/ The journey of discovery and the creative process involved in the making of Terrain are closely linked through the journey of emotional response and the processing of ideas. Think you have a better idea? The sections depict particular features of the Lake Eyre environment as well as the culture of the Arabunna people. While the salt is beautiful, it is also quite dangerous. OCOKA Military Terrain Analysis Vicksburg was, then, rather an entrenched camp than a fortified place, owing much of its strength to the difficult ground, obstructed by fallen trees in its front, which rendered rapidity of movement and ensemble coordination in an assault impossible.214 David Page’s music is distinctly modern, with piano and pulsing electronic blips, while lighting design by Karen Norris successfully directs our focus. The cultural semiology in every element was profound, powerful and effortlessly beautiful. At this point in the process, the technical elements of the designers – costume, set, and lighting – start to be incorporated. How we feel and acknowledge connection to ‘place’. Lake Eyre (Kati Thanda) is the home of the Arabunna people who have maintained their deep connection with the Lake Eyre basin for thousands of years. Privacy The dancers move as an ensemble, and towards the end of the section they slowly leave the stage – reflecting the cycle of the waters arriving and leaving as they have for thousands of years. Years 7-10, Close Captioning Icon Terrain (2012) The chemical compound of the salt is acidic and burns the skin, something that early explorers discovered when they decided to take a swim in the lake. With the pressures of modern life and living in urban environments, the need to reconnect to country is an extremely strong – a chance to refuel. Seen a great show? The artists were introduced to Arabunda elder Uncle Reginald Dodd, who led them onto his country and shared his knowledge about the land, the resources, and the reasons why it is so important to preserve the Lake region for future generations. Legal, Five Excerpts from the Production Terrain, Bringing the Stories to the Stage: The Creative Process, Links, Further Reading & Acknowledgements, « Back to: Five Excerpts from the Production Terrain. With captivating design and choreography, the work is a thematically rich and cohesive experience, intensely exploring the Arabunna people’s relationship to Lake Eyre. Privacy Lake Eyre is a great salt lake of tectonic origin situated in the remote north west of South Australia. Terrain explores the fundamental connection between people and land – how we treat our land, how we understand its spirit, and how we regard its future. Sydney Opera House, Sydney June 12, 20014 By Vanessa Ronan-Pearce of Dance Informa. The salt produces extraordinary sculptural forms as well as creating a unique light that completely disrupts the horizon and is sometimes hazardous for pilots. Terrain review: Bangarra brings spirit, purpose and strength to the landscape. SaltThis section expresses how the vast amounts of salt crystals in the lake completely change the landscape as the waters dry up. How the work looks in the theatre is always different to the way it looks in the studio. DelugeThis section illustrates the event of the waters travelling down through the ancient channels to fill the lake with life. Terrain explores the fundamental connection between Aboriginal people and land – how we treat our land, how we understand its … These themes include: Other themes explored in the work can be identified and discussed across a range of perspectives. …… TERRAIN is where spirit and place meet.Frances Rings, Choreographer, TERRAIN, 2012. DANCE PRACTICE. Terrain was created by the choreographer, in close collaboration with the dancers, the composer of the music, and the costume, set and lighting designers. We have a profoundly visceral understanding of country that goes beyond brick walls, concrete and an urbanised lifestyle”. What did they observe and what is their response to the work? Terrain is inspired by the power of natural forces and the vulnerability of ecosystems within a landscape that has existed and evolved as long as the Earth itself – a landscape from where human beings draw life and express meaning to that life. It reminds us of something beyond ourselves and it frees us. At its best, we get a closer look at the costumes that would have surely been lost to those sitting farther back in a theatre. Costume Designer Jennifer Irwin toys with the idea of how 'landscape becomes a second skin', and ensures that the costumes for each section take on compelling textures that palpably affect the tone. The land’s strength is in its undying spirit, despite being ravaged by traumatic events. DANCE PRACTICE. The 9 sections are: RED BRICKLooking beyond the urban landscape to hear an ancestral Calling to Country. The result is both a handsome dance work and an eloquent essay on our country from an Indigenous point of view. Along with Jacob Nash (set), the design of each section is visually bold and distinct. Their understanding of the landscape, and all the variances of its ever-changing behaviour enable the Arabunna to read the landscape, know its purpose and be able to share stories with us about how Kati Thanda survives and thrives through its very dramatic natural cycles of flood, drought and everything in between.

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