Jeanette Mollenhauer | Victorian College of the Arts - University of Melbourne (original) (raw)
Papers by Jeanette Mollenhauer
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
Culture and Religion, Oct 1, 2021
Irish Women in the Antipodes: Foregrounded, 2024
There is little doubt that dance, in general, is an activity more typically associated with the f... more There is little doubt that dance, in general, is an activity more typically associated with the feminine gender. Certainly, the 2019 #BoysDanceToo movement attests to the global predominance of female dance practitioners across numerous styles in its call for recognition that dance can be studied and enjoyed equally by males. The same situation, of a primarily female community of dancers, currently exists for Irish dance but its history is fascinating because, over the space of only a few decades in the early twentieth century, the participant cohort changed from being almost exclusively masculine to one that is predominantly feminine. 1 This chapter concerns some of the girls and women in Australia who have been, and still are, Irish dance practitioners, teachers and adjudicators. From Men to Women Dance scholars in Ireland have written about the roving 'dance masters' of the nineteenth century, who moved from village to village teaching Irish dance to willing students. 2 The attitude of these male teachers towards the gender balance in their classes varied considerably. Some taught the same steps to all students, some chose to teach different steps to girls, and some refused to teach girls at all. 3 Yet, around the turn of the twentieth century, the gender balance altered radically, and Irish dancing became the province of women and girls, leaving a much smaller percentage of male practitioners. [p 153] This gender shift took place quite rapidly, with several factors influencing the transformation. First of all, this change reflected the generally accepted ideas about dance at that time in the Western world. Eminent English dance scholar Theresa Buckland records that at the end of the Victorian era, dance (in general) was considered to be more suitable for women and children than for adult males. 4 Instead, men were encouraged towards various sporting pursuits. Additional influences, especially those relating specifically to Ireland, have been discussed by several writers who agree that the demarcation of gender roles, encouraged by the Gaelic League (Conradh na Gaeilge) in the cause of Irish nationalism, appears to be pivotal. Sarah Churchill writes that there was an interest in cultural education for Irish children among members of the various nationalist organisations in Ireland. For example, she records that 'Inghinidhe na h´Éireann, or the Daughters of Erin, also included Irish dancing in its agenda for girls' cultural education, as did the United Irishwomen and the Cumann na mBan'. 5 Barbara O'Connor offers further observations about gender-based social changes in Ireland in the early twentieth century. She points out that there were 'strenuous efforts within cultural nationalism to establish a pronounced demarcation of male and female roles and activities'. 6 The Gaelic Athletic Association was formed with the intention of 'getting Irishmen involved
This comparative ethnography investigates the traditional dance practices of the Irish and Croati... more This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. Thus, the role of traditional dance practices in the two communities is analysed. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Themes which developed from the data revealed participants' agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields v Acknowledgements Dance has held a lifelong fascination for me and I have experienced so much enjoyment in both researching and writing about it. As with any work of this magnitude, there are many people who need to be thanked for providing inspiration and encouragement along the way. Most of the credit goes to my supervisor, Professor Kathryn Marsh. Kathy, your vast experience provided a sound foundation for my research venture and, as a marvellous educator and generous scholar, you have continually inspired me to pursue higher academic standards. It has been my great privilege to learn so much from you along the way. There are others to whom I owe much, for both their input in my life and in this research adventure. The first person is my Mum, Gwen Cooper, who passed away before I completed high school. There are many times when I wish you could have been here, Mum, and I will never stop missing you. Thanks, too, for taking me to calisthenics classes, because that was the start of my dance journey, and so this research, in a way, connects me with you. My young adults, Phil, Erin and Hannah, are inspirational, and I am immensely proud of you. My husband Andrew has helped in whatever way he could with this project, including driving me to events and taking photos for me. All of these small things made a difference. My childhood piano teacher in Melbourne, Lin Threlfall Boles (dec.), arranged for me to be half of a piano duet playing a piece called Bulgarian Rhythms, and thus introduced me to non-classical musical forms. She also always hoped some of her students would study at a Conservatorium of Music, so I think she would be pleased that I finally made