BANGARRA DANCE THEATRE

STUDY GUIDE FOR TEACHERS AND STUDENTS

1 ACKNOWLEDGEMENT OF COUNTRY pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform.

We also wish to acknowledge the Aboriginal and Torres Strait Islander peoples whose customs and cultures inspire our work.

INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY (ICIP) Bangarra acknowledges the industry standards and protocols set by the Australia Council for the Arts Protocols for Working with Indigenous Artists (2007). Those protocols have been widely adopted in the Australian arts to respect ICIP and to develop practices and processes for working with Aboriginal and Torres Strait Islander people and cultural heritage. Bangarra incorporates ICIP into the very heart of our projects, from storytelling, to dance, to set design, language and music. © Bangarra Dance Theatre 2019 Last updated June 2019

WARNING Aboriginal and Torres Strait Islander people should be aware that this Study Guide contains images, names, and writings of deceased persons.

Photo Credits Front Cover: Rika Hamaguchi and Tyrel Dulvarie, photo by Daniel Boud Back Cover: Rika Hamaguchi, photo by Daniel Boud

2 INTRODUCTION CONTENTS

The purpose of this Study Guide is to provide information and contextual background about the works presented 03 in Bangarra Dance Theatre’s 30th anniversary season, Introduction/Contents Bangarra: 30 years of sixty five thousand. Reading the Guide, discussing the themes, and responding to the questions proposed, will assist teachers and students in thinking critically about the works, and form 04 Using this Study Guide personal responses.

We encourage students and teachers to engage emotionally and imaginatively with the performance 05 Contemporary Indigenous Dance Theatre and to be curious about how these works were inspired and how they impact audiences. For full details about the performance, please visit bangarra.com.au. 09 Bangarra Dance Theatre 10 Unaipon 15 Stamping Ground 17 to make fire 19 Pre- and Post-Show Activities

3 USING THIS STUDY GUIDE

Bangarra: 30 years of sixty five shifting and growing field of CROSS CURRICULUM thousand is Bangarra Dance cultural exchange, art, storytelling, PRIORITY Theatre’s landmark 30th anniversary and shared experiences. Bearing Aboriginal and Torres Strait season. This diverse program of witness to the physical expression Islander histories and cultures three contemporary works displays of traditional and contemporary the passionate storytelling, rich modes of storytelling can both GENERAL CAPABILITIES artistry and deep community challenge and unite us, but Critical and creative thinking connections that have made fundamentally these experiences Intercultural understanding Bangarra the premier Aboriginal illustrate the immutable importance Ethical understanding and Torres Strait Islander performing of identity, belonging and arts company in Australia. connectedness in all societies and LEARNING AREAS cultures. Learning by experiencing The Arts (Dance, Music, Frances Rings’ Unaipon is an either a live performance, or a video Visual Arts) absorbing portrait of the great recording of a live performance, Humanities and Social Science Aboriginal inventor, philosopher, and being free to offer personal (History, Civics and Citizenship) writer and storyteller, responses, enables students to be Science (Physics) man , who features participants in the creative process on the Australian $50 note. as they engage with the work TOPICS/THEMES Stamping Ground was created by through discussions that encourage INDIGENOUS PERSPECTIVES Czech choreographer Jiří Kylián both critical and creative thinking. Contemporary Dance as an homage to Aboriginal and Design Torres Strait Islander people and Students can and should feel free Literature their cultures. Curated by Artistic to explore different perspectives Music Director Stephen Page, to make fire through artistic and emotional Storytelling highlights the breadth, power and landscapes of movement, sound, Australian Cultures beauty of Bangarra’s creations light and shape. This freedom Australian Society over three decades. can inspire an appreciation of the History ongoing impact of historical events, Human Rights With roots in the world’s oldest as well as the role of the Arts in Religion continuing culture, Bangarra: shaping our understandings of Scientific Inquiry 30 years of sixty five thousand the world around us. carries the spirit of Bangarra into its fourth decade, promising many We urge our audiences, including more years of deeply moving and students and teachers, to be curious authentic Aboriginal and Torres about the works they see on stage, Strait Islander stories. and the creative processes that lie behind these performances. This Bangarra: 30 years of sixty five Study Guide provides detailed thousand offers teachers and background about all aspects students the opportunity to explore of the production Bangarra: a broad range of cross-curricula 30 years of sixty five thousand, topics and themes through a and the artists who collaborated live performance experience. We in its creation. strongly recommend that teachers familiarise their students with We invite everyone to feel free to the contextual background and express their thoughts about our historical relevance of the work, work and contribute to the ongoing using the information in this dialogue that continually questions Study Guide and the additional who we are and where we are going. references listed throughout. We hope you enjoy Bangarra: 30 The evolution of Indigenous years of sixty five thousand. contemporary dance can be explored as a continuum – a

