Dance Clan 24
Bangarra Dance Theatre
Artistic Director: Frances Rings
Bangarra Studio Theatre
November 29 – December 14, 2024
Dance Clan 24 is exciting, challenging, beautiful and groundbreaking. A unique programme, Dance Clan nurtures a new generation of artists by offering young members the opportunity to create original works reflecting both their personal story and their cultural heritage. While the programme emphasises mentorship it also encourages experimentation and fresh viewpoints.
For instance the first piece choreographed by Kallum Goolagong, a young Wiradjuri and Darkinjung man, titled “Metamorphosis” explores the theme of transformation, the idea conveyed by a striking stage setting (Annaliese McCarthy) of cocoon-like forms. While the concept is not unusual in traditional Indigenous performances, the dancers’ costumes and movements have a distinctive Japanese feel to them, revealing Goolagong’s personal involvement with Zen. However, the opening sequence is pure Bangarra as a dancer emerges from a cocoon, apparently alone, but we become aware that there are others – silently, softly, and magically – present.
In a boldly innovative move, “Brown Boys”, Daniel Mateo’s dance film, co-directed with Cass Mortimer Eipper, is a first for Dance Clan. Inspired by his poetry, the multi-disciplinary Mateo, a Gamilaroi and Tongan man, explores his need to be comfortable in his own body through feeling he is at one with the land. Initially, a close-up of flesh immediately makes the connection between the skin and the land, the contours of the body and of the earth, interposed by the image of his eye, both reflective and challenging. We are asked to see, not just look, at the colour of skin as emblematic of a deep and vital connection to country. The setting (Elizabeth Gatsby) once again is significant as what begins as an enclosure opens out to form a star.
The last piece, “Yawuru Buru”, choreographed by the very beautiful dancer, Lillian Banks, a Yawuru woman from Broome, honours her mother and homeland. The costumes which evoke either sea or shore, are based on designs made by her mother and Lillian’s dance story enshrines her unbreakable connection with Broome. Perhaps the superb stage setting (AnnaLiese McCarthy), a striking arrangement of net, apart from its clever use to suggest below the sea or waves rushing the pipis into the baskets of gatherers, might also convey how thoroughly her distant home is enmeshed in memory. Banks’ choreography shows her gift for physicalising the ideas and emotions she wants to communicate, all of which are precisely and passionately executed by the ensemble of dancers.
Artistic director, the lovely Frances Rings, is justifiably proud of her young artists, not just choreographers and dancers but also the very important composers, lighting, set design and costume design who have created a truly memorable evening.
