Two dancers in search of a choreographer, travelling side by side, up their hills and down, moving well, tenants in common of their darker times, the set is the sides of a box they can shift about, climb through, sit on, sit in, drape over, lie in, though not a coffin since they are alive and determined to work through their times, surviving the lock-down—’We’re all in this together” this is not a lock-up—’Don’t put us in a box’ nor a lock-out—’We are here and we want to dance for you’.
They share their times both good and bad, and ask us to ask ourselves whether our glad and sad are anything like theirs.
Breathe slowly, deliberately, deeply, get a grip, prepare a show, perform it at the Fringe, say yes to a return season, invite folk along, hope they come, hope they get it.
Thank you. We came. and Yes, we got it.
Jennifer Shennan, 27 May 2022
Circa Theatre, Wellington—Refringe season of Sublime Interludes. Tabitha Dombrowski & Björn Aslund—choreography & performance 26–29 May 2022
This is an expanded version of an obituary written by Jennifer Shennan and published in The Dominion Post online on 2 April 2022.
Russell Kerr, leading light of ballet in New Zealand, has died in Christchurch aged 92. The legendary dancer, teacher, choreographer and producer influenced generations of New Zealand dancers. Kerr’s hallmark talent was to absorb music so as to draw out character, narrative, human interest, emotion, poetry and comedy that ballet in the theatre can offer. Thrusting your leg high in the air, or even behind your head, just because you can, is the empty gesture of perfunctory performance that he found exasperating. Shouting and sneering at dancers, telling them they are not good enough, was anathema to him. One dancer commented, ‘Mr Kerr always treated you as an artist so you behaved like one.’
Born in Auckland in 1930, the younger of two sons, Russell was already learning piano from his mother, a qualified teacher, when a doctor recommended dance classes to strengthen against the rheumatoid arthritis that ailed the child. Did that doctor follow the remarkable career that ensued from his advice? Years later Russell was asked if it was difficult, back then, to be the only boy in a ballet school of girl pupils? He chuckled, ‘Oh no, it was marvellous—there I was in a room full of girls and no competition for their attention. It was great fun.’
Kerr made impressive progress both in dancing and piano, achieving LTCL level, then starting to teach. He could have been a musician, but dancing won out when in 1951 he was awarded a Government bursary to study abroad. In London he trained at Sadler’s Wells, with Stanislaw Idzikowski (a dancer in both Pavlova’s and Diaghilev’s companies), and also Spanish dance with Elsa Brunelleschi. Upon her advice and just for the experience, he went to an audition at the leading flamenco company of José Greco. Flamenco would be one of the world’s most demanding dance forms, both technically and musically. Remarkably, he was offered the job, providing he changed his name to Rubio Caro! How fitting that Kerr’s first contract was as a dancing musician. When asked later how he’d managed it he replied, ‘Oh, I just followed the others.’
Russell Kerr in 1951 shortly before leaving for England
After a time, Sadler’s Wells’ leading choreographer, Frederick Ashton, declared Russell’s body not suitably shaped for ballet. ‘I’ll show you’ he muttered to himself, and so he did. In a performance of Alice in Wonderland, he scored recognition in a review (‘Kerr’s performance as a snail was so lifelike you could almost see the slimy trail he left behind as he crossed the stage.’ As he later pointed out, ‘not many dancers are complimented in review for their slimy trails’). A sense of humour and irony was always hovering.
Kerr danced with Ballet Rambert, and was encouraged towards choreography by director Marie Rambert. Later he joined Festival Ballet, rising to the rank of soloist, earning recognition for his performances in Schéhérazade, Prince Igor, Coppélia, Petrouchka among others. Nicholas Beriosov had been regisseur to choreographer Fokine in the Ballet Russe de Monte Carlo. Kerr’s work with him at Festival Ballet lent a pedigree to his later productions from that repertoire as attuned and authentic as any in the world.
The investment of his Government bursary was exponentially repaid when Russell, now married to dancer June Greenhalgh, returned to New Zealand in 1957. He told me he spent the ship’s entire journey sitting in a deck chair planning how to establish a ballet company that might in time become a national one. Upon arrival he was astonished to learn that Poul Gnatt, formerly with Royal Danish Ballet, had already formed the New Zealand Ballet and, thanks to Community Arts Service and Friends of the Ballet since 1953, ‘…they were touring to places in my country I’d never even heard of. So I ditched my plans and Poul and I found a way to work together.’
Kerr became partner and later director of Nettleton-Edwards-Kerr school of ballet in Auckland. (I was an 11 year old pupil there. It was obvious that Mr Kerr was a fine teacher, encouraging aspiration though not competition. We became friends for life). Auckland Ballet Theatre had existed for some years but Kerr built up its size and reputation, staging over 30 productions. Perhaps the highlight of these was a season of Swan Lake on a stage on Western Springs lake. He produced a series, Background to Ballet, for Television New Zealand in its first year of broadcasting, and also choreographed many productions for Frank Poore’s Light Opera Company.
In 1959, New Zealand Ballet and Auckland Ballet Theatre combined in the United Ballet Season, involving dancers June Greenhalgh, Rowena Jackson, Philip Chatfield, Sara Neil and others. The program included Polovtsian Dances from Prince Igor to Borodin’s sensuous score, and Prismatic Variations, co-choreographed by Kerr and Gnatt, to Brahms’ glorious St Anthony Chorale. Music as well as dance audiences in Auckland were astonished, and the triumphant season was repeated with equal success the following year in Wellington, when Anne Rowse joined the cast.
In 1960 a trust to oversee the New Zealand Ballet’s future was formed, and by 1962 Kerr was appointed Artistic Director. His stagings of classics—Giselle, Swan Lake, La Sylphide, The Sleeping Beauty, The Nutcracker, Coppélia, Les Sylphides, Schéhérazade—were balanced with new works, including the mysterious Charade, and whimsical One in Five. Kerr used compositions by Greig, Prokofiev, Liszt, Saint-Saens and Copland for his own prolific choreographic output—Concerto, Alice in Wonderland, Carnival of the Animals, Peter and the Wolf, The Alchemist, The Stranger. In 1964 he invited New Zealander Alexander Grant who had an established reputation as a character dancer with England’s Royal Ballet, to perform the lead role in Petrouchka, a superb production that alone would have earned Kerr worldwide recognition.
A fire at the company headquarters in 1967 meant a disastrous loss of sets and costumes that only added to the colossal demands of running the company on close to a shoestring budget. Kerr’s health was in an extremely parlous state. In 1969 Gnatt returned from Australia and as interim director, with the redoubtable Beatrice Ashton as manager, kept the company on the road.
