Kia Mau has Wellington buzzing, and it is great to see engaged audiences and real excitement at shows- there are many!

Atamira’s Ka Mua Ka Miri – walking backwards into the future, is two works inspired by Māori traditions and linked by music, design,  dancers, sounds, voice and in the contemporary space of today. Speaking to “how time is understood in Te Ao Māori”, we are invited to experience tradition colliding with innovation and past, present and future converging on stage. Time is as we see it, and as the dancers move, there is a sense of delving deep from within to their personal stories. They give their all in movement mastery, opinion and perspective, with relationships important throughout, both as individuals and as a collective company. There is humour and debate, emotion, beauty and strong technical ability used through both choreographic voices.

Remain, choreographed by Eddie Elliot, opens with an informal chat, in a stream-of-consciousness style by the charismatic Sharn Te Pou. This is personal but also carries a wider voice and gives us easy access to what is a passionate and, at times, an angry and aggressive work. There is vitality and powerful commitment to traditions and the path to the future. Voice is integral to the dance and is not always easy to hear, but there is much this work has to say. Much that will remain for both the cast and the audience.

Anger is not a solution, and in the second work, Whakamaheahea,  choreographed by company Director Bianca Hyslop, the stage is softened by white silk strips, and the long white cloud of a softer, more encompassing and less judgmental look at relationships and people.

There is wonderful dancing in both works, along with wonderful lighting. The programme fails to identify the composer and lighting creatives, but both were an outstanding part of the evening.   Sculptural images of environment and reality hang in the air, but also movement phrases and lifts that speak to positive aspiration and dreams.

A standout solo by Caleb Heke in Whakamaheahea still stays in my head even as I write the following day. The transitions of movement,  energies and the unbroken flow of this solo are not only wonderful and inspirational dancing but totally project the hope and positive humanity inspiring Hyslop as she creates.

Ka Mua Ka Muri is a strong programme and a great part of the Kia Mau Festival. Thank you to all. It is a privilege to share your artistry and energy and be invited to reflect, think and dream alongside you.

Bravo, Atamira Dance.
Aroha Mai, aroha atu.

Copyright © in the review belongs to the reviewer

Atamira’s production of KA MUA KA MURI presents a high-energy, emotionally resonant exploration of Mātauranga Māori (Māori worldview), effectively blending cultural storytelling with dynamic choreography.

The performance opens with Eddie Elliot’s Remain, where the dancers’ entrance initially evokes the energy of a climactic finale, imbued with a touch of humor. Toalei Roycroft’s comedic presence seamlessly integrates into the choreography, her attire reflecting her malu, a symbol of Samoan ancestral lineage. The dance movements are strikingly vigorous and precise—jolting and firm, yet executed with an elegant grace. Themes of ancestry, whakapapa, and various reflective questions are woven masterfully throughout the piece, all connected through movement, facial expression and sound. Elliot adeptly employs the spatial elements, projection and the dancers’ physicality to craft narratives that traverse temporal dimensions. Remain offers both warmth and humor, serving as a poignant reflection on historical contexts but looking forward into the future. 

Bianca Hislop’s Whakamaheahea opens with a projection and sound of a ticking clock, symbolizing the passage of time. Silvery strings are lowered to form a central line on the stage, which the dancers manipulate, causing the strings to shimmer with their movements and sporadically appear to look like textbook DNA shapes. The red netted adornments worn by the performers hint at deeper narratives. Each dancer delivers a soliloquy paired with dynamic movements that showcase their individual strengths in movement. Themes of identity, relationships with oneself, modernity, whanau and hope towards an equitable future are highlighted. Caleb Heke stands out in this section with movements that flow seamlessly, reminiscent of the natural ebb and flow of ocean waves. This is followed by a fluid ensemble section that showcases the collective brilliance of the cast, culminating in a spectacular display.

Owen McCarthy’s brilliant white backlighting, complemented by subtle silvery projections, effectively delineates spatial elements and underscores the emotive written dialogue. These visual elements enhance the Mātauranga Māori throughout. Similarly the voiceovers in both Remain and Whakamaheahea further engage the audience, offering valuable context and enriching the personal resonance of the performance. 

Congratulations to Atamira, Eddie Elliot, Bianca Hislop, and the talented cast members Abbie Rogers, Caleb Heke, Toalei Roycroft, Madi Tumataroa, Oli Mathiesen, and Tai Taranui Hemana for delivering a performance that is both culturally profound and visually captivating.

Copyright © in the review belongs to the reviewer