1 Bringing the to the arts

“Broadcast is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of

Photo: Daniel Boud Photo: | , 14 June – 14 July connecting people across Australia’s | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” | QPAC, 24 August – 1 September PETER LAMBOURNE | , 6 – 15 September CEO, BROADCAST AUSTRALIA

broadcastaustralia.com.au Led by Artistic Director , we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. Bangarra, with our repertoire created on POWERFUL DANCING, DISTINCTIVE THEATRICAL VOICE AND Authentic storytelling, outstanding technique Country and stories gathered from respected and deeply moving performances are Bangarra’s UTTERLY UNIQUE SOUNDSCAPES, MUSIC AND DESIGN. community Elders. unique signature. It is this inherent connection to our land and people that makes us unique and enjoyed by audiences from remote Australian regional centres to New York.

4 5 WELCOME TO On behalf of everyone at Bangarra, welcome We embark on our 26th international tour later to our 2018 production of Dark Emu. this year and will return the 2016 production of Nyapanyapa back to the home of the artist who We are delighted to present Dark Emu in Sydney, inspired its creation – Nyapanyapa Yunupingu Canberra, Perth, Brisbane and Melbourne, following of in North East – with the extraordinary success of Bennelong last year thanks to the generous support of the Annamila and an exciting start to 2018. Already this year, Foundation. When we Return to Country we the company has presented a successful regional connect with culture, learn from our Elders and tour, a sold-out season of Bennelong at give back to the communities from where our Festival, and an acclaimed performance at the Gold stories originate. Coast Commonwealth Games Opening Ceremony. Our core Government funding and box office As we approach the company’s 30th anniversary income contributes to the creation of large- in 2019, it is an absolute privilege to collaborate scale productions such as Dark Emu, but those with Bangarra’s world-class ensemble of 18 dancers funds do not extend to our work off the stage. and a group of Australia’s most accomplished For these powerful initiatives, we rely on the theatre creatives to bring the incredible stories incredible support of generous individuals, from ’s award-winning book to life forward-thinking corporations and inspirational through our unique dance language. trusts and foundations who back our vision. Everything we do at Bangarra is inspired by our Tonight’s performance would not be possible land and our people. With this in mind, we are without the support of the committed to delivering real impact through through the Australia Council for the Arts and the initiatives that support the development of NSW Government through Create NSW. Thank future cultural leaders. In 2018, we welcomed two you for your continued support of Bangarra as emerging dancers into the company thanks to the a Major Performing Arts company. Russell Page Graduate Program, which provides them with 12 months of professional dance In the midst of creating Dark Emu we moved experience and mentoring. Our growing Safe into a temporary new home at Barangaroo while Dance and Dancer Further Education programs the Walsh Bay Arts Precinct undergoes a major also exist to empower our artists – all of whom redevelopment. We would like to thank the are future cultural leaders of Australia – to ensure NSW Government for their support and extend that they have longer, healthier careers and, our thanks to International Towers Sydney for when they do retire from the stage, vital support their incredible generosity, and for being so to transition into the next phase of their careers welcoming as we settle in. outside of dance. We are proud to nurture our Thanks to our fantastic major corporate partners dancers to tell their own stories and develop as – Broadcast Australia (a BAI Communications choreographers. Former dancer Yolande Brown, company), Boral, Lendlease and Qantas – who and current dancer Daniel Riley, were both we thoroughly enjoy working with to deliver on instrumental in the creation of Dark Emu. our mission of creating inspiring experiences Given we are the only Major Performing Arts that change society. company in Australia with its cultural origins in Lastly, thank you to our Chair, Michael McDaniel this land, we dedicate an enormous amount of and the Board for their drive, dedication and energy and passion into ensuring that we are passion. connecting in meaningful ways with communities across the country. We do this through an We hope you enjoy the story of Dark Emu extensive program of regional touring, and tonight. through the Rekindling youth outreach program, which continues to inspire pride, kinship and Stephen Page strength in young Aboriginal and Torres Strait Artistic Director Bangarra Dance Theatre Islanders through intensive dance residencies in Philippe Magid regional, remote and urban communities. Executive Director Bangarra Dance Theatre

6 SYNOPSIS

“The stain is deep in our chalk and until we Escape Through Dust can accept what the explorers saw as part A resilient lone spirit prevails, moving onwards of the national story our debate of national Bowls of Mourning origins, character and attributes is hobbled by Tears mix with the earth in caps of clay ignorance.” -Bruce Pascoe, Dark Emu, Black Seeds: Trampled by Indifference or accident? A scourge of hooves, of flies and disease

Bruce Pascoe’s award-winning book provides Rebirth Ritual an historical account of the sophisticated Carefully we are restored farming, fishing and land management practices of Aboriginal and Torres Strait Islander people Rocks of Knowledge across the continent prior to colonisation, Weaving traps with stone and skill exploding the hunter-gatherer myth which Whales of Fortune has been perpetuated to support the colonial The pinnacle of reciprocity, trust is shared with DARK EMU (2018) lie of terra nullius. Dark Emu chronicles what the cetaceans Aboriginal and Torres Strait Islander people have always known, that their reciprocal and Smashed by Colonisation Artistic Director Author of original book PRODUCTION interconnected relationship with the environment A final, climactic massacre, an uncomprehending Stephen Page Bruce Pascoe ACKNOWLEDGEMENTS is both sustainable and sacred. destruction Dance stories inspired by AV projection content by Choreographers Resilience of Culture Bruce Pascoe’s Dark Emu, Experience the Pulse Inspired by these stories of respect and Stephen Page, Daniel Riley, The wonder and power that nurtures earth, sea Black Seeds: agriculture or connection, Bangarra’s Dark Emu is a dramatic Yolande Brown, and the Scenografic Studios and sky accident? and evocative dance response to the assault dancers of Bangarra Dance Planet Engineering on land, people and spirit. We celebrate this Baiame Theatre Cultural Consultant Theatre Star sharing of knowledge, the heritage of careful The spirit of resilience and hope, singing up the /Biripi Nation Woman, Pattons Awnings custodianship, and the beauty that Bruce Costume Designer land. Lynne Thomas Gorilla Constructions Jennifer Irwin Pascoe’s vision urges us to leave to the children. Chameleon Touring Systems THANK YOU MY COUNTRY Language Consultant Set Designer Traleen Ryan SEGMENTS Yuin knowledge holder, Emily Adinol Jason Lowe I am the rock that holds the heat, after the sun Jacob Nash Dark Spirit of the Sky Warren Foster has set Looking into the void Composer Thank you to: Thank you, my country CREDITS & SPECIAL THANKS Steve Francis STC Production Department Blowflies, Massacre, Thank You Ceremony of Seed Technical Event Services I am the grain that takes the oil, after the pouring Working with the cycle of life Lighting Designer My Country © Copyright Alana is done Valentine 2018 COSTUME Sian James-Holland Forged by Fire Thank you, my country ACKNOWLEDGEMENTS PHOTOGRAPHY Fertilised by ash Dramaturg Deb Burdett I am the stone soaking up water, long since Campaign photography by Alana Valentine Brooke Cooper-Scott Bogong Moth Harvest retrieved from the pool Daniel Boud and behind the Laura How Oiling and feasting Thank you, my country scenes photography by Tiffany Robyn Murphy Parker and Daniel Boud. Crushed by Ignorance I am the spirit of country, still giving all life to the Kathy Trelease The calamity of disregard land Juliette Whitney Thank you, my country

8 9 FROM STEPHEN PAGE BANGARRA DANCE THEATRE ARTISTIC DIRECTOR AND DARK EMU CHOREOGRAPHER

Bruce Pascoe’s landmark book Dark Emu, Black This relationship and respect for Country is I’d like to thank Bruce Pascoe for his support Foster for sharing his Djirringanj traditional Seeds: agriculture or accident? had a huge at the very heart of why Bangarra exists, and throughout and for sharing this journey of re- songs, and to Dark Emu’s creative team: impact when it was published in 2014. It was a has driven our artistic practice for the past awakening, bringing these stories back full circle Composer Steve Francis, Set Designer Jacob monumental work of scholarship, disproving the 29 years. I met Bruce in 2017 while I was in into an embodied form. Steve Francis has been Nash, Costume Designer Jennifer Irwin, Lighting long-held and convenient myth that Aboriginal rehearsals for Bennelong and invited him to instrumental in helping shape the work through Designer Sian James-Holland and Dramaturg and Torres Strait Islander peoples were only the opening night performance. After he saw the strength and beauty of the soundscape. I Alana Valentine. Working with this very talented nomadic hunter-gatherers before European the production we half-jokingly spoke about decided to focus on Yuin Nation stories, songs and diverse creative ensemble is a gift: every colonisation. Presenting this research, and what a dance response to Dark Emu would and Language, and my thanks go to Yuin/ day in the studio brings something new and these stories, was a huge achievement, one that look like. While translating a non-fiction work Biripi Nation Woman Lynne Thomas, for her unexpected. Supporting the creation of Dark rightly captured the attention of Australia and to the language of is generosity of spirit in sharing stories and songs Emu from the sidelines was our Director audiences around the world. no easy feat, especially one as deep and as in Djirringan and Dhurga language with myself of Production and Technical John Colvin, complex as Bruce’s book, the challenge stayed and Steve. She also granted us permission to Rehearsal Director Anton and the Safe Dark Emu resonated with me so deeply because with me. Alana Valentine, who I previously include an important recording of her father Dance Team, who looked after the dancers it reflected the stories that we, as Aboriginal collaborated with on Bennelong, Patyegarang Guboo Ted Thomas, Calling the Spirit, within with such care and passion. and Torres Straight Islander people, have grown and ID, was fundamental in helping me uncover the production’s soundtrack. I pay my respects up with: stories of a symbiotic and reciprocal the theatrical richness of Dark Emu, as well as to him and to all Elders past, present and future Finally, thank you to the Bangarra Board and relationship with the land; sophisticated farming developing its cohesive structure as a dance whose lands these stories are founded in. wider team for their ongoing support, and to and fishing practices; stories of harmonious work. We saw a rich hunting ground of ideas you, our audiences for your continued passion exchange and respect, of working in sympathy in the text, presided over by Baiame, the To bring Dark Emu to the stage, I’ve worked for what we do. with the seasons. For some communities, these spirit emu. with Bangarra dancers/choreographers Yolande practices are ongoing and it’s been within those Brown and Daniel Riley – both avid readers, I hope you all enjoy Dark Emu. communities as a young man that I was able to In a series of interconnected dance worlds, both passionate about land management – who be part of the living breath of those practices, Dark Emu explores the sacred and creation were moved by the book, and driven to find Stephen Page cultural customs and values. But in many spaces of the cosmos; the relationship between their own truth within it. It’s been incredible Artistic Director Bangarra Dance Theatre more communities where people have been sky and earth, between land and the seasons, to share the creation process with them, and assimilated and where the land is suffering from and between animals, plants and people. Dark see our very different approaches come to life the constant assaults of the past two centuries, Emu explores the rituals and ceremonies that through the dancers. these practices are only just beginning to be are in step with the pulse of the land, but also revived. It seems to me that Dark Emu reflects the devastating assaults on land and spirit that Thank you to Bangarra’s dancers, whose stories, an important political and spiritual moment, a came with colonisation. songlines and spirit are the lifeblood of the growing movement of reconnection to Country. company, to Yuin knowledge holder Warren

