Creative New Zealand is calling for applications from established New Zealand choreographers for the $65,000 Creative New Zealand Choreographic Fellowship. The fellowship provides the time and/or resources for the Fellow to commit to a period of investigation, experimentation or research in their practice.  It will be awarded for a project and/or programme of activity and is open to choreographers who have already produced a significant body of work.

Previous recipients of this fellowship are: Shona McCullagh (2004), Douglas Wright (2005), Michael Parmenter (2006), Lemi Ponifasio (2008), Daniel Belton (2009) and Catherine Chappell (2011). Applications close at 5pm on Friday, March 15, 2013. For more information on how to apply for the fellowship, go to www.creativenz.govt.nz.

Tempo is New Zealand’s biggest dance festival, and this year it takes place from 9 – 20 October, so put the dates in your diary! Tempo 2013 takes place at Q Theatre, Queen Street in Auckland. To put in an Expression of Interest for a dance work in Tempo 2013, email celia@tempo.co.nz for a form.

Pacific contemporary dance company Black Grace is in the midst of their 5-week North American tour. From February 19, the extensive five-and-a-half week tour is seeing Vaka journey to the U.S. and Canada, specifically to venues in Portland, Seattle, Massachusetts, Pittsburgh, Virginia, Vancouver, Victoria, Minnesota and California, with 21 performances in total.

Vaka marks Black Grace’s fifth tour of the U.S. since 2004; they are the only NZ dance company to consistently tour to the States. The company has trail-blazed New Zealand dance across the US and was the first dance company to perform at the prestigious Jacob’s Pillow Dance Festival in 2004/05, and at the Cervantino International Arts Festival in Leon, Mexico.

Black Grace’s movements in New Zealand through 2013 include four festival performances – at the Festival of Colour in Wanaka and Queenstown, and the Southland Festival of the Arts in Invercargill, both in April, followed by the Taranaki International Arts Festival in August and then the Christchurch Arts Festival in September. The company will also be working with a select group of Southland’s young people as part of their Invercargill performance.

Footnote Dance presents Footnote Forte 2013 – We have been there (Cloud In Hand) - a newly commissioned work by Lisa Densem. “This particular homecoming has been some years in the planning, and it is wonderful to bring Lisa home. She is a very special New Zealander and has made her name so far away,” says Director Deirdre Tarrant.

Footnote travelled to work with Densem in October 2012 at the Ufer Studios in Berlin. The new work opens in Wellington this month and will tour through to the end of April. The music is by Wellington composer Andrew Thomas. An ex-Footnote dancer, Densem has worked extensively with Sasha Waltz & Guests, one of Germany’s most successful companies, touring the globe with up to 80 performances a year. Her new work for Footnote is choreography of discovery. Densem is using techniques that explore the body in context with the surrounding space and searching for moments that emerge from this exploration.

Photo: Footnote Dance, We have been there (Cloud In Hand)

By Rain Francis.

The New Zealand School of Dance class of 2012 has been successful in securing the following contracts for 2013: Brydie Colquhoun – Black Grace; Chloe Einicke – West Australian Ballet; Samantha Hines – Australian Dance Theatre; Laura Jones – Royal New Zealand Ballet; Simone Lapka – Douglas Wright; Jia Xi Lee – Singapore Dance Theatre; Gareth Okan – New Zealand Dance Company; James Pham – Chunky Move; Luis Piva Junior – Singapore Dance Theatre; Matte Roffe – Australian Dance Theatre; Andrew Searle – Dancenorth.

Congratulations to all graduates and all the very best as you embark on your performance careers!

The New Zealand Dance Company is hosting an international exchange with Chicago based dance theatre company Lucky Plush Productions. This Professional Devising Workshop comprises of a morning technique class followed by two devising sessions, where participants will work with the Lucky Plush company members in their devising process. The workshop is suitable for actors, dancers and physical theatre artists at tertiary and professional level.

Luis Piva Junior in Loughlan Prior’s ‘Verse’ for New Zealand School of Dance Graduation Season 2012. Photo by Stephen A’Court.