it, even if not as a piano student. Dr Tiffany Bodiam, former colleague at Anglicare Sydney, first suggested that I pursue doctoral studies in dance research, and Dr Wendy Brooks suggested I send my research proposal to the Sydney Conservatorium of Music. Wendy and I also spent many hours together as "dance Mums" at Irish step dancing competitions with our daughters. Thank you both for your part in my research adventure. To the Sydney Conservatorium of Music, particularly Dr Michael Webb, who initially interviewed me, I extend my grateful thanks for accepting me as a doctoral candidate. vi I thank all of the "expert participants", the scholars of Irish and Croatian dance and music who made themselves available for interviews and have answered questions by email. Your input has been both valuable and welcome, as it provided information about the various dance genres in their original contexts and suggested directions for my research here in Sydney. I also thank my band of proof readers, who bravely took on reading a chapter each:
Research in Dance Education
This comparative ethnography investigates the traditional dance practices of the Irish and Croati... more This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. Thus, the role of traditional dance practices in the two communities is analysed. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Themes which developed from the data revealed participants' agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields v Acknowledgements Dance has held a lifelong fascination for me and I have experienced so much enjoyment in both researching and writing about it. As with any work of this magnitude, there are many people who need to be thanked for providing inspiration and encouragement along the way. Most of the credit goes to my supervisor, Professor Kathryn Marsh. Kathy, your vast experience provided a sound foundation for my research venture and, as a marvellous educator and generous scholar, you have continually inspired me to pursue higher academic standards. It has been my great privilege to learn so much from you along the way. There are others to whom I owe much, for both their input in my life and in this research adventure. The first person is my Mum, Gwen Cooper, who passed away before I completed high school. There are many times when I wish you could have been here, Mum, and I will never stop missing you. Thanks, too, for taking me to calisthenics classes, because that was the start of my dance journey, and so this research, in a way, connects me with you. My young adults, Phil, Erin and Hannah, are inspirational, and I am immensely proud of you. My husband Andrew has helped in whatever way he could with this project, including driving me to events and taking photos for me. All of these small things made a difference. My childhood piano teacher in Melbourne, Lin Threlfall Boles (dec.), arranged for me to be half of a piano duet playing a piece called Bulgarian Rhythms, and thus introduced me to non-classical musical forms. She also always hoped some of her students would study at a Conservatorium of Music, so I think she would be pleased that I finally made it, even if not as a piano student. Dr Tiffany Bodiam, former colleague at Anglicare Sydney, first suggested that I pursue doctoral studies in dance research, and Dr Wendy Brooks suggested I send my research proposal to the Sydney Conservatorium of Music. Wendy and I also spent many hours together as "dance Mums" at Irish step dancing competitions with our daughters. Thank you both for your part in my research adventure. To the Sydney Conservatorium of Music, particularly Dr Michael Webb, who initially interviewed me, I extend my grateful thanks for accepting me as a doctoral candidate. vi I thank all of the "expert participants", the scholars of Irish and Croatian dance and music who made themselves available for interviews and have answered questions by email. Your input has been both valuable and welcome, as it provided information about the various dance genres in their original contexts and suggested directions for my research here in Sydney. I also thank my band of proof readers, who bravely took on reading a chapter each:
Studies in Oral History, 2022
Although multicultural, Australia has not adequately documented the traditions of its immigrant c... more Although multicultural, Australia has not adequately documented the traditions of its immigrant communities, such as culturally specific dance styles. This article calls for an immigrant dance archive to be established. Perusal of existing archives reveals an Australian preference for Western theatrical dance. Oral histories are recommended as a data collection method and are an ideal means for relating somatic experiences and performance contexts. Accounts of migration, resettlement and resumption of dance practices in a novel environment can also be documented. Various issues relating to the proposed collection, including the fluidity of ‘community’ and the construction of subjective meaning through oral accounts, are addressed. Innovative strategies for presentations include combinations of oral, visual and performative data to formulate multi-modal narratives. Overall, the article advocates for collaborative collection building and describes potential benefits of the proposed archive for participants and the public.