10 11 THE : THE CHOREOGRAPHY: YOLANDE BROWN DANIEL RILEY AFTER ALMOST TWO DECADES WITH BANGARRA, FOR CHOREOGRAPHER AND BANGARRA DANCER DARK EMU CHOREOGRAPHER AND FORMER DANCER DANIEL RILEY, DARK EMU IS AN ENCOUNTER WITH THE YOLANDE BROWN CONTEMPLATES HER CONNECTION TO LAND SPIRIT OF BRUCE PASCOE’S BOOK. IT REAWAKENS THE AND PRIDE FOR HER MOB: “AS A 21ST CENTURY INDIGENOUS “CONNECTIONS BETWEEN LAND AND SPIRIT, HUMAN WOMAN AND ARTIST I AM ALWAYS INSPIRED BY OUR INCREDIBLE AND ANIMAL, ELEMENTS AND CULTURE” THROUGH THE COUNTRY – THE LAND, HER STORIES, OUR HISTORIES.” POWERFUL PHYSICALITY OF DANCE.

What is Bangarra’s Dark Emu about? land management practices founded on the How does Bangarra’s Dark Emu expand on choreographing a work that doesn’t have This work cultivates a physical and visceral importance of reciprocity. Dance can transcend Bruce Pascoe’s non-fiction book? any formal characters, and discovered new dialogue in response to Uncle Bruce Pascoe’s the human form. We’re able to use our bodies What the book did was prove that Aboriginal ways to use the massed ensembles to convey book and our deep Australian knowledge. to emulate the physicality of anything, from Australians weren’t hunter-gatherers. It proved the spirit of the elements and explore their Whether we embrace it or not, we are of this molecules to plants to raw emotions. there were farming practices, reciprocal underlying importance, as opposed to being country – we are of the land, the water, the grass, relationships between the elements. Working with Stephen is always the stars and the dark in between. As Australians What was the process for developing the and animals that worked symbiotically to very collaborative. He is so good at directing awaken from a kind of collective amnesia, these dance story? aid each other in farming and feeding. Our and facilitating the story, and allowing that are stories, ideas and practices we should all be Stephen, Daniel and I discussed the key areas interpretation of Dark Emu aims to awaken to filter through our bodies as dancers. able to access, learn from and respect. within the book that jumped out for us. Our the spirit of Bruce Pascoe’s book by finding amazing dramaturg, Alana Valentine, worked the underlying black spirit and ideas, and How does the music capture the essence How did you feel after reading Bruce Pascoe’s closely with Stephen to mould these ideas into exploring the deep connections between of the story? Dark Emu? passages of storytelling that fostered flow of Indigenous people and the land. The Dark Emu score is cathartic. When you I thought it was funny that it took a book to intent, emotional drive, and strength of story. listen to the music you get the sense of justify what I’d always felt was our pre-colonial What motivated you during the creation something bigger than us, which is creation. reality. From the stories my grandmother shared How much consideration is given to the set of this work? And even bigger than creation is the Dark Emu and from my work in communities, I already knew and costume design when choreographing? It is a privilege to be involved in this visual In The Sky. It’s the Dark Emu who is the creator. that the premise of our people being nomads The set, costumes and props have their own feast, and to create a physical, visceral work was fallacy and that our sacred mythology could energetic pull, helping drive the story, as do that we can share with our audiences around How do you hope people respond to Dark be better understood as wonderfully creative the dancers. We support each other in the Australia. Dark Emu aims to reflect the deep Emu? non-fiction. The detailed stories in the book filled space and work very closely to marry the spiritual connection have Dark Emu is an immersive experience for the me with a great sense of pride for my mob, who elements harmoniously. to this land and create the time and space for dancers and the audience. Dark Emu draws the have been denigrated through the controlled audiences to contemplate the connections that audience into the narrative and impels them extinguishment of our history. Why do you think the Dark Emu story is one have been severed by European settlement to feel a real connection to the story. We are that needs to be told right now? and invasion. Translating these connections aiming to open their eyes and minds to ideas How does Bangarra express these stories I feel like Australia is ready. There’s a lot more physically presents a really interesting challenge. about respectful land and water management through physical movement? discussion about Indigenous issues in the public and connection to creation. I hope this work Dance is a brilliant form for communicating domain, and that, in itself, shows there’s a deeper As both a choreographer and dancer in Dark opens a conversation. Bangarra is very good the heart of complex ideas. Through level of understanding emerging. I think that Emu, what have you enjoyed most about the at opening conversations to political, social, movement, music and design, we’re exploring one of the most important things people might process of developing this work? current, and historical stories. We’re told every how, for tens of thousands of years, First take away from Dark Emu is a sense that we Translating a book like Dark Emu is a great day that the world is falling apart around us, but Australians propagated sustainable and are a part of something greater. We’re a thread challenge. I’ve enjoyed exploring ways of maybe if we just gripped onto something that harmonious societies and evolved ingenious within the bigger picture – of the universe. reawakening these cultural practices physically was there before all of this, it would ground us a through dance and movement and the challenge little. Dark Emu reminds us to take a breath and of telling a story, smartly and cleverly, and cling to our piece of land; not just for yourself, with respect to the stories, traditions, and but for your family, and for your people. I think history. I’ve wrestled with the difficulties of that’s important.

12 13 THE COSTUMES JENNIFER IRWIN HAS BEEN CREATING COSTUMES FOR BANGARRA DANCE THEATRE SINCE THE COMPANY’S VERY BEGINNING, AND HAS BEEN COLLABORATING WITH STEPHEN PAGE EVEN LONGER. THE RESULT OF THIS EXTRAORDINARY PARTNERSHIP IS AN ENTIRELY UNIQUE COSTUME AESTHETIC: SCULPTURAL, RICHLY TEXTURED, WITH A STRONG CONNECTION TO THE LAND.

Jennifer describes Bangarra’s costumes as In Dark Emu, grass is conjured with “evolving art pieces”. With every performance, shredded silk linen. Fire is painted on the ochre – the earthy pigment dancers paint inside of loosely crocheted skirts, bleeding their bodies with – inevitably rubs off on the out from under the hems. Tissue-thin fabrics costumes, the layers building over the course of are intricately cut and layered upon each the season. “I love the fact that how a costume other to create optical illusions, and Jennifer starts out at the beginning is often completely plundered her local fish market for fishing net. different at the end,” says Jennifer, “but you While audiences may not see every detail, they still have the bones of the original.” Incredible experience its accumulated power. Every fibre, care goes into each piece – they’re painstakingly every piece of moss, every leaf, every feather handmade and often hand-painted – but contributes to Bangarra’s rich visual universe. Jennifer has been known to slash a skirt in half if it inhibits movement. “You can’t be precious,” Although Jennifer has been creating costumes she says. “The number one priority is that the for more than 35 years, designing for most of dancers have to dance.” Australia’s major performing arts companies, she still finds the process all-consuming. “When Dark Emu’s costumes are driven by the work’s I’m working on a production, I don’t stop until exploration of earth and sky, with a strong it’s done – I wake up thinking about it, I go to emphasis on woven elements. Unlike 2017’s bed thinking about it. I’m designing in my head Bennelong, there are no hero roles or hero when I’m walking the dog. Strangely, I walk a lot costumes – the power comes from massed where Bangarra began, in the old police boys ensembles. Jennifer is primarily inspired by club across the road from Redfern Park. There’s fabric. “It was about finding the essence of a big mural of Djakapurra Munyarryun painted the feeling of land, or kangaroo grass, or on the side of the building, and its incredible to water,” she says. “It was about finding a great think that’s where this all started.” piece of fabric that can represent a moth.”

14 15 THE SETS LIKE BANGARRA’S DANCERS, BANGARRA’S CREATIVE TEAM IS A TIGHT-KNIT ENSEMBLE. HERE, HEAD OF DESIGN JACOB NASH EXPLORES COLLABORATION, INSPIRATION, AND HOW BANGARRA CREATES ITS RICH VISUAL UNIVERSE.