Lucky Plush Productions will bring its distinctive devising process to Auckland’s dance and theatre communities as they begin creative research for the company’s second collaboration between Artistic Director Julia Rhoads and theatre director Leslie Danzig. This research populates classic physical comedy routines with different bodies and invites workshop participants to experience a contemporary reworking of this material. Through exploration of various research questions, the work considers how bodies generate and defy comedy, and how this classic physical comedy form can be opened up to a complex and lush choreographic language that speaks both viscerally and intellectually to audiences.

To find out more, email classes@nzdc.org.nz or visit www.nzdc.org.nz

Atamira Dance Workshop is a new contemporary dance and choreography workshop offered at Corban Estate Arts Centre’s Summer School 2013.  The workshop will be taught by the professional Maori Dance Company Atamira, who will share dance exercises inspired in their Kaha show and introduce some techniques for creative dancing. Whether you are interested in finding inspiration to innovate in your dance repertoire or just learning new steps, this workshop is for you!

Atamira will ignite new ideas by leading dance exercises and setting choreographic tasks that use dance to stimulate creativity. Dancers will practise some of Atamira’s repertoire and choreographic skills based on the arts of moko (body tattoo), kowhaiwhai (painting) and raranga (weaving) designs, and explore how contemporary art can be used to create new  choreography.

Location: Corban Estate Arts Centre. 2 Mt Lebanon Lane, Henderson
Dates: Mon 14 – Wed 16 January, 10am – 12.30pm
Fee: $65

Find more information at www.ceac.org.nz. Dance teachers, tutors and lecturers will receive a 10% discount on the course fee!

Top photo: Julia Rhodes from Lucky Plush Productions in Punk Yankees.

By Rain Francis.

From 28 January to 1 February 2013, The New Zealand Dance Company is hosting an international exchange with Chicago-based physical theatre company Lucky Plush Productions, known for its witty commentary on contemporary culture and artful integration of dance, theatre and visual design. The weeklong workshops will be held at the Unitec Dance Studios in Mt. Albert, Auckland. Check out www.nzdc.org.nz/node/opportunities/ to download the flyer and registration form.

NZDC is also seeking expressions of interest from graduate choreographers who can do workshop choreography on The New Zealand Dance Company’s Youth Engagement Programme dancers, plus any experienced senior and mid-career choreographers interested in making work on the company between 2013 and 2015. For more information about what is required visit www.nzdc.org.nz/node/opportunities/.

Aucklanders will be able to learn some dance moves for free at the Unwrapping Christmas festival held in Aotea Square this month. Bandstand under the Stars gives locals the chance to get dressed up, put their dancing shoes on and learn salsa, bollywood, swing, Celtic ceilidh and ballroom – all under the stars! For more information, visit www.the-edge.co.nz.

The Dance and Physical Theatre Trust is seeking to appoint a Project Coordinator to join the team in Christchurch in 2013. This full-time role splits into three main areas of work, covering The Body Festival, Schools Projects and The South Island Dance Network. Usual office hours are 9 a.m. – 5 p.m. Monday to Friday, though evening and weekend work will be required in the lead up to and during events. To apply for this position, email a letter of application along with a comprehensive CV to Artistic Director Adam Hayward at adam@thebody.co.nz by December 20, 2012.

Andrew Bowman (Albrecht) and Antonia Hewitt (Giselle) from Royal New Zealand Ballet. Photo by Evan Li

After 18 months of preparation, The Royal New Zealand Ballet’s TelstraClear Season of Giselle opened to a rapturous reception in November, and is now touring nationally. Giselle is being made into a feature film, directed by award-winning New Zealand director Toa Fraser and produced by Matthew Metcalfe, with the support of the New Zealand Film Commission. Although some footage will be captured at performances, the dancers will be returning to Wellington at the conclusion of the Giselle tour for extra filming at the St. James Theatre.

