- Perspectives / Voice / Culture€¦ · Web viewIn 1989, Johnson founded a new company, Bangarra...

TERRAINWagga Wagga High School Work Booklet

2019

“ … Landscape is at the core of our existence and is a fundamental connection between us and the natural world. The power of that connection is immeasurable. It cleanses, it heals, it awakens and it renews. It gives us perspective. It reminds us of something beyond ourselves and it frees us…’

‘… TERRAIN is where spirit and place meet.’

Frances Rings, Choreographer, TERRAIN, 2012

Within Bangarra, and many Aboriginal and Torres Strait Islander lives, there is a confronting duality; the balance of ancient and contemporary. Country and urban, saltwater and fresh water, success and sadness.

Our culture and our stories are more important than ever.

Stephen Page, 2016

I believe storytellers play one of the most important roles in a society. They hold the history of the clan, the lessons learnt, they provide a vocabulary for change, they can entertain, educate, agitate, celebrate… storytellers excite a society, uniting them despite their differences by providing a single moment in time where you feel part of something bigger.

Wesley Enoch, ‘Smell the Air: the inaugural Nick Enright Address’,

National Play Festival 2018

TERRAIN Study Guide for NSW HSC Dance (Appreciation)|C Bangarra Dance Theatre Australia 2018

HSC Course Areas of StudyStudents learn about:

1. Skills of analysis

• components

– movement

– spatial elements

– dynamic elements

– aural elements

– dancers

– setting and environment

• organising the movement (form/structure)

– motif

– phrase

– motif into phrase

• organising the dance

– sequencing

– transition

– repetition

– variation and contrast

– formal structure

– unity

– appraisal and evaluation

• interpretation of the work

– context

– genre

– subject matter

– meaning

– significance

• evaluation

– concepts under which evaluation is made

– general values of society

– specific values in the context of the work

– worth and merit

– effectiveness/appropriateness of the work

– effectiveness/appropriateness of the performance.

2. writing and criticism

• reading and writing reviews – newspapers, magazines, journals

• the role of the critic in dance

• placing the criticism in context.

3. Prescribed choreographers and works

• era/period in which they work

• background/training

• influences

• choreographic style.

Motifs Spatial Relationships (partner work, formations)

Costumes/props Dancers (female/male, how many?, physique, training, ethnicity, etc)

Lighting Music

Movement Style Your opinion of the piece, likes, dislikes

First Overview - TERRAIN

First ImpressionIt is clear TERRAIN is a work of 9 sections. What do you think the intent of each section is?

Share your thoughts with a partner and decide on an intent together.

Section Your thoughts? Your partner’s thoughts? Intent1

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Part 1 - Thinking about contemporary Indigenous dance theatre in Australia

1.1 - Perspectives / Voice / Culture

The concept of contemporary Indigenous dance theatre cannot be understood as a categorized genre or a particular form because it exists as part of a continuum that responds to an diversity of culture and developing perspectives. Any contemporary Indigenous dance production that incorporates music/sound, design and other conventions of the theatre, will inevitably have a deep purpose and an essential spirit that is, and will always be, about Aboriginal and Torres Strait Island culture. While drawing on traditional stories and cultural ways of being, Indigenous dance theatre provides an important platform to give voice to Indigenous people in a modern world that experiences constant change, and where the threat to cultural identity is relentlessly present.

The growth in availability of technical resources, an increasing number of performance venues and the proliferation of new arts festivals and digital platforms has greatly supported the development of new Indigenous dance theatre, as well as the careers of the many creative artists involved. As more new work is created, support for the infrastructure and training that underpins these forms has also grown, resulting in a critical mass of professional artists involved in producing high-quality productions that build the demand we currently see from audiences in Australia and internationally. One of the most important outcomes of these developments is the fact that more Aboriginal and Torres Strait islander people are able to see their culture reflected in this unique form and are able to celebrate the resilience of Australia’s First Nation people and their ancestors through the sharing of works that depict Indigenous story, culture and perspectives.

It is important to consider the language we use when talking and writing about Indigenous culture in the context of art: when it is made, how it is made and where the source material comes from. The general application and understandings of the terms ‘traditional’ and ‘contemporary’ can be problematic when critiquing Indigenous dance theatre. By fixing the term ‘contemporary’ to the form, it could be argued that we are implying ‘post-colonial’, ‘modern’ or ‘non-traditional’. Yet with many new works sourcing their inspiration from the Indigenous cultures that have existed since ancient times, what is ‘traditional’ and what is ‘new’ can exist at the same time. This is often expressed by saying Indigenous Australian culture is the oldest living culture in the world.

1.2 - Form / Activation / Process

One way of exploring the development of Indigenous dance theatre over the last three or four decades is to trace the journeys of some of the artists who have been significant contributors to that development. It should be noted that while many opportunities have been opened up for Aboriginal and Torres Strait Islanders to develop in their choreographic work and their leadership roles, the true force behind this development has been the commitment and determination of the individual artists themselves.Artists/leaders like Carole Y. Johnson, Stephen Page, Frances Rings, Raymond Blanco, Vicki van Hout, Gary Lang, and Marilyn Miller are some who have paved the way, and more recently Elma Kris, Deborah Brown, Yolande Brown, Daniel Riley, Mariaa Randall, Sani Townsen, Jacob Boehme, Ghenoa Gela, Thomas E. S. Kelly, and Amrita Hepi are contributing to the ever-growing critical mass of Indigenous contemporary dance in Australia.

Building a skills base has been both a challenge and a significant contributor to the development of Indigenous contemporary dance and dance theatre. The establishment of training institutions like NAISDA Dance College (NSW) and Aboriginal Centre for Performing Arts (Queensland) have been fundamentally important to increasing technical skills to support the creation of new works. Market development initiatives, the growing of touring networks, and a range of strategic programs to address identified gaps in the infrastructure, have been and continue to be critical to the growth and sustainability of this work.

From the mid-20th century, contemporary forms of Aboriginal and Torres Strait Islander expression emerged across all art forms and began to infiltrate mainstream arts programs that largely drew on Western cultures and/or western forms of presentation. By the 1960s, young black theatre makers, playwrights, writers and actors were creating works that reflected their culture in both the pre- and post- colonial worlds. Writers Kevin Gilbert and Jack Davis, and actor/directors Bryan Syron and Bob Maza were among some of the black theatre makers who lay the foundation for the strong Indigenous theatre scene that exists today. Novelist Faith Bandler, and poet/artist/educator Oodgeroo Noonuccal (Kath Walker) were


also strong voices in the new wave of Indigenous writers whose works now form part of Australia’s rich and diverse literary landscape. The wave of contemporary Indigenous artists that followed in the wake of the Papunya art movement in the 1960s has seen Aboriginal and Torres Strait Islander work acquired for major collections around the world and command impressive prices in international auction houses. Many, if not all of these artists also consider themselves activists, and there is no doubt that their work has had significant impact in the way non-Indigenous people have learned about Indigenous culture and the ongoing political struggle in the context of post-colonisation.

The creative processes of any artist tends to emerge through a range of influences, discovery andpersonal experience. Yet for Indigenous artists the process is more complex. Respect for cultural protocols, the need for community engagement, and a strong commitment to enforce care for traditional knowledge that is shared, and/or provided through a process of request, invitation, permission and transmission, are all things that need to be considered and upheld as new expressions are created by Indigenous artists.Navigating all these considerations is complicated and takes time. However, the ongoing development of Indigenous dance (and other contemporary art forms) is dependent on these protocols and practices being observed and implemented to ensure cultural continuity. Stories, songs, dances and connection to Place are sacred, and are passed on through oral transmission, so there is no central knowledge source, and written information is usually second hand. Indigenous Cultural & Intellectual Property rights are variously enshrined in Australian and international conventions and statements and are an important safety net for Aboriginal and Torres Strait culture to survive and thrive.

1.3 - Country / Relationship / Connection

‘Country’, as a Western construct, is mostly understood as a defined place, marked by borders, (natural and/or imposed), and operating on principles of sovereignty and the governance of the nation by the state. Ethnicity, religion, environment and histories of colonisation and conflict are signifiers that overlay the identification of a ‘country’ and, as history shows, have often been the cause of conflict between groups who claim their right to a ‘land’ is justified. Land ownership and other interests in land have been closely associated with human rights, where groups can show a perpetual connection to the land and justify their right to occupy.

