In Unit 4 we will be studying two sections of the larger work Mathinna, created and performed by Bangarra Dance Theatre.

Transcription

1 In Unit 4 we will be studying two sections of the larger work Mathinna, created and performed by Bangarra Dance Theatre. Section 3: Mutton Bird Muttons birds were an essential food source for Aboriginal people, and the mutton bird s feathers were woven into cape-like coverings for warmth. Their spiritual significance was also very important, with the mutton bird being allocated as the totem for some clan members. Section 4: People The section entitled People depicts the original inhabitants of Tasmania and their very close connection to the land and the native animals who provide them with sustenance. The community living in close relationship with the land and each other is illustrated through the choreography. 1 VCE Dance Unit 4 Outcome 1

2 Notes taken from interview with choreographer Stephen Page (DVD): Mutton birds are a source, they re food, they re medicine, they re part of Tasmanian Aboriginal people. They re (mutton birds) a good feed, really rich in oil. also their feathers are used for clothing and the oils are used for medicine. The mutton bird is really instrumental to Tasmanian Aboriginal people. They (mutton birds) have a calling that would signal certain energies coming on country, and so symbolically I wanted to have mutton birds represented in an abstract way as almost like Mathinna s totem. I wanted to have a creature world that protected her and a totemic world that protected her. Totems Research the role of totems in Aboriginal spirituality: Search keywords such as Australian Aboriginal spirituality Indigenous spirituality Indigenous/Aboriginal totems Bangarra s production of Brolga also has notes about totems If you come across anything about connectedness to the land, save these notes for the next section People. Mutton Birds - Everything is interconnected: people, plants/animals, landforms and celestial bodies - Totem: a natural object, plant or animal that is inherited by members of a clan or family as their spiritual emblem - People do not hunt or kill their own totem - Families are responsible for the stewardship of their totem (including management of the physical resources so it doesn t become extinct etc) 2 VCE Dance Unit 4 Outcome 1

3 Mutton Bird Group Structures (SUCCA) and Spatial Organisation (DDFL): Group Structures refers to dancer placement onstage either symmetrical or asymmetrical and dancer interactions through the use of canon,unison or contrast Spatial organisation refers to the choreographic use of direction, dimension, levels and focus(eye/body). - Father controlling mutton bird, establishing connection between totem and family - Transition between section 1 (Father) and section 2 (Mutton Bird) - One dancer is suspended by his ankles and holds his arms in a sharp, angular shape representing the wings of a mutton bird hovering above the earth, while the other dancer is crouched on the floor at a medium level - Asymmetrical (uneven/unbalanced) group structure combined with the connecting movements could be portraying the link between the father s earth form and spiritual emblem of the mutton bird - Three dancers suspended upside down from a wooden beam; feet fixed through loop holes - Symmetrical body shapes AND symmetrical group structure - Dancers perform exact same movements at the same time (unison): they hinge at the hip joint, using abdominal muscles to draw the torso upwards in a circular rotation twice - Unison typically conveys connectedness and strength - Symmetrical group structure - Choreographic device transposition used: circular rotation of wrists and hands while drawing torso upwards into fold - Centre dancer circles both hands upward into a full fold, while outer dancers each circle their outside hand leaving their inside arm open to focus toward the centre - This movement is performed in unison, held in stillness, then repeated on the opposite arm - Each dancer wraps their arms around themselves, then propel into a swinging, twisting movement by throwing their arms outward using strong force - This is again performed in unison and is a symmetrical group structure 3 VCE Dance Unit 4 Outcome 1

4 - The centre dancer draws the outer dancers toward himself by their elbows, then pushes them simultaneously outward - This is a symmetrical group structure - The pushing action results in the outer dancers swinging side to side like a pendulum - Their arms are still held in the angular, winglike shape - While the outer dancers are swinging side to side, the centre dancer repeats (from the first phrase) two circular torso rotations - It is a symmetrical group structure however the outer dancers are performing movements in contrast to the centre dancer - Again we see the symmetrical group structure where the centre dancer performs movement vocabulary in contrast to the outer two dancers - The outer dancers draw their torsos upwards to grasp onto the wooden beam; they unhook their feet/ankles from the loops - In a very slow, controlled manner, the outer dancers, draw themselves up to the beam in a chin-up position then lower their feet to the ground below, letting go of the beam and transitioning smoothly into a lunge facing outwards - Symmetrical group structure - Meanwhile the centre dancer draws his torso upward to grasp the wooden beam 4 VCE Dance Unit 4 Outcome 1

