Cirrus@Austlit

'In this article, I make the case for Noongar novelist Kim Scott's That Deadman Dance (2010) to be seen as an exemplar of Aboriginal-centered literary imaginings of reconciliation based primarily on adherence to traditional Laws rather than the state's limited recognition of native title. The novel decenters settler contact narratives through its depiction of Noongar welcoming protocols, thus affirming pre-colonial Aboriginal sovereignty. Furthermore, I contend that, through the novel's culminating scene in which settlers fail to understand protagonist Bobby Wabalanginy's ceremonial dance, which calls for justice through truth-telling and peace-making, Scott narrativizes the settler nation's inability to understand or accept terms of apology, forgiveness, and reconciliation derived from Indigenous cultural and political beliefs. Recognizing That Deadman Dance is not merely historical fiction but a novel about remaking contact draws attention to the all-too-frequently superficial performativity of settler-centric reconciliation politics and calls for narratives that do more than just meditate on settler guilt and complicity.' 

(Publication abstract)