Dark Emu is your sixth collaboration with Where do you seek inspiration? Stephen Page for Bangarra. What does that I photograph a lot, and I try to connect with a collaboration look like in practice? place. I like to stand on the Country where a The creative process always begins with story comes from, and get a grounded emotional discovery, because Stephen doesn’t have the response within my own body. From there, you answers then, and I don’t either. There are open your eyes, and start looking at what’s always things he’ll repeat in conversations, around you, what’s in an environment, and how things that emerge as important, and it’s a case it changes through the day. Inspiration may of interpreting that in the designs. You try and come from the tonal qualities of light hitting turn it into a visual sentence, into a visual world, a surface, and you might explode that out to but you never want to land on something too the most contemporary reference possible. early. You need to know all the ingredients, throw them up in the air, and see what sticks. Are there any motifs that occur regularly in your work, especially your work for Bangarra? What are the driving visual ideas behind You don’t see a lot of straight lines. You Dark Emu? don’t see a lot of straight lines in the dancers’ We had a conversation about what it would movements either, and if you do, it’s a look like if the sky was looking at the earth, deliberate choreographic design based on and the earth reflected the sky. We imagined the story. I think we’re surrounded by things if we all respected the sky around us, the that don’t let us dream, visually. I try to find atmosphere, space, the stars, the moons, and the magic in the unstructured; give people what that would look like as a homage to the the ability to imagine and breathe, to see land and its people. The next question was things in a way they don’t usually. how we’d create that world, and how people would move through it. Is there anything that might surprise people about Bangarra’s designs, especially people How important is colour in Bangarra’s works? who haven’t experienced the company before? Colour is important, but Bangarra really We’re called Bangarra Dance Theatre because focuses on negative space through black as we combine visual art, design, sculpture, music well: anything you put on stage becomes quite and dance: we’re always trying to break through focused. We go for strong, emblematic images. the Western norm of what design is. We’re When we do use colour, it comes from a place playing within that theatrical box, but we’re of knowing; for instance we’re choosing red always trying to break the rules, or reinterpret because it’s the colour of ochre found in them so we re-own the world we’re creating. the earth.

16 17 THE MUSIC BANGARRA’S MUSIC IS WHOLLY UNIQUE. SCORES ARE CONTEMPORARY, BUT DEEPLY CONNECTED TO THE LAND. THE ORGANIC AND THE SYNTHESISED EFFORTLESSLY COALESCE. AND MORE OFTEN THAN NOT, DANCERS MOONLIGHT AS SINGERS. “I DON’T ANALYSE WHAT I’M TRYING TO DO,” SAYS COMPOSER STEVE FRANCIS. “I JUST TRY AND FIND A JUMPING-OFF POINT AND LET THE MUSIC GUIDE ME.”

How do you begin working on a score for percussion, guitars, piano and a couple of and Warren Foster on this production. Warren Ignorance” you will hear Tara Gower perform Bangarra? seventies synths. The vocals are obviously came and sang a “Whale” song, a “Baiame” song a poem that Alana wrote, and “Smashed by It all starts with the story and also, quite often, also recordings. As for the other elements, I as well as vocals and language for “Forged by Colonisation” features Waangenga Blanco, Stephen Page will have some wonderful visual wouldn’t quite describe them as electronic. Fire” and the “Rocks of Knowledge”. Lynne is Daniel Riley and Rikki Mason performing idea. It’s very rare that he dictates the feel of a Even though they are drawn from instruments contributing her voice and some language as another poem of hers. These are combined with piece – he’s more interested in the intent and on the computer, they are often based off real well as being our cultural consultant. She also the singing of Elma Kris, Jasmin Sheppard and the story, and lets me interpret how that should instruments that have been sampled and then brought us a recording of her father, Guboo Tara Gower. Similarly to the cultural elements sound. With every piece I try and find the ‘key’, reworked to sound nothing like the original Ted Thomas, singing a song, which is about the I think having the cast perform on the score and by key I don’t mean whether the music is in recordings. I have a number of guitar effect ancestors moving through the land. The gift of they dance to, creates a connection that D minor for example, but the key that unlocks pedals that I run unconventional sounds through having this song incorporated into the score transcends the music. As I did last year, I have the piece. It might be a traditional element, or it to completely re-voice them. On this production is very special. Another special guest is Dark referenced a melody and also some lyrics from might be a sound, a melody or a even a single I’ve also used some great new string libraries Emu’s author Bruce Pascoe reciting some of his an earlier score by the late . It feels word. As an example, in “Bogong Moth Harvest”, that were recorded at Air Studios in . To own words and a poem by Alana. As always the appropriate that his music lives on in this new I started with some sounds of butterflies and be clear though, even with all these computer cultural elements are hugely important – without score that owes so much to him. moths I’d previously recorded. In the end, I tools, I still have to write the score and play in them, Bangarra’s scores would just be music. manipulated the wing flaps. As a result they every note you hear. When the deadlines are What do you listen to when you’re not became less literal and more of a texture within looming I sometimes wish the computer could Bangarra’s dancers often sing on scores. working? the score. How the flaps led to a conversation do it for me. Tell us a little bit more about that process, I listen to FBi Radio in the car: it’s my favourite between some pizzicato strings, I’m not sure, and how important it is to the finished work. radio station because they play a lot of local but it was the definitely the rhythm and timbre Can you explain how cultural consultants We’re really lucky to have that diversity of bands. There’s a couple of Icelandic composers of the sound that was my kick-off point for contribute to Bangarra’s scores? talent in the company. In the opening section, I really love: Olafur Arnalds, who writes very the piece. A lot of pieces that we’ve taken from the book “Dark Spirit of the Sky”, Beau Dean Riley Smith moving scores as well as solo work, and Jóhann for Bangarra’s production of Dark Emu belong sings a melody. Choreographer (and former Jóhannsson, who created beautiful, beautiful How much of the Dark Emu score is from live or to the language of the Yuin region. For Stephen dancer) Yolande Brown has leant her voice to work: on the face of it very simple, but undercut organic sources, and how much is electronic? it’s always important to show respect and to all the choral sections in “Bowls of Mourning”. with wonderful complexity and detail. I suspect There are atmospheric elements: wind, include the cultural elements from the areas that Similar to last year’s Bennelong, I’ve worked they both have had an influence onDark Emu, rain, moths, flies, cattle. And there are also relate to the story we are telling. We have been with Dramaturg Alana Valentine to incorporate not by design, but mostly because I just love recordings of live instruments such as cello, blessed to collaborate with both Lynne Thomas text into the score. In the section “Crushed by the worlds they create with music.

18 19 BORAL & BANGARRA

THE MUSIC

DARK EMU MUSIC CREDITS: Rebirth Ritual All music composed and performed Words and Voice: Bruce Pascoe by Steve Francis except: Rocks of Knowledge Dark Spirit of the Sky Cello: Peter Hollo Vocal: Beau Dean Riley Smith Words and Voice: Warren Foster

Forged by Fire Whales of Fortune Words and Voice: Warren Foster Song, Words and Vocal: Warren Foster

Bogong Moth Harvest Smashed by Colonisation Cello: Peter Hollo Words: Alana Valentine Song and Vocal “Guboo” Ted Thomas Voices: Waangenga Blanco, Daniel Riley, Rikki Mason

Crushed by Ignorance Voices: Yolande Brown, Elma Kris Words: Alana Valentine Voice: Tara Gower Resilience of Culture Cello: Peter Hollo Bowls of Mourning Vocals: Yolande Brown Baiame Words and Melody: David Page Song and Vocal: Warren Foster ™ Words and Voice: Lynne Thomas Vocal: Beau Dean Riley Smith Build something great Words and Voice: Lynne Thomas

Trampled by Indifference Words: Alana Valentine Boral has proudly partnered with Bangarra Words and Voice: Bruce Pascoe Voice: Bruce Pascoe for more than 15 years.

20 THE BOOK BRUCE PASCOE’S DARK EMU WAS PUBLISHED IN 2014, A LANDMARK BOOK ILLUMINATING THE SOPHISTICATED FOOD PRODUCTION AND LAND MANAGEMENT PRACTICES USED BY ABORIGINAL PEOPLE BEFORE COLONISATION. IT WENT ON TO WIN THE NSW PREMIER’S BOOK OF THE YEAR IN 2016, AND BRUCE WAS AWARDED THE AUSTRALIA COUNCIL’S AWARD FOR LIFETIME ACHIEVEMENT TO LITERATURE IN 2018. HERE, HE TALKS ABOUT THE KEY THEMES THAT BANGARRA HAVE INTERPRETED FOR THEIR DANCE WORK OF THE SAME NAME.

