Dance in Contested Land

Takes a trans-disciplinary approach, drawing on sound theory, art history, indigenous studies, performance studies and dance studiesShows how contemporary indigenous dance makes visible a crisis of knowledge values in post-colonial environmentsThree parts cover: listening as devised choreographic practice; listening to cultural, historical and political contexts; and the identification of new cultural dramaturgies

Demonstrates new dramaturgies born of making, performing and witnessing dance in the contested lands of First Peoples Contextualises Indigenous-intercultural dance practice within debates on Indigenous recognition and the uneasy challenges of reconciliation Highlights the ways Indigenous choreographic resurgence in contested sites can produce neo-expressive choreopolitical dance theatre

Auteur

Rachael Swain is a settler director, dramaturg, and researcher of intercultural and trans-disciplinary dance and performance. She was born on the lands of the Ng i Tahu in Aotearoa/New Zealand and works between the lands of the Gadigal in Sydney and the lands of the Yawuru in Broome, Australia. Rachael is co-artistic director of Marrugeku with Yawuru/Bardi dancer and choreographer Dalisa Pigram.

Résumé

"Swain's book will undoubtedly make a robust and timely scholarly contribution. It is because I myself write from the perspective of an immigrant to Australia, and in many ways as an outsider ... ." (Australasian Drama Studies, Vol. 77, October, 2020)

Contenu

1. Chapter One: Introduction.- 2. Chapter Two: The Dramaturgies of Listening to Country.- 3. Chapter Three: Gudirr GudirrCulturally Situated Neo-Expressionism.- 4. Chapter Four: Cut the SkyDramaturgies to disrupt the Anthropocene.