Beau Dean Riley Smith in Bennelong.' Bnagarra Dance Theatre, 2017. Photo: Daniel Boud

Bennelong. Bangarra Dance Theatre

29 June 2017. Drama Theatre, Sydney Opera House

Bennelong, Bangarra Dance Theatre’s most recent work, may well be the company’s most ambitious production to date. Yet in saying that, I can’t help feeling that it may also be its most powerful, its most emotive, and its most compelling show ever.

Stephen Page, as choreographer and creative storyteller, has taken the life of Wongal man, Woollarawarre Bennelong, as a starting point: Bennelong the man feted in many ways in early colonial society, and yet denigrated in so many other ways by that same society. Page presents a series of episodes in Bennelong’s life from birth to death. In those episodes we experience a range of emotions from horror in ‘Onslaught’ as large sections of the indigenous population are wiped out by an epidemic of smallpox, to a weird kind of fascination in ‘Crown’ when we watch Bennelong interacting with British high society after he arrives in London.

There is a strength too in how Page has ordered (or selected) the events. ‘Onslaught’ for example, follows ‘Responding’ in which the indigenous population is ‘assimilated’ by wearing Western clothing. We can’t help but make the connection between the arrival of the colonials and the outbreak of a Western disease. And following ‘Crown’ comes ‘Repatriation’ when we watch another emotionally difficult scene referring to ongoing efforts to repatriate bones and spirits of those who died in London (or perhaps even those whose bones and spirits were taken to London as ‘specimens’). It is tough but compelling watching.

The score for Bennelong was largely composed and performed by Steve Francis, but it also makes many references to the Bennelong story with snippets of music and song from elsewhere—the strains of Rule Britannia at one stage, a rousing sailor song as Bennelong is transported to London by ship, and some Haydn as Bennelong attends a ball with British society. The dancers and others, including dramaturg Alana Valentine and composer Matthew Doyle, have also been recorded speaking and singing and these recordings have been integrated into the score. It is absolutely spellbinding sound.

As is usual in a Bangarra production the visual elements were outstanding. I especially enjoyed Jennifer Irwins’s costumes, which were suggestive of various eras in indigenous and colonial society, from pre-colonial times to the present, without always being exact replicas.

The entire company was in exceptional form, with Elma Kris in a variety of roles as a keeper of indigenous knowledge, and Daniel Riley as Governor Phillip, giving particularly strong performances. But it was Beau Dean Riley Smith as Bennelong who was the powerful presence throughout. In addition to his solo work, it was impossible not to notice and be impressed by him in group sections and in his various encounters with others throughout the piece.

Elma Kris and Beau Dean Riley Smith in 'Bennelong.' Bangarra Dance Theatre, 2017 © Vishal Pandey — Elma Kris and Beau Dean Riley Smith in *Bennelong*. Bangarra Dance Theatre, 2017 © Vishal Pandey

But it was in the final section, ‘1813/People of the Land’, that he totally captured the essence of what was at the heart Page’s conception of the character of Bennelong, a man trapped between two worlds and seeming to belong fully to neither. As he struggled physically and verbally to understand his position, and as he found himself slowly being encased in a prison (or mausoleum—Bennelong died in 1813), Smith was a forlorn and tortured figure. It was thrilling theatre. And that concrete-looking structure that was slowly built around him, and that eventually blocked him out from audience view entirely, was another powerful visual element. As the curtain fell, the prison structure carried a projection of a well-known colonial portrait of Bennelong and it seemed to represent the disappearance of indigenous culture at the hands of the colonial faction.

Bennelong was a truly dramatic and compelling piece of dance theatre. It deserved every moment of the huge ovation it received as it concluded. We all stood.

Michelle Potter, 1 July 2017

Featured image: Beau Dean Riley Smith in Bennelong. Bangarra Dance Theatre, 2017. Photo: © Daniel Boud

The Golds in a scene from 'Great Sport!'

Dance picks 2016

Recently, arts writers and critics for The Canberra Times were asked to choose their top five shows for 2016 for publication immediately before and after Christmas. We wrote and filed our stories in mid-December and, for various reasons I chose only four productions.

But mid-December was before the names of successful applicants for artsACT project funding were made public. The announcement made it very clear that a massive cutback had been made to project funding (more than 60% less money was made available for arts projects than in the previous round). Just one dance project was funded: James Batchelor received $30,000 to develop ‘a large-scale new dance performance’ at the Playhouse, Canberra Theatre Centre. Had I written the story a little later I would have changed one part of my article. Rather than saying, as I did, But locally made dance has been particularly strong this year and may that continue as well, and be recognised by local and national funding bodies, I would have written ‘But locally made dance has been particularly strong this year, and it is a sad indictment of the current ACT government that it has not chosen to recognise the vibrancy of dance being produced in Canberra by locally-based artists, artists who have worked tirelessly to show that Canberra is a place where dance can flourish throughout the year.’

Perhaps I would also have changed my final sentence as well, but that would have assumed that locally-based artists might have given up. But dancers don’t give up. They find ways to keep moving right along.

