Relevant bibliographies by topics / Dance, Aboriginal Australian

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Academic literature on the topic 'Dance, Aboriginal Australian'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Dance, Aboriginal Australian"

Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.

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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…

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Yulianti Farid, Lily. "Representing Australian Aboriginal Music and Dance 1930–1970." Australian Historical Studies 52, no. 3 (July 3, 2021): 456–57. http://dx.doi.org/10.1080/1031461x.2021.1944292.

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Gibson, Chris. "“We Sing Our Home, We Dance Our Land”: Indigenous Self-Determination and Contemporary Geopolitics in Australian Popular Music." Environment and Planning D: Society and Space 16, no. 2 (April 1998): 163–84. http://dx.doi.org/10.1068/d160163.

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Strategies for indigenous self-determination have emerged at unique junctures in national and global geopolitical arenas, challenging the formal hegemony of the nation-state with claims to land rights, sovereignty and self-governance. These movements are reflected qualitatively, in a variety of social, political, and cultural forms, including popular music in Australia. An analysis of the ‘cultural apparatus’, recordings, and popular performance events of indigenous musicians reveals the construction of ‘arenas of empowerment’ at a variety of geographical scales, within which genuine spaces of Aboriginal self-determination and self-expression can exist. Although these spaces often remain contested, new indigenous musical networks continue to emerge, simultaneously inscribing Aboriginal music into the Australian soundscape, and beginning to challenge normative geopolitical doctrines. The emergence of a vibrant Aboriginal popular music scene therefore requires a rethinking of Australian music, and appeals for greater recognition of Aboriginal artists' sophisticated geopolitical strategies.

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Lavers, Katie, and Jon Burtt. "BLAKflip and Beyond: Aboriginal Performers and Contemporary Circus in Australia." New Theatre Quarterly 33, no. 4 (October 11, 2017): 307–19. http://dx.doi.org/10.1017/s0266464x17000458.

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In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given the relative success of Aboriginal circus performers in the recent past, there are almost none working today. Whiteness as a pervasive characteristic of contemporary Australian performance is offered as a possible cause of this absence, while hopes for the future of Aboriginal circus are discussed with Davey Thompson, the new Aboriginal and Torres Strait Island Programme Manager at Circus Oz. Katie Lavers is an adjunct faculty member at Edith Cowan University, author of numerous journal articles, and co-editor (with Peta Tait) of The Routledge Circus Studies Reader (2016). Jon Burtt is a lecturer in Dance and Performance Studies at Macquarie University. He is the author of numerous articles on circus pedagogy, and is an advanced-level circus trainer. Lavers and Burtt are currently co-authoring (with Louis Patrick Leroux) a book on contemporary circus (forthcoming 2019).

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Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (August 16, 2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.

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Treloyn, Sally, Rona Goonginda Charles, and Pete Myadooma O’Connor. "Dancing with the Devil (Spirit): How Audiovisual Collections Reveal and Enact Social and Political Agency in Dance and Song (A Case from the Kimberley)." Preservation, Digital Technology & Culture 50, no. 3-4 (December 1, 2021): 117–29. http://dx.doi.org/10.1515/pdtc-2021-0027.

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Abstract Legacy data pertaining to song and dance has complex and immeasurable value to Indigenous communities across several domains. Over the past decade, projects of repatriation and return have thus flourished both within Australia and globally, as has scholarship addressing the processes, methods and results of such initiatives (Barwick, L. J. Green, and P. Vaarzon-Morel, eds. 2020. Archival Returns. Sydney and Honolulu: Sydney University Press and University of Hawai’i Press; Gunderson, F., R. C. Lancefield, and B. Woods. 2019. The Oxford Handbook of Musical Repatriation. New York: Oxford University Press). Uses of legacy recordings by Ngarinyin, Worrorra and Wunambal practitioners of the dance-song genre known as Junba from the Kimberley region of north-west Australia for the purposes of revitalising the tradition with repertoire and increasing participation have been previously discussed (e.g., Treloyn, S., M. D. Martin, and R. G. Charles. 2019. “Moving Songs: Repatriating Audiovisual Recordings of Aboriginal Australian Dance and Song (Kimberley Region, Northwestern Australia).” In The Oxford Handbook of Musical Repatriation, edited by F. Gunderson, R. C. Lancefield, and B. Woods, 591–606. New York: Oxford University Press). This paper, co-authored by two cultural custodians of practices and repertories of the dance-song genre known as Junba and an outsider ethnomusicologist, considers social and political agency through performance in relation to legacy recordings. The paper finds that legacy recordings of song and dance practice can throw light on political and social agendas of past performances, while creative reuse of frameworks and materials derived from legacy recordings of song and dance can support contemporary practitioners to express their own social and political agency today. The paper also suggests that attention to the social and political agency of cultural custodians is an important part of the work of archives, particularly where barriers to accessing legacy recordings remain.