Russell had worked closely with Jon Trimmer, the country’s leading dancer, and his wife Jacqui Oswald, dancer and ballet mistress. They later joined him at the New Zealand Dance Centre he had established in Auckland, developing an interesting new repertoire. The Trimmers remember, ‘…Russell would send us out into the park, the street or the zoo, to watch people and animals, study their gait and gestures, to bring character to our roles.’ Kerr also mentored and choreographed for Limbs Dance Company. The NZDC operated until 1977, though these were impecunious and difficult years for the Kerr family. But courage and the sticking place were found, and Russell, as always, let music be his guide.
In 1978 he was appointed director at Southern Ballet Theatre, which proved lucky for Christchurch as he stayed there until 1990, later working with Sherilyn Kennedy and Carl Myers. In 1983 Harry Haythorne as NZB’s artistic director invited all previous directors to contribute to a gala season to mark the company’s 30th anniversary. Kerr’s satirical Salute, to Ibert, had Jon Trimmer cavorting as a high and heady Louis XIV.
His two lively ballets for children, based on stories by author-illustrator Gavin Bishop—Terrible Tom and Te Maia and the Sea Devil—proved highly successful, but there was a whole new chapter in Kerr’s career awaiting. After Scripting the Dreams, with composer Philip Norman, he made the full-length ballet, A Christmas Carol, a poignant staging alive with characters from Dickens’ novel, with design by Peter Lees-Jeffries. (The later production at RNZB had new design by Kristian Fredrikson).
Possibly the triumph of Kerr’s choreographies, and certainly one of RNZB’s best, was Peter Pan, again with Norman and Fredrikson, with memorable performances by Jon Trimmer as an alluring Captain Hook, Shannon Dawson as the dim-witted Pirate Smee, and Jane Turner an exquisite mercurial Tinkerbell.
Leading New Zealand dancers who credit Russell for his formative mentoring include Patricia Rianne, whose Nutcracker and Bliss, after Katherine Mansfield, are evidence of her claim, ‘I never worked with a better or more musical dance mind.’ Among many others are Rosemary Johnston, Kerry-Anne Gilberd, Dawn Sanders, Martin James, Geordan Wilcox, Jane Turner, Diana Shand, Turid Revfeim, Shannon Dawson, Toby Behan—through to Abigail Boyle and Loughlan Prior.
An unprecedented season happened in 1993 when Russell cast Douglas Wright, the country’s leading contemporary dancer, in the title role of Petrouchka. He claimed Wright’s performances challenged the legendary Nijinsky.
An annual series named in his honour, The Russell Kerr Lecture in Ballet & Related Arts, saw the 2021 session about his own life and career movingly delivered by his lifelong colleague and friend, Anne Rowse. The lecture was graced by a dance, Journey, that Russell had choreographed for two Japanese students who came to study with him. It would be the last performance of his work, the more poignant for that.
Russell was writing his memoirs in the last few years, admitting the struggle but determined to keep going. He said, ‘Writing about my problem with drink is going to be a very difficult chapter.’ Russell had told Brian Edwards in a memorable radio interview decades back, of the exhausting time when his colossal work commitments had driven him ‘to think that the solution to every problem lay in the bottom of the bottle.’ He eventually managed to turn that around and thereafter remained teetotal for life—but by admitting it on national radio, he was offering hope to anyone with a similar burden, himself proof that there is a way out of darkness.
He viewed the sunrise as an invitation to do something with the day. He would bring June a cup of tea but not let her drink it till she had greeted the sun. Recently he took great joy in seeing photos of my baby granddaughter, rejoicing to be reminded of the hope a new life brings to a family.
Russell concurred with the sentiment expressed in Jo Thorpe’s fine poem, The dance writer’s dilemma (reproduced in Royal New Zealand Ballet at 60):
… the thing… which has nothing to do with epitaph which has nothing to do with stone. I just know I walk differently out into air because of what dance does sometimes.
Russell Kerr was a good and decent family man, loyal friend, master teacher and choreographer, proud of his work but modest by nature, resourceful and determined by personality, honest in communication, distressed by unkindness, a leader by example. A phenomenal and irreplaceable talent, he was a very great New Zealander.
He is survived by son David, daughter Yvette and their families.
Russell Kerr photographed in 2007
Russell Ian Kerr, QSM, ONZM, Arts Foundation Icon Born Auckland 10 February 1930 Married June, née Greenhalgh, one son (David), one daughter(Yvette) Died.Christchurch 28 March, 2022
Sources: David Kerr, Anne Rowse, Jon Trimmer, Patricia Rianne, Rosemary Buchanan, Martin James, Mary-Jane O’Reilly, Ou Lu.
Jennifer Shennan, 3 April 2022
Featured image: Russell Kerr as director of Southern Ballet in 1983
Louis Solino was for years a member of the celebrated José Limón Dance Company of New York. He later staged many works from that company’s talisman repertoire when a tutor at New Zealand School of Dance. Louis was partner of New Zealander Paul Jenden, both of them major contributors to Wellington’s theatre life.
Early drawn to dance, Louis performed in American Bandstand, Philadelphia’s hugely popular tv music and dance show. After studies in New York, he joined the Limón Dance Company in 1968, staying for 11 years. The company toured widely, including South America, Poland and Soviet Russia, encountering interesting audience reactions to the ‘new’ art.
In 1981 Anne Rowse, director of New Zealand School of Dance, on a study tour to establish connections for possible development at the school, had a fruitful and far-reaching meeting with Louis and Paul (who was studying dance and design in New York).
Choreographies by Mexican-born Limón and fellow-artist Doris Humphrey are classics of American modern dance, timeless works of thematic power and intrinsic musicality. Anne understood the importance of that heritage, and upon learning that Paul was returning home, invited Louis to tutor at NZSD. She recalls, ‘He taught and staged wonderful repertoire, influencing many students into their subsequent careers … Carolyn Lambourn, Kate O’Rourke, Ursula Robb, Daniel Belton, Sarah Lawrey, Alannah Eliot, Alexandra Blair are only a few who come to mind.’
Louis worked at NZSD from 1982 to 1998. Sue Nicholls on the faculty recalls, ’I have a distinct vision of Louis with a very straight back, chin slightly dropped and direct focus. I really admired his care in presenting these works, and the students showed a deep respect for him and this heritage.’ Louis, a disciplined task-master, never handed out praise before it was earned, even if then, but guarded accuracy and integrity of each choreography. These included There is a Time, The Unsung, La Malinche, Concerto Grosso, Choreographic Offering, Dances for Isadora, The Shakers, Day on Earth, Two Ecstatic Themes, Air for the G String. It was phenomenal that Louis had memorised all those works. While the notated dance scores sent from New York were interesting, he scarcely needed to consult them. Everything was in his head and heart.