4 CONTEMPORARY INDIGENOUS DANCE THEATRE

form, and are able to celebrate the PERSPECTIVES, resilience of Australia’s First Nations people and their ancestors through VOICES AND the sharing of works that depict Indigenous stories, cultures and CULTURES perspectives. The concept of contemporary Indigenous dance theatre cannot It is important to consider the be understood as a categorised language we use when talking genre or a particular form because and writing about Indigenous it exists as part of a continuum that cultures in the context of art: responds to a diversity of culture when it is made, how it is made and and developing perspectives. Any where the source material comes contemporary Indigenous dance from. The general application production that incorporates and understandings of the terms music/sound, design and other ‘traditional’ and ‘contemporary’ conventions of the theatre will can be problematic when critiquing inevitably have a deep purpose Indigenous dance theatre. By fixing and an essential spirit that is, and the term ‘contemporary’ to the will always be, about Aboriginal form, it could be argued that we are and Torres Strait Islander cultures. implying ‘post-colonial’, ‘modern’ While drawing on traditional or ‘non-traditional’. Yet with many stories and cultural ways of new works sourcing their inspiration being, Indigenous dance theatre from the Indigenous cultures that provides an important platform for have existed since ancient times, Indigenous people. It gives voice to what is ‘traditional’ and what is the experience of living in a modern ‘new’ can exist simultaneously. world that experiences constant This is often expressed by saying change, where the threat to cultural Indigenous Australian cultures are identityis relentlessly present. the oldest living, and continuous cultures in the world. The growth in availability of technical resources, an increasing number of performance venues, FORM, and the proliferation of new arts festivals and digital platforms, has ACTIVATION greatly supported the development of new Indigenous dance theatre, AND PROCESS as well as the careers of the many One way of exploring the creative artists involved. As more development of Indigenous dance new work is created, support for theatre over the last three or four the infrastructure and training that decades is to trace the journeys of underpins these forms has also some of the artists who have been grown, resulting in a critical mass significant contributors to that of professional artists involved in development. It should be noted producing high quality productions that while many opportunities have that increase the demand we been opened up for Aboriginal and currently see from audiences in Torres Strait Islanders to develop Australia and internationally. One in their choreographic work and of the most important outcomes of their leadership roles, the true force these developments is the fact that behind this development has been more Aboriginal and Torres Strait the commitment and determination islander people are able to see their of the individual artists themselves. Tyrel Dulvarie, cultures reflected in this unique photo by Daniel Boud 5 Artists and leaders like Carole Y. consider themselves activists, and ownership and other interests in Johnson, Stephen Page, Frances there is no doubt that their work has land have been closely associated Rings, Raymond Blanco, Vicki van had a significant impact on the way with human rights, where groups Hout, Gary Lang, and Marilyn Miller, non-Indigenous people have learned can show a perpetual connection are some who have paved the way. about Indigenous cultures and the to the land in order to justify their More recently Elma Kris, Deborah ongoing political struggle of First right to occupy. Brown, Yolande Brown, Daniel Riley, Nations people in the context of Mariaa Randall, Sani Townsen, Jacob post-settlement life. At a community level, the concept Boehme, Ghenoa Gela, Thomas of public, private, individual, or E. S. Kelly, Joel Bray, and Amrita The creative processes of any artist collective ownership of property Hepi are contributing to the ever- tend to emerge through a range of (e.g. land, a house, a business) has growing critical mass of Indigenous influences, discovery and personal developed over just a few thousand contemporary dance in Australia. experience. Yet for Indigenous artists, years. The right to own property these processes are more complex. that has a capital value, possesses Building a skills base has been Respect for cultural protocols, the certain features and resources, can both a challenge and a significant need for community engagement, be bought and sold for profit, and contributor to the development of and a strong commitment to enforce the protection of these interests Indigenous contemporary dance and care for traditional knowledge that and capacities by law, is the dance theatre. The establishment is shared, and/or provided through enduring assurance of the of training institutions like National a process of request, invitation, western capitalist system. Aboriginal Islander Skills Development permission and transmission, are all Association (NAISDA) Dance College things that need to be considered and The concept of Country and Land for in , and Aboriginal Centre upheld as new expressions are created Aboriginal and Torres Strait Islander for Performing Arts (ACPA) in by Indigenous artists. Navigating all people is extremely different. Brisbane, have been fundamentally these considerations is complicated important to increasing technical and takes time. However, the The spiritual dimension of Country skills to support the creation of ongoing development of Indigenous cannot be detached from the new works. Market development dance (and other contemporary physical. Country can mean a initiatives, the growth of touring art forms) is dependent on these person’s Land where they were networks, and a range of strategic protocols and practices being born, as well as the sea, sky, rivers, programs to address identified gaps observed and implemented to sacred sites, seasons, plants and in the infrastructure, have been and ensure cultural continuity. Stories, animals. It can also be a place of continue to be critical to the growth songs, dances, and connection to heritage, belonging, and spirituality and sustainability of this work. Place are sacred, and are passed on that is inseparable from the land. through oral transmission, so there Hence, the impact of displacement From the mid-20th Century, is no central knowledge source, from Country, and the disruption contemporary forms of Aboriginal and written information is usually to that sense of belonging to one’s and Torres Strait Islander expression second hand. Indigenous Cultural & Country, can be catastrophic for emerged across all art forms and Intellectual Property (ICIP) rights are Aboriginal and Torres Strait Islander began to infiltrate mainstream arts variously enshrined both Australian people and their cultural and programs that largely drew on and international conventions and economic wellbeing. Story, song, western cultures and/or western statements, and are an important dance, and ancestral lineage provide forms of presentation. By the safety net that seeks to ensure the foundation for an existence on 1960s, young black theatre makers, Aboriginal and Torres Strait this earth, and a passage to and playwrights, writers and actors were cultures survive and thrive. from the worlds beyond life on earth creating works that reflected their – and those stories and songs all link culture in both the pre-colonial and to Country as a home for Culture. post-settlement worlds. Writers COUNTRY, Kevin Gilbert and Jack Davis, and For Indigenous people, these actor/directors Bryan Syron and RELATIONSHIP complex relationships are like Bob Maza were among some of threads in a tapestry of exploration the black theatre makers who AND that has no beginning and no end, lay the foundation for the strong yet is founded on, and maintained Indigenous theatre scene that exists CONNECTION through, specific information that is today. Novelist Faith Bandler, and transmitted by ‘walking on Country’, poet/artist/educator Oodgeroo ‘Country’, as a western construct, oral transference and a range of Noonuccal (Kath Walker) were also is mostly understood as a defined other traditional practices. strong voices in the new wave of place, marked by borders, (natural Indigenous writers whose works and/or imposed), and operating When artists draw from the now form part of Australia’s rich on principles of sovereignty and concept of Country, they are the and diverse literary landscape. The the governance of the nation bearers of Culture, illustrated and wave of contemporary Indigenous by the state. Ethnicity, religion, made meaningful in many ways to artists that followed in the wake of environment, and histories many different people. In this way, the Papunya Tula art movement in of colonisation and conflict the dance theatre worlds within the 1970s has seen Aboriginal and are signifiers that overlay the Bangarra: 30 years of sixty five Torres Strait Islander work acquired identification of a ‘country’. As thousand provide the opportunity for major collections around the history shows, these factors have to delve into the concept of Country world, which command impressive often been the cause of conflict and all it holds in the way of prices in auction houses globally. between groups who claim their knowledge, spirituality and Many, if not all, of these artists also right to a ‘land’ is justified. Land cultural meaning.

