Theatre Design & Technology - Spring 2018 - Public - 39

thin shoulder straps. Their construction
would not have offered a great deal of
support, nor would they have created
shape or volume, so the only practical
conclusion is that they were designed
to flatten the bust of the wearer. Haebich and Taylor see the gender switch as
"crucial in transforming the narrative of
a primitive Aboriginal male ceremony
into a civilised, feminised performance
suitable for the young Queen Elizabeth
and cultured Sydney audiences" (2007,
71-2), whereas Haskins sees a curious
"tribute to the authority of the white
male expert, and a quest to replicate his
experiences" (2014, 39).
Haskins discusses the propensity
for white women of Dean's era to validate
their ideas, thinking, and work by deferring to a respected white man. In Dean's
instance, she credits her inspiration
and expertise to anthropologist Charles
Mountford, using his name to give
credibility to her work, but at the same
time diminishing her own role within
it. Curiously, in her publication The
Many Worlds of Dance, she discusses
at length the role of the choreographer,
but only ever refers to the choreographer
as male: "he works," "he must change,"
"as he deals with." Similarly, in Dust for
the Dancers, although Dean and Carell
co-authored the book, one is never quite
clear whose voice is speaking, and the
dominant tone throughout is male.
With this in mind, it becomes interesting to consider Dean as one in a line
of white women asserting their place in
the world by claiming authority as experts in Aboriginality. In Dean's case, she
boldly proclaimed her authority by dancing as a boy who became a man through
a dramatic ordeal onstage, yet she made
her statement from within another's
skin, her bust bound in an effort to erase
her femininity, and her body adorned
with decorations reminiscent of handcraft attributed to women's work. Dean's
costumed body is a set of contradictions
between masculinity and femininity, man
and woman, authority and submission,
and indicates a multitude of conflicting
cultural, political, and gendered identities being played out on stage.
A cursory glance at the trajectory of
her Boy Initiate role further complicates
the discussion, as she chose Ronne Arnold, a young African American dancer
who started his own contemporary

dance company in Australia, to dance
the role in the 1970 remount. The costumes for this production were brown
nylon full-body unitards made by Bloch,
decorated with thick hand-crocheted
body markings. A folder archived at
NMA details a 1994 remount with The
Australian Ballet School Dancer's Company and includes detailed notes and
rehearsal photographs, but it is unclear
whether a public performance took
place. The rehearsal photographs show
students in what appear to be black
uniform attire, with something akin to
netball bibs or loose tank tops on their
torsos with the name or number of their
character written across the front. In this
instance, Timothy Harbour danced the
role of the Boy Initiate, and the production had both Benesh and Laban notation created as well as a video recording.
A comprehensive discussion of the implications of these decisions is beyond the
scope of this article, but it is interesting
to note Dean's continued persistence in
documenting and preserving the production into the 1990s, as well as her choice
to later cast men in the lead role, particularly an African American man in 1970.

Sterotypes and Identity

From a modern perspective, Corroboree
fits within ideas of blackface minstrelsy
being "seen as a form of training in how
to look (race, gender, and nationality)
at bodies in the street. [A performer's]
blackened face and ragged costume became a means for audiences to reconfigure their own embodiment as white and
modern, and to configure their view of
black people after the performance had
ended" (MacLaurin and Monks 2015,
116). Dean's recognizably textured body
allowed audiences to reconfigure both
their own identities and their precarious
relationship with this Australian Aboriginality in a similar way that American audiences suffering from growing middle
class social anxieties (as the result of industrial revolution) could position themselves against Black Americans through
blackface minstrelsy (Dunson 2011, 47).
Indian scholar Homi K. Bhabha "argues
that the use of stereotypes to fix identity belies a profound anxiety about the
unknowable otherness of colonial natives" (quoted in MacLaurin and Monks
2015, 108), a notion that, applied to performance, supports the need for a safe

Vintage American tufted chenille bedspread.
Reproduced with kind permission of Jeni Sandberg,
www.jenisandberg.com.

vehicle through which to explore the indigenous culture.
We could suppose Dean's dancing
this role as a stand for national independence, as explored in Haskins' thoughts
on the production's clashing images:
The performance was in hindsight a particularly curious display
of settler-state nationalism and the
complex relationships of gender,
class and race which that could
entail: one young English woman
representing the traditional monarchy watched another young, American, woman, representing the new
Pacific superpower, play out in the
vocabulary of classical European
ballet the initiation of an indigenous
youth into manhood, as an allegory
for Australian nationhood. (2011,
24)
It is conceivable that Corroboree,
like many other productions of that era
that looked to indigenous culture, allowed white audiences to indulge a sense
of pride in, or ownership of, a people and
culture they knew little about, as well as
a sense of a land they would likely never
visit, in their quest to identify as "other"
from their parent culture. Harris argues
that Dean's efforts to promote Aboriginality as "worthy of serious artistic attention was a counterpoint to the cultural
cringe of Australians who looked beyond
Australia's borders for artistic inspiration" (2017, 344). This idea is supported
in anthropology professor A. P. Elkin's
review of the Gala performance: "The
Queen saw and heard if not her aboriginal subjects, at least themes and inspiration which these original Australians are
imparting to our culture" (Elkin 1954).
SPRING 2018

|

THEATRE DESIGN & TECHNOLOGY

| 39


http://www.jenisandberg.com

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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Theatre Design & Technology - Spring 2018 - Public - 68
Theatre Design & Technology - Spring 2018 - Public - Cover3
Theatre Design & Technology - Spring 2018 - Public - Cover4
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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