This extraordinary program was devised by Australian contemporary dance pioneer, Elizabeth Cameron Dalman, as a celebration of the evolution of her dance practice over six decades.
During that time, Dalman founded two dance companies, Australian Dance Theatre (ADT) in Adelaide, which this year is celebrating its 60th anniversary, and Mirramu Dance Company which she co-founded with Vivienne Rogis in the ACT, which is also celebrating its 25th Anniversary.
An important aspect of Dalman’s career has been the affiliations she has forged during her international travels as a performer and teacher. Particularly significant among them being strong connections forged with Taiwanese dance artists, Christopher Chu, Yu Ming-chu, Peng Hsiao-yin (Grace), Chen Yi-Ching (Olivia) and Chen Fu-rong (Fufu); all of whom travelled to Canberra to participate in this program, along with Mirramu dancers, Vivienne Rogis, Miranda Wheen, Amanda Tutalo and Tammi Gissell.
Also special was the participation of the unstoppable nonagenarian herself, who not satisfied with recreating some of her most significant dance works, also performed in some, and shared hosting duties with Mirramu Dance co-founder, Vivienne Rogis.
To commence the program, the first part of which was devoted to works originally created for Australian Dance Theatre, Dalman performed Welcome Dance in the striking costume created for a production of Morning Star presented in the National Gallery in 2013. Time may have robbed her of some of her dexterity, but Dalman still possesses a remarkable presence. Therefore, the opportunity to witness her perform this work, was a rare and memorable experience.
Notable also was the fact that for the ADT section of the program, the majority of the costumes were the original ones created for the works in which they were danced.
At this performance excerpts from four works created during the 1960/70’s for ADT, the first of which was This Train, a 1965 work performed to songs sung by Peter, Paul & Mary, an American vocal group who had become personal friends of Dalman.
The excerpt featured three of the original seven songs which comprised This Train commencing with Early in the Morning danced by Miranda Wheen, Peng Hsiao-yin (Grace), Fu-rong Chen (Fufu) and Yi-ching Chen Olivia). A lovely solo All My Trials danced by Peng Hsiao-Yin (Grace) followed, then Blowin in the Wind performed by Amanda Tutalo, Miranda Wheen and Peng Hsiao-Yin (Grace).
Beautifully interpreted by the dancers, this work contained many of Dalman’s signature moves, occasionally bringing to mind the styles of Alvin Ailey and Martha Graham; and also, of Eleo Pomare, with whom Dalman had a long collaboration.
Following this presentation, Dalman shared an amusing anecdote concerning the costume for her 1963 solo, Spiritual, created for her by Pomare. As costumes were always an important part of the development of Pomare’s choreographies, before commencing his choreography, Pomare made the costume, cutting out the pattern and pinning the material on to Dalman. Vivienne Rogis then gave an incandescent performance of that solo, wearing that very same costume.
A 1969 work, Creation Duet, inspired by Dalman’s enduring interest in First Nation’s mythology, was remounted for, and performed by Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) to whom Dalman gifted the work, in honour of her connection with their Taiwanese company, Dancecology.
Excerpts from a delightfully campy 1969 work, Homage to Botticelli, inspired by a visit to Florence, commenced with the entire company costumed as figures from a Botticelli painting. However, as the work progressed, the dancers transformed into spaced-out hippies, obviously having fun bringing the work to its exuberant conclusion. Aspects of this work probably raised eyebrows in 1969, but at this performance the audience delighted at being reminded of some long-forgotten dance moves.
The second half of ECDysis was devoted to works from the Mirramu Dance Company’s repertoire, commencing with a visually spectacular work entitled Mountain Skirts from a longer work, Bride in the Desert, created in 2003 in response to a visit by the company to the central desert of South Australia. Performed by Vivienne Rogis, Miranda Wheen and Amanda Tutalo, the work climaxed with an amazing costume transformation featuring billowing silk sails.
Several works demonstrated Mirramu Dance Company’s interest in social topics. An excerpt from a 2009 work, River, was created as a response to concerns about the degradation of the Darling River. An evocative solo, created and beautifully performed by Miranda Wheen for the 2006 work, Tango Lament, as a response to the closure of the dance department at Western Sydney University, and an affecting duet, Refugee, created in Taiwan in 2018 by Dalman and performed by Amanda Tutalo and Chen Fu-Rong (Fufu) on this occasion, needed no explanation.
But perhaps the most remarkable performance of the evening was that of Christopher Chu as a silkworm pupa chewing its way through the mulberry leaves from which he makes the silk, before weaving the cocoon around himself, which introduced the 2002 work Silk, inspired by Dalman’s fondness for that fabric, for which he was joined by Vivienne Rogis and Ming-chu Yu as elegant consumers of his labours.
The final work of the program was Family Tree created by Dalman with the dancers especially for this performance and performed by Dalman and members of both Mirramu Dance Company together with the five visiting Taiwanese dance artists as a celebration of the inter-cultural and cross-generational connections shared over the last twenty-five years.
ECDYysis
Courtyard Studio – Canberra Theatre Centre, Civic Square, Canberra
Performance: Friday 24 October 2025
Season: 24 – 26 October 2025
Information: www.mirramu.com
Images: Vivienne Rogis, Miranda Wheen and Amanda Tutalo performing Mountain Skirts – photo by Sigo Tseng | Elizabeth Cameron Dalman performing Welcome Dance – photo by Sigo Tseng | Chen Yi-Ching (Olivia) and Chen Fu-Rong (Fufu) performing Creation Duet – photo by Sigo Tseng | Elizabeth Cameron Dalman and Dancers performing Family Tree – photo by Sigo Tseng
Review: Bill Stephens OAM