Shrouded in uneasy darkness, I allow myself to be suspended in weighty anticipation of what is to come.

 

Okareka Dance Company, the brain child of Taiaroa Royal and Taane Mete was formed in 2007 and is a platform that enables them to present a solid yet fresh pathway in contemporary theatre by using a selection of collaborators.

 

Eerie music starts to dominate the space and I am drawn hypnotically.

 

This work, steeped in Maori Legend, purports to err to the abstract rather than the literal, with Hau Puhi – Travelling Wind; Wai Rere– Water that flows; Papa Nuku -Earth Mother and Ahi Mura– Glowing Fire, being created by three esteemed Kiwi choreographers.

 

As the first piece unfolds in the fullness of artistic time, static images slowly appear and it is hard to decipher the cleverly contoured form. Is it Earth? Is it a Creature? Is it Human? Somehow it moves. Superb specialized lighting nutures the wonderment, hiding the frailty of human form, and I am happy to stay in this trancelike state. Choreographers Mete and Royal’s idea in this piece was to present an installation that had no obvious placement on a date, place or time, other than being from another world. This is achieved and I feel excited for what is about to come.

 

But, just when I mentally praise the creator’s vision, lifelike limbs of exaggerated arms and hands disturbingly appear, destroying the illusion. Unfortunately, the work finishes awkwardly with the image and spell broken as they stagger offstage in a transitional phase, freeing the space for the following piece. This jar to the atmosphere is also apparent further on in the programme where a seamless integration would have been preferred.

 

Wai Rere next explores the fusion between the male and female energy in relation to water, as seven male dancers clad in black flowing skirts demonstrate the tide’s ebb and flow. The motion of the waves provides inspiration for Polynesian dance, especially for women. With feminine almost balletic arms, the ethereal movements act as a strong contrast against the dancers’ strong naked torsos. The baroque music and tiresomely repeated running patterns, albeit with the guys attempting to run like girls with their skirts hitched up, becomes irritating. Further irritation ensues however as the piece, choreographed by Taiaroa Royal, surprisingly takes a turn to the bizarrely exaggerated literal, as it flips into an unnecessary comic sojourn of excessive reference to repeated flatulence. Bemusedly, its value is hard to find, and in my opinion it is demeaning of Royal’s credibility. It doesn’t need to be there.

 

Thankfully, a quantum leap ahead, is the deep innovatively pure work of  Papa Nuku by Ross McCormack. It is this choreographer’s objective, among other things, to develop movements that remain low, and hug the surface, reflect the ground, pulse and shift. Hard to imagine, but supremely evident in the way that McCormack works bodies upon bodies, as heavy but weightless at the same time, yet moving unusually with powerful intent. There were moments where I forgot to breathe in my spine-chilling captive state. A fractious Earth Mother defiant energy later in the piece depicts the Christchurch earthquakes. Hine-Ahu-One, the earth formed breathtakingly beautiful maiden danced by Kimiora Grey is a joy to watch as her fluid uniqueness adds mystery, respect and intrigue for the Maori legend. Mark Bonnington was also truly one with the essence and portrayal of such a strong work. This powerful piece by Mc Cormack deserves to be seen by more than a New Zealand audience and for me was the evening’s highlight.

Finally, Ahi Mura choreographed by Taane Mete, shows strong imagery as the haka and volcanic activity inspires him to use large group formations expressing turbulence and activity. Dressed in jeans, Mete captures a connection with aerial entwine in a need for people from all races to come together, connect and stand as one.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The second part of Wai Water probably owes its homage to the sulphuric stench of Royal’s hometown of Rotorua, as the dance transitions into a comedic play about…well there’s no delicate way of saying this, but letting off some natural gas?