DANZ QUARTERLY - Issue No 18 January, February, March 2010

Editorial

When I was interviewing Macleans College dance teacher Katie Hill, she remarked that when introducing a unit on musical theatre she showed her students Bob Fossey's choreography in Bye Bye Blackbird. Afterwards they all looked at her and said "But that's not dance Miss!" So she replied, "So what is dance?" They then had a big discussion. Katie says "I said to them - look - keep an open mind, don't shut off - you may not like it but we are doing it anyway." By the end of the unit, they told her it was their favourite.

Dance as a living art form is always evolving, confronting; provoking the question - what is dance?

In this issue, members of On Point Charitable Trust - Radamez Smith (Future), Sara Tamati (Spex One), Sen Thong (Khmer) and Dr. April K Henderson - write about the origins of the relatively new genre of b boying - the cultural dance of hip hop, one of the most exciting developments of the late last century.

Alexa Wilson writing from Berlin looks at the latest experiments in dance, observing that "performance, concept is being explored across all levels...everyone in Europe is trying something different, looking to find the next new thing. They're gnawing at the confines of dance to discover new ways of expressing, exploring and communicating via the moving body, interdisciplinary performance, somatic investigation and improvisation." The organic nature of dance has always afforded it permeable boundaries - for example dance theatre is now standard, with choreographers and dancers alike accomplished at incorporating text, video and theatrical elements within thier works.

Recently, however, interdisciplinary works such as the Kreutzer, are billed as dance, when they are as much - if not more so - theatre and music. The production of Steel Ballerina, a reflection on the life of English prima ballerina Margot Fonteyn was a compelling theatrical work; the weaker element was dance. Reviewer Ann Hunt covering the recent Dance Your Socks Off festival in Wellington writes; "Not Vacant, A Kite Theatre production directed by Josephine O'Sullivan is actually a play which contains some dance..." and later "It is difficult to understand why Hansel und Gretel (Short Term Visitor Parking) ws included in a dance festival as it is definitely not a dance work. Musical comedy - yes. Physical theatre - possibly. Dance - no."

Does this redefining of what is dance nibble at the edge of a hard won identity? Does dance encroach on other art forms? Do festival directors find it hard to find a home for interdisciplinary works? Clearly, there are significant issues regarding dance and its signature in the arts. But as Katie Hill told her students - we should keep an open mind.

In a tough year, dance has continued to expand, delight and show its stamina. This issue is an affirmation of its durability and vitality.

Francesca Horsley
Editor

Cover Image:The 2010 Mika Haka Kā Crew Jay Tewake, Ashley MacKinven and Eru Bennett-Paul.

Issue No 18 January, February, March 2010

Contents

Waitakere Dancing to the tune of the “Odd Couple” by Rochelle Young, Sport Waitakere
Social dance programme with Beatrice Faumuina and Brian Jones as part of a project to promote physical activity initiatives.

Opening New Doors in International Networking by Celia Jenkins
Presenting the New Zealand Dance Industry Strategy at the TanzKongress dance conference in Germany.

Kā: Body + Mind = Action by Julian Haldane
Mika Haka Foundation's health and wellbeing programme anchored in Haka and Hip Hop.

Keeping the Body in Tune by Kerryn McMurdo and Merenia Gray
'Independance' and 'Raising the Barre', Auckland and Wellington professional dance classes.

B Boying: The Cultural Dance of Hip Hop (part one) by members of On Point Charitable Trust: Radamez Smith (Future), Sara Tamati (SpexOne), Sen Thong (Khmer) and Dr. April K Henderson
The history and foundation of b boying – the cultural dance of hip hop.

Dance in Berlin and Dance in NZ by Alexa Wilson
A New Zealander's observations on dance in Berlin and how it compares to NZ dance.

Dance in Schools by Francesca Horsley
Models for teaching dance in schools - three teachers' pathways into the education system and their work experience.

Producing, A Passionate Commitment by Francesca Horsley
What makes a good dance producer? Francesca Horsley talks to experienced producers Felicity Letcher, Lauren Hughes and Clare Needham, producer/choreographer Malia Johnston and Creative New Zealand programme advisor Helaina Keeley.

Reviews
Book: Dance Education in New Zealand Schools 1900-2008 (Jan Bolwell) reviewed by Karen Barbour
You Better Run Boy (Urban Youth Movement, Black Grace) reviewed by Francesca Horsley
Medea & Körper by Sasha Waltz & Guests reviewed by Jennifer Shennan
Let Me Sing You Gentle Songs reviewed by Briar Wilson
Footnote Forte Solo Series (Footnote Dance) reviewed by Ann Hunt
Peter Pan by the Royal New Zealand Ballet reviewed by Ann Hunt
The Body festival 2009
Tempo Festival of Dance, Auckland reviewed by Sue Cheesman
Dance Your Socks Off festival, Wellington reviewed by Ann Hunt 

Summer Dance by Francesca Horsley
Preview of New Zealand International Arts Festival and Auckland International Cultural Festival.

DANZ Resource
A Working Guide for New Zealand Dancers by Melanie Hamilton.