6 Rika Hamaguchi, photo by Daniel Boud

7 CULTURAL CONSULTATION RESOURCES INHERITANCE AND AND TRANSFERAL OBSERVANCE OF

OF KNOWLEDGE PROTOCOLS Burridge, Stephanie & Dyson, Storytelling in Aboriginal and For all of its productions, Julie (ed.). ‘Shaping the Landscape: Torres Strait Islander life is the the Bangarra Creative Team celebrating dance in Australia’. Routledge, New Delhi, India & means by which cultural systems, researches and explores the Abingdon, UK, 2012. values, and identity are preserved stories of Indigenous cultures in and transferred. Telling stories close consultation and collaboration Dunbar-Hall, Peter & Gibson, Chris. through song, music and dance, with their traditional custodians, ‘Deadly Sounds, deadly places: in order to connect people to land, before embarking on the process of Contemporary Aboriginal Music in and teach them about their culture creating the production. Each year, Australia’. UNSW Press, Sydney, 2004. and the traditions of their ancestors Bangarra spends time in specific is the way knowledge is passed Indigenous communities, meeting Thompson, Liz (Compiler). ‘Aboriginal Voices: Contemporary from generation to generation. with Elders and traditional owners Aboriginal artists, writers and Knowledge about Aboriginal and and living with the people of that performers’. Simon & Schuster Torres Strait Islander totemic community – learning about the Australia, Sydney 1990. systems, the histories of peoples, stories that connect the people, and tribal associations, the land, the language, and the language, land, and concepts creatures of the land. Everyone and connections of kinship, are who works at Bangarra feels very maintained though these stories. strongly about their role in the company’s work. They make sure The Deep Archive: Wesley Enoch Many of Bangarra’s productions that the stories they tell are true on Contemporary Indigenous Arts are based on or include stories from to the traditional owners of those Practice. Real Time Arts, 2017. , which are allegorical stories and uphold the integrity https://www.realtime.org.au/ representations of contemporary of the stories’ meanings. the-deep-archive-wesley-enoch- on-contemporary-indigenous-arts- existence and the future of practice/ Aboriginal and Torres Strait Islander cultures and people. Expressing EXPERIENCING Johnson, Carole (1940-). National and maintaining culture through Library of Australia contemporary interpretations and DANCE IN A https://trove.nla.gov.au/ rich theatrical realisations enables people/1491391?c=people the world of Australian Indigenous THEATRICAL culture to be shared with the full diversity of today’s audiences. CONTEXT It is important to note that dance THE DREAMING theatre works are essentially artistic Carole Johnson — Delving into Dance invention, and are created to with Ausdance Victoria (2017) Indigenous spirituality exists in express a broad range of ideas and https://www.delvingintodance.com/ the concept of the ‘Dreaming’. thoughts. While some information podcast/carole-johnson?rq=carole%20 Dreaming connects Indigenous is provided in the program notes johnson people to the past, creates of each production, the viewer is relevance to the present, and free to interpret the work according guides them for the future. to their individual perspectives, Dreaming stories can illustrate emotional responses, and level the phenomena of creation, of experience in the viewing transformation, natural forces, of performing arts. Repeated Bangarra Dance Theatre YouTube Channel - interviews with Artistic and life principles. They are viewing of the work, along with Director Stephen Page and other specifically related to landforms, the cumulative process of learning Bangarra Creatives. places, creatures and communities. about the themes, source material, https://www.youtube.com/user/ The ancestral beings that populate cross-referencing of the range bangarradancetheatre the stories form the spiritual of subject matter and creative essence of the stories. Bangarra’s processes involved in the making portrayal of stories of the Dreaming of the work, contributes to personal through the contemporary dance and critical responses to the work. theatre form requires a diligent Bangarra invites its audiences to process of connecting and building share, learn, and appreciate the a relationship with the traditional critical importance of Aboriginal custodians of those stories so and Torres Strait Islander cultures that the integrity and authenticity in order to understand their own is respected. relationship with the cultures and the people of Australia’s First Nations.

8 BANGARRA DANCE THEATRE

Frances Rings, Djakapurra Bangarra Dancers, photo by Carole Y Johnson, Matthew Bangarra Dancers and Crew, Munyarryun, and Marilyn Miller, James Morgan Doyle, and Phillip Lanley, photo by Tiffany Parker photo by Greg Barrett photographer unknown

culture in both its pre-colonial and post- Based in Sydney, Bangarra presents BANGARRA’S settlement states (see Form, Activation performance seasons in Australian and Process, p. 5) capital cities, regional towns and remote BEGINNINGS areas, and has also taken its productions By the 1980s, NAISDA had developed to many places around the world Bangarra Dance Theatre was founded a performance arm called the Aboriginal including Europe, Asia and the USA. due to the efforts of an American Islander Dance Theatre, which woman, Carole Y. Johnson, who toured to showcased the development of students Bangarra provides the opportunity Australia in the early 1970s with the Eleo into professional Dancers and also gave for people of all cultural backgrounds Pomare Dance Company from New York. opportunities for these Dancers to to share knowledge about, and have develop as Choreographers. Raymond a contemporary experience of, the Johnson had experienced the full Blanco, Marilyn Miller and Dujon Nuie world’s oldest living cultures. Bangarra impact of the civil rights movement were some of the artists who took on has nurtured the careers of hundreds in the 1960s, and been a part of the the role of Choreographer and paved of Aboriginal and Torres Strait Islander proliferation of new modern dance the way for many more to come. professional artists, including Dancers, exponents across America, who Choreographers, Composers and were focused on freeing dance from In 1989, Johnson founded a new Designers. its institutionalised bases and using company, Bangarra Dance Theatre. dance to make commentary on the Bangarra is a Wiradjuri word meaning Since 1989, Bangarra has produced contemporary world. She studied at the ‘to make fire’. In 1991, the artistic dozens of original works for its prestigious Juilliard School in New York directorship was handed to Stephen repertoire, collaborated on the and was awarded scholarships to work Page and he premiered his first work, creation of new productions with other with communities in Africa. Johnson Up Until Now for the company in Australian performing arts companies knew the power of dance as a practice, October of the same year. such as The Australian Ballet and the and as a communication platform. Sydney Theatre Company, and played an integral role in opening ceremonies During her time in Australia in 1972, of the 2000 Sydney Olympic Games she was asked to conduct dance BANGARRA and the 2018 Commonwealth Games. workshops. These were very successful In 2016, Bangarra created its first and resulted in a Johnson’s new dance TODAY feature film, SPEAR. production that depicted Australia’s Today, Bangarra is one of Australia’s own civil rights actions. The Challenge Bangarra’s Dancers and collaborating leading performing arts companies, – Embassy Dance was about the artists come from all over Australia, widely acclaimed nationally and around Moratorium for Black Rights initiated including the major groups in relation the world for its powerful dancing, by workers’ unions in 1972, and the to location, for example: Torres Strait distinctive theatrical voice and utterly challenge to uphold the presence of Islanders, Queensland (Murri), New unique soundscapes, music and design. the Aboriginal Tent Embassy. South Wales (Koori), Victoria (Koorie), The company is recognised globally for (Anangu and ), critically-acclaimed theatre productions Johnson quickly realised that there Arnhem Land, Northern Territory that combine the spirituality of was a lack of contemporary dance (Yolngu), Coast and Midwest Western traditional cultures with contemporary expression in the Australian sociocultural Australia (Yamatji), Southern Western forms of storytelling though dance. environment, and decided that she Australia (Nyoongar), Central Western Bangarra is supported with funding would do something about it. On the Australia (Wangai) and Tasmania through the Australia Council for the back of her workshops, she established (Palawah). Some of the Dancers are Arts (the federal Government’s arts the Aboriginal and Islander Skills graduates of NAISDA Dance College funding and advisory body), Create Development Scheme in 1976, which was (NSW), or Aboriginal College of NSW (NSW arts policy and funding to later become the National Aboriginal Performing Arts (QLD), and others are body) and a number of private Islander Skills Development Association graduates of dance courses delivered philanthropic organisations and donors. – known today as NAISDA Dance by universities around Australia. College. At the same time, black theatre The company also derives earnings makers, playwrights, writers, and actors from performance seasons, special were creating works that reflected their events and touring.

