5 First Nations Australian Artists will come to the Drill Hall in September to participate in a three-day development workshop. Together the group will explore and share where they find themselves in their practice now, their connections and responsibilities to community, and consider how they represent their work (in text, image and when speaking about it) along with what they communicate with others.
The menu card continued with a chapter of personal history: SJ Norman, writing about their great grandmother Sally, "an itinerant cook and domestic". Audience members were served scones containing an "a mixture of Aboriginal blood", drawn from the individuals who made and served the meal: artist SJ Norman and performers Carly Sheppard, Naretha Williams and Sinsa Jo Mansell.
For Randall, that means working with paint on skin and mapping the countryside where she lives. “It’s me and I’m painting my country,” says Randall, who explains her elders would “paint up” before dancing. “There is meaning to every single stroke that’s put on the body.”
In a collaboration with Taiwanese First Nations creatives, Negotiating Home x Red Earth explored the environmental crisis we’re currently facing, writes Timmah Ball. Blak Critics is a YIRRAMBOI initiative giving voice to First Nations writers and critics.
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.
Comparing ourselves to US artists is probably about as useful as maintaining an obsession with Europe. It is precisely our remote geographic location and complex multi-racial history – including a 65,000-year-old dance lineage.
This year’s festival is also notable for having the largest amount of First Nations work in its history. Alongside work by Joel Bray, Karul Projects and Marrugeku, the impressive DubaiKungkaMiyalk.
Montreal non-profit launches toolkit on how to be an Indigenous ally. What does it mean to be a good ally to Indigenous Peoples? It's something the Montreal Urban Aboriginal Community Strategy Network is hoping to clarify with its recently launched Indigenous ally toolkit.
Randall, who belongs to the Bundjalung and Yaegl people of the Far North Coast of New South Wales, opens the work by gathering us — shoeless — in a loose ring for a yarning circle.
Two performance-art pieces come from Australia
It also builds on 40 years of vibrant dialogue among Australian Aboriginal and Torres Strait Islander and First Nations North American contemporary theater and dance leaders.
— quite an impressive list.
Dance in NYC this week
‘The People Making It Are Indigenous, but Indigenous Is Not a Genre’