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Kuramanunya

This is not a show, Thomas ES Kelly, a Minjungbal-Yugambeh, Wiradjuri, and Ni-Vanuatu man reminds us at the conclusion of the ceremony of Kuramanunya. At the heart of contemporary theatre, where innovation and tradition converge, First Nations-led dance company Karul Projects present a solo dance-theatre piece as recognition and honour to the lives of First Nations people lost during and after colonisation.

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Co-Director Vicki Van Hout, co-writer Emily Wells, and Kelly himself have crafted a storytelling experience where a First-Nations body is the primary instrument of expression. The narrative, without a distinctive storyline, is profoundly compelling and filled with rich nuance. The seamless interplay between dance and narration enhances both elements with pacing and duration of each complimenting a journey. The choreography is a hypnotic and therapeutic watch, occasionally punctuated by jolted, choked movements. This dance is effectively underscored by swelling and shifting lighting design of Christine Felmingham.

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Kelly commands remarkable physicality within the space. From engaging conversational moments to magnetic intensity, the body is fluid but held with sturdiness.  A standout moment occurs as Kelly meticulously balances a set piece of land on his back. What initially is a commendable balance transforms as the disconnect between the object and the performer dissolves; they move as one.  Through this shielded movement, audiences are reminded that the land and bodies are never truly protected from destruction. Kelly embodies wisdom and radiates charisma with and deep connection to ancestors as he details their presence across his body, each ancestor intricately connected to movements and sections of his body, forming a living tree of culture and family.

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Kelly's commitment to connection is truly noteworthy. Without physical contact, he endows surrounding rocks on stage with language, protection and significance. This deep connection extends to the air itself, as he converses with an unseen presence. No props or physical objects are required in the space for the audience to feel the profound connection the performer shares with it. There is an unbroken link to the ground, the land, and the sky as he communicates. Breath sequences are particularly memorable and, at times, suffocating, as the repeating percussive sounds echo a bodily experience of the atmospheric sounds.

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Samuel Pankhurst and Jhindu-Pedro Lawrie deserve mention for their encompassing sound design, which complements Kelly's movements. However, it's worth noting that the interruption techno blitz sound to shift scenes delivers a somewhat shallow disconnection compared to the intensity we shift to. Regardless, the score compels an atmospheric layering of expression, inquiry and intensity. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Amongst multiple melodic and magnetic movement sequences, Kuramanunya welcomes audiences to witness “a ceremony for those who didn’t get their ceremony”.

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There are three more chances to see Kuramanunya before it closes on Saturday 16th of September at Metro Arts.

You can book tickets here. 

KURAMANUNYA_by Karul Projects featuring Thomas E.S. Kelly_Metro Arts_Image by Simon Woods_
KURAMANUNYA_by Karul Projects featuring Thomas E.S. Kelly_Metro Arts_Image by Simon Woods_
KURAMANUNYA_by Karul Projects featuring Thomas E.S. Kelly_Metro Arts_Image by Simon Woods_
KURAMANUNYA_by Karul Projects featuring Thomas E.S. Kelly_Metro Arts_Image by Simon Woods_

Image Credit: Simon Woods

Image Credit: Simon Woods

Image Credit: Simon Woods

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Bridie Middleton
(She/Her)

Reviewer

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