In 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formedAboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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1965 年代表澳大利亚加入英联邦：Aborigiana 和土著表演

1965 年，澳大利亚政府和澳大利亚伊丽莎白剧院信托基金 (AETT) 在伦敦英联邦艺术节上讨论了哪些表演艺术团体应该代表澳大利亚。AETT 提出了新成立的原住民剧院，包括来自提维群岛、阿纳姆地东北部和戴利河的作曲家、音乐家和舞者。政府拒绝了，而是派悉尼交响乐团演奏约翰·安蒂尔和彼得·斯科尔索普的作品。在研究这些谈判的历史背景时，我展示了在历史上推广声称代表土著文化的“澳大利亚主义”艺术音乐作品与剥夺土著表演者作为其音乐传统所有者的代表权之间的直接关系。在沃尔夫的定居者殖民理论和“消除逻辑”的框架内，我认为澳大利亚的艺术音乐已经直接寻求取代土著人民对土著文化的表演，即使土著人民反对替代。