Tertiary Colours (2008)
The Auckland Performing Arts Centre: TAPAC, Auckland
01/10/2008 - 03/10/2008
The Curated Shared programmes at this year’s Tempo° NZ Festival of Dance collates both the seasoned and the fresh with a range of performances bound together with a contemporary feel. Prime Cuts, Fresh Cuts and Tertiary Colours are three separate curated performances which have been hand picked by festival director Mary Jane O’Reilly – to ensure the upmost choreographic quality and freshness!
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Tertiary Coloursfeatures choreography from Michael Parmenter, Mary Jane O’Reilly, Moana Nepia and other luminaries for some of the best students from the University of Otago Physical Education School, AUT University, Unitec and the prestigious New Zealand School of Dance, who make the trip from Wellington to appear at TAPAC for their first time.
The works throughout Tertiary Colours partner the experience of the veteran dance makers with the talent of tomorrow’s performers to provide a harmonious collaboration between the generation gap. Mary Jane O’Reilly will be recreating a Limbs work from 1978 while Michael Parmenter will be delving into his treasure trove of choreography treasure. Tertiary Colours shows that New Zealand Dance has classic and timeless works that can be re-mastered for new generations of dancers.
Wednesday 1 – Friday 3 October, 8pm (60 minutes)
TAPAC, Western Springs, Auckland
$22 Adult/ $20 DANZ & Groups of 8+/ $18 Concessions
Bookings through TICKETEK 0800 842 538 www.ticketek.co.nz (Booking fees may apply)
An interesting collaboration between new and old
Review by Natalie Dowd 03rd Oct 2008
Introducing the first of the curated Shared programmes for Tempo is Tertiary Colours, featuring works from four of the many tertiary programmes on offer now in New Zealand.
"Each person is free to have their own experience"
Assignment.What choregraphed by Belinda Nusser opens with Unitec dancers dressed in short black slips perfect for displaying the dancers’ focused and solid technique. The thrown arm motif is a feature as is unison as the dancers weave their way effortlessly through solo, duet and trio sections. The Soundtrack of The Constant Gardener includes a man speaking about making one’s own interpretation about a work, and that everyone is free to have their own experience. I took this on board and simply lost myself in the pure movement before me and kept it in mind throughout the show.
To the sound of a storm, Underground Renaissance begins with choreographer/ dancer Ojeya Cruz Banks from the University of Otago emerging as if from the womb, the other dancers curled up at random around her. Dancers morphing with each other, the drums and female voice from Susana Bacas and Antibalas add weight to the earthy and grounded movement that feels almost primal in origin. The plethora of material, inspired by Catherine Dunham results in a patchwork of what I saw as "conversations" in section two as the dancers enter and leave the side-lit stage in series attempting to answer that esoteric question "What is woman knowledge?"
In complete contrast, the trio from the New Zealand school of dance held a conversation of another kind in Between your mouth and mine. An uplifting and fun frolic, punctuated with infectious smiles under bright light. Secrets are ‘whispered’ amongst a wealth of interesting shapes and apparently effortless transitions as the motifs vary and develop. Choreographed by Sacha Copland of Java dance Co to Icelandic and Italian music the dancers make working in each others space seem easy and fun. It is apparent that they are fully involved and enjoying themselves. And then, as if all too close, the trio splits apart in section two, with the clever inclusion of early material revealing that although relationships break apart, a little still rubs off…
Moth by Mary Jane OReilly. How marvellous to see this tried, true and timeless work choreographed to Kraftwerk. Even the technical glitch with the music, which was handled professional and elegantly by the Unitec dancers doesn’t detract from this well constructed piece, beautifully executed in the original designer made ‘floating pantaloons’. Little surprises and impulses contrast with the graceful hovering and drifting, and as the ‘moths’ fade from the headlights at the conclusion I am left with the thought that this delightful piece is totally worthy of being passed on to future generations of dancers and audiences.
Florian Teatiu from the NZ School of Dance as the only male dancer in the show gives a heartfelt performance of Rhapsody, originally created for Craig Barry by Michael Parmenter to the music of Bartok. Teatiu does a great job, combining that heady mixture of strength and grace to give a lyrical and dynamic performance to the beautifully crafted phrases that portray power, masculinity and tenderness.
The longest piece in the show, the Nyman Trio by Moana Nepia is a response to dramatic musical excerpts from Prospero’s Books and The Piano Concerto by Michael Nyman. Resplendent and mannikin-like in brilliant red pageboy wigs juxtaposed against floating white ballet skirts on tied bodices, the seven AUT dancers are tinged with red light in this inspired choreography that is cleverly subversive and references several ballets including La Bayadere, Giselle and Swan Lake. Intense and satirical, the work features repetition and a series of group and solo segments. The highlight for me is the electrically charged section where the dancers show their ‘corp’ strength as they balance riveted to their chairs, creating mesmerising and fluid ‘backbeat’ shapes to the well controlled solos.
Tertiary Colours reflected an interesting collaboration between new and old and the ongoing efforts within the tertiary dance field.
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