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I Am Eora single work   musical theatre  
Issue Details: First known date: 2012... 2012 I Am Eora
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AbstractHistoryArchive Description

'Thirty Aboriginal musicians, performers and creative artists from across the country come together for one of the most thrilling collaborations ever commissioned by Sydney Festival. Director Wesley Enoch and his team have created a dynamic fusion of dance, performance, film, art and literature with an array of musical styles. At the centre of the work are three heroes of Aboriginal Sydney whose enduring spirits still inspire: the protest and resistance of the warrior Pemulwuy; the female embodiment of resilience with Barangaroo; and her controversial husband Bennelong, the gifted interpreter who sought reconciliation. I Am Eora (I am of this place) breaks new ground in contemporary Indigenous performance, telling the stories of Sydney's Aboriginal continuity in a celebration of its heroes. With a cast of performers ranging from the emerging to the iconic, the project aspires to create a legacy for Indigenous and non-Indigenous alike.' (Source: Sydney Festival 2012 website)

Exhibitions

16598394
16871237

Production Details

    • World premier at CarriageWorks as part of the Sydney Festival, 8 January, 2012
    • Presented by Sydney Festival in association with The Balnaves Foundation
    • Produced by Wendy Blacklock, Performing Lines.
    • Director: Wesley Enoch.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

y separately published work icon Performing Indigenous Identities on the Contemporary Australian Stage : Land, People, Culture Susanne Thurow , London New York (City) : Routledge , 2020 18706499 2020 multi chapter work criticism

'Over the past 50 years, Indigenous Australian theatre practice has emerged as a dynamic site for the discursive reflection of culture and tradition as well as colonial legacies, leveraging the power of storytelling to create and advocate contemporary fluid conceptions of Indigeneity.

'Performing Indigenous Identities on the Contemporary Australian Stage offers a window into the history and diversity of this vigorous practice. It introduces the reader to cornerstones of Indigenous Australian cultural frameworks and on this backdrop discusses a wealth of plays in light of their responses to contemporary Australian identity politics.

'The in-depth readings of two landmark theatre productions, Scott Rankin's Namatjira (2010) and Wesley Enoch & Anita Heiss' I Am Eora (2012), trace the artists' engagement with questions of community consolidation and national reconciliation, carefully considering the implications of their propositions for identity work arising from the translation of traditional ontologies into contemporary orientations. The analyses of the dramatic texts are incrementally enriched by a dense reflection of the production and reception contexts of the plays, providing an expanded framework for the critical consideration of contemporary postcolonial theatre practice that allows for a well-founded appreciation of the strengths yet also pointing to the limitations of current representative approaches on the Australian mainstage. This study will be of great interest to students and scholars of Postcolonial, Literary, Performance and Theatre Studies.' (Publication summary)

Ambitious Culture on Hormones Matthew Westwood , 2013 single work column
— Appears in: The Australian , 24 December 2013; (p. 8)
National Playwright Award Aims to Unearth New Indigenous Voices Wendy Frew , 2012 single work column
— Appears in: The Sydney Morning Herald , 4 April 2012; (p. 14)
I am Eora Shine Rachel Scollay , 2012 single work review
— Appears in: Koori Mail , 25 January no. 518 2012; (p. 39)

— Review of I Am Eora Wesley Enoch , Anita Heiss , 2012 single work musical theatre
Our Black Capital : Aboriginal Focus for Sydney Festival Traci Williams , 2012 single work column
— Appears in: Koori Mail , 11 January no. 517 2012; (p. 51)
Legends among the First Sydneysiders John McCallum , 2012 single work review
— Appears in: The Australian , 10 January 2012; (p. 12)

— Review of I Am Eora Wesley Enoch , Anita Heiss , 2012 single work musical theatre
Archetypes Evoke Spirit of Place John Shand , 2012 single work review
— Appears in: The Sydney Morning Herald , 10 January 2012; (p. 14)

— Review of I Am Eora Wesley Enoch , Anita Heiss , 2012 single work musical theatre
Untitled John McCallum , 2012 single work review
— Appears in: The Australian , 12 January 2012; (p. 12)

— Review of I Am Eora Wesley Enoch , Anita Heiss , 2012 single work musical theatre
I am Eora Shine Rachel Scollay , 2012 single work review
— Appears in: Koori Mail , 25 January no. 518 2012; (p. 39)

— Review of I Am Eora Wesley Enoch , Anita Heiss , 2012 single work musical theatre
Storytelling Moves to Centre Stage as Festival Hits the Road Wendy Frew , 2011 single work column
— Appears in: The Sydney Morning Herald , 3 November 2011; (p. 14)
The Black Capital Kate Munro , 2011 single work column
— Appears in: Tracker , December 2011; (p. 44-45)
Theatre of First Encounters Diana Plater , 2011 single work column
— Appears in: The Canberra Times , 17 December 2011; (p. 19)
Echoes of the Ancestors Joyce Morgan , 2011 single work column
— Appears in: The Sydney Morning Herald , 31 December - 1 January 2011; (p. 8)
Our Black Capital : Aboriginal Focus for Sydney Festival Traci Williams , 2012 single work column
— Appears in: Koori Mail , 11 January no. 517 2012; (p. 51)
Last amended 1 May 2017 15:27:57
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