Robert Greygrass

Everyone associated with the Origins Festival will be deeply saddened to hear of the passing of Robert Greygrass, who died in a road accident on Tuesday. Robert was a leading figure in our first two festivals, appearing in "Salvage" and his own storytelling performance in 2009, and presenting the brilliant solo show "Walking on Turtle Island" in 2011. Robert also brought his traditional Lakota knowledge and ceremonial skill to the Festival, playing a leading role in our closing events on both occasions, lending the dignity of an Elder and the poetry of a songster to these very moving shared moments of global connection. There are very few people who combine such power with such gentleness. He will be deeply missed by all who knew him.

Talking Circle

Origins closed on Saturday. It was a beautiful event, led by Bruce Sinclair, from Canada - who has been present throughout the Festival and clearly enjoying himself! We began with a smudging ceremony - burning sage and bathing in its smoke - which we had to do out in the car park because of the smoke alarms. Probably the first ever smudging ceremony to happen in a car park in Bethnal Green, I would think. As Bruce took the smoke around the circle, Robert Greygrass sang a song - and there were responses in Maori and Aboriginal prayers too.

Then there was the talking circle. It's an incredibly simple idea, which is followed in the tribal councils of North America, and which has a lot to teach us about real democracy. You all sit in a circle, and pass around the talking stick - or eagle feather. Whoever is holding the stick speaks. You can say as much or as little as you want - or just pass it on - and whoever is speaking is not interrupted but is listened to with respect. It's definitely the best approach to "Evaluation" I've ever experienced. It's totally equal, it's very open, and it lets the emotional into the public space.

I won't tell you what was said. Just that it was very moving, and that this Festival has clearly touched people far more deeply than I ever dared to imagine.

Responses to Robert

I thought I should post some of the audience responses to Walking on Turtle Island, because they have been so positive, and it really is a very important piece of work. So - here we go:

"Turtle Island was wonderful. Simple, deft, finely-tuned storytelling, told by a storyteller with a twinkle in one eye and a tear in the other. Please extend my congratulations and gratitude to Robert Greygrass and thanks to the Border Crossings team for making it happen."

"Easily the best one-man show I have ever seen. The subtlety and deftness of the performance is mesmerising and moving."

"Thought it was really fantastic -really thoughtful, interesting and made me think about things not much discussed here. Also brilliantly performed."

"Excellent - amazing - enjoyable and I learned a lot."

One more performance tonight.

The Great Robert Greygrass

Last night, Robert Greygrass's production Walking on Turtle Island opened as part of our Origins Festival at the Rich Mix. It's an incredible piece of work: Variety wasn't wrong to call it "a tour de force" of acting. In less than two hours, Robert embodies no fewer than 21 characters, suggesting the distinctions in subtle ways, but absolutely making you believe in an aging Native woman, a little girl, a drunk mixed-race man in a cell, a young boy whose dog dies, his grandfather... and binding them all together a spirit figure, who seems in many ways to be remarkably similar to Robert himself. Why? Well, both are shape-changers. The spirit, like Robert, passes into the bodies of all these people through several centuries. It's a beautiful metaphor to link the acting to its meaning, and to suggest the cultural resonance which underlies the entire performance.

This is theatre which gives an alternative history - the native view of what has happened on Turtle Island (North America) from the European invasion to the present day. There are scenes which deal with the first contact, scenes around transplantation, scenes about the reservations, scenes set around contemporary alcohol abuse and custody. So yes, it's a human rights show. But it's so far from being "worthy" - because the whole performance is suffused with Robert's characteristic native wit and humour. In spite of the subject matter, his energy and sheer talent makes it feel light and buoyant - the audience is constantly surprised, excited and thrilled by the virtuosity and human generosity of the whole thing.

Two more performances tonight and tomorrow. Don't miss it.

Festival Finale

Origins came to an end last Sunday, and I'm only now emerging into the daylight to acknowledge the fact! It was an amazing couple of weeks. Of course, some things worked better than others, and some things drew bigger crowds than others - but that's to be expected, especially with the first Festival. Two standing ovations: one for the last performance of Almighty Voice and His Wife, and one for Alanis Obomsawin's incredibly moving Lecture.

At the Closing Ceremony on Sunday, Robert Greygrass and Jean Bruce-Scott presented me with a beautiful blanket, which is a great honour amongst the Native Americans. Considering that their show had (for some reason) drawn the smallest crowds, it was especially moving. I got a very powerful sense that everybody involved was seeing the bigger picture, and looking to future Festivals and wider possibilities.

I had dinner with David Milroy that evening. Great to talk to him at length, two years after we first discussed bringing over Windmill Baby. We go to the Festival hotel, and find the bar full of First Nations people. Patrick is playing his guitar, and Ant his flute. They are surrounded by Elders, performers, crew, and by the ever-increasing crowd of Origins fans we have assembled. An image of community.

Salvage

Salvage had its press night at Riverside Studios yesterday. A bit of a misnomer, since the press didn't actually come.... having decided that their (admittedly rather good) coverage of Strange Resting Places was enough for Origins. Still, there was a very good house, with some really exciting guests - not least Alanis Obomsawin, who had just arrived from Canada in the morning. We're really excited that she's going to be involved for the rest of the Festival.

Alanis loved Salvage. It's a very poetic, mystical play - which in itself is strange, given that it's set in a contemporary reservation, and deals with the aftermath of a car crash. Diane Glancy, the writer, gves a powerful sense of contemporary realities in Native life (and pulls no punches about the social problems), but at the same time she allows room for the spirituality of the culture, and the sense of living in a continuum with the past. The main vehicle for this is the character of the father, Wolfert, who is played with amazing sensitivity by the Lakota actor and storyteller Robert Greygrass. I talk to him over drinks afterwards, and he tells me that this character is very familiar to him. A lot of older men don't exactly live by the old ways, but they feel very close to them. The scenes where he talks to his dead wife in the cemetery are really powerful.

So - now I can't wait for Windmill Baby tonight! It previewed yesterday, and I finally got to see David Milroy and welcome him and the team to London. To think it's two years since he and I first talked about doing this - and now they are finally here!