Weredingo is an Aboriginal parable in dance of shape–shifter beings, ancient and shamanistic as they are timeless and powerful. Translated to familiar present time existence.
From the Pacific Dance Festival 2024. Presenting the diversity of cultures in New Zealand through contemporary dance on stage and the streets, art installations and cinema.
International guests are the Karul Project from Australia, the First Nation’s team which presents Weredingo.
The drama starts before we enter the auditorium. One of the performers is greeting the early arrivals and asking us what our spirit animals are. There are a range of animal masks to choose.
Like the entrance to the protected ritual ceremony from Kubrick’s Eyes Wide Shut. A password is not asked for, but we are led into a shadow world. But then much of the universe is dark matter and dark energy, the unseen invisible presence.
That person was Frankie (Vicki Van Hout, Wiradjuri) who is leading a support group of shapeshifters. Beings who exist in the animal and human realm and can switch at will.
But not in safety. They are feared and hunted, hence their need to blend in and hide their shadow selves.
I am reminded of the Sandman epic graphic novel series created by Neil Gaiman, where the principles are Immortals who can shapeshift at will.
We meet Colton (Thomas E.S. Kelly, Minjungbal-Yugambeh, Wiradjuri), Virgil (Benjin Maza, Yidindji, Birri Gubba) and Denise (Taree Sansbury, Narungga, Ngarrindjeri).
Inside the support group, they can manifest, hoot and holler and either be passive or aggressive. Alpha and beta types.
The founders of the Karul Project are Kelly and Sansbury. Kelly is the writer, choreographer and director.
A strong element of ancient Aboriginal shaman ritual blended to contemporary dance. I am basing this on my limited exposure to the ancient cultural practices of the plethora of tribes which make up the diaspora of indigenous Australians.
They do inhabit parallel worlds, and in many ways, they must cloak that other world.
I experienced this myself. The first time I lived there for an extended period, I was mistaken for one several times by the police. There was palpable tension in the contact. I had to accept the fact I had to carry my Kiwi passport around to avoid a lightning escalation. That was 1982.
I have been back many times and have worked there. Although I have not experienced the false recognition again, I cannot say if relations between the First World people have changed significantly.
Recent movies The Nightingale and Sweet Country are a savage look over the history of colonisation.
In the lockdown madness of a few years ago, Aboriginal communities had to endure concentration camp restrictions in the north.
There is more light than dark in Weredingo, and a keen sense of humour. Kelly is tall and towers over the others. In their animal shapes he has competition for the alpha position.
Ritual incantations are fascinating, and the voice has musical qualities reminiscent of monks or Buddhist priests.
A big bird stalks the darkened set to commence the show.
A smaller one closes it. Frankie has been ostracised by the three for not being one of them. She wants to be a shape-shifters familiar. Not good enough for them.
The closing coda of Weredingo and she turns into a bird and does a James Brown shuffle.
Rev. Orange Peel