Of The Land On Which We Meet is a contemporary circus show. The title comes from the Acknowledgement of Country which now forms a usual part of many public occasions across Australia.
The Acknowledgement is a statement to remind people that the Aboriginal peoples were in Australia some 60,000 years before the settler colonialists arrived from Britain. It’s supposed to remind those in a position of privilege and power that the land was never ceded, and that “land ownership” is more complex than the imposed colonial laws have pretended.
Like many initiatives that started with the best of intentions, the manifestation of the Acknowledgement has become somewhat confused. From being used in contexts which are inappropriate, to mentioning the wrong tribe of peoples, the Acknowledgement has also sometimes become something which is included without enough thought being given to the original intention.
The Acknowledgement also fails to account for the changing demographics of Australia. Also, those who are considered “local” changes over time.
This production attempts to ask the audience to think about why we perform the rituals that we do.
Of the Land on Which We Meet is performed by a trio of artists: Johnny Brown, Manuela Kaydo-Nitis, and Bridie Hooper, collectively Na Djinang Circus. The movements performed take us through their personal stories and their responses to the idea of acknowledging those who came before.
The show begins with each performer speaking through a picture frame. They explain who they are and their relationship with the land currently referred to as Australia. We learn how they have each moved around the country, how they have each put down roots.
As the performance continues we return to these personal stories. New details are added, and more recent occurrences are described.
Between the spoken moments, there is movement. The three are all incredible acrobats, each with slightly different, yet complementary skill sets. Watching the trio move around, across, above, and beneath each other is mesmerising.
The physical work is incredible. Some of it looks like it isn’t going to work, and then, suddenly, an image, a tableau is formed- and held- before the performers move gracefully into their next moves.
As an exercise in making us think about our own histories, and how they impact on others, this is a thought-provoking piece of theatre.
As a reminder that progress is incremental, it’s an invaluable addition to a developing canon of work made by the people directly impacted by political decisions.
More information on the company and their work can be found on their website here.
Featured Image Credit: Tiffany Garvie
