Evolution in “Rites”

Oct 7th, 2008 | By Blog Editor | Category: Newest Posts, Thoughts on Dance & Dance History

Though the first French audiences to attend Stravinsky’s Le Sacre du Printemps (The Rite of Spring) essentially revolted against the work’s wild passion, during this past week, theatergoers

Kirsty Martin from The Australian Ballet and Patrick Thaiday from Bangarra Dance pose before the opening show of Rites at the Theatre du Chatelet. (Australian Ballet: Lisa Tomasetti)

in Paris illustrated a dramatic change through their thoughtful reception of the Australian Ballet’s Rites, presented in cooperation with Australian contemporary dance company Bangarra Dance Theatre.

As the Australian Ballet’s first Paris appearance in over 40 years, this performance itself was historically significant to some extent. But more importantly, the content and reception of this work reflects a century of evolution in art, audience, and appreciation for diversity, in Australia, in France, and throughout the dance world.

New Rites

Rites premiered 11 years ago at the Melbourne Festival in Australia’s Victorian Arts Centre. The work, choreographed by Bangarra Dance Theatre’s artistic director Stephen Page to Stravinsky’s score, was performed by both the Australian Ballet and Bangarra.

Prior to this past week’s presentation of Rites at Paris’ Theatre du Chatelet, Page told Australia’s ABC News that “Rites did some good damage in Australia to people’s consciousness.” He added, “I think that’s a healthy thing. This collaboration through storytelling and music and dance, it’s a wonderful sense of reconciliation.”

Australian audiences can react uniquely to Rites because of their connection to Aboriginal culture. “You don’t want to get political,” Page told ABC News, “but 40 years ago Aboriginal people weren’t considered human.” Rites, however, captures audiences in the power and beauty of Aboriginal beliefs and the force of indigenous Australian spirit, forcing them to recognize the art of people who, even today, face the challenges of forcible assimilation and marginalization.

Bangarra Dance Theatre and The Australian Ballet perform in Paris (Sydney Morning Herald)

As Australians reflected on Page’s challenge to long-standing prejudices, modern French audiences responded to Page’s diverse art with a level of consideration that they didn’t allow the unexpected Le Sacre du Printemps in 1913. Clay-covered dancers roamed the stage in movements that picked from the hallmarks of ballet, modern dance, and Aboriginal art. Not all audience members “got it.” In fact, one of the most quoted reviews of the Paris run comes from French critic Rosita Boisseau, who told France Info radio that Rites was “very strange.”

But we treat “very strange” with a bit more tolerance than we did in 1913.

“It left me a bit confused, all the dancers suddenly appearing covered head to toe in mud,” Boisseau said. But she illustrated a century of change in worldview, audiences, and our understanding of art when she continued, saying, “We don’t see Australian companies very often. It’s a completely different approach, and we have to be very curious and open-minded towards this kind of composition.”

The Australian Ballet and Bangarra begin their London run tonight, performing at Sadler’s Wells for the first time in the theatre’s history. The company’s international tour includes four pieces that they call “mainly large-scale Australian works”: Rites, Symphonie Fantastique, Les Présages, and Swan Lake.

Image Sources:

“Kirsty Martin from The Australian Ballet and Patrick Thaiday from Bangarra Dance pose before the opening show of Rites at the Theatre du Chatelet” (Australian Ballet: Lisa Tomasetti)
“Bangarra Dance Theatre and The Australian Ballet perform in Paris” (Sydney Morning Herald)

Tags: Australian Ballet, Rites of Spring, Thoughts on Dance & Dance History