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People, Land, and Spirit

Sheltering,” Bangarra Dance Theatre’s new triple bill, having opened in Canberra on Ngunnawal Country, is on its national tour, and much like the definition to ‘take shelter,’ the choreographers and the dancers ask the audience to actively look at from whom and what a community or an individual might need to take shelter. To me, this questioning is what lies at the core of “Sheltering:” from what, from whom, and further to that, what will you do with this awareness? Beneath the mantle of three stories of Country, one message of hope, Bangarra inspires activation in all her forms.

Performance

Bangarra Dance Theatre: “Sheoak” by Frances Rings / “Keeping Grounded” by Glory Tuohy-Daniell / “Brown Boys” by Daniel Mateo and Cass Mortimer Eipper

Place

Playhouse, Arts Centrem, Melbourne, Wurundjeri Country, Australia, June 19, 2026

Words

Gracia Haby

Bangarra Dance Theatre in “Sheoak” by Frances Rings. Photograph by Daniel Boud

Told in three sections “Place,” “Body,” and “Spirit,” Frances Rings’s“Sheoak” is a lesson still to be learned, as relevant now as it was when it debuted in 2015. Like the endangered Sheoak tree, endemic to Australia, and much of our flora and fauna, “Indigenous languages, customs, and lore [are also under] threat”[1]. And so, this work is both about the Sheoak tree, whose green branchlets of scales (leaves) resemble the feathers of the Cassowary (hence belonging to the family Casaurinaceae), and the role the grandmother tree plays. “The Sheoak, like the grandmother, has a role in family and community life that is about protection, the wisdom of elders, life’s journey and the spirit of survival. Children were often left under the protective bough of the Sheaok while parents gathered food. Since ancient times, the Sheoak tree has provided Aboriginal people with wood for weapons, tools and even canoes and the branches were used for windbreaks and shelters.”[2] Choreographed by Mirning woman, Rings, with music by Munaldjali and Nunukul man and renowned composer David “Dubbo” Page, whose legacy resides “in the heartbeat of Bangarra’s storytelling”[3], the Sheoak tree is symbolic; the roots of the Sheoak are the past; the trunk, the present; and the branches, the future.

In “Place” the Sheoak tree on the stage before me bears hope, hope in the sense of rising again. The Scar Tree cast mourn the loss of the fallen trees, and in doing so, rise again, and “adapt to a new way of life”[4]. In beautiful, textured costumes by Jennifer Irwin, which bear stylised elements of the tree herself, the Scar Tree cast form a loose circle, and several dancers slowly lift one another from the ground. With feet slightly flexed as they are raised, torsos facing upwards, they gently settle like a new shoot. Those held aloft sway as if, like the branches themselves, their limbs are being moved by the elements, and the effect is mesmerising. Whether in full ensemble moments or solos, like that of the Sheoak “Spirit”, the sense of renewal is palpable.

Bangarra Dance Theatre in “Keeping Grounded” by Glory Tuohy-Daniell. Photograph by Daniel Boud

Bangarra Dance Theatre in “Keeping Grounded” by Glory Tuohy-Daniell. Photograph by Daniel Boud

Earlier, unfurling in several sections from “Migi (ground)” to “Ngulibi (water),” Indjalandji-Dhidhanu and Alyewarre woman Glory Tuohy-Daniell’s “Keeping Grounded” offered forth similar moments of beauty and truth. With a set design by Shana O'Brien, the tie to earth took form in the presence of a giant net, which first appeared draped across the dancers on the stage floor, like a hug, a skin, a piece of them. “You arrive as one person, but you are not alone there;”[5] your ancestors, memory, and presence will ground you. The net, once lifted and hung from high overhead bore several holes with reinforced seams, from “Guliyapa (cheeky),” and the pursuit of money and greed over kin. Holes through which the dancers climbed or fell through as they sought reconnection to land and place. The dancers scaled the net with ease, in symbolic, conscious choice of letting go, soft like water (“Ngulibi”).

At the intersection, a six-minute film choreographed and directed by Daniel Mateo and Cass Mortimer Eipperand, featuring Mateo’s spoken word and body poem, “Brown Boys,” illuminated the theatre in a powerful, heartfelt act of reclamation. First presented in 2024’s “Dance Clan,” the film began with Mateo in a Tongan shelter, called a Fale, which slowly came apart, and drew upon lived experience to address issues of identity on a personal to universal level. The closing image of Mateo, a descendant of the Gomeroi people of northeast NSW as well as the Tongan people from the Pacifika region, waist-deep in a mound of dark earth was as striking as it was loaded and necessary. 

To the trees, and their custodians, beneath their canopy, let the final note sound: “These ancient trees ground us and keep us connected to something that transcends our modern life and binds us to our birthright.”[6]

Gracia Haby


Using an armoury of play and poetry as a lure, Gracia Haby is an artist besotted with paper. Her limited edition artists’ books, and other works hard to pin down, are often made collaboratively with fellow artist, Louise Jennison. Their work is in the collections of the National Gallery of Australia and state libraries throughout Australia to the Tate (UK). Gracia Haby is known to collage with words as well as paper.

footnotes


  1. Frances Rings, Bangarra Dance Theatre: Knowledge Ground, https://bangarra-knowledgeground.com.au/productions/lore/frances-rings-on-sheoak-lore, accessed June 20, 2026
  2. “Lore: Dance Stories of Land and Sea,” Bangarra Dance Theatre: Teachers’ Resource, 2015 https://d3ihitrw16qgsp.cloudfront.net/uploads/resources/LORE-Study-Guide.pdf, accessed June 20, 2026
  3. “Roy Davidson ‘Dubbo’ Page (1961–2016),” Bangarra Dance Theatre “Sheltering” printed program, 2026, 14–15.
  4. “Sheoak” synopsis, Bangarra Dance Theatre “Sheltering” program, 12
  5. “Keeping Grounded” synopsis, Bangarra Dance Theatre “Sheltering” program, 11
  6. “Sheltering,” Bangarra Dance Theatre: Study Guide, 2026, 12, https://www.bangarra.com.au/media/k4rjgzdd/bdt-shelteringstudyguidea4web.pdf, accessed June 20, 2026

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