9 UNAIPON FRANCES RINGS

CREATIVE TEAM Choreographer Frances Rings Cultural Consultants Family of David Unaipon; Harold Kym Kropinyeri, Judith Kropinyeri, Elaine Kropinyeri, Corrina Kartinyeri, Donna Smith Additional consultancy Gina Rings, Katrina Power, Mrs Ward (deceased) Composer David Page Set Design Peter England Lighting Design Nick Schlieper Costume Design Jennifer Irwin

that connect time and generations NGARRINDJERRI – the threads that tie the ancestors SCIENCE — In the beginning to country. Sister baskets, a type of Science, the second section of — Sister baskets mat, are made from two identical Unaipon, was created in three parts halves, and have great spiritual — String games – Motion, Four winds, and Power – significance for Ngarrindjeri people. which delve into David Unaipon’s The sister baskets are threaded into SCIENCE contributions to science. Between the choreography to illustrate their 1909 and 1944 he submitted — Motion many uses – shelter, shade, fishing, applications for ten patents, — Four winds or simply for sitting. including a new handpiece for — Power shearing, a multi-radial wheel, String games depicts lines of and a centrifugal motor; he knowledge and story that travel RELIGION also predicted the invention of and coexist, within and between the helicopter after studying cultures. The lines extend beyond the scientific behaviours of the the space – no beginning and no . Most of the patents NGARRINDJERI end. String games were used by lapsed due to lack of funds, Elders for storytelling and to pass preventing him from ever The first section of Unaipon is on cultural knowledge to the realising his projects. titled Ngarrindjeri and draws on young people. the people and Country in the area Unaipon was deeply impacted of Raukkan (formerly known as The umbilical cord and its by his reading and researching Point McLeay) on the south-eastern relationship with the human of Isaac Newton’s Laws of Motion, miwi shore of Lake Alexandrina in South existence – – is significant and and maintained a lifelong interest Australia. Ngarrindjeri contains sacred to Ngarrindjeri people and in discovering how perpetual three sub-sections, In the beginning, is incorporated into many weavings motion can exist for purpose Sister baskets, and String games. and paintings, well as Unaipon. The driven inventions. Science moves Nhung e Umpie work incorporates us into the world of formulas, The first fragment of Ngarrindjeri (naval cord relationship) throughout motion, energy and power. is In the beginning, which explores the work, in doing so telling the the concept of a cultural upbringing story about the importance of As a dancer, one of the things that that has no beginning or end, the umbilical cord and the various you do is to apply the concepts but is part of an eternal story of processes applied to practise and of physics to generate movement knowledge sharing and storytelling. preserve this unique tradition. through your own body. The first Culture is carried by people as they section of Science is Motion and come to this world and pass their explores velocity, physics, and knowledge forward. David Unaipon DISCUSSION STARTER bodies in space. philosophises on our existence in the universe. What can be learned from knowing The Four winds section is based more about the processes and on the story of the four winds – Sister baskets depicts the intricate practices of Aboriginal people in Karrami (East), Walkund (North), and unique weaving craft of using the natural environment to Kolkami (South), and Tolkami Ngarrindjeri people. Practiced by provide essential food and shelter (West) – that herald the changing both men and women, weaving requirements? of the seasons, the times for represents the lifelines or bloodlines fishing, gathering certain foods

10 Dancers rehearsing Sister baskets, Patrick Thaiday in Unaipon (2004), photo by Lisa Tomasetti photo by Danielle Lyonne and managing the land. The natural “In various places of the Bible I found the blackfellow science behind this knowledge is something that has been disrupted playing a part in life’s programme…In this Book I learned by colonisation and modern that God made all the nations of one blood and that in farming, however this is knowledge Jesus Christ colour and racial distinction disappeared. that is critical to the sustainability of resources and land care. This helped me many times when I was refused accommodation because of my colour and race”. The final piece of Science is Power, DAVID UNAIPON, MY LIFE STORY (1954) which explores David Unaipon’s fascination with the concept of perpetual motion. Bodies become turbines and generate energy – RELIGION The Milky Way adorns the back the power of movement. Science of the stage, providing a space provides the answer to mysteries The final section of Unaipon is for thought and imagination to and is studied and explained by Religion. David Unaipon was a consider the higher powers that different cultures in different ways. religious man and a traditional man. are honoured in cultures across Unaipon maintained that it was He spent much of his life preaching the world. The Milky Way is also possible for science and myth the Gospel, as he researched the the ancestral home of Ponde, the to exist together and this is stories of Indigenous people. He giant cod, who in Ngarrindjeri depicted in the Space of Light made them available for Europeans story, created aspects much of the corridor in this section, where to learn from, and in turn develop landscape of Ngarrindjeri Country. one balances the other in respect and awareness of the movements of counter-tension. knowledge contained in Aboriginal myths and legends. He believed DISCUSSION STARTER in a reconciliation of cultures that would learn from each other, and Religions around the world DISCUSSION STARTER maintained that belief in Jesus, encompass belief systems, Science and mythology are often Muhammed, Jehovah, or Buddha worshipping practices, sacred seen as very different ways to was essentially the same — a places, holy texts, interpretations explain the world, both in historical common belief in a higher being of texts, leadership structures and and contemporary contexts. How — and Indigenous cultures were vast understandings of spirituality. does Unaipon offer a perspective no different. The music in the last How are Aboriginal and Torres Unaipon Miserere Mei, on how science and mythology are section of is Strait islander cultures different Deus not so different and we might lose by Gregorio Allegri, one of or similar? Why? critical knowledge by dismissing the most sacred pieces of Christian one as being less important than music. The beauty and power the other? of this early 17th Century chant pours voice and meaning through choreography that colours and celebrates a man of many cultures, a visionary, and a most remarkable leader of his people.