The company will have two weeks off for Christmas, and then it’s back to work on  January 3, 2013 to start rehearsals for Made to Move, three brand new ballets created by Javier de Frutos, Andrew Simmonds and Ethan Stiefel.

Malia Johnston had been appointed to the position of Director of Footnote Dance in July 2012. She was to transition into the role until the end of April 2013, before Deirdre Tarrant handed over the reins fully, following the Forte Season of a new work by Lisa Densem. Unfortunately, for personal reasons Johnston is now unable to take on the role of director. Footnote will continue with its planned programme for the New Year under Deirdre’s direction. In the meantime, the board will be looking at options for the best way forward for Footnote.

Top photo: New Zealand Dance Company’s Youth Engagement Programme (YEP!)

By Rain Francis.

Second Echo Ensemble, a Tasmanian group of 10 young actor/dancers with and without disabilities headed to New Zealand last month, where they teamed up with New Zealand’s premier disability dance company Touch Compass. The two groups presented a double bill titled Seamless at the Tempo Dance Festival in Auckland.

Before Second Echo’s departure, Australian Prime Minister Julia Gillard sent them a note of support, saying “This is such a wonderful opportunity to showcase the talents of these gifted young people and the sense of possibility that has unfolded in their lives. I therefore warmly congratulate the members of the Second Echo Ensemble. I wish them safe travels and all the best for their… performance.”

Second Echo Ensemble’s Sally Davis and Charlie Smith. Photo by Iain Lang

Expressions of interest are now open for the Tempo 2013, New Zealand’s dance festival held at Q Theatre. Tempo is tentatively scheduled for October 6 – 13, 2013. For an expression of interest form, contact carrierae@tempo.co.nz .

The Auckland Arts Festival 2013 has just been launched, with some very exciting dance, circus and cabaret acts announced. Kiwis can look forward to the revolutionary circus experience Circolombia (Colombia), as well as a stunning dance-theatre production from leading European choreographers Sidi Larbi Cherkaoui and Damien Jalet. The Royal New Zealand Ballet will present three brand new works that celebrate the joy of dance; the triple bill encompasses works by Javier de Frutos, Ethan Stiefel and Andrew Simmons. Also highly anticipated is the funny, astonishing and deeply touching work Leo from German group Circle of Eleven.

A new, on-demand web-based dance channel was launched last month. Crash2Create is focused on promoting the New Zealand street dance scene. It will be releasing footage and trailers of some of the latest street dance events from around New Zealand, and keeping viewers up to date with the latest happenings in the Kiwi street dance community. Crash2Create will also release exclusive interviews with local and international dancers in the street dance community. www.crash2create.com

The Royal New Zealand Ballet are celebrating 60 years next year and have recently launched an exciting 2013 season. After the Made to Move triple bill, which features in the Auckland Arts Festival, the company will embark on a five-city tour of China. The centre-piece of the 60^th celebrations will be the iconic Swan Lake, and the company will round off the year with a 46-centre tour of heartland New Zealand.

The New Zealand Dance Company is now finalising its 2013 plans, which will include a tour and the premiere of a new work. Their first show, Language of Living will tour the North Island and perform a return Auckland season in May/June 2013. Dates and locations will be announced soon. The company is now accepting expressions of interest from both graduate and experienced choreographers interesting in creating new works. For more details visit www.nzdc.org.nz.

Photo: Royal New Zealand Ballet. Photo by Ross Brown

Based in Auckland, New Zealand, Okareka Dance Company is founded on the Maori values of whanau (family), mana (integrity), and matataki (challenge). This month the company embarks on a festival circuit tour with a remount of their acclaimed 2011 work, Nga Hau E Wha.

“One of the signs of very good art, whatever the genre, is when it has such elemental appeal it transcends boundaries of culture, gender, sexuality, language, race and nationality,” writes NZ reviewer Steve Attwood, “when it puts the viewer in touch with the primitive core within us all that is the essence of humankind. Such is the impact of Nga Hau E Wha.”

