I am from the Gundungurra Nation located just west of Sydney which encompasses the areas known as the Blue Mountains, the Southern Highlands and the Goulburn Plains; archaeological evidence from these areas date back 40,000 years.

When I go about creating new movement I employ visualisation of my land and its inhabitants, whether it is an animal, a scent or light. I use these tools as a way to generate movement. My spirit is in dance. It is my passion, my culture and my 40,000 year old obsession. It is a bold element of my Aboriginal heritage.

I infuse contemporary dance with traditional. I believe without a fusion of traditional Aboriginal and Torres Strait Islander dance with modern dance we can’t move forward. This is because for the generations ahead, whether Torres Strait Islander, Aboriginal or non-Aboriginal, some need to understand dance on more of a contemporary level. When this infusion occurs it allows people to understand the significance of traditional dance, the concept, intention of the dance and more importantly, our culture. This is what I believe to be true reconciliation within the creative industries – it is about coming together, listening and learning about each others culture and to build a strong future through working together. If we don’t have a strategy, we cannot move forward. We can only move forward if we respect the past.

As an Aboriginal artist, I take most of my inspiration and muse from the land which I have origins with.

Through my grandmother, Aunty Dawn Colless, I have been taught that I come from the land and I journey back into the land. This is the same with my movement. It generates from the land and travels back into the land.

I have also looked at my choreography from different angles – I like people to view my work from all around. My ancestors of the past would view any type of dance from a 360 degrees perspective. This photograph is limiting because it is a two dimensional piece and not able to show equality, collaboration and unity. Traditionally, our work was viewed in a 360 degrees format around the performer. Its ritual showed collaboration and unity.

I am currently studying at Queensland University of Technology Creative Industries, Bachelor of Fine Arts and Dance. Whitefellas talk about centering, Blackfellas talk about grounding. In Brisbane I’m floating; in Katoomba I’m always more grounded. I’m home, you know . . .

Ian Colless