Here is my Canberra Times story as published this morning, although slightly altered to include what was cut and, for variety, with a slightly different selection of images. The story is also available online at this link.

Much of the dance that audiences have seen in Canberra in 2016 has been refreshingly ‘underground’ in that it has been a little non-conformist in terms of where it has been performed and who has performed it. Our national cultural institutions have, for example, been active in hosting small dance performances, sometimes, as with the National Portrait Gallery, as an adjunct to their various exhibitions or acquisitions. We have, of course, seen Bangarra Dance Theatre and Sydney Dance Company, who, to our ongoing pleasure and gratitude, continue to visit Canberra and bring with them their outstanding, more mainstream work. Let’s hope that such visits continue as they have done over the past several decades. But locally made dance has been particularly strong this year and may that continue as well, and be recognised by local and national funding bodies.

Without a doubt the dance highlight for me was Great Sport! a site-specific production that took place in various parts of the National Museum of Australia, including outdoors in the Garden of Australian Dreams. The brainchild of Liz Lea, the production was a celebration of movement and sporting history. It continued the focus Lea has had since arriving in Canberra in 2009 on working in unusual spaces and, in particular, on using the Canberra environment and its cultural institutions as a venue, and as a backdrop to her work.

Scene from 'Great Sport!' — Scene from Liz Lea’s ‘Annette’ in *Great Sport!*

The show had its first performance on World Health Day and, given that the program featured Canberra’s mature age group, the GOLDS, as well as two Dance for Parkinson’s groups, Great Sport! was also a program that focused on healthy living through movement. Great Sport! showcased the work of several professional choreographers, some from Canberra, others from interstate, all commissioned by Lea to make different sections of the work. One of the most interesting aspects of Great Sport! was, in fact, the way in which the choreographers, all very different in their approaches and choreographic style, were able to maintain and make visible those inherent stylistic differences, while working with community groups in which movement skills were, understandably, quite varied.

What we saw was innately theatrical: outrageous at times, more thoughtful and serious at others and bouquets are due to Lea for her persistent focus on Canberra as a place where dance happens. Great Sport! was an exceptional piece of collaboration and a spectacularly good event.

Then, in a major development for dance in Canberra, Alison Plevey launched a new contemporary company, Australian Dance Party. Plevey has been active as an independent artist for some time now but has often spoken of the need for a professional dance company in Canberra. In 2016 she made this vision a reality and her new contemporary dance company has already given two performances to date: Strings Attached, the opening production staged in collaboration with several musicians from the Canberra Symphony Orchestra in a pop-up theatre space in the Nishi building, and Nervous, a work staged in a burnt-out telescope dome at Mt Stromlo. Again, Plevey is committed to making dance in Canberra and has been persistent in her drive and determination to make this happen.

Dancer Alison Plevey and harpist in Strings Attached, Australian Dance Party, 2016. Photo: Lorna Sim — Alison Plevey in *Strings Attached*. Photo: © Lorna Sim

Beyond locally created dance, and of the more mainstream live ventures to come to Canberra, Queensland Ballet’s Nutcracker was a pre-Christmas treat. This Nutcracker was danced to perfection by Queensland Ballet now directed by the highly-motivated Li Cunxin, who has moved the company from a not-so-interesting regional organisation to one that has everything to offer the most demanding dance-goer. Queensland Ballet’s Nutcracker was a heart-warming performance of a much-loved ballet and it was thrilling to see Queensland Ballet as a major force in the world of Australian ballet. May the company return many times to Canberra.

Beyond the live stage, Canberra dance audiences had the opportunity to see Spear, a film from Bangarra Dance Theatre’s artistic director, Stephen Page. Following showings at film festivals in Australia and elsewhere, Spear had a season at the National Film and Sound Archive early in 2016. It was a challenging and confronting film that used dance and movement as a medium to explore the conflicting worlds of urban Aboriginal people: it touched on several serious issues including suicide, alcoholism, substance abuse and racism. Cinematically it was breathtaking, especially in its use of landscape and cityscape as a background to the movement. It was tough, fearless, uncompromising and yet quietly beautiful.

Aaron Pedersen as Suicide Man in 'Spear'. Photo: © Giovanni de Santolo — Aaron Pedersen as Suicide Man in *Spear*. Photo: © Giovanni de Santolo

Art attracts art. Dance attracts dance. The dance scene in Canberra is looking more exciting than it has for many years.

Michelle Potter, 27 December 2016

Featured image: The GOLDS in a scene from Gerard van Dyck’s ‘First and Last’ from Great Sport! Photo: © Michelle Potter

Liz Lea in a study for a forthcoming show, 'RED'. Photo: © Nino Tamburri

Dance diary. November 2016

Canberra Critics’ Circle Awards: Dance 2016

The Canberra Critics’ Circle, a group of Canberra-based, practising critics from across art forms, presented its annual awards in November. Two awards were given in the dance area.

Liz Lea: For her innovative promotion of dance in the ACT exemplified by her co-ordination and presentation of “Great Sport!” at the National Museum of Australia, which spectacularly showcased the work of The Gold Company, Dance for Parkinson’s, Canberra Dance Theatre, and of a number of local and interstate choreographers, in a memorable and remarkable presentation.