What does the term ‘Dark Emu’ refer to? that festival said that their bodies glistened noted how light the soils were and how the tilth The title refers to the shape of the Dark Emu in with the fat from the moth exuding from their of the soil was very deep: you could run your the night sky, which represents Baiame, one of skin. They were very strong and tall people, fingers through the soil. Those who reported the spirit creator figures of Aboriginal Australia. and Europeans were very impressed by their on it also noted that within only a few months The emu is also a grain feeding bird, and plains physical wellbeing. of sheep being introduced, the soil became bird, so the reference is to the creator spirit hard, and the water ran off the land and created and to Aboriginal food production. Another key section looks at the impact of floods, which was an experience that the the introduction of the blowfly. Can you tell Aboriginal people hadn’t had before. One of the key concepts explored by Bangarra us a little bit about the differences between in our interpretation of Dark Emu is kangaroo the giant, noisome flies so common in Have you had any positive stories from farmers grass and its role in communities. Why is it Australia today, and the native flies that around Australia who’ve read your book, and such an important plant? came before them? are interesting in incorporating traditional Kangaroo grass is just one of 130 grasses in The blowfly was introduced unintentionally practices to get the best out of the land? Australia, but it is very important because a with the cattle. It was an insect which, in it’s There are a number of people working in this form of kangaroo grass appears in most parts own environment, was not a pest, but here area. There seems to be a different mood in of the country. It’s highly nutritious so it’s a quickly became one. It’s really representative the country now to acknowledge and respect very important component of the Aboriginal of a change in the environment. It’s much the Aboriginal culture, and a greater movement to economy, and the shape of the seed head is same with bees. Native bees are stingless respect the earth itself. There are two books of like a kangaroo’s foot, so it has an emblematic and produce beautiful honey, but not in the note here: ’s The Biggest Estate on importance as well. same volume as the European honey bee. The Earth, and Charles Massy’s The Call of the Reed European honey bee had a huge impact on the Warbler. What has impressed me is the huge A key section in the work looks at the bogong environment, because it’s taken over the nesting numbers of young people who are interested moth: could you explain its significance for us? holes of Indigenous bees, as well as the nesting in Australian Aboriginal foods and care of the People went to the bogong moth festival from holes of some birds. earth. Permaculture groups, land care groups, all over the South East corner of Australia, from and farmer’s associations have been very active as far afield as Melbourne to Lakes Entrance to The introduction of cattle is something in taking up some of these ideas. We’re finding Mallacoota, Eden, Bega, Albury-Wodonga: all of Bangarra unpacks in the section ‘Trampled by Indigenous groups and land care groups across those places. They ate bogong moth, obviously: Indifference’. What was the impact of these the globe are realising that we can’t continue to it’s so rich in oils that Europeans who saw the hard-hooved animals on Australia’s land? abuse the earth to the extent that we have and people coming down from the mountain after When the British first arrived in Australia they that we have to undertake a program of repair.

22 THE LIGHTING LIGHTING DESIGNER SIAN JAMES-HOLLAND DISCUSSES THE ART OF SCULPTING AND PAINTING WITH LIGHT, TO CONVEY THE BEAUTY AND EMOTION OF DARK EMU. The new economy requires change. What was your process for designing all performance elements and supports the lighting for Dark Emu? emotion conveyed by the dancers and the The journey of the lighting design began by expression of the choreographer. turning to the land for inspiration and direction. The new economy Bruce Pascoe’s book passionately puts forward How did you feel after reading Bruce the argument that before colonial settlement Pascoe’s book, Dark Emu? the land was being manipulated and farmed, As I sat down to read Bruce Pascoe’s requires action. complex irrigation and architectural structures passionately written words, I became consumed were being built, river courses were altered by his work. Dark Emu was an absolute page- and were constructed – all through the turner. Everything that I was reading was The new economy traditional owners’ understanding and working completely contrary to what I had previously with the land. been taught. I did further reading and became consumed by the research. requires you. What influenced your choice and use of colour? What challenges did you face during My lighting design draws on the colours of the this project? Australian landscape, which holds a diverse and Ensuring that as a non-Indigenous person and beautiful collection of subtle and unique colours artist, I honour the culture and tradition of the that are instantly recognisable. Whether it is the ancient peoples of this land without leaving vast and dramatic sunsets over our beaches, my own mark on the work. To support and the break of day enhancing the richness of the assist the cultural integrity of the work, my deep red earth or the spontaneity of changing approach to the collaboration was listening colours of reflected water from a riverbed – the rather than speaking. Stephen said something light of the land remains unchanged throughout I found to be quite profound during the initial the centuries and creates such beauty. It’s from meetings for the project, “Indigenous people this study that I attempted to capture the truly look at the darkness between the stars, while

ARE YOUR INVESTMENTS DRIVING BURROWS NATHAN unique look of the Australian landscape and find Europeans look only at the stars”. I knew early CHANGE FOR THE NEW ECONOMY? the visual heart of Dark Emu. on that I had, and still have, much to learn of Indigenous history, of this land, and the culture How you invest your money shapes the world. And you can make a difference When designing lighting for Bangarra, of Aboriginal peoples. I had to look past the by investing in innovative sectors like renewables, tech and healthcare. how do you know when you’ve got it right? stars to see the answers. Invest with Australian Ethical Investments Often the sense of completion is purely intuitive. Lighting design follows many principles of What are your favourite aspects of Go to australianethical.com.au/bangarra and see where the new economy can take you. painting on canvas. One of the most captivating Bangarra’s work? things about Bangarra performances is the I love the detail in the choreography and the collaborative effort onstage. When I can look passion in every Bangarra performance. The at the stage with the design, costumes and energy of the dancers and creatives involved in dancers flowing as one, I can instinctively feel every production bounces right off the stage. Copyright ©2018 Australian Ethical Investment Ltd. Interests in the Australian Ethical Retail Superannuation Fund (ABN 49 633 667 743, USI AET0100AU) are offered by Australian Ethical Investment Ltd (ABN 47 003 188 930, AFSL 229949) and issued by Australian Ethical Superannuation Pty Ltd (ABN 43 079 259 733). Australian Ethical the lighting design seamlessly combines with Investment Ltd ABN 47 003 188 930, AFSL 229949. Interests in the Australian Ethical Managed Funds are issued by Australian Ethical Investment Ltd (ABN 47 003 188 930, AFSL 229949), the Responsible Entity of the Australian Ethical Managed Funds.

24 THE STORY “A DRAMATURG IS PART CHISEL, PART WATER-DIVINER”, SAYS ALANA VALENTINE. THE AWARD-WINNING PLAYWRIGHT TALKS ABOUT HER ROLE IN TRANSLATING BRUCE PASCOE’S BOOK TO THE DANCE STAGE.

When did you first read Dark Emu, and what to combine a dazzling array of elements into impact did it have on you? a cohesive work of dramatic beauty and the Dark Emu is a formidable achievement of structural experience of a playwright can be scholarship and it is an astonishing act of useful to draw on in that process. generosity for Bruce to share this knowledge and understanding with Australia and the world. I read Dance is largely a movement-based vocabulary: the book soon after it was published in 2014 and how important are words and language in esteem it as one of the seminal texts of Australian Bangarra’s works, particularly those you’ve history. When I met Bruce and told him how in contributed to? awe I was of his achievement he said, ‘It’s just The elements that all artists are working with the old stories you know and they were always are unnameable emotions and innovative ideas – there and that’s the thing that breaks my heart.’ a writer tries to corral those things in words, and a choreographer in movement – but in essence How closely have you engaged with the text both have to structure those emotions and ideas in your work for this production? so that they build and gain power over the time I’ve read the work innumerable times and it is of the work, and struggle to express ideas in ways the heartbeat of every conversation Stephen that are subtle and complex. In both Bennelong and I have had. If I can put it this way, Dark Emu and Dark Emu the language and English words has been like the deep well from which we have are an interpretive element of the music, a flash of drawn words and ideas and understanding. We cognition that thread though the work like light or have given them a new flow and a new form but colour and add to the power of the storytelling. it is Bruce’s insights and cultural gifts that speak in the music and through the dancers. What qualities do you love about Bangarra’s dancers? Can you describe how you collaborate with I love the abundance of their generosity in using Stephen Page on works like Bennelong and their bodies and their artistry and their discipline Dark Emu? and their cultural knowledge and their deep, A dramaturg is part chisel, part water-diviner, it’s deep connection to spirit to tell stories to the like being a useful tool that the primary artist can Bangarra audiences. I love their playfulness and use to chip away down to the deepest source their resilience and I adore how eager and open of their inspiration, like a feather that quivers and flat-out tight they are with everyone who when you are close to truth and spirit and joy works with the company. I love the complexity and pain. I collaborate with Stephen by listening of the personalities – they are a stylish, hipster, to his profound motivation for making the work deep and earnest, frivolous, radical cocktail of and then reminding him of that through the individuals. But most of all I love that they are process and resourcing him with notes from the so profoundly proud of their identity and so book or found images or lines of poetry or news reverent about the sacred responsibilities they or whatever might complement and support his carry in their bodies and hearts. artistic vision. The way Stephen works is also

