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Maryrose Casey Maryrose Casey i(A30770 works by)
Born: Established: Melbourne, Victoria, ;
Gender: Female
Heritage: Irish ; Australian
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Works By

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1 [Review] Dancing in Shadows: Histories of Nyungar Performance Maryrose Casey , 2019 single work review
— Appears in: Australian Historical Studies , vol. 50 no. 2 2019; (p. 272-273)

'Anna Haebich’s book is a richly researched and beautifully written study of Nyungar cultural history with a focus on performance. From the first the book challenges colonial narratives about what is and is not Nyungar performance. Habitually following colonial narratives about so-called primitive cultures, only performances that can be categorised as ‘pre-contact’ are seen as owned in any way by Aboriginal people. Other performances have been described as a sign of cultural contamination or degradation illustrating a loss of culture. At best the performances are described as hybrid or fusion rather than as part of Aboriginal modernity. As the eminent Aboriginal playwright and musician Richard Walley says in the Foreword, the response even in the twentieth century was ‘Hang on this is not Aboriginal’ … ‘Stay in the glass jar over there that’s iconic Aboriginal’ (xii). Even more pertinently, Walley continues with the endless message he and others like him received from white audiences, producers and critics, ‘We don’t want you to do anything else’ (xii). Haebich’s book is enriched by extensive archival research, interviews, detailed examinations of paintings and photographs and her own observations which offer a different perspective. Haebich has also included a valuable collection of images in the book.'  (Introduction)

1 Performances of Belonging Maryrose Casey , 2018 single work criticism
— Appears in: Australasian Drama Studies , October no. 73 2018; (p. 186-206)

'In the context of Australian settler colonialism, as Aileen Moreton-Robinson has eloquently argued, possessive claims in relation to Indigenous people are central to the colonial project. Supporting these claims and benefiting from them are notions of belonging in the land. Who is the stranger and who the resident and therefore who has the right to claim the physical space? Across the nineteenth century and into the twentieth, Aboriginal performance practices for entertainment were used by both Aboriginal people and white settlers as a way of asserting claims of belonging to the land in the present moment.'  (Publication abstract)

1 Dark Emu (Bangarra Dance Theatre) Maryrose Casey , 2018 single work review
— Appears in: Australian Book Review , October no. 405 2018; (p. 66)

'Bangarra Dance Theatre has been Australia’s premier Aboriginal and Torres Strait Islander dance company for nearly thirty years. Although the company includes dancers from every language grouping, it collaborates with specific traditional owners, depending on the particular works they are creating. This attention to specificity is an important part of Bangarra’s recognition of the different groupings across the Australian mainland and islands, and the islands of the Torres Strait. Led by Artistic Director Stephen Page, Bangarra draws on techniques that include traditional Indigenous dance as well as contemporary world techniques. The company’s works include Praying Mantis DreamingOchresSkin, CorroboreeUnaiponCLANMathinna, and Bennelong.' (Introduction)

1 Joyous, Comic and Grim : The Best New Indigenous Playwrights Maryrose Casey , 2017 single work essay
— Appears in: The Conversation , 3 February 2017;
'“Yellamundie” is a Darug word for storyteller, and the name of a biennial play development festival for Indigenous Australian writers run in Sydney since 2013.'
1 Aboriginal Performance as War by Other Means in the Nineteenth Century Maryrose Casey , 2015 single work criticism
— Appears in: International Journal of Critical Indigenous Studies , vol. 8 no. 2 2015; (p. 2-15)
The author has focussed this paper 'on what happens when the people framed as possessions refuse to co-operate and insist on constructing their own identities and ontologies and assert their authority, not only in the past, but also in the present...'
1 Review : Coranderrk : We Will Show the Country. Maryrose Casey , 2015 single work review
— Appears in: Australian Historical Studies , vol. 46 no. 2 2015; (p. 311-313)