At a community level, the concept of public, private, individual or collective ownership of property (e.g. land, a house, a business) has developed over just a few thousand years. The right to own property that has a capital value, possesses certain features and resources, can be bought and sold for profit, and the protection of these interests and capacities by law, is the enduring assurance of the western capitalist system.

The concept of Country and Land for Aboriginal and Torres Strait Islander people is extremely different.

The spiritual dimension of Country cannot be removed from the physical. Country can mean a person’s Land where they were born, as well as the sea, sky, rivers, sacred sites, seasons, plants and animals. It can also be a place of heritage, belonging and spirituality that is inseparable from the land. Hence the impact of displacement from Country, and the disruption to that sense of Belonging to one’s Country, can be catastrophic for Aboriginal and Torres Strait Island people and their cultural and economic well-being. Story, song, dance and ancestral lineage provide the foundation for an existence on this earth and a passage from and to the worlds beyond life on earth – and those stories and songs all link to Country as a home for Culture.

For Indigenous people, these complex relationships are like threads in a tapestry of exploration that has no beginning and no end, yet is founded on, and maintained through, specific information that is transmitted by ‘walking on Country’, oral transference and a range of other traditional practices.

When artists draw from the concept of Country, they are the bearers of Culture, illustrated and made meaningful in many ways to many different people. In this way, the dance theatre work TERRAIN, provides the opportunity to delve into the concept of Country and all it holds in the way of knowledge, spirituality and cultural meaning.

Reading List:

Shaping the Landscape: celebrating dance in Australia, ed. Stephanie Burridge, Julie Dyson. Routledge, New Delhi, India & Abingdon, UK, 2012.

Deadly Sounds, deadly places: Contemporary Aboriginal Music in Australia. Dunbar-Hall, Peter & Gibson, Chris, UNSW press, 2004.

Aboriginal Voices: Contemporary Aboriginal artists, writers and performers. Compiled by Liz Thompson, Simon & Schuster, Australia, 1990.

Article #1‘Indigenous performing arts is a testament to collective drive and vision’, Jacob Boehme, for Indigenous X, The Guardian, April 2017.https:// www.theguardian.com/commentisfree/2017/apr/18/indigenous-performing-arts-is-a-testament-to- collective-drive-and-vision

Article #2‘The Deep Archive: Wesley Enoch on Contemporary Indigenous Arts Practice’. Real Time Arts, 2017. http://www.realtime.org.au/the-deep-archive-wesley-enoch-on-contemporary-indigenous-arts-practice/

Carole Y. Johnson (bio) https://trove.nla.gov.au/people/1491391?c=people

Delving into Dance https:// www.delvingintodance.com/podcast/carole-johnson

Bangarra Dance Theatre YouTube channel for interviews with Stephen Page and other Bangarra creatives. https:// www.youtube.com/user/bangarradancetheatre


Part 2 - Bangarra Dance Theatre

2.1 - Bangarra’s beginnings

Bangarra Dance Theatre was founded due to the efforts of an American woman, Carole Y. Johnson, who toured to Australia in the early 1970s with the Eleo Pomare Dance Company from New York.

Johnson had experienced the full impact of the civil rights movement in the 1960s, and been a part of the proliferation of new modern dance exponents across America, who were focused on freeing dance from its institutionalized bases and using dance to make commentary on the contemporary world. She studied at the prestigious Julliard School in New York and was awarded scholarships to work with communities in Africa. Johnson knew the power of dance as a practice, and as a communication platform.

During her time in Australia in 1972, she was asked to conduct dance workshops. These were very successful and resulted in a Johnson’s new dance production that depicted Australia’s own civil rights actions. The Challenge – Embassy Dance was about the Black Moratorium for Black Rights initiated by workers unions in 1972, and the challenge to uphold the presence of the Aboriginal Tent Embassy.

Johnson quickly realised that there was a lack of contemporary dance expression in the Australian socio- cultural environment, and decided that she would do something about it. On the back of her workshops she established the Aboriginal and Islander Skills Development Scheme in 1976, which was to later become the National Aboriginal Islander Skills Development Association – known today as NAISDA Dance College. At the same time, black theatre makers, playwrights, writers, and actors were creating works that reflected their culture in both its pre- and post-colonial states (see Form / Activation / Process, p.4)

By the 1980s, NAISDA had developed a performance arm called the Aboriginal Islander Dance Theatre, which showcased the development of students into professional dancers and also gave opportunities for these dancers to develop as choreographers. Raymond Blanco, Marilyn Miller and Dujon Nuie were some of the artists who took on the role of choreographer and paved the way for many more to come.

In 1989, Johnson founded a new company, Bangarra Dance Theatre. Bangarra is a Wiradjuri word for ‘to make fire’. In 1991, the artistic directorship was handed to Stephen Page and he premiered his first work, Up Until Now for the company in October of the same year. Page continues to lead Bangarra to this day.

2.2 - Bangarra Today

Today, Bangarra is one of Australia’s leading performing arts companies, widely acclaimed nationally and around the world for its powerful dancing, distinctive theatrical voice and utterly unique soundscapes, music and design. The company is recognised globally for distinctive theatre productions that combine the spirituality of traditional culture with contemporary forms of storytelling though dance.

Bangarra is supported with funding through the Australia Council (the federal Government’s arts funding and advisory body), Create NSW (NSW arts policy and funding body) and a number of private Philanthropic organisation and donors. The company also derives earnings from performance seasons, special events and touring.

Based at Walsh Bay in Sydney, Bangarra presents performance seasons in Australian capital cities, regional towns and remote areas, and has also taken its productions to many places around the world including Europe, Asia and USA.

Bangarra provides the opportunity for people of all cultural backgrounds to be able to share knowledge about and have a contemporary experience of the world’s oldest living culture. Bangarra has nurtured the careers of hundreds of Aboriginal and Torres Strait professional artists, including dancers, choreographers, composers and designers. In over two decades, Bangarra has produced over 35 original works for its repertoire, collaborated on the creation of new productions with other Australian performing artscompanies such as The Australian Ballet and the Sydney Theatre Company, and played an integral role in opening ceremonies of the 2000 Sydney Olympic Games and the 2018 Commonwealth Games. In 2016, Bangarra created its first feature film, Spear.


Bangarra’s dancers and collaborating artists come from all over Australia, including the major groups in relation to location, for example: Torres Strait Islanders, Queensland (Murri), New South Wales (Koori), Victoria (Koorie), South Australia (Anangu and Nunga), Arnhem Land, Northern Territory (Yolngu), Coast and Midwest Western Australia (Yamatji), Southern Western Australia (Nyoongar), Central Western Australia (Wangai) and Tasmania (Palawah). Some of the dancers are graduates of NAISDA Dance College (NSW) or Aboriginal College of Performing Arts (Qld) and others are graduates of dance courses delivered by universities around Australia. For more information about Bangarra – its history, people and productions go to:www.bangarra.com.au

2.3 - Cultural inheritance and transferal of knowledge

Storytelling in Aboriginal and Torres Strait Islander life is the means by which cultural systems, values and identity are preserved and transferred. Telling stories through song, music and dance, in order to connect people to land, and teach them about their culture and the traditions of their ancestors is the way knowledge is passed from generation to generation. Knowledge about Aboriginal and Torres Strait Island totemic systems, the histories of peoples, clans and tribal associations, language, land and concepts and connections of kinship, are maintained though stories.

Many of Bangarra’s productions are based on or include stories from the Dreaming, which are allegorical of the contemporary existence and the future of Aboriginal and Torres Strait Island culture and people.Expressing and maintaining culture through contemporary interpretations and rich theatrical realisations enables the world of Australian Indigenous culture to be shared with the full diversity of today’s audiences.

2.4 - The Dreaming

Indigenous spirituality exists in the concept of the ‘Dreaming’. Dreaming connects Indigenous people to the past, creates relevance to the present and guides them for the future. Dreaming stories can illustrate the phenomena of creation, transformation, natural forces and life principles. They are specifically related to landforms, place, creatures and communities. The ancestral beings that populate the stories form the spiritual essence of the stories. Bangarra’s portrayal of stories of the Dreaming through the contemporary dance theatre form requires a diligent process of connecting and building a relationship with the traditional owners of those stories so that the integrity and authenticity is respected.

2.5 – Consultation and observance of protocols

For all its productions, the Bangarra creative teams research and explore the stories of Indigenous culture in close consultation and collaboration with the traditional owners of those stories, before embarking on the process of creating the production. Each year Bangarra spends time in specific Indigenous communities, meeting with elders and traditional owners and living with the people of that community – learning about the stories that connect the people, the land, the language and the creatures of the land. Everyone who works at Bangarra feels very strongly about their role in the company’s work. They make sure that the stories they tell are true to the traditional owners of those stories and uphold the integrity of the stories’ meanings.

2.6 - Experiencing dance in a theatrical contextIt is important to note that dance theatre works are essentially the creation of artistic invention to express a broad range of ideas and thoughts. While some information is provided in the program notes of each production, the viewer is free to interpret the work according to their individual perspectives, emotional responses and level of experience in the viewing of performing arts. Repeated viewing of the work, along with the cumulative process of learning about the themes, source material, cross referencing of the range of subject matter and creative processes involved in the making of the work, contributes to personal and critical responses to the work. Bangarra invites its audiences to share, learn and appreciate the critical importance of the Aboriginal and Torres Strait Islander culture in order to understand their own relationship with the culture and the people of Australia’s first nation.


Introduction to Bangarra Dance TheatreComplete the following research questions:

1. What is the mission of the Bangarra Dance Theatre Australia?2. What are they well known for around the world for?3. Who is the artistic director? 4. When did Bangarra start?5. Research the director and briefly discuss his background.6. Create a timeline of works and events for Bangarra Dance Theatre.7. When and where was Frances Rings born?8. Create a tmeline of works and life events for Frances Rings.9. What influences Frances Rings and her choreography?10. Who has influenced Frances Rings and her choreography?

Complete the Table on Lake Eyre/ Kati Thanda

Do some research on the Arabunna People:Complete your research in dot points.

Question:Discuss how the history of Lake Eyre and the Arabunna People has influenced the movement choices of Frances Rings in TERRAIN.

How might have Lake Eyre inspired the choreographer Frances Rings?DEPA Resource – Chris Richards

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Part 3 - TERRAIN

TERRAIN is Bangarra Dance Theatre’s twentieth production and was the first full-length work for the company by choreographer and former Bangarra dancer, Frances Rings.

Landscape is at the core of our existence and is a fundamental connection between us and the natural world. The power of that connection is immeasurable. It cleanses, it heals, it awakens and it renews. It gives us perspective. It reminds us of something beyond ourselves and it frees us. But more importantly when we are surrounded by nature we begin to understand our place and how we are a very, very small part of a much larger, much bigger picture.

TERRAIN is where spirit and place meet.

– Frances Rings, Choreographer, TERRAIN, 2012

3.1 - Introduction

TERRAIN is an homage to country, inspired by the power of natural forces and the vulnerability of ecosystems within a landscape that has existed and evolved over many millennia.

TERRAIN illustrates the fundamental connection between People and Land – how we treat our land, how we understand its spirit, and how we regard its future. TERRAIN presents the vastness and the diversity of a landscape like no other. It’s about the power of natural forces and the vulnerability of ecosystems within a landscape that has existed and evolved as long as the Earth itself – a landscape from where human beings draw life and express meaning to that life. TERRAIN looks at the area of Australia known as Lake Eyre. Lake Eyre is a great salt lake of tectonic origin situated in the remote north west of South Australia. As a closed inland drainage basin with an area of 1,140,000 km2, the Lake Eyre basin is one of the largest areas of internal drainage in the world. It has a vastness and diversity like no other landscape in the world. To the Aboriginal people of this land it is known as Kati Thanda.

Kati Thanda (Lake Eyre) is the home of the Arabunna people who have lived in the area for many thousands of years, maintaining a deep connection to the area through their cultural inheritance. In Kati Thanda, days are measured by the length of shadows, or when the afternoon clouds roll in; months are measured by the level of salt crust on the surface of the lake; and years are measured by the rise and fall of waters that sweep through ancient river systems, transforming the desert and bringing new life.

3.2 - The Arabunna People

The Arabunna people have existed and maintained deep connection with the Lake Eyre basin for thousands of years and recently won land rights for Lake Eyre and its surrounds. Their understanding of the landscape, and all the variances of its ever-changing behaviour enables the Arabunna to read the landscape, know its purpose and be able to share with us, stories of how Kati Thanda survives and thrives through its very dramatic natural cycles of flood, drought and everything in between. Even more importantly, this knowledge serves to maintain the cultural life that has existed for tens of thousands of years of Indigenous relationship to the TERRAIN of central Australia.

3.3 - TERRAIN – a production by Bangarra Dance Theatre

TERRAIN is presented as nine interconnected sections or ‘states of experiencing’ the area known as Lake Eyre. The audience is guided though Lake Eyre’s cultural and environmental relevance, as well as the choreographer’s thoughts about the concept of ‘place’ and emotional experience that ‘place’ has for Aboriginal people. For example:

- How Aboriginal people feel and acknowledge connection to ‘place’.- How we experience the emotion and the power of an untouched landscape.- How we sense our responsibility to a landscape.- How we hear and share the stories that emanate through the traditional dreaming of the Arabunna.


These nine sections are:

RED BRICKLooking beyond urbanscape to hear an ancestral Calling to Country

SHIELDSReflecting on the struggle for Land Rights and Recognition that continues to affect Indigenous people today

REBORN

Land is passed down through the lineage along with knowledge and customs.

SPINIFEXInspired by the trees in and around Lake Eyre that resemble the gatherings of spirit women waiting, suspended in time

SALTBeyond the white salt vastness lies an abstract landscape that resonates an ancient power

SCARThe impact of man’s actions scars and disrupts the delicate balance between man and environment

LANDFORMThrough each evolution, the land regenerates and heals, awakening the cultural ties that connect people to place.

REFLECTTraversing the horizon to glimpse the sacred realm where earth and sky meet

DELUGEWaters begin their journey towards Lake Eyre bringing with it transformation and ensuring the life cycle continues.

All images by Greg Barret, 2012.


Listen to the audio and describe in writing what you hearDEPA Resource – Chris Richards

Worksheet 1.3 Think-Pair-Share DEPA Resource- Chris RichardsListening activity I: Critical Listening

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Copyright ©2018 WorksheetWorks.com

Part 4 - Creating TERRAIN

Storytelling through dance theatre is one of the most powerful means to communicate cultural, social and political issues. Dance is a very visceral and effective way to give a story life and storytelling is the mainframe of cultural life for Indigenous Australians.

Navigating the pathways of the creative process through consultation, being on Country, spending time with elders and traditional custodians, absorbing the stories, the environment are all part of a long and considered process.

4.1 - Research and Preparation

Prior to working with the dancers in the studio, Frances Rings (choreographer), Jacob Nash (set designer) and David Page (composer) travelled to Lake Eyre to spend time on Country. Here they were introduced to Arabunna elder Uncle Reginald Dodd, who led the artists onto his country and shared his knowledge about the land, the resources and why it is so important to preserve the Lake region for future generations. The artists experienced the landforms, the colours, the air, the animal life – but most importantly the spiritual presence of ancestors and the stories that embed the land with story and cultural meaning. As cultural consultant for TERRAIN, Uncle Reg is vitally important to the whole development and presentation of the work. He guides and supports the artists, making sure their interpretations reflect his own sense of responsibility to Country.

In Rings’ words, “Being with Uncle Reg on his country and hearing his stories made me think deeply about Indigenous people like myself who live in urban areas and our relationship to country. I realised that although the location may be different the connection is the same. We have a profoundly visceral understanding of country that goes beyond brick walls, concrete and an urbanised lifestyle”.

The journey of discovery and the creative process involved in the making of TERRAIN are closely linked, not in a literal sense, but more in the way of emotional responses and processing of ideas.

4.2 – The Choreographic Process

Once the initial period of research and discussion is well developed, the choreographer will start to work with the dancers and together they will explore the movement language that will tell the story in a way that is evocative and captivating.

The whole creative team (choreographer, composer, designers, dancers) collaborates closely during the entire creative process to enable the dance to reflect the overall focus of the choreographer’s ideas.

As the choreography starts to take shape and order, the choreographer works with the rehearsal director and dancers to refine the more nuanced elements of the choreography. Getting the right dynamic into a movement, perfecting the technical aspects, building the relationships between the performers – all of these aspects need to be worked on and consolidated.

The music and design elements need to be in sync with the development of the choreography. As all the creative processes come together the director/choreographer has to hold onto the essence of the story, the concepts they want to illustrate and communicate, and the way they wish to do this.

4.3 - Dance technique and performance skills

Using their dance technique skills, the dancers work collaboratively to blend and refine the movements to provide clarity, texture and consistency in execution before settling on a final version of the choreography.

The dancers and choreographers use all the elements of dance at their disposal, not necessarily in a conscious way but as part of the lexicon they know and the new movement language that they create. The rehearsal director is present throughout this process in order to be able to guide the dancers in the rehearsal process, so that the key qualities and details of the choreography, as set by the choreographer,are retained and remembered as they progress from section to section. When the production moves closer

to its premiere date, the rehearsal director will work with the dancers to make sure the dancers will perform the work to the highest standard possible. Also during this stage, the technical elements of the costume, set and lighting design start to be incorporated.

4.4 - The Production Process

In the week of the premiere, the dancers, rehearsal director, creative team and production crew move from Bangarra’s studios to the theatre where they spend a day or two rigging the set, positioning and programming the lighting, checking the sound levels and making necessary adjustments to the choreography to fit the space of the stage. This is called the ‘bump-in’ and the production crew is largely responsible for coordinating this stage of the process.

Until the night of the premiere no one has actually seen the finished production. This can be quite stressful but is also extremely exciting.

4.5 - Extending the life of a dance theatre work

During the lengthy process of creating a new Bangarra production, ideas will change and surprising shifts in the original plans will occur. This is not unusual and probably one of the most exciting things about making a new work. Importantly, the things that do not change are the traditional elements – cultural information must always remain respected and intact. As the dance is performed over time, these stories are passed down from one dancer to another as new dancers are taught the choreography, and perform the roles.

4.6 - The Commissioning Process

Over the three decades of Bangarra Dance Theatre’s existence, numerous senior artists in the company have been commissioned to create new works for the repertoire, as part of Bangarra’s commitment to professional development of the artists and to nurture future generations of storytellers. Frances Rings is one of these artists and over the course of her career has been commissioned to create seven works – five stand-alone works and two as co-choreographer.


Part 5 - TERRAIN: The Creative Team

5.1 - Cultural Consultant: Reginald Dodd

Reginald (Reg) Dodd is an Arabunna elder who was born on Finniss Springs Mission at the southern end of Lake Eyre. After some early years working as a stockman, followed by several decades working on the railways, Reg has been running tours through the Lake Eyre region. Reg is also active on the Marree Progress Committee Inc.

Bangarra thanks Uncle Reg for his guidance and generosity in sharing his knowledge of his country with the creative team. TERRAIN is Bangarra’s gift back to the Arabunna community. In 2016, Bangarra took the work back to Lake Eyre and the Arabunna community with performances in Marree, SA.

5.2 - Choreographer: Frances Rings

Adelaide-born Frances Rings is a descendant of the Kokatha Tribe and is also of German descent. Frances joined Bangarra Dance Theatre in 1993 after graduating from NAISDA Dance College.

TERRAIN was Frances’ sixth choreographic work for the company, following the success of her work Artefact (2010), X300 (2007), Unaipon (2004), Bush (co-choreographer with Stephen Page, 2003) and Rations (as part of Walkabout 2002). Since 2012, Frances has created Sheoak as part of the program Lore (2015).

On TERRAIN:

I believe country reveals to us the natural laws that govern our existence and that as people, no matter what our background, we all have an innate longing to sink our feet into the sand, for our hands to splash water and to connect with the natural world.

5.3 - Composer: David Page

David Page was a descendant of the Nunukul people and the Munaldjali clan of the Yugambeh tribe from southeast Queensland. David was born in Brisbane and studied saxophone, voice, composition and song at the Centre for Aboriginal Studies in Music (CASM) at Adelaide University. David has composed music for Bangarra’s major works: Praying Mantis Dreaming (1992), Ochres (1995), Ninni (1996), Fish (1997), Skin (2000), Corroboree (2001), Bush (2003), Unaipon/Clan (2004), Boomerang (2005), X300 (2007), Mathinna (2008), of earth and sky (2010), Belong (2011), Warramuk - in the dark night (2012), TERRAIN (2012), Blak (2013), Dance Clan 3 (2013), Patyegarang (2014), and Lore (2015). David was also an actor and the recipient of many awards including 4 Deadlys and the inaugural Sidney Myer Indigenous Artist Award in 2000.

On TERRAIN:

Lake Eyre is a place of heritage, mystery, threat and natural beauty and has given me, and the creative team the opportunity to explore the vastness of spirit, colour and sound.

5.4 - Set Designer: Jacob Nash

Jacob is a Murri man who grew up in Brisbane. He graduated from the NIDA Design Course in 2005. He designed of earth & sky for Bangarra in 2010 (winning a Greenroom Award for Best Design in Dance), Belong (2011), Warumuk - in the dark night (2012), TERRAIN (2012), Blak (2013), Dance Clan 3 (2013),

Patyegarang (2014) and Lore (2015).

On TERRAIN:

The challenge as the set designer of TERRAIN was to create a design that was not obvious, almost unknown; to create a language that was truthful to the place and the stories that Frances was telling. We wanted to achieve a ‘world’ that is always alive like the lake itself – always within a cycle that will never stop, it is an everlasting continuum.


5.5 - Costume Designer: Jennifer Irwin

Jennifer Irwin’s career spans 30 years designing and constructing costumes for drama, opera, film, and in particular for dance & ballet. Her designs for Bangarra include Ochres (1995), Fish (1997), Corroboree (2001), Mathinna (2008), Walkabout (, X300 (2007), Unaipon (2004), Bush (2003), Skin (2000), True

Stories (2007), Fire: A Retrospective (2009), TERRAIN (2012), Dance Clan 3 (2013), Patyegarang (2014),

and Lore (2015).

On TERRAIN:

Being inspired by so many beautiful images of Lake Eyre I was captured by its surrealism and vastness. I focused on the textural elements of the materials I was working with, abstracting the narrative – the continual changing of the landscape; the cracked salt lake and earth that has avoided human influence.

5.6 - Lighting Designer: Karen Norris

Karen Norris has worked extensively as a lighting designer for dance, theatre and music in Australia and Europe. Her lighting designs for Bangarra include Skin (2000), TERRAIN (2012) and Lore (2015).

On TERRAIN:

On a site visit to Lake Eyre, I was confronted by a vast, immense landscape – places in the middle of nowhere – this pink encrusted jewel: Lake Eyre. Apart from being awesomely emotive in its history – present and past – it was bathed in this undulating, fragmented light.

Part 6 - References and Resources

6.1 - Online

Series of ‘behind the scenes’ and the ‘making of’ TERRAIN film clips by Bangarra. https:// www.youtube.com/playlist?list=PL946F6294A987D0DC

Comprehensive information developed specifically for students and produced by the Lake Eyre Basin Ministerial Forum (Department of Sustainability, Environment, Water, Population and Communities) and the Queensland, South Australian and Northern Territory governments.Includes environmental, economical, geological information and indigenous interests including native title claims.http://www.lebmf.gov.au/students.html

For information about Lake Eyre: geology, geography, fauna, origins and mythology. http://austhrutime.com/lake_eyre.htm#The_Lake

For information and short film clips about the Arabunna people http://www.arabunnatours.com.au

Examples from an exhibition of images by Murray Fredericks Lake Eyre: a reflection in the outbackAustralian Geographichttp://www.australiangeographic.com.au/journal/Lake-Eyre-reflection-in-the-outback.htm

Summary information about the Lake Eyre Basin http://www.lakeeyrebasin.gov.au

‘Unknown wonders: Kathi Thanda – Lake Eyre’, The Conversation, May 2013. https://theconversation.com/unknown-wonders-kati-thanda-lake-eyre-13523

6.2 - Book

Lake Eyre: A journey through the heart of the continent

Paul Lockyer, ABC Books, 2012

6.3 - Films

Salt (JERRYCAN Films) Producer/director – Michael Angus http://www.saltdoco.com/index.htm

Lake Eyre: a 90 retrospective of Lake Eyre, Australia’s outback wonder and Return to Lake Eyre

documentary.ABC, 2012. DVD available through ABC and other retailers/

6.4 - Additional Education Resources

Bangarra has developed a suite of online Education Resources for Primary and Secondary. This online library of free resources can be accessed from the Bangarra website, and includes filmed excerpts, background information and class activities based on selected Bangarra repertoire. Bangarra’s e- resources are adaptable to The Australian Curriculum and the full range of state based curriculum and syllabi.

