Antidote: A Remedy For Now (Dance It) transformed the Darwin Esplanade with a generous and deeply local performance presented as a balm for the modern world we live in.
One of three Antidote-themed offerings from Tracks Dance Company in this year’s Festival, Dance It fused generations and cultures with movement, stories, sounds, and textures collected from the community.
Reflective of the multidisciplinary and multicultural makeup of Tracks’ Artistic Leadership Team, Antidote was a collaborative work that held deep respect for stories and storyholders.
As the audience settled in on their picnic rugs, Antidote doctors handed out prescriptions of treats, naps, and ‘yes days’ as remedies for the times we find ourselves in, while James Mangohig’s immersive and layered soundtrack pulsated through the crowd.
The opening sequence showcased local diversity and connection to place through a ‘Calling to Country’, beginning with a powerful declaration from Larrakia woman Nadine Lee; “Gwalwa Daraniki. This is our land”, followed by a Yolŋu gathering and First Nations Elders and performers. The ‘7 Sisters’ and ‘Spirits of the Land’ circled around the ceremony, artfully blending traditional dance with lyrical contemporary movement.
A procession of Elders paid homage to key members of the Tracks family, including current and former Co-Artistic Directors David McMicken and Tim Newth, followed by Balinese dancers in bright traditional costume. When Yolŋu Song Man Banula Marika embodied Wuyal, the ancestral Sugarbag man, a flurry of pre-primary aged ‘honey bees’ swarmed the stage. One of many moments that beautifully captured the intergenerational nature of the show.
An abrupt switch from reverential celebrations of culture to loud pronouncements that everyone must own a cat and watch the ‘Secret Lives of Mormon Wives’ may seem an unusual choice, but oddly it worked. The ‘Dote Crew’, wearing bright red sports gear and tracksuit pants reminiscent of 90s cheerleaders, set a complete change of pace as the Antidote doctors jumped atop a soapbox, megaphone in hand, to declare that everyone must also hug a tree, get a free massage, and eat sweets. These declarations were much to the crowd’s delight, who were particularly enthusiastic about the decree that everyone must acknowledge climate change, else they be forced to walk through puddles in socks.
Antidote also featured voice-over narratives of community-sourced wisdom; contemporary dance sequences and choreographic explorations – individual movements performed in rounds then pieced together in unison; and a moving depiction of the endurance required to carry the weight of the world on your shoulders and the relief of sharing the load and being in community with one another.
At times, Antidote had the boisterous energy of a school showcase finale, with multiple distinct groups and costumes, but it was this cross-section of ages, cultures, and styles that allowed Antidote to deliver on its premise.
Antidote was not a delicately polished work to be admired from afar, but an authentic and uniquely Darwin experience to be picked up and held close. Designed specifically for this place and this time, Antidote gently challenged the paradigm of a passive observer audience, encouraging people to reflect and engage with their remedy for now.
Embodying the phrase ‘think global, act local’, Antidote was an energetic and joyful performance that celebrated the magic of community, connection and hope.
Anitdote , Dance It was performed on the 17 August as part of Darwin Festival 2025
BY ALANA JAMES