Performing arts
Drama principles and protocols
Drama principles
and protocols
Indigenous drama takes many forms, including
plays, storytelling and musicals. It can be
performed in all sorts of venues from theatres
to the street. Indigenous drama might include
cultural heritage such as traditional songs or
dances, tell a traditional story belonging to
a particular language group, or tell the story
of a person or community.
The production of a dramatic work requires
the collaboration of many people including the
writer, director, actors, dramaturge, technical
crew and people who provide promotion and
distribution services.
The principles outlined below are a framework
for respecting Indigenous heritage.
1. Respect
2. Indigenous control
3. Communication, consultation and consent
4. Interpretation, integrity and authenticity
5. Secrecy and confidentiality
6. Attribution
7. Proper returns
8. Continuing cultures
9. Recognition and protection.
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and their ancestors inhabited. In Nourishing
Terrains, Deborah Bird Rose says:
Country in Aboriginal English is not only a
common noun but also a proper noun. People
talk about country in the same way that they
would talk about a person: they speak to
country, sing to country, visit country, worry
about country, feel sorry for country, and long
for country. People say that country knows,
hears, smells, takes notice, takes care, is sorry
or happy. Country is not a generalised or
undifferentiated type of place, such as one
might indicate with terms like ‘spending a day in
the country’ or ‘going up the country’. Rather,
country is a living entity with a yesterday, today
and tomorrow, with a consciousness, and a will
toward life. Because of this richness, country is
home, and peace; nourishment for body, mind,
and spirit; heart’s ease.17
When organising a performance or event of
local, state or national significance, it is respectful
to invite a representative of the traditional
owners to attend and present a ‘welcome to
country’ address.
Respectful use of Indigenous cultural material
and information about life experience is
a basic principle.
A ‘welcome to country’ is an address given by
an Indigenous custodian of the land, included
in the official openings of events. As a matter of
cultural protocol, large cultural events should
invite an Indigenous custodian or representative
of the traditional landowner group to provide
a ‘welcome to country’. Alternatively, an
Indigenous person of prominence or an elder
who has lived in the area and contributed to
the Indigenous community may also be asked
to acknowledge country if they are not in
a position to welcome.
Acknowledgment of country
Indigenous Australians, the Aboriginal and
Torres Strait Islander people, are the original
inhabitants of Australia. As such they have a
strong link to country, meaning the totality of life
and the spirit of the particular area of land they
It is respectful for others speaking officially to
also acknowledge country and custodians at
the site of the event. For example, the master
of ceremonies (MC) at an event could make
an introductory acknowledgement to the
traditional owners of the land.18
In the following pages, we have suggested
protocols for using Indigenous cultural material
and interacting with Indigenous performers and
Indigenous communities.
1. Respect
Performing arts
Drama principles and protocols
Seek advice from the Indigenous community
on the preferred manner of acknowledgement,
and the relevant groups to be acknowledged.
It is important to acknowledge country and
custodians at the site of each performance
or event. In many instances it may not be
appropriate for every performer to acknowledge
country and the custodians. It will often be more
appropriate for the MC or other spokesperson
to acknowledge on behalf of performers and
audience.19 Seek advice from the Indigenous
community on the preferred manner of
acknowledgement.
Museums and Galleries of NSW has published
a written ‘welcome to country’ protocol, which
is available from its website at <www.mgnsw.
org.au>. This is a useful guide to assist with
preparation for launches and events, but is
also useful for those organising dances
and performances.
Case study: Welcome to country
Sam Cook is the executive director of the
Perth-based Indigenous theatre company,
Yirra Yaakin Theatre. She is from Nyikina
country in the Kimberley area. She talks
about the protocol for her and Yirra Yaakin
in Noongar country.
We are a very pluralist society and culture.
As a Nyikina woman living in Noongar
country I understand the boundaries of my
own cultural authority. I never assume to
have the authority to speak for other
Indigenous nations and ensure that I too
engage with a clear sense of protocol and
respect, be it locally, nationally or within the
international Indigenous community. As a
practical example of this, at the recent
historical ‘welcome to country’ held here in
Perth, which celebrated the 14 different
groups that make up the Noongar nation,
my role as a Nyikina person who is also
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executive director of Perth-based Yirra
Yaakin, was to ‘lead from behind’. The elders
were the bosses as was the Noongar
community. Therefore it was my job to make
sure the elders had the information they
needed, that the production values were all
in place, and that we realised this outstanding
event. So if the elders asked for Yonga
Bookas (kangaroo skin cloaks), I make sure
they had them without question.20
Accepting diversity
The Indigenous dramatic arts reflect the diversity
of experience and cultural context within
Indigenous communities. It is important for those
working in the dramatic arts and their audiences
to respect the diversity of contributions of
Indigenous performers, writers, directors,
dramaturges and other Indigenous contributors.
Representation
Indigenous cultures should be represented
using Indigenous cultural values. It is important
to avoid outdated or inappropriate perspectives
and terminology. When a non-Indigenous group
collaborates with Indigenous performers and
the community, it is best to invite an Indigenous
person to work as a cultural consultant or have
in place a clear process to enable a two-way
exchange and meaningful partnership. The tasks
may include liaising between the groups, and
advising on cultural protocols and the use of
Indigenous cultural material so that its integrity
is valued, protected and respected.21
Living cultures
Indigenous cultures are living and evolving entities,
not simply historical phenomena. Developing
a dramatic work often involves adapting or
reinterpreting traditional or contemporary
works. Extensive consultation is important to
identify who has authority to speak for a work22
and who can authorise any adaptation.