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Artículos de revistas sobre el tema "Aboriginal performers"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Broome, Richard. "Enduring Moments of Aboriginal Dominance: Aboriginal Performers, Boxers and Runners." Labour History, no. 69 (1995): 171. http://dx.doi.org/10.2307/27516397.

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2

Lavers, Katie, and Jon Burtt. "BLAKflip and Beyond: Aboriginal Performers and Contemporary Circus in Australia." New Theatre Quarterly 33, no. 4 (October 11, 2017): 307–19. http://dx.doi.org/10.1017/s0266464x17000458.

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In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given th

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3

HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between th

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4

Casey, Maryrose. "Aboriginal performance as war by other means in the nineteenth century." International Journal of Critical Indigenous Studies 8, no. 2 (June 1, 2015): 2–15. http://dx.doi.org/10.5204/ijcis.v8i2.123.

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Commercial performances for entertainment are usually assumed to be lightweight, cultural activities that serve little or no serious purpose. Perhaps because of this typical perspective, prior to the mid-twentieth century, Indigenous Australian performances drawing on their cultural practices for entertainment are often styled as either the result of oppressive exploitation by colonisers or cultural tourism. However, an examination of Indigenous Australian initiated and controlled performances, for entertainment in the nineteenth century, reveals a more complicated picture. In Australia, acros

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5

Ahmad, Sulthan. "Totem, Ritual dan Kesadaran Kolektif: Kajian Teoritik Terhadap Pemikiran Keagamaan Emile Durkheim." Al-Adyan: Journal of Religious Studies 2, no. 2 (December 31, 2021): 153–61. http://dx.doi.org/10.15548/al-adyan.v2i2.3384.

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As a sociologist, Emile Durkheim has a different perspective in understanding religious behavior, including in interpreting totem rituals for Aboriginal tribes in Australia. According to Durkheim, the ritual does not only have a religious meaning, but also a social meaning—having certain social functions for the performers. Through a collective consciousness framed by a belief system and the same normative patterns, individual and social differences possessed by clan members can be relativized so as to create social unity. In Aboriginal people, the totem is a symbol of the unification of clan

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6

RYAN, ROBIN. "UKULELES, GUITARS OR GUMLEAVES? Hula Dancing and Southeastern Australian Aboriginal Performers in the 1920s and 1930s." Perfect Beat 3, no. 2 (October 6, 2015): 106–9. http://dx.doi.org/10.1558/prbt.v3i2.28763.

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7

Hunter, William Cannon. "Performing Culture at the Formosan Aboriginal Culture Village in Taiwan: Exploring Performers' Subjectivities Using Q Method." International Journal of Tourism Research 15, no. 4 (May 21, 2012): 403–16. http://dx.doi.org/10.1002/jtr.1887.

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8

Tait, Peta. "Danger Delights: Texts of Gender and Race in Aerial Performance." New Theatre Quarterly 12, no. 45 (February 1996): 43–49. http://dx.doi.org/10.1017/s0266464x00009611.

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Circus artists, especially aerial performers and wire-walkers, transgress and reconstruct the boundaries of racial and gender identity as part of their routine. In the following article, Peta Tait analyzes the careers of two twentieth-century Australian aerialists of Aboriginal descent who had to assume alternative racial identities to facilitate and enhance their careers. Both Con Colleano, who became a world-famous wire-walker in the 1920s, and Dawn de Ramirez, a side-show and circus aerialist who worked in Europe in the 1960s, undermined the social separation of masculine and feminine behav

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9

Vanni, Ilaria. "The archive and the contact zones: The story of Stan Loycurrie and Jack Noorywauka, performers at the 1929Australian Aboriginal Artexhibition, Melbourne." Journal of Australian Studies 38, no. 3 (July 3, 2014): 314–30. http://dx.doi.org/10.1080/14443058.2014.921231.

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10

Lin, Wei-Ya. ""Raus aus dem Elfenbeinturm!"." Die Musikforschung 72, no. 4 (September 22, 2021): 333–45. http://dx.doi.org/10.52412/mf.2019.h4.39.

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The Tao are one of sixteen recognized indigenous groups in Taiwan who live on Ponso no Tao, which literally means "the island of human-beings". Since the 1950s, many policies by the Taiwanese government have aimed to support "development" and "modernization" of ethnic minorities. As a consequence the Tao veered away from their traditional religion and cultural practices, for example by using the economic and monetary system imposed by Taiwan since 1967, and in 1971 the island was opened for tourism. These lifestyle changes resulted in a loss of traditional vocal music as well as the knowledge

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11

Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.

