BANGARRA DANCE THEATRE Aboriginal and Torres Strait Islander people should be aware that this production and program contains images, audio, quotes and the names of people who have passed away.

Bangarra would like to acknowledge the many people in our family who are no longer here but have left an indelible mark in our cultural and creative continuum.

BANGARRA DANCE THEATRE 30th Anniversary Australian Tour

SYDNEY | Sydney Opera House, 13 June – 13 July CANBERRA | Canberra Theatre Centre, 18 – 20 July PERTH | State Theatre Centre of WA, 31 July – 3 August DARWIN | Darwin Entertainment Centre, 17 August BRISBANE | Queensland Performing Arts Centre, 23 – 31 August MELBOURNE | Arts Centre Melbourne, 5 – 14 September ADELAIDE | Adelaide Festival Centre, 19 – 21 September HOBART | Theatre Royal Hobart, 3 – 5 October We are storytellers. Music makers. Visionary the stories that are in this landscape — stories dance theatre creators. that provoke us politically and spiritually.

A clan of dynamic artists, each with a proud It is this unbreakable connection to our land Aboriginal and/or Torres Strait Islander heritage. and people that makes us unique and sees us We represent the pinnacle of Australian dance. performing on basketball courts or creek beds in remote communities one week, and in the We are embraced by Australians from remote Sydney Opera House or on the stages of communities to bustling city metropolises. We WE ARE BANGARRA Tokyo or Paris the next. are ambassadors for Aboriginal and Torres Strait AN ABORIGINAL AND TORRES STRAIT ISLANDER ORGANISATION CHARGED Islander culture, sharing and exchanging with Each year we share our spirit with more than WITH CARRYING AND CARING FOR STORIES THROUGH A DANCE FORM THAT First Nations people across the world. 50,000 people who pack theatres in capital cities, IS FORGED FROM MORE THAN 65,000 YEARS OF CULTURE. regional centres and international locations. Our spirit is fed by our relationships with Aboriginal and Torres Strait Islander communities For 30 years we have been scratching the across Australia. We create our works on surface of stories that span 65,000 years. Country, learning from and listening to the Now we are working to ensure Bangarra has stories that our people need us to share. We take enough cultural fuel for the next cycle. great responsibility in providing a platform for

4 5 WELCOME TO BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND

For 30 years, Bangarra has been given the So many people have made this 30th anniversary wonderful privilege of breathing and celebrating season possible — a season that includes an the spirit of 65,000 years of Aboriginal and iconic work from our Associate Artistic Director Torres Strait Islander culture. With this program Frances Rings; the presentation of a work we reflect on this privilege, and remind ourselves by a non-Indigenous choreographer for the that what we have created with this company, first time in Bangarra’s history; and a spiritual is one of a kind in the world. acknowledgement of the past and gift to our current dancers with to make fire. In turning 30, of course we’ve been looking back, and in doing so we reflect on the stories We thank our magnificent dance ensemble, our that we’ve told and the growth of the company entire team, all of the creatives who wove their over three decades. Even in the last five years magic throughout the program — in particular alone we’ve seen so much growth, success and Frances Rings; it’s so great to have her back in stability. The relationship that we have built — as our family — and of course our talented Board joint leaders of this company — is a professional led by the wisdom of our Chair Michael McDaniel. clan that we both feel so privileged to be a part And we thank you for celebrating Bangarra: of. The wider company is a driven clan that 30 years of sixty five thousand with us. We exist works in reconciliation with people who believe because of the communities who trust us to in our mission of creating inspiring experiences share their stories; because of the audiences that change society. There is a spirit there. who embrace the importance of their spirit; and We can’t see it, we can’t identify it, but we because of the people, partners, governments can feel it. This company can capture you and organisations who believe in the vision into its spirit. It’s magnetic. and passion of Bangarra Dance Theatre. You can see this spirit in the group photo in the Enjoy! middle of this program — a gathering of the incredible individuals who pour their energy and Stephen Page Philippe Magid passion into Bangarra both on and off the stage, Artistic Director Executive Director day in, day out. We wanted to gather everyone together for this important milestone and honour their work.

6 Let’s talk about celebrating 30 years of Bangarra within 65,000 years. How has the company managed the responsibility of giving voice to the myriad of languages, STEPHEN PAGE dance styles and songlines across Aboriginal and Torres Strait Islander cultures? ON BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND Our spirits from this extraordinary and ancient Stephen is a descendant of the Nunukul people and the Munaldjali clan place are always connecting our cultural of the Yugambeh Nation. He has been Artistic Director of Bangarra for 28 consciousness to Country and land. The spirit of of its 30 years and has created 25 works for the company over this time. that connection is what leads us to the myriad relationships that we have all over the country. Elders, song men and women, dance teachers from traditional and urban communities — they all share their stories and entrust them to us Can you share your process behind the curation work and the dance language that Stamping because of the values that underpin Bangarra of this year’s anniversary season — why have Ground embodies, so carefully with our dancers. as an organisation. As the caretakers of these you chosen these works to celebrate 30 years? stories and relationships — we utterly respect this This work is a contemporary dreaming and cultural responsibility. We are now in the new Each work was chosen because of the back a contemporary creation story that was millennia of this cycle of our culture and having story behind them. I’ve always wanted to revisit observed by someone from so far away — the that responsibility — it’s fragile, you’re always Unaipon and celebrate its life. It was Frances fact that he’s given that to us to bring back aware of its cultural protocols, you’re always Rings’ first major work and a pivotal moment on Country this year is really exciting. And our aware of its integrity. We pay great respect to it. in her transition from dancer to dance-maker dancers love it. They’re embodying it in their when it premiered in 2004. It was also the first own way. Jirˇí said to me: ‘let them find the What do you think is Bangarra’s greatest time in our repertoire that we focused on the internal spirit of where they come from’. achievement of the past 30 years? biographical story of one character. It has been fifteen years sinceUnaipon was created. The third section is called to make fire. Here, Just surviving and thriving in this contemporary That’s half of our lifetime. we’re creating three worlds that encompass world of politics and culture. Politically for us, 65,000 years. I chose moments from Mathinna we are so thankful just to be sustaining and Stamping Ground has been in my head since (2008), About (2011), ID (2011) and Rush (2002) surviving in the mainstream, let alone as an There is a very strong sense of your brothers, before Bangarra existed! In 1980 Jirˇí Kylián was to sit within these worlds because they’re Aboriginal and Torres Strait Islander company — Russell and David, throughout this program. planning to create three new works inspired meditative works about identity, resilience that is a feat. Philippe Magid’s leadership of the What do you think they’d make of Bangarra by Aboriginal culture. With his colleagues, and strength. In the Bangarra creative pantry company as Executive Director over the past celebrating 30 years? Jirˇí worked with communities and organisations we’ve been able to create this thematic array five years has been an absolute game-changer to arrange a huge corroboree on Groote Eylandt of diverse stories — because we are a complex for us and I can’t thank him enough for what The more I listen and re-live and reflect on off the coast of North East Arnhem Land. race and our history is complex. to make fire is he has done for Bangarra. David’s music, the more I’m reminded that it was The event was attended by Jirˇí, a number of not a ‘best of’ program; it is a gift back to our truly the pulse and the heart and the spirit of international artists and producers, and over a mother creation spirit of 65,000 years, the spirit The thing I’m most proud of is the clan. this company. He’s still here and he still inspires thousand Aboriginal men, women and children. that keeps us striving into the future. The spearhead. The heart of all that work and our future works — in a sonic sense, in a musical That major body of work didn’t eventuate, but the respect for our 65,000 years of culture. sense. And Russell, my baby brother, too. They he created Stamping Ground in 1983 in response I’m so proud of every one of our dancers, who I’m proud of the energy that’s come from both left us too early. Russell would be so to what he experienced. have fully immersed themselves into these people of all walks of life — people who impressed with the dancers and the physicality three works. It has nourished their minds, have come together to embrace the vision and the evolution of movement. He was the first We considered what a beautiful moment it bodies and souls and has truly been creative and sustain that spirit. You can’t single out a sensibility of male energy and enabling that could be: that in our 30th year we could bring medicine. I must acknowledge and thank our particular experience, but we’ve kept evolving crossover of contemporary and traditional. So, what Jirˇí was inspired by back on Country and Rehearsal Director, Daniel Roberts, who brings and finding initiatives where that spirit can help from the dance perspective, he’d be amazed let it be in the bodies of our great artists who a beautiful energy to the studio, creating a safe in healing, cleansing and connecting through at the thriving energy and connection that we come from the land of his first inspiration — a space for exploration, and who is so dedicated our stories. There have been so many muses — have. I watch the boys and I know Russell’s beautiful closing of the circle. He agreed. I in supporting the dancers in their individual so many dancers, creatives, artists, and cultural there. He’s giving me physical notes on what must acknowledge Shane Carroll here, for her journeys. Each one of our dancers is unique, consultants who have each been instrumental they’re creating. unwavering support and guidance for literally and they come together as an empowered in forging Bangarra’s songline, our knowledge decades to bring Stamping Ground to Bangarra and powerful clan. Our future is looking ground, over the past 30 years. I can’t thank — and Roslyn Anderson for her wonderful depth very, very bright. them enough. of knowledge in sharing Jirˇí’s connection to this

8 9 UNAIPON DAVID UNAIPON SYNOPSIS INVENTOR. PHILOSOPHER. WRITER. STORYTELLER.

Ngarrindjeri Four winds David Unaipon (1872–1967) is credited with being In the beginning East, North, South, West. The science of man and the first published Aboriginal author. He was an David Unaipon philosophises on our existence landscape. Knowledge of the seasons is essential inventor, philosopher, writer and storyteller. His in the universe. for survival. image is reproduced on the Australian $50 note.

Sister baskets Power Unaipon was a Ngarrindjeri man of the The Ngarrindjeri are famous for their intricate David Unaipon was fascinated by the concept of Warrawaldi clan, the fourth of nine children, weaving. A ‘sister basket’ is made from perpetual motion. Bodies become turbines and born at Raukkan Mission in South Australia. two identical halves and has great spiritual generate energy – the power of movement. He died shortly before the 1967 referendum ‘yes’ significance for the Ngarrindjeri. vote that resulted in Aboriginal people being Religion counted in the national census as citizens. String games “It was in this book [The Bible] I learned that String games were used by Elders for God made all the nations of one blood and that Growing up on a mission, his father James storytelling and to pass on cultural knowledge in Jesus Christ colour and racial distinction Unaipon became the first Aboriginal Christian to the young people. disappeared. This helped me many times when preacher, which had a strong influence on him I was refused accommodation because of my throughout his life. Despite embracing the

Science colour and race.” David Unaipon religions of the missionaries, he remained Motion true to his traditional culture. David Unaipon was greatly influenced by Featured Languages Australian Aborigines. After a number of difficult Isaac Newton’s three laws of motions. Ngarrindjeri, Ngarti and Etanyanu At 13, he was taken to Adelaide to live with negotiations and missed communications, Bodies in space demonstrate the formulas. the white family of Charles Burny Young, who the copyright for this work was sold to gave him a classical education and encouraged anthropologist and Chief Medical Officer of his interests in literature, philosophy, science South Australia, William Ramsay Smith, who and music. He studied astronomy and made PRODUCTION CREDITS edited the work and published it under his own connections to the myths and legends that name in London in 1930 under the title Myths existed about the stars within his own culture. and Legends of the Australian Aboriginals. Choreographer excerpt from Miserere, Additional Rehearsal Consultants He mapped the flight pattern of the boomerang, No acknowledgement of Unaipon’s work on Frances Rings with kind permission Consultancy (Bangarra alumni) which fed into his later inventions and the manuscript was noted. The book was finally from ABC Classics. Gina Rings Deborah Brown explorations of aerodynamics. Composer published in Unaipon's name in 2001, by The Additional vocals Katrina Power Jhuny Boy Borja David Page Meigunyah Press, using its original title.樰 sung by NPY Womens Yolande Brown Unaipon returned to Raukkan five years later, Community continuing to read books and journals that Set Design Council. Cultural Sidney Saltner In 1988, the national David Unaipon Award for Consultants were sent to the mission. He began to study Peter England Consultancy by Patrick Thaiday Aboriginal writers was initiated and the annual Raukkan Council: mechanics and conducted experiments in Mrs Ward. Chantal Kerr Unaipon Lecture was established at University of Jordan Sumner (CEO) perpetual motion, ballistics and polarised light. Costume Design Sani Townson South Australia. The David Unaipon Address was Jennifer Irwin Cultural Consultants Uncle Clyde Rigney initiated in 2018 at the Kings College in London. (Family of David Sean Weetra Frances would like to Between 1909 and 1944, Unaipon made patent applications for 10 inventions — including a Lighting Design Unaipon) Country Arts SA: thank her beautiful In 1995, the Reserve Bank of Australia issued Nick Schlieper modified handpiece for shearing, a centrifugal Harold Kym Di Gordon family: husband Scott a new design for the $50 note and David motor and mechanical propulsion device. Voice Kropinyeri and sons Yillen and Unaipon was honoured on one side. In 2018, the Research While these patents lapsed due to a lack of Wayne Blair Judith Kropinyeri Zef for their continued Bank reissued the note to include shields from SA Museum: funds, many of his ideas were picked up by and Ruby Hunter Elaine Kropinyeri love and support. Unaipon’s Ngarrindjeri nation and the practices Lea Gardam other scientists and are still in use today. Corrina Kartinyeri of miwi (traditional navel cord exchange) that State Library NSW: Vocals Donna Smith Unaipon wrote about in his Legendary Tales. Damien Webb In 1924 he travelled for a year on foot through Yolande Brown, It also features the black swan, Unaipon’s Ronald Briggs southern Australia — researching and writing David Page, choral ngaitji or totem. Melissa Jackson a manuscript titled Legendary Tales of the

10 11 FRANCES RINGS ON UNAIPON

Frances Rings had the incredible experience of creating with the three Page brothers — Stephen, Russell and David — as a dancer with Bangarra, before transitioning into an award-winning career as a choreographer and now Associate Artistic Director.

