Issue Details: First known date: 1951... 1951 An Aboriginal Moomba : Out of the Dark
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

''Out of the Dark' was staged at the Princess Theatre, Melbourne. Among the actors were Doug Nicholls, Harold Blair and William Onus. It was Bill Onus who devised the name, "An Aboriginal Moomba", for the entertainment. 'Out of the Dark' was a pageant written by Jean Campbell tracing the life of the Aborigines before and after European settlement. It featured traditional songs and tribal dancing'. (Source: Monash University Library website)

Production Details

  • Staged at the Princess Theatre, Melbourne, 23-27 June 1951.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Performing Aboriginal Rights in 1951: From Australia's Top End to Southeast Amanda Harris , Tiriki Onus , Linda Barwick , 2023 single work criticism
— Appears in: The Australian Journal of Politics and History , June vol. 69 no. 2 2023; (p. 227-247)

'In 1951, performers from Daly River and Tiwi Islands Aboriginal communities staged a corroboree strike. The musicians and dancers had routinely entertained visiting cruise ships in the Darwin Botanic Gardens, but now joined dockside workers to protest the jailing and exiling of two Aboriginal agitators Lawrence Wurrpen (Urban) and Fred (Nadpur) Waters. In Melbourne, the Australian Aborigines' League expressed solidarity with the Darwin strikes and protested the exclusion of Aboriginal voices from the Jubilee of Australian Federation. The League's leaders Doug Nicholls and Bill Onus produced a new work of musical theatre featuring east coast Aboriginal performers Fred Foster, Margaret Tucker, Georgia Lee, Harold Blair, and others in ‘Out of the Dark — An Aboriginal Moomba’. In this paper we examine political uses of performance in Australia's assimilation era, and show how Aboriginal agitators used music and dance to connect struggles for rights across Australia, and to keep cultural identity alive. In doing so we show how performance operated both as work and as assertion of cultural sovereignty.' (Introduction)

An Aboriginal Moomba : Remaking History Sylvia Kleinert , 1999 single work criticism
— Appears in: Continuum : Journal of Media and Cultural Studies , vol. 13 no. 3 1999; (p. 345-357)
An Aboriginal Moomba : Remaking History Sylvia Kleinert , 1999 single work criticism
— Appears in: Continuum : Journal of Media and Cultural Studies , vol. 13 no. 3 1999; (p. 345-357)
Performing Aboriginal Rights in 1951: From Australia's Top End to Southeast Amanda Harris , Tiriki Onus , Linda Barwick , 2023 single work criticism
— Appears in: The Australian Journal of Politics and History , June vol. 69 no. 2 2023; (p. 227-247)

'In 1951, performers from Daly River and Tiwi Islands Aboriginal communities staged a corroboree strike. The musicians and dancers had routinely entertained visiting cruise ships in the Darwin Botanic Gardens, but now joined dockside workers to protest the jailing and exiling of two Aboriginal agitators Lawrence Wurrpen (Urban) and Fred (Nadpur) Waters. In Melbourne, the Australian Aborigines' League expressed solidarity with the Darwin strikes and protested the exclusion of Aboriginal voices from the Jubilee of Australian Federation. The League's leaders Doug Nicholls and Bill Onus produced a new work of musical theatre featuring east coast Aboriginal performers Fred Foster, Margaret Tucker, Georgia Lee, Harold Blair, and others in ‘Out of the Dark — An Aboriginal Moomba’. In this paper we examine political uses of performance in Australia's assimilation era, and show how Aboriginal agitators used music and dance to connect struggles for rights across Australia, and to keep cultural identity alive. In doing so we show how performance operated both as work and as assertion of cultural sovereignty.' (Introduction)

Last amended 20 May 2011 12:34:39
X