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Mackinlay, Elizabeth. "Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Australian Aboriginal Music." Australian Journal of Indigenous Education 29, no. 2 (2001): 1–7. http://dx.doi.org/10.1017/s1326011100001320.

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One of the biggest debates in Australian Indigenous education today revolves around the many contested and competing ways of knowing by and about Indigenous cultures and the representation of Indigenous knowledges. Using Bakhtin's theories of dialogue and voice, my concern in this paper is to explore the polyphonic nature of power relations, performance roles and pedagogical texts in the context of teaching and learning Indigenous Australian women's music and dance. In this discussion, I will focus on my experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the University of Queensland and my involvement in this educational setting with contemporary Indigenous performer Samantha Chalmers. Like a field experience, the performance classroom will be examined as a potential site for disturbing and dislocating dominant modes of representation of Indigenous women's performance through the construction, mediation and negotiation of Indigenous knowledge from and between both non-Indigenous and Indigenous voices.

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Carruthers, A. J. "Avant-Garde Austalgia." Journal of Foreign Languages and Cultures 6, no. 2 (December 28, 2022): 132–42. http://dx.doi.org/10.53397/hunnu.jflc.202202012.

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The Australian avant-garde raises all the contradictions of avant-garde studies in the present time. Antipodal vanguards in the 20th and 21st centuries would grapple with various aspects of Australian national history, being in various ways and times between East and West, the aligned and non-aligned, the political and geopolitical in poetics. The word “Australia,” from the Latin auster, contains meanings for “East.” Most importantly, the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it. In this essay, I begin with the example of a “Dada” poem that comes from an Aboriginal rain dance, as well as the emergence of Dada poetics from the 1950s to the 1970s. Throughout I keep complexities of history and time at the forefront: what is the worth of a “marginal” national literary history of the avant-garde? What does the avant-garde mean outside Europe or the Euro-US? What can Australian Dadaism tell us about the future of avant-garde studies? Does the avant-garde always lead to nostalgia, or “Austalgia,” a hearkening after the past, as much as a striving toward the future?

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Judd, Barry. "Kapi Wiya: Water insecurity and aqua-nullius in remote inland Aboriginal Australia." Thesis Eleven 150, no. 1 (January 14, 2019): 102–18. http://dx.doi.org/10.1177/0725513618821969.

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Water has been a critical resource for Anangu peoples across the remote inland for millennia, underpinning their ability to live in low rainfall environments. Anangu biocultural knowledge of kapi (water) developed in complex ways that enabled this resource to be found. Such biocultural knowledge included deep understandings of weather patterns and of species behavior. Kapi and its significance to desert-dwelling peoples can be seen in ancient mapping practices, whether embedded in stone as petroglyphs or in ceremonial song and dance practices associated with the Tjukurpa. While in the past the sustainability of kapi was facilitated by mobility that spread human dependence on this resource across multiple sites, since the 1940s Anangu have been coerced by the settler-colonial state to live a sedentary lifestyle in remote communities such as Haasts Bluff, Papunya and Yuendemu. In many of these communities the supply of kapi is becoming increasingly insecure in terms of viability of supply, cost, quality and threats from mining. This paper provides a brief insight into how kapi has become devalued in the context of contemporary remote communities with particular reference to my area of expertise – Aboriginal identity, well-being and Australian sports.