Can you tell us about the spark that led you space in the studio. We always came from a to create a major dance work in 2004 on cultural storytelling place, and we were still the life of David Unaipon? honouring that through telling his story, but this work also became about our bodies being My sister Gina Rings was dancing in the the tool to apply those scientific principles. company at the time and she told me about He was obsessed by concepts of perpetual David Unaipon — the man on the $50 note. motion towards his last days. In the process, She grew up near Raukkan, the community that we expanded our understanding of what a David is from. I had never heard of him before body could do by risking and exploring that. and I’m a South Australian! It was embarrassing and shocking to know that this man had done How important is working with community so much but generations had no idea of who and family when you’re creating a work he was and his contributions, not only to black based on an individual? history, but to science and agriculture and design and policy and writing. We certainly The most important part of the process for didn’t learn about him in school. me was to go back to South Australia and meet his family and get their permissions and their I loved the space that he inhabited, one that blessings and to see the Country that he came honoured his Ngarrindjeri culture and yet from: the energy of the land, the incredibly rich he immersed himself in Western culture. By landscape of that lower Murray area, where the mimicking and learning Western ways he could Murray river comes down and meets the ocean. speak to the power of his own culture. All of It’s really stunning and powerful Country. this took place at a time when Aboriginal Bangarra and they bring a different form. The There’s a strong sense of David Page people were not recognised as citizens and With Bangarra, there’s this beautiful gifting of company is looking strong. Industry practice throughout Bangarra: 30 years of sixty five faced incredible hardships and injustices; and stories and trust that our people give us. It’s a has moved into a new direction; this generation thousand, particularly with Unaipon. yet he was celebrated for his achievements. reciprocal relationship — we trust that you are is trained differently. I was able to really refine going to tell this story respectfully and in the and push the physicality. These new dancers were We feel him all the time, we know he’s such His life was so full, so complex, how did you right way; and that you’ll bring it back and gift able to meet that demand and they really worked a strong presence and alive in the company, distil it down to tell his story? it back to us. It’s a beautiful exchange. hard and put a lot of effort in to be able to achieve in the works. He always kept us grounded. that. I’ve got a very high bar and I’ll still keep He was always the one that was reminding us I think as artists you’re inspired by those How do you think the work has changed, pushing to get it to that level. But I think they about telling our stories our way. He tethered intersections of culture and those spaces 15 years after its creation? respect that; they know I’ll always expect more. David Unaipon’s story so strongly back to that aren’t ordinarily explored. So, I was really Country, back to culture and language. He interested in his three passions: science, his I think it shifts slightly, like me as a person, I am As we’re doing this, I’m watching a beautiful brought the ancient and you felt that beautiful own culture and religion. I broke the work into different to who I was in 2004. I am a mother cohesion and supporting of each other. I see connection. I tell the dancers to connect with three parts and based it on his passions. now. I’ve created many works and I’m probably them on the side working things out and helping that, listen to it and let that be what is your I wanted to harness some of the philosophies brave enough now to dig deeper and unpack each other, that’s beautiful. That’s part of the pulse. Let that be your intention. It’s all in there, around the scientific principles that he was and explore how we can refine it better. cultural foundation. that story’s in there. He’s put it in there for you. interested in and explore them with bodies in There is also a new generation of dancers at

12 13 STAMPING GROUND

Bangarra did not exist when Stamping Ground Kylián has remarked that Stamping Ground was created in 1983 by Jirˇí Kylián for the allowed the dancers to discover the spirit in Nederlands Dans Theater (NDT). themselves, which has created a simultaneously playful, provocative, delicate and highly charged Inspired by Kylián’s deep interest in Aboriginal work with energy that draws on the strength and dance and its centrality in the culture of fragility of our emotional selves. Aboriginal and Torres Strait Islander people, the work emerged as a response to Kylián’s Stephen Page first saw Kylián’s choreography experience in 1980, when he and his colleagues in the mid-1980s when he was a student at worked with communities and organisations to NAISDA Dance College. Page recognised a spirit arrange a large corroboree on Groote Eylandt within the work that spoke to him through a in the Gulf of Carpentaria. cultural connection. He kept that impression alive over the next three decades as he went on The purpose of the gathering was for Kylián to to became a dancer, choreographer and Artistic observe traditional Aboriginal culture first hand, Director of Bangarra. on Country, in preparation for a major project that would involve three new works, three Page had considered the idea of Bangarra commissioned scores, a documentary and an performing Stamping Ground on a number of abstract impression film that would be given occasions. After 30 years of building a strong to the Indigenous communities who participated creative foundation for Bangarra, a rich and in the corroboree. diverse repertoire and a reputation of renown throughout Australia as well as internationally — Over a thousand Indigenous men, women and he believes 2019 is the right time for Stamping children from all over the country, including Ground to come back to its cultural roots. The Kimberley, Cape York and the central desert lands travelled to Groote Eylandt to This is the first time that Bangarra has presented attend the week-long event. the work of a non-Indigenous artist — an artist who also happens to be one of the world’s most The initial project of new works was determined influential choreographers. Stamping Ground as far too ambitious, and didn’t eventuate, but illustrates how cultures can co-exist through PRODUCTION CREDITS the deep impact of the experience did not leave dance and Bangarra is proud to be including Kylián and he began exploring choreographic this unique work of Jirˇí Kylián’s in the shape to his response of having witnessed Choreography Set Design Light redesigned company’s repertoire. Aboriginal culture in this unique traditional Jirˇí Kylián Jirˇí Kylián Kees Tjebbes, 29 January setting. Stamping Ground was created in close 2005, Staatstheater, Saarbrücken Assistant to the choreographer Costumes collaboration with the cast of six NDT dancers Roslyn Anderson Heidi de Raad World Premiere and premiered on 17 February 1983 in The Hague. 17 February 1983, Music Light concept Circustheater, Scheveningen Carlos Chávez Jirˇí Kylián, Realisation Lights (NDT I) ‘Toccata para instrumentos 1983: Joop Caboort 5 November 1992, AT&T de percusión’, premiered 1942 Danstheater, Den Haag (NDT II)

14 15 ROSLYN ANDERSON ON STAMPING GROUND

Roslyn Anderson has been staging works for Jirˇí Kylián across the world for more than 30 years. She travelled to Sydney to work with Bangarra’s dancers to bring Stamping Ground to life.

Tell us a little bit about yourself, your role with Kylián Productions, and how that role brings you to this commission with Bangarra.

I was born and ballet-trained in Brisbane, before moving to Melbourne to train at The Australian Ballet School. I then danced with The Australian Ballet for six years, before joining Nederlands Dans Theater (NDT) in 1973 where, in my first season, Jirˇí Kylián was invited into the company to choreograph a work. From 1980 I began assisting Jirˇí on some of his creations for NDT and as a result began soon after to stage his works worldwide.

JIŘÍ KYLIÁN You were the original Repetiteur for Stamping ON STAMPING GROUND Ground. Now, 36 years later, you’re working with Aboriginal and Torres Strait Islander dancers who are of the culture that gave breath to the inspiration for the work. The creation of Stamping Ground was a result Yes, I was assisting on the creation of of what was a very pivotal turning point in Jirˇí's Czech born choreographer Jirˇí Kylián has gathered on Groote Eylandt to watch a video Stamping Ground in 1983. I find it very exciting career! His experience at the festival at Groote created over 100 works. Many of these have of my work. After the viewing they left without to be staging it here for Bangarra. A huge Eylandt has influenced each and every work he been presented by more than 80 companies saying a single word. The next day they came responsibility and an enormous privilege! has created since then. worldwide. Here he reflects on the experience back with the verdict: “He is a good dreamer.” of a gathering he attended on Groote Eylandt Bangarra’s works follow a cultural creation in 1980, where a thousand Aboriginal and Needless to say, this was one of the highest Kylián generously provided Bangarra’s dancers lifecycle — beginning on Country and ending Torres Strait Islander men, women and children awards I have ever received in my entire career. with guidance before rehearsals began, back with the communities who inspire our shared their stories and dances and traditional encouraging them to find their own skin in the stories. In a sense, Stamping Ground is now culture with him. It is interesting to know that I was not the only choreography. Has the work changed as a result? stranger at that gathering, but the different experiencing the completion of its own It might sound strangely conceited, but I Aboriginal groups were strangers to themselves. Bangarra’s dancers are storytellers and Jirˇí has lifecycle of culture and creativity. was actually the initiator of this gathering. Their cultural backgrounds, rituals and languages indeed encouraged them to search for their own True — while traditions of passing along Jirˇí’s With the help of my friends we were able were different. But what truly united them, interpretation — to explore their own spirit in works are different from those of Bangarra’s to convince many institutions to contribute was dance. the movement. This has provided a wonderful unique method, it is very exhilarating to be to this momentous event. challenge for me (also) to ‘allow’ this freedom while This experience taught me essential things not changing or compromising the choreography. involved in completing the life cycle of Stamping Ground. In a way, Bangarra is the only company But, the leaders of the different Aboriginal about the immense diversity and endless in the world that can reflect the original context cultural groups wanted to know who I was before possibilities of human physical, mental and Kylián has created more than 100 works during that framed Stamping Ground’s creation. giving their approval. One day some of them spiritual expression. his career. Do you think that Stamping Ground marked a pivotal moment for Jirˇí's work? 16 17 TO MAKE FIRE SYNOPSIS

There are three worlds in About explores the cultural The final world in to make fire, to make fire: Mathinna, connection between the showcases sections from ID About and Clan. people of the Torres Strait and Rush. Islands and the spirits MATHINNA (2008) Investigating what it means of the four winds (Gub). to be an Aboriginal and/or Mutton Bird Choreographed by former Torres Strait Islander person People Bangarra dancer, Elma Kris, in the 21st century, and based Exile About follows the journey of on personal observations of Adoption these winds as they guide people tracing their bloodlines people in their daily lives, and re-connecting with The first world into make fire informing essential elements traditional culture, ID asks re-awakens an excerpt from of their cultural life, and important questions about the Helpmann award-winning marking key moments in time. production Mathinna. This identity and reconnection powerful story is inspired by a CLAN with one’s heritage. young Lowreenne Tasmanian (ID, 2011 Belong) Rush is a statement about girl, who was removed from the enduring strength and her home and adopted into (Rush, 2002 Walkabout) spirit of our culture. It’s an western colonial society, only Rush abstract exploration of the to be ultimately rejected and Dots social issues that we have to returned to the fragments of navigate in order to survive her original heritage. ID in society today. We live in, Wiradjuri ABOUT and have to reconcile, two Young Man (2011, Belong) worlds – the contemporary Promise and the traditional – this work Story Teller Rush is about cleansing the pain of Zey Hope the past by reclaiming identity, Kuki language and culture. Naygay Sager

PRODUCTION CREDITS

Choreographers Costume Design Rush Djakapurra Munyarryun Stephen Page and Elma Kris Jennifer Irwin and Ningali Lawford-Wolf

Composers Original Cultural Consultants We thank the creatives, David Page and Steve Francis Mathinna Vicki-Laine Green musicians, dancers and and Lola Greeno vocalists who worked on Set Design About Peggy Misi and William the original productions. Jacob Nash and Peter England Satrick Lighting Design ID Kathy Marika and Nick Schlieper Djakapurra Munyarryun

18 19 STEPHEN PAGE ON TO MAKE FIRE

Stephen Page and Bangarra’s creative team have produced three worlds within to make fire as a gift back to the culture and heritage of Aboriginal and Torres Strait Islander people, that has survived for 65,000 years.