Alison Plevey: For her tireless and consistent efforts as a dancer, choreographer and facilitator towards advancing professional contemporary dance in the A.C.T through her performances, collaborations, and programs, culminating in the establishment of her dance company, Australian Dance Party.

Alison Plevey (left) in 'Strings Attached', Australian Dance Party 2016. — Alison Plevey (left) in *Strings Attached*, the inaugural show from Australian Dance Party, 2016. Photo: © Lorna Sim

As indicated in the citations, both Plevey and Lea have contributed to the growth of a renewed interest in dance in Canberra. A preview of Plevey’s forthcoming show, Nervous, is below under ‘Press for November 2016’. My review of Great Sport!, facilitated, directed, and partly choreographed by Lea is at this link.

The Nutcracker: Queensland Ballet

A second viewing of Queensland Ballet’s Nutcracker, with a change of cast, had some new highlights. Neneka Yoshida was a gorgeous Clara. She was beautifully animated and involved throughout and there were some charming asides from her with other characters during those moments when she wasn’t the centre of attention. Mia Heathcote took on the role of Grandmother, a role that couldn’t be further from her opening night role as Clara. But she created a very believable character and, as we have come to expect, never wavered from her characterisation. Tim Neff was a totally outrageous Mother Ginger and Lina Kim and Rian Thompson gave us a thrilling performance as the leading couple in the Waltz of the Flowers.

Another exceptional performance from Queensland Ballet.

Ella. A film by Douglas Watkins

Ella, which premiered earlier in 2016 at the Melbourne International Film Festival, traces the journey of Ella Havelka from a childhood spent dancing in Dubbo, New South Wales, to her current position as a corps be ballet member of the Australian Ballet. My strongest recollection of Havelka with the Australian Ballet is her dancing with Rohan Furnell as the leading Hungarian couple in Graeme Murphy’s Swan Lake when I called their performance ‘very feisty’.

Scene from the film 'Ella' — Scene from the film *Ella*, 2016

I found the film largely unchallenging, however, and footage of Havelka dancing with Bangarra Dance Theatre was far more exciting to watch than that showing her with the Australian Ballet. Not only that, the commentary from Stephen Page on the nature of Bangarra, and Havelka’s role as an Indigenous Australian in that company, was far more pertinent and gutsy than the rather non-committal remarks from interviewees from the Australian Ballet. An opportunity missed from several points of view?

Royal New Zealand Ballet

Royal New Zealand Ballet is seeking a new artistic director to replace Francesco Ventriglia who will leave his position in mid-2017. Ventriglia will depart ‘to pursue international opportunities.’ Before he departs New Zealand he will take on the new role of guest choreographer to stage his own production of Romeo and Juliet in August. His planned repertoire for 2017 includes works by Roland Petit and Alexander Ekman.

Late news: Ruth Osborne

Ruth Osborne, artistic director of QL2 Dance in Canberra, has been awarded a Churchill Fellowship to pursue her interest in developing dance projects for young people. More in a future post.

Press for November 2016

‘Wonderful version of Christmas classic.’ Review of The Nutcracker from Queensland Ballet. The Canberra Times, 25 November 2016, p. 37. Online version.

‘Under the microscope.’ Preview of Nervous from Australian Dance Party. The Canberra Times —Panorama, 26 November 2016, p. 15. Online version.

Michelle Potter, 30 November 2016

Featured image: Liz Lea in a study for a forthcoming show, RED. Photo: © Nino Tamburri, 2016

Djakapurra Munyarryun Ochres 2015 Photo by Jhuny-Boy Borja

Djakapurra Munyarryun. Bangarra Dance Theatre

In late September and early October Bangarra Dance Theatre will be performing in New York and Paris. In New York the company will be part of Fall for Dance, a wonderful initiative that has been held in October, when the leaves of the city’s deciduous trees are falling to the ground, for about 10 years now. All seats are just $15 and the program features dancers and dance companies from America and around the world. Bangarra will present Spirit, a selection from some of the company’s best-known works. That selection will include Djakapurra Munyarryun’s Ngurrtja—land cleansing song, which opened the 2015 reworking of the 1995 production, Ochres.

In Paris Bangarra will give five performances of the new Ochres at the Musée du quai Branly—Jacques Chirac, a museum devoted to ethnographic material from around the world. The company has a one week residency at the museum and the residency will include, in addition to Ochres, workshops, public talks and screenings of Stephen Page’s film Spear.

The role that Djakapurra Munyarryun will play in Ochres on this tour is not quite the same as his role in the original production, when in the opening moments he was seen smearing his body with yellow ochre. It was an unforgettable theatrical moment.

Djakapurra Munyarryun in Ochres, Bangarra Dance Theatre 1995. Photo Tim Webster — Djakapurra Munyarryun in *Ochres*, Bangarra Dance Theatre 1995. Photo: © Tim Webster
National Library of Australia

The recollection of that opening sent me hunting for a Canberra Times article I wrote in 1998 as a preview to Bangarra’s season of Fish. As the story was published in print form only, that is some years before The Canberra Times was available online, I am republishing it here (in a slightly refined form) for the background it gives to the work of Djakapurra Munyarryun.