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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the

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12

Grehan, Helena. "Faction and Fusion in The 7 Stages of Grieving." Theatre Research International 26, no. 1 (March 2001): 106–16. http://dx.doi.org/10.1017/s0307883301000104.

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Indigenous Australian theatre company Kooemba Jdarra's production of Wesley Enoch and Deborah Mailman's The 7 Stages of Grieving (performed by Mailman) presents us with a series of stories about grief, grieving and loss. Mailman adopts the position of a ‘nomadic performer’ moving between stories and personae, refusing to embrace a singular character position, instead weaving the performance together through her use of slides, photographs, story and song. The performer claims and marks the space and empowers herself through her control over representation. The stories told often use autobiograp

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13

Mackinlay, Elizabeth. "Disturbances and Dislocations: Understanding Teaching and Learning Experiences in Australian Aboriginal Music." Australian Journal of Indigenous Education 29, no. 2 (2001): 1–7. http://dx.doi.org/10.1017/s1326011100001320.

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One of the biggest debates in Australian Indigenous education today revolves around the many contested and competing ways of knowing by and about Indigenous cultures and the representation of Indigenous knowledges. Using Bakhtin's theories of dialogue and voice, my concern in this paper is to explore the polyphonic nature of power relations, performance roles and pedagogical texts in the context of teaching and learning Indigenous Australian women's music and dance. In this discussion, I will focus on my experiences as a lecturer in the Aboriginal and Torres Strait Islander Studies Unit at the

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14

Feinberg, Pohanna Pyne. "Re-storying place: The pedagogical force of walking in the work of Indigenous artist-activists Émilie Monnet and Cam." International Journal of Education Through Art 17, no. 1 (March 1, 2021): 163–85. http://dx.doi.org/10.1386/eta_00056_1.

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Walking plays a generative and pedagogical role in the work of contemporary artists Émilie Monnet (Anishnaabe/French) and Cam (Innu/Québecois), both of whom work and live in the region known as a Tiohtià:ke to the Haudenosaunee, as Mooniyang to the Anishinaabeg, and as Montréal to many others. This article proposes that recent artistic interventions and participatory projects offered by Monnet and Cam infuse the international discourse about walking as a pedagogical force with their distinct perspectives as Indigenous women. They employ walking to reinforce their presence, to learn from place,

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15

Jun Wu, James. "Sounds of Australia: Aboriginal Popular Music, Identity, and Place." Nota Bene: Canadian Undergraduate Journal of Musicology 7, no. 1 (August 20, 2014). http://dx.doi.org/10.5206/notabene.v7i1.6595.

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During the late twentieth century, Australia started to recognize the rights of the Aboriginal people. Indigenous claims for self-determination revolved around struggles to maintain a distinct cultural identity in strategies to own and govern traditional lands within the wider political system. While these fundamental challenges pervaded indigenous affairs, contemporary popular music by Aboriginal artists became increasingly important as a means of mediating viewpoints and agendas of the Australian national consciousness. It provided an artistic platform for indigenous performers to express a

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16

Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv

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17

Curran, Georgia, and Françoise Dussart. "‘We don’t show our women’s breasts for nothing’: Shifting purposes for Warlpiri women’s public rituals – yawulyu – Central Australia, 1980s–2020s." Studies in Religion/Sciences Religieuses, February 11, 2023, 000842982311544. http://dx.doi.org/10.1177/00084298231154430.

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Warlpiri women from the Tanami Desert of Central Australia have across generations passed on their yawulyu ceremonies, which nurture kin, country and cosmological connections. Dussart has previously shown distinct shifts in purpose in the 1990s, as Warlpiri women first began to perform yawulyu for non-Indigenous audiences. In the past decade, a further shift has occurred, with yawulyu being held predominantly as part of community-development arts initiatives. These opportunities are now the primary contexts in which yawulyu are held, while redefining the values, power relations and types of ca

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18

Lavers, Katie, and Jon Burtt. "Briefs and Hot Brown Honey: Alternative Bodies in Contemporary Circus." M/C Journal 20, no. 1 (March 15, 2017). http://dx.doi.org/10.5204/mcj.1206.

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Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim. However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This

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19

Hyndman, David. "Postcolonial Representation of Aboriginal Australian Culture." M/C Journal 3, no. 2 (May 1, 2000). http://dx.doi.org/10.5204/mcj.1836.

