They are single objects, a feather, a locust, a bible, a boomerang, a broken wing, an angel, and they reflect McKinley’s own indigenous background in rural New South Wales and, at times, the conflict between Aboriginal and Christian spirituality. Bangarra Dance Theatre is Australia’s leading Indigenous performing arts company and is recognised nationally and internationally for distinctive theatre productions that combine the spirituality of traditional culture with contemporary forms of storytelling though dance. Diverse in their cut and in their sculptural qualities, they were beautifully textured and designed so that light playing on them could change their appearance completely. Photo: © Edward Mulvihill, 17 February 2016, preview screening, Arc Cinema, National Film and Sound Archive, Canberra. Occasionally a political stance draws out movement of a more forceful kind as in ‘Shields’ in which issues of land rights and recognition of indigenous people determine the choreographic style. But we are given insight into many other aspects of her life, and see reproductions of her work as background. He dances with such a fluid upper body and his movement streams out to his fingertips. But if the ‘look’ is same, same but different, Bangarra dancers have moved ahead in leaps and bounds. For Terrain set designer Jacob Nash began with a bright, white stage that was gradually filled with changing colours and light. Her Majesty's Theatre, Ballarat, 11 FebUlumbarra Theatre, Bendigo, 15 FebMildura Arts Centre, 18 February, Theatre Royal, Hobart 23-25 FebGeelong PAC, 2-4 March Westside PAC, 8 March, Artistic Director Stephen PageChoreography Frances Rings Music David PageSet Design Jacob NashCostume Design Jennifer IrwinLighting Design Karen Norris. Tags: Artefact, Arts Centre, Australian Ballet, Bangarra Dance Theatre, Daniel Riley McKinley, David Page, Deborah Brown, Ella Havelka, Elma Kris, Frances Rings, Helpmann Awards, Jacob Nash, Jasmin Sheppard, Jennifer Irwin, Jhuny-Boy Borja, Leigh Warren and Dancers, Melbourne, Patrick Thaiday, Stephen Page, Tasdance, Terrain, Waangenga Blanco, Waramuk – in the dark night, West Australian Ballet, Yolande Brown, Araminta Wraith | Claudia Bauer | Deborah Weiss | Foteini Christofilopoulou | Graham Watts | Heather Desaulniers | Jann Parry | Josephine Leask | Lauren Gallagher | Lidia Crisafulli | Lynette Halewood | Margaret Willis | Marina Harss | Oksana Khadarina | Sara Veale | Siobhan Murphy | Susanna Sloat | Valerie Lawson | Bruce Marriott (Ed). TERRAIN. Depending on the lighting (by Damien Cooper) they changed from looking a little punk, to glowing in the dark, to looking slinky, and much more. In 2016 Bangarra brings this work back to the stage, exploring the relationship of Indigenous people to Country and how landscape becomes a second skin. Having said that, sadly I have to admit that unexpected circumstances meant that I was only able to stay for Act I, Dubboo: Songman. “Riverside Theatres has long supported the presentation of works by Bangarra Dance Theatre, from some of its earliest works such as Fish in 1998 up to its most recent being Mathinna in 2010,” said Frances Rings. Premiering in 2012, Terrain received two Helpmann Awards for Best Ballet/Dance Work and Best Female Dancer in a Dance of Physical Theatre Work for dancer Deborah Brown. Terrain explores the fundamental connection between Aboriginal people and land – how we treat our land, how we understand its spirit, and how we regard its future. Sydney Opera House August 3 2012 By Renata Ogayar. Unfortunately, even though they used a microphone, their voices were often inaudible above the crashing sounds of the orchestra playing Stefan Gregory’s fragmentation of Tchaikovsky’s familiar Swan Lake music. Witness the power of its dance ensemble in this spectacular and meaningful work. It reminds us of something beyond ourselves and it frees us. Photo: © Jhuny-Boy Borja. About opens with Kris, shrouded in a cloud of white mist, taking the role of a storyteller. On another level the work rips apart the traditional choreography of Swan Lake, and amusingly so, especially in the section based on the dance of the four little swans. Terrain begins with a Calling to Country in Red Brick. It referred to his process of generating ideas and vocabulary for the work by asking a range of people about what they thought constitutes a ballet, and his subsequent deconstruction of the ballet Swan Lake. For me Wong was the sole Australian Ballet dancer who was able to transcend her balletic training and blend into the Bangarra way of moving. However, as more dancers move into the realm of choreography and the company continues to mature, it would be nice to hear from new indigenous musicians and designers to provide an insight into the diverse choreographic talent shining on the Bangarra stage. In it Daniel Riley McKinley and Travis de Vries, the latter a dancer on secondment to Bangarra, alternately wrap, hide and present themselves in an enormous possum skin cloak, a museum artefact that resonates nevertheless with the spirituality with which it was originally imbued.
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