Reviewed by Malcolm Calder
Ka Mua Ka Muri
Choreographers: Bianca Hyslop and Eddie Elliott
Sound composition: Eden Mulholland
Set and costume design: Rona Ngahuia Osborne
Lighting design: Owen McCarthy
Projection Design: Owen McCarthy (Remain), Dan Mace (Whakamaheahea)
With Abbie Rogers, Caleb Heke, Madi Tumataroa, Matiu Hamuera, Oli Mathiesen, Tai Taranui Hemana, Toalei Roycroft,
An Atamira Dance Company production
Q Theatre, Rangitira
Until 27 July
Then Clarence Street Theatre, Hamilton 29 July.
Review by Malcolm Calder
25 July 2024
This significant work comprises two collaborative creations without an interval – Eddie Elliott’s Remain followed by Bianca Hyslop’s Whakamaheahea. Although each could easily stand alone, they are not really a double bill. There is no interval, simply a pause, or perhaps a lengthy segue between the two, and each reflects the other. Hence the title which loosely translates into Before and After.
Elliott’s Remain does far more than simply relate the past and provide a context for today however. It helps to explain that past and how the intertwining of traditions with their origins, social practice and evolution delivers a whakapapa that is as rich with meaning and significance in contemporary Aotearoa as it has been since Ranginui and Papatūānuku.
Elliott has mined the humour and playfulness of everyday life, pride in achievement and evolutionary contributions to making Aotearoa what it is today. And, no, it is far from a sugar-coating. There are brief flashes of anger, resentment and disagreement and, after all, that’s life.
Conversely, Hyslop’s Whakamaheahea takes all this as a given or starting point and looks to the world we live in today while providing a basis for navigating the path ahead. A future that shimmers one moment and then cowers the next. As Hyslop has noted, cultural identity is a continuum and the place of māoritanga is clearly identified and deeplyembedded in the social context of our country.
The dancers provide a strong ensemble quality with individual characters allowed to emerge and some of the solo work is of a high quality indeed.
Of special mention is the creative team who handled the production aspects of this work admirably. It is slick, extremely contemporary and entirely captivating.
Importantly, this work acknowledges and further develops the legacy that is Altamira Dance Company. Yes, there may be some ‘fooling about’ along the way but there is also a strong sense of empowerment, transformation, and resilience that underpins Ka Mua Ka Muri. It has the potential to inspire a bright collective future.
New Zealand Arts Review 