Bangarra Dance Theatre’s Ochres premiered in 1995, with co-choreographers Stephen Page and Bernadette Walong, composer David Page, cultural consultant Djakapurra Munyarryun, lighting designer Joseph Mercurio and set designer Peter England. The production is a celebration of indigenous culture through dance.
Stephen Page’s passion for dance stems from his desire to connect with traditional teachers and understand their kinship, customs and values. As an indigenous artist himself, he prioritizes bringing indigenous culture to the stage in a creative and respectful manner.
Despite growing up in Brisbane without any association or relationship with the aboriginal race, Page fell in love with their heritage and began educating himself on their beliefs and traditional values – particularly through dance. Since becoming artistic director of Bangarra Dance Theatre in 1992, he has had ample opportunities to showcase this passion.
Page achieved this through his production of Ochres” in 1995, when he astounded critics internationally. Growing up in urban Brisbane, Page can relate quite a bit to Indigenous and Australian culture, which helps bring them together through his unique style of dance. “Ochres” is divided into four units: Black, Red, Yellow and White. This essay focuses on analyzing and discussing the “Yellow” unit of motherhood and earth; portraying the various movements, sounds, lighting and costume choices that Page has chosen to use and how his choices support the quote stated above.
Using various contemporary ideas and highly experienced dancers, Page has choreographed a remarkable performance that embraces Indigenous history. Ochres are among the earliest pigments used by mankind derived from naturally tinted clay containing mineral oxides. It was one of the first forms of paint used by people. Depending on an individual’s Indigenous spiritual beliefs and their mob (community), it depended on which painting you received on your body – all having symbolic meanings.
It is known that the color ‘Yellow’ holds a deeper representation. As Page mentioned in his choreographer’s notes, “I believe the landscape to be mother. Its flowing rivers she cleanses in, the yellow ochre she dresses in, the sun and the season she nourishes – gathering, nesting and birthing along her travels.”
Just like any other traditional Aboriginal dance, ‘Yellow’ begins with paint up. This is performed by Bangarra Cultural consultant Djakapurra Munyarryun and a traditional Arnhem Land man using various sweeping movements to spread ochre over their bodies.
Page’s performance is based on the four colors of the sacred tradition, and he splits the dance into sections, each signifying a specific importance. The opening sequence features Djakapurra Munyarryun performing symbolic movements to demonstrate his leadership and relationship with Mother Nature. A soft yellow-green light slowly appears as Munyarryun uses percussive and sustained motions, staying close to the ground to display his connection with the earth. He then smears himself with yellow paint, symbolizing the desert and earth.
The section “Yellow” is filled with movements that help achieve the vision Page was looking for. All the dancers stay grounded, symbolizing that their spirits are a part of the landscape itself. Their low level allows their bodies to pick up the ochre scattered over the stage as if they are one with the land. The dancers perform many unusual actions, distorting themselves with stretches, rolls, and percussive kicks before striking into a new shape to mimic animals. Page’s choice of choreography really shows the creation of life and could also represent indigenous concepts of kinship and animal icons.
This was further demonstrated when the dancers took on a more human form and some of the themes were repeated. The indigenous culture has specific and strict beliefs and customs that they adhere to. Page has represented this routine in an extraordinary way, showcasing their way of life and legends. The choreography effectively portrays their culture. Upon reflection of the performance, it is evident that the majority of movements selected are low-level, emphasizing the connection between Mother Nature and women themselves, highlighting how they work together as one.
The dancers also incorporate many animal-like movements, which hold great significance to the Aboriginal lifestyle and culture. This is because, no matter what, the earth is the creation of all. The following section of Yellow” evokes strong emotions and exemplifies a crucial part of Page’s quote. It showcases women who are still in low-level positions but are now interacting with a partner or child. Throughout this routine, the dancers rarely leave the ground as they intertwine with one another for support, creating a deeper meaning for the audience.
The dancers perform various contracting movements, switching between the roles of animals, spirits, and humans. The ochre previously spread along the stage adheres to their skin and silk dresses as they roll, creating a sense of belonging. They demonstrate their connection through hugging and interlocking body parts with one another. One of the most significant events in an Aboriginal woman’s life is the initiation ceremony where young boys embark on their journey into manhood.
This story delves deep into the theme of a mother letting go of her child and allowing them to take on more important roles as they blossom into adulthood. Throughout the performance, certain actions and symbolic images have been strategically placed to help the story flow and make it easier for the audience to understand. For instance, when the women are all seated around what seems to be a river or waterhole, selected movements are used to portray that they are cleansing and nurturing themselves with water – another key ingredient for life.
Throughout the production, David Page utilized a highly theatrical style. Peter England’s set design was meticulously crafted to accurately portray the intended atmosphere. Joseph Mercurio opted for minimal lighting, utilizing natural colors such as green, white, and yellow to blend with the set design and create stunning effects of daylight and sunrises that perfectly complemented the dance. The musical blend created by David Page was incredibly effective in providing a narrative for the performance. The overall theme of all life being connected to earth, ochre, and mother is clearly conveyed.
I believe Stephen Page’s intent was very clear and presented in a unique and outstanding way that kept us intrigued. One of the most effective techniques used in Ochres” was the merging of traditional and contemporary dance, making the performance more about meaning than difficulty or status. Page successfully gave his audience an inside view into the spiritual side of this culture, offering a taste of “going back to traditional style of dance…the kinship, custom, and values.” Overall, I found the performance to be captivating and thought-provoking.