‘Cultural designer steeped in tradition.’
Michelle Potter

When Bangarra Dance Theatre’s production of Fish opens next week at the brand new Playhouse, Canberra Theatre Centre, one performer is sure to stand out: Djakapurra Munyarryun. He has that elusive quality—stage presence. So strong is the sense of wisdom and authority that pervades his activities onstage it’s hard to believe he’s only 23. Artistic director of Bangarra and choreographer of Fish, Stephen Page, says, “It’s not surprising really. He’s part of the Dreaming.”

Munyarryun, steeped in the traditional dances and ceremonies of the Yirrkala community in north-eastern Arnhem Land, is Bangarra’s cultural consultant. For Fish he has also been designated “cultural designer” and takes his place alongside the other members of the creative team. Munyarryun’s contribution to the work of Bangarra is critical. It helps it achieve what is most distinctive about it: the fusion of traditional stories and music with the experiences of urban Aboriginal and Islander people.

“When he works with the company there is a constant sharing of ideas,” Page says. He is inspirational. Djakapurra helps build layers of Aboriginality in the company.”

Such layers are apparent in the thematic material in Fish. The works takes us on a journey to three watery worlds and celebrates the wealth of life and mystery they contain. Swamps is redolent of the sacredness and spirituality of traditional lifestyles; Traps juxtaposes contemporary Western and old Aboriginal ways; Reef, full of colour and light, is celebratory and refers especially to the dance styles of Torres Strait Islander communities.

For two, at least, of the Page brothers—choreographer/director Stephen, and musician David, who composed the score for Fish—the relationship with Munyarryun continues beyond the dance studio. The three enjoy a special relationship that allows them to explore the links between traditional and urban ways in a diversity of situations. Not only have they been adopted into each other’s families, but they also spend time in Yirrkala together often going out to catch stingrays. Stephen Page says:

“Of course the urban situation, where many of our stories were forbidden, was frustrating for Djakapurra at first. He had to learn a hard lesson about urban Aboriginal history. But he was always interested in the crossover of traditional and contemporary styles in both music and dance, and just kept returning to storytelling to rekindle the spirit. Now he is comfortable in both traditional and urban situations. This is the kind of fusion that is built into the infrastructure of Bangarra.”

Munyarryun has been with Bangarra since 1991, featuring in all its major productions including Praying Mantis Dreaming, Ninni, Ochres and, most recently Rites, the popular collaboration between Bangarra and the Australian Ballet staged for the Melbourne Festival last year.

As well as being a dynamic dancer, Munyarryun is a virtuoso didgeridoo player and in Fish, as well as dancing, he features as a musician on the soundtrack playing bilma and yirrdaki (clap sticks and didgeridoo). His versatility as a performer has also brought him roles in films, including Black River and Breaking Through, as well as work with the band Yothu Yindi.

Fish, now touring Australia as part of the 1998 Made to Move season, premiered at the Edinburgh International Festival last year before returning for a Sydney season in the Festival of the Dreaming, the first of the cultural festivals leading to the Sydney 2000 Olympic Games.

As well as highlighting the Bangarra approach to fusion, Fish has an extraordinary visual impact. Its evocative set is by Peter England; costumes are by Jennifer Irwin, who explores the qualities of texture and sheen; and lighting is by Mark Howett.

Djakapurra Munyarryun is the tall dancer, with presence and authority, who will probably come out after the show in jeans, a T-shirt and a baseball cap.

First published in The Canberra Times—Panorama, 18 April 1998, p. 16.

Michelle Potter, 26 August 2016

Featured image: Djakapurra Munyarryun in a scene from Ochres, 2015. Photo: © Jhuny-Boy Borja

Waangenga Blanco in 'Miyagan' from OUR land people stories. Photo: Edward Mulvihill

OUR land people stories. Bangarra Dance Theatre

28 July 2016, Canberra Theatre

Bangarra Dance Theatre has had what artistic director Stephen Page calls a ‘bitter sweet’ year so far. On the one hand the company has had to face the death in April 2016 of David Page, much loved and admired composer, Bangarra’s music director, and brother of Stephen. On the other there have been successes in so many areas. Most recently, Bangarra—the company, its dancers and its productions—has been short-listed in six categories for the 2016 Australian Dance Awards.

Bangarra’s major production for 2016, a triple bill with the title OUR land people stories, has to be counted as a sweet moment. Although it is dedicated to David Page and it is impossible not to be moved hearing his music, which features in the program, OUR land people stories moves forward proudly and is sweet as much as anything because it showcases the work of three emerging choreographers from within the company ranks.