11 DAVID UNAIPON INVENTOR, AUTHOR, PHILOSOPHER, VISIONARY.

Most Australians are familiar with Unaipon put his own culture on the as he was constantly travelling as a David Unaipon’s face as the man same platform as all the other great preacher within communities and depicted on the Australian fifty- cultures of the world. When we as an adviser to government, and dollar note, but know little about consider the times he lived, when the critical letter that confirmed this extraordinary man’s life White Australia was government acceptance of the final stories and and work. A scientist, inventor, policy and the general belief was the publication date was never philosopher, writer, storyteller and that Indigenous people and cultures received by Unaipon. After one year Christian preacher, were heading for extinction, this of the project stalling, a medical he was also a political activist who perspective was both courageous officer called chose to influence society through and unique. He argued that even purchased the manuscript and his words, his dialogue, his literature though Aboriginal people live published it under his own name and his scientific contributions. very simply and in harmony with with no reference to Unaipon’s nature, rather than in a society that work or authorship. The book was David Unaipon (1872–1967) exploited the environment in the eventually re-published under was a Ngarrindjeri man of the name of ‘progress’, their cultures Unaipon’s name in 2001, largely due Warrawaldi , born in 1872 at are just as complex and impressive to the efforts of historians Stephen Point McLeay Mission in South as any of the other great ancient Muecke and Adam Shoemaker. Australia. Unaipon is an Anglicised civilisations. More recently, Unaipon’s original version of his traditional Potawolin family name, Ngnunaiton. He was the fourth of nine children born “… His name is Narroondarie. This mythological being, to and Nymbulda, who now lives in the heavens, gave Aborigines their a Karatinjeri clanswoman, and his early life was spent learning the tribal laws and customs. Aboriginal myths, legends traditional ways of his People. and stories were told to laughing open-eyed children James Unaipon was one of the centuries before our present-day European culture first Aboriginal men to embrace Christianity, becoming an active began; stories that stand today as a link between member of the laity and an the dawn of the world and our latest civilization.” influential member of the mission DAVID UNAIPON, C. 1925 community. His son David spent his early life on the mission until he left at the age of thirteen to spend five In 1924, Unaipon published an manuscript Legendary Tales of years in in the house of article in The Daily Telegraph the Australian Aborigines was Charles Burney ‘C.B.’ Young. He was titled Aboriginals: Their Traditions nominated by the State Library brought to the Young household and Customs. Shortly after, he of NSW to be recorded on the as a servant, and was also signed a contract with publisher UNESCO Australian Memory provided the chance to learn about Angus & Robertson to compile a of the World Register. philosophy, science and music. He collection of stories from various read the Classics, studied the great Aboriginal peoples with the view Unaipon studied Egyptian philosophers, learned to speak Latin to publish the manuscript as a hieroglyphs and compared them and Ancient Greek and became book. Unaipon was paid £2.2s (2 to Aboriginal carvings. He studied skilled at playing Bach on the organ. pounds, 2 shillings) per thousand astronomy and made connection to He showed an insatiable thirst words, provided as the stories were the stories about the stars and the for knowledge which did not submitted. Communication was sky that existed in his own culture. diminish until the day he died. challenging for Unaipon at that time He mapped and investigated the

12 flight patterns of the boomerang White society would say at the time Images of David Unaipon, and fed that information into his that Unaipon and his contemporary AA676/5/19/28, AA676/5/19/29, AA676/5/19/30, AA676/5/19/31 inventions and explorations Albert Namatjira were exceptions. AA676/5/19/32, of aerodynamics. But Unaipon argued they were not M Angus Collection, exceptions, they were examples courtesy of the Archives. Inhabiting the space between the of what could be learnt if people oppositional demands of western opened their minds and fed their and Indigenous cultures, Unaipon curiosity about Indigenous cultures pursued his endless love of learning – perhaps they would then respect and discovery but remained firmly those cultures and wish to COMMEMORATION based in his culture. The way he know more. In 1953, Unaipon was one of negotiated these two worlds was only 37 Australians to receive a to learn everything he could about Unaipon worked endlessly for the prestigious Coronation Medal and western culture and claimed that rights of his people to be heard at his portrait was commissioned the two greatest books he ever read the highest levels of government. In numerous times. In 1988, the David were Isaac Newton’s Mathematical the early 1900s he travelled widely, Unaipon Award for Aboriginal Principles of Natural Philosophy combining his Christian preaching writers was initiated, and the Annual (1687) and the Bible. Science and activities with meetings with the Unaipon Lecture was established religion were not oppositional for representatives of the Aborigines’ at University of South Australia. An Unaipon. He was able to engage Friends Association, consulting additional David Unaipon Address with both in a spiritual context, on Aboriginal policy, working was initiated in 2018 at the Kings holding his cultural identity at the towards bettering the relationships College in London. centre. This was not an easy road between Indigenous and non- for a man who was often maligned across the In 1995, the Reserve Bank of and discriminated against for his country. He also promoted the Australia issued a new design for racial heritage. Whenever Unaipon idea for a separate Aboriginal state the fifty-dollar note, replacing the felt the hurt of discrimination, he in central and northern Australia. images of scientists Howard Florey would reach for the Bible, where As a spokesperson for Aboriginal and Ian Clunies Ross with David he found there was a place for him people, his advice was well received Unaipon and Edith Cowan, the first – a place for all people regardless and effective in influencing policy. female member of an Australian of their colour, race or religion. He was a strong advocate for Parliament. In 2018, the Bank re- He held the view that despite education for Aboriginal people issued the note with some updated greater spiritual powers having – something that was supported design and security features. The different names – Jesus, or Allah, by many Indigenous and non- side of the new fifty-dollar note or Narroondarie, or Jehovah – it Indigenous people, however depicting David Unaipon includes was all the same. The lifeline from this was not always received shields from Unaipon’s Ngarrindjeri the moment our spirit is conceived positively by certain members of nation and the practices of miwi, in the womb, continues with us the Aboriginal community who traditional navel cord exchange throughout our life and beyond. preferred affirmative action and that Unaipon wrote about in his public protest. Unaipon’s view was Legendary Tales. It also features This was a man who at that time, that change should be gradual the Black Swan (Cygnus atratus), was not considered a citizen under and would be achieved through Unaipon’s ngaitji or totem. the Australian Constitution, and education and collaboration. yet his scientific achievements earned him the reputation as the ‘ of Australia’.

