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True Stories | Bangarra Dance Theatre |
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Written by Selma Nadarajah
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Sunday, 05 August 2007 |
 True Stories is a
double bill comprising two very different works choreographed by two women,
which is a first in the history of the Bangarra Dance Theatre. Emeret Lu choreographed by Elma Kris is
a montage of scenes and moods inspired by the culture and landscape of Murray Island. Created by former Bangarra dancer, Frances Rings, X300 is an expression of the devastating
effects of the nuclear bomb testing in Maralinga in South Western Australia
during the 1950’s, exploring the impact on local Aboriginal communities. Though
dealing with two very separate indigenous identities, True Stories is held together by a potent sense of energy, emotion
and spirit which is communicated in not only the stories being told but in the
fiercely passionate performances of the ensemble group.
For Emeret Lu, Elma Kris visited Murray Island to meet with the Elders to hear their stories and to
witness first-hand the fertile land that is steeped in myth and spiritual
resonance. Kris choreographs a rich portrayal of Murray Island blending traditional rituals with more abstract
depictions to capture the spiritual element of the local culture and the
intrinsic connection between the people and the sea and land.
The work opens with guest performer,
Smilar Sinak, who himself is part islander, acting as the head chief to the ‘tribal
group’. The striking set is a curved bamboo structure which becomes the
playground for the dancers as they emerge in their spectacular costumes
inspired by traditional Meriam dress. The music and choreography too largely resonates
traditional song and dance with a contemporary twist in Steve Francis’ original
soundtrack, which carefully balances electronic sounds with live recordings of
singing and reciting.
Emeret Lu is
structured like a typical day starting with a Rain Dance moving into Hunters
where the male dancers carry long weaved baskets across their shoulders in
the manner of a ‘kab kar’ dance then slowing down into Harvesting. In contrast to the vigorous feet-stomping of the men
colourfully painted in tribal colours, the females in the Harvesting sequence demonstrate the grace and calm of the island
also wearing more earth-coloured tones. There is a sensual duet between Jasmin
Sheppard and Waagenga Blanco in Trance
where there is a curious tension in the choreography. Blanco, in a ritualistic
sequence, uses a long piece of blue fabric to smudge the paint on his body.
Taking the fabric, he then uses it to wrap and manipulate Sheppard. Neither
romantic nor erotic, the fluid movement is almost mystical in its ambiguity.
Frances Rings’ work is equally
powerful and because of the relevance and significance of the content, is
relatively more emotional. X300,
which was the codename for the nuclear test site at Maralinga, is a series of
chapters focusing on different aspects of the event. Rings not only explores
the traumatic effects on the people but also places the event in time featuring
frenzied dancers jiving to rock and roll, and using real news footage reporting
the bombings. The result of contextualising adds a degree of stark reality
which makes sequences such as Guinea Pig,
where we see Sidney Saltner rip off his clothes in agony to expose his bleeding
sores, all the more haunting.
Rings’ choreography is extremely
physically demanding with much of it relying on upper body strength. In Fallout, Deborah Brown, Waagenga Blanco,
Katina Olsen and Daniel Riley McKinley partner up to perform a fast-paced
series of seemingly effortless contortions, lifts, tumbles and body rolls. There
are also superb performances by Yolande Brown and Jhuny-Boy Borja and a
particularly memorable solo by Patrick Thaiday in Blackmist where each striking movement releases a mist of white
powder. With his long lithe limbs, Thaiday is not afraid to take over the
expanse of the space, majestically commanding us to attention.
Working with Rings’ dynamic
choreography is a compelling musical score by David Page featuring orchestral
instruments and piano. Set designer, Genevieve Dugard, creates a stage that
morphs with each transition; white neon tubular lighting for the radiation
examination and a large structure with fragments of amber glass alluding to the
chrystallisation of sand during intense moments of heat. X300 is gripping from start to end.
The best thing about watching a
Bangarra production is that there seems to consistently be a real sense of
genuine pride and belief across the entire company in what they do. While a
dance company, the Bangarra is also more importantly a cultural and educational
life-force for Australia. True Stories
is yet another stunning, must-see production.
Bangarra Dance Theatre presents
True Stories
Venue: Drama Theatre, Sydney Opera House
Dates: Aug 2 - Sept 1
Bookings: www.sydneyoperahouse.com or 02 9250 7777
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