Reflect intention
‘Traversing the horizon to glimpse the sacred realm where earth and sky meet’. Terrain is inspired by the area of Australia known as Lake Eyre a landscape from where human beings draw life and express meaning to that life, terrain explores the fundamental connection between aboriginal Australians and the land. Bangarra’s 20th production and the first full-length work for the company by Frances Rings
Reflect Form
Section A
- Traversing edge of the lake-horizon at dance break
Section B
- Exploring the waters and their cleansing/healing properties as the sun rises
Section C
- Life provided by the waters to the people, plants, and animals. The reflections of light on the water (meeting of sky and land) during bright daylight
Dance Design Introduction
The solo ‘Reflect’ in the dance work ‘Terrain’ choreographed by Frances Rings and performed by Deborah Brown follows the over-arching structure of narrative (A, B, C) with the careful arrangement of sections and movement vocabulary functioning to communicate the intention. Specifically, the dance work uses the fusion of Contemporary dance and Aboriginal and Torres Strait Islander movement vocabulary to convey the intention of Aboriginal Australians’ spiritual connection to land and water.
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Section A of the dance work plays the crucial role of introducing the intention of the piece, the dancer representing a woman traversing the edge of Kati Thanda, as well as depicting the horizon at daybreak where earth and sky meet. This is conveyed during phrase 1 of the section A, the dancer beginning at a medium level with her body and eye focus towards the back of stage. She utilises a slow tempo, long duration, sideways direction, and a sustained, free energy quality as she extends her right leg along the floor before moving to a slightly lower level in a plie position, here she completes the gestural movement of rolling her shoulders, before returning to her original position at a medium level. This phrase also represents the choreographic device of abstraction, the regular movement of walking converted into more complex movement vocabulary to assist in the communication of the intention of the woman traversing and exploring the edge of the lake. The gestural movement of rolling shoulders depicted in the phrase demonstrates the choreographic device of transposition, as it is performed with the left shoulder and then the right. This alludes to the awakening of and connection to the water. The arrangement of the phrase at the beginning of the work is imperative to the development of the intention as it conveys the dancer exploring the edge of the lake before fully immersing herself in its cleansing and healing properties. The transition between section A and the proceeding section is shown by the dancer executing a slow turn completed at a low medium level.
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Section B of the dance work communicates the intention of exploring the waters of the lake and its cleansing and healing properties, further delving into the woman’s connection to the water. Contrasting the first section, the movement vocabulary demonstrates a more varied use of gestural movement, a growing dimension, and a varied use of time. Inversion is utilised during the middle of the section, a phrase beginning with the dancer in a downward dog position at a low-medium level. She utilises a medium tempo, medium dimension, inward focus, and a sustained, suspended energy quality to rub her left arm up her right, across her back, and down her neck before kicking each leg in a circular motion. She then inverts this phrase, completing it on the opposite side, communicating the intention of the woman exploring the waters and cleaning her body with its healing and cleansing properties. The gestural movement of rubbing the body is a motif explored throughout section B and conveys cleaning and cleansing through water. The motif is placed at the end of the final phrase in the section to establish a clear link between section B and section C, using the idea of the water’s significance which is conveyed through the motion to connect to the following section’s intention. The transition between section B and C is shown as dancer begins at a low level, rubbing the back of her hand up her arm before completing an illusion with her right leg to stand, showcasing an accent in the music.
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Section C explores the intention of the life provided by the waters to people, plants, and animals, whilst depicting the reflections of light on water during bright daylight. This section represents the climax of the piece, seen through the contrasting elements of movement, specifically the movement vocabulary’s faster tempo, changes in direction, and use of percussive, strong energy qualities. This is highlighted during section C, the phrase beginning with the dancer utilising a strong energy quality to gesture her hands to grasp her lower calf, her knee brought to her chest, before she guides it in a circular motion over a fast tempo and uneven rhythm. The phrase continues as the dancer repeats this movement with a larger dimension, her leg completing a full rond de jambe as her left arm slides across her chest and her right coordinates with her leg, highlighting an accent in the music. This phrase represents the choreographic device of augmentation as the movement is repeated on a larger scale, this assists in communicating the intention of the water providing life and power to people, plants, and animals. The phrase also includes the motif of rubbing the body seen in the previous section, however the gestural movement is performed with a variation in the elements of movement, specifically in the fast tempo and strong energy quality of the movement. This demonstrates the development of the motif which reflects the development of the intention between sections, conveying the intention of the water not just providing cleansing and healing powers but representing life itself.
Due to the linked relationships between intention, form, and movement vocabulary, ‘Reflect’ demonstrated an effective use of dance design.
