Categories: Reviews

Dance at its most compelling

Briwyant begins with the sound of a story wanting to be told.  As it searches for the Dreaming in an urban world and looks for the songlines that still connect us all to country, this is contemporary Australian dance at its most compelling.

Director, choreographer and Wirradjerri woman Vicki Van Hout was brought up in Dapto in NSW, spent time in an infamous Woolloomooloo artist squat, studied dance at the National Aboriginal and Islander Skills Development Association (NAISDA) College, trained in New York and moved back to Australia to perform with Bangarra in the mid 90s.

Malthouse, Briwyant. Photo by Jeff Busby

Working collaboratively with her dancers and creative team, Briwyant’s stories start with images that perpetuate Indigenous culture.  Inspired by the Yolngu word bir’yun, which describes the crosshatch shimmering on a painting’s surface, like a dot painting, some of Van Hout’s meanings are obvious, while others are hidden or only clear with a learnt understanding. None of which makes her choreography and images any less beautiful or intriguing.

With remarkable dancers (Henrietta Baird, Raghav Handa, Rosealee Pearson, Beau Smith and Melinda Tyquin), Van Hout’s distinct choreography melds traditional Indigenous movement with a New York-inspired post modern fluidity. This result is grounded and precise, but unpredictable and always surprising. As is the soundtrack where silence, live narration (Van Hout) and the dancer’s voices are as important as the music.

With playing cards as the dots creating a river through the land, colourful sarongs, live footage filmed in Van Hout’s grandmother’s country and lighting (Neil Simpson) that makes the stage look and feel like another map and uses the contemporary magic of shadows and static to change how the dancers are seen, the design is so integral to the dance and dancers that it’s impossible not to understand the link between country and people.

I saw Briwyant’s as a work about finding connection. It’s meaning isn’t always clear, but dance like this is visceral and its story reaches our guts in ways that words fail.

Anne-Marie Peard

Anne-Marie spent many years working with amazing artists at arts festivals all over Australia. She's been a freelance arts writer for the last 10 years and teaches journalism at Monash University.

Recent Posts

Oliver Tompsett to Take on Shakespeare in Broadway’s ‘& Juliet’

Oliver Tompsett, acclaimed for his roles on the West End, is set to portray William…

5 hours ago

New Stars for ‘Little Shop of Horrors’ in New York

Andrew Barth Feldman and Sarah Hyland are set to join the off-Broadway production of 'Little…

5 hours ago

The global phenomenon JESUS CHRIST SUPERSTAR is coming to Australia

Following huge acclaim and sold-out seasons in London as well as an extensive tour of…

6 hours ago

Exploring the World of Online Poker: Key Aspects to Keep in Mind

Australian poker players are a sight, in poker tournaments and high stakes games worldwide showcasing…

19 hours ago

Margaret Court Arena undergoes transformation for first ever opera performance – Puccini’s Tosca

Margaret Court Arena (MCA) will undergo a transformation from tennis arena to a grand opera…

1 day ago

The Coolest Sunglasses You’ll See in Musical Theatre Numbers

In musical theatre, costume design can express as much as, if not more, than other…

1 day ago