BANGARRA DANCE THEATRE

STUDY GUIDE FOR TEACHERS AND STUDENTS ACKNOWLEDGEMENT OF COUNTRY pays respect and acknowledges the traditional custodians of the land on which we meet, create, and perform.

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

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

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

Photo Credits Front Cover: Djakapurra Munyarryun, photo by Greg Barrett Back Cover: Tara Gower, photo Edward Mulvihill

2 INTRODUCTION CONTENTS 03 Introduction “Ochres plays an essential part in Aboriginal traditional life. Working with cultural 04 consultant/dancer Djakapurra Munyarryun Using this Study Guide has provided us with valuable insight into the presentation of traditional paint up 05 and preparation. Contemporary Indigenous Dance Theatre As a substance ochre has intrigued us. 09 Its significance and the myriad of purposes, Bangarra Dance Theatre both spiritual and physical has been the driving force behind this collaboration. 10 The portrayal of each colour is by no means Ochres a literal interpretation, but the awareness of its spiritual significance has challenged our 13 contemporary expressions.” What is ochre? – , 1995 14 Creating Ochres 15 The Creative Team 16 Discussion Guide 17 Resources

3 USING THIS STUDY GUIDE

Rikki Mason and Rika Hamaguchi in Ochres (2015), photo by Susannah Wimberley

This Study Guide has been designed Aboriginal and Torres Strait Islander to assist teachers and students in communities and language groups CROSS CURRICULUM PRIORITY engaging with one of Bangarra’s around Australia work to maintain Aboriginal & Torres Strait most acclaimed works – Ochres. this knowledge, and ensure its Islander histories and cultures integrity for future generations. When viewing a Bangarra Bangarra plays a vital role in making GENERAL CAPABILITIES performance, the audience is sure that our whole society is aware engaged in a conversation about of, and feels a sense of mutual Intercultural Understanding Australian Aboriginal and Torres responsibility for, maintaining Critical and Creative Thinking Strait Islander cultures, about cultural knowledge, sharing in Literacy contemporary reflections on its richness and recognising its Personal and Social Capability ancient traditions, and about the vulnerability in contemporary times. relationship between cultural inheritance and cultural renewal. We hope that the information, LEARNING AREAS suggested activities, and additional The Arts The audience is granted access to resources provided in this Study (Dance, Music, Visual Arts) the Australian Indigenous world Guide assist in enriching students’ through storytelling and theatrical experiences of contemporary Aboriginal Studies presentation. This access can be Indigenous dance theatre, while History referred to as ‘outside knowledge’ offering a range approaches to English – knowledge that may be shared incorporating Bangarra’s works Science and Technology (as opposed to ‘inside knowledge’ across the curriculum. which by its nature is not be shared outside of a given community). We hope you enjoy Ochres.

