This is the entire Album of MIMI tracks from 1997
Mimi explores the relationship between humans and the spirit world. It is a metaphorical journey which takes place over a single night where spirits and humans meet at significant points through time. Performed by five stilt dancers, three traditional Kunwinjku dancers, three Kunwinjku musicians and with narrations by storyman Thompson Yulidjirri. Since its creation, Mimi has been presented throughout Australia and the world to great acclaim. The production was Australia’s ambassador at the World Expo in Hannover in 2000, as well as welcoming in the new millennium live from Uluru during the ABC’s New Year’s Eve coverage.

Mimi was developed as a collaboration between the performers of Stalker, contemporary Indigenous dancers and musicians from Western Australia and the traditional Aboriginal dancers, musicians and painters from the Kunwinjku tribe of Western Arnhem Land. Mimi’s extraordinary success, in Australian arts festivals, remote Aboriginal communities and international arts festivals is a measure of Marrugeku’s early achievement in synthesizing contemporary and traditional practices into dynamic performance.

Mimi was acclaimed worldwide. Audiences and critics are alike in agreeing on its astonishing skill, beauty and lyricism. The reception at the Olympics Arts Festival of Dreaming in Sydney, where it played to over 13,000 people, both Indigenous and non-Indigenous, was further evidence of the power and beauty of the production universally regarded as the success of that extraordinary event.

MIMI ALBUM

17 Marrugeku - Mimi Story

16 Marrugeku - Dawn Karrparra

15 Marrugeku - Sun Burning Mimi Fires

14 Marrugeku - Ascension

13 Marrugeku - Manbarrjang Karrparra

12 Marrugeku - Namorrodo

11 Marrugeku - Ngalyod II, Wind

10 Marrugeku - Ngalyod

09 Marrugeku - Yawk Yawk II, Drunken Sisters

07 Marrugeku - Hunting, Gunbarlang

05 Marrugeku - Mimi Dance I

03 Marrugeku - Monbodokorr (Stringy Bark)

01 Marrugeku - Kunbarilanjnja

Marrugeku is an unparalleled presence in Australia today, dedicated to Indigenous and non-Indigenous Australians working together to develop new dance languages that are restless, transformative and unwavering.

Marrugeku builds bridges and breaks down walls between urban and remote dance communities, between Indigenous and non-Indigenous artists and between local and global situations. Our works are created out of urgent and insurgent reciprocities, believing, on our watch, we face major change in Indigenous Australia and that telling stories together is one of the simplest and hardest things we can do.

Marrugeku is led by co-artistic directors: choreographer/dancer Dalisa Pigram and director/dramaturg Rachael Swain. Working together for 23 years, they co-conceive and facilitate Marrugeku’s productions and research laboratories, introducing audiences to the unique and potent structures of Indigenous knowledge systems and the compelling experience of intercultural performance. Marrugeku’s performers come from diverse backgrounds and disciplines, collaborating to co-create each production.  Marrugeku’s patron is Yawuru law man and national reconciliation advocate Patrick Dodson.

Working from our bicoastal operations in the remote town of Broome Western Australia and the urban Centre of Carriageworks, Sydney, Marrugeku harnesses the dynamic of performance exchange drawn from remote, urban, intercultural and trans-Indigenous approaches to expand the possibilities of contemporary dance. Our productions tour throughout urban and remote Australia, to other Indigenous contexts internationally and throughout the world.