Skip to main content

My Name is Jimi by Dimple Bani & Jimi Bani

My  Name is Jimi

Artifacts and symbols of Indigenous Torres Strait Islander culture sit in glass cases around the stage, high above us, out of reach. Museum pieces kept a long way from the world where they were created. This is colonialism in its simplest form - culturally destructive but explained away as keeping history preserved.

As Jimi Bani explains, though, the history and culture of his people, the Wagadagam of the Western part of the Torres Strait, is kept alive by storytelling and language. Jimi’s father Dimple, who was at the forefront of creating this show before he passed away, was a linguist and the latest in a line of Wagadagam Chiefs.

Dimple spent a lot of his life finding ways to tell the story of his people, through documentaries and plays and stories and performance. He also tried to get those artifacts of his people returned from the museums of Europe, but even after promising they would return them, they never did.

Jimi is a performer in his own right, in a way that we recognise that term – having performed in theatre companies across Australia and in film and television. He has taken up his father’s mantle and has toured this production extensively to get the word out. And the history out. And the dance out.

He’s not alone on stage, though. There are three generations with him: his mother and aunt, his brothers and one of his own children. Director Jason Klarwein has harnessed the joyful energy and truth of Jimi’s family and created a beautifully devised piece theatre that in moments is simply the performance of ritual dance or the donning of traditional costume and headdress.

There are moments of predictable culture clash – times when son Dimtri won’t put his phone down to listen to stories of his people’s history. But the idea that technology is merely a distraction to tradition is dramatically undermined by its use in the show – cameras used to film dioramas, to film dances, projectors used to retell ancient stories or project a vision of the night sky.

Jimi goes through a lengthy process of explaining his family tree early on in the show and promises there will be a test later. It’s a well-worn joke that actually works dramatically later on; we the audience have learned a little of his history and culture and the fact we can recite back some of the Wagadagam language late in the show is proof that a shared culture will never die.

This is a beautiful show that began at Queensland Theatre and has traveled to Darwin and Sydney and now is at the Melbourne Festival. I hope it continues to travel all over this country, because we need to hear Indigenous voices telling their history. And I hope it travels to Europe, because if stealing artifacts is part of their history, Jimi telling his story back to them should be part of it, too.

Comments

Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

Melbourne Fringe: The Mission by Tom Molyneux

The widespread use of Acknowledgement of Country throughout the theatrical community is a good reminder that we live and work and tell stories on a land that has been home to Australia’s Indigenous people for forty-thousand years. Any Fringe show presenting work on the lands of the Wurundjeri people in the Birrarung are continuing a very long tradition.
Performer Tom Molyneux’s Acknowledgement of Country feeds directly into the story of The Mission; “sovereignty has never been ceded” is a strong jumping-off point for a story about our Indigenous population’s autonomy.
This personal history begins thirty-thousand years ago at the forming of Budj Bim, a volcano in Western Victoria. The Budj Bim area is a very important one to the Gunditjmara people, a site where they developed a system of aquaculture, thousands of years before European settlement.
After European settlement, it was the site of Eumerella Wars, where the Gunditjmara were overwhelmed and killed by colonisers who had the su…

Melbourne Fringe: Sleepover Gurlz by Emma Smith & Vidya Rajan

Theatre can happen anywhere. It can happen in big rooms, small rooms, warehouses, carparks and shipping containers. I saw a show on the streets of North Melbourne once. And one in the back of a car.
Sleepover Gurlz isn’t the first play I’ve seen performed in a bedroom, but this one uses its space and its premise to great effect; the intimacy is vital and this show is as much about the bedroom space as it is about the women sharing it.
Before the show, the audience is ushered upstairs to a living area to colour and paste and find their inner child. It’s an irresistible moment of pleasure that you almost regret being dragged into the bedroom for the party itself.
Creators and performers Emma Smith and Vidya Rajan are six-year-old girls, welcoming the audience to their sleepover party. We are the other girls at the party, sharing snacks and interacting with the friends who have invited us over. It’s charming and funny and silly. There’s a game of “Chinese whispers” and the uninhibited th…