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Bradley, John, Frances Devlin-Glass, and Elizabeth Mackinlay. "Diwurruwurru: Towards a New Kind of Two-Way Classroom." Australian Journal of Indigenous Education 27, no. 2 (December 1999): 24–26. http://dx.doi.org/10.1017/s1326011100600546.

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A project is currently underway at http://arts.deakin.edu.au which is innovative on a number of fronts. It has multiple beginnings: in the proactive, as culture dissemination work of a number of Yanyuwa and Garrwa women, who proclaimed in the white man’s world that they were ‘bosses themselves’ (Gale 1983) and who in various ways have sought to bring their culture to the attention of the wider world. This has been accomplished through a prize-winning (Atom Australian Teachers of Media awards in 1991) film, Buwarrala Akarriya: Journey East (1989), of are-enacted ritual foot-walk in 1988 from Borroloola to Manankurra 90 kilometres away. They also made a another prize winning film called Ka-wayawayarna: The Aeroplane Dance (1993) which won the Royal Anthropological Society of London award for the best ethnographic film in 1995. Since 1997 senior Yanyuwa women have been involved on a regular basis in sharing their knowledge of Yanyuwa performance practice with tertiary students in a subject called Women’s Music and Dance in Indigenous Australia which is offered as a course in anthropology through the Aboriginal and Torres Strait Islander Studies Unit, they have also lectured in core anthropology subjects in the faculty of Social and Behavourial Sciences Department of Anthropology and Sociology at the University of Queensland. They have also engaged actively in work as language preservers and teachers at the Borroloola Community Education Centre (hereafter BCEC) and in the Tennant Creek Language Centre program called Papulu Apparr-Kari.

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Dissertations / Theses on the topic "Dance, Aboriginal Australian"

Sweeney, Dominique. "Masked corroborees of the northwest - "stand up in my head"." Phd thesis, Canberra, ACT : The Australian National University, 2009. http://hdl.handle.net/1885/110183.

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In northwest Australia a range of corroborees incorporate the use of masks. These and other performance objects connect bodies to country, cultural knowledge and ancestors. They also reaffirm the political status of people in their country. My thesis is in two parts: making a digital video (DV) about the way these masks come into being and how they are used; and this written thesis analysing the groundwork process involved in making the DV. The Ngarinyin, Narinyman and Worla people of northwest Australia are peoples with whom I have concentrated my research and video documentation concerning the animation of Wunggurr (Rainbow Serpent) and Ngarranggarni, the cosmological entirety, through performance. Masking in these corroborees is a process of manifestation when the boundary between the body of a performer and the landscape/cosmos/ancestor become one. Performances elicit questions about relationships to country, cultural knowledge, and with the dead. Do performances mean the same when performed away from their country of origin at national and international festivals? Are the conceptual categories 'performance' and 'mask' sufficient to describe what is happening in these circumstances? What are the implications for Performance Studies in looking more deeply into these performances? It is through my growing understanding and representation of the contemporary circumstances surrounding the people involved in the creation and preparation of corroborees, that this thesis explores.

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Burridge, Stephanie A. "The impact of Aboriginal dance on twentieth century Australian choreography with a practical and creative study." Thesis, University of Kent, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244339.

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Robinson, Raymond Stanley. "Dreaming tracks : history of the Aboriginal Islander Skills Development Scheme, 1972-1979 : its place in the continuum of Australian indigenous dance and the contribution of its African American founder, Carole Y. Johnson /." View thesis View thesis, 2000. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030604.085603/index.html.

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Thesis (M.A.) (Honours) -- University of Western Sydney, Nepean, 2000.
A thesis presented in fulfilment of the requirements for the degree of Master of Arts (Honours) - (Performance), School of Applied Social and Human Sciences, University of Western Sydney, Nepean, 2000. Bibliography : Vol. 1, leaves 202-209.

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Rimmer, Matthew. "The Pirate Bazaar: The Social Life of Copyright Law." Thesis, The Faculty of Law, The University of New South Wales, 2001. https://eprints.qut.edu.au/86581/1/fulltext.pdf.

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This thesis provides a cultural history of Australian copyright law and related artistic controversies. It examines a number of disputes over authorship, collaboration, and appropriation across a variety of cultural fields. It considers legal controversies over the plagiarism of texts, the defacing of paintings, the sampling of musical works, the ownership of plays, the co-operation between film-makers, the sharing of MP3 files on the Internet, and the appropriation of Indigenous culture. Such narratives and stories relate to a broad range of works and subject matter that are protected by copyright law. This study offers an archive of oral histories and narratives of artistic creators about copyright law. It is founded upon interviews with creative artists and activists who have been involved in copyright litigation and policy disputes. This dialogical research provides an insight into the material and social effects of copyright law. This thesis concludes that copyright law is not just a ‘creature of statute’, but it is also a social and imaginative construct. In the lived experience of the law, questions of aesthetics and ethics are extremely important. Industry agreements are quite influential. Contracts play an important part in the operation of copyright law. The media profile of personalities involved in litigation and policy debates is pertinent. This thesis claims that copyright law can be explained by a mix of social factors such as ethical standards, legal regulations, market forces, and computer code. It can also be understood in terms of the personal stories and narratives that people tell about litigation and copyright law reform. Table of Contents Prologue 1 Introduction A Creature of Statute: Copyright Law and Legal Formalism 6 Chapter One The Demidenko Affair: Copyright Law and Literary Works 33 Chapter Two Daubism: Copyright Law and Artistic Works 67 Chapter Three The ABCs of Anarchism: Copyright Law and Musical Works 105 Chapter Four Heretic: Copyright Law and Dramatic Works 146 Chapter Five Shine: Copyright Law and Film 186 Chapter Six Napster: Infinite Digital Jukebox or Pirate Bazaar? Copyright Law and Digital Works 232 Chapter Seven Bangarra Dance Theatre: Copyright Law and Indigenous Culture 275 Chapter Eight The Cathedral and the Bazaar: The Future of Copyright Law 319

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McPaul, Christine. "Corroboree, performativity and the constructions of identity in Australia c1788-2008." Phd thesis, 2009. http://hdl.handle.net/1885/150584.

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Sharma, Beena, University of Western Sydney, College of Social and Health Sciences, and School of Applied Social and Human Sciences. "Awakening of the serpent energy : an Indian-Aboriginal performance exchange." 2001. http://handle.uws.edu.au:8081/1959.7/12477.

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This is a story of a cross-cultural dance exchange conceptualising myth as a living art through traditional Kathak dance form in collaboration with contemporary Aboriginal dance form, weaving and celebrating the reconciliation and independence of all people through male and female energy to evoke an ancient universal serpent energy. It continues the poetic traditions of interpretation which accompany the arts in both Indian and Aboriginal cultures.
Master of Arts (Hons)

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Books on the topic "Dance, Aboriginal Australian"

International Council for Traditional Music. Colloquium. Music and dance of aboriginal Australia and the South Pacific: The effects of documentation on the living tradition : papers and discussions of the Colloquium of the International Council for Traditional Music, held in Townsville, Queensland, Australia, 1988. Edited by Moyle Alice M. Sydney: University of Sydney, 1992.

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International Council for Traditional Music. Colloquium. Music and dance of aboriginal Australia and the South Pacific: The effects of documentation on the living tradition :papers and discussions of the Colloquium of the International Council for Traditional Music, held in Townsville, Queensland, Australia, 1988. Edited by Moyle Alice M. Sydney: University of Sydney, 1992.

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That deadman dance: A novel. New York: Bloomsbury, 2011.

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Mackinlay, Elizabeth. Disturbances and dislocations: Understanding teaching and learning experiences in indigenous Australian woman's music and dance. New York: Lang, 2006.

