Review: Of the Land on Which We Meet

On an empty stage, they lean into, spin around, ascend upon each other – through movement, Australian-based company Na Djinang attempts to reconnect with each other and the land. Circus-dance show Of the Land on Which We Meet explores Australia’s Acknowledgement of Country custom, questioning how histories of violence may be acknowledged through our art today. The performers each have a distinct relationship to Australia and its land: an indigenous Australian, a descendant of Greek migrants and a descendant of colonial settlers. Together, they create a complex and evocative work that softly guides audiences to both questions and answers.

Poignant and full of awe, their performance is richly imaginative. It’s not overly concerned with precision; rather, their bodies shake, their movements intentionally fall out of sync, and we hear their quickening breath in the quiet. Such intimacy is rather beautiful and feels right for a work looking to a country coming to terms with its own imperfection. Amid some uncertain pop-like musical choices, indigenous Australian music grounds the performances. Spoken word is carefully interwoven throughout; often, the performers speak all at once with histories inseparable. 

Of the Land on Which We Meet holds the room and its audience still with thought. Reckoning with difficult home truths, it offers its learnings with intent.