The source material for Kelly’s latest work comes from historical and living memories of events that took place on his traditional Bundjalung homelands.
‘Are you having a lend, Mr P?’ Shock and awe camp from an earlier age: First Nations Emerging Critic Jacob Boehme on Phillip Adams’ Glory.
Charming and heartbreaking: Robert Reid on Biladurang, Joel Bray’s performance about the cultural damage of colonisation.
The work uses a contemporary dance style without gender prescription: male and female dancers performed movements traditionally assigned to men in Indigenous dance.
It begins with isolation, with six dancers standing on stage, each alone, each staring at the audience. Each body cocooned in stillness. It’s not relaxed: there is a kind of rigor mortis in their stances, an almost palpable feeling of life arrested.
The Meat Market’s substantial spaces hosted two shows for Dance Massive this week that addressed major issues of our times: our connection to land and country and the recognition of First Nations people in society and law.