You talk about Bangarra having a ‘pantry The last world, Clan, is about the hope, spirit of knowledge’, an array of stories that and continuation of knowledge that we share demonstrate the complexity of Aboriginal — that we’re all born from that spirit of 65,000 and Torres Strait Islander history. How did years and this will take us into the next 30 you decide on which works to choose to years. Excerpts of ID from Belong (2011) create to make fire? and Rush from Walkabout (2002) will come together to celebrate the Clan journey. I didn’t want to make a variety show or a ‘best of’ as part of this program, but I did want to How have Bangarra’s creative team used their find a way to celebrate how Bangarra responds respective crafts to tie these worlds together? to historical works, biographical works and what that means in our repertoire, and also to I worked closely with Jake Nash (sets), Nick celebrate and pay respect to the Torres Strait Schlieper (lighting), Jennifer Irwin (costumes) Islander cultures. So that’s why we’ve created and Steve Francis (music) on the creation of three worlds that are held together by the cloth to make fire. Nick has totally reimagined the from Patyegarang (2014), which represents lighting design. Jake’s epic Patyegarang cloth the spirit of our creative stories and cultural will stay with us for the entire piece, anchoring knowledge coming together. each world. The elements of dust and wind will introduce us into each new section, and those The first world,Mathinna , was created in 2008 familiar with our works will notice key design and is the story of one of Australia’s first stolen elements inspired by previous productions — children. Mathinna is one of Bangarra’s narrative think of the ring from Bennelong or the firesticks works about historical figures, likeUnaipon from Patyegarang. Jenny and our remarkable (2004), Patyegarang and Bennelong (2017), costume department, headed by Monica Smith, which are all works about reclaiming our history have helped to refit and remake costumes for and telling our stories from our perspective. the entire program, and have created the look for a clan of nine people, a mob, who travel The second world, About, pays homage to together and collect each story and reawaken the stories that have been inspired by Torres it. The spirit of culture. The spirit of knowledge. Strait Islander culture. Elma Kris’ About (2011) And Steve has been weaving his magic in the explores the mood of the four winds in the studio to find a thread between scores that Torres Strait and is a perfect example of were created by my brother David and himself, Bangarra’s exploration of customs passed so that they become a seamless journey of down through families for generations, one spirit. reflecting the strong links between communities and their natural environment.

20 21 “As a contemporary songman, I am a messenger of our old people’s stories through music, always seeking to DAVID PAGE expand my musical knowledge and taking a fresh approach ON HIS MUSIC to bringing to life our history on stage.” 2008

Bangarra’s dearly missed songman David Page created the scores for four “Bangarra has given me so much... It has helped of the works in Bangarra: 30 years of sixty five thousand. These are his words, about his me learn more about my culture and myself than creative process and inspirations, written at the time that each work premiered. any university could have.” 2009

UNAIPON — 2004 and fuse them with contemporary sounds. “It is always a wonderful challenge creating I asked my old friend Steve Francis to new music for Bangarra — to bring new ideas collaborate musically with me once again. but maintain that Bangarra essence. Working He brings a new and fresh, abstract feel to this on Unaipon with Frances Rings allowed me unique dance work soundtrack. Working with to challenge the music and sound design and language is so rewarding especially when this helped take the dance to another level. Frances beautiful instrument is so easily accessible. is very inspiring and gives you the creative Fusing this with original composition allows freedom to experiment, but she is also clever us to create something special. Inviting the enough to remind you of the importance of a Bangarra dancers and various singers to sing the simple approach in delivering the right message. language adds colour to this score. The language David Unaipon’s life was very full and very storytelling is the hook of the About soundtrack. complex. It would take an 8-part documentary The story concept is simple — it is about the to tell his whole life story. Just to reflect his winds. Complementing the dance musically can inspiration and his legacy through the medium be very challenging: the music must support the of dance and music was hard enough. There dance not over-power it. These winds, featured is so much information about this incredible in relation to the people that the story is about, inventor, philosopher, writer and storyteller. I am are unpredictable but powerful as well.” very privileged to be part of this artistic project that continues to honour and respect such a ID — 2011 spiritual and extraordinary Aboriginal man.” “As the composer I was anxious to discover what this new work was going to be. ID is very MATHINNA — 2008 clever and daring (like my brother) and who “I am privileged to have been challenged with the else could attempt to tackle such a subject? responsibility of how to pay appropriate respect I never know how it will be until all the creative and bring life musically to such a powerful story. elements — the direction, the set, lighting, After an intense research period by Stephen, he costumes, choreography and dancers — are passed on to me many stories from Mathinna’s finally on stage together; that’s when the magic journey and allowed me to be free to draw on begins. Being part of this creative team is that various music styles, which believe me, can magic and if it is working on stage, that is when be dangerous! I experimented with fusing my you know you have done well. Creating music interpretation of eighteenth-century classical music, for ID has been a real challenge. I experimented with different rhythms and sounds; from recording with different sound wave forms, vocals and myself hitting rocks together in my Sydney languages to create something new. When studio to the elements of wind, water, voice and exploring the subject ‘Identity’ you can’t help electronic synthesised instrumentation. Mathinna but reflect on your own experiences. I love allowed me to explore and grow as an artist.” my work because I have a passion for it. Being happy with who you are and where you come ABOUT — 2011 from is a major step in the right direction of “With About I was very excited to experiment accomplishing anything you put your mind to.” with the Torres Strait Island musical elements

22 23 JACOB NASH ON BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND

Jacob Nash is Bangarra’s Head of Design. Here, he reflects on the great privilege of being able to celebrate and examine who we are through design — as a nation, and as a culture — in almost a decade with Bangarra.

As Head of Design for Bangarra, what process It’s one of the most beautiful cloths we’ve ever do you go through to get a landmark season made. Through light, through paint, and through like this up, as opposed to creating a new work? emotion, it holds, and makes us feel, so many things. I think that’s what audiences love so much I think it’s different this year because we are about Bangarra; they emotionally feel something. reflecting and looking forward at the same time. When we used that cloth in Patyegarang there So, we’ve got this dilly bag of magic and looks. was no other backdrop for the entire 120 minutes It’s about finding the best way to talk about our of the show. It was so powerful and it placed the past, where we are right in this moment now, audience so clearly in this land in Sydney, Eora. and what it’s going to look like in the future. For to make fire, we’re telling stories from the We don’t have to answer all of those questions, past, the present, and the future, from all over but you can definitely get a sense of all of that the country. But country is country and for me, through this 30th anniversary celebration. Bangarra is here in Sydney and this is where we create work and this is the landscape where we Peter England has a long history with Bangarra; dream everything up, so it seemed like the right in this program he created the sets for Unaipon. thing to do, to have the Patyegarang cloth hold Did Peter’s work have an influence on you as a these worlds together. young designer? You’ve been working with Bangarra for more I think one of the great things we do at than a decade. How do you think the company’s Bangarra, is we gift our knowledge on to the changed in that time? next generation. I was really lucky to have Peter as someone who was so generous. He didn’t We’ve grown, but we haven’t lost the magic of tell me what to do, he just gave me a design what’s at the core. Our core values are still the language that was alive. same. I think we’re creating much bigger work now. The standard has always been excellent I remember going to see Unaipon at the Sydney but the scale of the stories that Stephen is Opera House, and I remember the magic of exploring has grown. I’m still working with that first gauze and seeing Patrick [Thaiday] exactly the same people to create the sets. flying behind it, and it was just one of those They’re like our set-making Elders. The process experiences where my mind was blown. You of design hasn’t changed. Of course, technology always look into the past — we’re inspired by is around us all the time and it’s influencing us, what comes before us. I absolutely looked up but we use it in the way that we want to use it. to Peter, and I still do. I think that when Bangarra was formed, it was The Patyegarang cloth plays an important role such a historic moment in history for Aboriginal in to make fire, even though no sections from Australia. It had all the right magic of minds this work are being performed. Why did you and body and spirit coming together. Whatever decide to use it as an anchor? journey we go on into the future, we’ll always have that infused within this company.

24 25 STEVE FRANCIS NICK SCHLIEPER ON BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND ON BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND

For more than 20 years, Steve Francis has been writing, producing and mixing music Nick Schlieper is one of Australia’s most celebrated lighting designers who splits his life for Bangarra. His connection to the company led to a deep friendship with former Music Director between Australia and Europe. After creating works with the company for more than 15 years, David Page, who invited Steve to help create Bangarra’s unique music style. he reflects on the role Bangarra plays in anchoring him home.

What process do you take to get Bangarra: 30 you do a piece with Bangarra, from the get-go How do you approach bringing Bangarra’s You work with some incredible companies years of sixty five thousand to opening night? you are a part of telling that story through the stories to life on the stage? across the world. How does working with music. They’re my proudest moments. Bangarra impact on your wider practice? I’m helping Stephen to curate to make fire, I almost always focus first and foremost on the picking moments from the entire history of The stories are incredibly rich and they are story. I always start by doing my homework. It’s a fabulous anchor. I spend so much of my Bangarra. Stephen, very specifically, doesn’t important stories to tell. But with that comes Because dance is such an abstract medium, life dividing my year between Australia and want it to feel like a ‘best of’, so we’re creating responsibility. It’s always a juggle navigating it’s as much the job of the lighting design to Europe. Bangarra is a core part of the reason three new worlds. He’s picked the music and the cultural aspects with respect and bringing help tell the story as it is of any other element. I keep coming back. My work for Bangarra I’m trying to massage them together into one in the right people from the right language It’s so easy to light dance and just make pretty looks very, very different to my work just about piece while still honouring the original scores. groups and songs. I think we’ve been blessed pictures, but that’s the easy way out. You everywhere else. The obvious difference is that I This genre of music was created by David Page, with the collaborators. We’re the composers, actually need to be subtly telling the audience use a lot of colour in Bangarra shows, I virtually so there’s a certain style. Interestingly there’s but the resources we pull on — like Djakapurra where they are in a story the whole time. never use colour in my other work. I spent the not much repetition in what we’ve done over Munyarryun and Matthew Doyle and Kathy That spine is much more important to me. first 15 years of my career in Australia with the years, but there’s a certain thread that is Marika and her family — without them, it’s kind everybody hating my work because it was so helpful when combining music from different of just music. It’d probably be quite nice music, How were you thrown into the world of Teutonic and cool and cold and distanced, not productions. but it wouldn’t have the cultural resonance and Bangarra? warm and fluffy and friendly. People who know impact that it has without those song people my work well have often seen a show I’ve lit for How do you think the company’s changed or language. Bush, in 2003, was the first work I lit for Bangarra and literally not known it was me. since David Page asked you to mix Alchemy, Bangarra. I virtually don’t do dance. It’s a Bangarra’s collaboration with The Australian There seems to be a glue that sticks the form of theatre I’m not all that interested in, What do you think is Bangarra’s greatest Ballet in 1996? creative teams that work together at Bangarra. so I would have taken a bit of convincing! achievement of the past 30 years? What is it about the company that keeps the Had it not been an Indigenous dance company, It was tiny back then. The office was three best of Australia’s creative talent coming back? the answer would most likely have been no. Putting Aboriginal culture on the map of people and there weren’t as many dancers. I don’t remember the exact conversation, white Australia. First and foremost. Just that It was on a bit of a shoestring. I feel like Oh, it’s the best job in the world. Everyone talks but it would have involved Stephen Page single act alone is worth its weight in gold. creatively it’s become more ambitious, but I about family, but this is definitely a community being very persuasive. think that’s because everyone in the company that you always feel a part of. Creatively, it’s What’s it like stepping back into the world has matured and Stephen wants to challenge incredibly challenging but it’s also a gift; this is How do you think the company has changed of Unaipon after 15 years? the standard. We can now do major works like not something that you get anywhere else. It’s in that time? Bennelong. We probably couldn’t have done a big responsibility and it’s a lot of work, but it’s Oh, it’s a fabulous homecoming; I’d forgotten a Bennelong ten years ago. also fun. We laugh so much. I joke with Stephen Sure, it’s become more sophisticated, which how much I like the piece! The new dancers that I’ll just keep doing it until they stop asking is partly to do with having more dancers and have seized it. It’s great to see them performing Do you think the core is still the same? me — why wouldn’t you? more money, more space and more time. choreography that is extremely familiar to me But it’s never lost its heart. And some of its — exactly the same but adjusted slightly with Absolutely. On a personal level, my most heart, years ago, had some rough edges, and a different lens on different bodies. exciting job is to work on a Bangarra production. I think it’s fantastic that they haven’t all been For a composer, there’s a lot of pressure. But it’s polished off. It’s still educating Australians in the so liberating because you’re a part of the core stories that they don’t get at school, and at the creation process in writing the music. When same time presenting seriously beautiful work.

