Repositioning the Interface for Cross-Cultural Reception of Indigenous Australian Theatre

Abstract

Representations and practices of identity on the street and on the stage are always marked and read on many levels within the tension between self claimed concepts and understandings of identity and imposed external concepts of that identity. These concepts provide the basis for definitions of cultural practice and cultural production that establish hierarchies of authenticity, including and excluding work. Over the last few decades there have been many transitions in the framing of ‘other’ cultures and their artistic work ranging from multiculturalism through critical frames such as postcolonialism and interculturalism. However these different critical and social positions operate from the same basic power position, effectively operating from the same implicit and in practice almost a priori premises about contemporary cultural practices. Paralleling these critical movements has been the establishment of international conventions aimed at protecting and preserving cultural heritages in a myriad of forms. This paper examines the current frames of reception of Indigenous Australian theatre performance and the possible alternatives as a potential basis for a broader and more meaningful way to frame Indigenous theatre work