Image courtesy of the artistIn the centre of the stage is a long rectangular shallow pool of water. Beneath the surface we can see the traditional Maori lattice patterns (tukutuku) that tile the submerged runway. A woman enters singing the Maori call of welcome (karanga); beautiful and haunting the figures emerge. A man and woman are positioned in the centre of the stage. He is older, a big strong man. She is like a china doll, pale face in a heavy black Victorian gown. The pool they traverse runs from upstage to downstage and behind them is a projection of watery images.
The ominous but inevitable story of a man traveling from life to death begins in a tale of personal and cultural history, loss and maybe even regret. The focus is drawn to centre stage where the lighting and movement are strengthened by the backstage projections that merge into the onstage figures. The versatile cast depicted their characters through dance, song and acting to collectively create a sense of struggle and loss.
This beautiful production is a layering of well considered elements that combine to create a haunting and richly textured experience for audiences. The movement of the performers sets a steady slow pace that continues throughout this one hour production.
Haunting traditional vocals interlaced with contemporary sounds begin as a mound of fishing nets unravel to reveal a young woman who emerges and dances in unison with a young man on the opposite side of the stage. The strength, drumming and fire of the Maori culture is contrasted with the conservatism of Colonialism through the costuming, use of props and the music. Heavy ropes, water and a carried suitcase reflect a journey with characters intersecting and exiting the stage. Costume design by Elizabeth Whiting is exquisite and used effectively to accentuate the characters and context of the piece.
While NGAI TAHU 32 depicts a Maori story, there is room for interpretation. This work engages the imagination and our own personal reflections of culture and history. There are so many breathtaking moments in this atmospheric and intoxicating work. Undulating between trauma and bliss, it effectively includes all elements of stage design and a collection of dance genres from ballroom to the Maori haka. The characters are committed and intense in their movements.
NGAI TAHU 32 is choreographed by Maori artist, Louise Potiki Bryant who performs along with a cast of eight dancers. Established in 2000, the company has a strong focus on exploring and retelling traditional New Zealand stories and legends. In this production they accomplish this through the use of new technology, innovative set design and contemporary dance and performance.
This Australian Premiere is realized through a dramatic, theatrical interpretation that draws the audience into a world of dream. Its inclusion in Tasmania’s premiere arts festival, Ten Days on the Island 2009, provides an insight for audiences into New Zealand dance and story telling.
Ten Days on the Island presents
NGAI TAHU 32
Atamira Dance Collective
Venue: Earl Arts Centre, Earl Street, Launceston
Dates: 3 April at 8pm, 4 April at 1pm, 5 April at 6pm
Duration: 1hr (No interval)
Tickets: $30, Concession $20
Online Bookings: www.tendaysontheisland.com
By Kylie E Eastley - a freelance arts consultant based in Hobart, Tasmania.
This review is part of arts@work’s Critical Acclaim program, designed to increase critical analysis of the arts.