Performing arts
Dance principles and protocols
their First Nations Status. We have adopted
the title because it reflects the fact that we
are a national and international festival. The
form provides us with information on the
artist’s background, clan group and cultural
background, asks for a brief description of
the project, asks the applicant to describe
the process of cultural communication they
have undertaken, provide letters or support
materials from cultural custodians, elders,
the group or a person from the community
that supports the project, and indicate what
the projected outcomes are. It is important
that the outcomes contribute to Indigenous
cultures, revitalisation and maintenance of
an elder’s language of a story or dance. The
form also requires a description of the team.
These procedures and processes are really
important for The Dreaming Festival, not
just for administrative purposes (although
they really help there) but also for getting
the content right.
They also help artists to develop the skill
and materials they will need in the future. By
answering the questions in the First Nations
Status form, artists articulate their identity,
their respect for Indigenous cultural protocols,
and their connections to community, their
art, their skills, their project and their
outcomes. Articulating all those aspects is
really useful for developing a package or kit
for the next festival, funding application or
corporate partnership. The festival assists
performers by creating that promotional
material. The high-resolution photographic
images taken during the festival and the short
text describing them can be put together as
a great press or promotional package. We
need to develop our policies and procedures.
We need to challenge ourselves to do that.
This process is empowering Indigenous
musicians and performers to learn and take
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on the role of manager. So, in future,
Indigenous managers can manage
Indigenous performers.64
Performing arts
Dance principles and protocols
There are many examples of failure to consult
and seek consent prior to use. The result is
misappropriation of dramatic works, including
stories and dance steps.
Speaking to the right people and organisations
about the use of Indigenous cultural material is
very important. Indigenous communities,
whether regional, urban or remote, have an
infrastructure of organisations and individuals
who can advise on a range of issues, including
guidance about locating Indigenous people with
authority to speak for specific Indigenous cultural
material. See pages 12 and 13 of this guide.
Case study: Woomera Aboriginal
Corporation
Mornington Island people have experienced
appropriation of their work through
unauthorised recording and distribution of
their cultural property. They are wary of
requests to film, photograph and record
performances. Recent betrayals of trust and
privilege inhibit a former willingness to
perform publicly outside the community.
3. Communication, consultation
and consent
Woomera successfully sued a recording
company which illicitly copied and distributed
Mornington Island songs recorded by the
corporation. Many years were spent in
reaching a settlement. Woomera’s intellectual
property policy will include procedures that
enforce the strict limitation of recording
(and photographing) dance performances.66
In the use of traditional dance, it is essential
to obtain the informed consent of Indigenous
owners of the traditional work prior to any
performance or recording of a dance piece.
Comment: National Aboriginal Islander
Skills Development Association
(NAISDA)
The most important thing is that when
students dance a cultural dance, they have
to have the permission and the blessing of
the Indigenous tutors who taught them the
dance. The tutors give their cultural
knowledge and skill so freely – and we can’t
just run off with it. We must always ask
permission.
Indigenous dancers don’t have the right to
do cultural performances without the
consent of the community where the
dances come from.
It is very important to pay proper respect to
the people where the dance has come from
and make sure that you have permission to
do the dances.65
Duration of consultation on performances
Consultation is not a guarantee of consent but
it is an essential first step.
As with drama, consultation for use of Indigenous
dance is a complex process and may take some
time. It may be necessary to talk to many family
or language group members rather than one
individual in order to achieve proper informed
consent from the custodian of the material.
Case study: Wik-Mungkan Dance
NAISDA’s Ronne Arnold travelled to
Aurukun to learn and study the dances of
the Wik-Mungkan people. He was a guest
in their country for three weeks before they
began to teach or show him their dances.
He says, ‘You must wait – you must not get
impatient and you must wait’.67
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Comment: Rhoda Roberts,
The Dreaming Festival
There must be three months set aside for
protocols and discussions with community.
No collaborative productions should occur
without the knowledge and permission of
the cultural custodians.68
Case study: Woomera
Aboriginal Corporation
Woomera Aboriginal Corporation has
strong community consultation methods,
though no system is foolproof. Woomera
holds regular committee meetings that are
often attended by other members of the
organisation. Woomera’s staff consult
widely in the community before certain
decisions or recommendations are made.
Difficulties can arise when key individuals
are away or when consent is obtained from
an individual who, themselves, may not
have consulted widely enough.69
4. Interpretation, integrity
and authenticity
Indigenous performers and their communities
should have control over how their cultural
heritage is presented. The presentation of a
performance work includes its interpretation,
integrity and authenticity.
Interpretation
Interpretation refers to how cultural material
is interpreted and presented. This includes
the perspective given to the cultural heritage
material and the language used. It is important
for performers and choreographers to respect
the cultural protocols of the owners and the
custodians of country in the development and
performance of dance.
In the past, Indigenous cultural material has
been subjected to interpretation by nonIndigenous people. Today, as Indigenous