13 CULTURAL CONSULTATION FURTHER READING Unaipon, David and Muecke, Frances Rings at the State Library Stephen & Shoemaker, Adam (eds.). of , photo by Joy Lai. ‘Legendary Tales ofthe Australian Aborigines’, Melbourne University Press, 2001.

Bell, Diane. ‘Ngarrindjeri Wurruwarrin: a world that is, was, and will be’, Spinifex, Melbourne, 1998.

Kartinyeri, Doreen. ‘Ngarrindjeri nation: Genealogies of Ngarrindjeri Families’, Wakefield Press, Adelaide, 2006.

Jenkin, Graham. ‘Conquest of the Ngarrindjeri’, Raukkan Publishers, Adelaide, 1979.

Jones, Philip, ‘Unaipon, David (1872-1967), Australian Dictionary of Biography’, Vol. 12, 1990.

Indigenous Unit, State Library of NSW https://www.sl.nsw.gov.au/ aboutlibrary/ services/indigenous-services

South Australian Museum http://www.samuseum.sa.gov.au/

David Unaipon (1872–1967), Reserve Bank of Australia https://banknotes.rba.gov.au/assets/ pdf/biographies/david-unaipon.pdf “Visiting his family and the land of and they’re teeming with birds and Unaipon’s traditional community wildlife. To the south is the Great in Raukkan was critical in the Australian Bight. Huge mussel development of this dance work. shells gather on the shores and Community consultation is make the land extremely fertile. imperative when making works that It is one of the most amazing and draw on the stories of traditional beautiful communities I’ve ever communities. It’s about respect for encountered. The Ngarrindjeri the people and land who inspire culture is quite distinctive. Nobody the story, and ensures the voice in Australia or the world weaves like of the Ngarrindjeri community the Ngarrindjeri weavers. Tragically, is appropriately depicted in the the community was decimated by work. The Raukkan community small pox, which travelled down who welcomed me and taught me the Murray system as European so much about this man, as well settlements developed and the as the land where he came from, river systems were contaminated. were an incredible inspiration. Communities all along the river It is a very powerful part of the started dying before they even saw world - you can feel it. Where the white man. All these stories seemed fresh water comes to meet the salt to me like a midden, uncovering water - it has always been sacred. each layer, the history is still alive, The spills into two and layers are still being set down.” massive freshwater lakes – Lake Alexandrina and Lake Albert/Yarli, Frances Rings, 2004

14 STAMPING GROUND Jiří Kylián, photo by Anton Corbijn JIŘÍ KYLIÁN

CREATIVE TEAM Choreographer Jiří Kylián Composer Carlos Chávez Set Design Jiří Kylián Lighting Design Jiří Kylián (concept), Joop Caboort (realisation) Lighting Re-Design Kees Tjebbes Costume Design Heidi de Raad Remount Director Roslyn Anderson

the Tokyo Ballet. He has worked — In 2008 he was distinguished JIŘÍ KYLIÁN with many creative personalities of with one of the highest royal Jiří Kylián (Czech Republic, 1947) international stature, among them: honours, the Medal of the Order for Arts and Science of the House started his dance career at the — Composers age of nine at the School of the of Orange, given to him by Her National Ballet in Prague. In 1962, • Arne Nordheim (Ariadne, 1997) Majesty the Queen Beatrix from he was accepted as a student at the • Tōru Takemitsu (Dream Time, the Netherlands. 1983), and Prague Conservatory. He left Prague — Kylián received the Lifetime when he received a scholarship — Designers Achievement Award in the field for the Royal Ballet School in of dance and theatre by the • Walter Nobbe (Sinfonietta, 1978) London in 1967. After completing Czech Ministry of Culture in • Bill Katz (Symphony of Psalms, his scholarship, he went to the Prague and, Stuttgart Ballet led by John Cranko 1978) where he made his debut as a • John Macfarlane (Forgotten Land, — In this same year, the choreographer with Paradox for the 1980) documentary Forgotten Noverre Gesellschaft. After making • Michael Simon (Stepping Stones, Memories received the Czech three ballets for Nederlands Dans 1998) Television Award. • Atsushi Kitagawara (One Of A Kind, Theater (Viewers, Stoolgame and La — In 2017, Kylián received the 1998) Cathédrale Engloutie), he became prestigious gold penning as • Susumu Shingu (Toss of a Dice, Artistic Director of the company honorary citizen of The Hague, 2005). in 1975. In 1978, he put Nederlands the Netherlands. Dans Theater on the international In the summer of 2006, he created — In April 2018, Kylián was map with Sinfonietta. That same a film entitled Car Men with the nominated to become a member year, together with Carel Birnie, he director Boris Paval Conen and in of the Académie des Beaux Arts founded Nederlands Dans Theater 2013 another film Between Entrance in Paris. This highly prestigious II, which gave – and still gives – and Exit with the same director. This recognition was complemented young dancers the opportunity film was choreographed on location with the Academy’s decision to to develop their skills and talents, in open brown coal mines in the change its statutes, and add a and which functions as a breeding Czech Republic. ground for young talent. He also special seat for Choreography. Jiří created Nederlands Dans Theater In the course of his career, Kylián Kylián’s inauguration officially took III, a company for “older” dancers, received many international awards place in Paris on March 13, 2019. in 1991. After an extraordinary including: record of service, he handed over — Officer of the Orange Order artistic leadership of Nederlands (Netherlands) Dans Theater in 1999, but remained IMPRESSIONS associated the company as house — Honorary Doctorate from Juilliard choreographer. He has created School in New York RETURNING more than 100 ballets, 72 of which — Nijinsky Awards for Best The idea for Bangarra Dance were for Nederlands Dans Theater. Choreographer, Company, and Theatre to present Jiří Kylián’s His work has been performed all Work over the world by more than 80 Stamping Ground is a story of companies and schools. He has not — Benoit de la Dance - Moscow and powerful impressions, exchanges of only made works for Nederlands Berlin knowledge, and the omnipresence Dans Theater but also for the of connection between individuals — Honorary Medal of the President regardless of their background and Stuttgart Ballet, the Paris of the Czech Republic Opéra, Swedish television and personal story. Given breath from — Légion d’honneur (France), and the deeply etched impressions that

15 Tyrel Dulvarie rehearsing Stamping Ground, Glen Eddy, Marly Knoben, photo by Lisa Tomasetti and Nacho Duato in Stamping Ground (1983), photo by Jorge Fatauros