Other critics have lauded the work as “sensational”, “extraordinary”, and “profoundly important”; a work that has universal appeal, while maintaining a uniquely ‘Kiwi’ character.

Nga Hau E Wha translates literally as ‘four winds’, but the work also draws on the idea of the four corners of the earth, and the four basic elements of earth, wind, fire and water. It is a work in four acts, with each act devoted to one of the elements and all influenced by Maori myths and legends.

Okareka Dance Company’s ‘Nga Hau E Wha’

Good things evidently take time – Nga Hau E Wha was nearly two years in the making. The research process involved many discussions with the company’s kaumatua (Maori adviser) and creative team. During two intensive workshops in 2010, the seed for Nga Hau E Wha was created, in the form of a work for the male students at the New Zealand School of Dance

Co-artistic directors and choreographers Taane Mete and Taiaroa Royal are both graduates of the School. They formed Okareka Dance Company in 2007, after over 20 years of working together in other dance companies. As two of the country’s most treasured performers, the news that they had formed their own ensemble was met with celebration from the New Zealand arts and cultural communities. 

Okareka’s premiere work, Tama Ma, enjoyed overwhelmingly positive feedback when it toured both nationally and in Australia. Parts of the work were also presented in the USA and China. There has been international interest for Nga Hau E Wha too, and Royal is confident that it will translate to foreign audiences, calling it “a universal work, even though it stems from a Maori perspective.”

Attwood agrees: “It is one of those rare shows that could travel to any part of the world, be shown to any audience of any culture, and people would recognise it, own it, and say ‘this is about us’ for, essentially, it is about us all.”

It is perhaps this strong sense of cultural identity, coupled with a relative isolation that gives New Zealand a special edge artistically. “We are strongly influenced by our geographical and spiritual connection to our land,” explains Royal, adding “the New Zealand dance community is small and our industry is one of the lowest fund art-forms in [the country], therefore we have to dig deep to find the drive to succeed in our art-form. This helps to grow our passion for dance.”

Okareka has received funding from the national arts development agency, Creative NZ, enabling the company to sustain a schedule for the next two years. Although it is not currently full-time funded, Royal says they are very grateful for this support.

Despite eternally limited financing for the arts, dance is enjoying great popularity the world over, and our friends across the Tasman are no exception.

“In my opinion, dance in New Zealand is becoming more popular because of the pioneers that have stuck at it and made it accessible to the upcoming generations,” says Royal. “With it now as part of the curriculum in secondary schools, the options to take up dance and become a professional dancer are greater. Also, television shows like Dancing with the Stars, So You Think You Can Dance and even X-Factor expose people to dance more, thus inspiring generations to dance.”

Nga Hau E Wha begins its 2012 tour with the Otago Festival of the Arts on October 9 and 10, before working its way up the country. Royal hopes the audience “will be taken on a journey through many different and exciting worlds [and] laugh, cry, be exhilarated, provoked and uplifted.”

By Rain Francis.

In September, Darcey Bussell CBE accepted the honorary role of Ambassador for the New Zealand School of Dance supporters programme. Darcey is one of the world’s leading ballet stars. She danced as a Principal with The Royal Ballet for 20 years, and is President of the Royal Academy of Dance. Darcey joins current NZSD Ambassadors Dame Kiri Te Kanawa ONZ, DBE, AC, Sir Jon Trimmer KNZM, MBE, and Danyon Loader ONZM.

Auckland’s Tempo Dance Festival takes place from October 9 to 21. It is the country’s biggest celebration of all styles of dance, showcasing the best in ballet, contemporary, hip hop, Pacific dance, Bollywood, burlesque, salsa and more. For more info, check out www.tempo.co.nz

Darcey Bussell coaching Laura Jones at the New Zealand School of Dance. Photograph by Stephen A’Court.

