Emerging from darkness, a prominent square of light is cast upon the stage, indirectly illuminating the dancers and co-choreographers Stela Dara and Ella Williams, juxtaposing their soft silhouettes against the definitive binaries of light. Immediately, audiences are invited on a journey in which history and culture collide, initiated by the use of Williams and Dara as mediums for storytelling and transcendence.

Progressing through the intimate opening moments, Dara attentively reaches for a warm bulb dangling delicately above a pole in the centre of the stage, which she then proceeds to push in a circular swinging motion, like that of a ticking clock. Contrasting the sinewy movement quality embodied by the dancers with the fast motion of the rotating bulb highlights the inescapable relationship between time and our interaction with memory. As the swinging bulb slows, the lightly illuminated figures of Dara and Williams remain entranced by its motion. The generation of a slight tension between the performers and the light itself immediately emulates how we become inevitable bystanders in the process of culture fluctuating through time.

Augmenting the tension and intimacy, Dara and Williams gather together under the singular bulb, whilst powerful female voices infiltrate the atmosphere, inviting us to experience the distant calling of those who have come before us. The whole space is suspended, with the female voices acting as a tender safety net in preparation to delve into the unfamiliar. Broken by the interjection of distinct drumming beats courtesy of sound designers Jeanelle Frontin and Kevin Licorish, Dara and Williams proceed towards the back of the space at a newfound pace, as if depicting the collision yet harmonisation of memories.

We are then introduced to a ‘reaching’ motif through the assertive hand of Williams, a recurring yet critical symbol of connection and progression. Soon mimicked by Dara, we dive into an intriguing play between the two figures until they finally meet, supported by a simultaneous shift in sound towards an invigorating electronic ambience. Beautiful it may be, but this connection is short-lived and laced with discomfort, like the two negative ends of a battery attempting to coalesce. The awkwardness of this sequence skillfully mimics an inevitable sense of discomfort reminiscent of multigenerational trauma. This concept climaxes as the two figures repeatedly collide and disperse under a blinding toplight, with the bodies of the couple illuminating the entire space when lit.

The purposeful lumen increase utilises the figures as projections of harmonisation between various cultures as we proceed into the future. This somewhat fragmented partnerwork is carried through the rest of the piece, supported by the euphonious choral of South-American inspired female vocals and purposeful light configurations that accentuate the emotive movement of Dara in particular. Within the duo, power constantly oscillates between the two, with each performer either surrendering to or conducting the interaction. This dynamic play maintains a powerful suspense and augments the intimacy experienced when the two connect, imitating the complexity of reminiscence.

A final pertinent image is that of Dara and Williams basking in a mound of dirt-like substance, fostering a raw and almost animalistic movement quality. Performing grounded movement under dim light and to a quiet, near-silent hum exposes the inescapable correlation between humankind and our whenua as we attempt to access stories of those who came before. Along with this grounded, almost beastial movement came a shading of each performer’s face, either through hair, costume or lighting, further exploring a sorrowful loss of identity as we struggle to reclaim lost stories in the chaos of the present. This melancholic yearning for remembrance and connection is concluded in the final movement sequence in which Dara poignantly exits the stage, leaving Williams isolated yet simultaneously empowered.

As a body of work interacting with multidisciplinary theatrical elements, a component deserving commendation is the delicate yet perceptive lighting design courtesy of Chilean lighting designer and light artist, Elekis Poblete Teirney. From the initial illumination of the stage in which we are welcomed through a gate of ivory light, the lighting of the work acts as a silent advocate for the emotional turbulence experienced by the performers.

Poblete Tierney’s attention to detail facilitates a kind of contortion of reality, reflecting the preciously unique experience of memory and nostalgia. This was showcased particularly cleverly towards the end of the work, in which Williams’ shadow is cast upon the back of the stage in a dilated form, towering over a dwindled figure of Dara below. The juxtaposition of figures in this moment imitates how our whakapapa acts as an omnipresent force that both follows and protects us through our present life. I will add that the lighting was predominantly quite dim, which, in moments, disappointingly hid details of the intricacies performed by Williams and Dara. However, there was something satisfyingly confidential about this, as the dancers once again are utilised as vessels in which memory is portrayed as a discrete yet ever-present force.

Whilst acknowledging the success of the work’s theatrical elements, the true harmony underpinning Gates To Memory lay in the raw and near faultless movement embodiment by Dara and Williams. Movement-wise, this work was a prime example of beauty lying in simplicity, and it was incredibly refreshing to see a contemporary dance work that was crafted and considered, without relying strictly on athleticism or turning into a complete cardio-fest. This ease in no way diminished Dara and William’s ability to demonstrate the strength and capacity of the human body, which repeatedly acted as an authentic manifestation of raw emotion.

This was emphatically evident in a sequence where Williams repeatedly reaches towards Dara across the blinding light projection, as the simple yet defined linearity of Williams’ arm yielded the strength that an acrobatic partnering sequence could only dream of. Ultimately, Gates To Memory is a rich harmonisation of culture and storytelling, exploring the peaks and challenges of whakapapa through time, manifested in a rich, physical form.

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