26 27 JENNIFER IRWIN ON BANGARRA: 30 YEARS OF SIXTY FIVE THOUSAND

Jennifer Irwin has been collaborating with Stephen Page since he was 19-years-old, and designing costumes for Bangarra since the company’s inception. Over the past 30 years she has helped to create a distinct visual aesthetic for the company.

You’ve been working with Bangarra since Why do you think you’ve worked with before the beginning, how have things Bangarra for so long? changed? I’ve been very privileged to be asked by I used to turn up at the Redfern Police Stephen over and over because I understand Youth Club and do fittings for Russell and his vision. He’s very generous with his ideas. David Page and Djakapurra Munyarryun — I ‘get’ what he’s trying to say. It’s a very for Ochres (1994) and Praying Mantis Dreaming collaborative process. I can be so much more (1992) — all of the early works. I know this creative with Bangarra than for any other company very, very well. I’ve seen their performing arts company. My costumes provide evolution. They’ve grown from a small, under- a skin. I use textured fabric, dyeing and painting, funded company going from project to project, adding raffia, feathers, leaves — always trying to being internationally acclaimed, playing to find something new. The dancers then add packed houses everywhere they perform. ochre, and turn it into their own work of art.

I don’t think you can compare them with any I guess that over the years, we’ve designed other company, they are absolutely unique. an aesthetic for Bangarra, but it’s evolved. In the beginning, we were pretty safe. For a program like Bangarra: 30 years of sixty Budgets grew, which enabled me to be more five thousand, do you dust off the original adventurous. There are better fabrics available, When Jennifer was working costumes, or are you recreating each one for different technologies — like laser cutting and with Frances Rings on the 2004 a new generation of dancers? digital printing. production of Unaipon, she designed a grass costume for A bit of both! We do need to remake a lot of I get a lot of inspiration in finding fabrics — Patrick Thaiday (who originally them. There have been so many dancers along hunting for those really unusual textures and performed David Unaipon) that the way. Bangarra’s performances are very hard colours. If I can’t find them, I’ll create them by didn’t make it to the stage. on costumes because of the generally grounded layering and dyeing and stripping away. Most of choreography, not to mention that each piece the costumes over the years, I’ve made myself. “Fifteen years later we’re is often layered with ochre — which I think is putting it back in the show. fabulous — you can add more and more and it We can be bolder now. I always bleeds and cakes and the fabrics totally change. loved that costume. I can’t wait to Eight shows a week and months of touring see Tyrel Dulvarie (pictured) doesn’t help. When we originally did Unaipon bring it to life.” 15 years ago, the cast all wore linen trousers in the ‘Religion’ section. This time around they are made of a new stretch linen fabric.

28 29 ARTIST BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

STEPHEN PAGE FRANCES RINGS DAVID PAGE, 1961 - 2016 ARTISTIC DIRECTOR & CHOREOGRAPHER, TO MAKE FIRE ASSOCIATE ARTISTIC DIRECTOR COMPOSER, UNAIPON & TO MAKE FIRE & CHOREOGRAPHER, UNAIPON Stephen is a descendant of the Nunukul people Stephen directed the chapter Sand in the Frances is of Kokatha heritage and also of David was a descendant of the Nunukul people and the Munaldjali clan of the Yugambeh Nation feature filmThe Turning (2013) and is Artistic German descent. and the Munaldjali clan of the Yugambeh from South East Queensland. In 1991, Stephen Associate for Sydney Theatre Company’s Nation from South East Queensland. He joined was appointed Artistic Director of Bangarra production of The Secret River, which had its In 2002, Frances made her main stage Bangarra in 1991 as Resident Composer, was and has developed a signature body of works world premiere as part of Sydney Festival in choreographic debut for Bangarra to appointed an Artist-in-Residence in 2011 and that have become milestones in Australian 2013 and will tour to Edinburgh International outstanding critical acclaim with the Rations his most recent title was Music Director. performing arts. Festival and the National Theatre of Great bill of Walkabout. Frances has followed this Britain in 2019. He also choreographed the by creating six works for the company; Bush David composed the scores for 27 Bangarra Stephen continues to reinvent Aboriginal feature filmsBran Nue Dae (2009) and The (co-choreography), Unaipon, X300, Artefact, productions, and together with Steve Francis, and Torres Strait Islander storytelling within Sapphires (2011). His first full-length film Terrain and Sheoak. contributed music to the Opening Ceremonies Bangarra and through collaborations with SPEAR premiered at the Toronto International of the Sydney Olympic Games. His film score other performing arts companies. He notably Film Festival before screening at various arts Frances has choreographed and danced in credits include Kanyini (2006), Hush (2007), directed the Indigenous sections for the 2000 festivals around Australia in early 2016. works for many of Australia’s leading dance Jacob (2009) and SPEAR (2015), Sydney Olympic Games Opening and Closing companies and choreographers including: Ceremonies and created a new dance work for In 2015, Stephen was awarded an Honorary West Australian Ballet, Tasdance, Leigh Warren David was a talented actor, appearing on stage for the Gold Coast 2018 Commonwealth Games Doctorate of Creative Arts by the University & Dancers, Meryl Tankard and Legs on the Queensland Theatre Company, Sydney Theatre Opening Ceremony. of Technology Sydney. In 2016, he received both Wall. Internationally Frances has established Company and Belvoir. In 2004 he starred in the the 2016 NAIDOC Lifetime Achievement Award important intercultural, creative relationships acclaimed one-man show about his life, Page He has choreographed over 25 works for and JC Williamson Award and in 2017, Stephen with First Nations artists most notably, Kahawi 8. His film and television acting credits include Bangarra, including Patyegarang for Bangarra’s was honoured with the Australia Council Dance Dance Theatre (Canada) and Atamira Dance Green Bush (2005), Bran Nue Dae (2010), Oscar 25th anniversary in 2014, and Nyapanyapa, as Award for significant contributions to the Company (NZ). and Lucinda (1998) and Black Comedy (2016). part of the OUR land people stories triple bill cultural and artistic fabric of the nation, in 2016. In 2018, together with former Bangarra and was appointed an Officer of the Order From 2016 — 2018 Frances was appointed Head David was the recipient of two Helpmann dancers Daniel Riley, Yolande Brown and the of Australia (AO). of Creative Studies at NAISDA Dance College. Awards for Best Original Score for Mathinna Bangarra ensemble, Stephen choreographed Recently Frances’s work, Terrain has been (2008) and Belong (2011) (the latter with Steve the critically acclaimed work Dark Emu. selected on the 2019 — 2021 Higher School Francis), a Green Room Award for Page 8, four Inspired by Bruce Pascoe’s book of the same Certificate Dance Syllabus. Deadly Awards and an ARIA nomination. name, it became the most successful production in the history of Bangarra, building on the In 2019, Frances returned to Bangarra in the His score for Macq (2013) was the last piece success of his Helpmann Award-winning position of Associate Artistic Director. of Bangarra music he worked on before his work Bennelong in 2017. passing in April 2016. Frances has been the recipient of many awards, the most recent include: Helpmann Awards In 2018, Bangarra presented DUBBOO – life of a for Best New Australian Dance Work and Best songman, which paid tribute to David’s life and Regional Show, for Terrain; and for Sheoak, work. Through the David Page Music Fellowship, Best New Dance Work and Best Choreography Bangarra continues to honour David’s memory and in a Dance Work at the 2016 Helpmann Awards. ongoing legacy by nurturing the next generation of Aboriginal and Torres Strait Islander artists. 30 31 ARTIST BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

JIRˇÍ KYLIÁN ELMA KRIS JENNIFER IRWIN STEVE FRANCIS CHOREOGRAPHER, STAMPING GROUND CHOREOGRAPHER, TO MAKE FIRE COSTUME DESIGNER, UNAIPON & TO MAKE FIRE COMPOSER, TO MAKE FIRE

Jirˇí Kylián (Czech Republic 1947) started his Elma is from Thursday Island (Waiben) and Jennifer has been designing costumes for Steve is a composer and sound designer dance career at the age of nine, at the School her clan is from the North Western and Central ballet, drama, opera, commercials and film originally from Adelaide. An opportunity of the National Ballet in Prague. He left Prague Islands of the Torres Strait. Elma has enjoyed for 39 years, most recently West Side Story to produce and mix David Page’s work on when he received a scholarship for the Royal a rewarding career as a dancer, choreographer, on Sydney Harbour, The Merry Widow and Alchemy for The Australian Ballet in 1996 led Ballet School in London in 1967. actor and teacher. She studied at NAISDA and Madama Butterfly for Opera Australia. to an ongoing collaboration with Bangarra. joined Bangarra in 1999. The Dark Emu score was his 13th for Bangarra. After this, he left to join the Stuttgart Ballett Commissions include 30 years of repertoire led by John Cranko and in 1975 Kylián became Her choreographic credits include Bupau Ipikazil for Bangarra; 36 ballets for Graeme Murphy’s As composer and sound designer, Steve Artistic Director of the Nederlands Dans Theater and Bupau Mabigal (NAISDA, 1994), Malu (Bibir Sydney Dance Company, nine ballets for The has worked with Sydney’s premier theatre (NDT) in The Hague (NL). In 1978 he put NDT dance company, 1998), the Torres Strait Island Australian Ballet, multiple productions for companies, including Sydney Theatre Company, on the international map with Sinfonietta. element of the Sydney Olympics Opening Sydney Theatre Company, Belvoir, Opera Melbourne Theatre Company, Belvoir and That same year, he founded NDT2, which was Ceremony (2000), Emeret Lu (Bangarra, True Australia, WA Ballet, West Australian Opera, Griffin. He has composed for a number of meant to function as a breeding ground for Stories, 2007) and About (Bangarra, Belong, Singapore Dance Theatre, Royal New Zealand films, includingThe Turning, the multi award- young talent. He also initiated NDT3 in 1991, the 2011). Elma’s film credits includeOscar and Ballet, Universal Ballet of Korea, Melbourne winning dik, Leah Purcell’s She Say, the Dendy company for older dancers from forty till ‘death’. Lucinda, Reef Dreaming, Farscape and SPEAR. Theatre Company, Joffrey Ballet, The Adelaide Award-winning filmBlack Talk, Berlin Festival This three dimensional structure was unique in Festival Trust, Opera Queensland, and State winner Djarn Djarns, the MMF Award-winning the world of dance. In 2015, she was one of five artists who took Opera South Australia. documentary Mr Patterns, the AFI Award- part in Unsettled, an exhibition at the National winning short filmBox and the documentaries After an extraordinary record of service, with an Museum of Australia and in 2017, she performed Jennifer also designed costumes for Dirty How the light Gets in, Macumba and Picture oeuvre of almost 100 ballets, Kylián handed over in Sydney Theatre Company’s (STC) The Secret Dancing, The Musical. She designed costumes for the Women. the artistic leadership in 1999, and remained River at Adelaide Festival. the Sydney 2000 Olympic Opening Ceremony associated to the dance company as house and co-designed for the Closing Ceremony; For television, Steve has scored for the Channel choreographer until December 2009. In the last 2007, Elma won a Deadly Award for Dancer the Official Commemorative Ceremony marking Nine series Cops LAC, the mini-series Dangerous ten years, Kylián has directed four films,Car- of the Year and in 2016 Elma was awarded the Centenary of Australian Federation in 2001; for Fox and the internationally released series Men (2006), Between Entrance & Exit (2013), Outstanding Performance by a Female Dancer and the 2018 Commonwealth Games. Double Trouble. With David Page, Steve Schwarzfahrer (2014) and the award-winning at the Australian Dance Awards for her also composed and produced music for the Scalamare (2017). performance in Lore. In 2017 she was nominated Jennifer has been recognised for her Sydney Olympic and Rugby World Cup for a Helpmann Award for Best Female Dancer contribution to design with multiple Helpmann, opening ceremonies. Kylián’s awards include: Honorary Doctorate, for her title role in Nyapanyapa (Bangarra, Green Room and Australian Production Design Julliard School (NY); Legion d'honneur, France; OUR land people stories, 2016). Guild nominations and awards. In 2017 she was As well as two nominations for sound design, Medal of the Order for Arts and Science of the awarded Service to Dance at the Australian Steve has won two Helpmann Awards for Best House of Orange, the Netherlands; Lifetime After 20 years onstage with Bangarra, Elma Dance Awards; was nominated for Best Original Score for two Bangarra productions Achievement Award in the field of dance is now assisting the Youth Program Team Costume Design for SPEAR the feature film (Walkabout, 2002 and Belong, 2011 with David and theatre, Czech Ministry of Culture; and a and is working as a cultural leader and guest at the 2017 AACTA Awards; was awarded Page). He has also won two Sydney Theatre member of the Académie des Beaux Arts in performer for Bangarra. She is also excited to a Theatre Board Grant to study at La Scala Awards for Best Music and Sound Design. Paris for Choreography. be touring with STC in August and is enjoying Opera Milan, Italy; and the Centenary Medal life back home on Thursday Island, fishing and for Service to Community and the Arts. reef hunting. 32 33 ARTIST BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

