Dream weaving: A conversation with Jennifer Irwin

Margot Anderson
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引用次数: 2

Abstract

In December 2019 as I made my way through Bangarra Dance Theatre’s exhibition Knowledge Ground, Australia was in the early stages of a devastating bushfire season and Sydney was shrouded in a cloud of smoke. It was Bangarra Dance Theatre’s 30th anniversary and I was fully immersed in a theatrical display of set pieces, soundscapes and costumes from landmark productions by Australia’s premier First Nations performing arts company. Bangarra’s body of work draws on over 65,000 years of Indigenous culture and fuses the language of traditional and contemporary dance to create a compelling narrative based on a shared knowledge of country. These works have served as markers of revelation in the development of my own understanding of Australia and have made Bangarra an internationally acclaimed source of powerful story telling. They have also fuelled a long-lasting appreciation of the costumes designed for the company by Jennifer Irwin with whom I shared a series of discussions.
梦的编织:与Jennifer Irwin的对话
2019年12月,当我参观班加拉舞蹈剧院(Bangarra Dance Theatre)的“知识场”(Knowledge Ground)展览时,澳大利亚正处于毁灭性森林大火季节的早期阶段,悉尼被烟雾笼罩。这是班加拉舞蹈剧院成立30周年,我完全沉浸在澳大利亚首屈一指的第一民族表演艺术公司的标志性作品的戏剧表演中,包括布景、音景和服装。班加拉的作品汲取了65000多年的土著文化,融合了传统和当代舞蹈的语言,以共同的国家知识为基础,创作出引人入胜的叙事。这些作品在我对澳大利亚的理解发展中起到了启示的作用,并使班加拉成为一个国际知名的强有力的故事讲述来源。他们也对詹妮弗·欧文(Jennifer Irwin)为公司设计的服装产生了持久的欣赏,我与她进行了一系列讨论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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