By Karyn Lee Greig,
Bangarra has done it again. Even better. Illume is a light to us all. It is not only an artistic triumph but a profound affirmation of culture – past, present and future.
From the very first starry scene, Shadow Spirits, we get a sense of timelessness – it could be the past, it could be the present and it certainly could be the future. Regardless, we are close to space and the myriad of stars that give out life-giving light. There are shooting stars and other interstellar shapes that are best seen outside a city, where ‘light pollution’ obscures these sights.
From the celestial sphere, breathy shapes in human form enter the physical world. Creation. From here, the heavenly realm held information for navigation, when to plant and harvest food and the best time to fish. The ‘sky country’ forecast weather, heralded the change of seasons and provided ‘social and spiritual guidance through Story’. The starry sphere was vital for life, hence, in this production, we are taken on the journey of the Goolarrgon Bard people of north-western Western Australia. Here, Darrell Sibosado, a Goolarrgon Bard man, is the artistic and cultural collaborator for this production, where he shares his story. As a visual artist, he works with mother of pearl (guan), with its own unique quality of light, and its deep connection to the physical and spiritual worlds of the area.
Also the medicinal Manawan trees, which glow in the dark, signify this country. This energy and light is shown to connect us to all living things through the segment ’Blood Systems’, which literally and metaphorically, through the highly creative use of glowing ‘ropes’, weave together an intricate ‘kinship network’.
Throughout, the demands on the lighting designer, Damien Cooper, are huge, but Cooper more than meets the challenge. He, working with Craig Wilkinson, video designer, create visually stunning worlds. However, it is obvious that the production is a testament to collaboration. There is not one missed beat. The inspired musical/sound composition by Brendon Boney, sets the tone of the entire piece. The set design, by Charles Davis, gives us the memorable multi-faceted glow in-dark-trees – splendid pieces of modern art in themselves. Nor will I forget the orange-throated shell lifted high, and the versatile boxes that the people used to ‘build ‘homes’ under the pressure of white expectation. The pops of orange always complement, as do the costumes by Elizabeth Gadsby. The iridescent mother-of-pearl-like fabric ‘wraps’ worn by the mostly female dancers were only one part of this beautiful collection of garments.
In Sibosado’s words, ’When we live in harmony, we keep adding to the pattern’. Indeed the whole work is a story of pattern, only broken by light pollution and the arrival of missionaries. Though scored, choreographed and danced superbly, the missionary segment, for me, is a rather worn motif, which I have seen many times in Bangarra works. It ignores the many and notable first nations people who, by choice, embrace Christianity. This said, the sensory comfort of cultural recovery through the fire and the ash scenes are a highlight.
This brings me to the dancers. All 18 of the ensemble, in all their physical variety, were beautiful to watch. The breadth of movement, patterning and musicality is Bangarra’s signature, but never the same. The dancers themselves contributed to the outstanding choreography by artistic director and CEO, Frances Rings. Congratulations.
This is an awe-inspiring production. There is a tremendous sense of hope in it, because, as mentioned, as well as referring to the past, and standing in the present, it points to the future – a powerful future where first nations people take their rightful place in this country.
Always was. Always will be.
