Ancient wisdom in new light

Bangarra has remained true to its aim of developing 'universal black energy'.

Goannas slither through Bangarra Dance Theatre's creation story Bush, symbolising male energy, while tribal elder Kathy Marika, in her first foray into contemporary dance performance, anchors the work with her presence as Mother Earth. A caterpillar cocoons and emerges as a moth, illustrating the poetry of the natural life cycle.

On its first New Zealand outing as a professional performing company - Bangarra has been here before, but playing foyers, as a cultural contribution, rather than the mainstage - Bush represents the company's spiritual, rather than political, face.

"Bush celebrates the magic and mystery behind the old creation myths," says artistic director and choreographer Stephen Page.

But while the work is inspired by the traditional and ancient, by the "old blackfella way", the expression is sharp and contemporary.

Page has been at Bangarra's helm since 1991 and the company has grown with him to become a major force in Australia's contemporary dance scene. In 1996 Page's Rites of Spring, made in collaboration with Australian Ballet, galvanised audiences at home and in New York.

In 1997 he choreographed Fish, which premiered at the Edinburgh International Festival and played at the Sydney Opera House as part of the Indigenous Festival of the Dreaming.

In 2000 he choreographed the indigenous segments of the opening and closing ceremonies for the Sydney Olympic Games and the same year made the major work, Skin, which premiered at the Olympic Arts Festival. Skin went on to win Page the Helpmann Award for Best New Australian work and Best Dance Work in 2000.

In 2001 Bangarra returned to the United States for a sell-out season of the triple bill Corroboree - which also won the Helpmann Award for Best Choreography.

In 2002 Page made Totem for Australian Ballet's principal dancer Stephen Heathcote, Walkabout for Bangarra and won the Matilda Award for his contribution to the arts in Queensland.

In 2004 he was awarded the Sidney Meyer Individual Award.

Bangarra and Page both have their roots in the Aboriginal Islander Dance Theatre (AIDT), which began in the 70s with the major aim of rejuvenating the cultural identity of Aboriginal urban youth, who had no connection whatsoever with their heritage or the land.

Page, and two brothers, Russell and David, who fell into that category, went through the AIDT programme in the following decade. Shortly afterwards, the group split into the Redfern Dance Theatre, which remained true to its urban roots, and Bangarra, with a developing focus on "universal black energy".

David Page has composed the score for Bush, with Steve Francis. Russell, a celebrated dancer, died tragically young, but his passing was a major cause in the making of Bush. The people of northwest Arnhem Land, who have, says Page, been 90 per cent of his inspiration over the past 10 years, felt Russell had a strong and special spirit, and the work honours that.

Page's vision of a theatrical style that remains true to Aboriginal tradition, but speaks to 21st-century audiences, is at the heart of Bangarra's success.

He had his first experience of living in a true Aboriginal community at 16 years of age, when Kathy Marika "adopted" him, becoming what he terms his "traditional Mother". It has been an ongoing discovery, since then, he says, of the wonderful wisdom and the depth of knowledge that exists in the "old ways" and his celebrating, through his choreography, "the inspiration of what we inherit".

*What: Bush, by Bangarra Dance Theatre

*Where and when: Aotea Centre, Mar 1-5, 7.30pm