Performing arts
Dance principles and protocols
We had developed a long relationship with
the dancers, so they were able to trust us
with their music. We took the music and
mixed some ‘doof doof’ into the recording.
We took it back. The older men said that the
young ones didn’t want to learn the steps
for the songs, but when we put on the tape
with the ‘doof doof’ the kids came out –
they knew the dance steps and the language
and were creating a new piece.
They have since travelled to Sydney and
worked with other dancers, including
women from central Australia. We worked
with the dancers from Sydney, the centre
and the north according to protocols
to develop a piece that included them
all as the final work of the performance.
Two of the young men, one from Sydney
and one from Mornington, are still
working together.89
Contemporary Indigenous dancers are learning
a number of techniques and developing new
and emerging Indigenous styles.
Contemporary Indigenous dance is emerging
as a strong dance technique at the moment.
It is being taught at NAISDA along with ballet
and contemporary dance techniques. I would
love to see Indigenous contemporary dance
get the same respect as other techniques. I
would also love to see the individual dancers
who are developing that style get the respect
and recognition they deserve. The Indigenous
students get exposure to cultural dance and
contemporary dance techniques. They
graduate with a very different and distinctive
style from other contemporary dancers.90
Finally, it is important to remember that cultures
are dynamic and evolving. Also, technologies
change and works develop over time. Consultation
with Indigenous custodians may often be
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required when responding to new conditions
or opportunities. For instance, consultation will
be needed if a production is to tour overseas,
or to be filmed. It is important to consider how
relationships with a community or individual can
be maintained for future consultation.
9. Recognition and protection
Australian law and policies should be developed
and implemented to respect and protect
Indigenous heritage rights. There are currently
no special laws dealing with Indigenous heritage
cultural material. The Copyright Act has been
criticised for not recognising the communal
ownership of heritage material and the continuing
right of traditional custodians to control the use
of this material.
The increasing level of non-Indigenous
appropriation of Indigenous cultural material has
compelled Indigenous people to seek greater
protection for Indigenous culture, including the
call for new legislation recognising communal
rights to culture.
Case study: Woomera
Aboriginal Corporation
Woomera realises copyright legislation is
entrenched in the material form – songs and
dances need to be recorded and notations
made if these items are to be protected in law.
Woomera produced the Lardil Songs
Register in 1998. This document contains
information including the words (lyrics) of all
known Lardil songs (ceremony is not
included). Mornington people recorded the
songs in writing (and on tape), and included
the names of those who dreamt the song,
the country they’re from and who’s
connected with it – thereby creating a
structure of where the song belongs in
the community.91
Performing arts
Dance principles and protocols
Bangarra Dance Theatre has developed
contractual arrangements recognising cultural
contributions to their work. Bangarra contracted
Munyarryun community member Djakapurra
for the role of cultural advisor and teacher.
The following outlines the structures developed
by Bangarra.
Case study: Bangarra Dance Theatre
The intellectual property for the cultural
knowledge and material which is being used
obviously still resides with the Munyarryun
community and the clan. The contract we
have with them is almost like a licence
whereby we agree to use that material in
certain ways in certain performances.
Because most of the time the traditional
material is being integrated into contemporary
performance, or is being adapted in a
contemporary way, the fee we pay to
Djakapurra in his role as cultural consultant
is almost like a ‘cultural design’ fee.
Apart from the specific dances and songs
which are being used, there’s an overall
infusion of the Munyarryun clan’s culture in
the work. In terms of actual copyright, when
we commission the broader choreographer
and composer, we enter into a relationship
with them as a sub-commission. The amount
of contemporary choreography versus
traditional movement, and the amount of
synthesised contemporary music versus
traditional song, is something worked out
during the creative processes between the
choreographer and Djakapurra, and the
composer and Djakapurra. So we have
contractual relationships with the clan for
the overall work and then with the artists
that we commission. They in turn have a
relationship with any other collaborators,
who, in this case, is Djakapurra.92
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Cultural protocols on Aboriginal dance
The National Aboriginal Dance Council Australia
(NADCA) is a collective voice for Indigenous
dance in Australia. NADCA aims to provide
and maintain a national network to support
Indigenous dance in its many forms and to
advocate and lobby on behalf of dancers
nationwide. NADCA is committed to preserving
and promoting awareness for Aboriginal dance
both nationally and internationally. At the 2nd
National Aboriginal Dance Conference in
Adelaide in 1997, the NADCA steering
committee considered the following statement:
The Law/The Dreaming Kuarna word is
‘Munaintya’
‘Munaintya’ (The Law/The Dreaming) is the
base of our core, of our being – spirit – life
Aboriginal Dance must come from the
‘Munaintya’ and draw its reasons – rationale
– history – roots – base for being from the
‘Munaintya’
After much discussion, NADCA then adopted
the following vision statement:
‘Aboriginal dance comes from the wellspring
of law and the Dreaming and is essentially
connected to the core of our spiritual life and
the renewal of our Mother Earth’
Priority 2 from NADCA’s Strategic Plan
1998-2002 highlights the critical importance
of accuracy in developing documents
regarding cultural protocols and, in NADCA’s
case, specifically cultural protocols on
Aboriginal dance.
Priority 2. Cultural Maintenance and Protection
NADCA recommends that all government
and non-government organisations promote
and support the ideology of cultural
maintenance, cultural protection and cultural
development within all Aboriginal and Torres
Strait Islander dance policies and activities.