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Lester, Alison. Ernie dances to the didgeridoo: For the children of Gunbalanya. Boston: Houghton Mifflin Co., 2000.

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Erbacher, John. Aborigines of the rainforest. Cambridge: Cambridge University Press, 1991.

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Toohey, Edwina. Before the aeroplane dance: The Torres Strait and Cape York : islanders, aborigines and adventurers from the 1860s to 1914. Rockhampton, Qld: Central Queensland University Press, 2001.

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Our world: Bardi Jaawi : life at Ardiyooloon. Broome, W.A: Magabala Books, 2010.

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Harris, Amanda. Representing Australian Aboriginal Music and Dance 1930-1970. Bloomsbury Publishing Plc, 2022.

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Harris, Amanda. Representing Australian Aboriginal Music and Dance 1930–1970. Bloomsbury Publishing Inc, 2020. http://dx.doi.org/10.5040/9781501362965.

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Book chapters on the topic "Dance, Aboriginal Australian"

Klein, Dorothee. "Place-Based Storytelling in Kim Scott's Benang and That Deadman Dance." In Poetics and Politics of Relationality in Contemporary Australian Aboriginal Fiction, 50–82. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003129882-3.

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Haskins, Victoria. "Beth Dean and the Transnational Circulation of Aboriginal Dance Culture: Gender, Authority and C. P. Mountford." In Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and Media. ANU Press, 2014. http://dx.doi.org/10.22459/cc.12.2014.02.

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Harris, Amanda. "Hearing Aboriginal Music Making in Non-Indigenous Accounts of the Bush from the Mid-Twentieth Century." In Circulating Cultures: Exchanges of Australian Indigenous Music, Dance and Media. ANU Press, 2014. http://dx.doi.org/10.22459/cc.12.2014.04.

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Senior, Kate, Richard Chenhall, and Daphne Daniels. "‘They Don’t Dance Corroboree Any More’: Youth Relations to Authority, Leadership and Civic Responsibility in a Remote Aboriginal Community." In Indigenous Australian Youth Futures: Living the Social Determinants of Health, 53–80. ANU Press, 2021. http://dx.doi.org/10.22459/iayf.2021.03.

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Treloyn, Sally, and Rona Goonginda Charles. "Music Endangerment, Repatriation, and Intercultural Collaboration in an Australian Discomfort Zone." In Transforming Ethnomusicology Volume II, 133–47. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197517550.003.0009.

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To the extent that intercultural ethnomusicology in the Australian settler state operates on a colonialist stage, research that perpetuates a procedure of discovery, recording, and offsite archiving, analysis, and interpretation risks repeating a form of musical colonialism with which ethnomusicology worldwide is inextricably tied. While these research methods continue to play an important role in contemporary intercultural ethnomusicological research, ethnomusicologists in Australia in recent years have become increasingly concerned to make their research available to cultural heritage communities. Cultural heritage communities are also leading discovery, identification, recording, and dissemination to support, revive, reinvent, and sustain their practices and knowledges. Repatriation is now almost ubiquitous in ethnomusicological approaches to Aboriginal music in Australia as researchers and collaborating communities seek to harness research to respond to the impact that colonialism has had on social and emotional well-being, education, the environment, and the health of performance traditions. However, the hand-to-hand transaction of research products and represented knowledge from performers to researcher and archive back to performers opens a new field of complexities and ambiguities for both Indigenous and non-Indigenous participants: just like earlier forms of ethnomusicology, the introduction, return, and repatriation of research materials operate in “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (Pratt 2007 [1992]). In this chapter, we recount the processes and outcomes of “The Junba Project” located in the Kimberley region of northwest Australia. Framed by a participatory action research model, the project has emphasized responsiveness, iteration, and collaborative reflection, with an aim to identify strategies to sustain endangered Junba dance-song practices through recording, repatriation, and dissemination. We draw on Pratt’s notion of the “contact zone” as a “discomfort zone” (Somerville & Perkins 2003) and look upon an applied/advocacy ethnomusicological project as an opportunity for difference and dialogue in the repatriation process to support heterogeneous research agendas.

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