Sunrise as Stage: A Groundbreaking Performance Redefining Dance and Connection
Daniel Riley, a proud Wiradjuri man and the first Indigenous artistic director of the Australian Dance Theatre, has always embraced the early hours. His pre-dawn routine typically involves preparing meals for his children and long, solitary walks in the dark. However, recent times have cast a new, somber light on this personal darkness. The aftermath of the failed Voice to Parliament referendum and a surge of hostile rhetoric targeting Welcome to Country ceremonies have imbued these quiet hours with a different kind of weight. It was against this backdrop that Riley conceived an idea: what if a theatre curtain could be the sun itself, rising to reveal a performance?
This inspired vision has culminated in RISE, a contemporary dance performance that boldly eschews traditional theatre sets and lighting for the natural, rhythmic spectacle of the dawning sun. “Nothing will ever equate to the beauty of watching people perform barefoot on Country, our oldest living theatres,” Riley remarked, highlighting the profound connection to land that underpins the work.
Dawn Dancers: A Unique Outdoor Spectacle
The world premiere of RISE unfolded with breathtaking simplicity on Saturday at Bundanon, a sprawling arts precinct on the New South Wales South Coast. Nestled within 1,000 hectares of pristine wildlife reserve, Bundanon is a testament to the vision of philanthropists Arthur and Yvonne Boyd, who donated the site to the Australian government in 1993.
Orchestrated by Riley and co-choreographer Brianna Kell, RISE was commissioned by Bundanon as part of its Make Good Festival. The performance commences with a poignant Welcome to Country, delivered by First Nations elders who are invited to share a song or a story, setting a tone of deep respect and cultural immersion. As the sun begins its ascent, the dancers emerge, their movements synchronised with the unfolding dawn. The performance gracefully concludes as the morning fully breaks, mirroring the natural cycle of light and life.
This innovative approach to staging offers a potent solution to the logistical challenges of touring traditional theatre productions. “With touring traditionally, we need a theatre, we need a production crew, we need lighting, we need sets, we need everything that goes into putting a work into a venue,” Riley explained. In contrast, the touring model for RISE is elegantly streamlined: “The touring of RISE involves people, that’s it.” The true investment, he emphasises, lies in fostering relationships: “What we collate and invest in along the way is relationships and relationship building, with traditional owners, community members, [and] local dance schools.”
As part of the lead-up to the premiere, the Australian Dance Theatre conducted a workshop with the Dhaawarii Dance Group at Vincentia High School. This group comprises 20 students who actively learn and perform First Nations traditional dances under the guidance of Aboriginal language teacher Jonathan Hill. Mr Hill shared how the experience provided invaluable insight for the students, offering a tangible glimpse into a potential career in the performing arts. “The kids were allowed to ask questions about how to become a professional dancer, what’s involved, and how much training is required,” he said. “I think it just showed them that there is a pathway.”
Ancient Meaning, Modern Resonance
The name Bundanon itself carries significant cultural weight, translating to “deep gully” in Dharawal, the language of the Wodi Wodi people, the traditional custodians of the area. For Uncle Gerry Moore, a Yuin elder and a director with Bundanon, the concept behind RISE resonates deeply with the ancient practices of his ancestors.
“It was common for [Yuin] people to be walking from anywhere, from La Perouse down through the Illawarra and Shoalhaven, to right down the coast and across the [Victorian] border,” he explained. “And during that time, our people would be trading, even if it was songs and tools, weapons, and stories.” He expressed his profound appreciation for the revival of these practices: “It’s just really great to see this being revived, not just for our mob but for everyone. To see what existed where this practice was normal.”
Uncle Gerry Moore, who previously served as CEO of the NSW Aboriginal Legal Service, possesses a deep understanding of the systemic disadvantages and generational trauma that have impacted First Nations people. His own community in Wreck Bay continues to contend with the ongoing effects of PFAS contamination, a stark reminder of historical injustices.
Despite these challenges, Uncle Gerry remains resolutely optimistic about the future. “I guess the good thing is, not everyone’s a racist,” he stated, underscoring the importance of open dialogue. “The big thing for me is talking to people, getting them to understand about Aboriginal people, Aboriginal culture, [and] the past. I believe that truth-telling is something that will help and guide that process.”
All One Under the Sun: A Shared Beginning
The conclusion of the RISE performance offers a unique and powerful invitation: both the performers and the audience are invited to share a communal breakfast in the gentle morning light. Riley views this often-overlooked ritual of sharing a meal as another vital means of bringing people together. “I think post the unsuccessful Voice to Parliament referendum … it’s really important that we find places of gathering,” he said. “Somewhere meaningful where we all arrive with an open heart and a generosity to connect.”
The premiere at Bundanon was attended by 90 individuals, and promising plans are in motion to tour RISE across Australia in 2027 and 2028. Riley envisions a far-reaching impact for the production: “Ultimately, we could go wherever we are invited. We could go as remote as we need with this.” The performance, with its profound connection to Country and its emphasis on shared humanity, is poised to resonate across diverse landscapes and communities.
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