Dance studies seminars in Victoria University of Wellington’s Continuing Education program offered studio showings of The Moor’s Pavane—(Louis reprised the role of Iago he had played opposite Limón’s and also Erik Bruhn’s Othello. Jenden danced The Moor, Carolyn Lambourn Desdemona, Claire Martin Emilia) allowing us insight into the jewel in the crown of Limón’s repertoire. (Years later another student Daniel Belton would dance Iago to Irek Mukhamedov’s Othello in Kim Brandstrup’s European company. This is dance lineage of the highest order).
Equally memorable was Louis’ staging of Limón’s solo Chaconne, impeccably danced by Paul Jenden, the Bach/Busoni music stunningly played by pianist Richard Mapp. Jenden in slimline dark trousers and soft silk shirt, in Adam Concert Room, at a Music Teachers’ symposium and in the Lutheran church in Newtown, filled these bound spaces with consummate control and a noble dance quality. They rank among the most exquisite performances I have witnessed.
A graduand dancer may never perform professionally again, but from Solino’s stagings they would carry memories for life. Limón’s choreographic style and aesthetic is minimalist, finely honed and paced, character embedded within the choreography, needing no embellishment, strain or added emotion. Just the moves as set.
Louis and many of his colleagues were devastated when his teaching tenure at NZSD ended. He continued free-lance teaching, working with Fleur de Thier’s Rebound dance company in Christchurch and in a number of films, but his talents were absurdly under-used.
Jenden’s theatrical output was prolific, and he made roles for Louis wherever possible—in the Hairy Maclary shows, The Gay Fandango, musicals and pantomimes at Circa or Bats, seasons of Fairy Stories (with Jon Trimmer also in the cast)—shows laced with biting satire and high-camp naughtiness. Jenden’s legendary Swan Lake and Giselle, 20 minute one-man shows, hilariously mocking perfunctory ballet productions, with Bill Sheat claiming these were the funniest things he’d seen in the theatre.
In 2013, after serious illness with cancer, Jenden created C— The Musical at Circa. Louis played the silent role of Carcinoma and musician Sue Alexander recalls him as ‘an eerie, gaunt, elegant baroque figure, dressed in a long cape which I had to pass as it lay on the floor backstage, the only position from which Louis could put it on. It was about 20 feet long and spread along the floor like a dark, densely textured Venetian corpse.’
Voluminous sky-blue silk capes are worn in Doris Humphrey’s elegaic Air for the G String (Louis left the costumes here when he returned to America, trusting us to choose the appropriate celebratory or commemorative occasions to dance it). One of the costume labels reads ‘Renata’. Renata Donovan subsequently studied nursing, and I happened to meet her in ICU of Wellington Hospital, nursing the dying Paul Jenden. She did her work with care and compassion, sat with Louis in the waiting room, then went back to nurse the patient. Just the moves as set.
Louis returned to America in 2014. Our farewell to him included Air, and a striking rendition of Two Ecstatic Themes danced by Lucy Marinkovich. Grateful students gifted him a pounamu pendant which he wore constantly, ‘a piece of Aotearoa to take with me’ so no surprise to see it still at his throat when former students, led by Michael Long, enterprisingly fund-raised to bring Louis back to Wellington for the school’s 50th anniversary in 2017. I took him to visit revered kuia, Tiahuia Gray (whose daughter Merenia and son Tanemahuta had both been Louis’ students) to bless the pounamu with a karakia. Tiahuia asked Louis his favourite word so as to name the taonga. He answered ‘Paul’.
Louis lived his last years with family in New Jersey, and died after a long illness. He is survived by his sisters, Marysue Palen, Joann Fry and their families.
Louis Solino, born 7 February 1941, Philadelphia; died 5 January 2022, New Jersey
An edited version of this obituary first appeared in New Zealand in Stuff Entertainment on 22 January 2022. Sources: Anne Rowse, Felicity Hamill, Daniel Belton, Sarah Lawrey, Jane Woodhall, Richard Mapp, Carolyn Lambourn, Sue Nicholls, Sue Alexander
The year everywhere saw curtailment of a number of dance events but the resilience in dancers’ responses still gave us plenty of highlights to savour …
Ballet Collective Aotearoa launched its long-awaited premiere season, Subtle Dances, in the Auckland and Dunedin Arts Festivals early in the year. Artistic direction of BCA by Turid Revfeim, to establish a new national independent ballet enterprise, is supported by her troupe’s pioneering and committed spirit that refuses to let funding challenges affect their vision, as further festival bookings eventuate and new sponsorship initiatives are waiting in the wings. BCA achieved an outstanding professional level of dance and music presentation with this triple-bill that premiered choreographies by Sarah Knox, Cameron Macmillan and Loughlan Prior, in collaboration with the New Zealand String Trio, who played onstage throughout. This was chamber performance of the highest order, and impressive that the two arts could bring such coherence to a triple-bill. It was further affirmation to see Abigail Boyle, nationally treasured dancer, performing at her peak. Young company member Kit Reilly is one to watch out for (he has recently received the inaugural Bill Sheat Memorial Award for a dancer prepared to commit to New Zealand identity in their career).
Later in the year Loughlan Prior achieved what is arguably his finest choreography—Transfigured Night, beautifully themed to the Schoenberg score, performed by New Zealand String Quartet in a NZChamber Music national tour, in an impressive staging where musicians and dancers again shared the stage space. The calibre of choreography, fine dancers and fabulous musicians ensured that the totality was greater than the sum of its considerable parts. That doesn’t happen just by cutting the stage into two halves, but grows out of the skill and vision of the choreographer, and willingness of the musicians to take risks (NZSQ have always been up for that). Laura Saxon Jones, another much valued New Zealand dancer, was here in her prime, as Prior, who knows her work well, intuited exactly how to create a searingly memorable role for her. Thanks to inspired set and costume design by William Fitzgerald (who also danced in the work), the unlikely space of the Fowler Centre was transformed into a grail of poignant and poetic beauty. At the end, audience members, primarily music followers, were either on their feet or reduced to tears by this outstanding work, which would hold its strength in any venue worldwide. Perhaps it is music audiences that will enlarge a future following for dance as they find music treated with equal respect as choreography, without distracting interruptions of shouting and whistling that haul balletic virtuosity out of the context of choreography (as though dancers need encouragement to tackle the next entrechat or pirouette).
