Whenever we are confronted with artwork involving indigenous society, their history, heritage and ongoing striving to peacefully live on their very own land, we suddenly face our own guilty conscience. BLOODLAND is such a piece of art. For its production Stephen Page has brought on board some of the best contemporary indigenous artists and a handpicked cast of formidable performers. Together they take us on an ancient, mysterious and flabbergasting journey. Page’s vision is brought to life beautifully with no room for criticism or highlighting names. Everyone involved is part of the outstanding result. It deserves a standing ovation.

However, really, what are we standing up for?! This statement counts for everyone who is willing, and able, to let go and dive into the mysterious world of Aboriginals and Torres Strait Islanders on their quest to maintain their dignity, whilst still battling their excruciating battle with a world so far apart from their traditional beliefs.

For this reviewer, coming from a European background where all art is considered free and deserving support, at all times, BLOODLAND once again is proof that as long as we are not able to communicate, no matter what culture, religion or language is involved, we will not be able to form a national identity that can be accepted by each and every single person in our country! As long as we distance whoever and whatever is different from our own decadent western beliefs, we will not be able to understand the people we borrow our country and good fortune from!

I would have expected that David Page, with all the education and passion for the performing arts that he has, by now would have found a stringent way to let us participate in his own interpretation of the struggle of his people!

Page is for sure aware of the impact, on the decadent frenzy for everything “classical ballet” of the “Western World”, that Pina Bausch and her Wuppertal Dance Theatre Company has had and will continue to have. I am surprised that he chose to go the “easy” way of collaborating with the well-established Sydney Theatre Company when he actually had the opportunity to, finally, put his stamp on contemporary theatre with his own style, expertise and artistic genius!

Why does he need hundreds of people, including indigenous cultural consultants?! Why do we have to sit through a performance where most of the language is presented in a language we are not familiar with?! As long as the many aboriginal dialects are not taught by default in our schools, how does the indigenous community expect us to understand what they are trying to communicate. Especially as long as we, the unknowing, are left with no translation because there are no subtitles during the performance, and no translation is made available in the program!

As said before, language is the key to communication. So is dance and music without words. This production looks to me as if there is no communication, interaction, understanding or invitation to audiences, unfamiliar with the Torres Strait Islands and Arnheimland cultures, to come to an understanding of the pain and isolation we have thrust upon them.

As long as Stephen Page does not stand up against the myth that in 1770, at Endeavour River, Captain Cook is supposed to have asked a native “What is that?” to which the reply “kangaroo”, supposedly meaning “I don’t know”, was given, what possibility is there for change?! The answer Captain Cook received was minha, “eatable animal”. Haven’t we westerners since learnt that kangaroo meat is actually very sweet and digestable?! Minha, it certainly is!

If you want to learn, close your eyes and listen, to the language, the music, the rhythm, the wind, the agony, the dreams filled with fear but driven by the eternal belief in their land and right to be. We are the visitors! The land and her people are our hosts. Let them teach us to understand what we never might be able to know!

Stephen Page, his collaborators and ensemble, will give you the key to understand, if you are up to it. They deserve to be called “The National Australian Bangarra Dance Theatre” and stand side by side with the Australian Ballet and Sydney Dance Company. When this happens we finally may be able to see a true fusion of contemporary dance embracing our cultural diversity.

BLOODLAND opened at Wharf 1, Sydney Theatre Company, on Friday 7th October and plays until Sunday the 13th November, 2011.

© Markus Weber

14th October, 2011

Tags: Sydney Theatre Company, Bangarra Dance Theatre, Wharf 1, Sydney Theatre Company, BLOODLAND, Stephen Page, Elaine Crombie, Tessa Rose, Rorriwuy Hick, Balngayngu Marika, Captain Cook, Danielle Lyonne