Dance Research, 2021
Dance genres sometimes require categorisation and this article addresses a collective for which n... more Dance genres sometimes require categorisation and this article addresses a collective for which no universally-accepted terminology has been located. Using the example of the author's doctoral rese...
This article contributes to scant literature on Irish dance praxis in Australia by demonstrating ... more This article contributes to scant literature on Irish dance praxis in Australia by demonstrating how the confluence of global and local factors have permitted Irish dance in Australia to step to the fore. Irish step dance is a globally recognizable genre that has dispersed through, first, the migration of Irish people throughout the world and, more recently, through itinerant theatrical troupes. In Australia, a significant node of the Irish diaspora, Irish step dance has managed to achieve unusual prominence in a dance landscape that has traditionally been dominated by genres from within the Western concert dance canon. Drawing on both extant literature and ethnographic data, this article examines three threads from the narrative of Irish dance in Australia. First, the general choreographic landscape of the nation is described, showing that the preferences of Australian dance audiences have been shaped to privilege styles that are popular onstage and on-screen, with the resulting ma...
Annals of Leisure Research, 2021
This article explores the uniquely Australian leisure activity of calisthenics. The term ‘calisth... more This article explores the uniquely Australian leisure activity of calisthenics. The term ‘calisthenics’ has multiple applications; initially, it described a variety of exercise prescribed for physical and mental health. Australian calisthenics defies easy definition, representing a confluence of sport, music and dance; it is a highly structured competitive activity, affording the opportunity for a study of bodies, spaces and places. Individuals’ movements are nestled within the framework of the team, and the synchronous corporeality that is a feature of each calisthenics discipline serves as a stimulus for spatial awareness and the construction of a shared physicality. Calisthenics provides an ideal exemplar of various kinds of leisure work, including somatic, emotional, cultural and community-building labour. Competitions underpin the activity, producing aesthetic strictures and perpetuating the requirement for considerable economic investment. Thus, the article represents a multi-faceted analysis of an important aspect of Australia’s leisure and social histories.
History Australia, 2020
Abstract Irish and Scottish migration to Australia included the transportation of traditional art... more Abstract Irish and Scottish migration to Australia included the transportation of traditional arts, including dance. Dance competitions were popular community activities, but the presence of an Irish Jig in the canon of Scottish Highland dance and its imputed association with the vaudeville ‘stage Irish’ provoked anger among Irish migrants. This is because it threatened their notions of the representation of Irish identity through dance. The controversy surrounding the Irish Jig in the nineteenth century was perceived by Irish dancers as illustrating the wider socio-cultural circumstances of Irish immigrants in Australia.
The Australasian journal of Irish studies, 2014
Review(s) of: Step dancing in Ireland: Culture and history, by Catherine Foley, Farnham, Surrey a... more Review(s) of: Step dancing in Ireland: Culture and history, by Catherine Foley, Farnham, Surrey and Burlington, Vermont: Ashgate Press, 2013, 264 pp. RRP 58.50 pounds, ISBN 9781409448921.
When my older daughter first began competing in Irish step dance in 1995, there were seven dance ... more When my older daughter first began competing in Irish step dance in 1995, there were seven dance schools in Sydney represented at the New South Wales Championships, two of which were less than two years old. Going to a competition was a relaxed outing, taking up half a day. Within a few years, we more experienced mothers would warn newer parents: 'Don't plan to have guests for dinner on the same day as a competition-you'll never be home in time to cook.' By then, we had learned that due to the exponential growth in competitor numbers, a whole day (and often part of the evening) would be sacrificed. In 2013, there were nineteen dance schools in Sydney competing at State level, with several more schools already established but yet to produce championship level dancers.
