Outline the intention of the dance work Patyegarang and the section Eora
The dance work ‘Patyegarang’ choreographed by Stephen Page offers an alternate perspective on colonisation in Australia through the relationship between Patyegarang, a woman of the Eora tribe and colonial astronomer William Dawes. Scene 1, titled Eora, specifically depicts the spirit of Patyegarang awakening in a celebration of people and land. Section A explores the spirit of Patyegarang awakening and sharing her energy, knowledge, and understanding of the land with the universe. Section B represents the different roles of gender within the community and how they work to support their culture in one another. Finally, section C shows the members of Eora coming together to celebrate their culture and heritage and communicate their invitation to learn about their culture.
Discuss how the movement vocabulary within two phrases has been used by the choreographer to communicate the intention.
Paragraph 1
- men complete handstand infront of women
- large dimension, percussive strong enrgy quality and moving infront of women conveys intention of the gender roles in the community and men protecting the women
Discuss how the movement vocabulary within two phrases has been used by the choreographer to communicate the intention.
Paragraph 2
- women in circle around patyegarang
- focus toward patyegarang and patty on higher level conveys the women’s reverence toward her and her role as a cultural leader as she shares knowledge
Provide two examples of how the spatial arrangements and/or relationships between dancers have been used to communicate the intention.
Paragraph 1
- men and women contrast phrase
- The arrangement of the men in front of and separate from the women in an asymmetrical grouping communicates the intention of the separation of the two groups, representing gender roles within the community
Provide two examples of how the spatial arrangements and/or relationships between dancers have been used to communicate the intention.
Paragraph 2
- men handstand phrase
- coming infront of the dancers forming a symmetrical line communicates the intention of the gender roles within the tribe and the men protecting the women
Describe two phrases from the prescribed work and explain how the movement vocabulary is manipulated through the use of spatial arrangements and two or more elements of spatial organisation to communicate the intention.
Paragraph 1
- patyegarang beginning phrase
- The arrangement of Patyegarang in the centre of the stage, with the other dancers crowding around her, sitting at a low level in an asymmetrical arrangement with their focus directed upwards towards her communicates the intention of Patyegarang sharing her knowledge and understanding of the land and culture.
Describe two phrases from the prescribed work and explain how the movement vocabulary is manipulated through the use of spatial arrangements and two or more elements of spatial organisation to communicate the intention.
Paragraph 2
- patyegarang and women circle phrase
- The use of focus on Patyegarang and arrangement of the dancers circling her helps to communicate the intention of Patyegarang sharing her knowledge and understanding of the land and her significance to the community as her spirit awakens.
Choose three phrases from the selected group dance work that have contrasting movement vocabulary. Describe the choreographic manipulation of ALL elements of spatial organisation and the aspect of the intention communicated in each phrase.
Paragraph 1
- men handstand phrase
- large dimension, strong and percussive energy quality and fast tempo conveys intention of men protecting the women further exploring the gender roles present within the tribe
Choose three phrases from the selected group dance work that have contrasting movement vocabulary. Describe the choreographic manipulation of ALL elements of spatial organisation and the aspect of the intention communicated in each phrase.
Paragraph 2
- patyegarang and women circle phrase
- The use of focus and low level in contrast to Patyegarang helps to communicate the intention of the women’s reverence and respect of Patyegarang as her spirit shares her knowledge and energy with the community.
Choose three phrases from the selected group dance work that have contrasting movement vocabulary. Describe the choreographic manipulation of ALL elements of spatial organisation and the aspect of the intention communicated in each phrase.
Paragraph 3
- just men in contrast section
- low level, suspended energy quality and focus on hands conveys connection to land as the tribe comes together in celebration of Country
Choose two phrases from the group dance work that have contrasting movement vocabulary. Describe the choreographic manipulation of one element of spatial organisation and the aspect of the intention communicated in each phrase. Spatial organisation elements must be different for each phrase.
Paragraph 1
- patyegarang and women circle phrase
- The use of focus helps to communicate the intention of the women’s reverence and respect of Patyegarang as her spirit shares her knowledge and energy with the community.
