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AbstractHistoryArchive Description
'This is an orchestral suite for a ballet by Australian composer John Antill, first recorded in 1950 by the Sydney Symphony Orchestra.'
Notes
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‘Corroboree’ by John Antill is the first ballet work by an Australian composer on an Australian subject to become internationally performed, recorded and released. (Screen Australia)
Production Details
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This ballet was staged in a gala performance for Queen Elizabeth II in 1954'
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Pan-Indigenous Encounter in the 1950s : ‘Ethnic Dancer’ Beth Dean
2017
single work
criticism
— Appears in: Australian Historical Studies , vol. 48 no. 3 2017; (p. 325-327)'From 1950, ‘ethnic dancer’ Beth Dean made her living on a lecture-demonstration touring circuit of the dance traditions of Australia, New Zealand, the Cook Islands and North America. To assert her expertise, she claimed to have studied Māori and Australian Aboriginal cultures for a number of years. This article investigates how Dean’s didactic performances drew on American traditions of ethnic dance to present apparently authoritative representations of Indigenous cultures, supported by Adult Education Boards in New South Wales, Victoria, Tasmania and Western Australia and national arts organisations. I argue that Dean exploited the symbolic potential of ‘corroboree’ as a performance of intercultural communication to establish her authority to speak about and perform Australian Aboriginal dance.' (Introduction)
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Pan-Indigenous Encounter in the 1950s : ‘Ethnic Dancer’ Beth Dean
2017
single work
criticism
— Appears in: Australian Historical Studies , vol. 48 no. 3 2017; (p. 325-327)'From 1950, ‘ethnic dancer’ Beth Dean made her living on a lecture-demonstration touring circuit of the dance traditions of Australia, New Zealand, the Cook Islands and North America. To assert her expertise, she claimed to have studied Māori and Australian Aboriginal cultures for a number of years. This article investigates how Dean’s didactic performances drew on American traditions of ethnic dance to present apparently authoritative representations of Indigenous cultures, supported by Adult Education Boards in New South Wales, Victoria, Tasmania and Western Australia and national arts organisations. I argue that Dean exploited the symbolic potential of ‘corroboree’ as a performance of intercultural communication to establish her authority to speak about and perform Australian Aboriginal dance.' (Introduction)
