Frances Rings, Bangarra Dance Theatre’s new Artistic Director, never doubted where her inaugural work at the helm of Australia’s preeminent First Nations creative company would take her – back to her Country, Yuldea, situated in the grand sweep of the Great Victorian Desert on the traditional lands of the Anangu peoples. ‘I wanted my tenure with the company to begin with sharing these incredible stories about this far west region of South Australia,’ Rings (of Wirangu and Mirning descent) says.
It’s where her Indigenous mother grew up, and where her German father worked on the Trans-Australian railway line connecting east coast to west via the majestic expanse of the Nullarbor. ‘In my early days, we were living out there on Country, seeing the railways, so that was my reality growing up.’
And so Yuldea, debuting at the Sydney Opera House during its 50th anniversary year, marks the company’s first major work following the departure of Rings’ predecessor Stephen Page. ‘Stephen handed me this beautiful, incredible legacy that’s wrapped up in history through these amazing works, relationships with communities and cultural consultants and the alumni over 33 years,’ Rings says. ‘All of that richness. You know, every day when I walk into the theatre, you have to have big shoulders to carry this, but I feel such a sense of privilege. I absolutely have been mentored and guided in the right way to be able to assume this responsibility.’
Bangarra’s exhilaratingly insightful productions draw on ancient and thriving traditions, reframing these stories through a contemporary performance lens that brims with tension. So, too, with latest work Yuldea, exploring complicated history. Ancient water soak Yooldil Kapi was, for thousands of years, the heart of thriving trading routes and a conduit for unbroken storytelling. When the railway was built, workers relied on its nourishing waters. But the demands on this lifeblood were too great, and the water ran dry in 1917.
This clash of cultures flows through Yuldea. ‘When we hear the stories of Elders, it gives us insight into their world, and they were at the forefront of colonisation,’ Rings says. ‘But not only does it allow us to see the light and the shadow of their experience, but it also allows us to join them in their journey of healing. Those stories are powerful reminders of how strong and resilient our people are. For us, it’s a sense of pride.’
Rings is proud of her dance towards this moment. ‘I grew up with my dad, so I missed out on a large portion of this incredible cultural connection to the land through my mother. But, as a young adult, I was able to connect back up with Mum and my community,’ Rings says. ‘The generosity and the incredible sense of kinship that they have wrapped around me and the sense of belonging, not only to them, but to the Country, has been such an important part of my growth as a woman and really helped me to understand who I am.’
Rings’ first work for Bangarra, the ‘Rations’ segment of award-winning two-hander Walkabout paired with Page’s ‘Rush’, debuted in 2002. More than two decades later, Rings remains invigorated by the opportunity to share the stories of Aboriginal and Torres Strait Islander peoples through dance.
‘This country will always have two stories and, at Bangarra, we are privileged to have a platform in which to give insight into the other story,’ she says. ‘Not the dominant one you’ll see every day you leave your house or turn on the TV. The one that drowns out the voice of the Indigenous and marginalised people of this country. But this truth-telling voice. Our responsibility is remembering history from the perspective of our First Nations people.’
Rings is clear that “history” is not a straight line. ‘Often we’re told those stories are in the past, but they have everything to do with who we are today,’ she says. ‘With the country having these conversations [about the Voice to Parliament], these stories centre its significance today, and that’s powerful.’
For her, this is Bangarra’s greatest gift. ‘That’s the incredible tool we have – to say, “These stories may have impacted us in the past, but we are still feeling the effects of that government policy and the impact of colonisation today,” because there is something broken in the system, and we can no longer afford to turn our backs to that.’
Connecting with Country while creating shows like Yuldea is a great healing process. Working with the Yalata Anangu Aboriginal Community Council and cultural consultants Maureen Smart and Clem Lawrie deepened Rings’ connection to place. ‘Once that was approved, we were on this beautiful journey of research and development on Country, given this beautiful insight into their history and their cultural connection.’
Rings says that by the time they get to the rehearsal studio, the company’s collective cup is so full of inspiration. ‘To have that immersion and to be able to hear these stories, to see the Country and feel the energy, it gives the dancers something that they can connect with authentically when they carry that story on stage.’
Behind the scenes, the Yuldea team included costume designer Jennifer Irwin, set designer Elizabeth Gadsby, lighting designer Karen Norris and astronomer Karlie Noon, the latter demonstrating a multidisciplinary approach that is the keystone of Bangarra’s artistic exploration. David Page Music Fellow alumni Leon Rodgers worked on the score alongside Zaachariaha Fielding and Michael Ross of Electric Fields fame, who have a deep connection to Anangu lands and contribute two songs to the piece.
‘I’m all about how we elevate emerging Indigenous creatives,’ Rings says of Rodgers. ‘He’s been incredible, he’s very shy but he’s a young genius. And the Anangu spirit has been celebrated by having Electric Fields, who are legendary, with us. We’re just so thrilled to have them,’ she adds.
While evolution is at the heart of artistic endeavour, Rings does wish she could capture this moment and this crew as if in amber. ‘When you find a team that makes magic while respecting the other elements, you’re on a winning ticket. They work so hard and there’s a real passion to what we do. I love them, and I couldn’t do it on my own.’
All involved respect the songlines they have been tasked with sharing. ‘The story needs to shine,’ Rings says, and Yuldea will surely shine bright.
YULDEA is touring nationally now. Sydney Opera House 14 June to 15 July, Canberra Theatre Centre 20 to 22 July and Her Majesty’s Theatre, Adelaide Festival Centre 10 to 12 August.