Choose two phrases from the group dance work that have contrasting movement vocabulary. Describe the choreographic manipulation of one element of spatial organisation and the aspect of the intention communicated in each phrase. Spatial organisation elements must be different for each phrase.
Paragraph 2
- men and women contrast
- The contrasting use of level between the two groups highlights the intention of the separation of men and women to represent traditional gender roles and how they work to support the community
Identify the five types of group structures. For each type of group structure, discuss one example of how the choreographer(s) used that structure to communicate the intention of your selected group dance work.
Unison
Unison
- just women in circle phrase
- This demonstrates the group structure of unison, as the movement phrase is completed at the same time with identical movement vocabulary. - The use of unison helps to convey the intention of the dance work, representing the sense of community within the tribe as they celebrate the awakening of patyegarang
Identify the five types of group structures. For each type of group structure, discuss one example of how the choreographer(s) used that structure to communicate the intention of your selected group dance work.
Contrast
Contrast
- men and women contrast phrase
- The use of contrast between the group of men and women communicates the intention of the gender roles present within the clan, as both groups work to support the community.
Identify the five types of group structures. For each type of group structure, discuss one example of how the choreographer(s) used that structure to communicate the intention of your selected group dance work.
Canon
Canon
- patyegarang triangle phrase
- This phrase demonstrates the group structure of canon as the women behind her complete the same movement in fractional, sequential time differences.
- The use of canon demonstrates Patyegarang’s role in her tribe and the importance of her passing down stories, knowledge, and culture.
Identify the five types of group structures. For each type of group structure, discuss one example of how the choreographer(s) used that structure to communicate the intention of your selected group dance work.
Symmetry
Symmetry
- men and women circle shape
- The circle they create is a balanced, symmetrical shape, therefore demonstrating symmetry.
- The use of symmetry conveys the connection between all members of the community, though separate groups represent the gender roles present within the tribe.
Identify the five types of group structures. For each type of group structure, discuss one example of how the choreographer(s) used that structure to communicate the intention of your selected group dance work.
Asymmetry
Asymmetry
- patyegarang beginning phrase
- The group of dancers move in differing directions and pathways, demonstrating an asymmetrical formation as their positions in the space are unbalanced.
- The use of asymmetry conveys the confusion and exploration of the dancers, displaying the intention of exploring and celebrating the land as the spirit of Patyegarang awakens.
Influences on intention - 25th Anniversary of Bangarra Dance Company
The dance work ‘Patyegarang’ was created to commemorate the 25th anniversary of Bangarra Theatre Company. Bangarra, guided by its artistic director, Stephen Page, centres itself around its values and mission statements, in which it places significant emphasis on passing down stories that held cultural importance to Aboriginal and Torres Strait Islander communities in Sydney. In line with these values, Stephen Page facilitated the creation of the work ‘Patyegarang’ as a facet of celebration for the land of Sydney and the people that once cared for it. The 25th anniversary of Bangarra influenced the intention of the dance work, inspiring the aspect of the intention that explores the community’s connection to the land. This is seen as section C of the piece conveys the people coming together in a celebration of the land.
Influences on intention - Cultural Consultants
Story telling is the core of Bangarra Theatre Company, whose mission as a company is to preserve cultural systems, values and history through dance. For all Bangarra productions, the 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. Richard Green, a descendent of the Dharug and Matthew Doyle, a descendant of the Muruwari worked together with the creative team, including Bangarra’s artistic director Stephen Page, on ‘Patyegarang’ as cultural consultants to ensure the dance’s intention was true to the traditional owners of those stories and upheld the integrity of the stories’ meanings. As cultural consultants, the aspect of Green and Doyle’s creative influence that held the most significance was the preservation of the story of Patyegarang and how this could be accurately represented. Green and Doyle significantly influenced the intention of the dance work. This is seen through the aspect of the intention that explores the awakening and celebration of the spirit of Patyegarang, specifically as it works to express her cultural significance to the community.