5 - As the lights are fading on the outer dancers, then centre dancer unhooks his feet - The centre dancer draws himself up into a chinup position before lowering to the floor - he is repeating the movement the outer dancers just performed, slightly afterwards in canon - The dancer lunges outwards, then turns sharply to face the audience drawing his arms into a warrior pose (left arm extended out to the side, and the right elbow bent), lowering to kneel on one knee - He slowly opens his right arm and sways slightly side-to-side in a fluid manner (as though soaring) while the lights slowly fade - This is a very strong body shape to end which conveys the strength and power a totem represents Overall the use of group structures seems to be highlighting the connection between all life in the dreaming. Symmetry is often used in dance works to suggest unity and harmony. This could also be true of Mutton Bird because within the overall form of Mathinna, this section occurs before European s arrive, when the Tasmanian Aboriginals and their surrounding habitat were living harmoniously. This is supported also by the use of the mutton birds call in the soundtrack which is believed to foreshadow certain energies coming to country. The movement vocabulary performed in this section is very strong and masculine, as are the angular shapes the dancers create with their bodies. The dancers are lit from above which creates shadows further emphasizing their muscularity. The body paint although abstract could be depicting feathers. The choreography projects a very strong, solemn atmosphere which encapsulates the reverence of totems as a spiritual emblem within Indigenous culture. This is also reflected through the overt use of symmetrical formations and unison. 5 VCE Dance Unit 4 Outcome 1

6 Spatial Organisation This refers to the choreographic use of direction, dimension, levels and focus (DDFL) We know from the Mathinna study guide that the expressive intention for the People section is to depict the original inhabitants of Tasmania, and their close relationship with the land and each other. People section of Mathinna Hunters Elements of spatial organisation being manipulated A group of men onstage holding props that look like spears. They are positioned relatively closely together, containing their group within a small dimension. The group gradually walks downstage in a forward direction. While walking, they are crouched at a medium level and their eye and body focus is directed outwards toward the audience. While performing gestures of scrubbing and winding around their spear props, their eye focus moves to the spear. The dancers then stand the props upright and perform hand-over-hand movements while drawing themselves up in an upwards direction, into a high level hop, as though climbing. Expressive intention being communicated (choreographic use) The use of small group dimension highlights the unity and connection of the tribe members. Switching between focusing on the spear and outward focus, along with the crouched medium level movement signifies that they are hunters. This is also supported by the climbing actions. Females *The section we learnt A group of females enter the stage walking forwards carrying a burning/smoking stick. They pass the symbolic object to the men. The female dancers fold their torsos forward in a downward direction, while sliding the back of their left hand down their extended left leg. While raising their torso in an upward direction, they slide the hand back up the leg in a percussive, jerky manner, making a sharp angle at the elbow. This is performed at a medium level with inward focus. The dancers turn on the spot, then repeat the same actions. The dancers are contained within a small Walking directly forward in a slow, controlled manner, with outward forward focus suggests reverence and ceremony. The use of up and down direction in conjunction with the angular arm movement embody a bird-like quality which could suggest the women are involved in a ceremony or ritual connecting them to 6 VCE Dance Unit 4 Outcome 1

7 dimension group, and each individual also creates small dimension (closed) shapes with their body. The females transition to a low level, sitting crosslegged on the floor. They perform a slow scooping action whereby they slide the back of their hands across the floor and draw themselves in a forward direction over their legs to a kneeling position, laying their torso flat, scooping their right hand over their head. They create small dimension shapes between themselves and the floor, and their focus is inward. their environment (mutton birds, land) The use of small dimension movements, closed shapes and inward focus conveys each individual s reflection and meditation within the ritual. The low level and scooping of the earth represents their connection to the land. Ceremony All the dancers form two circles in the centre of the stage. Males in the outer circle, females in the inner circle. They move in a forward direction, travelling in a circular floor pathway. The dancers perform percussive, tribal movements crouched at medium level in a repetitive sequence: hitch right knee, while crossing right arm over left, then repeat on the opposite side. Their eye and body focus alternates between the left and right hands. The phrase is performed slowly at first, then the tempo is increased. Clapping sticks can be heard in the music. The dancers use small dimension to perform this phrase, drawing their knees and elbows towards their bodies. They dancers alternate their direction while repeating the same movements. They are performing what appear to be more traditional type movements from Aboriginal dance, which represent the ritual. The combination of crouched medium level, small dimension, and focus toward their own hands emphasizes individual connection to the ceremony. While still maintaining circle formations, the dancers perform a series of fast, percussive movements and gestures in time to the clapping stick and overlaying electronic beat. The gestures and movements seem animalistic: The dancers move in a circular direction hopping on alternating legs while seeming to slap their own backs, they are folding their torsos slightly, moving through medium to high levels. They display indirect focus. The dancers execute a turn before lowering into a plié, they raise to a high level again, lifting their hands over their heads (as though scooping earth onto themselves) before lowering to the floor. The males perform a low level snake like movement while the females kneel at medium level, raising their arms into a wing-like shape. Movements suggest they are still in the ritual connecting to their environment (land and animals). 7 VCE Dance Unit 4 Outcome 1