Influences on Intention - Kati Thanda site visits
Prior to working with the dancers in the studio, Frances Rings, the choreographer of ‘Reflect’ along with other members of the dance work’s creative team, Jacob Nash, the show’s set designer, and David Page, the composer, travelled to Kati Thanda to spend time on country. Kati Thanda, also known as Lake Eyre, is a great Salt Lake situated in the remote northwest of South Australia. Throughout their time at Kati Thanda, the group was able to experience the unique landforms, colours, and animal life of the lake. Most significantly, they were able to witness the cyclical nature of the water transformations of the lake, the juxtaposition of the dry lakebed and the lake when the basin is full of water. These contrasting ideas interested the creative team, and they began to think about the significance of water not just to the environment but spiritually and culturally to the Arabunna people, as well as all Aboriginal and Torres Strait Islander people. The cyclical nature of the water transformations of Lake Eyre influenced the intention of ‘Reflect’. This is seen as the cultural significance and exploration of water is the main aspect of the intention. For example, section B communicates a woman submerging herself into the lake, driven by her connection to the water as she experiences its cleansing and healing powers.
Influences on Intention - Cultural Consultant (Uncle Reginald Dodd)
During their site visits to Kati Thanda, the selection of members from the creative team of ‘Reflect’ were led by Arabunna elder Uncle Reginald Dodd, a custodian and the cultural consultant of the dance work. Reginald Dodd is an elder born on Finnis Springs Mission on the southern end of Lake Eyre and has led cultural immersion tours of the Kati Thanda – Lake Eyre region since 1996 to finically support the Arabunna Centre and promote reconciliation. Previously, Dodd has worked with the Department of Community Welfare and the Department of Environment and Planning and Aboriginal Heritage. With his extensive experience and knowledge on country and culture, Dodd was able to share this rich knowledge with the creative team. Frances Rings found “being with Uncle Reg on his country” made her “think deeply about Indigenous like (herself) who live in urban areas and (their) relationship to country”. Ultimately, Reginald Dodd’s cultural immersion tour and storytelling significantly influenced the intention of ‘Reflect’. The perspective of urban indigenous people in contrast to Arabunna people created this idea of exploring a contemporary interpretation of connection to country through water and the lake. This is seen through the intention of the piece as it explores how water gives life and power to all living things and its significance to indigenous culture. For example, section C conveys the life and power water gives to all people, plants, and animals.
Influences on Intention - History of Bangarra Dance Theatre
The dance work ‘Reflect’ was produced by Bangarra Dance Theatre; a company made up of solely First Nations Australian dancers. The company is focused on the fusion of contemporary dance and traditional Aboriginal and Torres Strait Islander dance to communicate intricate intentions linked to the history and culture of First Nations Australian people. Bangarra was founded in 1989 from the energy of NAISDA (National Aboriginal and Islander Skills Development Association) dance college from the vision of Mr R Bryant, Cheryl Stone, Carole Y Johnson and a collection of NAISDA graduates. The company is dedicated to passing down stories from Aboriginal and Torres Strait Islander culture and conveying Indigenous connection to country. Bangarra’s mission as a company to communicate and pass down Aboriginal and Torres Strait Islander’s connection to country influenced the intention of ‘Reflect’. This is seen as the intention serves to communicate First Nations Australian’s connection to the land and the environment. For example, section A depicts a women transversing the edge of the lake, drawn to the lake by their visceral connection to its water and section B shows the woman immersing herself in the waters of the lake, and exploring this connection.
Influences on Movement Vocabulary - Frances Rings’ Training and Background
Frances Rings is the artistic director of Bangarra Theatre Company as well as the choreographer for the dance work ‘Reflect’. Rings was born in Adelaide and a descendant of the Wirangu and Mirning Tribes from the West Coast of South Australia. Prior to working with Bangarra, she was trained at the National Aboriginal and Islander Skills Development Association (NAISDA) and toured with the Aboriginal Islander Dancer Theatre before joining Bangarra Dance Theatre in 1993. In 1995, with the help of an Australian Council Grant, Rings trained at the Alvin Ailey American Dance Theatre in New York for three months before subsequently returning to perform at Bangarra where she made her mark as a performer. Alvin Ailey was an American dancer, choreographer, director, and activist who created AAADT as a haven for nurturing black artists and expressing the universality of the African American experience through dance. Having experienced schooling with such a heavy emphasis on embedding culture in dance, Frances Rings developed her own personal style which intertwined Contemporary dance and Aboriginal and Torres Strait Islander movement vocabulary. Rings’ background and personal style were a key influence on the movement vocabulary in the dance work ‘Reflect’. This is seen during section C, the dancer utilising a percussive, strong energy quality to stomp, turning out her legs the dancer moves in a backwards direction. The grounded stomping movement is seen often throughout aboriginal dance and conveys dancers’ connection to land, showcasing Frances Rings’s personal style.