26 27 ARTIST BIOGRAPHIES DARK EMU

STEPHEN PAGE DANIEL RILEY YOLANDE BROWN ARTISTIC DIRECTOR & CHOREOGRAPHER CHOREOGRAPHER / DANCER CHOREOGRAPHER

Stephen is a descendant of the people and the Munaldjali Daniel is an Indigenous man who traces his Yolande is a descendant of the Clan clan of the Yugambeh Nation from South East . In heritage back through the nation of the Kunja Nation, Central Queensland, 1991, Stephen was appointed Artistic Director of Bangarra and has of Central . with French and Celtic ancestry. A Bangarra developed a signature body of works that have become milestones dancer from 1999 to 2015, Yolande is now a in Australian performing arts. Since graduating from Queensland University choreographer for the company. She is also of Technology in 2006, Daniel has danced instrumental in delivering the company’s Stephen continues to reinvent Indigenous storytelling within for Leigh Warren & Dancers, Bangarra Dance Winhanga-rra Teachers’ Workshops and Bangarra and through collaborations with other performing arts Theatre, Fabulous Beast Dance Theatre UK developing the new Knowledge Ground digital companies, notably directing the Indigenous sections for the and New Movement Collective UK. He has platform, which will be launched this year. 2000 Sydney Olympic Games Opening and Closing Ceremonies been nominated for Best Male Dancer at the and creating a new dance work for the Gold Coast 2018 (2010, 2013) and for Yolande received the Australian Student Commonwealth Games Opening Ceremony. Deadly Dancer of The Year at The National Prize, completed a C.Mus.A (AMEB) in Aboriginal and Torres Strait Islander Deadly piano performance and a BA (Dance) at the In 2017, Stephen’s monumental work Bennelong became the Awards (2010, 2012 & 2013). Daniel’s film Queensland University of Technology, where most successful production in the history of Bangarra. In 2016, credits include Dan Sultan: Under Your Skin she has guest lectured and choreographed and he received both the 2016 NAIDOC Lifetime Achievement Award and Stephen Page’s SPEAR, where he made received the Outstanding Alumni Award for the and JC Williamson Award, and he premiered Nyapanyapa, his 23rd his film debut as well as working as Creative Industries (2005). work for Bangarra, as part of the OUR land people stories triple bill. Director’s Attachment. Yolande has performed extensively nationally, In 2015, Stephen curated Bangarra’s new work lore, and was His choreographic credits include QL2 Youth regionally and internationally. Her highlights awarded an Honorary Doctorate of Creative Arts by the University Dance Company (2013), Queensland University include dancing On Country and forging of Technology Sydney. To celebrate Bangarra’s 25th anniversary in of Technology (2013), Third Row Dance friendships with the Pitjantjatjara and Yirrkala 2014, Stephen choreographed Patyegarang. Company UK (2014), Louisville USA people, performing in Rites (a collaboration (2015) and Sydney Dance Company (2015). with – New York and Paris) Stephen directed the chapter Sand in the feature filmThe Turning Dark Emu is Daniel’s fourth work for Bangarra, contributing her interpretations to the role of (2013) and was Artistic Associate for ’s following Miyagan (2016), Scar as part of Blak Lady Jane Franklin in Mathinna, and performing production of The Secret River as part of Sydney Festival in 2013. (2013), and Riley (2010). in Stephen Page’s 2016 film,SPEAR . He also choreographed the feature filmsBran Nue Dae (2009) and (2011). His first full-length filmSPEAR premiered at Yolande has contributed vocals and keys to the Toronto International Film Festival before screening at various many Bangarra productions over the years and arts festivals around Australia in early 2016. has recently been working with Radical Son as a vocalist. In 2012, Yolande associate directed and In 2017, Stephen was honoured with the Australia Council Dance choreographed I Am Eora for Sydney Festival. In Award for significant contributions to the cultural and artistic 2013, she created Imprint for Dance Clan 3, as part of fabric of the nation, and was appointed an Officer of the Order Corroboree Sydney. In 2010, Yolande was honoured of Australia (AO). to receive the Deadly Award for Best Dancer.

28 29 ARTIST BIOGRAPHIES DARK EMU

JENNIFER IRWIN JACOB NASH STEVE FRANCIS SIAN JAMES-HOLLAND COSTUME DESIGNER SET DESIGNER COMPOSER LIGHTING DESIGNER

Jennifer’s career spans 38 years constructing Jacob is a Murri man who grew up in Brisbane. Steve is a composer and sound designer Sian is an Australian based lighting designer, and designing costumes for drama, opera, film, He graduated from the National Institute of originally from Adelaide. An opportunity collaborating on productions both nationally dance and ballet. She designs regularly for all Dramatic Art (NIDA) Design Course in 2005. In to produce and mix David Page’s work on and overseas. major Australian companies and has designed 2010, he designed the set for of earth & sky for Alchemy for The Australian Ballet in 1997 led for some of the largest scale spectacular Bangarra and received a Green Room Award for to an ongoing collaboration with Bangarra. Over many years, Sian has created work for productions ever staged in Australia, including Best Design in Dance. He was appointed Artist- The Dark Emu score is his 13th for Bangarra. a variety high-profile companies and projects the Sydney 2000 Olympic Opening Ceremony, in-Residence at Bangarra the following year and such as Sydney Theatre Company, Belvoir St co-designed all the costumes for the Sydney is now Head of Design. As composer and sound designer, Steve Theatre, The Banff Centre Canada, Theatre of 2000 Olympic Games Closing Ceremony, The has worked with Sydney’s premier theatre Image, Circus Oz, De Quincey Co. and the 2016 Official Commemorative Ceremony marking the Jacob received a Green Room Award nomination companies, including Sydney Theatre Company, Venice Architecture Biennale in collaboration Centenary of Australian Federation, and recently for his unique set design for Bangarra’s season Melbourne Theatre Company, Belvoir and with Aileen Sage Architects. the “Totem” segment of the Gold Coast 2018 of Belong (2011) and has designed sets for each Griffin. He has composed for a number of Commonwealth Games Opening Ceremony. of Bangarra’s annual productions since, including films, includingThe Turning, the multi award- With an educational background in lighting Bennelong, Patyegarang, lore, OUR land winning dik, ’s She Say, the Dendy for live performance, Sian has studied at The She has worked closely with Stephen Page, people stories, Terrain, Blak, Dance Clan 3, and Award-winning filmBlack Talk, Berlin Festival Western Australian Academy of Performing designing for Bangarra Dance Theatre since Warumuk – in the dark night for the company’s winner Djarn Djarns, the MMF Award-winning Arts, The Hong Kong Academy of Performing its inception. Costume commissions include collaboration with The Australian Ballet. documentary Mr Patterns, the AFI Award- Arts, The Banff Centre, and is currently multiple shows for Sydney Theatre Co, Sydney winning short filmBox and the documentaries completing a Masters of Architectural Science Dance Company, The Australian Ballet, Belvior, His other theatre credits include The Lonesome How the light Gets in, Macumba and Picture (illumination) at The . WA Ballet, Opera WA, Qld Opera, Singapore West, Ruben Guthrie and Jesus Hopped the Women. Dance Theatre, Royal New Zealand Ballet, the ‘A’ Train (BSharp); Yibiyung and Ruben She has received award nominations for Best Universal Ballet of Korea, Melbourne Theatre Co, Guthrie (); (Bell For television, Steve has scored for the Channel Lighting Design of an Independent Production Joffrey Ballet and Opera Australia. Shakespeare); The Removalists, Tusk Tusk/ Nine series Cops LAC, the mini-series Dangerous at Sydney Theatre Awards for Inner Voices, Like a Fishbone (Sydney Theatre Company); for Fox and the internationally released series Don’t Look Away/Redline Productions (2016); Jennifer designed the International box office Rainbow’s End ( Riverside Theatre); Double Trouble. With David Page, Steve Best Lighting design for Stage at the Australian phenomenon Dirty Dancing, the musical, Into: Belonging (Sydney Festival/Parramatta also composed and produced music for the Production Designers Guild for The Rivers of still playing worldwide since 2004. She was Riverside Theatre). In 2006, he wrote and Sydney Olympic and Rugby World Cup China, Theatreworks (2015) and Best lighting nominated Best Costume Design AACTA awards directed Blood Lines, a five-minute short film. opening ceremonies. design of an independent production at Sydney for SPEAR the feature film and was awarded Theatre Awards for Of Mice and Men, Sport Service to Dance at the 2017 Australian Dance Jacob was the specialist production designer As well as two nominations for sound design, for Jove (2015); and Best Lighting Design of Awards; a Theatre Board Grant to Study at La and creature designer on season one Steve has won two for Best a Mainstream Production at Sydney Theatre Scala Opera Milan, Italy, and a Centenary Medal and production designer and creature designer Original Score for two Bangarra productions Awards for Henry V, The Bell Shakespeare for Service to Community and the Arts. She has for season two. He was the production designer (Walkabout, 2002 and Belong, 2011 with David Company (2014). been recognised for her contribution to design for Stephen Page’s 2015 filmSPEAR ; has been Page). He has also won two Sydney Theatre with multiple Helpmann, Green Room and the Design Director for Bangarra’s past five Awards for Best Music and Sound Design. Australian production design nominations Vivid Sydney video installations; and creates and awards. the beautiful illustrations that adorn Bangarra merchandise. 30 31 ARTIST BIOGRAPHIES DARK EMU

ALANA VALENTINE BRUCE PASCOE ANTON DRAMATURG AUTHOR OF DARK EMU REHEARSAL DIRECTOR

Alana Valentine previously worked as Bruce Pascoe was born in the Melbourne suburb Anton has been teaching at Bangarra since dramaturg with Bangarra on Bennelong (2017), of Richmond and is of Bunurong, Yuin and 2006 and joined as Rehearsal Director in 2015. Patyegarang (2014), and ID from Belong (2011). Tasmanian heritage. He is an award-winning He brings 21 years professional experience as a Australian writer, editor and anthologist. director, choreographer, producer, performer, In 2017, Alana’s Barbara and the Camp Dogs, movement director and dance teacher. Anton’s co-written with , was nominated He is a member of the Aboriginal current arts practice sees him annually dedicated in the Sydney Theatre Awards for Best New Co-operative of southern , has been the to ongoing creative projects allowing him to Australian work and Best Original score, and director of the Australian Studies Project for the extend and develop as a professional artist. Ladies Day was nominated for the Commonwealth Schools Commission and is a Prize for Drama NSW Premier’s Literary Awards. Board member of First Languages Australia. His teaching credits include Sydney Dance Alana is the recipient of two Tasmanian Theatre Company, The Australian Ballet, Legs on the Awards 2017 for The Tree Widows, and was Bruce edited the Australian Short Stories Wall, TASDANCE, Expressions Dance Company, also nominated for an Errol for Best Director. magazine from 1982 to 1998 and is the winner Dance North, , Last year, Venus Theatre Company (USA) world of a number of awards for his writing, including Australian Opera, Sydney Theatre Company premiered The Ravens, which also won the BBC the Australian Literature Award (Shark) in 1999, and LTDX, Dream Dance International Radio writing Award in 2013 and Short Story 1998, FAW Short Company, Tanya Pearsons, Brent St, Ev and Bow, the NLA published Dear Lindy. Story in 2010, and the Prime Minister’s Award Studio Tibor, AC Arts South Australia, Australian for Literature (Young Adult) in 2013. His books Centre of Physical Education, NAISDA, Western This year, Belvoir presented The Sugar House, include Night Animals, Fox, Shark, Nightjar, Australian Academy of Performance Arts, Sport For Jove will present Ear to the Edge of Ocean, Bloke, Convincing Ground: Learning to Queensland University of Technology and QL2. Time, Merrigong Theatre Company will tour Fall in Love with Your Country, Fog a Dox and Letters to Lindy nationally, and a jazz song cycle Dark Emu, Black Seeds: agriculture or accident? Over the last three years, Anton has extended Flight Memory, written with composer Sandra Bangarra’s Safe Dance program to include new France, will be presented at The Street Theatre Dark Emu was published in 2014 and was warm up and warm down protocols, created in Canberra. Alana is the co-recipient of a shortlisted in the Victorian and Queensland new dance training and coaching opportunities writing fellowship at the Charles Perkins Centre, Literature awards and won the NSW Premier’s through the Russell Page Graduate Program, University of Sydney. In 2013, she won three book of the Year in 2016. Bruce was awarded and encouraged professional development AWGIE Awards, including the Major AWGIE, the the Australia Council’s Award for Lifetime for dancers through leadership and teaching inaugural Prize and the Youth Achievement to Literature in 2018. opportunities. and Community Theatre AWGIE for Grounded. Bruce has had a varied career as a teacher, Anton has assisted with 11 Bangarra works, Alana has collaborated with many of Australia’s farmer, fisherman, barman, fencing contractor, including main stage seasons of Bennelong most highly regarded First Nations artists and is lecturer, Aboriginal language researcher, (2017), OUR land people stories (2016), and known for her rigorous use of research, evident archaeological site worker and editor. lore (2015), regional tours of OUR land people in her 2010 play Head Full of Love and 2007’s stories (2018), Terrain (2016/2017), Kinship Parramatta Girls at Belvoir. (2015) and Ochres (2015). He has also assisted with international tours to , Berlin, Bonn, Istanbul, Paris and New York. 32 33 DANCER BIOGRAPHIES DARK EMU

