Bangarra Dance Theatre’s “Awakenings”
It was not necessary to be a student of Aboriginal culture to be awed by the stunning production of “Awakenings” performed by Bangarra Dance Theatre at the 2008 BAM Next Wave Festival. Stephen Page, director and choreographer, has carefully structured a combination of fine dancing and an unobtrusive story line, with enough ritual, drumming and chanting to give the average dance-goer an appreciation of the wonders of the Aboriginal experience. The choreography demanded that the dancers have a strong ballet technique. “They don’t like it, but they do it every day,” Page remarks, and it is evident in the sleek and powerful interpretation they gave to Page’s choreography.
“Boomerang,” part one, was a collection of individual segments set against a bright orange pleated fabric wall hanging. Each section was fueled by its own diminutive narrative, carefully contained and just enough to cue the viewer on what to expect from the choreography. Presiding over the dancers (sort of the chief) was Djakapurra Munyarryun, the guest artist, who was raised within the ancient tradition and ceremony lending authenticity. He is a large, portly man in traditional costume and body paint, and though he danced minimally, he moved among the dancers as a force of authority.
Patrick Thaiday danced an especially brilliant solo. He first was seen face down lying on the floor, but as he began to move, it was as if his spine was made of jelly. His animal-like limbs were simply spellbinding to watch as he propelled himself across the stage floor on all fours. Each of the small segments of “Boomerang” had its own particular flavor. Especially savory was an ensemble of men who enter with a straw-like woven kayak balanced on their heads. They darted out in elegant lunges and intricate movement patterns then quickly returned. Weapons of hunting were used to illustrate the ways the tribe maintained its native life of simplicity, beauty and spirit.
The second part, “Brolga,” followed a marvelous story of a young girl who wanders into sacred ground and becomes transformed. How pleasurable when the choreographer just follows a story from beginning to end (as noted in the program) and permits one to sit back and say “oh yes, I get it” and not have to tax the mind for hidden meanings and symbolism.
In “Brolga,” Deborah Brown was the heroine in forbidden territory who was mesmerized by its mystery. There was a stunning choreographic motif throughout, as the dancers’ hands seem to be hinged behind their backs beneath the shoulder blades, elbows out to the side, somewhat reminiscent of the evil swans in Matthew Bourne’s “Swan Lake.” They rarely touched each other and were intimidating and curious as they circled Brown.
Brown’s body is a glorious instrument. She has the classical ballerina’s stance, yet her torso can turn itself inside out if need be. She had no vertebrae in her spine, or so it seemed, when she unleashed whiplash undulations with astonishing fluidity. With her black hair pulled back, her eyes darting around the stage and her arms seemingly tied behind her back, she gave one of the most striking performances seen recently in New York.
BAM, in its 26th season, continues its reputation as the place to see unusual dance from all over the world. The Australian Bangarra Dance Theatre is just one example of companies brought to the New York dance-goer’s attention because of the thoughtful programming offered by BAM. It is quite well worth a trip across the bridge.