Influences on Movement Vocabulary - Bangarra’s Established Movement Style
‘Reflect’ was produced by Bangarra Dance Company. Bangarra is a company made up of solely First Nations Australian dancers with a focus on expressing indigenous storytelling and connection to land. The company demonstrates a unique fusion on traditional Aboriginal and Torres Strait Islander dance and contemporary dance. Bangarra was founded in 1989 from the energy of NAISDA (National Aboriginal and Islander Skills Development Association) dance college and Frances Rings, the choreographer of ‘Reflect’ joined in 1993 before becoming artistic director in 2023. With over 30 years of existence, Bangarra has developed an established movement style which can be characterised by grounded movements, performed with a strong, percussive energy quality, and movement vocabulary rich in storytelling. Bangarra’s established movement style influenced the movement vocabulary in the dance work ‘Reflect’. This can be seen during section C as the dancer begins the phrase in a kneeling position, as her right leg utilises a percussive, strong energy quality, turning out and in repeatedly. She then completes a head roll, with her arms draped around her neck, before coming to a standing position.
Influences on Movement Vocabulary - Deborah Brown’s Training and Background
The dance work ‘Reflect’ produced by Bangarra Theatre Company, was performed by dancer Deborah Brown. Brown was a senior dance artist and choreographer with Bangarra from 2003 – 2017. She grew up in Brisbane, and begun dance training at the age of five, learning jazz, ballet, and tap at her local dance school. She was inspired to begin dancing by her mother who celebrated and taught her cultural dance, Brown’s childhood marked by dance as she grew up performing cultural dance around her family home. Despite not completing any formal tertiary dance training, Brown’s passion and talent led her to audition for Bangarra in 2002 before beginning her journey with the company in 2003. Her raw passion and aptitude in dance was culminated in her unique personal movement style which could be characterised as strong and free with a focus on gestural movements in her arms and torso. Deborah Brown’s personal style influenced the movement vocabulary in the dance work ‘Reflect’, as Brown worked with Rings to develop the movement vocabulary. This can be seen during section B as the dancer begins the phrase in a downward dog position. She utilises a medium dimension, inward focus, and a strong, free energy quality to gesture her left arm to rub in an upwards direction on her right arm, across her back, and down her neck before kicking each leg in a circular motion.
Influences on Production Aspects - Background of Jacob Nash
Jacob Nash is the set designer of the dance work ‘Reflect’ and has designed sets for Bangarra’s annual production since 2010. Prior to working with the dancers in the studio, a selection of members from the ‘Reflect’ creative team, including Frances Rings, Jacob Nash, and David Page, travelled to Kati Thanda to spend time experiencing the unique landforms, colours, and animal life, as well as the stories of the Arabunna people that embed the land with cultural meaning. Arabunna elder, Uncle Reginald Dodd led the artists onto his country and shared his knowledge about the land. During this site visit, Nash witnessed the unique cyclical water transformations of the salt lake, and he was drawn to the contrast between dryness and floods that created the juxtaposing ideas of absence and abundance. This aspect of the environment of Lake Eyre influenced Jacob Nash’s set design throughout the dance work. This is seen during section A, as the backdrop seems almost barren, dark and cracked, to represent the dry season of Kati Thanda and the consequential parched, bare lakebed. Contrastingly, the backdrop in section B and C resembles organic patterns formed by erosion or rippling water, depicting the more lake’s more abundant seasons.
Influences on Production Aspects - Background of David Page
David Page is the composer of the dance work ‘Reflect’ and was a proud descendant of the Nunukul people and the Munaldjali clan of the Yugambeh Nation in Southeast Queensland. His father was of Aboriginal and Chinese heritage, while his mother had Māori, Spanish, Irish, and Aboriginal ancestry. He was the eighth of twelve children in a family deeply immersed in culture, music, and storytelling. David’s upbringing in Mount Gravatt, Brisbane, was rich in cultural expression, with family gatherings often centred around music and performance. This environment nurtured his artistic talents from a young age. David’s connection to his cultural heritage was a key influence on the music of ‘Reflect’. This is seen through the atmospheric and immersive aspect of the music in the dance work, as it works to express the unique Australian landscape. It fuses traditional Aboriginal sounds with contemporary music elements, creating a layered aspect to the composition that reflects the emotional and spiritual connection to Country.
Influences on Production Aspects - Background of Jennifer Irwin
Jennifer Irwin is the costume designer of the dance work ‘Reflect’ and has over thirty years of experience in costume designing across dance, opera and theatre works. Irwin has worked for Bangarra Theatre Company since the early 1990s and some of her previous works with the company include Ochres, Fish, Bush and True Stories to name a few. She has also designed works for many critically acclaimed companies including Sydney Dance Company, The Australian Ballet, and Opera Australia. Irwin acquired a diploma of applied arts at Charles Sturt University and graduated from Centre of performing Arts Adelaide with a certificate in technical theatre in scenic art/costume. Her extensive experience has allowed her to develop her own personal style of costume design that can be characterised as textural, organic, and movement conscious. Jennifer Irwin’s experience in costume designing as well as her personal style influenced the costumes in the dance work. This can be seen in the piece as through the textures of Deborah Brown’s costume mimic that of the cracked salt lake and the environment of Kathi Thanda as a whole. The costume’s flowing silhouette and layering that responds to movement also reflect the movement conscious aspect of Irwin’s personal style.