First up on the program was Macq, choreographed by Jasmin Sheppard to a score by David Page. Macq takes as its starting point a confrontation in 1816 between white settlers in the Appin region, south of Campbelltown, New South Wales, and Aboriginal inhabitants of the region, the D’harawal people. As the confrontation over territory escalated and tensions mounted, Colonial forces, under instructions from Governor Macquarie, began what has come to be known as the 1816 Appin massacre. Sheppard researched Macquarie’s diaries and consulted with descendants of the D’harawal and portrays Macquarie as a conflicted man who, on the one hand appeared to have good intentions towards First Nation peoples, but on the other who went to extreme lengths to maintain territorial control of areas under his jurisdiction.

One especially challenging sequence occurs between Macquarie, danced powerfully by Daniel Riley, and Beau Dean Riley Smith, also outstanding in his role as one of the D’harawal men killed in the massacre. As they dispute territorial boundaries, they interact on, under, and around a long table. The movement is fast, dramatic, determined and confronting and makes astonishing use of the table. Another compelling scene shows Riley acting out Macquarie’s conflicted state of mind as he frantically scribbles down his diaries. It is a courageous statement by Sheppard.

Beau Dean Riley Smith and Daniel Riley in a scene from 'Macq'. Bangarra Dance Theatre, 2016 — Beau Dean Riley Smith and Daniel Riley in a scene from *Macq*. Bangarra Dance Theatre, 2016

But what I found especially powerful about Macq was the way Sheppard had structured the work so as different moments in time were visible even as the main story was unfolding before us. As the work began, for example, in a kind of half light we could see the aftermath of the massacre as D’harawal people mourned the death of their kin. In fact the work moved backwards and forwards in time in a well developed and emotionally satisfying way.

The second work on the program, Miyagan (meaning ‘our family’ in the language of the Wiradjuri Nation) was choreographed by cousins Daniel Riley and Beau Dean Riley Smith. It was structurally complex with sections referring to the matrilineal nature of Wiradjuri system, and to moiety, clan and family, although the the work also referred to life in the early 1900s on the Talbragar Reserve in Dubbo, where Riley and Smith had a common ancestor in Jack Riley. Choreographically the work was vibrant and moved along smoothly to a soundscape by Paul Mac. The intricate web of kinship relationships and responsibilities was highlighted by Jacob Nash’s spectacular hanging sculpture which served as the set for Miyangan.

Myagan — Jacob Nash’s set for *Miyagan*, Bangarra Dance Theatre, 2016. Photo: Michelle Potter

Page said, in a pre-show forum at the Canberra Theatre, that his aim in curating OUR land people stories was to give an opportunity to Sheppard, Riley and Smith to create main stage works for Bangarra—to nurture emerging choreographers from within the company. He added, however, that he thought perhaps he should also do a work! The result was the closing piece, Nyapanyapa, a work inspired by the art of Yolngu woman, Nyapanyapa Yunupingu. At the heart of the work is the story of Nyapanyapa’s encounter with a water buffalo, which left her badly injured. But we are given insight into many other aspects of her life, and see reproductions of her work as background. Elma Kris is at her charismatic best as Nyapanyapa and the Bangarra dancers show off dancerly skills that range from full-on rock ‘n’ roll to sublimely meditative moves.

Luke Currie-Richardson and Beau Dean Riley Smith in 'Nyapanyapa' from 'OUR land people stories'. Photo: Edward Mulvihill — Luke Currie-Richardson and Beau Dean Riley Smith in ‘Nyapanyapa’ from *OUR land people stories*. Bangarra Dance Theatre, 2016. Photo: © Edward Mulvihill

OUR land people stories once again shows Bangarra as a company where dance meets theatre, meets art, meets music. After its Australian season of this program, Bangarra moves on to New York for the Fall for Dance season and then goes on to Paris to perform in the splendid, ethnographically-oriented venue, Musée du Quai Branly.

Michelle Potter, 5 August 2016

Featured image: Waangenga Blanco in ‘Miyagan’ from OUR land people stories (detail). Photo: © Edward Mulvihill

Dance diary. July 2016

Focus on Canberra

A one-off show, India Meets, is scheduled to take place at Belconnen Arts Centre on 20 August. It will feature Seeta Patel and Liz Lea along with other local dancers trained in a variety of Indian dance styles. Patel is in Australia with British Council support and, in addition to working on India Meets with Lea, has a number of other engagements, which I hope to feature in a future post.

In other Canberra news, a new dance company, Australian Dance Party, is about to be launched. It is led by Alison Plevey, a 2009 graduate of WAAPA who has been teaching and performing in Canberra since her graduation. ‘Out of the political capital comes Australian Dance Party: Canberra’s newest dance and performance company,’ she says. For its debut production, ADP dancers will collaborate with six artists from the Canberra Symphony Orchestra on Strings Attached at the Nishi Playhouse (a pop-up theatre), New Acton, on 25–27 August.

Dancer to watch: Seu Kim

Seu Kim graduated from the Australian Ballet School in 2015. A colleague sent me some online footage of him performing at Varna recently, where he was placed second. Looking at his work via YouTube I love what shines through—honesty and passion in particular. And I love the lengthening of the neck and the emotion that radiates from that beautiful lift of the chest. Gorgeous.

Kim identifies as Korean, although his family has lived in Japan for many years. He will join Royal Swedish Ballet as an apprentice dancer in August.