4 CONTEMPORARY INDIGENOUS DANCE THEATRE

form, and are able to celebrate the Artists and leaders like Carole Y. PERSPECTIVES, resilience of Australia’s First Nations Johnson, Stephen Page, Frances people and their ancestors through Rings, Raymond Blanco, Vicki van VOICES AND the sharing of works that depict Hout, Gary Lang, and Marilyn Miller, Indigenous stories, cultures and are some who have paved the way. CULTURES perspectives. More recently Elma Kris, Deborah The concept of contemporary Brown, Yolande Brown, Daniel Riley, Indigenous dance theatre cannot It is important to consider the Mariaa Randall, Sani Townsen, Jacob be understood as a categorised language we use when talking Boehme, Ghenoa Gela, Thomas genre or a particular form because and writing about Indigenous E. S. Kelly, Joel Bray, and Amrita it exists as part of a continuum that cultures in the context of art: Hepi are contributing to the ever- responds to a diversity of culture when it is made, how it is made and growing critical mass of Indigenous and developing perspectives. Any where the source material comes contemporary . contemporary Indigenous dance from. The general application production that incorporates and understandings of the terms Building a skills base has been music/sound, design and other ‘traditional’ and ‘contemporary’ both a challenge and a significant conventions of the theatre will can be problematic when critiquing contributor to the development of inevitably have a deep purpose Indigenous dance theatre. By fixing Indigenous contemporary dance and and an essential spirit that is, and the term ‘contemporary’ to the dance theatre. The establishment will always be, about Aboriginal form, it could be argued that we are of training institutions like and Torres Strait Islander cultures. implying ‘post-colonial’, ‘modern’ National Aboriginal Islander Skills While drawing on traditional or ‘non-traditional’. Yet with many Development Association (NAISDA) stories and cultural ways of new works sourcing their inspiration Dance College in Sydney, and being, Indigenous dance theatre from the Indigenous cultures that Aboriginal Centre for Performing provides an important platform for have existed since ancient times, Arts (ACPA) in , have Indigenous people. It gives voice to what is ‘traditional’ and what is been fundamentally important the experience of living in a modern ‘new’ can exist simultaneously. to increasing technical skills to world that experiences constant This is often expressed by saying support the creation of new works. change, where the threat to cultural Indigenous Australian cultures are Market development initiatives, identityis relentlessly present. the oldest living, and continuous the growth of touring networks, cultures in the world. and a range of strategic programs The growth in availability of to address identified gaps in the technical resources, an increasing infrastructure, have been and number of performance venues, FORM, continue to be critical to the growth and the proliferation of new arts and sustainability of this work. festivals and digital platforms, has ACTIVATION greatly supported the development From the mid-20th Century, of new Indigenous dance theatre, AND PROCESS contemporary forms of Aboriginal and Torres Strait Islander expression as well as the careers of the many One way of exploring the creative artists involved. As more emerged across all art forms and development of Indigenous dance began to infiltrate mainstream arts new work is created, support for theatre over the last three or four the infrastructure and training that programs that largely drew on decades is to trace the journeys of western cultures and/or western underpins these forms has also some of the artists who have been grown, resulting in a critical mass forms of presentation. By the significant contributors to that 1960s, young black theatre makers, of professional artists involved in development. It should be noted producing high quality productions playwrights, writers and actors were that while many opportunities have creating works that reflected their that increase the demand we been opened up for Aboriginal and currently see from audiences in culture in both the pre-colonial and Torres Strait Islanders to develop post-settlement worlds. Writers Australia and internationally. One in their choreographic work and of the most important outcomes of Kevin Gilbert and Jack Davis, and their leadership roles, the true force actor/directors Bryan Syron and these developments is the fact that behind this development has been more Aboriginal and Torres Strait Bob Maza were among some of the commitment and determination the black theatre makers who islander people are able to see their of the individual artists themselves. cultures reflected in this unique lay the foundation for the strong

