The nominating panels for each category contain people with vested interests. Sometimes resourcefully reappropriated items, such as shopping baskets or sardine tins, offer an explicitly present-day reference, but there are moments when the movement alone conveys this abstract change of perspective.
The influence of electronic musician Paul Mac collaborating with composer David Page works well to highlight the discrepancy between innocence and maturity. It is at times chilling. Goodes was the only woman nominated across 12 director categories. The piece is a vivid collage of this multi-faceted culture, but while some of these snapshots feel ancient, such as a salt-encrusted male ensemble of fishermen, moving with a slow, deliberate, muscular intention through a churning sea, others are distinctly modern.
It opens with the a cappella Bangarra dance theatre review of elder Djakapurra Munyarryun carrying out across the theatre. This tension finds release in the catharsis of the final section, White, a beautiful cadence of physical poetry with the entire ensemble on stage together for the first time.
Djakapurra Munyarryun, painted in the traditional manner, spear in hand, provides a cultural anchor as the six bare chested dancers leap and scuttle with a ferocious charge. As a group, the women bring out the struggle and self-affirmation within the conflicts and are consistently technically precise.
It is conceptually rich and well worth seeing. Bangarra dance theatre review Bangarra Dance Theatre by Maxim Boon on June 17, Two accomplished world premieres explore preserving ancient traditions in a modern society.
Sheoak by tried and tested Bangarra favourite, Frances Rings, and I. The creative partnership of Head Designer Jacob Nash, Costume Designer Jennifer Irwin and Lighting Designer Karen Norris, has yielded a desolately stark, but nonetheless compelling backdrop for the piece that is at once evocative of both the ancient past and some dystopian future.
The rest of the company, fully painted now in white, bring us into the spirit world, becoming human totems balancing in carefully cantilevered shapes that seem to defy gravity. While still alluding to the natural beauties of country, Blak harbours much dark reality.
Flashes of colour - the vibrant blue of dresses, a luscious showering of sand - intermittently bring back a more peaceful, natural world. Though not all facets totally jell, Blak is conceptually rich and well worth seeing.
Against a soundscape of lapping waves and distant seabirds, we are in no doubt about the tropical setting.
The colours are yellow, black, red and white. Senior dancer Elma Kris takes on the role of a spiritual leader and a narrative focal point of the piece. This revival, appropriately staged in Redfern where this company was born, is a potent reminder of why Ochres had such a seismic impact.
S, by first time co-choreographers Deborah Brown and Waangenga Blanco. At the time, the work was a bold statement, blending traditional and contemporary dance, while bravely highlighting modern day struggles overlaid on a rich cultural history.
After the pain and anger of the central scenes this poignant moment is a cleansing salve. Daniel Riley McKinley is one such dancer.
On Monday night, for instance, the artistic director of the Australian BalletDavid McAllister — who is on the nominating panel for best dance — presented the award for best dance, which his company won. As the lights lift, the first theme is yellow. Both Page and Walong-Sene have individually distinctive choreographic voices, but what they share is a thorough understanding of the balanced intermingling of old and new.
The movement is confronting in its portrayal of the potential threats to indigenous culture. The New York drag performer Taylor Mac won two major prizes — best cabaret performer and best special event — for his hour extravaganza held across four nights at the Melbourne festival.
However the narratives that Page and his choreographic collaborator Bernadette Walong-Sene explore in Ochres also illuminate universally human experiences. A writhing, shadowy trunk of flesh, bodies piled high, punctuated with limbs like branches that jut out from the tower, slowly entwining and unlacing, fractures and splits as dancers peel away one by one.
There is no narrative as such, but there is a clear and poignant femininity to the piece. Their movements are in stark contrast to the women; deliberate and jerky, but also strong and watchful.
The result is an evening of vibrant, often uplifting, yet thought provoking dance that not only communicates the complexities and nuances of Aboriginal culture through the accessible prism of the stage, but also offers two very individual and regionally specific responses to the idea of preserving ancient traditions in a modern society.
The nominees in the scenic, lighting and sound design categories were almost exclusively male, reflecting national statistics of the under representation of women in Australian theatre.Bangarra Dance Theatre: history in movement.
By Sharon the Page brothers are in a reflective mood this morning as they sit down for a chat with Review. Bangarra’s quarter-century milestone. Ochres review: Bangarra's most perfect show still a revelation 21 years after debut.
much has changed in the development of Bangarra Dance Theatre. Today's dancers and their repertoire are. Bangarra Dance Theatre, Sydney, NSW. 56, likes · 1, talking about this · 2, were here.
Bangarra is an Aboriginal & Torres Strait Islander /5(). "I first saw Bangarra in and wow! It was emotive, mesmerising and unlike anything I had ever seen before.
I am delighted to support Bangarra Dance Theatre and continue my journey with them as. Review: Ochres (Bangarra Dance Theatre) by Maxim Boon on November 28, ★★★☆☆ A welcome revival of the landmark piece that has driven this company for over two decades.
Bangarra Dance Theatre has a vibrant new program of three works that not only celebrate Stephen Page's 25 years as artistic director, but look ahead to an exciting future.Download