Lucy Marinkovich brought her remarkable Strasbourg 1518 back to Circa Theatre after its premiere season there was cut short last year. It remains the most powerful experience of dance theatre seen here in a very long time, and its Auckland season also made huge and visceral impact. Lucien Johnson’s sound design plus saxophone drove the performers into the stratosphere. I remember the narrator from the original production, France Hervé, for the remarkable transition within her role that edged its way through the performance. No easy way to turn that alchemy into words.
Bianca Hyslop choreographed and Rowan Pierce designed Pohutu, performed for the Toi Poneke gallery, a highly effective setting for a work of empathy with unfolding references to both geographical landscape and mental inscape.
The New Zealand School of Dance graduation offered a program of interesting contrasts within the classical and contemporary vocabularies, and I felt thrilled to encounter the choreographic instinct and potential of Tabitha Dombrowski’s new work, Reset Run.
Vivek Kinra’s company Mudra presented Navarasa, to his customary highest standard of Bharata Natyam, a consistent contribution to Wellington’s artistic life for decades. One of my favourite things is to observe a dance class, to sight the seeds planted that over time grow into performance. It’s one of the ways to prepare for the privilege of writing about dance in its ephemeral, enduring path. Kinra is one of the most naturally gifted dance teachers across all genres in Wellington, in his command of discipline that is shared with, but not imposed upon, his students. In this Indian dance form there is a wonderful continuity between studio and stage which offers a cleansing and rewarding experience.
I attended a spirited gathering at Parliament, where a book documenting the Irish population resident in New Zealand was launched. Every address was laced with a song, as we are so accustomed to in Maori whaikōrero (oratory) and following waiata (song) but it was especially apparent here that Celtic dance is as readily available as song, poetry, literature, instrumental music—fiddle and pipes—as affirmations in Irish communication. No choreographer to be named here—just dancing from the heart.
The Royal New Zealand Ballet’s restaging of Liam Scarlett’s A Midsummer Night’s Dream brought us many poignant reminders of the premiere season in 2016 and its stellar cast. Previous artistic director Ethan Stiefel had initially proposed and negotiated with Queensland Ballet for the two companies to share a series of productions, which was a truly exciting prospect. Queensland Ballet did mount A Midsummer Night’s Dream in 2016 but after that, unfortunately, the project did not proceed further. But the calibre of choreography and design (Tracy Grant Lord) of Dream remains intact. It was Scarlett’s masterstroke to frame the plot with a prologue of the young child caught between fractious parents yet resolved by the epilogue, hence the genius to telescope a 500 year old theme into contemporary society. That Liam Scarlett died at 35, earlier this year, is something that Shakespeare, in heartbreaking tragedy, would be challenged to account for.
I watched on Sky Arts several sizzling programs of documentary/performance by Flamenco artists, memorably Rocio Molina. The best-made dance films for my eye are those of Cloud Gate Dance Theatre of Taiwan, superb record of the company’s prolific repertoire in perpetuity, and their viewings always prompt me to send a message to everyone in my contacts list to watch if at all possible.
Dance reading helped fill some of the quieter stretches of the year—Michel Meylac on Russian Ballet emigrés was exactly what it claimed—whereas I found totally delightful surprise, when reading the fresh and fabulous Zadie Smith—Feel Free—to happen upon her essay Dance Lessons for Writers, in which she brilliantly couples and compares Fred Astaire & Gene Kelly … ‘aristocracy v. proletariat…the floating and the grounded …’; Harold Nicholas & Fayard Nicholas … ‘propriety and joy, choose joy…’; Michael Jackson & Prince; Janet Jackson, Madonna, Beyoncé; David Byrne & David Bowie; Rudolf Nureyev & Mikhail Baryshnikov… ‘the one dancer faced resolutely inwards, the other is an outward-facing —artist…’. It’s heartening to find such perceptive analysis from a writer who is not exclusively describing dance performances, but who can trace and evaluate how these technical and aesthetic qualities resonate with the rest of our experiences.
For the fourth Russell Kerr Lecture in Ballet & Related Arts, Anne Rowse brought her own 90 years alongside her decades of friendship with 91 year old Russell Kerr to trace their parallel careers—and what fabulously sustained careers those have been. The event was coupled with a celebration of Michelle Potter’s book, Kristian Fredrikson, Designer, generously supported by the Australian High Commission.
The same event also saw the launch of DNA—Dance Needs Attention, a networking enterprise to invite artistic associates to support each other as individuals in independent dance studies and writing projects. Among early tasks was the opportunity for me to read the manuscript of associate Ashley Killar’s forthcoming biography of John Cranko—a fascinating read and one certainly to watch out for.
2022 will see Patricia Rianne, in the fifth lecture of the RKL series, trace her own life and career—including the ballet, Bliss, that she choreographed after a Katherine Mansfield story, for New Zealand Ballet in 1986. There will be several seminars throughout following months in which we will celebrate Poul Gnatt’s arrival in New Zealand in 1952, when he first taught open classes in Auckland as the Borovansky Ballet toured here, before he founded the New Zealand Ballet the following year.
May we all be safe and sound through 2022… 100 years since James Joyce published Ulysees, TS Eliot published The Waste Land, Virginia Woolf is writing, Katherine Mansfield is writing… and Sergei Diaghilev invited Igor Stravinsky, Pablo Picasso, Marcel Proust, James Joyce, Erik Satie and Clive Bell to dine together in Paris at the Majestic hotel. Wonder what was on the menu that night. Choreographic scenario, anyone?
The Graduation season of NZSD is always a spirited one and, despite numerous disruptions to the year, this 2021 program of nine short works is an outstanding testament to resilience and determination, qualities that dancers are noted for. Such things can be infectious, all to the good since the world needs more of both. It’s the elevation—the leaping, the jumping, the flying, the jeté, the sauté, the entrechat, the gravity-defying stuff that I’m talking about (—the things dancers in retirement tell you they miss the most. It’s metaphor. Normal humans don’t jump, they just walk and maybe run, as common sense dictates they should, so younger dancers are needed to keep the elevation going. If you agree, read on. If you don’t, I’m not sure I can help].
The opening piece, a perfect curtain-raiser, is the Waltz from Act I of Swan Lake, from Russell Kerr’s renowned production for RNZB some decades back, remembered for the integrity of its staging. Swan Lake is not just about the dancing, it’s a story-ballet about love and loss, and the price to be paid for a mistake. Fundamentally it’s a ballet about grief. Kerr has always known how to fully harness the dramatic power of full-length ballets in the theatre, something many attempt but few achieve. He is the consummate force, call that kaumatua, of ballet in New Zealand, and is only aged 91 so there’s time for us to appreciate him yet. RNZB will next year bring back his production of Swan Lake. I remember the closing cameo of its final scene, the cumulative effect of all four preceding acts, a product of Kerr’s humanity and humility, and I have lived by it ever since. This excerpt was staged by Turid Revfeim, a legendary alumna of NZSD, who brought her typical sensibility and acumen to create the enthusiasm and atmosphere of a 21 year old’s birthday party for us all to share. There’s a lot can go wrong at a 21st birthday of course (and the full-length ballet follows through with that) but here it’s a huge bouquet of fragrant roses as a gift for a birthday celebration. Who’s going to say No Thanks to that on the night? Salute to Tchaikovsky, Russell Kerr and Turid Revfeim, to every dancer, and to everyone in the audience since we’ve all been invited to the party, so to speak.
