JOYOUS, sensual and beautiful is the best way to describe “I.B.I.S”, the opening act of Bangarra’s production, “Lore”.
The Torres Strait, its stories, music and in particular, a local chain store – Islanders Board of Industry and Service (I.B.I.S) – was the inspiration for this work. Bangarra dancers Waangenga Blanco and Deborah Brown, on her return to the fold, collaborated as new choreographers, to create something that is at once accessible, engaging and thoroughly enjoyable.
There were a lot of segments and concepts squeezed in. The opening sequence – a hub of activity in and around the store, incorporated spoken word and live song. The sea and beach sequences were a depiction of turtle-egg gathering, where men softly engulfed the curled up bodies of the women, who wore silver-blue costumes, which appeared to be covered in shells. This was presented with a mystical grace, conjuring up ideas of crystal waters, warm nights and even mermaids.
The segregation of men and their business and women and theirs is demonstrated, with distinct contrasts in mood, music and choreography. In this piece, the dances of the Torres Strait appear bird-like, performed bent over for the large part. There is also a distinctly tropical influence in the music, floral dresses, grass skirts and laid-back vibe.
Lighting from the wings contributed to an ethereal feel, concurrently highlighting the muscular torsos of the male dancers. However, being able to see the downlights was a small distraction.
There is an incredible, delicate beauty when the men and women do come together in the traditional, hunting sequences, as their bodies melt together gracefully and sensually, all the while enhanced by the pretty, almost melancholy music by Steve Francis. At other times, Francis incorporates soothing, softly spoken native language, amongst a serene, naturalistic soundscape. This offers a poignant insight into creative director Stephen Page’s concern to retain links to and nurture Aboriginal languages.
Men, draped in towels, sweating from the searing heat, joked and buoyed around each other, not dissimilar to post-footy game locker room shenanigans, whilst the women performed a sexually charged “cooling-off” in front of the back-lit freezer section of the store. This gave way to upbeat flirtations, including vocal calls and on-stage percussion. This should make it difficult to look at the freezer section at the local IGA in the same way ever again.
Dancers in black and smoke-coloured leotards painted and slashed to resemble ribs, bones and lungs, and concurrently the roots and branches of the Sheoak tree, opened the second act.
“Sheoak” was an abstract work, unlike “I.B.I.S”. Choreographer Frances Rings subtly fused a hybrid of dance styles, resulting in a strong contemporary look, to create a sinister, menacing and primal mood in depicting the scarring and loss of the sheoak tree and the struggle to deal with cultural and environmental change.
Tortured men, comforted by women writhe through long, suspended tree branches, again resembling a ribcage as well as a destroyed boat carcass.
Jennifer Irwin’s costume design throughout, is stunning, in particular the natural-coloured, soft, flowing garments in both pieces. The dancers cleverly avoided become entwined in the ropes and draping that hung from them.
A glowing, hovering, white mat manipulated during one sequence called to mind Arthur Boyd’s bride paintings, eye-catching but out of place.
David Page’s music fed the dramatic tension, building to crescendos throughout, when heavy synth beats gave way to electronic wails, siren-like – a distress call perhaps.
“Sheoak” was hypnotic and engulfing, suggesting audience immersion rather than demanding active engagement or understanding.
Two very different pieces combined to give an uplifting, intense and beautiful offering from Bangarra.
[Photo: From ‘Sheoak’, Elma Kris with Bangarra ensemble. Photo by Jhuny Boy Borja]
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