The resources aim to provide teachers and students with rich content for the teaching of the Arts curriculum well as cross curricula learning areas related to Aboriginal and Torres Strait Islander histories and cultures.


6.5 - DVD and Streaming

Also available on DVD for purchase, Mathinna (2008) and Patyegarang (2013) including extended interviews with the choreographers.

TERRAIN, Mathinna and Patyegarang available on streaming platforms ClickView and Kanopy Streaming. ClickView:

https:// www.clickview.com.au/

Kanopy Streaming: https:// www.kanopy.com/

Study Guides for all works available.

6.6 - Additional Teachers’ Notes

Teachers notes related to past Bangarra production also available via Bangarra website on request.

For DVD purchase, Winhanga-rra teachers professioanl learning workshops, and all other Teachers notes: https:// www.bangarra.com.au/youth-outreach/education


ORGANISING THE DANCE

Unity

The logical development of the dance ensures unification where each part is lined to the common thread

through the choreographers movement interpretation of the idea. If the constructional elements of motifs,

developments, variations, contrasts, climaxes or highlights and above all transitions are successfully

employed then the dance appears to have a logical development which in turn produces unity.

This is the overall constructional element. The final shape that emerges when the dance is over is realised

though unity.

If all the parts fit into the jigsaw puzzle it finally produces a whole picture within its round or square frame.

The movement content with its inherent meaning and the way in which the constructional elements have

been employed form the pieces of the jigsaw and its overall shape or dance form forms the frame.

Identify elements of the work which create unity (setting, costume, lighting etc) and explain their effect on the work

There are SEVEN components to ‘organising the dance’. These can be remembered by using the acronym:

‘R U V ery FAST’

R – Repetition

U – Unity

V – Variation and contrast

F – Formal structure

A – appraisal and evaluation

S – Sequencing

T – Transition

Attempt Question

Allow about 30 minutes

In your answers you will be assessed on how well you:

▪ Demonstrate dance knowledge and understanding relevant to the question▪ Communicate ideas and information using relevant examples and terminology▪ Present a logical and cohesive response

Question : (10 marks)

How is unity achieved in the work TERRAIN?

Time allocated:

Verb:

Definition of verb:

Sentence starters for

verb:

Syllabus point:

REVIEWS

Terrain

March 2, 2016 - Dance

A powerful fusion of contemporary dance

and storytelling, Bangarra Dance Theatre’s Terrain will take audiences at Parramatta’s Riverside Theatre on a

journey exploring the relationship of Indigenous people to Country and how landscape becomes a second skin.

Lake Eyre, the place of Australia’s inland sea and one of the few untouched natural waterways in the world. Terrain

will take audiences on a journey through drought and deluge where nature delivers in abundance, promises all – but

guarantees nothing.

In this visually spectacular and captivating performance, celebrated Aboriginal choreographer Frances Rings and

Bangarra’s 17-member company of dancers showcase a story of resilience, strength and connection to Country. It will

be the first time Bangarra has performed in Western Sydney since 2010.

Following its world premiere season in 2012, Terrain won two Helpmann Awards; one for Best Ballet/Dance Work and

another for Best Female Dancer in a Dance or Physical Theatre Work for dancer Deborah Brown.

Terrain will return to the stage in 2016 with an award-winning creative team of Aboriginal artists: choreographer

Frances Rings, composer David Page and set designer Jacob Nash. Together along with costume designer Jennifer

Irwin and lighting designer Karen Norris, they have created an evocative production inspired by the timeless beauty of

Lake Eyre.

“Riverside Theatres has long supported the presentation of works by Bangarra Dance Theatre, from some of its

earliest works such as Fish in 1998 up to its most recent being Mathinna in 2010,” said Frances Rings. “I’m excited to

return to Western Sydney in 2016 to present Terrain, a work inspired by the amazing geographic wonder that is Lake

Eyre and performed by some of this country’s most beautiful dancers.”

http://z5p8x8m2.stackpathcdn.com/wp-content/uploads/2016/03/Bangarra-Terrain-photo-by-Greg-Barrett.jpg

Bangarra is one of Australia’s leading performing arts organisations with a unique dance technique forged from more

than 40,000 years of culture, infused with contemporary movement. Illustrating the connection Aboriginal and Torres

Strait Islander people have with the land, Terrain invites audiences to witness a mesmerising dance work that is

powerful, meaningful, and extremely entertaining.

http://artsreview.com.au/terrain/

Australian Arts Review

Bangarra Dance Theatre: 'Terrain'3 July 2012

Playhouse, The Arts Centre,

Melbourne, June 29

Implicit in the work of Bangarra Dance Theatre is the cultural connection of body to land. We have come to expect earth and elements to be referenced in a very visceral and immediate way and inscribed on and in the bodies of Bangarra's dancers. Terrain, the new work by Frances Rings, fulfills all these high expectations. Indeed this aesthetically mesmerising and engaging performance transcends tribe and skin and even its indigenous lineage to become purely an absorbing and accessible dance work.

Terrain traces the seasons and moods of Lake Eyre in episodes that also mirror moments of Indigenous struggle, identity-making and inheritance. This affords a rich possibility to explore variety in design and lighting as well as inventive choreographic language.

Bright white-gray light splits the stage with a lightening flash. It is replaced by warm low light as a tightly-held group twines and melds into sculptural forms. Any moment could be captured photographically as a strikingly beautiful image. Bodies roll, create spikes of attention, interweave and reform. Kept low to the ground, the movement nevertheless extends and reaches, creating levels of interest and depth. A dancer is held aloft and rolled from shoulder to shoulder.

Ensemble episodes see tribal men in their struggle for land-rights, using symbolic and highly organic shields for protection. Men appear like apparitions, masked by their shields, traces of white dust or salt shedding as they move. Solos allow for a switch of attention and dynamics. A tension is evoked between an introverted protectiveness and a feeling of adversity. A woman pours earth through her hands and crouches, embodying her fragile inheritance.

A woman (Yolande Brown) dances supported by three men as land is passed down. Power and deliberateness are juxtoposed with fragility and lack of agency, especially in the woman's reliance in this section on the male dancers for support and movement. The women are stunning in an episode inspired by the spinifex of the Lake Eyre region, their heads adorned with brittle, sculptural twigs, their costumes shifting from gold to ash-gray. The movement is caught in the cut-outs of their skirts and enhanced by lighting.

The various episodes are punctuated by solos and duets, which refocus attention. Groups become pairs or solos and meld back into one. This is a very organic-feeling work that, while being broken up into discrete mini-narratives, provides a forward-driving movement that makes it all of one

http://artsreview.com.au/terrain/

piece. Spikey choreography intrudes as a pace changer as a male duet followed by a solo charge the performance. Staccato movements link so rapidly together they become fluid.

Terrain uses striking backdrops combined with transforming but sympathetic lighting. When colour is used as with the bright red design, it stabs the visual horizon. Many of the abstracted black and white backdrops are articulate frames for the movement. The music varies with the moods and remains a part of the coherence of the work.

Whatever rhythms are enacted by the bodies seem organically driven and often resolve in reformulations of root-like entanglements. Where choreography is performed simultaneously it is complementary without always being equivalent. Various spacial relationships are explored.

In the Deluge section, the soft aqueous colours and corresponding echoing, underwater sounds allow a gentleness to emerge that is matched by the shimmering movement of the dancers in their pearlescent costumes.

In Terrain, Frances Rings has made a work that is powerful as well as being entertaining. It is beautiful and complex while remaining very accessible. Its fast pace does not allow for a moment's lapsed attention; something is always happening. This is a work that could easily be viewed repeatedly, and from different positions in the audience, and offer something new each time.