Kylián absorbed from his experience influential choreographers of our of the 1980 Groote Eylandt time is significant. But perhaps more gathering, Stamping Ground significant is the fact that this very travelled into the choreographic unique work, Stamping Ground, will process in 1983, and the result was have the opportunity to complete a contemporary dance theatre work its own unique life cycle of culture FURTHER that translates to the stage as a and creativity. work acknowledging dance as an READING essence for cultures to coexist. Lanz, Isabelle. ‘A Garden of Dance. The first time Stephen Page saw A Monograph on the Work of Jiří Kylián’s choreography was in the Kylián: 20 Years at Nederlands Dans mid-1980s when he was a student Theater’, Instituut Nederland and Nederlands Dans Theater, at NAISDA Dance College. One It might sound strangely conceited, Amsterdam, 1995. of the teachers gathered a few but I was actually the initiator of this students together to watch the gathering (on Groote Eylandt). With work of a choreographer by the the help of my friends we were able name of Jiří Kylián who was based to convince many institutions to in the Netherlands, and had made a contribute to this quite momentous work called Stamping Ground. Page event.... But the leaders of the Jiří Kylián immediately recognised a spirit different Aboriginal cultural groups http://www.jirikylian.com/ within the work that spoke to him wanted to know who I was, before through a cultural connection. Page giving their approval. One day some kept that experience and impression of them gathered in Groote Eylandt alive over the next three decades to watch a video of my work. After as he went on to became a Dancer, the viewing they left without saying a single word. The next day they Muir, David. Road to the Stamping Choreographer and Artistic Director Ground, Home Vision, 1984. of Bangarra Dance Theatre. came back with the verdict: “He is a good dreamer”. Kent, Don & Christian Dumais-Lvowski. Page had considered Stamping Jirˇí Kylián: Forgotten Memories Ground for Bangarra’s repertoire Needless to say - this was one of the (Mémoires d’Oubliettes), Art Haus on a few occasions. After 30 years highest awards I have ever received Musik, 2011.3 of building Bangarra’s creative in my entire career. foundations, creating rich and It is interesting to know that diverse repertoire, and growing a I was not the only stranger at reputation of renown throughout that gathering, but the different Australia as well as internationally, Aboriginal groups were strangers the time was right. Kylián was to themselves. Their cultural supportive of the idea of Bangarra backgrounds, rituals and languages presenting Stamping Ground, and were different. But what truly united sent through more stories and them, was dance. thoughts about the work to support the process of the work circling This experience taught me essential back to the cultures and people things about the immense diversity that gave it breath. and endless possibilities of human physical, mental and spiritual The fact that this is the first time expression. Bangarra has presented the work of a non-Indigenous artist and Jiří Kylián, 2019 that the creator is one of the most

16 TO MAKE FIRE STEPHEN PAGE

CREATIVE TEAM Choreographers Stephen Page, Elma Kris Composer David Page, Steve Francis Set Design Jacob Nash Peter England Lighting Design Nick Schlieper Costume Design Jennifer Irwin

Bangarra’s storytelling through the original human inhabitants MATHINNA dance theatre has evolved and of the land and the animals who Mutton bird diversified over the last 30 years, provide them with sustenance. In People to the point where it is recognised Exile, the fear and sadness that Exile as one of Australia’s most important builds from a clash of cultural cultural agents. The selection of differences and a lack of empathy Adoption works in to make fire illustrates a is depicted through the very songline of Bangarra’s evolving distinct choreographic scenes that ABOUT creative process, and the stories happen simultaneously. Adoption Story Teller it has brought to the stage. The reflects on the practices in which stories are many, and encompass Indigenous children are removed Zey – south wind tragedy, conflict, joy, hope, history, from their families to be ‘instructed’ Kuki – northwest wind contemporary issues and more. in European ways, and assimilated Naygay – north wind These stories point to the past and into western society, a practice Sager – southeast wind the future and the two worlds that unfortunately prevalent in Australia all Indigenous people negotiate since the first settlement. throughout their lives. CLAN Mathinna was created in 2008. Mathinna tells the story of a young Wiradjuri (Initiate, ID, 2011) For more information about girl who was born in 1835 on the Young Man (Kinship, ID 2011) Mathinna, please go to Mathinna Aboriginal mission settlement on e-resource, and/or request Promise (Kinship, ID, 2011) Flinders Island (Tasmania) called Mathinna Study Guide. Dots (Rush, Walkabout ,2002) Wybalenna. In 1839, Mathinna was Hope (Rush, Walkabout, 2002) removed from her family by the Governor of the colony Sir John Elma Kris’ expresses her Franklin and his wife Lady Jane, About curiosity about the four Gub Making fire is to ignite the and brought to Government House (winds) of the Torres Strait. The landscape in order to bring on new to be raised in a European setting. winds are a daily consideration growth, sustenance and renewal. Four years later, the Franklins in Islander life; they move and Fire is essentially a chemical returned to England and placed shape themselves in magical and reaction that results in combustion, Mathinna in an orphanage. The mysterious ways; they paint colour and its application causes complete rest of Mathinna’s life was spent into the day, the night, the sky and change to anything that comes between her community on Flinders the seas. Zey is the cool breeze, in contact with it. Fire generates Island, the orphanage, and a small feminine in nature, and moving smoke, which communicates group of Aboriginal people living with fluidity.Kuki is the wind of information about what is coming. at Oyster Cove. the storm season; Kris sees Kuki as Fire is a powerful agent of change. Mutton Birds were an essential food having a strong energy – it blows Over the last 30 years, Bangarra has source for the Aboriginal people at the time of tropical storms and been igniting the stage with stories of Tasmania and the birds’ feathers rough seas. Kris gave this wind a told from Indigenous perspectives, were used to make cape-like charcoal black colour to represent challenging perceptions, and giving coverings for warmth. The spiritual the cloud changes. Coming from people the freedom to engage significance of the mutton bird was the north, Naygay (Naigai) is the emotionally with Aboriginal and as a totem for clan members. The calm and gentlest wind. In the silver Torres Strait Islander cultures. This image of the mutton birds hanging tones of a calm sea, the dancers is the fire that Bangarra generates. from the tree also points to the layer their movements and form The works are provocative, proclamations that were posted patterns that shoot out like sunrays. educational, and inspiring. to warn Aboriginal people of the Sager is the dominant wind gusting consequences of resistance. People from the southeast bringing white illustrates the connection between dust across the islands. 17 I didn’t want to make a ‘best of’ as part of this program, but I did want to find a way to celebrate how Bangarra responds to historical works, biographical works and what that means in our repertoire, and also to celebrate and pay respect to Torres Strait Islander cultures. So that’s why we’ve created three worlds that are held together by the cloth from Patyegarang (2014), which represents the spirit of our creative stories and cultural knowledge coming together. Bangarra dancers rehearsing to make fire, Stephen Page, Artistic Director photo by Lisa Tomasetti As a contemporary song man, I am a messenger of our old people’s stories through music, always seeking to expand my musical knowledge and While the conventional western of contemporary living? How to taking a fresh approach to bringing calendar of seasons (Spring, we process what has happened in to life our history on stage. Summer, Autumn, Winter) are the past, how we should approach Bangarra has given me so much... broadly determined by western the future? Where do our reference It has helped me learn more about calendar dates, the rise and fall of points collide? Where do we my culture and myself than any temperature, and the noticeable position ourselves within the polity? university could have. changes to the landscape, it is the David Page (1961-2016), Composer ID questions incidences where winds of the Torres Strait that are a ‘degree’ of Aboriginality the seasonal forecasters for the My most exciting job is to work on a is determined based on the people who live in this region. Bangarra production. For a composer, assessment of skin colour. This is The behaviours of these winds there’s a lot of pressure. But it’s so more of a psychological exploration, guide the people in their daily liberating because you’re a part of of how western culture questions lives and the sprits of these winds the core creation process in writing something and looks for answers. the music. When you do a piece with inform the essential elements of Aboriginal people are all Aboriginal Bangarra, from the get-go you are a their cultural life. people - but they are all different part of telling that story through the About was created in 2013 as part skin colours. It is important in music – they’re my proudest moments. of the program titled Belong. our work at Bangarra to disrupt Steve Francis, Composer common perceptions, question the For more information about evolution of certain stereotypes and For to make fire, we’re telling stories About, please go to About from the past, in the present, and the work to guide generation change e-resource and/or request future, from all over the country. But toward a deeper respect and Belong Study Guide. country is Country and for me, Bangarra understanding of Aboriginal and is here in Sydney and this is where we Torres Strait Islander people and create work and this is the landscape their cultures. where we dream everything up. Clan is a curation of excerpts from Jacob Nash, Set Designer the Initiate and Kinship sections For more information about of ID (Belong, 2011) and Dots and ID,please request the Kinship I can do things for this company that I Hope sections of Rush (Walkabout, Study Guide. can never do for other performing arts 2002). Both works are created by companies – because with Bangarra, Stephen Page. it’s always collaborative. I provide a skin, by using texture and fabric and Rush captures the energy and dyeing and painting, and they turn it resilience of youth – the struggle into something else: a work of art. to reconcile the old ways with the Jennifer Irwin, Costume Designer new and cleanse the pain of the ‘What leads us to walk away from past. Fresh songlines are being what we know best? Sometimes I almost always focus first and drawn in the ancient soil – the there is no choice. The hardest foremost on the story. I always start by rush of survival. journey can often be to rediscover doing my homework. Because dance is such an abstract medium, it’s as ID is an observation about the the steps of the original walkabout — to tread as our ancestors did in much the job of the lighting design to ways western culture has initiated help tell the story as it is of any other a continuous cycle of reverence and inculcated certain perceptions element. It’s so easy to light dance and about Aboriginal identity. These to the land’. just make pretty pictures, but that’s the perceptions raise many questions STEPHEN PAGE easy way out. You actually need to be for the Aboriginal community. How subtly telling the audience where they do we ‘belong’ in our own land? are in a story the whole time – that How do we negotiate the knowing spine is much more important to me. of traditional culture and the reality Nick Schlieper, Lighting Designer

