Mariaa Randall
Biographies
Mariaa Randall is a Gidabul, Gulibul and Yaegl dance maker from the Far North Coast of New South Wales (NSW). She is a NAISDA Dance College graduate and more recently a Victorian College of the Arts (VCA) graduate obtaining a Graduate Certificate in Indigenous Arts Management, a Graduate Diploma in Performance Creation and a Masters in Animateuring (by Research).
In 2019, Mariaa premiered Same But Different at Dance Massive, presented Footwork/Technique at the Performance Space New York City, performed Painting the Dance at the inaugural Matriarchs Uprising Festival in Vancouver, and has been working with Sinsa Mansell on her new work BlACK in Hobart.
She continues to create works that empower Indigenous women which include Divercity that premiered at Dance Massive 2017, HA LF her solo work, and Poetry in Motion created in collaboration with 2nd-year dance students at the VCA.
Her most memorable achievements have been choreographing Jacob Boheme’s Blood on the Dance Floor and producing YAPENYA, a new Dja Dja Wurrung ceremony based on old stories.
At present, Mariaa is developing her new work, SiStem. SiStem amplifies the Indigenous female warrior, the way in which Randall sees First Nations women. The work aims to showcase their strength, resilience and unwavering presence in the face of adversity.
Learn more about the Custodianship Program.
Other participants
Zane Saunders is from the Aboriginal of Butchulla, Kunggari and Yiman people of Southern Queensland (QLD), and currently lives in Kuranda North QLD. Cross media artist Zane drives a very singular performance and installation agenda. His work is influenced from cultural references, using sound, media and contemporary concepts. Zane crafts one-off performances embedded in story and location.
Vanessa is a Jaru woman from the Kimberley region of Western Australia (WA) who has lived and worked in Perth since 2002. Vanessa is most known for intercultural planning, capacity development and timely stakeholder engagement and communications.