Dance Chronicle
ABSTRACT Australian dancer Beth Dean was classically trained but belonged to the “ethnic dance” t... more ABSTRACT Australian dancer Beth Dean was classically trained but belonged to the “ethnic dance” tradition in which performers interpreted the dances of “primitive” others for the concert stage; her career reflected the trends in dance scholarship and practice of her era. This article compares her textual and performative works with other writers and practitioners in Australia and the rest of the world. It identifies Dean’s belief in an evolution of dance from primitive to classical, her positioning of classical ballet at the pinnacle of an imaginary hierarchy of dance, and her affirmation of universalist notions about dance.
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
The name of Irish immigrant Michael Purtill appears multiple times in Australian newspapers in th... more The name of Irish immigrant Michael Purtill appears multiple times in Australian newspapers in the late nineteenth and early twentieth century. This paper focuses on Purtill's career as a step dancer, as his dance experiences illuminate multiple differences in step-dance practice between Purtill's lifetime and the present era. Purtill was also active in the broader Irish immigrant community, as well as having many encounters with the law while living in Sydney. Purtill's life reveals much about both the historical development of step dancing and the socio-cultural experiences of Irish immigrants in Australia at that time.
Dance Research Journal
Considerable differences exist between Irish step dancing competitions in the current era and tho... more Considerable differences exist between Irish step dancing competitions in the current era and those which were held in the late nineteenth century. This article traces the evolution of step dancing competition praxes in Australia, exposing the multiple transformations which have occurred over time. It focuses on the shift from cultural representation to individual aesthetics and the ways in which this change has resulted from disparate influences both within the genre itself and from the broader sociocultural status of Irish immigrants in Australia.
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
Culture and Religion, Oct 1, 2021
Irish Women in the Antipodes: Foregrounded, 2024
There is little doubt that dance, in general, is an activity more typically associated with the f... more There is little doubt that dance, in general, is an activity more typically associated with the feminine gender. Certainly, the 2019 #BoysDanceToo movement attests to the global predominance of female dance practitioners across numerous styles in its call for recognition that dance can be studied and enjoyed equally by males. The same situation, of a primarily female community of dancers, currently exists for Irish dance but its history is fascinating because, over the space of only a few decades in the early twentieth century, the participant cohort changed from being almost exclusively masculine to one that is predominantly feminine. 1 This chapter concerns some of the girls and women in Australia who have been, and still are, Irish dance practitioners, teachers and adjudicators. From Men to Women Dance scholars in Ireland have written about the roving 'dance masters' of the nineteenth century, who moved from village to village teaching Irish dance to willing students. 2 The attitude of these male teachers towards the gender balance in their classes varied considerably. Some taught the same steps to all students, some chose to teach different steps to girls, and some refused to teach girls at all. 3 Yet, around the turn of the twentieth century, the gender balance altered radically, and Irish dancing became the province of women and girls, leaving a much smaller percentage of male practitioners. [p 153] This gender shift took place quite rapidly, with several factors influencing the transformation. First of all, this change reflected the generally accepted ideas about dance at that time in the Western world. Eminent English dance scholar Theresa Buckland records that at the end of the Victorian era, dance (in general) was considered to be more suitable for women and children than for adult males. 4 Instead, men were encouraged towards various sporting pursuits. Additional influences, especially those relating specifically to Ireland, have been discussed by several writers who agree that the demarcation of gender roles, encouraged by the Gaelic League (Conradh na Gaeilge) in the cause of Irish nationalism, appears to be pivotal. Sarah Churchill writes that there was an interest in cultural education for Irish children among members of the various nationalist organisations in Ireland. For example, she records that 'Inghinidhe na h´Éireann, or the Daughters of Erin, also included Irish dancing in its agenda for girls' cultural education, as did the United Irishwomen and the Cumann na mBan'. 5 Barbara O'Connor offers further observations about gender-based social changes in Ireland in the early twentieth century. She points out that there were 'strenuous efforts within cultural nationalism to establish a pronounced demarcation of male and female roles and activities'. 6 The Gaelic Athletic Association was formed with the intention of 'getting Irishmen involved