5 Indigenous theatre scene that exists and written information is usually The concept of Country and Land for today. Novelist Faith Bandler, and second hand. Indigenous Cultural & Aboriginal and Torres Strait Islander poet/artist/educator Oodgeroo Intellectual Property (ICIP) rights are people is extremely different. Noonuccal (Kath Walker) were also variously enshrined both Australian strong voices in the new wave of and international conventions and The spiritual dimension of Country Indigenous writers whose works statements, and are an important cannot be detached from the now form part of Australia’s rich safety net that seeks to ensure physical. Country can mean a and diverse literary landscape. The Aboriginal and Torres Strait person’s Land where they were wave of contemporary Indigenous cultures survive and thrive. born, as well as the sea, sky, rivers, artists that followed in the wake of sacred sites, seasons, plants and the Papunya Tula art movement in animals. It can also be a place of the 1970s has seen Aboriginal and COUNTRY, heritage, belonging, and spirituality Torres Strait Islander work acquired that is inseparable from the land. for major collections around the RELATIONSHIP Hence, the impact of displacement world, which command impressive from Country, and the disruption prices in auction houses globally. AND to that sense of belonging to one’s Many, if not all, of these artists also Country, can be catastrophic for consider themselves activists, and CONNECTION Aboriginal and Torres Strait Islander there is no doubt that their work has people and their cultural and had a significant impact on the way ‘Country’, as a western construct, economic wellbeing. Story, song, non-Indigenous people have learned is mostly understood as a defined dance, and ancestral lineage provide about Indigenous cultures and the place, marked by borders, (natural the foundation for an existence on ongoing political struggle of First and/or imposed), and operating this earth, and a passage to and Nations people in the context of on principles of sovereignty and from the worlds beyond life on earth post-settlement life. the governance of the nation – and those stories and songs all link by the state. Ethnicity, religion, to Country as a home for Culture. The creative processes of any artist environment, and histories tend to emerge through a range of of colonisation and conflict For Indigenous people, these influences, discovery and personal are signifiers that overlay the complex relationships are like experience. Yet for Indigenous artists, identification of a ‘country’. As threads in a tapestry of exploration these processes are more complex. history shows, these factors have that has no beginning and no end, Respect for cultural protocols, the often been the cause of conflict yet is founded on, and maintained need for community engagement, between groups who claim their through, specific information that is and a strong commitment to enforce right to a ‘land’ is justified. Land transmitted by ‘walking on Country’, care for traditional knowledge that ownership and other interests in oral transference and a range of is shared, and/or provided through land have been closely associated other traditional practices. a process of request, invitation, with human rights, where groups permission and transmission, are all can show a perpetual connection When artists draw from the concept things that need to be considered and to the land in order to justify their of Country, they are the bearers upheld as new expressions are created right to occupy. of Culture, illustrated and made by Indigenous artists. Navigating all meaningful in many ways to many these considerations is complicated At a community level, the concept different people. In this way, the and takes time. However, the of public, private, individual, or dance theatre worlds within this ongoing development of Indigenous collective ownership of property work provide the opportunity to dance (and other contemporary (e.g. land, a house, a business) has delve into the concept of Country art forms) is dependent on these developed over just a few thousand and all it holds in the way of protocols and practices being years. The right to own property knowledge, spirituality and observed and implemented to that has a capital value, possesses cultural meaning. ensure cultural continuity. Stories, certain features and resources, can songs, dances, and connection to be bought and sold for profit, and Place are sacred, and are passed on the protection of these interests through oral transmission, so there and capacities by law, is the is no central knowledge source, enduring assurance of the western capitalist system.

6 Luke Currie-Richardson and Tara Gower in ‘Red’ Ochres photo by Zan Wimberley

7 CULTURAL CONSULTATION RESOURCES INHERITANCE AND AND TRANSFERAL OBSERVANCE OF

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

8 BANGARRA DANCE THEATRE

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

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

9 OCHRES

Bangarra’s production Ochres, officially premiered in the company received numerous invitations to take Sydney in 1995. As the work was being developed, sections their work to overseas audiences. were shown in September 1994 at Belvoir St Theatre’s Nambundah Festival, and again in October of the same Ochres is a work in four main parts with a prologue, year at the National Gallery Canberra for the launch of which explores the spiritual significance and the Prime Minister Paul Keating’s ‘Creative Nation Policy’. traditional uses of ochre, while also illustrating the essence of culture – its strength, its contemporary The success of the work was remarkable for such a relevance, and its power to heal young company. Following sell-out shows in Australia, and nurture.

Elma Kris in ‘The Light’ from Ochres (2015), Djakapurra Munyarryun in ‘The Light’ from photo by Susannah Wimberley Ochres (1995), photo by Ashley de Prazer

THE LIGHT Music Vocals Kirk Page

10 YELLOW Bangarra Dancers in ‘Yellow’ from Ochres (2015), photo by Edward Mulvihill Choreography Bernadette Walong-Sene Music David Page Tjipari Dreaming – Ngarti Language Group (Western Desert Women) Women’s Funeral Dance – Etanyanu Language Group (North West Cape York Women)

This is the woman spirit – mother earth in all her forms as represented by the women and the yellow ochre. Many of the movements in Yellow are inspired by female energy and their connection to the land – the nurturing of children, feeding, gathering, water, bathing, birthing.

