Performing arts
Dance principles and protocols
Aboriginal and Torres Strait Islander people
have practiced and observed customs that
have reflected their ecosystem. Dance has
played a significant role in the development
of community cultural life and education.
It is the maintenance and protection of dance
that will allow us to continue the sacred and
spiritual binding link with our ancestors with
future generations.
The teaching of dance to children and youth
has been a key element in the maintenance
and protection of a culture, which ensures
the survival, retention and development of
dance within our communities.
During NADCA’s presentation of a number of
conferences and forums, in particular the biannual National Aboriginal Dance Conference,
cultural protocols on dance have been a major
topic for discussion. From these discussions,
NADCA has noted a number of specific cultural
protocols relating to dance in reports from past
National Aboriginal Dance Conferences.
NADCA is currently in the process of
developing a pilot program to formulate a
document on ‘Cultural Protocols on Aboriginal
Dance’. NADCA is in the process of acquiring
funds for the project, and continues to discuss
and document protocols at its conferences
and gatherings.93
Initially, the document will be used within the
school system, and NADCA will continue to
consult various elders, cultural dance teachers
and community members in each state, and
add to and amend the working document until
it can be recognised by NADCA as being
accurate and relevant to Aboriginal dance
on a national level.
NADCA is committed to the development
of a ‘Cultural Protocols on Aboriginal Dance’
document as it will ultimately contribute to the
organisation fulfilling its primary objective,
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which is the maintenance, preservation and
promotion of Aboriginal dance, as stated in its
mission statement below:
In Australia, dance and music play a
significant role in Aboriginal community
cultural life and education. The National
Aboriginal Dance Council Australia (NADCA)
is committed to promoting awareness and
respect for Aboriginal dance both nationally
and internationally. NADCA aims to assist
and support Aboriginal individuals,
communities, professional and nonprofessional groups and organisations,
government and non-government
institutions and organisations in the
maintenance preservation and promotion
of Aboriginal dance.
Performing arts
Common issues
Common issues
Welcome to country
Recognition of Indigenous protocols,
acknowledging another language group’s
ownership and seeking permission to be in
another’s country have become recognised
widely in recent years. This recognition includes
acknowledgement and adherence to the
cultural protocols of the traditional owners.
It may be expressed in a ‘welcome to country’
address given by a respected community
member or elder, or other ceremony preceding
an event or function.
It is important to correctly identify the recognised
community representative for the occasion.
In some areas, dislocation of Indigenous
communities has led to discussions over
traditional boundaries and ownership. In such
cases a cultural advisor or cultural liaison project
officer can advise on the community, community
representative and protocols to be followed.
In some instances, Indigenous organisations
offer contemporary alternatives to the welcome
to country address. In the urban area of Brisbane,
Indigenous performers provide a Contemporary
Celebration94 which includes performers such
as the Indigenous Women’s Choir, Indigenous
rap performers, an opera singer and dancers.
The celebration includes acknowledgement of
traditional owners and Indigenous ancestors.
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Consultation establishes the internal, cultural
perspective and it is important to accept that
it is this perspective that should determine
the appropriate course of action.
With regard to the process of obtaining consent:
• Allow time (perhaps more than one meeting)
for communication of a proposal.
• Allow time for a decision to be made.
• Remember that the decision will be made
on other bases than the ones brought from
outside the community – different types
of knowledge operating in Indigenous
communities may conflict with the
requirements of a project.
• Be prepared to take ‘no’ for an answer
(but don’t take it personally).
• Respect the views of all factions within a
community, and ensure that consent comes
from the appropriate groups for a particular
activity or project.95
Fees and employment conditions
An ongoing issue for Indigenous and nonIndigenous performers is that of fair rates of
pay and conditions. The Media, Entertainment
and Arts Alliance (MEAA), the union representing
performers working in Australia, provides
advice and support for its members on many
different issues including employment and fair
rates of pay.96
Consultation with a community or group
of people is not simply a formality...
If you are working for or engaged by a large,
reputable company, your working conditions
will be set by an award or an enterprise
agreement. It is important to read the award
or agreement so you understand the rights and
responsibilities of you and your employer.
Consultation is required as a precursor to
consent for it to proceed. It is not appropriate
to have decided that the activity is to proceed,
or that its structure or format is established
before consulting the Indigenous group or
person involved. The idea may be a good
one from an external point of view.
The Australian Government introduced
significant changes to industrial relations laws
in 2006. However, the industry enterprise
agreements and awards that set out minimum
employment terms and conditions of performers
and standard contracts contained within them
still apply to performers.
Communication, consultation and consent
Doreen Mellor outlines the importance of
early consultation: