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In 1967 Aboriginal and Torres Strait Islander people successfully campaigned for a referendum for constitutional change, releasing them from policies restricting movement outside of their home states and territories of residence. This chapter interrogates the contested space for representation of Aboriginal performance in the years following the referendum. New companies for Aboriginal music and dance performance flourished after 1967 and began to tour outside Australia, including to Japan, Fiji, and the USA. Non-Indigenous performers such as Beth Dean and Victor Carell, previously representing Aboriginal culture in their shows, quickly had to revise their approaches and soon began co-ordinating international music and dance performances by the owners of the traditions, instead of performing them. New companies included the Aboriginal Theatre Foundation (formed in 1969) and the South Pacific Festival of Arts (formed in 1972, building on the 1970 Ballet of the South Pacific). Some of the key musicians/dancers in these new performances, David Gulpilil, David Blanasi, and Djoli Laiwanga, went on to prominent careers as recording artists, touring musicians, and, in Gulpilil's case, in film. The chapter considers how these new contexts for cultural exchange were internationalized while resisting globalization, emphasizing localized performances by the owners of the songs and dances themselves.

Shortlisted for the 2021 Prime Minister's Literary Award for Australian History. Representing Australian Aboriginal Music and Dance 1930-1970 offers a rethinking of recent Australian music history. Amanda Harris presents accounts of Aboriginal music and dance by Aboriginal performers on public stages. Harris also historicizes the practices of non-Indigenous art music composers evoking Aboriginal music in their works, placing this in the context of emerging cultural institutions and policy frameworks. Centralizing auditory worlds and audio-visual evidence, Harris shows the direct relationship between the limits on Aboriginal people's mobility and non-Indigenous representations of Aboriginal culture. This book seeks to listen to Aboriginal accounts of disruption and continuation of Aboriginal cultural practices and features contributions from Aboriginal scholars Shannon Foster, Tiriki Onus and Nardi Simpson as personal interpretations of their family and community histories. Contextualizing recent music and dance practices in broader histories of policy, settler colonial structures, and postcolonizing efforts, the book offers a new lens on the development of Australian musical cultures.

Archival objects and the circulation of culture / Amanda Harris -- Part 1: C.P. Mountford and the circulation of music, dance and film -- Beth Dean and the transnational circulation of Aboriginal dance culture: gender, authority and C.P. Mountford / Victoria Haskins -- The circle of songs: traditional song and the musical score to C.P. Mountford's documentary films / Anthony Linden-Jones -- Hearing music and music making in non-indigenous accounts of the bush from the mid-twentieth century / Amanda Harris -- Part 2: Transformation and repatriation -- Song as artefact: the reclaiming of song recordings empowering Indigenous stakeholders -- and the recordings themselves / Genevieve Campbell -- Turning subjects into objects and objects into subjects: collecting human remains on the 1948 Arnhem Land Exhibition / Martin Thomas -- Part 3: -- Cultural journeys in the Top End -- The role of songs in connecting the living and the dead: a funeral ceremony for Nakodjok in western Arnhem Land / Rueben Brown -- Cross and square: variation in the transmission of songs and musical styles between the Kimberley and Daly regions of Northern Australia / Sally Treloyn -- Listening to Heavy Metal in Wadeye / John Mansfield.

How do you manage a team following the death of an employee? This article explores this question and inquires if managerial responses to suffering can be compassionate with a decentralized team structure, in the restaurant industry where employees are faced with a high degree of emotional labour. To date, the compassion process has suggested that a focal actor, often a manager, first must notice suffering, then must feel empathic concern, and act in ways to alleviate a sufferer's pain (Kanov et al., 2004). In this study, against the backdrop of the compassion process with a narrative approach and stories-as-text design, the findings articulate the material conditions that impede, disavow and inhibit the compassion process from the point of view of three restaurant managers acting as focal actors and their (rather unsuccessful) attempts to aid and alleviate the suffering of their grieving team members. By explicating the dynamics of their managerial failure using the link of grief and compassion, this article extends our understanding of grief at work and management in the restaurant industry more broadly.

The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century's wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women's engagement with feminism. I examine feminists' regard for women musicians and conversely composing women's views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise Héritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth's sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women's political and personal context enables an understanding not only of their contribution to music history, but ...

The origins of anthropology lie in expeditionary journeys. But since the rise of immersive fieldwork, usually by a sole investigator, the older tradition of team-based social research has been largely eclipsed. Expeditionary Anthropology argues that expeditions have much to tell us about anthropologists and the people they studied. The book charts the diversity of anthropological expeditions and analyses the often passionate arguments they provoked. Drawing on recent developments in gender studies, indigenous studies and the history of science, the book argues that even today, the 'science of man' is deeply inscribed by its connections with expeditionary travel

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.

This article examines two blogs written by the spouses of game developers about extreme and exploitative working conditions in the video game industry and the associated reader comments. The wives of these video game developers and members of the game community decry these working conditions and challenge dominant ideologies about making games. This article contributes to the work intensification literature by challenging the belief that long hours are necessary and inevitable to make successful games, discussing the negative toll of extreme work on workers and their families, and by highlighting that the project-based structure of game development both creates extreme work conditions and inhibits resistance. It considers how extreme work practices are legitimized through neo-normative control mechanisms made possible through project-based work structures and the perceived imperative of a race or 'crunch' to meet project deadlines. The findings show that neo-normative control mechanisms create an insularity within project teams and can make it difficult for workers to resist their own extreme working conditions, and at times to even understand them as extreme.

Drawing on the Foucauldian technologies of the self, this study explores how individuals re-envision practices of wellbeing outside of traditional organizational contexts during extreme events. Based on a thematic analysis of 7234 comments posted on the Yoga with Adriene YouTube channel in 2020, this study unpacks a technologically mediated practice of self-care, which we conceptualize as somametamnemata. Our findings illustrate three entangled aspects of somametamnemata relating to yoga, a form of bodywork: Caring about self through practicing yoga online; caring about self and others through sharing about yoga in written comments; and caring about self and others through responding to shared verbalizations of yoga. This study distinguishes somametamnemata from known practices of self-care, advancing existing literature on technologies of self by overcoming the dichotomy between negative views of ill-being and positive views of wellbeing. By situating the potentiality of individual wellbeing within ill-being, we shift debates and discussions of "corporate wellness" beyond organizational boundaries.

In this inductive, qualitative study, we observe how Uber, a company often hailed as being the poster-child of the sharing economy facilitated through a digital platform may also at times represent and reinforce postcapitalist hyper-exploitation. Drawing on the motivations and lived experiences of 31 Uber drivers in Toronto, Canada, we provide insights into three groups of Uber drivers: (1) those that are driving part-time to earn extra money in conjunction with studying or doing other jobs, (2) those that are unemployed and for whom driving for Uber is the only source of income, and (3) professional drivers, who are trying to keep pace with the durable digital landscape and competitive marketplace. We emphasize the ways in which each driver group simultaneously acknowledges and rejects their own precarious employment by distancing techniques such as minimizing the risks and accentuating the advantages of the driver role. We relate these findings to a broader discussion about how driving for Uber fuels the traditional capitalist narrative that working hard and having a dream will lead to advancement, security and success. We conclude by discussing other alternative economies within the sharing economy.