Oral history update

I had the pleasure in July or recording an oral history interview with Dr Elizabeth Dalman, founding director of Australian Dance Theatre and currently director of Mirramu Creative Arts Centre and Mirramu Dance Company. I first interviewed Dr Dalman for the National Library’s oral history program in 1994 so an update was definitely in order. Catalogue record at this link.

The Australian Ballet and CinemaLive

Dates are now available for the first three CinemaLive presentations of the Australian Ballet’s Fairytale Series, as mentioned in last month’s Dance diary. The Sleeping Beauty will screen on 8–9 October 2016, Cinderella on 12–13 November 2016, and Coppélia on 29–30 April 2017.

Press for July 2016

‘Triple treat shows off Bangarra’s finest.’ Preview of Bangarra Dance Theatre’s OUR land people stories. The Canberra Times—Panorama, 23 July 2016, pp. 10–11. Online version.

Michelle Potter, 31 July 2016

Featured image: Seeta Patel and Liz Lea, detail from the poster for India Meets

Yolande Brown as Earth Spirit in Spear. Photo Jacob Nash

Spear. A Stephen Page film

17 February 2016, preview screening, Arc Cinema, National Film and Sound Archive, Canberra

No doubt about it, Stephen Page’s Spear is a confronting film, and one in which the director’s approach is absolutely uncompromising. But it is also an incredibly beautiful film from so many points of view.

Spear centres on the spiritual journey of a young man, Djali, played by Hunter Page-Lochard, who seeks to understand what it is to be an Indigenous man suspended between two, often conflicting worlds. As he moves between those two worlds we encounter with him the pressures and problems that surround him, including substance abuse, alcoholism, suicide, and racism.

Hunter Page-Lochard with artists of Bangarra Dance Theatre in 'spear'. Photo Edward Mulvihill — Hunter Page-Lochard with artists of Bangarra Dance Theatre in *Spear*, 2015. Photo: © Edward Mulvihill

Some moments are (deliberately) quite crass—a dance to the 1960s song ‘My Boomerang Won’t Come Back’, for example. Others are immensely powerful—such as a scene where Daniel Riley as ‘Prison Man’ engages with Elma Kris as ‘Old Woman’ who brings the cleansing power of a smoking ceremony into the prison mess hall. And others are breathtaking in their use of landscape as backdrop—the view of Kaine Sultan Babij as ‘Androgynous Man’ stalking through long grass and between trees is striking, as are the scenes in which Yolande Brown as ‘Earth Spirit’ walks along a red dust road.

Elma Kris and Daniel Riley in 'Spear'. Photo Tiffany Parker — Elma Kris as ‘Old Woman’ and Daniel Riley as ‘Prison Man’ in *Spear*, 2015. Photo: © Tiffany Parker

Choreographically Page has delivered some of his best movement, whether in solo work for the main members of the cast, or in group scenes. And so powerful are the performances by the cast that there is absolutely no doubt about the message being put forward. Sound is everywhere too. An original score by David Page is complemented by songs from Djakapurra Munyarryun, although spoken text in English is minimal and is mostly delivered by actor Aaron Pedersen who plays the part of ‘Suicide Man’. And there is a suicide scene, which is very deftly handled. Ochre is everywhere as well, in all its four colours. It seems to permeate the production whether as paint on bodies or dust in the air.

What makes this tough, fearless, uncompromising film so quietly beautiful? Visually it is stunning. Director of photography Bonnie Elliott has delivered some amazing shots of an incredible landscape from outback to rugged coastline, and some of the camera angles and close-up shots are just breathtaking. Even her takes on run-down interiors, under-ground spaces and alley ways are moving. And Jacob Nash’s work as production designer gives the film a particular strength. As in his sets for Bangarra’s live shows, Nash has brought to the film an understanding of the power of minimalism in design. But perhaps more than anything it is Stephen Page’s ability to deliver the ultimate message of hope that stands out. The closing scene is a ‘punch the sky’ moment. Simple, direct and moving.

Spear is Stephen Page’s debut as director of a feature-length film. It is a remarkable film. Go see it.

Detail of the costume for Earth Spirit in 'Spear'. — A close-up view of the ‘Earth Spirit’ costume, the work of Jennifer Irwin.

Michelle Potter, 19 February 2016

Dance diary. December 2015

‘Creative minds’: Stephen Page

I was, earlier today, doing a bit of ‘last day of the year’ exercise on the treadmill at the gym when I accidentally turned on a television channel I didn’t mean to select. It was a fortuitous accident as it happened. The program that came on turned out to be an interview with Stephen Page conducted by Robin Hughes in her series called ‘Creative Minds’. Somewhere along the line I managed to miss it when it was originally screened some three years ago, but I have since put in an order to add it to my collection.

So much stood out in the interview, which included some great archival material from the earliest days of Bangarra. In particular, footage of Russell Page, who was seen in a range of situations across several years, showed what an exceptional mover he was. In addition, the recording showed so beautifully what makes Stephen Page the outstanding director that he is as he answered the often quite probing questions put to him. I was also completely charmed, as ever, by Page’s great sense of humour, humility and passion for his heritage.

