Theatre Design & Technology - Spring 2018 - Public - 31

T

aking center stage at The Tivoli theatre in Sydney, Australia, on Feb. 6,
1954, the young American dancer Beth Dean performed the role of the
Boy Initiate at the premiere of her ballet Corroboree, dancing for the
young English Queen Elizabeth II for whom the gala performance had
been arranged. Dean's body was costumed in a brown wool leotard and leggings,
and her hands, feet (worn bare), neck, and face were painted dark brown to appear as an Australian Aboriginal boy who was about to face the trial of initiation
into manhood. The ballet was an instant success and toured extensively across
Australia, thrilling white audiences as the closing number in a mixed bill of classical and contemporary ballet.
This now infamous moment in Australia's history could be argued as representative of a period in the nation's
evolving sense of identity when white
Australians looked to indigenous culture
as a means to identify independently of
their parent culture, the British heritage.
While much critical discourse about this
production exists, little, or incorrect,
information has been available about
the costumes. A number of published
chapters and articles that address issues surrounding the production are
accompanied by both photographic and
sketched images of Dean in costume.
However, the images are credited as being from Corroboree, when in fact they
show Dean in costume from her earlier
"ethnic dances." As such, arguably, it is
Dean's costumed body in particular that
provides the main point of contention
within the ballet and its historical context. Dean, a young American woman
painted in blackface, was accepted by
1950s white Australian audiences (without question) as an expert in Aboriginal
dance and culture, presenting herself
as an Aboriginal boy being initiated into
manhood in a performance specifically
created for the young English Queen on
her first ever royal tour of Australia.
Analyzing the production through
the vehicle of Dean's costumed body involved locating existing discourse and
examining archived costumes, costume
designs, photographs, and related material from, or relating to, Corroboree,

Beth Dean on her knees as the Boy Initiate, with dancers from her company in the original production of
Corroboree, 1954. Photographer unknown, courtesy National Museum of Australia.

spread across institutions and capital
cities in Australia. Dance historian Michelle Potter notes, "It is impossible
to look at (Corroboree) today without
seeing appropriation, and without the
unease that inevitably accompanies the
sight of non-indigenous people dressing as Aborigines" (2004, 14). Was Beth
Dean in costume a pioneer, promoting
Australian indigenous dance as an im-

portant art form to white audiences, or a
pirate, plundering the riches of a sacred
culture for personal benefit?

Disparity of Archival Material

A rich resource of information about
Dean and Corroboree is available in
archives across Australia; however, the
scattered nature of the material is curious. The State Library of New South

SPRING 2018

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THEATRE DESIGN & TECHNOLOGY

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2018 - Public

Contents
Theatre Design & Technology - Spring 2018 - Public - Cover1
Theatre Design & Technology - Spring 2018 - Public - Cover2
Theatre Design & Technology - Spring 2018 - Public - 1
Theatre Design & Technology - Spring 2018 - Public - Contents
Theatre Design & Technology - Spring 2018 - Public - 3
Theatre Design & Technology - Spring 2018 - Public - 4
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com