Influences on intention - William Dawes’s journals
A significant aspect of the dance work ‘Patyegarang’ is the relationship between Dawes and Patyegarang which was developed through the discovery of William Dawes’s journals in 1972. Dawes’s journals, written across 1790 and 1791, contained his detailed and thoughtful description of the Indigenous language spoken in Sydney of which he mentions Patyegarang as his primary teacher. The journals provide significant insight into the relationship between Patyegarang and Dawes as well as Patyegarang’s welcoming nature that led her to openly share her cultural knowledge and language. The discovery and extensive research of Dawes’s journals by Stephen Page and the ‘Patyegarang’ creative team influenced the intention of the dance work, allowing the further exploration of Patyegarang and Dawes’s friendship and Patyegarang’s character as a leader of the community and holder of knowledge. This is seen through the aspect of the intention that expresses the awakening of the spirit of Patyegarang as a cultural leader, passing down knowledge to the community.
Influences on intention - History of Bangarra Dance Company
The dance work ‘Patyegarang’ was produced by Bangarra Dance Theatre; a company made up of solely First Nations Australian dancers, led by its artistic director, Stephen Page. 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. Stephen Page and Bangarra are dedicated to passing down stories from Aboriginal and Torres Strait Islander culture and conveying Indigenous connection to country. Their company mission to communicate Indigenous people’s connection to country influenced the intention of ‘Patyegarang’. This is seen as the intention serves to communicate Indigenous connection to land and culture through the exploration of the spirit of Patyegarang. For example, Section A explores the spirit of Patyegarang awakening and sharing her energy, knowledge, and understanding of the land with the community and Section C shows the members of Eora coming together to celebrate their culture and heritage.
Influences on Movement Vocabulary - Cultural Consultants
Story telling is the core of Bangarra Theatre Company, whose mission as a company is to preserve cultural systems, values and history through dance. For all Bangarra productions, the 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. Richard Green, a descendent of the Dharug and Matthew Doyle, a descendant of the Muruwari worked closely with Stephen Page and the creative team on ‘Patyegarang’ as cultural consultants to ensure the dance’s intention was true to the traditional owners of those stories and upheld the integrity of the stories’ meanings. As cultural consultants, the aspect of Green and Doyle’s creative influence that held the most significance was the preservation of the story of Patyegarang and how this could be accurately represented through choreography. Green and Doyle significantly influenced the movement vocabulary of the dance work, allowing Page to place an emphasis on storytelling through movement. This can be seen as the movement can be marked by its varied and plentiful use of gesture and the connection between the dancers onstage. For example, at the beginning of section 1, Patyegarang occupies centre stage and begins the phrase by gesturing her left and then right arm in a circular motion, pushing away from her, using her spine to initiate this movement before moving to a low level, her knees bent and her hands touching the floor.
Influences on Movement Vocabulary - Established ‘Bangarra Style’
‘Patyegarang’ 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 Stephen Page 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 ‘Patyegarang’ . This can be seen during section B as a group of women in the back right of the stage step backwards lifting their knee upwards with their hands on their right hip bone. They then complete a turn before facing the back in a low lunge with their left arm on their neck and their right outstretched. This movement demonstrates a fusion of contemporary and traditional Indigenous movement vocabulary.
Influences on Movement Vocabulary - Stephen Page’s background and training
The artistic director of ‘Patyegarang’, Stephen Page, worked with Bangarra for 31 years, creating a signature body of works that have become milestones in Australian Performing Arts before stepping away from this role in 2022. Born in Brisbane, Page is a descendant of the Nunukul people and the Munaldjali clan of the Yugambeh Nation from South East Queensland. He was the tenth of twelve children in a family deeply immersed in culture, music, and storytelling. Page’s upbringing was rich in cultural expression, with family gatherings often centred around music and performance. With a childhood focused on culture and storytelling, Page was inspired to explore expressing his heritage through movement. As the choreographer of ‘Patyegarang’, Stephen Page’s connection to his cultural heritage, and his passion in expressing through dance significantly influenced the movement vocabulary of the dance work. This can be seen through the traditional First Nations movement that is manipulated throughout the piece. For example, during section B the phrase begins with a group of dancers at the back of the stage in a low lunge, gesturing their left arm forwards at a ninety-degree angle with their right hand on their elbow. The dancers then turn to the back with their left knee lifted before travelling forward at a medium-low level with their right arm outstretched and their right hand on their elbow.