Reset Run, by Tabitha Dombrowksi, lists music by Bach, by Kit Reilly, and by Ravel. I am familiar with Dombrowski as a fine and focussed dancer (earlier in the year she was in the cast of Ballet Collective Aotearoa’s memorable season, and also in Loughlan Prior’s stunning Transfigured Night) but I have not hitherto seen her choreography. It proves a revelation. My anticipation is usually on reserve when several musics for a single choreography are involved, since that might mean fragmentation instead of the coherence that a single composition can support. I need not have worried. Lines, patterns, the front view or the back of each dancer, are thoughtfully modulated to balance light and dark. The cast of eight dancers are in black gear, a white stripe down each arm, and a large oval cut out from the back, allowing light from the shadows to shine on skin. The true choreographic strength, maintained throughout, makes each move consequent from the one before it and gives rise to the one that follows. An initial line-up of couples then become a single couple, then become a group. That beautifully built transition transports me back not 24 hours when I’d watched the magnificent and beautiful lunar eclipse in the night sky. No mean feat to evoke that choreography.
The following work could not have made greater contrast. Dust Bunny, a ziggy number choreographed by Matt Roffe, is an excerpt from his full-length work Cotton Tail. In cabaret mode, it urges all rabbits to run from the farmer’s gun. Some escape, but of course some do not. The animal rights issue here is poignant and well played but I did wonder if some kind of mask or head covering would help the animal representation.
Lucy Marinkovich always develops her work from researched and specific themes. Lost + Found offers a meditation on time, and the ephemeral life of a dance. The opening section, effective in silence, captures both linear and circular time. Further sections layer unison and canon in movement, to the piano music of Jonathan Crayford with atmospheric overtones designed by Lucien Johnson. The climax is a wild and wonderful whirling blur after the manner of dervishes, in the timeless invoking for grace to descend from on high. Where does a dance go when it is no longer being performed? That question is echoed in St.Augustine’s words—’What is time then? If nobody asks me, I know; but if I were desirous to explain it to one that should ask me, plainly I do not know.’ A pointed theme for dance… the most ephemeral of performance arts.
Loughlan Prior, an experienced choreographer with a continually expanding career, made Time Weaver, to music by Philip Glass. A couple dances patterns and lines, holding positions with striking shapes of two bodies, rather than communicating an emotionally engaging pas de deux of the conventional order. The dance comes to seem like the slow-motion capture of an exquisite flower opening—lotus, passionfruit, desert cactus, water lily perhaps—such as David Attenborough would be pleased to have commissioned.
Somewhat Physical by Jeremy Beck rocks with comic satire, but has a serious underpinning. A rambunctious rendering of Rossini’s The Thieving Magpie is resisted by the large group of eleven dancers who stand folded over with arms hanging down. Imperceptibly slowly they unfold to an upstanding position. End of music, bows and applause, thanks for nothing. Chairs are brought in and the dancers set themselves up as an audience. What does that make us? Further sections contain music (Vivaldi, Purcell, Mozart) and movement jokes that question the conventional relationships between what’s seen and what’s heard. The last section seems like a scene from the classic film Allegro Ma non Troppo, with dancers assembled as an orchestra of musicians, flinging their arms off, dancing their hearts out, striking their strings and pounding their percussion. Rossini, Vivaldi, Purcell and Mozart would have loved it—well, it’s for sure at least Mozart would have.
The Bach by Michael Parmenter, to the opening chorus of Bach’s Easter Cantata, is here in an excerpt (from the original made for Unitec season in 2002, and also performed by NZSD in 2006—apart from Swan Lake it’s the only work not a premiere on this programme.) Its presence here answers that question about where a dance goes when it’s not being performed. In this case it resides, it hides, within the music, poised and ready to explode as soon as the music begins—’to celebrate the joy of the Resurrection.’ Fifteen dancers fill the stage with that joy, spiritual and/or religious, and deliver all the moves of a masterwork. You’d want to study this dance for the art and craft of choreography at its best.
In complete contrast follows So You’ll Never Have to Wear a Concrete Dressing Gown, by Eliza Sanders. An experimental piece, constructed in motifs from images in poems penned by the participating dancers. There is further self-referencing in that each dancer wears a shirt imprinted with the face of a class-mate, in a potentially interesting theme. The faces are distorted when the hands of the dancers are placed on the shirts which I find a little disconcerting—and I wait for the wearer and the face to connect during the dance, though that does not happen. This is an enigmatic work not wanting to follow obvious conventions.
Nexus, by Shaun James Kelly, to Vivaldi’s Four Seasons, depicts dancers learning and assembling sequences from classical vocabulary, with frequent motifs of sliding and gliding footwork delivered at speed. I see echoes of Lander’s Etudes, which suits the theme of dancers presenting the movement elements of their art form. In that sense it makes a suitable finale to a Graduation program, though it is the vibes of Parmenter’s work that are still hanging in the air as we dash through the rain to the car park. It’s raining—who cares? We’re dancing.
Behind the Scenes at the Ballets Russes – Stories from a Silver Age by Michael Meylac [Methuen/Drama]
I am always willing to get down on my hands and knees in Wellington’s Unity Bookshop to search for whatever few titles might be on their Dance shelf, down at floor level below the Music shelves, in case something new has arrived since my last genuflection.
That’s the way I discovered Mark Morris’ memoir, Out Loud, last year, and found much stimulation in his vigorous style of memoir-writing. Various friends have not shared my appreciation of the book, finding its ‘no-holds barred’ expression hard-going, but to me its frankness and honesty were refreshing. ‘Judge me if you dare’ Morris seems to be saying. I do judge him, though rather by the musicality in much of his choreography than by the gossip and intrigue with which he furnishes the book.
