AustLit

'Dingo (Sandy Greenwood, a Gumbaynggirr, Dunghutti and Bundjalung actor) stands facing the audience, dressed in a muddied tracksuit with a dingo-like mask. Her opening speech signals concern; a longing for her lost pups.' (Introduction)

'This article considers an international model of cultural arts exchange developed by Aboriginal, Māori and First Nations theatre-makers, and examines the process of negotiation, articulation and translation of cultural differences in the process of rehearsing new Aboriginal work. I would like to thank all the theatre-makers who are involved in this ground-breaking initiative and I credit all in the body of the article.' (Publication abstract)

'A major consideration in touring a First Nations performing arts production is how to engage with local indigenous communities on whose country someone else’s story is being told. Engagement strategies have often failed due to a systemic lack of direct consultation with and participation by Aboriginal and Torres Strait Islander peoples in the development of community engagement programmes and activities.

'Through a case study of the Indigenous Community Engagement initiative implemented by Performing Lines, an Australian producing and touring organisation, the concept of community engagement for touring on country is reimagined as one based on a responsive rather than a prescriptive approach, and on self-determined and Indigenous-led frameworks. The case study highlights the cultural responsibilities and challenges of presenting First Nations performance on country, the key considerations around connecting and engaging with local Indigenous communities, and the need to build awareness, protocols and culturally safe spaces with performing arts centres.

'The only one of its kind in the performing arts in Australia, this initiative showcases the potential to revolutionise the way in which engagement with Indigenous communities is delivered across the performing arts sector as a whole.'  (Publication abstract)

'Balmain is traditionally an industrial Sydney suburb. Before Cook, Gadigal and Wangal people lived on the bush landscape now known as Peacock Point. My great-grandfather Daniel Syron moved to Balmain in the 1920s after the First World War to find work on the wharves. He is a Birripi man from Cape Hawke on the mid-north coast of New South Wales. I have no memory of ever meeting him. I have seen photos of him stuck in an old photo album held together by broken silver corners. He was a tall man, black and handsome. All the Syron men are. He was a light horseman and a returned soldier.  Although Aboriginal people weren’t allowed to enlist in the Australian army at the time, he must have slipped through. Daniel met his wife, Elizabeth Murray, an English migrant from Manchester, on his return from service. Elizabeth was a tough cookie having survived working down coalmines as a child. She thought Dan was your typical bronzed Aussie. Together they had eight children. Their firstborn is my grandmother, Catherine Mary Syron. Cathy’s eldest son, Frederick George, is my father. He was also born in Balmain, as was I and my two younger sisters. My mother came from the now well-to-do eastern suburb of Waverly and her family heritage includes the First Fleet Irish convict Henry Kable. However I didn’t know all this about my Aboriginal history when I was growing up.’  (Introduction)