ELMA WAANGENGA TARA JASMIN TARA KAINE KRIS BLANCO GOWER SHEPPARD ROBERTSON SULTAN-BABIJ

Elma was raised on Thursday Waangenga is a descendant Tara is a Yawuru woman Jasmin is an Aboriginal woman Tara is a descendent of the Kaine is a proud descendant Island (Waiben) and her clan of the Mer Island people and from Broome with Aboriginal, with a heritage of Irish, Chinese, Munaldjali clan, with a mixed of the Arrernte people of is from the North Western and of the Pajinka Wik, Cape York. Filipino, Irish and Spanish and Hungarian Jewish ancestry. heritage of Scottish and Irish. Harts Range in the Central Central Islands of the Torres After studying at NAISDA, ancestry. Tara grew up on Her Aboriginal heritage is from She grew up in Darwin and Desert region of the Northern Strait. Elma has had a rich and Waangenga was invited to Yawuru country at Morrell Savannah country; the Tagalaka attained a Bachelor of Dance Territory. He also celebrates rewarding career as a dancer, join Bangarra in 2005. His Park community, which gave and Kurtijar peoples from Performance at Adelaide his Croatian and Afghan choreographer, actor and career highlights include the her the strength to pursue her Normanton and Croydon in Centre of the Arts. ancestry. He joined Bangarra teacher. She studied at NAISDA company’s return to Meriam dreams and join Bangarra the Gulf of Carpentaria. in 2011. Prior to joining Bangarra and joined Bangarra in 1999. Mer in the Torres Strait Islands in 2006. In 2002, after graduating from in 2011, Tara performed Kaine studied at both NAISDA to perform Emeret Lu by the Her many choreographic credits Career highlights include the Dance Factory, Melbourne, professionally with Gary Lang and the Aboriginal Centre for ocean and also dancing on include Bupau Ipikazil and performing at Sadler’s Wells Jasmin made her professional NT dance company, TRACKS the Performing Arts (ACPA), the football field in Yirrkala Bupau Mabigal (NAISDA, 1994) in London, Rites in Paris and debut in HAIR the musical and other youth dance projects, graduating with an Advanced for the community. Malu (Bibir dance company, Awakenings in New York. Local and studied Contemporary and was part of a dance film Diploma in the Performing 1998), the Torres Strait In 2015, he made his milestones involve returning to Dance at NAISDA. In 2006, by Jason Lam, What Remains, Arts, majoring in Dance. He Island element of the Sydney choreographic debut with I.B.I.S Western Australia to perform she performed in The Migrant which screened in Berlin 2008. danced with Expressions Olympics Opening Ceremony as part of the lore program. for her family and being Project (Curious Works) and Dance Company and Leigh At Bangarra, Tara has enjoyed (2000), Emeret Lu (Bangarra, He won an Australian Dance nominated in Dance Australia’s Vicki Van Hout’s Wiradjurni. Warren and Dancers before being part of the creative True Stories, 2007) and About Award and Green Room Award Critic Choice Awards. joining Bangarra. Since joining Bangarra in process of developing a (Bangarra, Belong, 2011). Elma’s for his performance in 2014’s She created her first 2007, her highlights include new work; teaching regular In 2012 he was nominated for film credits includeOscar Patyegarang and was nominated choreographic work, Nala, for performing the title role in company classes, hosting a Green Room Award for Best and Lucinda, Reef Dreaming, for a Helpmann Award and Bangarra’s Dance Clan 3 in Patyegarang (2014); performing workshops and performing in Male Dancer for his role in Farscape and SPEAR. Greenroom Award for Male 2013. The piece returned to in Stephen Page’s Warumuk - in communities around Australia. Frances Rings’ Terrain. Dancer of the Year in 2012. In 2007, Elma won a Deadly Country in 2014 and a section the dark night, in collaboration She treasures the memories of Personal highlights include Award for Dancer of the Waangenga appeared in films of her work was performed with The Australian Ballet; her lead performance in Brolga touring extensively around Year and in 2017 she was (2009), The on Cable Beach for the and debuting her first in her hometown; performing Australia and the world Nominated for a Helpmann Turning (2013), Dive, Stephen community. Tara has also choreographic work, Macq, as a Ochres for the 21st anniversary with Bangarra, including Award for Best Female Dancer Page’s SPEAR (2016), and appeared in the filmBran part of Dance Clan 3 (2013) and of the work; being part of the Copenhagen, Berlin, Bonn, for her title role in Stephen Dan Sultan’s music video for Nue Dae (2010) and in Dan OUR land people stories (2016). Clan dance photography book; New York, Mongolia, Vietnam Page’s Nyapanyapa, part of “Under Your Skin”. Sultan’s music video for and being featured in EORA – She has collaborated with and Holland. His screen credits Bangarra’s triple bill OUR “Under Your Skin”. Dark Emu at Vivid Sydney 2018. He aims to inspire through musicians such as Ben Ward include SPEAR, Sharing Stories land people stories (2016). his deep love and connection Performing Ochres is a (Sydney Symphony Orchestra) in Tasmania (produced for In 2015, she was one of five to Country and culture, and lifetime achievement for Tara, and Briggs, and in 2017, she Qantas) and Dan Sultan’s artists who took part in draws strength from his family alongside inspiring the next created dance film/aerial music video “Under Your Skin”. Unsettled, an exhibition at the and curiosity to learn from our generation through culture installation, No Remittance for National Museum of Australia. rich tapestry of stories. and dance. Legs on the Wall’s Parachute Festival.