- SUSAN BENDALL

Read more at http://www.danceaustralia.com.au/review/bangarra-dance-theatre-terrain#8isglD3SwKRAKhvf.99Dance Australia

Terrain | Bangarra Dance Theatre Kelli Rogers 07 October 2012 It's a mesmerising experience witnessing the translation of the First Nation's Peoples' connection to country into the vocabulary of dance. Lake Eyre's landscapes transform before your eyes as dancers' bodies merge and collide, float and tumble, stretch and collapse, moving through a stream of endlessly beautiful stage pictures. Bangarra Dance Theatre are in Brisbane performing Terrain, choreographed by Frances Rings, and to quote her words from the program notes, "Terrain is where spirit and place meet." Terrain takes the audience on a journey to Lake Eyre. On stage, 9 stories move before us; we see Lake Eyre's moods, textures, the immenseness, the abundance and the scarcity of its cycles. The men's ensemble with white shields in hand, with strength and stamina touch upon the topic of land rights in the piece Shields. White sand trickles through a dancer's fingers, the dust lingering like an ancient calling in the piece Reborn. Wiry tree fragments adorn the tops of heads as the ladies' ensemble represents Spinifex through staccato, sporadic and writhing movement. There is no pause in the flow of movement as the rains come. In Deluge the dancers, in an almost random succession, pour onto the stage in pairs and all we see are their hands running like a rivulet, carving down and across a bare back. The dramatic and vast backdrops created by set designer Jacob Nash are stunning visual artwork in their own right and the rich interplay that

occurs between the costuming, by Jennifer Irwin, is an alluring pallet of colours and textures inspired by the soulful depths of Lake Eyre. Original music composed by David Page adds another emotive and rousing layer to Terrain that has the heart rate keeping pace with the action on stage. Bangarra Dance Theatre's company of dancers brought the sacredness and poignancy of Terrain to light with verve and grace. Their bodies moving and transposing the physical, emotional and spiritual lands of this country (specifically Lake Eyre) and its people into a phrase of movement, a moment poised in time, a vivid physical and visual picture, both romantic and brutally honest inside the space of the stage. Terrain is captivating and inspirational, words that are easily synonymous with Bangarra's work.

Australian Stage: https://www.australianstage.com.au/201210075875/reviews/brisbane/terrain-%7C-bangarra-dance-theatre.htmlBrisbane Reviews© Australian Stage Onlinehttps://www.australianstage.com.au/201210075875/reviews/brisbane/terrain-%7C-bangarra-dance-theatre.html

Bangarra Dance Theatre’s Terrain

Sydney Opera House

August 3 2012

By Renata Ogayar.

Terrain, created by resident choreographer Francis Rings for Bangarra Dance Theatre, truly was

an incredible sixty-five minute work that transported me into another time and place of beauty and

spirituality.

Centred around Kati Thanda (Lake Eyre), Bangarra in Terrain explored the relationship of

Indigenous people and the spiritual connection of the lake and its vast landscape. The cultural

semiology in every element was profound, powerful and effortlessly beautiful. The movement

sequences, costumes, music, lighting and set design all combined, brought this sculptural

masterpiece to life.

Terrain was comprised of nine sections representing the evanescent transformation of the

promising, yet harsh place.

The first section, Red Brick, looked past the assembled landscape in order to hear an ancestral

calling. Setting the scene, the stage was suddenly lit with powerful white lighting that slowly faded

out, accompanied by rumbles of lightning and thunder as the dancers entered the space. The

https://www.australianstage.com.au/201210075875/reviews/brisbane/terrain-%7C-bangarra-dance-theatre.html




simple, yet highly effective, neutral costumes exposed the powerful bodies of the dancers as they

moved in a grounded animalistic manner, seamlessly blending from one form to another.

The mens’ ensemble, Shields, reflected the struggle Indigenous people faced with Land Rights

and still face today. The dancers proved their masculinity, holding white shields as they executed

powerful movements subsequently driven by their signature focus. This section was particularly

mesmerizing with electric beats mixed with an undertone of breath compiled with subtle traditional

clap sticks creating suspense.

Contrasting the male ensemble was the ladies ensemble, Spinifex. This piece exhibited the style

and femininity of the dancers, inspired by the trees that reside in and around Lake Eyre and the

spirit women who are suspended in time. The twig like headdresses and long punctuated skirts,

with transitory earthy colours, were most remarkable.

Each section contained detailed choreography so seamless, stunning and entrancing that one

could not look away. The movements were full of breath and stylish imagery exploring the use of

rise and fall, impulse and instigation whilst remaining connected to the terrain of the stage.

The costumes, designed by Jennifer Irwin, were an art installation in their own right, using the

landscape of the piece to aesthetically embrace and complement the choreography, bringing it

surrealism and life.

The composition of the music delved into the vastness and spirit of Lake Eyre. Violins and cellos

captured the beauty of the land while the subtle breath and voices captured the mystery and the

spirit of the mystical place.

Karen Norris’ lighting design incorporated a soft fusion of front lights and heavy back lights that

brought an element of sincerity to the work, creating mood and ambience to assist in telling the

story.

Finally, the set design brought a dimension to the work, capturing the features of Lake Eyre by

creating illusions of density and sparseness through nonfigurative forms, textures and colours.

If there was ever collaboration so stylishly portrayed, it was Bangarra Dance Theatre’s Terrain. If

you are not familiar with their work, I highly recommended that you experience one of their

performances.

https://dancemagazine.com.au/2012/08/bangarra-dance-theatre%E2%80%99s-terrain/

Dance Informa

https://dancemagazine.com.au/2012/08/bangarra-dance-theatre%E2%80%99s-terrain/

EXTENSION- See what other reviews you can find to help with your interpretation of the work

ELEMENT OF INTERPRETATION

QUESTIONS

CONTEXT What was the time and place of the first production? What was happening in the world at that time? What was the purpose of the dance? Why was it made?

(education, cultural, entertainment, artform)GENRE What style of dance is being performed?

Who are the dancers/choreography/company? Is this a typical/atypical piece for the people involved?

SUBJECT MATTER What is the theme of the work? What is it about? Does the piece make reference to anything in

society/literature/art/music etc?MEANING What do you think the overall meaning is? Why?

What meanings do you get from the movement material? Why?

What is the meaning of the motif? Why? Does the form have specific meaning? Why? Identify meaning in each of the components of the

dance. ALWAYS GIVE SPECIFIC EXAMPLES!

SIGNIFICANCE Was the piece significant to society? Did it cause change?

Was the piece significant to the choreographer and/or dancer’s development?

Did this piece influence the work of others?

Appraisal and EvaluationAppraisal means to evaluate, judge or critically analyse a performance.

WAYS OF APPRAISING:

● Observing

● Analysing

● Experiencing

●

ASPECTS FOR APPRAISAL

● Elements of composition and the way they are used

● Creativity and innovation in presentation

● Arrangement, or choreography of movement

● Achievement of purpose

ESTABLISHING AND APPLYING CRITERIA

When appraising performances, sets of criteria need to be established. The criteria used must take into

account the activity itself, the components of the performance and the expertise displayed.

Criteria which needs to be established include;

● Intent of the work

● Choreographic elements

● Originality of the movement

● Staging of the work

● Visual appeal

Applying criteria could include;

● Elements of composition and the way they are used

● Choreography

● Creativity and innovation

● Choice of music

● Presentation

● Costume and make up

● Technique of performers

Give your opinion of the work. What are your initial impressions of the work? Do you like it?

Why do you think we are studying this work? What is the value of it?

What do you think are the defining points of the work? Why?

Reading and writing reviews

Review

A dance review will contain many features of other dance texts. A reviewer of dance, or a dance critic gives a

personal opinion about a work being performed publicly.

In this text you will describe the significant features of the work. You may write about the context of the work,

perhaps referencing other works by the choreographer. You will also give a personal response and make a

judgment about the value of the work.

The suggested structure and components of an effective dance review is as follows:

TITLE OF WORK/CONTEXT:

INITIAL IMPRESSIONS

SIGNIFICANT FEATURES

Writing and Criticism

ABOUT THE CHOREOGRAPHER

YOUR EVALUATION

SAMPLE DANCE REVIEW

ArticleAnnotations of review

sturcutre and components

Sydney Dance Company

Synergy

Sydney

February

Pushing the boundaries is a trademark of Murphy’s work. In this work

Murphy creates a synergy of dance and music in an industrial space that is

transformed by light and sound into a series of evocative landscapes.