PETER ENGLAND NICK SCHLIEPER JACOB NASH KEES TJEBBES SET DESIGNER, UNAIPON & TO MAKE FIRE LIGHTING DESIGNER, UNAIPON AND TO MAKE FIRE SET DESIGNER, TO MAKE FIRE LIGHTING DESIGNER & TECHNICAL SUPERVISOR, STAMPING GROUND Peter England holds a Bachelor of Performing Nick’s many previous productions for Bangarra Jacob is a Murri man who grew up in Brisbane. After his studies at the Brussels Academy of Arts in Design from the National Institute include Bush, Patygerang and Bennelong. He graduated from the NIDA Design Course the Arts, Kees Tjebbes worked with several of Dramatic Art (NIDA), and a Bachelor of in 2005. Dutch theatre and dance groups: Toneelgroep Landscape Architecture (Hons.) from the Recently debuting at the prestigious Salzburg Theater, Introdans, Scapino Ballet Rotterdam University of New South Wales. Festival with Aribert Reiman’s Lear, he returns In 2010, he designed the set for of earth & sky and Nederlands Dans Theater. this year to light Cherubini’s Médée. For Sydney for Bangarra and received a Green Room In 2018 Peter designed the set and projections Theatre Company (STC) he has lit Mosquitoes, Award for Best Design in Dance. He was For Introdans and Scapino Ballet Rotterdam for Global Creatures’ Production King Kong — Cat on a Hot Tin Roof, and The Real Thing; for appointed Artist-in-Residence at Bangarra he began to create light designs for new Alive on Broadway. Peter’s designs for this show Melbourne Theatre Company (MTC) set and the following year and is now Head of Design. works by choreographers such as Ed Wubbe, recently earnt him a Tony Award nomination lighting design for Photograph 51; and Packer Nils Christe and Itzik Galili. for Best Scenic Design of a Musical; an Outer and Sons for Belvoir St Theatre. Nick also Jacob has designed sets for Bangarra’s Critics Circle Award nomination for Outstanding recently returned to the National Theatre of annual productions since 2010, including In 2000, Jirˇí Kylián asked him to create the light Projection Design (Play or Musical) and a Norway for Private Confessions, directed by Dark Emu, Bennelong, Patyegarang, lore, design for Click-pause-Silence and since that Drama Desk Award nomination for Outstanding Liv Ullman, to Tokyo for Love never Dies and lit OUR land people stories, Terrain, Blak, time he has collaborated with Kylián on almost Projection Design. He is a four-time Helpmann STC’s revival of The Present with Cate Blanchett and Warumuk – in the dark night. all of his dance productions: 27’52’’ (NDT II/ Award winner for Best Scenic Design, three- on Broadway. 2002), Claude Pascal (NDT I/2002), When Time time Green Room Award winner for Best Set Last year he was awarded a Helpmann Takes Time (NDT III/2002, Far too close (NDT Design and a previous recipient of the Mike 2018 engagements also included return seasons Award for Best Scenic Design for his set III/2003), Last Touch (NDT I/2003), Sleepless Walsh Travelling Fellowship. of Priscilla Queen of the Desert, across Australia, design in Bennelong. (NDT II/ 2004), Toss of a Dice (NDT I/ 2005), Twelfth Night for MTC and the epic Harp in the Chapeau (NDT II/2006), Tar and Feathers (NDT For Bangarra Dance Theatre Peter designed the South trilogy for STC. In 2019 for Sydney Festival, Jacob created I/2006), Vanishing Twin (NDT I/ 2008), Gods sets for: Fire (2009), Mathinna (2008), Boomerang the work ALWAYS, a large scale artwork that and Dogs (NDT II/2008), Mémoires d’Oubliettes (Green Room Award, 2005), Unaipon (Helpmann, Nick has worked extensively with Opera became the backdrop for The Vigil and the (NDT I/2009) and his creation for the Ballet de Award 2004), Clan (2004), Bush (2003), Australia, and the state opera companies, Wugulora Ceremony. l’Opéra de Paris, Il Faute qu’une Port (2004). Walkabout (2002), Skin (2000), Dance Clan 2 including Wagner’s Ring Cycle in Adelaide. (1999), The Dreaming (1999) and Fish (1997). His work has also been seen in London’s Jacob was also the Production Designer and During these last years, Kees has supervised, West End and on Broadway. Co Creature Designer for Cleverman Season 2; adapted or re-created the lighting designs Peter has designed productions for numerous was the production designer for Stephen Page’s for many Kylián productions being staged other companies including; Opera Australia, His international credits include The Barbican, 2015 filmSPEAR ; and has been the Design or re-staged all over the world. Sydney Theatre Company, Global Creatures, London, Hamburg State Opera, Royal Director for Bangarra’s past five Vivid Sydney The Australian Ballet, Shakespeare Theatre Shakespeare Company, Theatr Clwyd in Wales, video installations on the Harbour Bridge Pylon. Company (Washington DC), Sydney Dance Deutsches Schauspielhaus Hamburg, Theater Company, Victorian Opera, Adelaide Festival, in der Josefstadt Vienna, Schillertheater Berlin, His other theatre credits include; Ruben Guthrie GFO, Spectak Productions and S.O.C.O.G. State Theatre of Bavaria, Kennedy Centre and Jesus Hopped the ‘A’ Train, Yibiyung and (Sydney 2000 Olympic Opening and Closing Washington, and Hedda Gabler, Uncle Vanya, Ruben Guthrie (Belvoir St Theatre); Macbeth Ceremonies). For more, check out The Maids and Streetcar Named Desire, (Bell Shakespeare); The Removalists,Tusk Tusk/ www.designerpeterengland.com.au. all with Cate Blanchett, also in New York. Like a Fishbone (Sydney Theatre Company).

34 35 HEIDI DE RAAD ROSLYN ANDERSON DANIEL ROBERTS COSTUME DESIGNER, STAMPING GROUND ASSISTANT TO CHOREOGRAPHER JIŘÍ KYLIÁN, REHEARSAL DIRECTOR STAMPING GROUND Heidi de Raad studied at The Hague Born in Australia, Roslyn Anderson studied first Daniel graduated from The Victorian College and after graduating designed clothes with Phyllis Danaher, then at The Australian of the Arts Secondary School and continued his for several boutiques. Ballet School, from which she graduated to dance training at The Australian Ballet School. the Australian Ballet — Artistic Director Dame He then moved to Singapore where he took up From 1975–1989 she was Head of the Costume Peggy van Praagh. After six years, she joined a contract with Singapore Dance Theatre. Department for Nederlands Dans Theater Nederlands Dans Theater (NDT) — then directed (NDT) where she worked with choreographers: by Jaap van Flier — as a result of their Australian In 2011 he joined West Australian Ballet and Jirˇí Kylián, Hans van Manen, Glen Tetley, tour in 1972. She danced until 1986, working with in 2014 was promoted to Soloist. Daniel Christopher Bruce, Mats Ek and more. choreographers Robbins, Tetley, Butler, van created many roles while working with West Throughout this time she also worked with Manen, Falco, Muller, Bruce, Duato, and of course, Australian Ballet, working with international designers; Willa Kim, Keso Dekker, Kylián — having many works created for her. and local choreographers, as well as dancing John Mcfarlane, Nadine Bayliss and more. Since she ended her dancing career in 1986, she the lead roles in many classical works such as has been Rehearsal Director for NDT 1, until the La Sylphide, Giselle, Onegin, Cinderella and For the next decade Heidi worked together end of 2008. Commencing in 1979, she has been Romeo and Juliette. Daniel choreographed with Babette van den Berg, designing and assisting Kylián, and others, on numerous works, two mainstage works for West Australian making costumes. From 2000, she made and and has staged numerous ballets for Kylián all Ballet, Jubilaté and Hold the Forth which designed costumes for; Theater Basel, Luzern over the world. both premiered at WAB’s “Ballet at the theater, Zürich Ballett, Staatstheater Hannover Quarry” Season. and many more. Heidi also worked on theatre The companies she has worked with include: productions Chicago, Saturday Night Fever, American Ballet Theatre, San Francisco Ballet, In 2015, Daniel joined Sydney Dance Company Beauty and the Beast, Little Mermaid, Anastasia Joffrey Ballet, National Ballet of Canada, Cullberg and was fortunate enough to travel the world and many more. Ballet, Royal Swedish Ballet, Ballet du Geneve, visiting South America, Europe, Asia and Paris Opera Ballet, Scottish Ballet, The Australian the US in the space of three years. Last year In 2014, Heidi started a new compay - Dutch Ballet, National Theatre of Prague, Hubbard Daniel performed at Arts Centre Melbourne in Dancewear www.dutchdancewear.com. Street Dance Chicago, Compania Nacional de Oklahoma! with The Production Company and Danza, Prague Chamber Ballet, Hamburg Ballet, started his own radio show on Melbourne’s “What I love about this profession is to do Royal New Zealand Ballet, Stuttgart Ballet, Joy 94.9. both sides, making and designing costumes. Les Ballets de Monte Carlo, Lyon Opera Ballet, The making of the costumes keeps me in close Teatro Nuevo, Wiener Staatsoper, Hungarian Daniel joined Bangarra Dance Theatre as contact with a dancer so I know that they feel State Opera House, Opera du Rhin, Ballet Rehearsal Director in 2018 one week before good in it.” Basel, Singapore Dance Theatre, Bayerischer the company toured to India and Japan. Staatsballett, Royal Ballet, Les Grands Ballets Canadiens, Goteborg Ballet, Rambert Dance Company, Houston Ballet, Boston Ballet, Baltic Opera Gdansk, Norwegian Ballet, Finnish National Ballet, Ballet Theatre Munchen, Zurich Opera House, Introdans, Pacific Northwest Ballet, Polish National Opera Ballet Warsaw and many others. 36 37 DANCER BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

