect of Torres Strait Islander resistance, affirmation, economic empowerment, communal wellbeing and artistic expression. ii TABLE OF CONTENTS Acknowledgements 1 Abstract ii Table of Contents iii Map of the Torres Strait Islands vi CHAPTER 1- DANCE, EDUCATION AND SOCIAL MOVEMENTS 1 Introduction: Situated Perspectives 1 The Research Problem 2 Research Questions and Thesis Structure 4 Researcher Positionality Issues 12 CHAPTER 2- RETHINKING CULTURE AND EDUCATION 14 Indigenous Educational Policy 14 Policy and Representation 17 Torres Strait Islander Educational Issues 19 A~ri~ili~ W Culturalism and Cultural Essentialism 21 Rethinking 'Aboriginal Learning Styles' 24 Indigenous Identities 25 Cultural Essentialism as Resistance 26 Globalisation 27 Models of Incorporating Indigenous Culture in Education 29 Two Way Education 29 Both Ways Education 31 Bilingual Education 32 Inclusions and Additions 35 Western Only Schooling 36 Indigenous Standpoints 36 Issues of Colonialism and the Postcolonial Curriculum 38 CHAPTER 3 - CRITICAL ISSUES IN DANCE AND THE CURRICULUM 41 Dance in the Curriculum 42 Benefits of Dance 42 History of Dance in The Arts 43 Critical Issues in Dance Education 44 Boys and Dance 46 Indigenous Dance, Artistic Expression and Resistance 48 Arts-Based Projects, Social Justice and Community Healing 50 History of Torres Strait Islander Dance 52 Torres Strait Islander Dance as Changing and Dynamic 56 iii Contemporary Indigenous Dance 59 Torres Strait Islander Dance in Education: Critical Issues 64 Dance and the Postcolonial Curriculum 70 CHAPTER 4 - RESEARCHING TORRES STRAIT ISLANDER DANCE: CRITICAL AND ETHICAL ISSUES 72 Colonialism and 'Voice' 73 Representation Debates 74 Indigenous Standpoints 79 Representation and the Visual and Performing Arts 80 Problems of the 'White' Gaze 82 Feminist Research: Tensions and Traditions 84 Data Collection Methods 87 Semi-Structured Interviews 88 Data Analysis Methodology 90 Researcher Reflexivity 92 Ethical Issues 94 CHAPTER 5 - DISCOURSES OF COMMUNITY, CULTURE AND TORRES STRAIT ISLANDER SOCIAL IMPERATIVES 97 Governance and Community Involvement 97 Problematising Community and Community Involvement 99 Community Leaders and Representation 103 Discourses of 'Community' 104 Problematising Issues 106 Torres Strait Islander Social Discourses 107 Unemployment, Health and Housing 108 Violence, Alcohol and Drugs 109 Feminism, Indigenous Women and Racism 111 Autonomy 114 Welfare Tensions 115 Torres Strait Islander Educational Discourses 117 Importance of English 120 Torres Strait Islander Languages 123 CHAPTER 6 - SOCIAL DISCOURSES OF DANCE 125 Discourses of Dance and Community 126 Discourses of Dance and Identity 133 Resistance and Performance of Identity 135 Discourses of Authority, Authenticity and 'Traditional' Dance 136 Use of Technology 138 Tourist and Theatre Performances - Discourses of Essentialism and Commodification 139 Dance and the Discourses of Community Healing 142 Discourses of Dance in Schools 144 Discourses of Dance and Culture 144 Discourses of Dance in the Curriculum 145 Informal Torres Strait Islander Dance in Schools 146 Discourses of Dance and Pedagogy 148 Discourses of Tokenism 150 IV Discourses on Indigenous Studies 151 Discourses on Boys and Dance 153 Dance and the Postcolonial Curriculum 154 Representation Issues in the Curriculum 155 CHAPTER 7 - CONCLUSION: AILAN DANS AS SOCIAL AND EDUCATIONAL MOVEMENT 158 REFERENCES 171 V The Torres Strait Islands _.,. , ........... - - UGAR (STEPHENS) ISLAND() c:J TORRES STRAIT ERUB (CARNLEY) 1Sl...ANO ~ d MASIG (YORKE) ISLAND MABUIAG ISLAND Q ~ C> YAM ISLAND G l'W>U (MULGRAVE) <::> c::J MER (MURRAY) d PORUMA (COCONUT) ISLAND c O ISLAND OlAN> ~~02:~ WAR:RASER (SUE) -v KUBIN MOA ISLAND ISlANO e;, {} ..., I-IAMMO.·ND/'"" WAIBEN (THURSDAY) ISLAND M.·U·RAL·l·S·U·LAN.i5·•·g{o.,o.··~(::~.· ed~~y) - (PRINCE ·· ""~- ··· OF WALES) · ,!) ~ ISLAND Source: Partington, G. (ed) 1998, Perspectives on Aboriginal and Torres Strait Islander Education, Social Science Press, Katoomba, NSW, p. 57. vi CHAPTERl DANCE, EDUCATION AND SOCIAL MOVEMENTS Introduction: Situated Perspectives This thesis explores Torres Strait Islander community members' discourses regarding the incorporation of Torres Strait Islander dance in the curriculum. The research methodology includes conversations with Torres Strait Islanders living in the Torres Strait, specifically Thursday Island, and in the mainland centres of Cairns, Townsville and Mackay. This analysis of the incorporation of Torres Strait Islander dance in schools is part of