This performance presents several separate works. In each work Murphy

deals with different “narratives” which are sometimes exotic, sometimes

mysterious, sometimes even humorous. The whole work is a series of

contrasts, from the unconventional pas de deux between the human

percussion instrument and his player, to the monotone “Lemurian dances”

that plays off partner, small and large group formations against the vivid

black and white stripes of the stage floor. Contrasts are enhanced by

functional lighting that divides up the space, elaborate costuming which is

at times used as a prop, and choreography that uses the total performance

space, including the “backstage” areas and the air space above the floor.

Murphy, well known for his collaborations with musicians in past works

(remember Icehouse in “Boxes”?) teams up with Sydney-based percussion

group Synergy, whose name also provides the title for the performance

The synergy of the work is not just between the music and the dance—it

envelopes and includes the audience through the collision of the senses.

BibliographyWauchop, D. (2004). Dancing in space. Sydney: A.H. Design and Publishing .

How to write a dance review

#Describe what you saw.

● Name the dance, the dancers, the choreographer, the time and place of performance, the name of the

music and the composers of the music.

● Comment on the individual dancer's performances and the ensemble work.

● Describe the people and what they are doing - verbs are the language of dance.

● Discuss how the dance fits (complements or counterpoints or contradicts) the music.

● Comment on theatrical elements of the dance - costumes, props, lighting, scenery.

#Analyse the dance performance. (by Brian McCormick 10, 17, 2006 exploredance.com)

● How is the dance organized? (ABA/Theme & Variation, Motif & Development?)

● Is there a story or narrative, or is it abstract?

● How do the performers relate to each other?

● Are there characters?

● Talk about the style or kind of dance it is. (Is it Jazz, Ballet, Modern, Tap, Ballroom, Ethnic, Hip-Hop,

Folk, Performance Art, Fusion?)

● How did the movement relate to the musical score?

● How are rhythm, speed, and phrasing used? Are they constant or changing?

● How is the space used? Do the dancers stay upright, go to the floor, or upside down? What is the focal

point and does it change? What about the direction the dance moves in?

● What shapes do the dancers and choreography make (round-linear-soft-hard-symmetrical-undefined)?

● What is the energy of the movement (lyrical-aggressive-weighted-light-heavy-sharp-gentle-lush)?

● Take note of continuities, such as repetition, and of connections between the formal elements and the

subject matter

#Give your reactions to the piece.

● Did the performers look like they were enjoying themselves?

● Did they look like they knew the dance moves?

● Were they in time with the music and in time with each other?

● Did they have an exciting entrance or opening and a satisfying ending or exit?

● Did they put sufficient effort into the performance?

● Were their facial expressions and focus good?

● What did the dance make you think?

#Judge the dance performance.

● State one good thing about the piece overall.

● Form an opinion based on what was learned in the previous stages of the critique.

● What impression did the dance make on you?

● Were you moved by this work or the performance?

● How did it make you feel?

● Did the piece work or not?

● Tell us how they could improve for their next performance.

REVIEW A written broadcast critical evaluation of a performance

CRITIC A writer/journalist who provides the public with a written broadcast opinion of performances. Critics and

performers have not infrequently found themselves in conflict.

The role of the critic in dance

The critic has several tasks:

● To understand exactly what is being presented, including the intentions of the choreographer/dancers

● To analyse the production

● To evaluate the presentation- worth and merit

Criticism can be divided into descriptive and prescriptive. Descriptive, the critic describes carefully and accurately

what occurs. Prescriptive, the critic undertakes to advise not what happens so much as what should happen in the

production.

Audiences must realise that critics, too, have their limitations and prejudices and that ultimately each individual

spectator must arrive at their own judgement regarding the Dance event.

The Role of the Dance Critic

On Dance Critics, Marcia B. Siegel, Edwin Denby and Arlene Croce

By Julie Van Camp

Dance critics provide uniquely valuable documentation of the history of this elusive art form, a service no less

important since the advent of videotape, film, and notations. But criticism is not a neutral description of events.

Critics make choices about which works to describe and discuss and the properties on which they focus. Thus the

weight given to their assessments must take into account the situation and perspective of the writer.

Dance criticism plays a special role in recording an event now past and in offering and justifying critical assessments.

Criticism also provides an historical and social context both of the art form and of the particular work in relation to the

broader cultural context.

Dance criticism is often enjoyed by the reader who never has and never will personally experience the work

Dance criticism could not exist without dances and performances of dance upon which to comment. Yet dance

criticism stands as a valuable creation, an object of study, in and of itself.

Critics make choices about which works to describe and discuss and the properties on which they focus. Thus the weight given to their assessments must take into account the situation and perspective of the writer.

Postmodern philosophers and literary theorists in the past two decades have sensitised us to the complications in the search for historical and critical accuracy. Can dance criticism ever "objectively" describe the work? Is there one "correct" description and interpretation of a work? If not, are there limits on the range of acceptable interpretations? Does description necessarily reflect the theoretical, cultural, and personal biases of the critic?

Placing the criticism in context

Criticism also provides an historical and social context both of the art form and of the particular work in relation to the broader cultural context as well as to the choreographer’s earlier works.

Writing a Critical Review

The advice in this brochure is a general guide only. We strongly recommend that you also follow your assignment instructions and seek clarification from your lecturer/tutor if needed.

Purpose of a critical review

The critical review is a writing task that asks you to summarise and evaluate a text. The critical review can be of a book, a chapter, or a journal article. Writing the critical review usually requires you to read the selected text in detail and to also read other related texts so that you can present a fair and reasonable evaluation of the selected text.

What is meant by critical?

At university, to be critical does not mean to criticise in a negative manner. Rather it requires you to question the information and opinions in a text and present your evaluation or judgement of the text. To do this well, you should attempt to understand the topic from different perspectives (i.e. read related texts) and in relation to the theories, approaches and frameworks in your course.

What is meant by evaluation or judgement?

Here you decide the strengths and weaknesses of a text. This is usually based on specific criteria. Evaluating requires an understanding of not just the content of the text, but also an understanding of a text’s purpose, the intended audience and why it is structured the way it is.

What is meant by analysis?

Analysing requires separating the content and concepts of a text into their main components and then understanding how these interrelate, connect and possibly influence each other.

Structure of a Critical Review

Critical reviews, both short (one page) and long (four pages), usually have a similar structure. Check your

assignment instructions for formatting and structural specifications. Headings are usually optional for longer

reviews and can be helpful for the reader.

IntroductionThe length of an introduction is usually one paragraph for a journal article review and two or three

paragraphs for a longer book review. Include a few opening sentences that announce the author(s) and the

title, and briefly explain the topic of the text. Present the aim of the text and summarise the main finding or

key argument. Conclude the introduction with a brief statement of your evaluation of the text. This can be a

positive or negative evaluation or, as is usually the case, a mixed response.

SummaryPresent a summary of the key points along with a limited number of examples. You can also briefly explain

the author’s purpose/intentions throughout the text and you may briefly describe how the text is organised.

The summary should only make up about a third of the critical review.

CritiqueThe critique should be a balanced discussion and evaluation of the strengths, weakness and notable

features of the text. Remember to base your discussion on specific criteria. Good reviews also include

other sources to support your evaluation (remember to reference).

You can choose how to sequence your critique. Here are some examples to get you started:

▪ Most important to least important conclusions you make about the text.

▪ If your critique is more positive than negative, then present the negative points first and the positive last.

▪ If your critique is more negative than positive, then present the positive points first and the negative last.

▪ If there are both strengths and weakness for each criterion you use, you need to decide overall what

your judgement is. For example, you may want to comment on a key idea in the text and have both

positive and negative comments. You could begin by stating what is good about the idea and then

concede and explain how it is limited in some way. While this example shows a mixed evaluation,

overall you are probably being more negative than positive.

▪ In long reviews, you can address each criteria you choose in a paragraph, including both negative and

positive points. For very short critical reviews (one page or less) where your comments will be briefer,

include a paragraph of positive aspects and another of negative.

▪ You can also include recommendations for how the text can be improved in terms of ideas, research

approach; theories or frameworks used can also be included in the critique section.

Conclusion

This is usually a very short paragraph.

▪ Restate your overall opinion of the text.

▪ Briefly present recommendations.