I can’t wait to watch it in more comfortable conditions. But I did stay on the treadmill for longer than usual so I could see the whole program!

Papers of Dame Margaret Scott

I am pleased to be able to report that Dame Margaret Scott has agreed that her collection of dance material be housed in the National Library of Australia, where it will join the collections of so many dance artists she has taught, performed with, commissioned, and mentored. In the early days of January I will be working to organise the material for its move to Canberra.

Maggie Scott, South Africa 1930s. Collection of Dame Margaret Scott

Best of 2015

My 2015 ‘best of’ selections will appear in the February/March issue of Dance Australia. I also have had things to say about 2015 in Canberra and that article appears below in ‘Press for December’. What I didn’t mention in either situation was the show that really stood out for me in 2015—Quidam from the Montreal-based Cirque du Soleil. I did review it, however, for The Canberra Times and that review appears below, also in ‘Press for December’. Although not dance in the strictest sense, but circus, a cousin of dance as it were, Quidam was especially impressive for being a production in which every single moment in the show had been thought through with care and theatrical intelligence. A rare experience.

Press for December

‘An exhilarating experience.’ Review of Quidam from Cirque du Soleil, The Canberra Times, 12 December 2015, ARTS p. 19. Online version.

‘Dance highlights and hankerings.’ Overview of dance in Canberra in 2015. The Canberra Times, 28 December 2015, Times 2 pp. 6–7. Online version.

Michelle Potter, 31 December 2015

With thanks to all who have visited my website in 2015, especially those whose astute comments have added so much to the posts.

A happy, dance-filled 2016!

Ochres. Bangarra Dance Theatre

4 December 2015, Carriageworks, Eveleigh (Sydney)

Seeing Ochres in 2015 after 21 years was a remarkable experience. More than anything it marked the astonishing achievement of Stephen Page and his team of artists. Through the creativity that has characterised Bangarra’s journey, Page has given Australian Indigenous culture a powerful voice. Ochres was an eye opener in 1994. Now it is a powerful evocation of all that Bangarra stands for.

Djakapurra Munyarryun and Bangarra dancers in 'Black' from Ochres, 2015. Photo:-Jhuny-Boy Borja — Djakapurra Munyarryun and Bangarra dancers in ‘Black’ from *Ochres*, 2015. Photo: © Jhuny-Boy Borja

This 2015 Ochres is not an exact rendition of the original. It is promoted as a ‘reimagining’ of that early show but is definitely close enough for those who saw it in the 1990s to feel they are seeing the work again.

As it did in 1994, the 2015 Ochres begins with a scene featuring cultural consultant Djakapurra Munyarryun, not this time painting up with yellow ochre, but singing a song, Ngurrtja—Land Cleansing Song–composed especially (I believe) for this 2015 production. He has, as ever, huge power and presence. He stood perfectly still for several seconds before beginning his song and the effect was mesmerising.

Torres Starait Islander Elma Kris, another of Bangarra’s consultants, follows with a section called The Light in which she, like Djakapurra Munyarryun had done previously, smeared her limbs and face with yellow ochre.

These opening scenes are followed by the four ‘ochre sections’—’Yellow’ inspired by female energy, ‘Black’ representing male energy, ‘Red’ showing male and female relations, and ‘White’ inspired by history and its influence on the future.

In ‘Yellow’, choreographed by Bernadette Walong-Sene, the women dance low to the ground. Their movements are most often flowing and they have an organic look to them. Deborah Brown shows her remarkable skills throughout this section. How beautiful to see a relatively classical move, a turn in a low arabesque with one hand on the shoulder for example, followed by sudden movements of the head as if she is curious about, and watchful for what is happening around her. Brown always looks good no matter what style her movements represent.

‘Black’, with contemporary choreography from Stephen Page and traditional choreography from Djakapurra Munyarryun, shows power and masculinity—hunters crouching behind bushes, warriors with their weapons sparring with each other. This section is also characterised by some nicely performed unison work.

‘Red’ has the strongest narrative element of the four sections. It focuses on four different expressions of male/female relationships moving from youthful dalliance featuring Beau Dean Riley Smith, Nicola Sabatino and Yolanda Lowatta to the final section ‘Pain’ in which Elma Kris cares for an ailing man, danced by Daniel Riley. But in between we can imagine other relationships. Domestic violence and addiction perhaps?

‘White’ concludes the program. The two cultural consultants, Elma Kris and Djakapurra Munyarryun, lead this final section and, with all the dancers covered with white ochre, a spiritual quality emerges from sections representing a range of concepts from kinship to totemic ideas. The choreography is credited to Stephen Page, Bernadette Walong-Sene, and Djakapurra Munyarryun.

Jennifer Irwin’s costumes are cleanly cut and simply coloured. Jacob Nash’s set, looking like long shards of bark, hangs in the centre of the space above a sandy mound. It is lit in changing colours by Joseph Mercurio. A score by David Page is evocative of the 1990s but retains enough power and emotion to feel relevant still.

