Rarely does theatre hit home, in the beautifully confronting manner that is afforded to the work presented by Sarah Jane Norman, as part of this years Dance Territories. Presented in the upstairs space at Dancehouse, the larger of the three works takes shape admist a large and beautifully composed installation, audience flanking each side of a rectangular space. The performer scrubs at a pile of white clothes, some belonging to audience, in water from the Murray River, with each item then being pegged to clothes lines that hang above, the sound of water dripping onto the plastic drop sheets, adding to the already dense soundscape, of Australian birds underpinned by continuing rumbling bass. Its dense, political, rich, evocative, and above anything else important, bringing light to Australia’s dark and violent history, forcing attention upon parts of our society and collective history, things that for sake of convenience, we willingly forget to often.
In a smaller space tucked away, something far more curious is taking place, here audience members are invited to tea and scones, seven participants at a time. But behind this almost to quaint setting, is something far from pretty, as the concept or material being explored here is in direct correlation to the deliberate poising of rations distributed to aboriginal communities in the days of early settlement. Here past and present collide, the scones that are served are made with the addition of the performers blood, it is a provocative device, and regardless of personal choice, each come with their own emotions in tow. There is something claustrophobic about this work, the heat of the room, the lack of ventilation and the smell all working together to create something deeply confronting.
Placed against this triptych of work is The Shout, performed by Nacera Belaza and Dalila Belaza, which begins with dim lighting that gradually builds to reveal both performers, music folds over and inwardly into each other, counter balancing the overly repetitious movements. It’s uplifting, joyous, and in stark contrast. The performance peels off layer after layer, unraveling and in due course painting a near narrative. Indeed every sequence of choreography seems to scratch the surface of each predeceasing one a little harder, there is an almost mute, subtle antagonism that seemingly haunts the choreography as it dances in the shadowy corners of the space, the two never quite meet up. In closing scenes the performance employs some intelligent use of projection that opens up the space, creating greater depth both conceptually and physically. Keeping these elements contained to the closing moments worked in way that provided a rather neat crescendo. It’s a polished work, and one which has performed over a hundred times, it’s longevity standing testament to its appeal.
All in all, this years program plunges audience into the murkiest of depths then only minutes later it lifts you up. Offering a not all together comfortable experience, but two unique perspectives on a theme and art that is of vital importance. Dance Territories has finished it’s season