▪ If necessary some further qualification or explanation of your judgement can be included. This can help

your critique sound fair and reasonable.

Activity:

Write a review of TERRAIN, considering the role of the critic in dance and placing the criticism in context.

Question (10 marks)

Using appropriate dance terminology, describe 4 motif movements in the work “TERRAIN”, and explain how these

relate to the intent of the work.

What is the verb used above-

What is the definition of this verb-

The essay asks for 4 movement described

briefly describe the 4 you want to write about. Add picture if it helps…

What is the intent of the work?

Now use the information above to form your Essay….

Introduction

How are you answering the question- set out how you will do this in the introduction

Paragraph ONE

(Movement/motif 1) use from above

TOPIC (What is the movement?)

Explanation (Provide detail of the movement, use correct specific dance terminology)

How is it used, where is it used, by who. What does this movement represent?)

Evidence

(Provide specific examples, more than one from the dance.)

Link- Link back to the intent. How does this movement relate/ communicate the intent?

Paragraph TWO





Evidence



Paragraph THREE





Evidence



Paragraph FOUR





Evidence



Conclusion

Tie together all your information. Have you answered the question? Did you follow the verbs?

● Check all terminology used. Is there a better or more correct way of describing a movement or a ter

● Attempt Question Allow about 30 minutes



Question: (10 marks)

Using appropriate dance terminology, describe 4 featured movements in the work “TERRAIN”, and explain how these relate to the intent of the work.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question





The intent of the work TERRAIN is enhanced by Ring’s use of the music to support the movement.

Using specific examples from the work discuss this statement.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question





Explain how Frances Ring uses aural elements to engage her audience in TERRAIN.

In your response, provide specific movement examples from the work.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question





Describe how Frances Ring has organised the dance in TERRAIN..

In your response, provide specific movement examples from the Work.

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

Attempt Question



▪ Demonstrate dance knowledge and understanding relevant to the question▪ Communicate ideas and information using relevant examples and terminology

▪ Present a logical and cohesive response


Using movement examples, explain how Frances Ring uses motif(s) to establish his intent in TERRAIN

Time allocated:

Verb:

Definition of verb:


verb:

Syllabus point:

HSC Dance - Appreciation Terms

Define each term then apply the term to Frances Rings’ ‘TERRAIN’

Components

Movement –

Spatial Elements –

Dynamic Elements–

Aural Elements–

Dancers–

Setting and Environment–

Organising the Movement (form/structure)

Motif–

Phrase–

Motif into Phrase–

Organising the Dance

Sequencing –

Transition–

Repetition–

Variation and Contrast

Variation–

Contrast–

Formal Structure–

Unity–

Interpretation of the work

Intent–

Context–

Genre –

Subject Matter–

Meaning–

Significance–

Components

Movement – How the body moves as a whole or in parts. Includes actions, gestures and stillness. The

body in motion.

Eg – Jumps, turns, lifts, falls, balances

Glossary of key words used in Appreciation

Spatial Elements – How the space is used

Eg – shape, size, level, direction, geometry, dimension, floor pattern, spatial pathways, relationships

Dynamic Elements – The force and weight applied to a movement. Release of energy.

Eg – tension, force, rhythm, staccato, swing, sustained

Aural Elements – Anything that can be heard. Reference to time.

Eg – Music, body percussion, words, voice, breath, silence, tempo, accent, time signature

Dancers – Who is performing?

Eg – Number, sex, race, characters, relationships, technical ability, body type

Setting and Environment – Where it takes place and what is in the space. Visual elements / theatrical

elements / elements of production

Eg – costume, sets, props, lighting, curtains

Organising the Movement (form/structure)

Motif – A reoccurring movement relating to the intent. Focal point of the work, a signature. Simple

movement pattern, should be able to be identified.

Phrase – A series of movements with a clear beginning, middle and end. It has structure

Eg – A paragraph within an essay

Motif into Phrase – An extension / development of the motif. The motif is manipulated to create a series of

movements relating to the intent. It has a clear beginning, middle and end.

Organising the Dance

Sequencing – The order in which phrases are put together

Internal structure – order of movement, phrases

External structure – how sections are put together

Formal Structure – AB, ABACAD, ABA, Narrative, Episodic etc

Transition – Movement that links phrases. Can also be music, linking other pieces of music

Repetition – Doing exactly the same thing over and over again

Eg – Restate, reinforce, re-echo, revise, recall, reiterate, reuse

Variation and Contrast

Variation – Contents which have been established in the dance is used again in a different way

Contrast – Introduction of new material to compliment and be different to the original

Formal Structure – What holds the piece together, the framework.

Eg - AB, ABACAD, ABA, Narrative, Episodic etc

Unity – A combination of all elements, when the piece is coming together

Interpretation of the work

Intent – The purpose of the work. What the choreographer wants to convey

Context – The background of the work / choreographer. The era the choreographer grew up in, the era the

work was created and set in. The circumstances or facts that surround a situation or event.

Eg – political, social, historic

Genre – Bodies of Dance (Style in )

Eg - Modern (Graham, Humphrey), Ballet (Cecchetti), Jazz, Folk, Tap (Dein Perry, Fred Aistaire).

Subject Matter – What the work is about. Themes

Meaning – What the work means

Significance – What significance does it have? To the audience, to the choreographer, to the dancers, to

the time period

Syllabus outcomes, objectives, performance bands and examination questions have key words that

state what students are expected to be able to do. A glossary of key words has been developed to

help provide a common language and consistent meaning in the Higher School Certificate

documents. Using the glossary will help teachers and students understand what is expected in

responses to examinations and assessment tasks.

Account Account for: state reasons for, report on. Give an account of: narrate a series of

Glossary of key VERBS

events or transactions

Analyse Identify components and the relationship between them; draw out and relate implications

Apply Use, utilise, employ in a particular situation

Appreciate Make a judgement about the value of

Assess Make a judgment of value, quality, outcomes, results or size

Clarify Make clear or plain

Classify Arrange or include in classes/categories

Compare Show how things are similar or different

Construct Make; build; put together items or arguments

Contrast Show how things are different or opposite

Critically(analysis/evaluate)

Add a degree or level of accuracy depth, knowledge and understanding, logic, questioning, reflection and quality to (analyse/evaluation)

Deduce Draw conclusions

Define State meaning and identify essential qualities

Demonstrate Show by example

Describe Provide characteristics and features

Discuss Identify issues and provide points for and/or against

Distinguish Recognise or note/indicate as being distinct or different from; to note differences between

Evaluate Make a judgement based on criteria; determine the value of

Examine Inquire into

Explain Relate cause and effect; make the relationships between things evident; provide why and/or how

Extract Choose relevant and/or appropriate details

Extrapolate Infer from what is known

Identify Recognise and name

Interpret Draw meaning from

Investigate Plan, inquire into and draw conclusions about

Justify Support an argument or conclusion

Outline Sketch in general terms; indicate the main features of

Predict Suggest what may happen based on available information

Propose Put forward (for example a point of view, idea, argument, suggestion) for consideration or action

Recall Present remembered ideas, facts or experiences

Recommend Provide reasons in favour

Recount Retell a series of events

Summarise Express, concisely, the relevant details

Synthesise Putting together various elements to make a whole

TERRAIN – FRANCES RINGS

HSC Course Areas of Study IN RELATION TO THE WORK SPECIFIC EXAMPLES IN THE WORK

1. Skills of analysis

• components

– movement

– spatial elements

– dynamic elements

– aural elements

– dancers

– setting and environment

● organising the movement (form/structure)

– motif

– phrase

– motif into phrase

• organising the dance

– sequencing

– transition

– repetition

– variation and contrast

– formal structure

– unity

– appraisal and evaluation

• interpretation of the work

– context

– genre

– subject matter

– meaning

– significance

• evaluation

– concepts under which evaluation is made

– general values of society

– specific values in the context of the work

– worth and merit

– effectiveness/appropriateness of the work

– effectiveness/appropriateness of the performance.

. 2 Writing and criticism

• reading and writing reviews – newspapers, magazines, journals

• the role of the critic in dance

• placing the criticism in context.

3. Prescribed choreographers and works

• era/period in which they work

• background/training

• influences

• choreographic style.

- Perspectives / Voice / Culture€¦ · Web viewIn 1989, Johnson founded a new company, Bangarra...

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