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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.

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