Mathinna, choreographed by Stephen Page and performed by Bangarra Dance Theatre, tells the story of a young Aboriginal girl who has been adopted into a traditional western society. Inspired by the ‘stolen generation’, this story illustrates the personal journey of a lost soul caught between two cultures. Throughout this essay, three excerpts, titled Exile 1, Adoption and Nursery will be analysed in relation to how the dance work communicates the true story of how “British settlers relocated the
‘Ochres’ performed by Bangarra Dance Theatre is a work choreographed by Stephen Page. ‘Ochres’ is performed in four sections, Yellow, Black, White and Red. Each section represents a different aspect of the aboriginal culture and its meaning. ‘Red’ demonstrates the youth, the obsession, the poison and the pain involved with the customs, laws and values associated with the relationship of men and women. Page was born in the working class suburban area of Mount Gravatt along with his other 11 siblings
effectively indicates each section. An instance of this is when Bennelong is washed on-stage by women. The dripping droplets are clear from all observing eyes as the ochre augments it. Not only does the ochre enhance practical elements but it also helps Bangarra personify the cultural symbolisms associated with indigenous practices. In contrast, “Birth of Bennelong” features aural aspects of aboriginal lyrics and harmonies. Steve Francis, the composer of Bangarra’s new score honours the legacy of late David
some would say it is the ‘multicultural hub’ of Australia. With all of these cultures comes distinctive customs and traditions. Throughout history dance has been used to help people develop a sense of identity, the younger generations are also taught social patterns and values through the different dances. The significance of these traditional dances was to reinforce and celebrate cultural law and practices including the celebration of the passage from child to adulthood or spiritual worship. The