18 PRE- AND POST-SHOW ACTIVITIES

Below are some guiding questions/discussion points that teachers can explore either before or after the performance. As well as discussions and with responses, students can explore creative responses – a visual art piece, a written review, or a creative writing response. Bangarra dancers at curtain call for Bennelong, photo by Tiffany Parker

UNAIPON STAMPING TO MAKE FIRE 1. Explore the discussion starters and conduct discussions either GROUND 1. Consider the themes and stories of the as a class or in small focus groups, 1. Kylián is one of the most prolific and various works represented in to make incorporating contemporary influential choreographers of the 20th fire.Think about how they are similar sociocultural perspectives that might and 21st centuries. Have a look at and how they are different; how the emerge as conversations develop. some of his works created before 1983 culture of the Torres Strait Islands is and compare them to works created different toAboriginal cultures and 2. Discuss how the story of David after 1983. Excerpts are available on how the storiesare communicated Unaipon incorporates a number of the Jiři Kylian website. through dance. cross-cultural stories that illustrate the way societies and cultures can 2. How was the process for the creation 2. How can Indigenous dance theatre co-exist. of Stamping Ground different to the serve as a powerful form of way Kylián created other works? storytelling? Why? What are the 3. Identify aspects of Unaipon’s life strengths (or weaknesses) around where he is simultaneously celebrated 3. How does the making and performing human movement as ‘language’ when and discriminated against. What of Stamping Ground respect the compared to written or spoken text? does this suggest in terms of social cultures of Aboriginal and Torres conventions and perspectives in the Strait Islander people? 3. How do the dance, design and sound/ first century after settlement? music elements complement each other? 4. Stamping Ground is the first work 4. Are there continuing tensions of a non-Indigenous choreographer 4. Were there any specific works or between western capitalist to be re-mounted and programmed sections of works that made a society and respect for First by Bangarra Dance Theatre. Why is particular impact on how you felt Nations communities and cultures this significant and why do you about something, stimulating a (economically, culturally, socially, think Stamping Ground was the response that you weren’t expecting? and or politically)? If so, how to work chosen? these tensions manifest? Build the 5. Looking at the design features (set, discussion to incorporate a range 5. What do you notice about the costume, lighting) of the production of perspectives, including the choreography and how would you as a whole, were there any specific ‘stories within the stories’. describe it in terms of its spirit? designs that you found particularly Can you identify certain motifs interesting, surprising and/or 5. How can we investigate and that repeat or vary? effective? How do these design/s re-investigate our history from amplify the strength of the section/ multiple perspectives? work and how do they add to the story being told, or the atmosphere being heightened?

6. How does the technical skill of a Dancer support the choreography? What are some of the physical skills and attributes that Dancers need to cultivate to bring the choreography to a high level of performance?

7. How do the creative and interpretative skills of the Dancer support the choreography? do you notice anything about the Dancers’ focus, their capacity for adding texture to movement, or their emotional input to the performance?

19 BANGARRA DANCE THEATRE AUSTRALIA

ABN 96 003 814 006

Tower Three, International Towers 300 Barangaroo Avenue Barangaroo NSW 2000

Phone +61 2 9251 5333 Email [email protected]

@bangarradancetheatre #bangarra

/bangarra

@bangarradance

/bangarradancetheatre

20