Dance Masters International has announced the appointment of Aurelie Dupont, Etoile of the Paris Opera Ballet as official Patron. Registrations are now open for summer seminars in Auckland (January 7 – 13), Nelson (January 14 – 20) and Christchurch (January 21 – 26). Guest Tutors include Frederic Jahn, Patricia Ruanne, Rain Francis, Clare Freeman-Sergeant, Olivia Russell and Josiah Russell. Classes will include ballet, contemporary, Pilates, stretch, floor barre, repertoire, pointe, stage make up and RAD and BBO syllabus. For more information, contact dancemasters.international@gmail.com.

In a crowd-funding miracle, the hugely deserving Douglas Wright has raised a whopping $22,607 – surpassing a target of $22,500. This money will help tour rapt to The Hague, after an invitation from one of the world’s largest dance festivals, Holland Dance. Douglas Wright Dance will perform at the Lucent Danstheater, home to the world famous Nederlands Dans Theatre. It is unique for a New Zealand company to achieve the chance to perform on this prominent dance stage.

The Royal New Zealand Ballet has begun work on a major new production of Giselle, which will premiere in Wellington on November 7. Artistic Director Ethan Stiefel will co-produce, alongside Johan Kobborg, internationally acclaimed Principal Dancer of London’s Royal Ballet. Prima ballerina Gillian Murphy, RNZB Principal Guest Artist and star of American Ballet Theatre, will dance the title role. The score, performed live by the Vector Wellington Orchestra in Wellington and the Auckland Philharmonia Orchestra in Auckland, will be conducted by leading British conductor Michael Lloyd. Russian ballet dancer turned costume designer Natalia Stewart has designed the costumes. American scenic designer Howard C Jones has created a picturesque village and eerie graveyard settings, while New York lighting designer Kendall Jones will light the production.

Okareka Dance Company storm NZ this month, with their acclaimed work Nga Hau E Wha. Steeped in Maori legend, Nga Hau E Wha’s debut brought dance royalty once again to New Zealand stages: Taane Mete and Taiaroa Royal. Having formed Okareka Dance Company in 2007, the pair continues to successfully fuse contemporary dance with other creative art mediums. Fundamentally guided by Maori beliefs, the new show yet again follows Okareka’s credo – Mana (Honour and Integrity), Whanau (Family) and Matataki (Challenge). For more information and to book tickets, head to www.otagofestival.co.nz (Otago), http://thebody.co.nz (Christchurch),  www.tempo.co.nz (Tempo Festival, Auckland), www.mfa.org.nz (South Side Arts Festival, Auckland).

Top photo: Ballerina Gillian Murphy as Giselle for Royal New Zealand Ballet. Photo by Ross Brown.

By Rain Francis.

Across the Tasman, a dedicated team of artists has been working tirelessly to create a new dance company, The New Zealand Dance Company, to be exact.

Heading the charge is Shona McCullagh, who has been an integral part of the New Zealand dance scene for many years. A graduate of the New Zealand School of Dance and a former member of Limbs Dance Company, she became a New Zealand Arts Foundation Laureate in 2002, and received a Senior Choreographic Fellowship from Creative New Zealand in 2007. Besides her many creations for various distinguished dance companies, she has made work for theatre, television and film, as well as for the opening and closing ceremonies of the 2011 Rugby World Cup.

Now Executive/Artistic Director of the New Zealand Dance Company, McCullagh, along with General Manager Frances Turner, has relished the seemingly mountainous self-imposed challenge. And with the official media launch of the new Company taking place recently, the summit is in sight.

Founding Artistic Director Shona McCullagh. Photo by John McDermott

McCullagh notes that although the dance landscape in New Zealand “has always been rich, [it has been] operating in a predominantly project-to-project based paradigm for a long time.” This means of course, that most of the highly skilled and creative talent being produced in New Zealand every year is being forced to fly the coop.

The truth is that since the demise of Limbs in 1989, there have been no full-time contracts available to contemporary dancers in New Zealand. Remedying that is the Company’s ultimate aim – an aim McCullagh says it will take about three years to reach. She envisions for the Company “a beautiful home in Auckland [with] a core of eight full-time dancers and a dynamic infrastructure.”