— Review of Coranderrk : We Will Show the Country Giordano Nanni , Andrea James , 2010 single work drama
1 Serving the Living Land : Place and Belonging in Australian Aboriginal Drama Maryrose Casey , 2014 single work criticism
— Appears in: Enacting Nature : Ecocritical Perspectives on Indigenous Performance 2014; (p. 151-164)
'European settler fear and distrust of the physical environment has been a notable feature in Australian literary writings since the nineteenth century...In contrast, Indigenous Australians traditionally have a strong, positive and multi-layered relationship with their historical homelands...'
1 Bold, Black, and Brilliant: Aboriginal Australian Drama Maryrose Casey , 2013 single work criticism
— Appears in: A Companion to Australian Aboriginal Literature 2013; (p. 155-171)
1 2 y separately published work icon Telling Stories : Aboriginal Australian and Torres Strait Islander Performance Maryrose Casey , Kew : Australian Scholarly Publishing , 2012 Z1902297 2012 single work criticism 'Since the late eighteenth century, Aboriginal and Torres Strait Islander initiated performances have been an important part of cross-cultural communication in Australia. Over those years, at different points, these performances have achieved high public profile and then subsequently been erased from the social memory. This book investigates Aboriginal and Torres Strait Islander historical practices for performances for entertainment; how they adapted to colonisation and how these performance practices extend contemporary theatre. Based on interviews and detailed examinations of shows, this book sets out to engage with Aboriginal and Torres Strait Islander performance in the twentieth and twenty-first centuries within the context of their historical performance practices for entertainment.'
Source: Publisher's website
1 Performing for Aboriginal Life and Culture : 'Aboriginal Theatre and Ngurrumilmarrmiriyu' Maryrose Casey , 2011 single work criticism
— Appears in: Australasian Drama Studies , no. 59 2011; (p. 53-68)
'Since colonisation, the tensions between the intentions and meanings of Indigenous performers and the cross-cultural framing and reception of their performance have been part of the complex relationship that exists between Indigenous and non-Indigenous peoples in Australia. In the eighteenth and nineteenth centuries, Indigenous-controlled performances drawn from their own historical cultural practices were a focal point of cross- cultural exchange and engagement. Within the colonial exercise, the Euro- Australian and European attitudes towards, and framing of, these performances as a lower form of practice were an important part of containing and colonising Indigenous cultures and the land. Since the 1970s, there have been many transitions and movements shifting the terms of reception and providing the basis for a more respectful engagement with Indigenous performance. However, the notion that Aboriginal historical practices represent primitive or simple cultural forms has continued as traces in the reception of performances that draw on traditional pre-contact practices.' Maryrose Casey.
1 y separately published work icon Australasian Drama Studies Transcultural Transnational Transformation no. 59 Maryrose Casey , William Peterson (editor), 2011 Z1890211 2011 periodical issue
1 Theatre or Corroboree, What's in a Name? Framing Indigenous Australian 19th-Century Commercial Performance Practices Maryrose Casey , 2009 single work criticism
— Appears in: Creating White Australia 2009; (p. 123-139)
'The reception and framing within histories of practice of Indigenous Australian cultural production in the performing arts has been a problematic and contested field for decades. Though, overtime the terms have changed in line with political and social changes and developments...' Casey argues, 'these shifts have been limited by continuing a priori assumptions about theatre in terms of what it is and the implicit assumptions of European cultural ownership of performances that are discussed under the term. These conjectures continue to have impact on what is included, excluded and defined within Australian theatre historiography.' (From author's introduction)
1 Disturbing Performances of Race and Nation: King Bungaree, John Noble and Jimmy Clements Maryrose Casey , 2009 single work non-fiction
— Appears in: International Journal of Critical Indigenous Studies , vol. 2 no. 2 2009; (p. 25-35)

This essay is an exploration of the multiple cultural performances and performative Indigenous and non-Indigenous presences competing within events and erased by dominant narratives. The performance and performativity of race, class and culture for both black and white Australians in embodied performances and in accounts as a performative source of ideological meaning-making are critical factors within cross-cultural communications. The focus of this paper is on the dynamic between the Indigenous and non-Indigenous performances and presences within the enactment and documentation of two events separated by 100 years, a nineteenth century anecdote and a twentieth century 'historical' event.

(Source: Casey, M., 'Disturbing Performances of Race and Nation: King Bungaree, John Noble and Jimmy Clements' in International Journal of Critical Indigenous Studies, Vol. 2, No. 2, 2009, p. 25)

1 Indigenous Australian Drama : Decolonising Australian Stages Maryrose Casey , 2009 single work criticism
— Appears in: Reading Down Under : Australian Literary Studies Reader 2009; (p. 193-204)
An introduction to plays by Indigenous writers that have been published since the 1970s.
1 Untitled Maryrose Casey , 2008 single work review
— Appears in: Australasian Drama Studies , April no. 52 2008; (p. 203-204)

— Review of Contemporary Indigenous Plays 2007 anthology drama
1 Untitled Maryrose Casey , 2007 single work review
— Appears in: ACRAWSA E-Journal , vol. 3 no. 1 2007;

— Review of Writing Never Arrives Naked : Early Aboriginal Cultures of Writing in Australia Penny Van Toorn , 2006 single work criticism
1 Australian Drama Since 1970 Maryrose Casey , 2007 single work criticism
— Appears in: A Companion to Australian Literature Since 1900 2007; (p. 219-232)
Considers the influence of government subsidies and the 'ways in which Australian theatre has been framed in the national imaginary' (p.219). Williamson's career bookends this era.
1 Australian Drama, 1900-1970 Maryrose Casey , 2007 single work criticism
— Appears in: A Companion to Australian Literature Since 1900 2007; (p. 207-218)
Casey argues that 'in contrast with the dominant view, Australian drama texts written through the period 1900-1970, like the myths that present this period as a barren landscape, reflect particular social and political movements'. - (p.207)
1 y separately published work icon A Compelling Force : Indigenous Women Playwrights Maryrose Casey , 2007 St Lucia : AustLit: The Australian Literature Resource , 2007 Z1271301 2007 single work criticism
1 Alma De Groen Maryrose Casey , 2006 single work biography
— Appears in: Australian Writers 1975-2000 2006; (p. 71-75)
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