TARA ELLA BEAU DEAN NICOLA RIKKI RIKA GOWER HAVELKA RILEY SMITH SABATINO MASON HAMAGUCHI

Tara is a Yawuru woman Born in Dubbo, Ella is a Beau was born in Dubbo and Nicola is a descendant of the Rikki is a descendant of the Rika is from Broome in from Broome with Aboriginal, descendant of the Wiradjuri grew up on the South Coast of Kaurareg and Meriam peoples Kullili people from South Western Australia. She is a Filipino, Irish and Spanish people. She graduated from New South Wales in Culburra of the Torres Strait Islands. West Queensland and is descendant of the Yawuru, ancestry. The Australian Ballet School Beach on Yuin country. He is Nicola also shares Filipino, from Inverell in Northern Bunaba, Bardi and Jaru people in 2007 after touring with The an Aboriginal man from the Scottish and German ancestry. New South Wales. in the Kimberley Region. Rika Tara joined Bangarra in Dancers Company. In 2008 Wiradjuri Nation of Central also shares Japanese, Chinese 2006. Highlights for Tara Nicola was raised in Weipa, He grew up playing football Ella performed in Petroglyphs, New South Wales. and Scottish ancestry. include recently performing Far North Queensland. She and studying Koshiki Karate, a collaboration between Gina in India and Japan for the Beau studied theatre at began her training at the and was named Junior World Before joining Bangarra in Rings and Leigh Warren and 2018 International Tour along WAAPA and later joined Australian Dance Performance Champion in 2000. He took 2015, Rika studied dance Dancers. Ella made her first with London and New York NAISDA Dance College and Institute (ADPI) and then went his first dance class in 2007 at NAISDA Dance College, appearance with Bangarra Dance over the past 13 years. Along graduated with a Diploma of on to study at the National at the age of 17 and went on where she was awarded the Theatre in Fire – A Retrospective with returning to her home in Dance. He joined Bangarra Aboriginal and Islander Skills to train at the Australian Dance prestigious Chairman’s Award. in 2009. With Bangarra she Western Australia to perform in 2013. His career highlights Development Association Performance Institute (ADPI) performed in Mathinna, of She has worked with a number for her family and being include performing the title Dance College (NAISDA) and L’Ecole-Atelier Rudra- earth & sky, Belong, Spirit and of choreographers including nominated in Dance Australia’s role in Bangarra’s Bennelong and The Ailey School. Bejart and the Bejart Ballet Terrain. In 2012, Ella performed Iquail Shaheed (Horton Critic Choice Awards as (2017), Black from Ochres for Company in Switzerland. in Australia and New York with After graduating from NAISDA, Technique), Shaun Parker, Dancer to Watch. the first time in Vietnam, and Bangarra and The Australian Nicola had an exciting year Rikki has performed with the Craig Bary, Frances Rings, performing the Wiradjuri solo She created her first Ballet in Warumuk – in the dark freelancing, performing in Brisbane City Youth Ballet, Gary Lang, Patrick Thaiday from ID on the Kinship regional choreographic work Nala, night, a collaborative work Graeme Murphy’s Turandot, Queensland National Ballet, and Raymond Blanco, as well tour on Country in Dubbo. for Bangarra’s Dance Clan 3 created by Stephen Page for Tammi Gissell’s Feather and Lucid Dance Theatre and as many cultural tutors from in 2013 which later returned The Australian Ballet’s 50th Miyagan, part of the 2016 triple Tar; a cabaret of sorrows at television shows including communities around Australia. to Country, performing in anniversary celebrations. She bill OUR land people stories, Blakdance2012 and Diaphanous Everybody Dance Now (2012) Since joining the company her hometown of Broome joined The Australian Ballet in was his first choreographic - Ochres Contemporary Dance and So You Think You Can Rika has toured nationally on Cable beach. Tara has 2013. Some of her performance work for Bangarra — a work Company’s debut performance. Dance (2014). (Dark Emu, Bennelong, lore also appeared in the film highlights with the Ballet include that Bangarra returned to In 2013, Nicola joined Bangarra Rikki joined Bangarra in 2014, and OUR land people stories), Bran Nue Dae (2010) and in ‘Stomper’ in Twyla Tharp’s In Country as part of the 2018 Dance Theatre and began and has since toured nationally regionally (Kinship, Terrain and Dan Sultan’s music video for The Upper Room, ‘Pink Pas de regional tour. touring with the company (Bennelong, Patyegarang, OUR land people stories) and Under Your Skin. Deux’ in Jirˇí Kylián’s Forgotten Land and ‘Peasant Pas de In 2018, Beau received a nationally and internationally. lore and OUR land people internationally (Copenhagen, Tara believes growing up Deux’ and ‘Lead Wili’ in Giselle Helpmann Award for Best stories), regionally (Kinship, Berlin, Bonn, France, USA, on Yawuru Country has given (Regional Tour). Male Dancer, and an Australian Spirit, Terrain, OUR land India and Japan) her the strength to pursue Dance Award for Outstanding people stories, Bennelong) and her dreams into reality. ELLA, a documentary centring Performance, and was internationally (Copenhagen, on Ella and her dance journey nominated for a Green Room Berlin, Bonn, Holland, Turkey, to date, was released at the Award — all for his performance France, USA, India and Japan). 2016 Melbourne International in the title role of Bennelong. Film Festival.

38 39 DANCER BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

TYREL GLORY BADEN RYAN LILLIAN BRADLEY DULVARIE TUOHY-DANIELL HITCHCOCK PEARSON BANKS SMITH

Tyrel is from Far North Glory is a descendant of Baden is a descendant of Saibai Ryan is of Biripi descent on Lillian is a Yawuru woman from Bradley is a descendant of the Queensland Cairns, and is a Indjalandji Dhidhanu and Island in the Top Western his mother’s side and Minang, Broome, Western Australia. Gumbaynggirr people and also descendant of the Yirriganydji Alyewarre Aboriginal tribes, Border of the Torres Strait Bulang and Baladgung on his has Fijian and English heritage. In 2013, Lillian left her (Cairns), Umpila (Nesbit in North West Queensland, Islands and also has Papuan father’s side. He was born and hometown and travelled across Brad is a Gumbaynggirr man, River), Mamu (Millaa Millaa), and of Scottish, English, Irish, heritage from the Gulf Province. raised in Taree, New South the country to study dance born and raised in Coffs Kalkadoon (Mt Isa), and Welsh, Chinese and Spanish Wales. He joined Bangarra in 2017 at NAISDA Dance College in Harbour, on the north coast KukuTipan (Musgrave) peoples. heritage. as part of the Russell Page He joined Bangarra in 2017 Sydney. She was applauded for of New South Wales. In 2011, Tyrel began formal dance Glory joined Bangarra in Graduate Program. as part of the Russell Page her thoughtful contemporary Bradley joined Bangarra in training at ACPA (Aboriginal 2016, one of two Russell Page Graduate Program. solo in the College’s annual In 2015, Baden completed 2018 as one of two Russell College of Performing Arts) Graduate Program recipients. showcase, RESTORATION, a Bachelor of Fine Arts in He began his dance training Page Graduate Program and graduated in 2013. She studied dance at NAISDA. at Carriageworks in 2017. dance at the Victorian College at NAISDA at age 16, after recipients, after completing He joined Ochre Contemporary The experience that has of the Arts. He worked with taking part in the NSW Public After graduating, Lillian four years of dance training Dance Company in Western made the biggest impact choreographers, including Schools’ Aboriginal Dance joined Bangarra in 2018 as at NAISDA Dance College. Australia in 2014, and also on Glory was attending a Antony Hamilton, Lee Serle, Company, facilitated by one of two Russell Page He was praised for his performed in Penelope cultural residency, learning and Maria Randall, Lina Limosani, Bangarra’s Youth Program Graduate Program recipients. standout performance in Mullen’s Danse Noir. performing cultural dance in Rebecca Hilton, Jacob Boehme Team in 2012. During his time Dark Emu was Lillian’s debut NAISDA’s annual showcase, community on Saibai and Moa and Prue Lang. at NAISDA, Ryan learnt from a Tyrel took part in Sydney season with Bangarra. She also RESTORATION at Islands, in the Torres Strait number of renowned teachers Dance Company’s pre- In 2016, he was a participant of travelled internationally with Carriageworks in 2017. and Elcho Island, North-East and choreographers. professional program in 2016, the Indigenous Choreographic the company to India Arnhem Land. Dark Emu was Brad’s debut before touring with Hugh Residency at Arts House (Dance One of Ryan’s highlights and Japan. season with Bangarra. He also Jackman's Broadway to Oz Glory first saw Bangarra in Massive). He was selected to during his training at NAISDA travelled internationally with musical production. 2011’s Belong, and it has been be a part of the Time Place was attending a six-week the company to India and a long-held goal of hers to join Space Nomad Laboratory 2016 Professional Division Summer Tyrel joined Bangarra in 2016, as Japan. the company. OUR land people hosted on Wotjobaluk country Intensive at the Alvin Ailey a recipient of the Russell Page stories in 2016 was her debut and was also a delegate at the American Dance Theatre in Graduate Program, making his season with Bangarra, and she Water Futures conference as New York City. debut season with OUR land has since toured nationally part of Asiatopa, In 2017 he people stories. The following year, Bennelong in 2017 was his with Dark Emu and Bennelong, choreographed In the Absence Tyrel was fortunate to play the lead debut season with Bangarra, regionally with Bennelong, Of for Yirramboi First Nations role of Bennelong as an understudy and he has since performed Terrain and OUR land people Festival supported by Public in the main stage production. Since the regional tour of OUR stories, and internationally Art Melbourne. joining the company Tyrel has land people stories (2018), to Copenhagen, Berlin, Bonn, toured nationally with OUR land He was a part of Short Black Bennelong at Adelaide Festival Paris, USA, India and Japan. people stories, Bennelong and Opera company, performing (2018) and at the 2018 Gold Dark Emu and internationally to in Deborah Cheetham's Coast Commonwealth Games New York, Paris, Copenhagen, Pecan Summer 2014. opening ceremony. Bonn, Berlin, India and Japan. 40 41 DANCER BIOGRAPHIES 30 YEARS OF SIXTY FIVE THOUSAND

COURTNEY JYE KASSIDY KALLUM GUSTA RADFORD UREN WATERS GOOLAGONG MARA

Courtney is a proud Jye is a proud descendent Kassidy is a descendant of the 2019 Russell Page Graduate 2019 Russell Page Graduate descendant of the Noongar of the Worimi and Dunghutti Wanaruah People in the Hunter Program Dancer Program Dancer people and joined Bangarra Tribes and also holds lineage Valley, NSW. Kallum is a proud Wiradjuri Gusta Mara is an Angamudthi, in 2019. to Portuguese, Irish, and Kassidy joined Bangarra in and Darkinjung man from Atembiya, Goba, Argun, English descent. She spent most of her 2019 and is a Romana’s Pilates the Galari clan. He also has Wagadthagum and Kaurareg childhood in Port Hedland Jye was born in New Lambton Apprentice thanks to receiving Mediterranean, Italian and man from the tip of (Pilbara) Western Australia, on Awabakal Country and the Joanne Harris Pre- Irish ancestry. Queensland and the Western where she first found her raised in the Port Stephens Professional Scholarship. islands of the Torres Strait. Born on the Central Coast, passion for dance. town of Raymond Terrace Kassidy completed Sydney Kallum starting dancing at He first started dancing at on Worimi Country. Courtney completed her Dance Company’s pre- NAISDA Dance College in the age of 16 at the Graham classical ballet training in Perth Jye began studying dance in professional program in 2017 2015. Throughout his 4 years Academy of Dance. He before moving to Brisbane in his last two years of schooling after graduating from NAISDA at NAISDA he worked with auditioned for NAISDA in 2015 as part of Queensland before enrolling at NAISDA Dance College in 2016. teachers and choreographers 2015, and completed his final Ballet’s pre-professional Dance College in 2014 where Craig Bary, Frances Rings, year of studies in 2018. In Kassidy has worked with artistic program, where she toured to he trained in various styles Sani Townsend and Raymond Gusta’s short time training bodies such as Ausdance, London with the Queensland and techniques of ballet, D Blanco. In 2018, Kallum and dancing he has worked DirtyFeet’s Choreographic Ballet to perform La Sylphide jazz, contemporary, hip hop, graduated from NAISDA with a with many choreographers, Lab, ERTH Visual and Physical at the London Coliseum. In Indigenous contemporary, Certificate in Careers in Dance including Vikki van Hout, Inc. She has also worked with 2016, she accepted a position Horton Technique and cultural and a Diploma of Professional Pamela Williams, Craig Bary, choreographers such as Matt with the West Australian dance. Dance Performance. Raymond D. Blanco, Frances Cornell, Karul Projects, Lucky Ballet (WAB), where she Rings, Sani Townson and Jack Since graduating in 2017 with Lartey, Jo Clancy and Vicki Kallum also has a sporting performed both classical Grey. He has also performed a Diploma of Professional Van Hout throughout her background and before dance and contemporary works. with Atamira Dance Company Dance, Jye has worked with studies at NAISDA. was training for the Olympics While working with Annabelle at the Tempo Dance Festival one of Aotearoa’s leading in athletics as an all-rounder. Lopez Ochoa on one of her Kassidy represented Wagana in New Zealand. contemporary Dance Companies, famous creations In Transit, Aboriginal Dancers at Porirua Kallum joined Bangarra in 2019 Atamira Dance Company, with Gusta joined Bangarra in 2019 Courtney recognised her love in New Zealand and Waikiki, as a Russell Page Graduate whom he performed at the as a Russell Page Graduate for contemporary dance. Hawaii. She also performed Program recipient and is Commonwealth Games, and Program recipient. During Courtney’s two years with Jannawi Dance Clan at excited to learn more about at the Q Theatre in Auckland, with WAB she was fortunate the Rainbow Serpent Festival himself and his culture through performing alongside works enough to work with a range and local events. his journey with the company. choreographed by Frances of choreographers such as Rings, Jack Gray and Louise David Dawson, David Nixon Most recently Kassidy toured Potiki Bryant. and Lucette Aldous. regionally with Bangarra Dance Theatre’s Bennelong and He joined Bangarra Dance aspires to continue to inspire Theatre in 2019. through dance and storytelling. 42 43 PARTNERS PARTNERS

GOVERNMENT PARTNERS PHILANTHROPIC PARTNERS

Bangarra Dance Theatre is assisted Bangarra Dance Theatre is supported CommunityCommunity Nights by the Australian Government through by the NSW Government through Partner the Australia Council for the Arts, its arts Create NSW. Nights Partner funding and advisory body.

