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Wesley Enoch AM is a Quandamooka man with over 35 years of working in theatre, events and ceremonies. He is a multi-award-winning playwright and director, and his plays include The 7 Stages of Grieving (cowritten with Deborah Mailman), Cookies Table, The Sunshine Club, Black Medea, and more. He has directed groundbreaking shows such as The Sapphires, Black Diggers, The Visitors, and run numerous arts companies including Kooemba Jdarra, Ilbijeri, Queensland Theatre Company, and was Director of the Sydney Festival. Wesley has also created segments for the 2006 and 2018 Commonwealth Games Opening ceremonies. He is currently Deputy Chair of Creative Australia and Professor of Indigenous Practice - Creative Industries QUT. Dr Georgia Curran is an anthropologist and ethnomusicologist who has collaborated with Warlpiri people and organisations across the Central Australian Tanami Desert for the last 20 years. She is currently a senior research fellow at the Conservatorium of Music, The University of Sydney. Her publications include Sustaining Indigenous Songs (Berghahn, 2020), two-song books - Jardiwanpa yawulyu and Yurntumu-wardingki juju-ngaliya-kurlangu yawulyu: Warlpiri women's songs from Yuendumu (Batchelor, 2014 and 2017), and an edited collection, Vitality and Change in Warlpiri Songs (Sydney University Press, 2024). Georgia also has broader global interests in minority music traditions, publishing an edited collection on Supporting Vulnerable Performance Traditions (Routledge, 2024) and co-producing a podcast Music!Dance!Culture!. She is the current Chair of the International Council for Traditions of Music and Dance (ICTMD) Study Group on Music and Dance of Oceania and sits on the advisory board of the Music and Minorities Research Centre, University of Music and Performing Arts Vienna.
A graceful meditation on how ceremony and ritual can nourish our lives - and a powerful testament to the wisdom of First Nations practices, offering deeper ways to understand the world and ourselves. Enoch and Curran draw from the deep well of First Nations knowledges to illuminate richer, more grounded ways of seeing, being and belonging. -- Professor Larissa Behrendt This is a compelling interweaving of reflections and dialogue between an anthropologist and a famous artistic director on a genre of activity so closely identified with Indigenous Australians - on continuity, adaptation and concern for intergenerational transmission but also on 'ceremony's' association with the future as inspiration for protest, dance and theatre, and for the future. -- Professor Fred Myers
