Prescribed works - Patyegarang Flashcards
How did the choreographer manipulate a symmetrical group structure through two different phrases (section B)
In Section B, the women surrounding Patyegarang gather in a symmetrical, circular formation around the soloist.
They then extend one leg to shift their body from a high to low level while brushing their hands across their body, lengthening their arms down the leg to create a small, curved dimension.
The even disposition of dancers in the group suggests a sense of unity as the women connect to the land through the spirit of the Eora.
How did the choreographer manipulate a symmetrical group structure through two different phrases (section C)
*Note: this phrase can also be used for contrast.
In section C, both the men and women come together to create two even lines across the center of the stage. In the front line, the men, who start on the floor on a low level, roll across the floor to create a smaller dimension with their arm bent behind their head, before extending one leg in a sideways direction and contracting into the body. The women begin at a high level before collapsing to a low level on the floor to reach one arm in an upwards direction. Although they perform different movements, the men and women maintain these symmetrical lines throughout the entire phrase, highlighting a sense of resilience as they work together to protect the tribe.
How is canon used (section A)
In section A, the women, as well as Patyegarang, clasp their hands together whilst holding their arms our in a curved shape, before spinning around themselves to stand in a triangular formation with Patyegarang at the front. Commencing first, Patyegarang sharply contracts through her spine, transposing the curved arm shape to behind her back. Following in canon, the second and third row repeat the same contraction movement (one row after the other). This ongoing canon illustrates the continuing and all encompassing presence of the Eora as it travels from one living being to the next.
Intention
The intention of Patyegarang is to establish a profound connection to the land through the awakening of the spirit Eora.
Influences - intention
(storytelling)
Storytelling: Through movement and storytelling, the work aims to honor the ancestral ties to the land, amplify the voices of the Eora people, and foster a sense of unity and belonging between performers, audience, and the spirit of the land.
Indigenous cultures value storytelling as a means of transferring cultural knowledge. Through Patyegarang, Bangarra Dance Theatre takes on the role of sharing indigenous stories with a wider community, aiming to educate, impact, and inform society about shared history and indigenous culture.
Influences - movement vocab (traditional aboriginal dance)
Traditional Aboriginal Dance: The movement vocabulary in “Patyegarang” is influenced by traditional Aboriginal dance steps that Stephen Page learned during his training at NAISDA and his experiences with tribal elders.
Traditional Aboriginal dance had a significant influence on the movement vocabulary of “Patyegarang,” infusing it with authentic cultural elements. Throughout the performance, the dancers often maintain a low and grounded stance, reflecting the connection to the earth and emphasizing a sense of rootedness in the land.
Circular spatial pathways and spiraling movements, symbolizing the cyclical nature of life and the interconnectedness of all things, were also weaved throughout the piece.
Rhythmic foot work such as stomping, toe-tapping, or heel-toe movements, synchronized with the music or chanting, further added a percussive element to the choreography.