Rekindling in regional Queensland

CORPORATE PARTNERS COMMUNITY PARTNERS

Regional Touring Partner

OFFICIAL AIRLINE MEDIA PARTNER – NATIONAL TOUR

44 45 PATRONS PATRONS In consultation with Wiradjuri Elders, we have taken inspiration from the word ‘Bangarra’ — a Wiradjuri word meaning ‘to make fire’ — to describe the levels of donor support. This use of the Wiradjuri language is part of our ongoing commitment to the survival of Aboriginal and Torres Strait Islander languages.

DHULUBANG GIFTS WIINY - FIRE BIRRIMAL - BUSH Elizabeth Loftusˆ GARRABARI - Peter McMullin We also express our Siobhan Lenihan Gratefully ($10,000 - $19,999) ($1,000 – $4,999) Annie MacLean CORROBOREE Mara Moustafine gratitude to those Alison Lockhart acknowledging those Canny Quine Foundation Anonymous (6) Heather MacLean ($500 - $999) & Andrew Jakubowicz individuals across all Ardelle Lohan donation levels who who have supported Goodridge Foundation Annette Adair ˆ Jill Maddox & Ian Evans ˆ Anonymous (13) James O'May Mariette Maclurcan Bangarra through a have supported Jane & Russell Kift *ˆ James & Belinda Allen ˆ Melanie Mathieson David Ashley & Margaret Hawke ˆ Lucy Mariani gift in their Will. Bangarra in five or more Lyn & Graham Maloney * ˆ Damaris Bairstow Damian Azzopardi Robin Rodgers Anwyn Martin Sally Anne Nicholson *ˆ Margaret Moreton of our 30 years. They are David Robb & Robin Hutcherson ˆ Tom Mosby & Tony Susan Bear Julianne Schultz represented here with Josephine Maxwell The Ross Trust Baker Family Ellwood Mark Blumer Jann Skinner aˆ and also include: Colin & Jocelyn McEown DHULUBANG CIRCLE Phil Rounsevell Shane Batchelorˆ Jo Moss Susie Bondˆ The Schmidt Family Louise McIntosh We gratefully & Nelson Estrella Mike Bowenˆ Fiona & Peter Murray Jennifer Bourke Colin Smith Anonymous (16) acknowledge those who Peter McManus The Scovell Gardner SM Burnettˆ Sarah Braschˆ South Burnett Regional have made the visionary Cynthia Nadai Jill & Riccardo Lillian Melick Family Council Aldrovandi gesture of including The Burns Family Stephen & Joanne Cath Brokenborough Lynne Merrett Fiona Stanley Liam Timms Alma May Arbuckle Bangarra in their Will. Alison & John Cameronˆ Norrishˆ Barbara Caine AM Glenn Moore The Wiggles & Larry Boyd N S & J S Turnbull ˆ David & Nancy Bailin Anonymous Kerry Comerfordˆ Antony O'Regan Robyn Morris Mary Paula Williamson Elizabeth Carpenter Misho Vasiljevich Frances Baxter Margo Garnon-Williams Sally Crawford Osborn Family Subfund Sue O'Brien Darren Cook Weress Family Larissa Behrendt Linda Herd***ˆ Alan Croker & Kerry Reid Timothy & Eva Pascoeˆ Cecile Paris Sally & Drew Cratchley Joyce Yong & Michael Lavarch Nicola Kaldorˆ BARGAN - BOOMERANG Judith Davoren Maria Pate Beverley Phillips ($5,000 - $9,999) Dillon Family Frennie Beytagh Yvonne Langley-Walsh Jane & Robert Diamond ˆ Adelheid Price Ian & Diana Plater Anonymous Dusseldorp Forum Bangarra Dance Theatre Minnie Biggs Keith & Marguerite Wesley Enoch Elizabeth Ramsden Elizabeth Proust Mobbs Stephen & Sophie Allen Patricia Fanningˆ Mary Read Jill Fisher would also like to thank Rebecca Blythman the many generous Kate Ravich Lynn Ralph Besen Family Terry & Dianne Finnegan Jill Redmyre Jason Gleadhill Sophia Bookallil Foundation donors who gave up Oonagh Redmond Neil Roussac Clare Gardiner Angela Rutherford J Gordon Chris Camping Bloch & Gazal to $500, of whom there Theressa Reed Anne Therese Lenny Greys Doreen Cheong Endowment The Gemalla Endowment Bridget Sack are too many to list. Marek Reicher Roussac-Hoyne Des Griffin AM Glynis Cochrane Heather Drew ˆ Lisa George Jenny Schwarzˆ Cherie Ross & Chris Stephen Scrogings & Janette Griffinˆ Maureen Copeland Helen Eager & Diane Gradyˆ S Sheldrick Smith Kelvin Widdows Priscilla Guest Ian & Carol Dance Christopher Hodges ˆ Joanne Griffithsˆ Chris Shipway In our 30th anniversary Judith Russell Lesley Harland Mari Davis Belinda Gibson *ˆ S & C Hamberˆ & Tahn O’Brienˆ year, we gratefully Carl Solomon Donna Harpham acknowledge those Nick Dongas GUYA – FISH ($50,000+) Adam Haddow Teresa Handicottˆ Gary Singer Sony/ATV Music donors whose gifts to & Sarah Whelan Robert Albert AO Ben Harlow & Geoffrey Smithˆ Lisa Heiligers Publishing Alex Harvey Bangarra over many & Libby Albert ** Ed & Teresa Skok S James Margaret Duguid Michael Herring Cheryl Hatch years total: Elizabeth Starkey Linda Herd ***ˆ Sue Terry & Len Whyte Les Johnston Roz Elliott Ruth Hoffman Roger Hewitt * more than $30,000 Beryl Symons Chris & Cheryl Thomas Barbara Kelly Rhonda Fadden & Peter Halstead Kaye Hockingˆ ** more than $90,000 Vera Vargassoff BILAWI - SHEOAK Stuart Thomas Alex Kibble Marilyn Forbes Edwina Kearney Rosemary & Dan *** more than $300,000 Rosemary Walls ($20,000 - $49,000) Ilse King ˆ Sally Glover Macquarie Bank First Howardˆ Mike Thompsonˆ Christine & Krystyna Campbell- Australians ENG Beth Jackson Jane Thorn Gabrielle Kuiper ˆ Catherine & Bill Guy Paul Wand AM Pretty * Lynn Ralph ˆ & John Griffithsˆ Dominic Thurnˆ Yvonne Langley-Walsh Robert Hansen & John Warwick Laini Liberman * Annabelle Farnsworth RANT Clothing Jana Juanasˆ Derek Watt & Catherine Kate & Andrew Lister Ellen Waugh Marion Heathcote Helen & Michael Mary Reemst John Keane Brown-Watt Marian Magee Gerald & Jerry & Brian Burfitt * ˆ Kolawole Belinda Kendall-White Sara Wattsˆ & David Castillo Whitcomb Patterson Pearce Anne Roussac-Hoyne Nikki Main Ellen & Peggy Langdon Foundation ** ˆ Penelope Seidler ˆ Harry Kestin David & Faith Weisbrotˆ Ian & Hannah Wilkey Helen McCormack Craig & Patrice Laslett Victoria Taylor * ˆ Alan & Wendy Kozica Ineke Wever Ruth Janine Williams Sisyphus Foundation Paul Lawry Limited ** ˆ Wai-Hong Tham Catherine & Geoff Margaret Young Shemara Wikramanayake Lawrenceˆ

Correct at 24 May 2019

46 47

“It’s really important to expose our kids to opportunities that we weren’t able to take up when we were growing up.” ELDER, TOWNSVILLE, QLD

HELP US EMPOWER

THE CULTURAL CUSTODIANS “My favourite part was how it brought every Indigenous student at the school together.” OF THE FUTURE STUDENT, CHARLEVILLE, QLD

In three decades, Bangarra has established itself As a not-for-profit organisation, Bangarra as Australia’s leading Aboriginal and Torres Strait relies on the generosity of individuals like you Islander performing arts company. And we could to support outreach initiatives like Rekindling. “Usually I’m not one to go out not have come this far without deep connections Whether you would like to make a one-off in front of a crowd, and I don’t usually perform to our communities around the country. donation, schedule a monthly gift, or make long-term plans to support the company with at all. But just knowing that it’s a safe space and everyone’s in the same boat, it really helps.” Each year Bangarra delivers an extensive a gift in your Will, joining our wonderful family program of outreach initiatives that nurture of donors will make a huge difference to the STUDENT, TOWNSVILLE, QLD our community relationships, giving back to communities who inspire our work. the people at the heart of our work. Initiatives like our flagship outreach programRekindling , DONATE NOW which transforms the lives of Aboriginal and bangarra.com.au/donate Torres Strait Islander youth in some of the most remote parts of Australia. Rekindling connects [email protected] “It’s going to have a big impact on these children secondary school-age youth with their local further down the track, to do these dances and be part 02 9258 5102 Elders, and empowers them to share their of the community, and be proud of their culture and stories through dance — preparing them as show it. This program will change these children’s lives.” the future custodians of their cultures. COMMUNITY LEADER, CHARLEVILLE, QLD

