Contemporary Dance

Indigenous Dance:

Defining Traditional & Contemporary Dance.

by Samantha Chalmers

The human psyche is composed of all aspects of the natural and unnatural world. Patterns, cycles, rituals, characteristics and dynamics of nature (and humanity) are expressed throughout our daily lives - with or without our awareness of it. These patterns and characteristics are observed and reflected by us through the flora and fauna, concrete and steel in our environment. Animals, plants, insects, elements, organisms and human creations are all part of Nature. Flora, fauna, insects, elements etc are considered as base expressions of Nature: natural.

I have endeavoured to perceive a working base principle based on Traditional Indigenous culture, to find and relate from it a healthy Contemporary Indigenous culture principle, relating to dance, but fundamentally relating to all aspects of expressions in a Contemporary Indigenous society, based and in reference to our original Traditional Indigenous society.

PART ONE

"Traditional Indigenous culture, in all aspects, is fundamentally based on the relationship to the Land/Planet and all on and around it; with caretakership responsibilities, governed by an all encompassing law, in relation to the caretakership responsibilities of other sentient (living) beings. It is whole and everything has its place".

Dance is an expressionistic tool utilised to capture, express, embody and formulate any given representation in Traditional Indigenous culture. It is used in its form, 'accompanied' by song and music, to entertain as well as a tool for use in ceremony etc. It is not separate from other aspects of culture and has its place, story, law, song, music etc of which it is representing i.e. totem or story. Paradoxically it can be considered unto itself, but remains as a vital expression of the whole. Dance is 'live' and never static. If lost it can never be found. Traditional Indigenous culture lives and evolves accordingly with time: past, present, future - all at once.

Creations in dance are forms inspired by events, dreams, feelings etc that are actualised and stylistically portrayed accordingly by their 'creators' from their distinct area/clan/tribe. For every area/clan there is a distinct structure/style of expression that has been adhered to in the past, and can be utilitsed now and in the future. Where influenced by 'new' experiences etc the evolution of Traditional culture, therefore dance, will be influenced: positively or negatively; stylistically the distinctions of the culture remain if the culture has not been upset considerably or annihilated completely.

Contemporary Indigenous culture is a derivative of the original source: Traditional. Impacts on Traditional Indigenous culture by other cultures via colonisation, and their influences greatly determine the degree between the two. Dispossession of Traditional culture means that the experiences and way of life are disinherited. The fundamental ideals can be attained only through relating back to the source. Contemporary Indigenous culture can be viewed as such:

(a) Dispossession: Total with recognition of inheritance. Life experience influenced by non-Indigenous dominant culture - i.e. Western culture but with no Tradition to relate back to.
(b) Dispossession: Recognised but having cultural aspects threaded throughout; determining an awkward balance of the dominant (western) culture with Traditional fundamentals i.e. care and respect for the land and all on it, family and kinship ties; choosing not to 'go back to the source' but retaining influences gained through experiences of Traditional culture; having no culture to refer back to.
(c) Dispossession: Re-learning from Traditional source to gain and implement fundamentals into own experience, balanced with Western experience; expressing Traditional perceptions and ways of living to enhance and strengthen cultural identity; having Traditional links and relationships with Traditional culture; a fair balance attained of Traditional and western fundamentals, experiences and perceptions in life.
(d) Dispossession: Regaining Traditional Indigenous culture in all aspects despite western influence on life, but with it as an experience of life.

It is important to establish the varying experiences of Contemporary Indigenous culture, and to note the in-between degrees of these examples, to fully appreciate the diversity of these experiences and ways of life in existence today. It is imperative to how we perceive Contemporary Indigenous dance as it develops, and to recognise that it is still at a relatively early stage of development.

PART TWO

"Contemporary Indigenous culture, in all aspects is fundamentally based on experiences relating to:

(a) Dispossession - in varying degrees;and
(b) Traditional Indigenous culture, the original source from where we determine our identity as Indigenous people;
(c) Self-empowerment, as a product of two or more cultures, with our own identity and way of life".

Traditional Indigenous dance is a vital expression of Traditional culture as a whole. It is inter-relative, connective and in context with the whole. Contemporary Indigenous dance is expressed in relation to Traditional by influence. It is determined by different ways and methods how the influence can best be achieved for all concerned, Traditional and Contemporary alike.

