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Thursday, 07 June 2007 |
Every performance of Ngapartji Ngapartji at the sold out season at the 2006 Melbourne Festival won an immediate and prolonged standing ovation
THE AGE – John Slavin
"a rewarding theatrical experience. This is due in part to Jamieson’s charisma. He is a storyteller and
mime artist of elegant range and he can be very funny as he satirises white occupation, and equally moving
as he dramatises the black response … presents a case for tolerance of racial and ethnic difference through an exploration of language. The magnificently dignified female elders and performers who act a chorus to the epic telling sing, dance and give the audience a snap lesson in Pitjantjatjara in order to draw us into the magic circle of their culture.
It does honour to the festival that has presented it."
ARTSZINE – Andi Moore
"this is more than just a night out at the theatre. From the very beginning there is real exchange between audience and performers … the extremely moving story of the Spinifex people and an important reflection on Australia’s darker past. Although this is an ensemble piece, the energetic and charismatic Trevor Jamieson is the key performer and he gives an incredible performance. At times moving, funny and always thought provoking."
THEATRE NOTES – Alison Croggon
"Ngapartji Ngapartji means, “ I give you something, you give me something”, a literalisation of what is always an implicit exchange in the act of theatre. As soon as you see that the stage, which is covered with black sand, is actually a dancing ring, it becomes clear this is theatre that calls on its ritual roots. You are not buying a ticket to a show: you are being invited to participate in a ceremony. Tried and true audience participation, Wiggles style, but curiously unembarrassing, perhaps because it is so transparently friendly. It is, in the way of these things, faintly shambolic, but switches rapidly to honed, riveting performance, an oscillation that continues through the show. One remarkable aspect of this work is that it is never narrow or accusatory in its focus. Jamieson remembers for instance, that when the bones of dead children were taken without their parents’ permission and ground up by medical authorities to test their levels of radioactivity, they were from both white and black families. It is at once a lament for the dead, a joyous celebration of survival and an extraordinary expression of reconciliation. This kind of theatre is often done badly, relying on the goodwill and sympathy of an audience to get it through the shaky bits. Ngapartji Ngapartji miraculously avoids any such trying of patience: what could easily be sentimentality or just plain dagginess becomes, instead, a pure gift."
THEATRE NEWS - Christina Cass
"an experience of a nation’s journey told by master storyteller and co-creator of this work, Trevor Jamieson, and it’s not to be missed. Through monologues in native tongues and English translations, and sublime movement and projection we begin to understand that this is not one man’s tale, but the tale of many. The tale of Diaspora – or the displacement of people and cultures throughout man’s history – unfolds before us … he switches between English and Pitjantjatjara and moves with (such) catlike ease and humour that the audience barely realises they’ve been witness to 60 years of cultural history. Although this shameful topic is uncomfortable for many people, it is performed with great humour and intelligence. No finger pointing here, j ust a story that’s been missing from this nation’s narration; a story that should not be overlooked any longer … Jamieson’s and the ensemble’s performance is not only highly entertaining and timely, but it is pure Aussie-born and bred theatre. By signing up for online language classes or attending performances, you are not only broadening your own scope of knowledge, but you are helping a nation rebuild and redefine itself."
THE AUSTRALIAN - Miriam Cosic
"Jamieson is a charming and persuasive storyteller. Through gesture as well as words, he is the tour guide on a voyage that veers between laugh-aloud humour and silence–inducing anguish. This is an inclusive plea for understanding and justice and a sharp reminder that we have strong sympathy for the dramatic stories of foreigners while ignoring tragedy at home."
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Last Updated ( Sunday, 24 June 2007 )
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There's been a little discussion about shifting focus from creating discreet workshops in town to finding points of community engagement in the myriad events and work that we have before us. This week we mapped out the next 18 months of the project and were excited and overwhelmed at how much we have on our communal plate, including the production of a documentary, upcoming filmmaking workshops in Ernabella in July and the SA/NT tour in September/October. We received funding through the Department of Families, Housing, Community Services and Indigenous Affairs (FaHCSIA) to develop a mobile gallery to house and share the images and text produced by project participants throughout the project and started the first of a series of workshops in the newly renovated community building in Abbott's camp. And long-term project participant and established watercolour artist Elton Wirri flew to Melbourne last week to co-present with Company Director Scott Rankin at the Deakin Lectures.
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Clara Iaccarino
December 20, 2007
In a faded blue T-shirt and jeans, Trevor Jamieson flashes on to the
computer screen, swatting flies from his face as he welcomes
participants to Ngapartji Ngapartji's online community.
He is framed in a desert scene, the sun beating on his back as he
acknowledges the native landowners upon whose land he stands, flitting
between his indigenous tongue, Pitjantjatjara, and English.
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The family behind the Festival hit Ngapartji Ngapartji is finding the play is healing old wounds, for the family and the audience. |
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