BLACK Daniel Riley in ‘Black’ from Ochres (2015), photo by Edward Mulvihill Contemporary Choreography Stephen and Russell Page Traditional Choreography Djakapurra Munyarryun Music David Page Vocals Djakapurra Munyarryun – Yolngu (North East Arnhem Land), Pinau Ghee – Meriam Mer (Torres Strait) Yidaki Djakapurra Munyarryun Buffalo Dance and Stick Dance – Yolngu (North East Arnhem Land)

This is male energy – when they wipe ochre across their forehead, it’s a protective action, to protect and maintain the male spirit before they go on the hunt. This dance features animal mimicry, which is integral to traditional dance; the swatting movement with the hands, like the swatting of flies, the crouching and rearing up, the shaking of the body – that is kangaroo. In Black we also have the hands covering mouths – a political statement about petrol sniffing, an abstract move we included to comment on the social dilemma that is an ongoing issue in a lot of communities.

11 RED Luke Currie-Richardson and Tara Robertson in ‘Red’ from Ochres (2015), photo by Susannah Wimberley Choreography Stephen Page and Bernadette Walong-Sene Music David Page Vocals David Page – Yugambeh (South East Queensland), Djakapurra Munyarryun – Yolngu (North East Arnhem Land), Glenda Aragu – Kala Kawaw Ya (Western Torres Strait) Yidaki Djakapurra Munyarryun

Red is about male and female relationships. It is playful, sensual, powerful and challenging, like human relationships can be. There are four sections – Youth, Obsession, Poison, and Pain – looking at genders coming together from youth to adulthood.

WHITE Bangarra Dancers in ‘White’ from Ochres (2015), photo by Susannah Wimberley Contemporary Choreography Stephen Page, Bernadette Walong-Sene and Bangarra Dancers Traditional Choreography Djakapurra Munyarryun Music David Page Vocals David Page, Djakapurra Munyarryun – Yolngu (North East Arnhem Land), Ursula Yovich Yidaki Djakapurra Munyarryun Traditional Ochre Dance Song – Yolngu (North East Arnhem Land)

White takes inspiration from what has come before and the impact it has on our future. Our history is protecting us, it informs who we are and it is a source of rejuvenation. White is that new spirit world: the dancers embody the spiritual energy of the future. We acknowledge the continuation of life by embracing our history.

12 WHAT IS OCHRE?

Ochre is a natural substance found in many parts of the world including Bangarra Dancers Europe, Britain, North America and ‘painting up’ with ochre Australia. Typically, ochre is made up photos by Tiffany Parker of two forms of iron oxide (Fe 2O3 and FeO) that are often found mixed with clays, silicates and other minerals. The colours can range from deep purple to light yellow, with the most common form being red. Ochre is found in sedimentary, igneous and metamorphic rocks, in weathered products and soil.

Ochre has been used in many ancient cultures as a colouring and/ or painting substance for cultural expressions including art, ceremony, decoration and body painting. Paints are made by grinding the source rock to a powder and then mixing with fluid (water, saliva, blood, the fat of fish, emu, possum or goanna, or occasionally orchid oil) to form a fixative so that the pigment can be painted on rock, skin, tools and ceremonial objects. Ochre is extremely significant in traditional practices. The themes in Bangarra’s production Ochres are portrayed Bangarra Dancers as separate colours. This is not a ‘painting up’ with ochre literal interpretation, but is themed photos by Jacob Nash to illustrate ancestry, culture and people. For example, red ochre is often used to portray the blood of ancestral beings; within art and ceremony it can represent strength and protection.

Ochre has been mined by Aboriginal people in various quarries and pits across Australia for over 40,000 years, and continues to be extracted and used for art and ceremony. There are over 400 recorded Aboriginal ochre pit sites all over Australia, with many more that elude public record. Most mines were open cut; some were small operations, while others quite extensive and up to 20 metres deep. Ochre is excavated with stone and wooden tools, and traded across quite vast distances between clans, communities, and language groups.