He writes profiles of different artists and colleagues that vary in their appeal, but I found much interest and insight in the sustained account of his friendship and working partnership with American composer, Lou Harrison. Harrison had spent a year in New Zealand on a Fulbright fellowship back in the early 1980s and his enthusiasm for gamelan music, indeed for many Asian musics, we all found invigorating. I choreographed to his Solstice, (previously choreographed by Jean Erdman of The Open Eye theatre in New York) so I came to know Lou very well, and caught up with him again on subsequent study visits to America. Morris’ every word about Lou evokes his generosity of spirit, the uncompromising commitment that hallmarked all of his composition work, and his abiding interest in dance as a parallel art. Reading about Lou was like meeting up again with a dear friend after many years.
The Mark Morris Dance Company brought Handel’s L’Allegro, Il Penseroso ed Il Moderato to the International Arts Festival in Wellington in 1998. Live music was always Morris’ point of departure so the sizeable vocal and instrumental forces were sourced locally. That has meant you can easily find singers or players who were involved in the production, and who still rate it as one of the highlights of their musical careers.
To read Out Loud in tandem with Joan Acocella’s earlier biography of Morris is an interesting exercise that aids our evaluation of this prolific choreographer, while confirming my continuing admiration for Acocella’s outstanding skills as a dance writer.
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Another more recent find from Unity Books’ bottom shelf was Behind the Scenes at the Ballets Russes, by Michael Meylac. It has proved a hugely rewarding read. [Translation is by Rosanna Kelly].
Meylac’s young days as an ardent follower of ballet in his native Russia, and his subsequent work as a scholar of Russian literature and history, now for decades living and teaching outside his homeland, make him admirably equipped to provide a political and social background of European ballet history, and to discuss the development of distinctive ballet styles in different eras and countries. I often say that the history of ballet is the history of the world, and while I don’t expect anyone should listen to me on the topic, I think we all should listen to Meylac.
A poignant Preface to the English edition is subtitled The West in Russia and Russia in the West—a permeable membrane. The following Introduction is an erudite and thoughtful overview of the way the Russian ballet diaspora spread out in waves across the world during the 20th century … originally via Diaghilev’s and Pavlova’s companies, and subsequently through the number of other ‘Russian Ballet’ companies that formed in their wake and toured to far corners of the world. But that worked not only in one direction and it is the genius of this book that allows Meylac to identify many continuities and connections, within ballet’s endeavours, rather than the single block treatment of just one country or one company, as so many books have already done. His Introduction provides context for the interviews that form the main part of the book, conducted with more than thirty practitioners of the many generations in this ballet lineage.
The interviews are in two parts, then divided further into clusters—Part One—The Ballets Russes—In the Shadow of Diaghilev; Remembering Colonel de Basil’s Baby Ballerinas; The Dancers; The BaIlets Russes in Australia; The Ballet Russe de Monte Carlo in America. Part Two—The Marquis de Cuevas and Others.
Interviews are with Rachel Cameron (on Tamara Karsavina—a pearl), Tamara Geva, Alexandra Danilova (if star rating I would give this a 5), Irina Baronova, Tamara Toumanova (a black pearl this one), Tatiana Riabouchinska and more and more (27 in total). It brings tears to your reading eyes to catch the tumultuous early decades of the 20th century as background to these stories. it is refreshing, sometimes riveting, to hear so many voices, and each reader will be bound to find traces and links to their own dance experience, maybe only two degrees of separation between their teacher and someone who may have danced with Nijinsky, or been hired or fired by Diaghilev, or been in or at the premiere of legendary productions—The Firebird, say—to learn what Pavlova said when she watched a class, hear how starving dancers found food, or what Fokine said when Hitler marched by in the street below. Pavlova and Fokine were both here in New Zealand so you can place a couple of jigsaw pieces into the wider picture of this country’s dance history.
I was intrigued by the interview with Nini Theilade, born in Java but who finished up in Denmark where she choreographed works on the Royal Danish Ballet that Poul Gnatt danced in. There was further interest in the interview with Jean Babilée, a stellar performer with les Ballets des Champs Elysées when Gnatt joined that company immediately after World War II. That will perhaps be where he gained inspiration for the legendary Bluebird that he danced here in 1953, in the same Opera House in Wellington where Pavlova had danced in 1926, and where Loughlan Prior’s Firebird has just premiered in 2021. And so it continues, the ties that bind. The recent remarkable documentary Force of Nature Natalia, about Osipova, offers contemporary evidence that new choreography can still be appreciated on both sides of the Ballet Curtain, ‘the permeable membrane’, despite the political treachery that exists around them in the impermeable Iron Curtain that has rung down again.
All the above were reasons to read the book, but it is Meylac’s dedication to John Neumeier, choregrafo assoluto, and his exquisite final interview with him, plus his Afterword Like a tree, the art of ballet has many roots…that would make me buy it twice. Neumeier’s prolific choreographic oeuvre and directorial responsibility for Hamburg Ballet (since 1973!) are phenomenal achievements that leave other ballet companies in the shade. Meylac identifies Neumeier as the most deeply inspired inheritor of the best of the Russian heritage—his work with Galina Ulanova, his closeness to Vera Volkova, and his museum collection of works by and about his adored Nijinsky, and his new choreographies revisiting masterpieces are all unparalleled elsewhere.
Meylac’s discerning book reeks with integrity — looking back in ballet history so as to look forward, guiding us to understand so as to appreciate, leaving varying opinions verbatim to speak for themselves, and celebrating the lifelines that secure our dancelines.
footnote – Hamburg Ballet is my favourite ballet company on the planet and I am still in thrall to the Goethe Institut for offering me, back in 2005, many weeks of a dance study tour through Germany that wound up in Hamburg, enabling me to see eight of Neumeier’s full-length ballets, each in a ‘one night stand’ through a searingly memorable week. No other ballet company on Earth begins to match that production record. I’ve returned to Hamburg since, to repeat the pleasure, and just to be sure I hadn’t imagined it all on the previous visit. It was worth another separate trip to Copenhagen to see his The Little Mermaid by Royal Danish Ballet, a choreography I’ll be taking to Heaven with me when my time comes. It’s extra thrill that ‘our’ Martin James has many times danced the lead role in Neumeier’s Ulysses.
I’ve always enjoyed the synchronicity that Cloud Gate Dance Theatre in Taiwan, my all-time favourite contemporary dance company (now that Douglas Wright has gone) was also founded by Lin Hwai-Min in the same year as Neumeier’s company, in 1973. The repertoire of both companies has been exclusively of their choreographer/director’s works. These are phenomenal periods of longevity in performance arts and demonstrate that dance companies can survive on artistic genius with administration serving that vision, rather than the reverse situation of bureaucracies controlling artistic output.
Josephine Baker, singer and dancer, heroine of wartime French Resistance, later a civil rights and peace activist, will be re-interred at the Panthéon monument in Paris, making the entertainer the first black woman to receive the country’s highest honour.