Despite the “relentless nature” of the huge task they have undertaken, McCullagh and Turner have met with massive support from many arts and business individuals, companies and communities. Creative New Zealand is the core funder of the new venture, and Westpac has come on board for an initial three year contract. Leading performing arts venue The Edge has been one of the Company’s “most significant supporters”. McCullagh also credits Designworks for the crucial task of brand development, Auckland City for additional funding, and Dance Aotearoa New Zealand (DANZ) for mentoring support.

The New Zealand Dance Company will officially leap into the spotlight in August, with its inaugural season at the ASB Theatre at The Edge in Auckland. Titled Language of Living, the programme will comprise five works commissioned specifically for this debut appearance. The choreographers on the bill include New Zealand icon Michael Parmenter alongside Justin Haiu, Sarah Foster-Sproull and McCullagh herself.

With the season encompassing the idea that dance is “the most beautifully truthful language of living,” McCullagh describes the programme as a mix of “earthy, funny, brave and beautiful.”

NZ Dance Company Dancer Sarah Foster-Sproull

“One of the works is a solo created for one of our global super-stars Ursula Robb, who has returned to NZ from a stellar career in Europe,” the Artistic Director explains. “Justin Haiu, of So You Think You Can Dance fame, has created a great solo with live music by South Auckland group The Electric Boutique, and the other works on the programme are group pieces with fantastic music, a stunning set, new technology and contemporary costume. Deliciously compelling!”

Following auditions last year, McCullagh has assembled a company of artists she calls “absolute individuals; funny, feisty, mysterious and astonishing.” These founding members of the New Zealand Dance Company are Robb, Haiu and Foster-Sproull, along with Craig Bary, Alex Leonhartsberger, Tupua Tigafua, Hannah Tasker-Poland and apprentice dancer, Lucy Lynch.

She adds proudly that all dancers and choreographers are born-and-bred Kiwis (with the exception of Leonhartsberger – who has lived in New Zealand for several years).

“We produce magnificent dancers here and have exciting choreographic talent,” McCullagh explains. “We need to be offering choreographers the opportunity to develop their craft in a more stable environment and beautiful dancers the chance to have a full-time profession.”

Another exciting initiative of the New Zealand Dance Company is the Youth Engagement Programme (YEP), which provides workshop and performance opportunities to young dance enthusiasts. This programme is part of the Company’s overall aim, which involves removing the “barriers and complexity” surrounding contemporary dance, to change the way New Zealanders see and experience the artform.

“The New Zealand Dance Company is a safe place for artists and audiences to be brave,” says McCullagh, “in essence creating a new connection to what dance is and can be.”

Language of Living opens on August 10 at the ASB Theatre, Aotea Centre, Auckland.
For more information, go to www.the-edge.co.nz/Event-Pages/L/Language-of-Living.aspx

Top photo: New Zealand Dance Company dancer Hannah Tasker-Poland

By Regina Green.

Young dancers in New Zealand are being given an incredible opportunity to learn from world-class teachers, at Dance Masters International. Frederic Jahn and Patricia Ruanne have worked with the most prestigious ballet companies on the planet, including the Royal Ballet, Paris Opera Ballet and Dutch National Ballet, and are now bringing their wealth of expertise down under.

Run by husband and wife team Jos and Olivia Russell, Dance Masters International (DMI) holds seminars that give students access to the truly inspirational wisdom of Jahn and Ruanne. Born in Monte Carlo and England, respectively, these two artists have had remarkable careers as dancers and coaches and now consider themselves “caretakers of dance”. Having danced extensively with Rudolph Nureyev, their illustrious schedules now include working with the Nureyev Foundation, travelling the world to restage his ballets on top companies.

“We have accumulated a vast amount of information, having been ballet masters and having coached the top dancers in Europe, United States and Japan,” explains Jahn. “It’s important that this information is passed on to artists requiring our expertise. We have the keys to shortcutting problems with the technical aspects of dance.”

