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DANZ QUARTERLY Issue 18
January, February, March 2010
REVIEW
Tempo Festival of Dance
TAPAC
Auckland
October 2009
Reviewed by Sue Cheesman
Tempo Festival of Dance this year featured many shorter works in shared programme formats. The venue, TAPAC, acted as an ambient hub for this festival.
Prime Cuts consisted of several very different works showcasing independent artists. Fanua began with a subtle but powerful image showing shafts of light catching the still shape of a curled up dancer ( Filoi Vaila'au ) on the floor. She started to move with lyrical hand gestures that suggested the pouring of water through her hands and over her face. The piece at times was graceful and understated with the intricacy of hand movements carving up the space in swirling motion. Accompanied by a violin and two sets of drums, choreographer Sefa Enari used both traditional and contemporary music and dance forms to portray the ancient Samoan legend of Sina ma Tuna.
In sharp contrast the trio Texture by Melanie Turner was an abstract contemporary work that honoured nature. The visuals projected onto walls and floor evoked leaf patterns. Into and through these patterns the white costumed dancers moved with the play of light on their bodies, giving texture and stunning imagery. This piece was well crafted and the echoing of several motifs throughout was satisfying to watch.
Hapu began with a film of pregnant Gabrielle Thomas under water. We saw her moving but always sinking, giving a slightly disturbing edge to the serene atmosphere. She walked towards the audience, leaving the water to appear on stage carrying a blue cane chair. As she danced, at times cradling and moulding the cane chair to her body, she referenced the coming birth.
In Reset, Kristan Larsen and Geordan Wilcox played in the space, powerfully jumping, rolling, balancing and travelling, sometimes alone and at other times in unison embracing a male physicality. Their distinctively trained bodies caught my attention, revealing how the movement resonated differently on each dancer.
Late Show #1 and #2 also featured a range of works with very strong performances. With deliberate links to "Wellington westie" culture and the popular TV series, Outrageous Fortune, this version of The Rodwell Monologues: Gonne Strange, as portrayed by the two Rhonda Gonnes (aka Lyne Pringle and Kilda Northcott) was wacky, wonderful , hilarious, satirical and in your face dance theatre. Multi-talented, they sang, danced, gestured and spoke in a cabaret style. Dressed in red leather jacket and glossy knee length black boots with black jeans the Rhonda/Sheryl character (aka Lyne) was not to be messed with as she lolled about the couch, fell off and played the piano accordion in-between times.
Kilda had her long hair plaited and wound round her neck like a chin strap on a bicycle helmet with a coat hanger embedded in it. Fast repartee was spat at us as the two characters told their tales and interacted with one another. The movement was cleverly woven into the performance and at times supported the text while at others had its own tale to tell.
A powerful performance by Cat Ruka, choreographer and performer, in Playing Savage made the audience question the stereotypical images of Maori women. She portrayed and subverted a number of images with a political theme “to investigate a self-determination/Tino Rangatiratanga for Maori women”.
Duets this year was a strong showcase of a variety of styles: Ballroom, Swing, Ballet, Bollywood, Ceroc, Flamenco, Tap and Hip Hop that all featured partnering. Through to you, with music by Arvo Part, was a contemporary, lyrical duet, choreographed by Andrew Simmons, and exquisitely performed by Katie Hurst-Saxton and Brendan Bradshaw from the Royal New Zealand Ballet, leaving the audience spell-bound. Choreographers and performers, Isbert Ramos and Greydis Montero from Cuba, changed the mood completely, performing their vibrant, sensual Latin rhythms salsa style. Two Man Crew, Andrew Cesan and Simon Watts, combined accomplished tap and hip hop routines in a duet mix that celebrated their own distinctive styles.
Hot Hip Hop showcase featured very different ways of approaching hip hop. Dziah 2.0 were very slick, precise and well rehearsed; their 10 minutes of action-packed hip hop included changing formations, poses, leaps, supports, hilarious lip-synching and gymnastic moves. In contrast Ghost Dance Crew had a less attacking, more fluid, style that was complemented by a contemporary narrative base.
TMC performed Under the Influence at the Auckland Town Hall Concert Chamber. This is a very difficult space for dance and although they used the floor, stage and ledge to advantage they still seemed to be dwarfed by the venue. The use of a PlayStation game projection to introduce the performers certainly captured our attention and it was interesting to see a hip hop group attempt a full-length show. It seemed slightly strange watching in semi-silence with the odd clap and verbal acknowledgement; usually hip hop shows are full of audiences “making some noise”.
In my view this year Tempo’s highlights were the moments of interest and vitality in the shared programmes, rather than any one single show. Duets and Prime Cuts stood out and were invigorating to watch.
By Sue Cheesman
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