“Invocation”, Earthbound and Belco Arts, at Belco Arts Centre, June 26. Reviewed by SAMARA PURNELL.

“INVOCATION” is a reflection on climate change, but the overarching focus is a reverent celebration and reflection of what has been and an invitation to continue with the responsibility of what is to come. 

“Invocation” is a genuflection to the feminine life force in nature and in humankind, namely to the Goddess Gaia, the ancestral mother of all life, according to Greek mythology.

Artists across several disciplines came together in the Rhizome residency at Belco Arts. Collectively known as “Earthbound”, their creations and performance were overseen by Elizabeth Cameron Dalman as theatre consultant. Dalman co-choreographed and shaped the production, hosting rehearsals at her “Mirramu” property.

Elements of texture, imagery, music, dance, song and storytelling were utilised in a softly-lit, soothing performance. The performers, all female, with the exception of musician Danny Pratt, were primarily costumed in long skirts, soft shawls and fabrics.

Courtney Allen was captivating in her bird dances. Her “Owl” was both beautiful and melancholy and ultimately succumbed to the aftermath of bushfire. The dappled light, smoky imagery and Allen clad in a simple, brown textural costume was emotive. Her rebirth as a white bird saw her joined by Pratt – comforted by his echoing on the saxophone of the music and her birdcalls.

Pratt appeared to represent climate change, but his intentionally clunky movements and electric guitar playing seemed out of place in this specifically female focus. He was well-intentioned for the most part and a partner to Allen’s dances, not a stretch to include the other half of the “giving life” process, but including a male in the production, other than as Allen’s counterpoint, was a choice that changed the dynamics in a manner not entirely necessary.

Visual artist Sally Blake created the imagery – morphing versions of Gaia, patterns and images of trees into meditative projections.

A low-key hippie festival, with drum, song and movement, the “Gravity Ball” was another depiction of connection and expression.

A Chorus of Women made up the singing and movement ensemble, led by musical director Johanna McBride on keyboard and Glenda Cloughley, who told a softly-spoken story of the mantle passed down from her friend Dorothy Campbell, of the responsibility to protect the earth and the sacred feminine. Men are referred to as “warrior kings”, but it’s suggested they’re not what the world needs right now. The mantle is offered to the listeners.

Despite the occasional pitchy note, the women created beautiful harmonies, soothing lullabies and the mantra “I am who I am because of you”. The audience was invited to join in.

Refreshingly, “Invocation”, whilst celebrating life and connection to earth and each other, is not preach, angry or aggressive. Whilst it celebrates women’s healing, nurturing and soft energy, it doesn’t pit men against women.

“Invocation” is a creative development showing. Going forward, the blend of artforms could be further worked into a cohesive theatre piece. Or it can hang as it is – it has the option of being versatile in its showing – as a whole or in part. For theatre productions, Dalman emphasised the need for editing.

In the interim, the singers have been given the opportunity to sing at the Women’s Climate congress and the audiences of this and future showings have been given the opportunity to relax and soak in the expressions of connection to earth, ancestors, each other and the elements, both destructive and restorative.

“Invocation” aims to awaken wellsprings of love and care, and hopes that people hold lightly the gifts of Mother Nature.