8 To conclude this section the dancers push off their hand while sliding across the floor on a low level, transferring weight into the other hand while progressing in a forward direction towards their shelter. Perhaps they are sensing danger here and that is why they are retreating together. *A section of a high level response from a previous exam: Spatial organisation can be seen in Mathinna through the phrase in which the females explore their individual connection to the land, as part of an aboriginal ritual. The phrase begins with the females sitting on a low level in stillness legs crossed facing towards the bottom left corner. The use of low level shows the females involving themselves in the land through directly touching it to become as close as possible. The females display an indirect eye focus as they lower their heads to look downwards, and slide their arms out in a forward direction. They continue by sliding their hands further until they lay entirely flat over creating a small dimension with the shape of their body. The use of an inner focus alongside a small dimension shows the time they are taking to celebrate their personal connection to the land. The forwards direction as they reach out shows they are taking the journey and moving forward together in celebration of their culture. 8 VCE Dance Unit 4 Outcome 1

9 Influences on choreographer s choices of expressive intention, movement vocabulary and production aspects: Tasmanian historical events and accounts: - Performance idea was inspired by a portrait of Mathinna, painted in 1842 by Thomas Brock - Stephen Page worked in consultation with Tasmanian Aboriginal elders - Diaries of Jane Franklin and George Augustus Robinson - People presents life as it was before invasion by European settlers The Dreaming: - (From Mathinna Study Guide) 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. Dreamtime ceremonies and rituals: - Within traditional Aboriginal Culture, various ceremonies are held for many occasions and reasons. These include mythological (Dreamtime) stories outside of initiation and within, secret events at sacred sites, gatherings, home comings, births and deaths. - Music and dancing, fire, handling of sacred symbols, chanting/speaking of myths, body paint Tasmanian environment in which the original inhabitants lived: - Mutton birds were an invaluable source of food, clothing and medicine - Close community - Inhabiting the coast of Tasmania Stephen Page s dance background/training: - Trained at the National Aboriginal and Islander Skills Development Association (NAISDA) in ballet, contemporary and traditional dance forms (estimate) - After graduating from NAISDA, Page performed with the Sydney Dance Company - Bangarra was formed in 1989, Page joined in 1991 and was appointed Artistic Director by the end of 91. He still holds this position. - He has also collaborated with the Australian Ballet. 9 VCE Dance Unit 4 Outcome 1

10 Identify influences How this affected choreographer s choices Specific examples Tasmanian historical events and accounts Wanted to establish (for the audience) the culture that Mathinna belonged to, and was ultimately isolated from All of the examples below The Tasmanian environment in which it was set Sound effects included as part of the soundtrack/score Specific movement vocabulary - Hunter phrase at beginning of People - Sound effects of wind/waves/mutton birds in soundtrack - Shapes created by dancers in Mutton Bird - Abstract set construction of a shelter made out of sticks - sticks also used to represent spears Spirituality (the Dreaming) Inclusion of the mutton bird as Mathinna s totem - Whole section of dance work dedicated to the mutton bird - Use of symmetrical group structures and strong movements/shapes in Mutton Bird Dreamtime ceremonies and rituals Sound effect of clapping sticks Specific movement vocabulary in People - Animalistic quality of movement vocabulary - Inclusion of clapping sticks in the soundtrack - Movements and focus connected to floor Choreographer s background and dance experience Dance training in ballet, contemporary and traditional forms have developed his personal movement vocabulary - Strong contemporary technique in floor work - Collapsing movement quality - Traditional type movements in the ritual phrases - Non-traditional musical timing 10 VCE Dance Unit 4 Outcome 1

11 Practice Questions SAC revision 11 VCE Dance Unit 4 Outcome 1