| Summary: | Joyously, Australian Theatre of the last five years is notable for a cultural resurgence of First Nations led performance (Beetson, 2020), building upon the formidable cultural traditions of First Nations Australia prior to invasion and the subsequent waves of artistic resistance since settlement (Casey, 2004). As an Anglo-Irish, Australian, female dramaturg and scholar, this is not my story to tell, but is nonetheless, the underpinning context for the subject of this paper: an exploration of dramaturgical allyship in de-centring performance-making processes, community engagement and new work in contemporary Australian Theatre. The paper will explore the responsibilities of both independent and mainstage theatre artists, communities and institutions in allyship to First Nations artists. The practice of allyship has played a significant role in the arts and cultural sector in Australia in the last decade (Hadley, 2020) and can be a powerful tool of reflection and accountability in artistic processes. Dramaturgical allyship will be explored through the case study of 2018 Brisbane Festival production - 'Rovers' - co-created by independent theatre company, Belloo Creative, of which the author is company dramaturg: www.belloocreative.com/rovers.
|
|---|