34 35 DANCER BIOGRAPHIES DARK EMU

LUKE CURRIE- BEAU DEAN RIKKI YOLANDA RIKA TYREL RICHARDSON RILEY SMITH MASON LOWATTA HAMAGUCHI DULVARIE

Luke is a descendant of the Beau was born in Dubbo and Rikki is from Inverell in North Yolanda was born on Thursday Rika is from Broome in Tyrel is from Far North and grew up on the South Coast of West New South Wales and Island and grew up in Mackay. Western Australia. She is a Queensland Cairns, and is a peoples, the Mununjali Clan New South Wales in Culburra is a descendant of the Kullili She is a descendant of Yam descendant of the Yawuru, descendant of the Yirriganydji of South East Queensland Beach on Yuin country. He is people from South West Island in the Torres Strait and Bunaba, Bardi and Jaru people (Cairns), Umpila (Nesbit and the Meriam people of the an Aboriginal man from the Queensland. is also of Papua New Guinean in the Kimberley Region. Rika River), Mamu (Millaa Millaa), Eastern Torres Strait Islands. Wiradjuri Nation of Central and Fijian heritage. She joined also shares Japanese, Chinese Kalkadoon (Mt Isa), and He grew up playing football He joined Bangarra in 2012. New South Wales. He joined Bangarra in 2015 as a recipient and Scottish ancestry. KukuTipan (Musgrave) peoples. and studying Koshiki Karate, Bangarra in 2013. of the Russell Page Graduate Luke studied Dance at NAISDA and was named Junior World Before joining Bangarra in In 2011, Tyrel began formal Program. and in 2010 commenced a His career highlights include Champion in 2000. He took 2015, Rika studied dance dance training at ACPA Bachelor of Fine Arts (Dance) performing the title role in his first dance class in 2007 Moving to Brisbane in 2011, at NAISDA Dance College, (Aboriginal College of at Queensland University of Bangarra’s Bennelong (2017), at the age of 17 and went on to Yolanda graduated from the where she was awarded the Performing Arts) and Technology. He has danced Black from Ochres for the train at the Australian Dance Aboriginal Centre for the prestigious Chairman’s Award. graduated in 2013. He joined with the Gerib Sik Torres Strait first time in Vietnam, and Performance Institute (ADPI) Performing Arts (ACPA) in Ochre Contemporary Dance She has worked with a number Islander Dance Group (2002) performing the Wiradjuri solo and L’Ecole-Atelier Rudra- 2013. An actor, singer and Company in Western Australia of choreographers including and QL2 (Quantum Leap). from ID on the Kinship regional Bejart and the Bejart Ballet dancer, her theatre credits in 2014, and also performed Iquail Shaheed (Horton tour on Country in Dubbo. Company in Switzerland. include MABO, directed by in Penelope Mullen’s Danse In 2012, Luke appeared in Technique), Shaun Parker, Rachel Perkins; Stolen directed Noir. Tyrel took part in ’s I Am Eora for Miyagan, part of the 2016 triple Rikki has performed with the Craig Bary, Frances Rings, by Leah Purcell and Up The Sydney Dance Company’s Sydney Festival. That same bill OUR land people stories, Brisbane City Youth Ballet, Gary Lang, Patrick Thaiday Ladder directed by Wesley Pre-Professional Program in year he joined Bangarra as was his first choreographic Queensland National Ballet, and Raymond Blanco, as well Enoch and choreographed by 2016, before touring with Hugh a trainee dancer. His dance work for Bangarra – a work Lucid Dance Theatre and as many cultural tutors from Penelope Mullen. Jackman’s Broadway to Oz highlights with Bangarra are that Bangarra returned to Televisions shows including communities around Australia. musical production. performing Blak in Vietnam Country as part of the 2018 Everybody Dance Now (2012) Yolanda has also appeared in Since joining the company and performing traditional regional tour. and So You Think You Can Beguiled for the Queensland Tyrel joined Bangarra in 2016, as Rika has toured nationally as a part of a Dance (2014). Symphony Orchestra and a recipient of the Russell Page (Bennelong, lore and OUR funeral ceremony in front of the Judith Wright Centre Graduate Program, making his Rikki joined Bangarra in 2014, land people stories), regionally the community. commission, Danse Noir, debut season with OUR land and has since toured nationally (Kinship, Terrain and OUR both choreographed by people stories. The following Luke is honoured to be (Bennelong, Patyegarang, lore land people stories) and Penelope Mullen. year, Tyrel was fortunate to part of the Bangarra family and OUR land people stories), internationally (Copenhagen, play the lead role of Bennelong and aspires to be a role regionally (Kinship, Spirit, Yolanda danced with Ochre Berlin, Bonn, Turkey, France as an understudy in the main model for young children, Terrain and OUR land people Contemporary Dance Company and USA). stage production. Since joining both Indigenous and non- stories) and internationally in 2014 before joining Bangarra, Tyrel has toured Indigenous. (Copenhagen, Berlin, Bonn, Bangarra. In 2016, Yolanda won nationally, including regional Holland, Turkey, France a Helpmann Award for Best Australia, and internationally to and USA). Female Dancer in Sheoak as New York, Paris, Copenhagen, part of the lore program. Bonn and Berlin.

36 37 DANCER BIOGRAPHIES DARK EMU

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

Glory is a descendant of Baden’s family is descended Ryan is a Biripi, Minang, Bulang 2018 Russell Page Graduate 2018 Russell Page Graduate Indjalandji Dhidhanu and from Saibai in the Torres Strait and Baladgung man born and Program Dancer Program Dancer Alyewarre Aboriginal tribes, Islands and is of Papua New raised in Taree, New South Bradley is a descendant of Lillian is a Yawuru woman from in the North West Queensland, Guinean heritage. He joined Wales. He joined Bangarra the Gumbaynggirr people and Broome, Western Australia. and of Scottish, English, Irish, Bangarra in 2017 as part of in 2017 as part of the Russell also has Fijian and English Welsh, Chinese and Spanish the Russell Page Graduate Page Graduate Program. In 2013, Lillian left her heritage. He is a Gumbaynggirr heritage. Glory joined Bangarra Program. hometown and travelled He began his dance training man, born and raised in Coffs in 2016, one of two Russell across the country to study In 2015, Baden completed a at NAISDA at age 16, after Harbour, on the north coast of Page Graduate Program dance at NAISDA Dance Bachelor of Fine Arts in dance taking part in the NSW Public New South Wales. recipients. She studied College in Sydney. at Victorian College of the Schools’ Aboriginal Dance dance at NAISDA. Bradley joined Bangarra in Arts. In 2016, he took part in Company, facilitated by After graduating, Lillian 2018 as one of two Russell The experience that has Dance Massive, performing in Bangarra’s Youth Program joined Bangarra in 2018 as Page Graduate Program made the biggest impact Antony Hamilton’s work Nex, Team in 2012. During his time one of two Russell Page recipients, after completing on Glory was attending a and was a participant of the at NAISDA, Ryan learnt from a Graduate Program recipients. four years of dance training at cultural residency, learning Indigenous Choreographers number of renowned teachers She was applauded for her NAISDA Dance College. and performing cultural dance Residency at Arts House, the and choreographers. thoughtful contemporary in community on Saibai and Time Place Space Laboratory, He was praised for his solo in the college’s annual One of Ryan’s highlights Moa Islands, in the Torres and a delegate at the Water standout performance showcase, RESTORATION during his training at NAISDA Strait and Elcho Island, Futures conference as in the college’s annual at in 2017. was attending a six-week North-East Arnhem Land. part of Asiatopa, where he showcase, RESTORATION at Professional Division Summer Lillian has fond memories collaborated with scientists on Carriageworks in 2017. Glory first saw Bangarra in Intensive at the Alvin Ailey dance as a means of sharing of watching Bangarra 2011’s Belong, and it has been American Dance Theatre in Indigenous knowledge of Having enjoyed contemporary productions at Sydney a long-held goal of hers to join . sustainable land and water dance since high school, Opera House and is excited the company. OUR land people Bradley is inspired to learn to perform alongside management. Bennelong in 2017 was his stories in 2016 was her debut more about his culture dancers she has looked up debut season with Bangarra, season with Bangarra, and she He choreographed In the and share knowledge and to throughout her training. and he has since performed has since toured nationally Absence of for Yirramboi First traditional stories through the regional tour of OUR with Bennelong, regionally with Nations Festival supported dance. land people stories (2018), Terrain and OUR land people by Public Art Melbourne and Bennelong at stories, and internationally was a member of Short Black (2018) and at the 2018 Gold to Copenhagen, Berlin, Bonn, Opera company, working Coast Commonwealth Games Paris and USA. with Deborah Cheetham on Opening Ceremony. regional workshops focused on Indigenous youth and the production of (2014) in Adelaide.

38 39 PARTNERS PARTNERS

GOVERNMENT PARTNERS PHILANTHROPIC PARTNERS

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

Bangarra’s 2018 international touring Bangarra’s 2018 international tour has been footprint is proudly supported by the assisted by the Australian Government Australian Government through the through the Department of Communications Department of Foreign Affairs and Trade. and the Arts. Rekindling in regional Queensland

CORPORATE PARTNERS COMMUNITY PARTNERS

Regional Touring Partner

OFFICIAL AIRLINE DARK EMU MEDIA PARTNER

40 41 PATRONS PATRONS

There are a number of levels of support that our donors can belong to. In consultation with Wiradjuri Elders, we have taken inspiration from the word ‘Bangarra’ (a Wiradjuri word meaning ‘to make fire’) to describe these levels, as part of our ongoing commitment to the survival of Aboriginal and Torres Strait Islander languages.

DHULUBANG – SPIRIT BILAWI – SHEOAK BARGAN – BIRRIMAL – BUSH Roger Hewitt Antony O’Regan GARRABARI – Ellen Macqueen (PLANNED GIVING) ($20,000 - $49,999) BOOMERANG ($1,000 - $4,999) HLA Management Mark and Lucy Osborn CORROBORREE Helen McCormack ($5,000 - $9,999) Rosemary and Dan Marion Pascoe ($500 - $999) Tom Mosby and Tony Anonymous Robert and Libby Anonymous (6) Howard Timothy and Eva Ellwood Margo Garnon- Albert and Annette Adair Andrea Hull Pascoe Anonymous (7) Barbara Nowak-Rowe Williams Krystyna Campbell- Michael Lavarch James and Belinda Beth Jackson and John Gary Payne Séverine Ball James O’May and Linda Herd Pretty Bloch & Gazal Allen Griffiths Ian Plater Kirsty Bennett Margaret Hawke Endowment Nicola Kaldor Marion Heathcote and Damaris Bairstow and SG James Carsten Quiram Mark Blumer Oonagh Redmond Brian Burfitt R Clay Keith and Marguerite Robin Hutcherson David Jonas Elizabeth Ramsden Susie Bond Bridget Sack Linda Herd Heather Drew Mobbs The Baker Family Peter J Jopling and Jill Redmyre Sarah Brasch Chris Shipway and Laini Liberman Alissar Gazal Lynn Ralph Mike Bowen Samuel Mandeng David Robb Brennan Jenkin Family Tahn O’Brien Patterson Pearce Belinda Gibson Neil Roussac Susan Burnett Michael and Silvia Ian Roberts Barbara Caine AM and Jann Skinner Foundation Nicola Kaldor Kantor Anne Roussac-Hayne Alison Cameron Angela Rutherford Larry Boyd Stuart Thomas Sisyphus Foundation Edwina Kearney Lisa Kinter Stephen Scrogings Kerry Comerford Jane Schlensky Sally and Drew Noel and Jenny Limited Lyn and Graham Gabrielle Kuiper Cratchley Turnbull Sally Crawford Gerlinde Scholz and Philip Vita Maloney Alan Croker and Kerry Geoff and Catherine Richard Leonard Linda D’Bras Christine and Paul Michael McDaniel and Lawrence Wand AM Reid Jenny Solomon Mari Davis Paul Galea Elizabeth H Loftus Susanne Weress Judith Davoren Naum Tered Fiona Dewar WIINY – FIRE Lynn Ralph Heather Maclean Ruth Janine Williams Jane and Robert Sue Terry and Len Rhonda Fadden ($10,000 - $19,999) RANT Clothing Diamond Jill Maddox and Ian Whyte Jo Glass Joyce Yong Ashwin Rathod Evans Nick Dongas and Sarah Chris and Cheryl Richard and Anna Dusseldorp Forum Anne Roussac-Hayne Whelan Tim and Caroline Thomas Green BANGARRA DANCE Goodridge Foundation McFarlane Jenny Schwarz Trish Dutton Michael Thompson Ben Harlow THEATRE ALSO Jane and Russell Kift Lou and Malcolm The Scovell Gardner Helen Eager and Dominic Thurn Donna Harpham THANKS THE MANY The Page Family Family Christopher Hodges McIntosh GENEROUS DONORS Jane Uebergang Kaye Hocking Fiona Stanley Penelope Seidler AM J Gordon Margaret Moreton OF LESS THAN $500 Derek Watt and Cathy Jackie Kearney Roslyn Morgan WHO SUPPORT The Wiggles Victoria Taylor Diane Grady Brown-Watt Jill Keyte and Ray Jo Moss OUR VISION. Wai-Hong Tham Joanne Griffiths Sara Watts Carless Catherine Hamber Cynthia Nadai David and Faith Ilse King Information correct at Stephen and Joanne Teresa Handicott Weisbrot Yvonne Langley 1 June 2018 Norrish Wendy Haynes Ineke Wever Mariette Maclurcan Gary Hearst Sasa Nouata

