Australian Dance Theatre Unveils Unique Outdoor Performance ‘RISE’

The Australian Dance Theatre has premiered its groundbreaking new performance, RISE, on the New South Wales South Coast. Departing from traditional theatre settings, the work is staged outdoors, utilizing the natural illumination of the sun at dawn. Plans are underway to tour the production nationally within the next two years.

A New Perspective on Performance

Daniel Riley, the first Indigenous artistic director of the Australian Dance Theatre, is known for his early morning routines. However, recent societal events, including the outcome of the Voice to Parliament referendum and increased friction surrounding Welcome to Country ceremonies, have imbued these pre-dawn hours with a deeper significance for him.

“I just had this idea. What if we presented a work [where] the theatre curtain was actually the sun rising?” Mr Riley stated. This concept has culminated in RISE, a contemporary dance performance that eschews conventional theatre sets and lighting designs in favor of the natural rhythm of the sunrise.

“Nothing will ever equate to the beauty of watching people perform barefoot on Country, our oldest living theatres,” Mr Riley remarked.

Premiere at Bundanon

The world premiere of RISE took place on Saturday at Bundanon, an art gallery situated on the NSW South Coast within a 1,000-hectare wildlife reserve. Established by art philanthropists Arthur and Yvonne Boyd, the site was gifted to the Australian government in 1993.

Orchestrated by Mr Riley and co-choreographer Brianna Kell, the performance commences with a Welcome to Country offered by First Nations elders, who are invited to share a song or story. The dancers then begin their performance as the sun starts to ascend, concluding as the morning fully breaks.

Streamlining Touring with Nature

For Mr Riley, the concept of RISE is both deeply rooted in ancient practices and practical for a dance company navigating the complexities of touring. “With touring traditionally, we need a theatre, we need a production crew, we need lighting, we need sets, we need everything that goes into putting a work into a venue,” he explained.

“The touring of RISE involves people, that’s it. What we collate and invest in along the way is relationships and relationship building, with traditional owners, community members, [and] local dance schools.”

As part of the lead-up to the performance, the Australian Dance Theatre conducted a workshop with the Dhaawarii Dance Group at Vincentia High School. This group, comprising 20 students who practice and perform First Nations traditional dances under the guidance of Aboriginal language teacher Jonathan Hill, found the experience invaluable.

Mr Hill noted that the workshop helped the students envision a future in the performing arts. “The kids were allowed to ask questions about how to become a professional dancer, what’s involved, and how much training is required,” Mr Hill said. “I think it just showed them that there is a pathway.”

Connecting with Ancient Traditions

The name Bundanon translates to “deep gully” in Dharawal, the language of the Wodi Wodi people, the traditional custodians of the region. Uncle Gerry Moore, a Yuin elder and director of the Bundanon Trust, sees the concept behind RISE as a revival of practices from 60,000 years ago.

“It was common for [Yuin] people to be walking from anywhere, from La Perouse down through the Illawarra and Shoalhaven, to right down the coast and across the [Victorian] border,” he recounted. “And during that time, our people would be trading, even if it was songs and tools, weapons, and stories. It’s just really great to see this being revived, not just for our mob but for everyone. To see what existed where this practice was normal.”

Promoting Understanding and Connection

Uncle Gerry Moore, who previously served as the CEO of the NSW Aboriginal Legal Service, has extensive experience addressing the systemic disadvantages and generational trauma affecting First Nations people. Despite ongoing challenges, such as PFAS contamination impacting his community of Wreck Bay, he maintains an optimistic outlook.

“I guess the good thing is, not everyone’s a racist,” he commented. “The big thing for me is talking to people, getting them to understand about Aboriginal people, Aboriginal culture, [and] the past. I believe that truth-telling is something that will help and guide that process.”

A Shared Morning Ritual

Following the performance, both performers and audience members are invited to share a communal breakfast in the morning light. Mr Riley views this often-overlooked ritual of sharing a meal as another means of fostering connection.

“I think post the unsuccessful Voice to Parliament referendum … it’s really important that we find places of gathering,” he stated. “Somewhere meaningful where we all arrive with an open heart and a generosity to connect.”

The premiere at Bundanon was attended by 90 people. The production is slated for a national tour in 2027 and 2028, with Mr Riley expressing the potential for the show to be performed in remote locations. “Ultimately, we could go wherever we are invited. We could go as remote as we need with this,” he concluded.