Ghenoa Gela won the biennial Keir Choreographic Award in 2016 with a work infused with her Torres Strait Islander heritage while posing resonant questions about meanings inherent in or imposed on Indigenous dance. Fragments of Malungoka – Women of the Sea also won the people’s vote – a result that didn’t surprise at all. Gela’s work was much more emotionally engaging than the others in the race; more human, more interesting, more inviting.
More recently she’s been working with Broome-based company Marrugeku on a new project and this month was involved in two works at the Sydney Festival, a solo show titled My Urrwai at Belvoir and a Force Majeure premiere You Animal, You at Carriageworks, in which she was a warm, engaging figure.
The Keir Award commissions dance works specifically for the competition. Among its goals is the challenging of “conventions about what the moving body is or can be in contemporary society”. Which makes Gela (above) a perfect subject for one of a quintet of short portraits of Australian contemporary dance-makers made by the ABC and available now on ABC iview under the collective title The Movement.
The documentaries, from the hands of producer and director Kate Blackmore, are very brief – five minutes or less each – but as a group show that diversity in dance isn’t impossible, even if there is still a long road to travel. Here are trail-blazers consciously seeking to broaden the Australian public’s view of dance subject-matter, dance bodies and dance as a political tool.
Blackmore’s films are crafted as beautiful objects in themselves while giving a clear-eyed picture of each dancer-maker’s perspective. Gela, for instance, grew up in Townsville, Queensland, in a Torres Strait Islander family. She learned her family’s dances when she was young and her “ticket out of Rocky” was a chance to go to NAISDA (The National Aboriginal and Torres Strait Islander Skills Development Association). She knows exactly what she wants: to honour her Torres Strait heritage and show its distinctive qualities, and to be a beacon in independent dance for “more little black faces”. She’s wonderful.
Other dance-makers featured are elegant former Sydney Dance Company member Thomas Bradley; Bhenji Ra, “mother” of a Western Sydney-based vogue house; and Natalie Abbott, a young woman who challenges the exclusion of older bodies in dance.
I was particularly taken with Amrita Hepi, who describes the body as inherently political and is interested in the possibility of dancer as a way of transcending race and class. She also notes that the Antipodes are usually described as being at the end of the world. She sees Australia and the Pacific as the centre of her life and practice. Brava.