42 43 NSW ACT WA QLD VIC STAFF

SYDNEY OPERA CANBERRA STATE THEATRE QUEENSLAND ARTS CENTRE EXECUTIVE COMMUNITY PRODUCTION DANCE TEACHERS HOUSE THEATRE CENTRE CENTRE OF WESTERN PERFORMING ARTS MELBOURNE Bennelong Point AUSTRALIA CENTRE Director PO Box 7585 Artistic Director Community Director, Technical & Ballet GPO Box 4274 Bruce Carmichael State Theatre Centre PO Box 3567, South St Kilda Road Stephen Page Engagement Manager Production Simonne Smiles Sydney 2001 NSW of Western Australia Bank, Queensland 4101 Melbourne Vic 8004 Administration Libby Collins John Colvin Linda Gamblin is managed by Perth T: (07) 3840 7444 Executive Director Administration Telephone Telephone Theatre Trust. W: qpac.com.au Shane Carroll, (02) 9250 7111 (03) 9281 8000 Philippe Magid Redevelopment & (02) 6243 5711 Manager Chair Shane Placentino Box Office Facsimile Touring Manager Facsimile Alice Jorgensen Professor Peter Executive EDUCATION & YOUTH Paul Knobloch (02) 9250 7777 (03) 9281 8282 Phoebe Collier (02) 6243 5721 Coaldrake AO Administrator PROGRAM Manager Venue Facsimile Deputy Chair Website (Maternity Leave) Contemporary admin@ Operations Laura Hough (02) 9250 7666 Leigh Tabrett PSM artscentremelbourne. Youth Program Yolande Brown canberratheatrecentre. Mitch Thomas Production Manager com.au Director Website com.au Trust Members Daniel Riley Events Accounts Kayne Johnson sydneyoperahouse.com Dare Power Victorian Arts Sidney Saltner Website Coordinator ARTISTIC Tara Roberston Susan Rix AM Centre Trust Company Manager Lisa Griffiths Sydney Opera House canberratheatrecentre. Natalie McKevitt Head of Design Youth Program Leader Trust com.au Professor Chris Sarra James MacKenzie Lachlan Bell Event and Chantal Kerr Kristina Chan Leanne de Souza President Jacob Nash Mr Nicholas Moore Operations Officer Marine Polamares Frankie Airey Youth Program Leader Stage Manager Chair Amelia Birch Chief Executive Rehearsal Director Lillian Hannah U Matt Cornell CANBERRA John Kotzas Paul Barker Patrick Thaiday Ms Anne Dunn TICKETING Technical Manager Warwick Bray Anton Anton Education Consultant Head Electrician Mr Michael Ebeid AM Telephone Graham Piper Catherine McClements Cultural Consultant Kaine Sultan-Babij Andrew Myer AM Christopher Donnelly (02) 6275 2700 Assistant Technical ACKNOWLEDGMENT Shane Carroll Mr Matt Fuller Ian Roberts Djakapurra Munyarryun Sara Black Manager The Queensland Facsimile Nora Scheinkestel Head of Wardrobe Ms Kathryn Greiner AO Matt Power Performing Arts Yoga (02 6230 1098 Helen Silver AO Monica Smith Trust is a statutory Mr Chris Knoblanche AM Administration MARKETING & Narelle Benjamin canberraticketing. body of the State ADMINISTRATION Ms AM Assistant COMMUNICATIONS Sound and AV Catarina Sator com.au of Queensland and Minette Maderal EXECUTIVE TEAM Chief Financial Officer/ Technician Carl Lortz Ms Kylie Rampa is partially funded Director, Marketing & Head of Lighting Claire Spencer Company Secretary Emjay Matthews Jasmin Sheppard Ms Jillian Segal AM CULTURAL FACILITIES by the Queensland Audience Development CORPORATION Sam Elbery Government Chief Executive Officer Ashwin Rathod Production Technician Josh Mu Mr Phillip Wolanski AM Kate Scott Head Mechanist The Honourable Leeanne Deirdre Blythe Ruby Betham Chair Finance & Operations Ms Louise Douglas Amelia Dymond Enoch MP, Minister for Chief Operating Officer Coordinator Media & Environment and the Communications Production Trainee 2018 Dave Page EXECUTIVE Board members Head of Audio Great Barrier Reef, Leanne Lawrence Elizabeth Timbery Steph Storr Clark MANAGEMENT Ms Robyn Hendry Dylan Crosbie Minister for Science and Executive Director, Manager Music Fellow Human Resources Chief Executive Officer Ms Virginia Haussegger Head Flyman Minister for the Arts Office & Engagement Sarah Shields Brendon Boney Louise Herron AM Chief Executive Officer Peter Carr Director-General, Fiona Poletti Coordinator (until June) SAFE DANCE TEAM Deputy CEO – Ms Harriet Elvin Department of Executive Director, Ivana Radix Environment and Jessica Keirle Operations External Engagement Chief Finance Officer THE PERTH THEATRE Science: Jamie Merrick (from June) Head Physiotherapist General Counsel Melanie Smith Mr Ian Tidy TRUST Tamara Salkavich Michelle Dixon QPAC respectfully Executive Director, DEVELOPMENT Customer Experience Morgan Solomon acknowledges the Performing Arts Chief Financial Officer Traditional Owners of the & Insights Manager Physiotherapist ACKNOWLEDGEMENT Chairman Development Director Jeremy Hunt Jon Blackburn Lands across Queensland Beau Vigushin, Sarah Whelan Canberra Theatre Julian Donaldson and pays respect to their Kitty Walker Director, Building Executive Director, Trustee ancestors who came Pilates Team Ian Cashen Centre is administered Customer Experience Filmmaker & by the Cultural before them and to Development Manager Simonne Smiles Tanya Sim Richard Zimmermann Photographer Executive Director, Facilities Corporation, Elders past, present and Anna Shapiro Trustee Executive Director, Annie Jefferies Performing Arts which receives funding emerging. Tiffany Parker Philanthropy (Maternity Leave) Emily Amisano Kate Dundas assistance through Michelle Tremain Patrons are advised that Trustee Arts Centre Melbourne Chloe Gordon Marketing & Digital Kevin Privett Director, Visitor the ACT Government’s the Performing Arts Centre has EMERGENCY extends heartfelt thanks (Maternity Leave Coordinator Experience Minister for the Arts. Nadia van Dommelen Tara Gower EVACUATION to our Arts Angels, whose Cover) Sophie Raper Jade McKellar Trustee PROCEDURES, a FIRE generosity, loyalty and Massage Team ALARM system and commitment ensure Development Knowledge Ground Colin Walker Brad Moffit Trustee EXIT passageways. In as many Victorians as Coordinator Coordinator case of an alert, patrons possible can experience Shona Lee Duncan Ord OAM Lachlan Bell Yolande Brown should remain calm, the joy of the performing Pixie Enright–Hallett DIRECTOR GENERAL look for the closest arts here in Melbourne. OF DEPARTMENT EXIT sign in GREEN, Conditions of Entry listen to and comply OF LOCAL Arts Centre Melbourne with directions given GOVERNMENT, SPORT welcomes everyone to visit by the inhouse trained AND CULTURAL our spaces and experience attendants and move in INDUSTRIES & PERTH the performing arts. an orderly fashion to the THEATRE TRUST Conditions of Entry are open spaces outside the available on our website GENERAL MANAGER Centre. artscentremelbourne. com.au 44 45 Lendlease is proudly supporting Bangarra to create lasting memories.

“Lendlease’s vision is to create the best places. In working to achieve that we must learn, with deep respect, from our Aboriginal and Torres Strait Islander brothers and sisters, and recognise and value the fundamental place their culture, knowledge and history have in making Australia the best and most equitable place it can be for all Australians.”

Steve McCann, Group Chief Executive Officer and Managing Director, Lendlease.

Kyoto, Japan No one travels like Australians And no one takes us to the world like Qantas

www.lendlease.com

LL1633 Bangarra Anuual Report 2017 A5 .indd 1 23/1/18 9:15 am BANGARRA DANCE THEATRE AUSTRALIA

ABN 96 003 814 006

Level 5, Tower Three International Towers 300 Barangaroo Avenue Barangaroo, NSW 2000

Phone +61 2 9251 5333 Fax +61 2 9251 5266 Email [email protected]

@bangarradancetheatre #bangarra

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@bangarradance

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