American-born but by choice a Parisian, Baker, who died in 1975, was buried in Monaco, dressed in a French military uniform with the medals she received for her role as part of the French Resistance. President Macron has announced that a re-interment ceremony is planned for November 30, 2021, at the Paris monument, which houses the remains of scientist Marie Curie, French philosopher Voltaire, writer Victor Hugo and other French luminaries.
Born in St Louis, Missouri, in 1906, Baker moved to Paris in 1925 in flight from the racism and segregation she encountered in the United States. She performed at le Théâtre des Champs-Elysées and later at les Folies-Bergère in Paris, becoming a mega-star, adulated by many followers. She posed for Picasso, among other artists; F. Scott Fitzgerald and numerous writers praised her, with Colette calling her a ‘beautiful panther’. André Levinson wrote: ‘Some of her poses, with her waist curved inward, her rump projecting, her arms interlaced and lifted in semblance of a phallic symbol … evoke all the marvels of noble black statuary: she is no longer the dancing girl… she is the Black Venus…’
(left) Josephine Baker in Banana Skirt from the 1927 Folies-Bergère production Un vent de folie. Public Domain; (right) Poster for the 1927 film La revue des revues. Public domain
Baker, together with Maurice Chevalier, entertained many of the French troops, during WWII, and also was a Resistance courier of information passed between the French and their allies as she used her celebrity status for travel purposes (with documents hidden in her underwear).
Baker took part in 1963 in the March on Washington for Jobs and Freedom alongside the Reverend Martin Luther King Jr., who made his ‘I have a Dream’ speech there. She had become a French citizen after her marriage to industrialist Jean Lion in 1937. Between 1954 and 1965, three husbands later, she adopted 12 orphaned or destitute children of different ethnicities, calling them her ‘rainbow tribe’. One of her most celebrated numbers was ‘J’ai deux amours—mon pays et Paris.’
A fine biography, Jazz Cleopatra, by Phyllis Rose was published in 1989. The International Encyclopedia of Dance entry on Baker has an inspiring cameo of her by Marie-Francoise Christout, which reads—‘The “black pearl” is remembered for her feline walk, her warmth, and her exceptional rhythmic spontaneity. She received France’s Croix de Guerre for her work during the war, as well as the medal of the City of Paris and membership in the Legion’. The French certainly know how to honour and re-bury their dead.
Jennifer Shennan, 23 August 2021
Featured image: Josephine Baker, 1949. Photo: Carl van Vechten, Van Vechten Collection at Library of Congress, Public Domain
Anne Rowse is a well-known and much-loved figure in the New Zealand dance scene. Her 90th birthday was recently celebrated in style at several events in her home town of Wellington, and at a family gathering at Queenstown in the following days. London called in long-distance, as did many colleagues and former students from a global spread of cities.
Anne had early ballet training in New Zealand, continued that in London, then had a performance career with Festival Ballet between 1952 and 1960, when she danced alongside fellow New Zealander Russell Kerr. She retired from performing and returned home with husband Ken Sudell to start a family. After some years she commenced teaching and in 1979 was appointed Director of the National School of Ballet, in 1982 re-named New Zealand School of Dance to mark the introduction of contemporary dance as well as teacher-training courses.
Everyone invited to the birthday events accepted, since ‘Joyous occasions are few. We will celebrate’ (that’s a quote from composer, the late Douglas Lilburn). Perhaps they were also hoping that Anne’s renowned optimism, elegance and positivity would prove infectious, and that they might catch some of whatever she’s got.
Anne recently performed the central role in Doris Humphrey’s movingly beautiful Air for the G-String, something she has done maybe a dozen times over the years, her serenity and presence more poignant on every occasion. (Air, along with a dozen other Humphrey and Limon repertoire, was first staged by Louis Solino when he was on the faculty at New Zealand School of Dance. Anne rates it as a major coup to have appointed Solino to the staff since none of those fine classic choreographies would otherwise ever have been seen here). A number of other highly successful initiatives date back to her time at the School. It is heartening to learn that Anne is mid-stream writing her Memoirs so there will be a record of important dimensions in New Zealand dance.
Early in the week an open class of Renaissance and Baroque dance included Anne dancing a menuet-à-deux from Kellom Tomlinson’s 18th century treatise. With Robert Oliver on bass viol, and Keith McEwing as partner, she brought a striking grace to the menuet—(I here declare a very happy ‘conflict of interest’ since I set the dance). Matz Skoog (former artistic director of RNZBallet) was in the room and reference to his experience in late Baroque theatre productions at Drottningholm in Sweden gave an extra resonance to the lines and legacy we trace in ballet history—not for old time’s sake, but for future time’s sake.
A few days later a large crowd of well-wishers attended an event at New Zealand School of Dance where director Garry Trinder and associate director Christine Gunn, together with present and past staff and students, acknowledged Anne’s contribution and celebrated her milestone. Other speakers included Liz Davey and Deirdre Tarrant, and The Royal Academy of Dance, itself celebrating 100 years of achievement, made a presentation of the President’s Award on behalf of Luke Rittner from London.
The junior scholars performed a piece set by Sue Nicholls, a contemporary work by Holly Newsome was danced by 1st year students, then the pas de deux from the second movement of Concerto by Kenneth MacMillan was given a flawless performance by Louise Camelbeke and Zachary Healy. The luminous choreography, to the Shostakovich Second Piano Concerto, beautifully played by Philip O’Malley, was a blessing without words.
The school song—E te whaea e—was given a robust rendition by all students and staff, thus ending the presentation in high spirits.
Dance … so intensely in and of the present … can equally invoke other times, places and people, their work then and now, their memories of then, and the books they write now.
Many happy returns, Anne. We celebrate 21sts, why not 91sts? See you next year.
2 – 4 July 2021, Little Theatre, Lower Hutt reviewed by Jennifer Shennan
For over 30 years Shri Vivek Kinra has been teaching Bharata Natyam in Wellington, at Mudra Dance Academy. There have been hundreds of pupils over the decades, many reaching advanced level and performing the arangetram, two-hour solo recital, that marks their professional debut. Others have arrived more recently in New Zealand and are of Indian, Sri Lankan or Fijian origin. One is of Anglo-Irish descent, proving anyone could be in if prepared to do the work.
Kinra draws on this pool of talent to form Mudra Dance Company, presenting traditional and new works in seasons that have become a shining beacon in the city’s annual dance program. The technique and expression from each performer is always delivered with the assured musicality that is built in to Bharata Natyam from young pupils’ first class (5 year olds have been known to weep at the door of the Academy since pupils are not accepted until the age of six).
