‘Dreamtime’ to Aboriginal Theatre: Representations of Aboriginal Music and Dance after WWII

1. ‘Dreamtime’ to Aboriginal Theatre: Representations of Aboriginal Music and Dance after WWII Amanda Harris University of Sydney amanda.harris@sydney.edu.au

3. Aboriginal Theatre, Australian Elizabethan Theatre Trust, 1963. Images from the National Archives of Australia

6. Women’s Day and Woman 11 February 1963

7. Pageant of Nationhood narration The Dreamtime of the aborigines is about to come to an end. The great Spirit heroes fade into the dim past. The everyday poetry of the aborigine is soon to become in fact – only a Dreamtime. Out from the endless sea – out from the mists of the world appeared a new Spirit image – the white man….

8. “unique entertainment that brought authentic music, dancing and mime from the great artistic traditions of the Australian aborigines to the stage of the Elizabethan Theatre, Newtown… and brought them in the person of the inheritors of these traditions: the aborigines themselves… There is no need to pretend that this is an equivalent of any other kind of theatre. This is an experience to tell your grandchildren about.” Roger Covell “Aboriginal Theatre” Sydney Morning Herald, 6 December 1963.

9. 1948 The Arts Council of Australia 1954 Australian Elizabethan Theatre Trust

11. Pix, 14 October 1950

12. “The Chairman suggested that we should seek carefully the reaction of the welfare people as to what effects this tour had on the aborigines, and that we should not rush into another presentation for a couple of years.” Minutes of the meeting of the board of directors of the Australian Elizabethan Theatre Trust on 20 January 1964

14. “government circles have also expressed the doubtful wisdom of the aborigines being the major contribution to the Commonwealth Festival in that it would tend to suggest that there is no cultural achievement in Australia other than the indigenous one of the aborigines. Hence it was felt that initially at least preference should be given to orchestras and theatrical companies. A defensible point of view I think even though you and I and many others will be disappointed” Stefan Haag to Ted Evans 22 September 1964, Records of Australian Elizabethan Theatre Trust MS 5908, National Library of Australia

15. Ross Edwards (b. 1943) Missa Alchera: “I'd long been infusing Latin and other texts I set to music with rhythms and drones of Australia” http://www.australianmusiccentre.com.au/workversion/edwards-ross-mass-of-the-dreaming-1/24674 Colin Bright (b. 1949) : “But for sounds that express some spirit of the land, how is it possible to ignore Australian aboriginal music, which encapsulates the quality of stasis in a seemingly subliminal way” Katia Beaugeais (b. 1976) First Light at Uluru: “‘Didgeridoo-like’ vibrato sounds and unique atmospheric sound effects symbolise the cultural significance and spiritual atmosphere of this powerful landmark.” http://www.newmusicblock.com/event/first-light-at-uluru-wind-symphony/

16. Frank Artu Dumoo dancing (L) and playing didjeridoo (R). Photos by Mark Crocombe, Kanamkek Yile Ngala Museum, Wadeye, circa 1990.