At the time of writing, Ruanne had just finished working with the Paris Opera Ballet, and was visiting her mother in Leeds before flying to Japan. Then, after the upcoming DMI seminar in New Zealand, she will head to Vienna to mount Manon with the Royal Ballet team. For his part, Jahn had just returned from Trinidad, where he had choreographed a contemporary Giselle and was enjoying a break after 18 months “on the road”.  He was about to head to an engagement in Suriname before flying to New Zealand, and then returning to Trinidad to work on yet another project. These truly are two active international artists, and the opportunity to learn from them is invaluable to any dancer.

Open to anyone aged eight and above, the DMI seminars include daily ballet, contemporary, drama, repertoire, and Pilates and stretch classes, as well as a culminating performance. After three highly successful intensive workshops held in Christchurch, next month will see the first Winter Seminar to be held in New Zealand’s biggest city, Auckland.

“We want New Zealand students to be able to experience what is so readily available in Europe and the USA”, says Olivia Russell. “We want them to have access to world-renowned teachers in an environment that will challenge and inspire them.”

The vision for DMI includes the continual expansion of its training programmes and seminars. Besides the twice-yearly intensives, it offers full and part-time training as well as mentoring for audition preparation, health and academic studies. DMI aims for a holistic approach, supporting the frequency and intensity of the training in an inspiring, enjoyable and challenging environment. “This provides all students with what is required artistically, mentally, emotionally and physically for the demands of this art form,” explains Russell, adding, “this will be achieved by the knowledge, experience and passion for dance that all DMI tutors have.”

“The response we have received to past workshops has been fantastic and the feedback has supported exactly what we have aimed to provide: first-rate seminars with exceptional tutors, developing our dance talent in New Zealand.”

The Dance Masters International Winter Seminar 2012 will be held at City Dance Studios, Auckland, from July 1 to 10. For more information or to enrol, email dancemasters.international@gmail.com or call 022 670 2971.

Our favourite mouse, Angelina Ballerina has returned to Australia by popular demand. Performed by the Royal New Zealand Ballet, Angelina Ballerina’s Big Audition is the perfect introduction for children to the magical world of dance.

Angelina Ballerina’s Big Audition takes audiences on the next step of Angelina’s journey to become a prima ballerina as she prepares to audition for the prestigious Camembert Academy.  This production follows the hugely successful Angelina’s Star Performance.

Angelina Ballerina has been a much-loved children’s character since 1982. Inspired by original illustrations and stories by Helen Craig and Katherine Holabird, Angelina Ballerina’s Big Audition features Royal New Zealand Ballet dancers performing to a recorded arrangement of Tchaikovsky’s music.

The performance is choreographed by the English National Ballet’s Antony Dowson with costumes, based on the original Angelina Ballerina drawings by Wizzy Shawyer, and set designs from Al Riches.

Angelina Ballerina’s creators said that the stage show has real sparkle and magic. “We attended Angelina’s performances several times, and thought it was absolutely beautiful and wonderfully funny. This sparkling and original ballet is a magical theatrical experience for young and old alike,” said creators Helen Craig and Katharine Holabird.

Caught up in Angelina Ballerina’s magic, Dance Informa spoke with some Royal New Zealand Ballet’s star performers.

You’ve toured to Australia for this production. What’s your favourite thing about touring?

Tarrah Burns
I’ve never toured before, so this is something new and exciting for me, but I’m really excited about visiting all the beautiful and amazing locations across Australia and New Zealand.

Matthew Carey
Getting to see new and interesting places.

Rebekha Duncan
Getting the opportunity to be able to perform in new locations and to different audiences.

Where did you train?

Tarrah Burns
New Zealand School of Dance and Victorian College of the Arts Secondary School.

Matthew Carey
Australian Ballet School and Western Australian Academy of Performing Arts.

Rebekha Duncan
New Zealand School of Dance

Angelina Ballerina brings children’s stories to life on stage. What’s your favourite children’s book?

Tarrah Burns
Harry Potter. I was the same age as Harry, Ron and Hermione as the books were being published, so we practically grew up together!