48 49 IMAGE CREDITS Page 21 Page 36 Image 9 Top: Heidi de Raad, Tyrel Dulvarie, Beau Front cover Ella Havelka and photographer unknown. Dean Riley Smith and Rika Hamaguchi, Jhuny-Boy Borja. Roslyn Anderson, Kaine Sultan-Babij, STAFF photographer: Middle: photographer unknown. photographer: Daniel Boud. Patrick Thaiday and Tiffany Parker Leonard Mickelo. Bottom: Page 37 Page 2 Sidney Saltner, Elma Daniel Roberts, Image 10 Rika Hamaguchi and Tyrel Kris and Yolande Brown, photographer: Bangarra dancers and Dulvarie, photographer: photographer: Jeff Busby Daniel Boud. crew, photographer: Daniel Boud. Tiffany Parker Page 23 Pages 38 to 43 EXECUTIVE COMMUNITY PRODUCTION DANCE TEACHERS Page 3 David Page, All dancer headshots, Below the line Bangarra dancers, Jacob photographer: Jess Bialek. photographer: Artistic Director Manager, Community Director, Technical and Ballet Nash, Stephen Page, Daniel Boud. Image 1 Stephen Page Engagement Production Shane Carroll Djakapurra Munyarryun, Page 25 Top: Russell Page, Jacob Nash. Executive Director Libby Collins John Colvin Simonne Smiles Frances Rings and Elma Page 48 photographer unknown Daniel Roberts Kris, photographer: Bottom: Rekindling participants Philippe Magid Touring & John Colvin and Nick Daniel Boud. in Charleville, QLD, Image 2 Rikki Mason Schleiper, photographer: Executive EDUCATION & Redevelopment photographer: Paul Keating, Anita Lisa Tomasetti. Administrator YOUTH PROGRAM Manager Contemporary Page 4 and 5 Tiffany Parker. Keating and Bangarra Laura Hough Phoebe Collier Juliette Barton Bangarra Dancers, dancers, photo credit: Youth Program Daniel Roberts photographer: Page 29 Page 49 Newspix Director Production Manager Daniel Boud. Top: Rekindling participants Lisa Griffiths Jennifer Irwin. Sidney Saltner Cat Studley in Thursday Island, QLD, Image 3 ARTISTIC Emily Amisano Bottom: Page 7 photographer: Frances Rings, Djakapurra Company Manager Tyrel Dulvarie, Associate Artistic Youth Program Leader Lee Searle Stephen Page and Tiffany Parker. Munyarryun and Marilyn Cloudia Elder photographer: Chantal Kerr Frances Rings Philippe Magid, Miller, photographer: Director Lisa Tomasetti. Frances Rings Youth Program Leader Stage Manager Anton photographer: TIMELINE Greg Barrett Lillian Hannah U Tara Gower Daniel Boud. Patrick Thaiday Page 30 Head of Design Above the line Image 4 Kevin Privett Stephen Page, Jacob Nash Education Consultant Head Electrician Page 9 Djakapurra Munyarryun, photographer: Ryan Shuker Stephen Page, photographer unknown Cultural Consultant Shane Carroll Jamie James. Image 1 Head Mechanist BOARD photographer: Carole Y Johnson, Djakapurra Munyarryun Lisa Tomasetti. Matthew Doyle and Phillip Image 5 David Tongs Page 31 Chair Lanley, photographer Hunter Page and Rehearsal Director MARKETING AND Frances Rings, AV Technician Michael McDaniel Page 11 unknown Djakapurra Munyarryun, Daniel Roberts COMMUNICATIONS photographer Jamie David Unaipon, photo photographer unknown Emjay Matthews Deputy Chair James. David Page, Director, Marketing & credit: State Library NSW. Image 2 Head of Wardrobe Robynne Quiggin photographer: ADMINISTRATION Development Tiffany Parker. Stephen Page, Image 6 Sarah Hunt Monica Smith Board Members Page 13 photographer unknown Deborah Brown, Chief Financial Officer Top: photographer: Production Assistant Anna Bligh AC Page 32 Customer Experience & Tyrel Dulvarie and Greg Barrett / Company Secretary Stephanie Storr Clark Stephen Brady AO, CVO Image 3 Ashwin Rathod Insights Manager Bangarra dancers. Jirˇí Kylián, photographer: Hunter Page and Stephen Sarah Whelan Ngiare Brown Bottom: Anton Corbijn. Elma Kris, Page, photographer Image 7 HR Manager Thida Kyaw (Maternity Teresa Handicott Frances Rings and Nick photographer: unknown Rekindling participants SAFE DANCE TEAM Schlieper, photographer: Daniel Boud. Natsai Mutema Cover) Tom Mosby in Charleville, QLD, Lisa Tomasetti. photographer: Tiffany Finance & Operations Head Physiotherapist Stephen Page Image 4 Marketing Manager Michelle Wong Rajiv Viswanathan Page 33 Albert David, Parker Officer Sophie Raper Page 15 and 16 Jennifer Irwin, photographer unknown Sunil Timilsina Physiotherapist Netherlands Dans photographer: Image 8 Office & Engagement Theatre dancers (1983), Brendan Read Jeremy Hunt Image 5 Bangarra dancers, photographer: Steve Francis, Coordinator Sally Harrison Albert David and Miranda photographer: Daniel Jorge Fatauros. photographer: DEVELOPMENT Ivana Radix Coney, photographer Boud Pilates Team Danielle Lyonne. Director, Marketing Knowledge Ground Editor, Bangarra: 30 unknown Simonne Smiles Page 17 Image 9 & Development Coordinator years of sixty five Ryan Pearson, Page 34 Annie Jeffries Image 6 Rika Hamaguchi, Ella Havelka and Tyrel Peter England, Sarah Hunt Yolande Brown Emily Amisano thousand Program Frances Rings and Patrick photographer: Daniel Dulvarie, photographer: photographer unknown. Thaiday, photographer: Boud Development Ticketing Co-Ordinator Kevin Privett Kitty Walker Lisa Tomasetti. Nick Schlieper, Greg Barrett Managers Emily Windsor Tara Gower photographer: Insert Back Cover Anna Shapiro Page 19 Lisa Tomasetti. Massage Team Image 7 Top: Chloe Gordon Shona Lee Kathy Marika, Michael McDaniel, Rika Hamaguchi, Page 35 photographer: photographer: Development Brad Moffit Ella Havelka and Courtney Jacob Nash, Danielle Lyonne Shane Rosario Coordinator Luke Ziliani Radford. Bottom: Ryan photographer: Jamie Jacob Williams Pearson, Gusta Mara, James. Kees Tjebbes, Beau Dean Riley Smith, photographer unknown. Image 8 Bangarra full company, Development Assistant Tyrel Dulvarie and Baden Bangarra dancers, photographer: Amber Poppelaars Hitchcock, photographer: photographer: Daniel Boud Lisa Tomasetti. James Morgan

50 51 VENUES

NSW ACT WA NT QLD VIC SA TAS

SYDNEY OPERA HOUSE CANBERRA THE PERTH THEATRE TRUST DARWIN ENTERTAINMENT QUEENSLAND PERFORMING ARTS CENTRE MELBOURNE ADELAIDE FESTIVAL CENTRE THEATRE ROYAL THEATRE CENTRE CENTRE ARTS CENTRE Bennelong Point Chairman PO Box 7585, St Kilda Road MANAGEMENT BOARD GPO Box 4274 Director Morgan Solomon PO Box 3567, South Bank, Melbourne Vic 8004 TRUSTEES Craig Stephens Chairperson Michael Abbott AO QC Sydney 2001 NSW Bruce Carmichael Queensland 4101 Chairman Trustees David De Silva Telephone (Chair) T: (07) 3840 7444 Ann Cunningham Administration Julian Donaldson (03) 9281 8000 Jim Hazel (Deputy Chair) W: qpac.com.au Karen Davis B Arch Fraia (02) 9250 7111 Andrew Hammond Directors Mary Hamilton ADMINISTRATION Website Bronwyn Edinger Gaye McMath Charlie Falanga Chair Phil Hoffmann AM Box Office artscentremelbourne.com.au Kim Evans Telephone Tanya Sim John Glenn Professor Peter Coaldrake Tony Smith (02) 9250 7777 Jane Haley (02) 6243 5711 Michelle Tremain Wendy Ludwig AO Sandy Verschoor, Lord Anthea Pritchard Facsimile Nadia van Dommelen Neville Pantazis Deputy Chair Mayor of Adelaide Facsimile VICTORIAN ARTS (02) 9250 7666 Colin Walker (ex-officio) Alastair Shields Leigh Tabrett PSM Christine Zeitz (02) 6243 5721 CENTRE TRUST Website Maria Walters Maggie Zhou admin@ Director General of Trust Members Ian Carson AM THEATRE ROYAL STAFF sydneyoperahouse.com Dare Power canberratheatrecentre. Department of Local General Manager (President) Tim Munro Government, Sport and Susan Rix AM com.au Alan James Frankie Airey CEO & Artistic Director Chief Executive Officer Cultural Industries, and Leanne de Souza Paul Barker Douglas Gautier AM SYDNEY OPERA HOUSE TRUST Website Tom Schoon Perth Theatre Trust Chief Executive Warwick Bray canberratheatrecentre. General Manager Chief Operating & Financial Marketing and Business Nicholas Moore Chair John Kotzas Catherine McClements Officer com.au Duncan Ord OAM Development Manager Anne Dunn Andrew Myer AM Carlo D’Ortenzio Ian Roberts Don Hopkins Director of Programming, Michael Ebeid AM Nora Scheinkestel Program and Operations CANBERRA TICKETING ACKNOWLEDGMENT Development & Venue Sales STATE THEATRE CENTRE OF Helen Silver AO Kathryn Greiner AO The Queensland Performing Liz Hawkins Manager Telephone WESTERN AUSTRALIA Arts Trust is a statutory Mark Brooks Chris Knoblanche AM (02) 6275 2700 Manager Director of Marketing, Sales body of the State of & Audience Engagement Box Office Manager Deborah Mailman AM Facsimile Alice Jorgensen Queensland and is partially EXECUTIVE TEAM Kristen Eckhardt Jo Macgill (02 6230 1098 Manager Venue Operations funded by the Queensland Claire Spencer Kevin McCann AM Head of Public Affairs Finance Manager Chief Executive Officer canberraticketing.com.au Mitch Thomas Government Ruth Sibley Kylie Rampa Nicole Winspear Technical Manager The Honourable Leeanne Deirdre Blythe Head of Digital Customer Services Manager Jillian Segal AO Enoch MP, Minister for Chief Operating Officer CULTURAL FACILITIES Graham Piper Greg Adams Phillip Wolanski AM Environment and the Great Sandy Campbell CORPORATION Event Account Coordinator Leanne Lawrence Executive Executive Producer, Adelaide Barrier Reef, Minister for Technical Manager Natalie McKevitt Science and Minister for Director, Human Resources Cabaret Festival & Commercial Board Members the Arts Director-General, Ebony Bott Margaret Wood EXECUTIVE MANAGEMENT A/ Assistant Technical Fiona Poletti Chair Department of Environment Accounts Manager Manager Executive Director, External Associate Director of Louise Herron AM Justice Richard Refshauge and Science: Jamie Merrick Amelia Dymond Engagement Programming Thesspina Donopoulos Chief Executive Officer Rebecca Pearce Deputy Chair QPAC respectfully Marketing and Business A/ Head Mechanist Melanie Smith Fiona Winning Helen O'Neill acknowledges the Traditional Associate Director of Development Coordinator Peter Carr Executive Director, Director, Programming Owners of the Lands across Marketing Ms Virginia Haussegger AM Performing Arts Meyrick Harris Head Of Lighting Queensland and pays respect Dani Ricciardi Jade McKellar Genevieve Jacobs to their ancestors who came Box Office Supervisor Sam Elbery Beau Vigushin Director, Visitor Experience Shad Sears before them and to Elders Associate Director of Brand Executive Director, & Customer Experience Vicky Darling Head Audio past, present and emerging. Ian Cashen Customer Experience Yolanda Sulser Executive Director, Building, Dylan Crosbie Patrons are advised that the Chief Executive Officer Richard Zimmermann Manager Ticketing Safety & Security Box Office Supervisor Performing Arts Centre has Ms Harriet Elvin Executive Director, Natalie Adam Dagmar Ludwig EMERGENCY EVACUATION Brendan Wall Chief Finance Officer PROCEDURES, a FIRE ALARM Philanthropy Manager Philanthropy Director, Engagement & Mr Ian Tidy system and EXIT passageways. Arts Centre Melbourne extends Robyn Brown Development In case of an alert, patrons heartfelt thanks to our Arts Manager Food & Beverage should remain calm, look Angels, whose generosity, Jon Blackburn ACKNOWLEDGEMENT for the closest EXIT sign in Ashlesha Chandran Executive Director, Corporate loyalty and commitment Canberra Theatre Centre is GREEN, listen to and comply ensure as many Victorians as Manager Finance & Business Services & CFO administered by the Cultural with directions given by the possible can experience the joy Support inhouse trained attendants Kya Blondin Facilities Corporation, of the performing arts here in Christine Dunthorne and move in an orderly fashion Director, People Melbourne. which receives funding to the open spaces outside Manager Human Resources & Government assistance through the ACT the Centre Conditions of Entry Claire George Hugh Lamberton Government’s Minister for Arts Centre Melbourne Manager WHS & Risk Director, Office of the CEO the Arts. welcomes everyone to visit Carolyn Laffin our spaces and experience the performing arts. Conditions of Entry are available on our website artscentremelbourne. com.au 52 53 Connecting communities through The new economy dance requires change. The new economy requires action. The new economy requires you.

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