This comparative ethnography investigates the traditional dance practices of the Irish and Croati... more This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. Thus, the role of traditional dance practices in the two communities is analysed. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Themes which developed from the data revealed participants' agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields v Acknowledgements Dance has held a lifelong fascination for me and I have experienced so much enjoyment in both researching and writing about it. As with any work of this magnitude, there are many people who need to be thanked for providing inspiration and encouragement along the way. Most of the credit goes to my supervisor, Professor Kathryn Marsh. Kathy, your vast experience provided a sound foundation for my research venture and, as a marvellous educator and generous scholar, you have continually inspired me to pursue higher academic standards. It has been my great privilege to learn so much from you along the way. There are others to whom I owe much, for both their input in my life and in this research adventure. The first person is my Mum, Gwen Cooper, who passed away before I completed high school. There are many times when I wish you could have been here, Mum, and I will never stop missing you. Thanks, too, for taking me to calisthenics classes, because that was the start of my dance journey, and so this research, in a way, connects me with you. My young adults, Phil, Erin and Hannah, are inspirational, and I am immensely proud of you. My husband Andrew has helped in whatever way he could with this project, including driving me to events and taking photos for me. All of these small things made a difference. My childhood piano teacher in Melbourne, Lin Threlfall Boles (dec.), arranged for me to be half of a piano duet playing a piece called Bulgarian Rhythms, and thus introduced me to non-classical musical forms. She also always hoped some of her students would study at a Conservatorium of Music, so I think she would be pleased that I finally made it, even if not as a piano student. Dr Tiffany Bodiam, former colleague at Anglicare Sydney, first suggested that I pursue doctoral studies in dance research, and Dr Wendy Brooks suggested I send my research proposal to the Sydney Conservatorium of Music. Wendy and I also spent many hours together as "dance Mums" at Irish step dancing competitions with our daughters. Thank you both for your part in my research adventure. To the Sydney Conservatorium of Music, particularly Dr Michael Webb, who initially interviewed me, I extend my grateful thanks for accepting me as a doctoral candidate. vi I thank all of the "expert participants", the scholars of Irish and Croatian dance and music who made themselves available for interviews and have answered questions by email. Your input has been both valuable and welcome, as it provided information about the various dance genres in their original contexts and suggested directions for my research here in Sydney. I also thank my band of proof readers, who bravely took on reading a chapter each:
Research in Dance Education
This comparative ethnography investigates the traditional dance practices of the Irish and Croati... more This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. Thus, the role of traditional dance practices in the two communities is analysed. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Themes which developed from the data revealed participants' agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields v Acknowledgements Dance has held a lifelong fascination for me and I have experienced so much enjoyment in both researching and writing about it. As with any work of this magnitude, there are many people who need to be thanked for providing inspiration and encouragement along the way. Most of the credit goes to my supervisor, Professor Kathryn Marsh. Kathy, your vast experience provided a sound foundation for my research venture and, as a marvellous educator and generous scholar, you have continually inspired me to pursue higher academic standards. It has been my great privilege to learn so much from you along the way. There are others to whom I owe much, for both their input in my life and in this research adventure. The first person is my Mum, Gwen Cooper, who passed away before I completed high school. There are many times when I wish you could have been here, Mum, and I will never stop missing you. Thanks, too, for taking me to calisthenics classes, because that was the start of my dance journey, and so this research, in a way, connects me with you. My young adults, Phil, Erin and Hannah, are inspirational, and I am immensely proud of you. My husband Andrew has helped in whatever way he could with this project, including driving me to events and taking photos for me. All of these small things made a difference. My childhood piano teacher in Melbourne, Lin Threlfall Boles (dec.), arranged for me to be half of a piano duet playing a piece called Bulgarian Rhythms, and thus introduced me to non-classical musical forms. She also always hoped some of her students would study at a Conservatorium of Music, so I think she would be pleased that I finally made it, even if not as a piano student. Dr Tiffany Bodiam, former colleague at Anglicare Sydney, first suggested that I pursue doctoral studies in dance research, and Dr Wendy Brooks suggested I send my