From the rich cultural heritage of two of the world’s great First Nations emerges Bangarra Dance Theatre’s latest masterpiece, ‘Horizon.’ This work embodies the essence of the horizon, where the sea meets the sky, guiding us home with its timeless spirit. The double bill begins with ‘Kulka,’ an expansion of Sani Townson’s acclaimed work that debuted in Dance Clan 2023.
Paying homage to his Torres Strait heritage and grandfather, Sani Townson—artist, dancer, and theatre maker shares his personal, cultural, and artistic journey on stages across Australia. Ahead of the Canberra season of ‘Horizon,’ Sani spoke with FUSE about this amazing show and his artistic influences.
David Blanco (FUSE): What can audiences expect when they come to see Bangarra Dance Theatre's production of 'Horizon'?
Sani Townson: The connectedness we all share when it comes to lineage and how, in our First Nations stories, we hold so much strength that we can convey our creativity to the wider audience. Audiences are in for a ride. Strap in and hold on, this production is one for the senses.
How does 'Horizon' reflect the cultural heritage and stories of Indigenous Australians? What specific elements of Indigenous culture are highlighted in the performance?
Our Stories are interconnected in one way or another. What captivates me most about this production is our shared night sky that guides our stories.
Photo by Daniel Boud
What emotions or messages do you hope the audience will take away from "Horizon"? Is there a particular moment in the performance that you find especially moving or powerful?
With everything I create, I want you to leave with something from and about the Torres Strait. We are a formidable people even though we are humble. Every time I watched a run of this production, it really grabs me by the heartstrings because all our stories are connected. ‘Horizon’pays homage to the people who have given us the confidence and resilience to tell our stories.
What was it like collaborating with other artists, dancers, and creatives for this production? Were there any challenges or highlights in this process?
Here’s a fun fact - In the creation of ‘Kulka,’ I followed a two-step process. First, I wrote an acknowledgment to express gratitude to my Aboriginal brothers and sisters on the mainland for their presence and contributions to the dance community. This was then translated into Auslan (Australian Sign Language). Next, I had the dancers observe the finger movements and spell out their mob/clan names using the semaphore alphabet.
These movements were incorporated into the choreography on the dancers’ bodies and then mapped onto the floor directions. Additionally, this project is a family production. My younger sister, Zipporah Corser-Anu (daughter of Christine Anu), sings a lullaby in our grandfather’s native language, Kalaw Kawaw Ya, which had been translated by my Aunty Leonora Adidi.
Sani Townson
How has your personal identity and experience as an LGBTQIA+ individual influenced your work in dance and choreography?
I began my journey as a shy, quiet boy, but over time, I blossomed into a confident and creative unicorn within our Rainbow community. My uncle Bob, my mother’s brother, was an extraordinary femme queen. I greatly admired her because she lived on a remote island in the far north of the Torres Strait, exuding femininity. Interestingly, my mother’s siblings treated her with the same respect as anyone else.
Additionally, I have Uncle Percy Jackonia and Uncle Jimmy Gagai, both founding members of Bangarra Dance Theatre. They are openly gay and proudly living their truth. Uncle Bob, Uncle Percy, and Uncle Jimmy formed a delightful sisterhood of fun, and I thought, ‘That’s what I want.’ I also share that bond with other Bangarra Alum, who are now my sisters in life.
Are there specific pieces that reflect this aspect of your life?
The first one would have to be ‘Koedalaw Awgadth – The Trio’. I've been in this Arts game for a while, and I’ve always lived as a hunter in silent waters. I sit and I observe a lot. I am all about the vibrations that people give off in this sea of people. I have a very close knit circle of friends who keep it real with me all the time. The second piece would have to be ‘The Arrival’ from ‘The Light Inside’ . Seeing the dancers appear from the long white cloud across the floor moves my spirit every time. We all came from somewhere and now, we are here.
What do you believe is the current state of LGBTQIA+ representation in the dance community? How can the industry continue to evolve to become even more inclusive?
Promoting visibility within the First Nations and Rainbow community is a priority for me. I’ve been looking into gender misrepresentation and exploring ways to create positive change through my work. I’m aware of several non-binary performers in the industry who face misgendering because the broader community isn’t sure how to address these incredibly talented individuals.
However, my heartfelt desire, which I’m putting out to the universe, is to collaborate with a First Nations trans contemporary dancer in my upcoming independent dance project.
Looking ahead, what are your hopes and aspirations for Bangarra Dance Theatre and your work as a choreographer?
I can sit here on a plane on the way to my family in QLD and proudly say that I am one of those gay unicorns in the Bangarra Family where the next generation of First Nations unicorns can stand on my shoulders to push forward and tell our First Nations stories from the Torres Strait and Mainland Australia. People in our Blak arts space know that I forge away quietly. But I will make sure that you leave with culture from Zenadth Kes (Torres Strait)
Are there any upcoming projects or themes you're excited to explore?
I’m currently working on an interactive children’s show titled ‘Lagaw Mabaygal’ (for Ailan people), centred around my experiences as a 10-year-old boy living on Badu Island. It’s an exciting journey, as it’s the first Torres Strait children’s show that I’ve written, directed, and devised. Additionally, I’m eager to explore creating a dance film featuring our talented First Nations LGBTQIA+ artists from my Blak Vine address book.
I’m considering naming this project ‘One Drop,’ emphasizing our identity and challenging societal perceptions of our Blak Rainbow mob.
HORIZON
Don’t miss the critically acclaimed Bangarra Dance Theatre as it explores the cultural forces uniting us across oceans and generations in ‘Horizon’.
Canberra Theatre
18-20 July 2024
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