The North William Yang
George Ballroom St KIlda Until Nov 2,
1996
Reviewed by KH around Oct 22, 1996
There is something harmonic in the tone of William Yang's
The North which is not only due to its eccentric musical accompaniment. Yang's
voice is not resonant but its unaffected un-actorly quality is refreshingly
naive.
As he did in the deeply evocative and moving Sadness, Yang
stands in a spotlight at the side of the stage in front of huge projections of
his own photographs. The images are of his childhood home in Dimbula, North
Queensland, his Chinese-Australian relatives and his visit to mainland China.
Like Sadness, this is no mere holiday slide show. Although it lacks the anguish
and pain of Sadness, Yang's attachment to people and place is simply but intensely felt.
Through his monologue, we meet people from his family and
his past, we encounter the arid North country, tobacco plantations and small
town anecdotes. We travel to his parents' "home" in China and watch
him discover Daoism and his deep-buried Chinese-ness.
The lyrical quality is enhanced by an exceptional live
soundscape by Collin Offord who plays his invention, the Great Island Mouthbow
which conjures sounds akin to a Chinese violin, wind through tunnels and a
whole string section.
Yang explores the nature of cultural identity in a very
personal way. the moment he stepped into the obviously topical and political,
namely the Pauline Hanson racism debate, he lost his focus. His very
circuitousness and dreamy delivery allows us to be surprised when ideas are
suddenly woven together and we have an ' ah-ha" experience.
"Home is many places,” he says "-and one".
Denying one's cultural heritage is a way of absorbing racism to the point where
it becomes self-loathing.
The path is warm and easy for we, the audience, but it is
evident that Yang's own path to self-awareness and acceptance has been more of
a struggle. As he says, "It is easy to hate and blame but hard to
understand another and change oneself."
Kate Herbert
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