Bangarra
Dance Theatre.
Canberra
Theatre 28th to 30th July.
Reviewed by
Bill Stephens
Fresh from
its successes earlier this week dominating the dance section of the 2016
Helpmann Awards, Bangarra Dance Theatre is now presenting its newest program,
“OUR land people stories”, in the Canberra Theatre, where its long and loyal
association with Canberra audiences who have watched its development almost
since its inception 27 years ago, was evidenced in the warm reception given to
this program at its opening performance.
For the last
25 of those years, Stephen Page has been at the helm of the company, which
he has led by example by creating a succession of
remarkable dance works which have won it world-wide recognition for its powerful
telling of indigenous stories through the medium of contemporary dance.
“OUR land
people stories” follows in that tradition in that it consists of three separate
works, one created by Page, and the other two by dancers performing in the
company, which tackle disparate aspects of the indigenous storyline. All three
works feature striking set designs by Jacob Nash, superb textural costumes
by Jennifer Irwin, and stunning lighting
design by Matt Cox.
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| Bangarra Dance Theatre in "Macq" Photo by Wendell Teodora |
Jasmin
Sheppard’s work, “Macq” focusses on a non-indigenous historical figure,
Governor Lachlan Macquarie and his involvement in a massacre of aborigines at
Appin in 1816. Performed to an evocative soundscape by David Page, his last for
the company, the work begins with a beautifully-lit tableau of women shielding,
we learn as they eventually separate, a young woman, (Nicola Sabatino),
grieving, pieta-like, over the lifeless body of a man (Leonard Mickelo).
The young
woman wraps herself around the man’s body desperately trying to reanimate him. This
poignant scene suddenly dissolves into a jolly picnic, given by Macquarie,
(brilliantly danced by Daniel Riley), for the local aborigines, following which
we see Macquarie and an aboriginal man, (Beau Dean Riley Smith) arguing over
territory in a strikingly realised scene performed around a long table.
Employing
her facility for strong imagery, with a confident choreographic style,
Sheppard’s depiction of the horrible events which inspired the work, ends on a
note of hope rather than accusation, inviting the viewer to reflect on the
repercussions of this little-known moment of history.
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| Bangarra Dance Theatre in "Miyagan" |
Cousins,
Beau Dean Riley Smith and Daniel Riley explore their own complex Wiradjuri
family ties in the second work, “Miyagan”.
This work is abstract, affectionate , mysterious and joyous, involving the
entire company in often luscious, close-to-the-ground, sweeping choreography
which is a joy to watch, and no doubt, to dance. A catchy score by Paul Mac provides plenty of
changes in tempo and mood, and Jennifer Irwin’s costumes include emu feather
hoods which suggest both mysterious ancestral spirits and flocks of cheeky
birds. Integral to the work are Jacob Nash’s amazing sculptural feathers which
increase in number as the work progresses until the entire cast is enclosed in
a beautiful lyre-bird habitat.
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| Bangarra Dance Theatre in "Nyapanyapa" Photo: Jhuny Boy Borja |
The final
work, which occupies the entire second half, is a stunning, mystical creation by
Stephen Page entitled “Nyapanyapa”, inspired by the paintings of Nyapanyapa
Yunupingu. The set design by Jacob Nash includes huge blow-ups of Nyapanyapa’s
paintings, which are abstract depictions of events which have occurred in her
life, and as each painting appears out of the darkness, these events are
translated into dreamlike images by the dancers.
The first of
paintings recalls an event when Nyapanyapa almost lost her life when she was
gored by a buffalo. In this sequence Waangenga Blanco conjures up a frightening
image of a buffalo with huge horns strapped across his shoulders. Nyapanyapa
herself is vividly interpreted by Elma Kris, who provides a compelling
connecting link between each of the sequences.
The entire
company rapidly change characters and costumes as they portray an endless
succession of bush apples, lost Wendys, seashells, nibblets, and soul spirits
with complete conviction in a continuous flow of mesmerising sequences which
include an especially beautiful passage involving smoke sticks. Once again,
Stephen Page demonstrates his mastery of the choreographic style he has
developed over the years which has become the indelible signature stamp
identifying Bangarra Dance Theatre from all others.
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| Bangarra Dance Theatre in "Nyapanyapa" Photo by Jhuny Boy Borja This review first published in CITY NEWS on 29th July 2016 |
