The word gundirgan means ‘clever person’ in the Wakka Wakka language. An excellent choice for the opening performance, gundirgan was a poignant, informative biographical dance. Choreographed by Katina Olsen, the exceptional life of Aunty Maureen Williams was wonderfully portrayed and honoured.
The riveting, captivating didgeridoo player who dominated the performance was Chris Williams. He is the talented grandson of Aunty Maureen and Artist in residence at Southern Cross Soloists.
Together, Chris and Sean O’Boyle AM composed the haunting, heart wrenching didgeridoo music. Hearing the inimitable sound of a didgeridoo played by an indigenous expert is always a tremendous privilege. From the first musical breath and stretch of limb to the finale, this performance was an artistic and cultural success.
Guest artist, Tara Robertson was outstanding in her portrayal of Maureen Williams. There was a tangible, spiritual tie between Tara as cultural dancer and Chris as didgeridoo player. When alone together on stage, their partnership had all the connectivity and chemistry of a well paired Pas de Deux.
The humble origins of Maureen Williams were depicted clearly as dancers vigorously ‘scrubbed floorboards’ and lovingly ‘rocked arriving babies’. That beginning, however, was never going to be where Aunty Maureen’s story remained entrenched.
Maureen had determination, drive for betterment and a positive vision for the future of her descendants. It is a triumph that her vision was realised and rewarded.
gundirgan is a contemporary dance work. It is a beautiful presentation of varied aspects of culture, spirituality, preservation and advancement of the entire self. The strength of this production lies in the smooth cohesion between its creators and cast.
The company dancers and chamber musicians were respectful visitors to the sacred scene as they contributed their own abilities as artists.
The choreography blended contemporary and cultural dance. It demanded physical versatility. There was a lot of floor work, perhaps symbolic of grounding, oppression or closeness to the earth. Performed barefoot, the dancing included bodily twists and unusual articulation of joints.
Katina Olsen has captured the struggle against intrusion and oppression of our First Nations people. Via the life and legacy of Aunty Maureen Williams, she has shown that hope can triumph over predicament.
“Rising against incredible adversity to break open the gates so that we all may thrive” – Katina Olsen.
The second performance was Birds of Paradise choreographed by Milena Sidorova. It comprised of a series of pieces inspired by the courtship rituals of those colourful, tropical birds. As shown, there is a clear relationship between the mating behaviours of humans and birds.
The performance began hilariously. A small gathering of males grouped together, intently flexing their biceps into various flattering positions. I don’t know how they kept their calm cool during the bursts of laughter from the audience members. As biceps were jealously compared and inspected, it was clear that Luka Armstrong has the biggest guns.
Whilst the females were plainly clad, their male counterparts wore brightly coloured jackets. This correlates with what occurs in the avian kingdom: it is the males who are responsible for the art of attraction for the pragmatic purposes of mating.
Luka Armstrong is very suited to the role of suave, handsome, courting male. A smooth, Latino-like operator, his dancing was as silken and sultry as his looks. He shone in the lamppost dance solo.
Having been informed that D’Arcy Brazier had been recruited to perform a mere hour or so before the show, I was impressed with his performance. Having just danced in gundirgan, he rose effortlessly to the challenge. A credit to the talent and ethic of the company.
Papillon was the third performance. It was choreographed by Jack Lister and presented by the Jette Parker artists. I was told enthusiastically by those around me that Jack is a fave with the dancers.
Focused on the name, I was expecting butterflies: Winged beauties. Newly emerged. I was wrong. Who can fathom the mind of a gifted choreographer?
This contemporary performance went over my head. However, that doesn’t discount its relevance or creativity. Who knows what occurs in the small but crucial worlds of our butterfly nurseries.
A complex juxtaposition of moves without the assistance of rhythmic music, I’m amazed that the dancers learned and danced this cleverly crafted work.
It was fascinating to watch as the artists performed in their big caterpillar-like shorts. I wondered if the performance reflected the journey of the Jette Parker artists in their pre-professional, pre-emergent state. Striving. Buzzing. Developing. Meanwhile, there’s a whole world above them.
This was the last Bespoke production curated by Li Cunxin AO.
Well done to all involved!
Bespoke
Talbot Theatre – Thomas Dixon Centre, 406 Montague Road, West End (Brisbane)
Performance: Friday 26 July 2024
Season continues to 3 August 2024
Information and Bookings: www.queenslandballet.com.au
Images: Tara Robertson and Artists of the Queensland Ballet in gundirgan (supplied) | Chris Williams and Tara Robertson in gundirgan (supplied) | Artists of the Queensland Ballet in Birds of Paradise (supplied) | Artists of the Queensland Ballet in Papillon (supplied)
Review: Michele-Rose Boylan