13 CREATING OCHRES

Bangarra Dancers in Ochres (2015), photo by Susannah Wimberley

Bangarra’s Ochres is a dance elements for the dance, exploring, with decades of experiences that theatre work birthed by a large inventing and shaping the were brought into the process of Creative Team –Choreographers, movements into sequences that restaging the work. Choreographers Dancers, Cultural Consultant and slowly build into the fully structured and Dancers recreated, Songman Djakapurra Munyarryun, dance work. rearticulated, and revived the work, a Composer, and Costume, Set, embodying the essence and spirit of and Lighting Designers. As with RE-IMAGINING OCHRES the original work and processing the all of Bangarra’s productions, choreography for their own bodies. the whole Creative Team works (2015) Importantly though, the traditional collaboratively to develop the ideas When a work is restaged some elements of the work remain of the Choreographers, interpreting years after its premiere, certain unchanged. The embedded cultural the material that is brought to the original ideas are reconsidered. information must always remain process by the Cultural Consultant. As a result, some changes to the respected and intact, and this is original choreography may occur; why the guidance and collaboration The Choreographers, Rehearsal this is not unusual nor unexpected. of Djakapurra Munyarryun, Cultural Director and Dancers work together When Ochres was reimagined Consultant, was critical to the in the Bangarra’s studio over several in 2015, it was no exception. The restaging of this work. weeks, to create the choreographic Choreographers were revisiting the work 20 years after its creation,

14 THE CREATIVE TEAM

CHOREOGRAPHERS CULTURAL CONSULTANT LIGHTING DESIGNER Stephen Page Djakapurra Munyarryun Joseph Mercurio Russell Page Bernadette Walong-Sene COMPOSER SET DESIGNER (2015) Djakapurra Munyarryun David Page Jacob Nash Bangarra Dancers COSTUME DESIGNER Jennifer Irwin

Bangarra Dancers in Ochres (1995), photo by Greg Barrett

Waangenga Blanco White Ochres photo by Zan Wimberley

15 DISCUSSION GUIDE

PRE-PERFORMANCE POST-PERFORMANCE

Familiarise yourself with the themes After experiencing Ochres, students – How important is it for the of Ochres, and the additional will have a more tangible sense of Dancers to contribute to the resources provided on Page 15. Use the production. Their responses can creative process? the following concepts as a starting be captured and explored across – How are elements of dance point for discussion. through written, oral, or more incorporated into the – The significance of ochre for creative responses, in a wide variety choreography? of contexts – Aboriginal and Torres Aboriginal and Torres Strait – How are props and costumes Strait Islander perspectives, histories Islander people in traditional utilised to tell the stories and and cultures, Creative Arts, Science, cultures and ceremonies. enhance the choreography? History and/or English. Use the – The use of ochre in the context below questions as a starting point. – What use of technology is of art – both traditional and involved in the performance and – How are the four main sections in contemporary. how effective is it? Ochres connected or separated? – The mineral content of ochre; What linking techniques are used? – How does the music interact with its extraction and use. What are the dance and assist with the – What is the significance of the the uses of ochre? How is ochre storytelling? prepared solo dancer in the ‘The Light’? – In what ways does the for use? – In what ways do the different Choreographer use individual solo sections reflect the themes of the performers, duets and the full four different colours/ochres? ensemble to reflect ideas about culture, gender, personal life experiences and/or communities?

Bangarra Dancers in Ochres (2015), photo by Susannah Wimberley

16 RESOURCES

Mixing the Ochre. Australian Mining by Aborigines – Australia’s Institute of Aboriginal and Torres first miners. NSW Department Strait Islander Studies (AIATSIS), n.d. of Primary Industries, 2007. https://aiatsis.gov.au/gallery/video/ http://www.resourcesandenergy. mixing-ochre-video nsw.gov.au/__data/assets/ pdf_file/0008/109817/mining-by- Ornmol (Ochre). Mowanjum aborigines.pdf Aboriginal Art and Culture Centre (on ICTV Play), 2015. Paint up - Aboriginal Dance. https://ictv.com.au/video/ Australian Museum, 2018. item/4627 https://australianmuseum.net.au/ about/history/exhibitions/body-art/ paint-up-aboriginal-dance/

Ochre. The Orb, n.d. https://www.theorb.tas.gov.au/ Parker, Adrian. ‘Images in Ochre: living-cultures/ochre/teacher- the art and craft of the Kunwinjku’. drawer Kangaroo Press, East Roseville, 1997.

17 BANGARRA DANCE THEATRE AUSTRALIA

ABN 96 003 814 006

Tower Three, International Towers 300 Barangaroo Avenue Barangaroo NSW 2000

Phone +61 2 9251 5333 Email [email protected]

@bangarradancetheatre #bangarra

/bangarra

@bangarradance

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