[I refer to a recent proposal entitled Totemic Movement established in 1997(as a submission entry pre-requisite for College) (see attached)]

I have fundamentally applied Totemic Movement principle in relation to exploring the developments of Contemporary Indigenous dance. ·

In relation to Traditional Indigenous dance the Totemic Movement principle provides a general understanding of the motivations formulating the creation of dances and such. It is a foundation for the essence of Traditional Indigenous dance creations: SIMPLICITY. ·
Incorporating the Totemic Movement principle as a foundation for the creation process, Contemporary Indigenous dance, is determined only by how it defines itself in relation to its Traditional source and its expression.

PART THREE

Traditional Indigenous dance distinctions include: (not exclusively)

(a) Characteristics representative of the form being expressed. These include movement dynamics of the symbol/ event/ story etc. as well as its physical resemblance;
(b) Behavioural characteristics in its environment and environments distinctions;
(c) Relatable elements to the form i.e. other characters and circumstances pertaining;
(d) Stylistic expression distinctive of the people/ clan/ area. i.e. Murri, Yolngu, Tiwi, Nungah etc.;
(e) Formulation of dance movements, dance, song, music etc. distinctive of its people. i.e. patterning and arrangements, notably repetitious;
(f) Defined expressions of gender dances, stylistically and with role-playing, exclusivity of movement;
(g) Associated story, dreaming, song, music, function, law etc. Context to ceremony and culture as a whole. Caretakers responsible for associated form in all aspects;
(h) Above the waist - representing dance form/story etc. Below the waist - foundational movements, common in all dances of the specific clan/ region, foundation is usually gender representative;
(i) Associated protocol in relation to the dance and others
(j) Other.

When in creation of Contemporary Indigenous dance it is important to consider:

(a) The creation process - how will it be done?
(b) Inspiration and motivation in relation to Traditional Indigenous dance and culture;
(c) Use of Traditional Indigenous dance movements in conjunction with modern (western) contemporary inspired movements. This 'cut and paste' process has in the past been referred to as a 'fusion' of dance styles, and 'new styles have been created as a result'. A new movement vocabulary/style is not produced as a result of this process of so-called 'fusion'. The purity of the Traditional movement is imperative and permission is granted (or assumed in some cases) for the use of the movement not the ownership of it. It should also be noted that the movement is taken/removed from its original form (pure), therefore the context to which it has existed and from all associated aspects inter-relating with it. Becoming: 'movement' representative of its particular region; a 'symbol' for thematic usage in its new context; an 'image' utilised to enhance the work as an Indigenous piece. It is fair to determine a recognition of Traditional influence, through use of Traditional movements alongside modern/ contemporary movements, but not a new vocabulary or style created by this 'cut and paste' process.
(d) What constitutes Contemporary Indigenous dance?
- A creation by an Indigenous person?
- Use of Traditional movements with modern/ contemporary movements?
- Traditional costuming, props, themes, stories, music etc enhancing the dance?
- Use of Traditional dancers within the dance?
- Identifiable motivations of creation in regard to Traditional principles of creation?
- Expressions of Contemporary Indigenous themes?
- Other?
(e) What is Traditional Indigenous dance? Traditional society and culture has its own contemporary dances evolving and being created, but stylistically formatted in their distinctly traditional way. The distinctions made by traditional people are commonly referred to as 'old dances, new dances but still Traditional'. i.e. Buffalo Dance (old) and Hanging Dance (new) - Tiwi Culture, NT. Devil [Mokuy] Dance (old) and Grog Dance (new) - Yolngu Culture, Yirrkala, NT (and surrounding areas). Similarly there are always 'new' versions/ variations on the 'old' dances.
(f) The artist's right to his/her own process and expression. There is no exclusive formula as yet, now protocols associated with the process.
(g) Does Contemporary Indigenous dance have its own protocol and guidelines associated with it? Should it?
(h) How will this effect the perceptions of Contemporary Indigenous culture's developments?

"The evolution of our ideas ebb and flow, and we sun and surf accordingly". [Sami]