The kind of fusion of contemporary and traditional movements we have come to expect from Bangarra’s dancers is all there and reflects the fact that Bangarra is an urban Aboriginal initiative with strong links back to its cultural heritage. And, while the dancers of 1994 were extraordinary (a list of the 1994 team appears in the program), the manner in which Bangarra has grown technically is also clear. Its dancers are spectacularly good and their commitment shines through.

Michelle Potter, 9 December 2015

For more about Djakapurra Munyarryun follow this link.

Dance diary. October 2015

The return of Ochres

Bangarra Dance Theatre has a special program coming up at the end of November—a brief revival of Ochres at Carriageworks in Sydney beginning on 27 November.

Tara Gower in a study for 'Ochres'. Bangarra Dance Theatre, 2015. Photo: © Edward Mulvihill — Tara Gower in study for *Ochres*. Bangarra Dance Theatre, 2015. Photo: © Edward Mulvihill

Ochres was one of Bangarra’s earliest works and is still regarded as a milestone in the company’s history. Co-choreographed by Stephen Page and Bernadette Walong, it was first performed in Sydney in 1994. In 1995 it came to Canberra as part of the National Festival of Australian Theatre, the brainchild of Robyn Archer and for a few years one of the highlights of the theatre scene in Canberra. Anyone who was lucky enough to see Ochres back then in its first years will never, I am sure, forget Djakapurra Munyarryun smearing his body with yellow ochre as the work began.

Looking back through my archive, I discovered a review I had written for Muse, a monthly arts magazine produced in Canberra and initially edited by Helen Musa (Muse—like the Festival—is now, sadly, defunct). Re-reading the review I found I had speculated in 1995 on how Bangarra would develop in future years, especially in regard to the growth of a recognisable Bangarra style and vocabulary. Well that has certainly happened and it will be interesting to look back on Ochres as an early work in which Page and Walong were testing ways of doing just that—setting Bangarra on a journey to discover a contemporary, indigenous dance style.

Hannah O’Neill

One of my favourite French dance sites, Danses avec la plume, recently posted some news about Hannah O’Neill and the up-and-coming competitive examinations for promotion within the Paris Opera Ballet. Female dancers will face the jury on 3 November. O’Neill’s name has been suggested on a number of occasions for promotion into one of two positions as principal dancer. One author suggests O’Neill is an Etoile in the making and the future of the company! (Une promotion d’Hannah O’Neill me plairait beaucoup aussi. C’est une danseuse brillante, une future Étoile, elle est l’avenir de la troupe.)

The word is too that Benjamin Millepied, now directing Paris Opera Ballet, would have liked to have dispensed with this ingrained competitive system of promotion, but the dancers voted that it remain.

See this link for what is currently ‘trending’ regarding the promotions, and follow this this link to see an image of O’Neill (taken by Isabelle Aubert) with Pierre Lacotte after a performance of Lacotte’s production of Paquita. [UPDATE: Link to Paquita image no longer available}

All the things: QL2 Dance

As an annual event on its performance calendar, QL2 Dance produces a short program of dance for its young and less experienced dancers, aged from 8 to 17. This year the program, All the Things, included choreography by Ruth Osborne, Jamie Winbank, Alison Plevey and Joshua Lowe with perhaps the most interesting moments coming from Plevey’s ‘girly’ piece about shopping, ‘Material Matters’, and Joshua Lowe’s male-oriented ‘I Need’ about ‘needing’ technological devices in one’s life. It was an entertaining, if somewhat sexist juxtaposition of ideas in these two pieces, which had been strategically placed side by side in the program.

Scene from 'All the Things'. QL2 Dance, 2015. Photo: Lorna Sim — Scene from *All the Things*. QL2 Dance, 2015. Photo: © Lorna Sim

But the great thing about this annual event is the experience it gives these young dancers. James Batchelor (independent), Daniel Riley (Bangarra Dance Theatre) and Sam Young-Wright (Sydney Dance Company) are just three current professionals who had early dance experiences with Quantum Leap.

New book from photographer Lois Greenfield

One of the most pleasurable experiences I had while working in New York between 2006 and 2008 was visiting the studio of dance photographer Lois Greenfield. I was there to buy a collection of her images for the Jerome Robbins Dance Division. She is about to launch a new book. See this link for details.

Press for October

‘Lording it in high-tech high jinks.’ Review of Michael Flatley’s Lord of the Dance: Dangerous Games. The Canberra Times, 9 October 2015, ‘Times 2’ pp. 6–7. Online version.

‘Sizzling and simply sensational.’ Review of Natalie Weir’s Carmen Sweet for Expressions Dance Company. The Canberra Times, 13 October 2015, ‘Times 2’ p. 6. Online version.

‘Dancing our way next year.’ Preview of dance in Canberra in 2016. The Canberra Times, 26 October 2015, ‘Times 2’ p. 6. Online version.

‘Listless on the Lake.’ Review of Swan Lake by the Russian National Ballet Theatre. The Canberra Times, 31 October 2015, ARTS, p. 20. Online version .

Michelle Potter, 31 October 2015