Bangarra: 30 Years of Sixty Five Thousand, performed at the Playhouse Theatre, QPAC was a captivating display of Indigenous cultural identity in the form of dance. If you haven’t seen a Bangarra show before and are wondering what to expect, I can let you know that each and every show that comes out of Bangarra Dance Theatre is worth attending. The reason I state this is because of the high level of quality of the performances and the way that traditional Aboriginal and Torres Strait Islander culture is represented.
The particular dance style presented in Bangarra: 30 Years of Sixty Five Thousand infuses traditional aspects of Indigineous dance with a modern twist. The acknowledgement and representation of traditional and sacred culture in a contemporary setting handled in a respectful and appropriate way is a rare sight to see in the modern day and age. Bangarra ‘gets it right’ because they introduce sacred cultural identity paired with historical recognition, in a dance environment, to modern audiences with outstanding results. Bangarra Dance Theatre also has the ability to acknowledge that that specific audience groups will identify with their content and see themselves, and their community, in a whole new light because of what they have witnessed on stage.
Act I - Unaipon
The first forty-five minute act of the show had many parts and the audience was delicately interwoven into the various elements through the lighting, set design and choreography of the piece Unaipon. One of the interesting aspects of the opening act Ngarrindjeri titled ‘String games’ which included the performers pulling strings across the stage, on opposite sides, to make complex patterns. The way the dancers interacted with the string, and the way they defined their movement in relation to the flexibility of the string was extraordinary to watch. It was almost like a spider’s web of history and the history and life of Indigenous Australians could easily be a metaphor. The beauty of a Bangarra show is that you know the theme, it is up to you as an audience member to interpret the deeper connections.
There was a voice-over that featured within this act that represented David Unaipon, an Aboriginal Inventor, philosopher, writer and storyteller. This was a unique element in the opening act as the audience was able to connect the movement on stage with the narrated voice and make further connections. In the next part of the performance Science titled ‘Motion’ it started with nothing but darkness. Little by little, as the voice continued to describe the achievements of David Unaipon, a thin, rectangular platform rose to reveal a shining beam of light. The rectangular beam of light, shaped like an ‘L’, was arranged to be perfectly symmetrical to the audience perspective.
From an architectural angle, I really liked this structure and the way the beam of light presented another layer in which the performers could further interact with their surroundings. The dancers would go up and down the line of the ‘L-shaped’ beam of light and move in a way that made it seem as though they could not survive without the beam itself. It was a poetic display and one that was creative from an architectural standpoint. The dancers would move to the narration in different ways, at some points they would stand completely still and at other points they would collide into each other at various intervals. It was a unique display of movement and motion and furthermore it was a fantastic start to the show.
Act II - Stamping Ground
I first came across Jiří Kylián’s work in The Masters Series titled Soldiers’ Mass as part of Queensland Ballet. It’s safe to say I recognised various dance elements in his choreography but most notable was his interpretation of traditional culture through contemporary dance. Jiří Kylián’s skill is being able to respectfully enter a community space and provide a complementary angle in which to represent traditional dance. The dance that featured in Stamping Ground was unusual in the sense that it would not be easy to imitate or reproduce. The movements were rigid yet flowing and impressive nonetheless.
The performers would move in a quirky fashion and it was comical in the sense that the audience members seemed to giggle at unexpected intervals. It wasn’t meant to be taken seriously, it was meant to be taken as light-hearted, fun and most of all playful. The movements were in time with the music and whether it was a percussive beat or the plucking of a string instrument, it was always in perfect sync. The characteristic aspects of Jiří Kylián’s choreography is that he likes to create movements that stand out and symbolise thematic elements. I enjoyed watching a segment screened on a projector prior to Stamping Ground and learning of his engagement with Indigenous people and their response to his work.
Act II - To Make Fire
Whilst I have described a lot of the physical structures in place, the architecture, set design and lighting as well as thematic links I haven’t touched on the costumes worn by the dancers. The costumes throughout the performance consisted of various types of leaves, body paint and cloth as well as a range of contrasting skintight outfits and colourful dresses for key characters. Each narrative woven into each act was carefully crafted and constructed via concise aesthetic choices. It was easy to make the links and yet again, the set design was visually grand with a big rocky texture to resemble a cavernous environment behind the performers.
It’s not every day that you get to see a performance such as Bangarra: 30 Years of Sixty Five Thousand and it should be recognised that this is a presentation of art that is relevant for audiences of all ages and backgrounds. There isn’t always an opportunity to explore historical and contemporary themes in the same context, and more importantly have fun with it. The final installment To Make Fire showcased talented dancers, moving with great range in a smoky texture. This act opened with a performer dangling upside down from a thin structure for a long moment, causing the entire audience to hold their breath. Not only was every part of this performance expressive and do justice to its roots but most importantly, it delivered.
Until 31 August, 2019
QPAC, Playhouse Theatre
Joanna Letic