Australian convict life made more bearable by colonial dance and music
Updated
Our perceptions about life as a convict in colonial Australia have been influenced by propaganda from previous generations.
The image of the shackled convict, constantly flogged and leading a horrible, degraded existence comes from Marcus Clarke's novel For the Term of His Natural Life, reinforced by Robert Hughes in The Fatal Shore.
Research has shown that only hardened criminals were chained and repeatedly flogged.
Life was harsh at times, but for the majority of convicts theirs was a fairly normal existence. Most lived in huts or houses, wore ordinary clothing and worked in regular occupations with time allowed for recreation. This is where a need for relaxation becomes apparent.
A vibrant popular culture
Popular culture was quickly established in the colony and this included music and dance for the common people. Visitors to the colony in 1820s reported on the large number of public houses where dancing took place and a French visitor remarked on the "excessive" amount of leisure time the convicts enjoyed.
Dance was an important aspect of social life at the time the colony was founded, and every one, rich and poor, young and old, loved to dance.
In the 18th century, the English were renowned as a nation of dancers and this was also the case in Ireland and Scotland — all places where convicts originated — and the tunes were often an expression of rebellion.
Traditional dance histories have focused on the court, ballet and theatrical dance with little regard for social dances popular with the masses.
New approaches in academic research have opened the way to examine the lives, ideas and experiences of those whose stories have been lost in the dominant historical narratives. By combining theory and dance practice, additional understandings of this fascinating subject have been revealed. It has been crucial in exploring the lost culture of convict music and dance in the early colony.
Not just floggings and misery
Prior to transportation, dancing was allowed in prisons and on some of the hulks (prison ships) which housed convicts.
On the ships which transported the convicts to the colony, it was common for the surgeons, charged with the welfare of the convicts, to encourage dancing. It was recognized as an activity promoting physical and psychological well-being.
Surgeon John Smith on the convict ship Surry wrote in 1834:
The men were exercised as much as possible, dancing, acting plays, 'sky larking' and marching about were daily employment.
In the colony, reports about dancing come from a completely different source. Although it was not an illegal activity, many of the associated circumstances were, so one of the main sources of information is the police reports published in the local newspapers.
If convicts were absent without permission, in unlicensed premises, or creating a racket after hours, they could be in trouble with the law. Invariably, if they were partying, dancing would be involved.
Despite the laws it was impossible to stop people enjoying themselves.
The type of dancing was the English country dance, a form which had spread throughout the British Isles, the most popular type of dance since Shakespeare's time. Within the dance there were opportunities for virtuoso stepping, but even the humblest dancer could stomp to their heart's content.
Dances could be enjoyed by groups of men or women or in mixed company, so despite the segregation of genders on convict ships, dancing was not inhibited.
Transports of delight
A key benefit of this dance-form is its social nature — you and your partner dance with everyone in the room. It is an egalitarian dance that give equal opportunities. The gender roles are not significantly different and within the dance, everyone has an opportunity to lead.
Unlike dances for couples or individuals, it is a group dance which encourages a high degree of social interaction — eye contact, the giving of hands, moving together to lively music. As well as providing entertainment and enjoyment, it kindles socialisation and group cohesion.
Imagine being pulled away from family, friends, and a familiar way of life to be transported to the end of the world.
One of the few constants is the shared culture of dance and music, lifting you to a happier place, a reminder of jolly times and an escape from current hardships.
Dancing created a sense of belonging in the new community, a significant element in the convicts' lives.
Heather Blasdale Clarke is completing her doctorate on Australian colonial dance at Queensland University of Technology's Creative Industries Facility.
An exhibition is planned for Redcliffe Museum in Brisbane featuring talks, music and dance workshops and an online database is being developed. More information is available.
Topics: dance, history, australia
First posted
