Bangarra’s latest production is founded on the concepts presented in Bruce Pascoe’s award winning book 'Dark Emu. Black Seeds: agriculture or accident?'.
Bruce’s scholarly book traces the sophisticated agrarian practices of Aboriginal and Torres Strait Islander people across the continent before colonisation, exploding the hunter-gatherer myth that supports the concept of terra nullius.
Created by Bangarra’s artistic creator Stephen Page, Dark Emu is a challenging programme of 14 interconnected dance sequences that tell the complex story of how our Indigenous peoples worked together to create a sustainable and spiritually connected experience with Country.
Choreographed by Stephen and Bangarra veterans Yolande Brown and Daniel Riley, the result is a mesmerising 70 minute show that melds visual art, stage design, sculpture, music and dance in to a captivating, emotionally charged experience that is simply breathtaking.
The sets are nothing short of sensational and designer Jacob Nash has pulled out all stops for this, his sixth collaboration with Bangarra. Using huge sculptures that dominate the stage, the dancers appear small in comparison – highlighting the universal indifference to mankind. Working in tandem with, and supporting the vision of Nash is the evocative lighting design of Sian James-Holland who uses projections, moving screens and washes of colour to set the stage for the dancers.
As with all of Bangarra’s work, it is impossible [and unfair] to break down 'Dark Emu' into its collective parts because it is a work that relies on the success of every collaborative element. Take for instance the spellbinding costumes created by designer Jennifer Irwin who has been with Bangarra since its inception 29 years ago. Using lace, textured cloth, fishing net and paint, Jennifer creates costumes that are works of art in their own right but combined with Sian’s sensitive and low-key approach to lighting, they create a visually otherworldly experience that has to be seen to be appreciated.
Of course no Bangarra production can be judged without reference to its musicality. Since the untimely death in 2016 of musical director David Page, many have wondered how Bangarra would fill the huge hole left by his passing. That has been answered by long-term Bangarra collaborator and composer Steve Francis who once again has created a hauntingly beautiful score that is part musical accompaniment, part aural soundscape. Songs and spoken word combine with the atmospheric elements of wind, rain, moths, cattle and flies – sounds that are oh so familiar – but assume an eerie quality when manipulated by Steve who uses both traditional and modern methods to create his sound templates.
Which brings us to the physicality and movement of 'Dark Emu'. Bangarra’s 18 talented dancers work the stage in what is essentially an ensemble piece delivered primarily in small groups. Despite being the work of three acclaimed and highly original choreographers, there is a uniformity about the movement which overall is less adventurous than in previous works. This may be due to the fact 'Dark Emu' is predominantly expressive or abstract in nature and without having the book as a reference it is much harder to follow and understand purely by its choreography.
While I am loathe to call out individual dancers – because they are all sensational – there were some truly notable solo moments offered by Waangenga Blanco, Yolanda Lowatta, Elma Kris, and Beau Dean Riley Smith whose stage presence, individually and collectively, is spine-tingling.
There is much to appreciate, experience and absorb in 'Dark Emu' and one viewing may not be enough to fully understand the complexity of the issues raised in this production. But that does not diminish the fact it is a beautiful and emotionally charged visual and aural experience – deserving of the extended standing ovation the performers received. In a nutshell – 'Dark Emu' is absolutely mesmerising.
