Taumata is billed as four stunning new works and does not disappoint. The audience witnesses polished performances of four very different dances with a contemporary vein. The house is packed and there is an expectant buzz.
First up is A Murmuration, choreographed by Bianca Hyslop with dancers Chrissy Kokiri, Chris Ofanoa, Katie Rudd and Carl Tolentino (from The New Zealand Dance Company). It evokes nature as the four dancers weave and flock across the stage, often in unison, conveying a sense of harmony amongst them. The flocking has reference to the title which emulates the movement of a flock of starlings. It is aesthetically pleasing to watch as the patterns evolve and dissolve seamlessly. There is subtle dynamic variation with stops of movement often signaling a change of direction, shape or level, however the overall sense of continuity remains. The movement is luscious and often starts in a specific location in the body and morphs as it passes sequentially through the body, dissipates, and begins once again at another site in the dancer’s body. Simple choreographic tools serve the piece well: one versus three and two versus two formations, plus quartet groupings and the use of stationary shapes. A recurring backwards walk in a circle works well as a transition to the next phrase.
Later in the piece at times the dance cascades in and out of unison as the relationship between the dancers changes in space. Although the dancers have individual styles, they retain cohesion throughout, particularly in unison sections, to perform this piece in harmony with one another and in keeping with the choreographic ideas. The dancers wore black and white costumes, all different in shape and patterning, adding imagery to the work, particularly the bold printed jumpsuit and a flock of birds on one tee shirt.
The musical score by Rowan Pierce loops and circles like nature, and the no-nonsense ending works very well as the dancers stop dancing and walk off stage
This is Hyslop’s first major piece and we look forward to more of this calibre.
Manawa is inspired by the first inhalation of breath – this fundamental action begins at birth and ends at death and signifies earthly existence in this world. This concept forms the basis of this new work by Taane Mete (Okareka Dance Company). This solo further draws on Mete’s origins and moments from boyhood to the present day, and the impacts these have had on his life.
Opening in darkness we hear a recorded voice counting tahi, rua, toru. This dance journey begins at birth as the light fades in on a figure on the ground in a curved body shape almost foetal. He struggles on several occasions to remain upright with the pull of the earth being too powerful. As the journey progresses, familiar vocabulary in relation to Taane the dancer is performed, inclusive of long-limbed strong extensions and balletic pointed toes. He draws us into his world. Taane’s solo is introspective and there seems to be a sadness that permeates the work – maybe an acknowledgement of the time he spent with his mother before she died in December 2015. The last section has a vulnerable quality to it with several hand motifs, one in particular recurs, covering his face. Clearly this is a work where he is finding a new way of moving for himself and transitioning from by now familiar patterning..
Sisters of the Black Crow begins powerfully with into a shaft of light. One woman in a black dress (Jahra Rager Wasasala) enters, almost dragging two other women in red dresses (Rose Philpott and Grace Woollett) attached to her ankles as she moves down the diagonal beam. Wasasala has a stunning strong stage presence from the outset, commanding us to watch as she performs a deep wide-legged squat. All three dancers mould and weave arms together to create striking, stunning visual images. Peppered throughout are a range of images from intriguing to more disturbing with several references to death as in throat cutting, strangulation and stabbing.
These three high priestesses are in full flight and evoke through their movement references the Furies in Greek mythology – female spirits of justice and vengeance: Tisiphone (avenger of murder), Megaera (the jealous) and Alecto (constant anger). Other references to women, goddesses and deities also imbue this piece.
Music by Andrew Foster gives another layer to the depth of the piece. Near the end, a baby cries, giving the audience permission to breathe and laugh and this exceptional work finishes almost as it began. This is a riveting work with inventive moment vocabulary supported by a solid choreographic structure to engage the audience in powerful images as choreographer Sarah Foster-Sproull explores aspects of female relationships. It is excellently performed.
Eve, choreographed by Loughlan Prior (Royal New Zealand Ballet) is a contemporary dance which deals with the story of original sin but with a twist. This piece has five dancers, three female and two male, and the partnering shifts as the work continues.
All dancers are dressed in business suits combined with skin-coloured leotards and undies, giving both men and women a somewhat androgynous appearance. Although throughout the piece all duets have men lifting women, each duet foregrounds a different male-female relationship.
An apple – a reference to the original first fruit supposedly eaten by Eve – makes a brief appearance in the beginning and reappears in one duet where it is cleverly passed from male to female and back again. During this duet, the apple is bitten into very loudly, making the audience laugh. The last section further minimises the costuming differences by the discarding the suits, leaving the five performers dancing in skin /beige colours giving a sepia kind of feel. Duets and solos are all danced together with few exits and entrances. The dance culminates with the visual image of all dancers individually at the front of stage, looking back as a sea of apples flows onto stage. The critique behind this reference is not clear.
A wide range of spoken words combined with music supports the various duets and dance sections well. Dancers Laura Jones, William Fitzgerald, Kirby Selchow, Alexandre Ferreira and Leonora Voigtlander show their technical skills by dancing the complex partner work adeptly.
Copyright © in the review belongs to the reviewer
Comments