research proposal to the Sydney Conservatorium of Music. Wendy and I also spent many hours together as "dance Mums" at Irish step dancing competitions with our daughters. Thank you both for your part in my research adventure. To the Sydney Conservatorium of Music, particularly Dr Michael Webb, who initially interviewed me, I extend my grateful thanks for accepting me as a doctoral candidate. vi I thank all of the "expert participants", the scholars of Irish and Croatian dance and music who made themselves available for interviews and have answered questions by email. Your input has been both valuable and welcome, as it provided information about the various dance genres in their original contexts and suggested directions for my research here in Sydney. I also thank my band of proof readers, who bravely took on reading a chapter each:
Studies in Oral History, 2022
Although multicultural, Australia has not adequately documented the traditions of its immigrant c... more Although multicultural, Australia has not adequately documented the traditions of its immigrant communities, such as culturally specific dance styles. This article calls for an immigrant dance archive to be established. Perusal of existing archives reveals an Australian preference for Western theatrical dance. Oral histories are recommended as a data collection method and are an ideal means for relating somatic experiences and performance contexts. Accounts of migration, resettlement and resumption of dance practices in a novel environment can also be documented. Various issues relating to the proposed collection, including the fluidity of ‘community’ and the construction of subjective meaning through oral accounts, are addressed. Innovative strategies for presentations include combinations of oral, visual and performative data to formulate multi-modal narratives. Overall, the article advocates for collaborative collection building and describes potential benefits of the proposed archive for participants and the public.
Dance Research, 2021
Dance genres sometimes require categorisation and this article addresses a collective for which n... more Dance genres sometimes require categorisation and this article addresses a collective for which no universally-accepted terminology has been located. Using the example of the author's doctoral rese...
This article contributes to scant literature on Irish dance praxis in Australia by demonstrating ... more This article contributes to scant literature on Irish dance praxis in Australia by demonstrating how the confluence of global and local factors have permitted Irish dance in Australia to step to the fore. Irish step dance is a globally recognizable genre that has dispersed through, first, the migration of Irish people throughout the world and, more recently, through itinerant theatrical troupes. In Australia, a significant node of the Irish diaspora, Irish step dance has managed to achieve unusual prominence in a dance landscape that has traditionally been dominated by genres from within the Western concert dance canon. Drawing on both extant literature and ethnographic data, this article examines three threads from the narrative of Irish dance in Australia. First, the general choreographic landscape of the nation is described, showing that the preferences of Australian dance audiences have been shaped to privilege styles that are popular onstage and on-screen, with the resulting ma...
Annals of Leisure Research, 2021
This article explores the uniquely Australian leisure activity of calisthenics. The term ‘calisth... more This article explores the uniquely Australian leisure activity of calisthenics. The term ‘calisthenics’ has multiple applications; initially, it described a variety of exercise prescribed for physical and mental health. Australian calisthenics defies easy definition, representing a confluence of sport, music and dance; it is a highly structured competitive activity, affording the opportunity for a study of bodies, spaces and places. Individuals’ movements are nestled within the framework of the team, and the synchronous corporeality that is a feature of each calisthenics discipline serves as a stimulus for spatial awareness and the construction of a shared physicality. Calisthenics provides an ideal exemplar of various kinds of leisure work, including somatic, emotional, cultural and community-building labour. Competitions underpin the activity, producing aesthetic strictures and perpetuating the requirement for considerable economic investment. Thus, the article represents a multi-faceted analysis of an important aspect of Australia’s leisure and social histories.
History Australia, 2020
Abstract Irish and Scottish migration to Australia included the transportation of traditional art... more Abstract Irish and Scottish migration to Australia included the transportation of traditional arts, including dance. Dance competitions were popular community activities, but the presence of an Irish Jig in the canon of Scottish Highland dance and its imputed association with the vaudeville ‘stage Irish’ provoked anger among Irish migrants. This is because it threatened their notions of the representation of Irish identity through dance. The controversy surrounding the Irish Jig in the nineteenth century was perceived by Irish dancers as illustrating the wider socio-cultural circumstances of Irish immigrants in Australia.
