It may have taken three or four years of discussions or partnerships – but it draws on over 60,000 years of continuing culture – and there’s nothing I love more, than being surprised and delighted by a truly brave and exciting piece of work – I’m talking about I Am Eora.

So often we can find ourselves in a pattern of representation – labeling ourselves as black or as white – left wing or right wing. In the realm of politics, or social justice, rarely do we give ourselves permission to silence all the labels and surrender to a perspective without feeling defensive or judged.

It’s true – and no one denies it. Australia was invaded by Europeans. It’s true that the history between white and indigenous Australians has been bloody and that our history is full of dark and horrific events. It’s true that most of us know of the slaughters, diseases, the stolen children, the malnutrition, the social rejection. This history is ours, and it touches all of us and we can never escape the horror of violence and ignorance that has divided the cultures. Even within my own family my great-grandfather was referred to as “Afghani” in the hopes of covering the “shame” of his aboriginal blood.

We sit in paralysed shame – at our past actions, and our current inaction.

And it’s true – We can’t change history – but we can tell a new part of the story, and that is what Wesley Enoch’s production offers us in I Am Eora. Suddenly we are presented with stories which reflect the sensibility and humour and affect of three outstanding aboriginal leaders. We are reminded of the power of these people, their resilience and resourcefulness. We are seeing not a traditional history – but a reflection by contemporary indigenous artists on the affect these leaders have had not only on them and their lives but all Australia’s history – whether we know it or not.

What’s exciting about this show is that it re-invigorates the notion of unified indigenous voice. It prioritized indigenous voice. Jack Charles calls out from a darkened auditorium and starts barking at the performers for what could be another Rock Eisteddfod style blackfella with gum-leaves dance. And he dares them to start living in the present and to keep each other accountable for the version of history they perpetuate – AND to start celebrating their power, their identity, their resilience. As one of the great pioneers and survivors, no-one is better equipped to kick us all up the arse and tell us we can do better.

And you know what, us whitefellas, we can do better too.

What’s exciting about this show is that there is an acknowledgment of women’s history and culture – and though I found some sections of the Barangaroo Chapter a little bit soggy and soft- it was included. Fascinatingly Barangaroo was as staunch as they come – and although in the program notes she is labelled as “the Nurturer,” from what I can understand from my own research, she was fierce and strong and very influential and very powerful – and not to be underestimated.

It’s how the message is delivered that makes this an outstanding achievement for Enoch and for writer Anita Heiss- a contemporary, empowering piece of work -which harnesses so much into short period of time. It’s a major artistic and cultural achievement.

Despite a few moments of uneven pace and repetition, this felt more like a festival within the Sydney Festival and I thoroughly enjoyed it.

Written for www.australianstage.com.au

There’s a smell that floats through the concrete bays of Carriageworks – and it’s not what you would expect – the smell of perfumed dignitaries, nor the smell of gourmet snacks and soup – it’s a smoking ceremony signaling a cleansing welcome to all who have come to witness the world premiere of I Am Eora.

Inside the theatre, a man stands on the raked stage, tending the fire nestled within a 40-gallon drum. It’s as we expect – traditional. What isn’t expected is the fast scrolling text streaming onto the back wall of the space – it welcomes us to the land on which we have gathered. There is a strong smell, a bold image. We are experiencing an all immersive collision between traditional and contemporary cultures. We become keenly aware that we are covered in the one smoke, breathing the same air, experiencing the same sensations of being in that space at that time. Our contemporary clothes collide with traditional smoke. We are both past and present. And, slowly, as the stage shifts and changes, as people fill the space, the collisions keep coming.

Eora. It’s a word that refers to the nation of indigenous clans that range south to the Georges River, north to the Hawkesbury River, and west to Parramatta and its literal translation means “from here” or “the people from here.” This is a show made for Sydney-siders – what better way to start the Sydney Festival with a show made of, with and for the community?

Born out of discussions started in 2008 between Festival Director Lindy Hume and Director Wesley Enoch, I Am Eora is a huge swirling mass of history, provocation, music, attitude, dance, culture, interrogation – this is a show born out of pride, urgency, philosophy. Presented in three chapters, I Am Eora shows the enduring affect of three inspirational leaders – Pemulwuy the shape-shifting warrior; Barangaroo a woman of great integrity and resilience; and Bennelong, the gifted interpreter who sought reconciliation.

But beware, this is not a dull and worthy history lesson, designed to appease white guilt or to re-play well-trodden themes regarding indigenous culture and tradition in Indigenous theatre. This is an all-out explosion of dance and music, an invitation to all people to celebrate Indigenous people, to celebrate their reliance, power, culture. It feels like a rock concert. Blasting assumptions about indigenous theatre, it demands attention and deserves it.

In 70 minutes, Enoch has harnessed the humour and talent and traditions of 50 aboriginal artists and crew to present a truly dynamic must-see festival event.

I Am Eora is a sassy in-ya-face assertion of indigenous strength and beauty. An invitation to connect to land, to history, to aboriginal perspective in a very contemporary context – endlessly surprising and full of politics – but not in a dreary didactic way. It gives us all permission to be inspired by and excited about our indigenous leaders. And it will leave you cleansed, invigorated and inspired to make sure the gap is closed, and closed for good.