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Representation of Aboriginality in National Geographic In trafficking images of cultural difference, National Geographic has an unrivalled worldwide reach to over 37 million people per issue. Over the past 25 years, 48 photographs of Aboriginal Australians have appeared in 11 articles in the magazine. This article first examines how the magazine has exoticised, naturalised and sexualised Aboriginal Australians. By deploying the standard evolutionary model, National Geographic typically represents Aboriginal Australians as Black savages relegated to the Stone Age. In the remote outback "Arnhem

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20

Scantlebury, Alethea. "Black Fellas and Rainbow Fellas: Convergence of Cultures at the Aquarius Arts and Lifestyle Festival, Nimbin, 1973." M/C Journal 17, no. 6 (October 13, 2014). http://dx.doi.org/10.5204/mcj.923.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian countercu

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21

Yasiungu, Pasuya. "Development and contemporary concepts of Taiwanese Indigenous music and dance." Te Kaharoa 13, no. 3 (January 29, 2019). http://dx.doi.org/10.24135/tekaharoa.v13i3.253.

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In ancient times, the ritual music and dances of Taiwanese Indigenous peoples expressed desire and reverence for the universe and the gods. During seasonal rituals, tribes often performed rituals, ceremonies, songs, and dances with heaven and earth as their stage and the night as their setting. Rituals, ceremonies, music, and dance are a cultural embodiment of tribal ethics and ethnic history characterized by honour and awe of the gods and entertainment for the performers and the spectators. Indigenous rituals, ceremonies, music, and dance embody the memories of ancestors and the ruminations a

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22

Garrido, Francisco, and Carol Chan. "Dynamics of indigenous identification and performance in the early twentieth century: The life and performances of Chief Caupolican as Mapuche and immigrant (1876–1968)." Ethnicities, July 14, 2021, 146879682110327. http://dx.doi.org/10.1177/14687968211032733.

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Chief Caupolican is Emile Barrangon, an early 20th-century performer in the US who was born in Chile to an indigenous Mapuche father and a French mother. Despite his fame, he has not yet been included in studies on indigenous agency in Native American representations, likely because of his immigrant origins. We situate his indigenous self-identification and media success within the broader context of ongoing pan-indigenous activism in the country and Native Americans’ efforts to engage indigenous representations in the media. The pan-indigenous movement that sought to unify indigenous politica

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23

Gregg, Melissa. "Normal Homes." M/C Journal 10, no. 4 (August 1, 2007). http://dx.doi.org/10.5204/mcj.2682.

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   …love is queered not when we discover it to be resistant to or more than its known forms, but when we see that there is no world that admits how it actually works as a principle of living. Lauren Berlant – “Love, A Queer Feeling” As the sun beats down on a very dusty Musgrave Park, the crowd is hushed in respect for the elder addressing us. It is Pride Fair Day and we are listening to the story of how this place has been a home for queer and black people throughout Brisbane’s history. Like so many others, this park has been a place of refuge in times when Boundary Streets

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24

Barnett, Tully, Simon Dwyer, Rachel Franks, and Jane Mummery. "Regional." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1548.

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The experiences of regional Australia are unique. This issue of M/C Journal solidifies some of the understandings of the experiences of living, working, creating, researching or thinking in, or through, regional Australia. Our work explores regional cultural constructions of these places, spaces, and identities, as well as of the communities that breathe life into these landscapes, whilst also bringing into question relations between the regional, the local, and the global. The contributions to this issue have all worked to investigate sites of collaboration and innovation, to tell stories abo

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25

Caines, Rebecca, Rachelle Viader Knowles, and Judy Anderson. "QR Codes and Traditional Beadwork: Augmented Communities Improvising Together." M/C Journal 16, no. 6 (November 7, 2013). http://dx.doi.org/10.5204/mcj.734.

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Images 1-6: Photographs by Rachelle Viader Knowles (2012)This article discusses the cross-cultural, augmented artwork Parallel Worlds, Intersecting Moments (2012) by Rachelle Viader Knowles and Judy Anderson, that premiered at the First Nations University of Canada Gallery in Regina, on 2 March 2012, as part of a group exhibition entitled Critical Faculties. The work consists of two elements: wall pieces with black and white Quick Response (QR) codes created using traditional beading and framed within red Stroud cloth; and a series of videos, accessible via scanning the beaded QR codes. The vi

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26

Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (June 22, 2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge

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