The Australasian journal of Irish studies, 2014
Review(s) of: Step dancing in Ireland: Culture and history, by Catherine Foley, Farnham, Surrey a... more Review(s) of: Step dancing in Ireland: Culture and history, by Catherine Foley, Farnham, Surrey and Burlington, Vermont: Ashgate Press, 2013, 264 pp. RRP 58.50 pounds, ISBN 9781409448921.
When my older daughter first began competing in Irish step dance in 1995, there were seven dance ... more When my older daughter first began competing in Irish step dance in 1995, there were seven dance schools in Sydney represented at the New South Wales Championships, two of which were less than two years old. Going to a competition was a relaxed outing, taking up half a day. Within a few years, we more experienced mothers would warn newer parents: 'Don't plan to have guests for dinner on the same day as a competition-you'll never be home in time to cook.' By then, we had learned that due to the exponential growth in competitor numbers, a whole day (and often part of the evening) would be sacrificed. In 2013, there were nineteen dance schools in Sydney competing at State level, with several more schools already established but yet to produce championship level dancers.
Dance Chronicle
ABSTRACT Australian dancer Beth Dean was classically trained but belonged to the “ethnic dance” t... more ABSTRACT Australian dancer Beth Dean was classically trained but belonged to the “ethnic dance” tradition in which performers interpreted the dances of “primitive” others for the concert stage; her career reflected the trends in dance scholarship and practice of her era. This article compares her textual and performative works with other writers and practitioners in Australia and the rest of the world. It identifies Dean’s belief in an evolution of dance from primitive to classical, her positioning of classical ballet at the pinnacle of an imaginary hierarchy of dance, and her affirmation of universalist notions about dance.
The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Aus... more The kumpanjija, or chain sword dance, of Blato, Croatia, is also danced each April in Sydney, Australia. This paper explores the perpetuation of the kumpanjija in Sydney since 1965, culminating in the fiftieth anniversary performance in 2015. Based on data from ethnographic fieldwork, the paper provides an ethnochoreological analysis of this event and illustrates how the performance fosters experiences of bonding, embodies nostalgic sentiment and provides community focus. The relationship between the dance as performed currently in Blato, and the performance troupe in Sydney is also explored. This event demonstrates the significance of the annual event for this section of the Croatian immigrant community in Sydney.
The name of Irish immigrant Michael Purtill appears multiple times in Australian newspapers in th... more The name of Irish immigrant Michael Purtill appears multiple times in Australian newspapers in the late nineteenth and early twentieth century. This paper focuses on Purtill's career as a step dancer, as his dance experiences illuminate multiple differences in step-dance practice between Purtill's lifetime and the present era. Purtill was also active in the broader Irish immigrant community, as well as having many encounters with the law while living in Sydney. Purtill's life reveals much about both the historical development of step dancing and the socio-cultural experiences of Irish immigrants in Australia at that time.
Dance Research Journal
Considerable differences exist between Irish step dancing competitions in the current era and tho... more Considerable differences exist between Irish step dancing competitions in the current era and those which were held in the late nineteenth century. This article traces the evolution of step dancing competition praxes in Australia, exposing the multiple transformations which have occurred over time. It focuses on the shift from cultural representation to individual aesthetics and the ways in which this change has resulted from disparate influences both within the genre itself and from the broader sociocultural status of Irish immigrants in Australia.
In this paper, I provide an historical overview of the situation for Irish immigrants in Australi... more In this paper, I provide an historical overview of the situation for Irish immigrants in Australia. Data are largely drawn from the digitised newspapers of the colonial and early post-colonial eras, and illustrate the importance of traditional practices such as Irish dancing in facilitating community cohesion and pride. The general sociopolitical situation of the Irish community was often reflected in the context of dance. Thus, the story of Irish dancing in Australia contributes to the overall narrative of migration, settlement and identity construction.