Kinra choreographs and directs these seasons but announced his own retirement from performing in 2015. Fortunately for us he continues to perform mimed cameos of each choreography, by way of narrated introduction to the themes and moods to expect. These little jewels are like dances you can hold in your hand, and are alone worth the time and ticket price. His own training was at Kalakshetra, in Chennai, where he still maintains strong connections, and works with colleagues, Gayatri Lakshmanan chief among them, and the musicians who play the compositions recorded on Kinra’s annual visits to India.
Of the eight items on the program, six are choreographed by Kinra. The main one, Navarasa, which translates as Nine Emotions, lends its name to the whole program.
It is a stunning depiction of the gamut of valour, love, wonder, amusement, disgust, anger, fear, compassion and benevolence as experienced by the Mother Goddess Meenakshi in various encounters with gods, demons, humans and animals both tame and wild. In Tamil sung poetry, it is, as I was expecting, a miniature masterpiece.
In its mimed prologue, there was a sudden dying of the light. Kinra continued in the dark but knew it would be better if we could see him. A voice cried out for the gods to send light, which will have shaken awake the lighting technician to do as bid, and all was well. Was this part of the choreography all along? A nod to the Covid year that has darkened so many dance stages around the world? Could have been, should have been. You just have to turn the light back on and carry on as before. Vaccines and danced prayers will see us through.
Another item, this time in Sanskrit, is the Shlokas from Shri Krishna Karnamritam. The intoxicating beauty of this god is depicted through musk paste on his forehead, a jewel on his chest, a pearl at the tip of his nose, bracelets, sandalwood paste and a pearl necklace. But wait, there’s more. A herd of cows, a flock of peacocks, dark clouds and strikes of lightning. The piece ends in a dance about dancing—high sophistication this. The Ras Leela is a renowned depiction of ecstasy, usually performed with sticks that percussively mark the beat and interweaving positions of the dancers. Here subtle handclaps were substituted for sticks and it was poignant to hear a swelling response that had a number of the audience gently joining in that handclapping.
I first saw a Ras Leela danced by a large group from the Indian community at the first Pacific Arts Festival in Suva in 1972 (when Kinra was a babe in arms). Performed by 100 dancers out of doors, it was staged by the artists based at the Indian Cultural Centre in Fiji, five musicians and dancers resident in a full-time program for two years at a time, funded by ICCR from India. A short while later Professor Jenny McLeod brought those artists to Victoria University for a memorable intensive workshop at the School of Music. Political events in Fiji followed, the Centre was closed, and the next time I visited Suva it was a sorry sight to see the once vibrant place now empty and derelict with doors and windows creaking on their hinges and banging open in the wind. Life goes on but it’s hard to claim that all of history is progress.
There is a long and interesting history of Indian dance in New Zealand—beginning with Sivaram’s and Louise Lightfoot’s visit in 1950s, Liong Xi in 1960s, Amala Devi in 1970, the Balachandrans, Chandrabhanu, Kanan Deobhakta, two astonishing visits by Kathakali dance theatre, and there are others. Fortunately for audiences who wish to deepen their appreciation of the art, there is a vast literature on the subject. Two leading scholars of the field, Dr Kapila Vatsyayan and Dr Sunhil Kothari, have died recently, but were both aware of Kinra’s work here in New Zealand, in the world map of dance.
There was an exuberant cadence to the performance in the final Thillana, choreographed by the late Rukmini Devi, founder of Kalakshetra. (She too once visited New Zealand, as guest of the Theosophical Society). Mudra’s line-up of radiantly costumed and bejewelled dancers was a joy to the capacity audience. It is not to demote any of their previous memorable seasons to mark Navarasa as their strongest choreography yet.
Fridays through June, 2021. Toi Poneke Arts Centre Gallery, Wellington …from Jennifer Shennan
At Toi Poneke Gallery last Friday evening, we watched Te Mauri o Pōhutu (The Life-Force of Pōhutu) , a lyrical duo performed by Bianca Hyslop and Paige Shand, with vocals by Tūī Matira Ranapiri Ransfield, with Rowan Pierce as sound and spatial designer. The event, with an extended karanga of welcome and challenge, opened the month-long Kia Mau Festival in Wellington.
This is a dance of flow and surge and curve and turn and return, of arc and arch and sweep and pull and tilt—not a straight limb nor an angled joint in sight, no pointed hook for a dancer’s foot, no self-conscious strut or mannered striving of torso and limbs, just two beautifully-tuned bodies, dressed in the sacred red of blood and of mana, moving with grace and nature, dancing a twenty-minute lullaby and homage to an old woman’s life, to family, to village, to history and to the present, to gravity, to the air around and above, with their bare feet on the same ground we all stand on. The dance is an embrace, a mapping, a marking. Bianca has said elsewhere … ‘I’m not interested in making works of protest, rather to create living works of beauty that serve as reminders…’ and in her program note here …’Te Mauri o Pōhutu is a sensual offering that addresses the fragility of memory, connection to whenua and reclamation of culture from within foreign frameworks.’ Amen and Kia Mau to that.
After a koru of curving swirling hands, growing into arms then swelling into torso spirals, we are reminded of the kowhaiwhai shapes of painted ceiling panels in nga whare whakairo, meetings houses, and of the tossing flights of poi in Maori dance. An intriguing section follows with the two dancers picking up marker pens to draw the outline of a village on an adjacent board—first the landline, then the road, the houses, a church, a bridge, a river – a story without words.
Movement in the following section suggests stronger claim to emotions of closeness, strife, then a mood of acceptance as the two dancers move behind a screen to make shadows of their thoughts. It’s a poignant image of mind and body taking their leave of each other…followed by video of Te Pōhutu in close-up. The potency of the geyser’s force is clear, but the dance has found a space to co-exist in its shadow. We all know how unpredictable geysers and volcanoes can be, witness the horrors of the Whakaari Island recent eruption, with devastating injuries and loss of life. At the entrance to the gallery, we have passed a plinth on which sits a tiny ‘sculpture’, a cone of sand, a miniature mountain. A reminder.
Toi Pōneke, Rotorua’s famous cone geyser, Pōhutu, has been mecca for decades of tourists watching and wondering at its power. For centuries before that it has been a central landmark in Ohinemutu village for Te Arawa people, whose home is Rotorua and surrounding areas. We all as children watched Pōhutu, and marvelled at its mighty forces escaping from under the ground, wondering if it would blow all the way up to the sky and take us with it. The geyser blows on average every twenty minutes—the same duration of this dance which has borrowed its name. The geyser will have blown several times as I have been writing this appreciation, and probably at least once while you have been reading it.