Matthew Carey
Harry Potter!

Rebekha Duncan
The Winnie the Pooh series.

In Angelina Ballerina you have to dance as mice. What are your favourite animals?

Tarrah Burns
Meerkats! Ever since I was young and watched Timon on the The Lion King, they have always been my favourite!

Matthew Carey
The albino Peacock, it’s so beautiful and majestic.

Rebekha Duncan
Chihuahuas, as they are tiny and easily transportable.

Angelina Ballerina delighted Sydney audiences in late December and is now touring to Brisbane and Melbourne for January performances.

Brisbane
January 7-13
Playhouse, QPAC
www.qpac.com.au

Adelaide
January 17-21 
Adelaide Festival Centre, Dunstan Playhouse
www.adelaidefestivalcentre.com.au

Melbourne
January 24-28
The Arts Centre
www.artscentremelbourne.com.au

Canberra
February 1-4
Canberra Theatre Centre
www.canberratheatrecentre.com.au

Photos by Patrick Baldwin

By Rain Francis

Contemporary dance often has an aura of mystery about it. It’s not ballet, it’s not hip hop, and it seems to be different wherever you go. That’s one of the best things about it! Here Rain Francis talks to Sacha Copland, Artistic Director of New Zealand’s Java Dance Company, about the curious world of contemporary dance.

Java Dance Company was founded in 2003 by Sacha and fellow graduates of New Zealand School of Dance. It is based in Wellington but tours a lot around the country. Java’s mission is ‘to capture audiences with visceral, impressive dance that communicates’. This goal is realised by ‘creating and presenting original theatrical dance works built on dynamic physicality, character development and storytelling’.

Earlier this year, Java was at the Taranaki International Arts Festival performing two shows –  Back of the Bus and Pick a Path – a show created especially for children. Back of the Bus is a popular piece by the company. It has been presented all over New Zealand. It is performed on a moving bus that stops at different locations around the city it is in.

On this occasion, The Arts Festival organisers worked with a graffiti artist to paint the bus, and they spray-painted a cartoon of Java dancer Natalie Hona on the back of the bus. Natalie was stoked, saying “I haven’t been turned into a cartoon before!”

Sacha says this is something she loves about contemporary dance; it uses “such a wide variety of movement in lots of different contexts”. Java’s latest project was a show called RISE, where the performers made bread on stage, on a massive scale, with “an exploding wall of milk and honey, flour falling and water bursting from the ground”.

Sacha says of RISE, “It was the most holistically challenging project I’ve ever been a part of,  from working with volatile elements to collaborating with a composer to create a new 90 minute work integrating the live musicians, to addressing the question ‘what is universal’ while embedded in the bread-making process. I loved making RISE, working with a tactile space rather than a ‘clean’ surface. The cast were incredible and so willing to get amongst the mess.”

RISE had an international cast, epic design and all the fun of audience involvement. It required over 1000kgs of flour, a rock climbing wall that ran the length of the theatre, live singers and intense physicality. It explored how a community comes into existence and involved the dancers getting covered in flour, honey, water, and dough. The audience helped by kneading the bread, which was then baked.

Dancer Alana Sargent described the experience of working on such a unique show. “RISE for me was a massive learning curve and I enjoyed every second of it. I found myself in new and insane situations that pushed me and made me grow as an artist. It opened my mind to numerous possibilities creatively, and I was constantly learning. Dancing in physical elements of flour, water and golden syrup really challenged me as a performer. Never once did a show feel the same as the last. I believe this show will never stop evolving and improving. I am so pleased that I have had the opportunity to be part of the creative process of such an innovative show.”

OK, so far we have a dance performed in a moving vehicle, and a giant baking experiment. So, what exactly IS contemporary dance? The cool thing about it is everybody defines it differently, and there’s not really any right or wrong definition. Contemporary dance began as an answer to the stringent rules of classical ballet, and has evolved into something with virtually no boundaries. It is interpreted differently by everyone – performers and audience members alike.

Sacha defines contemporary dance as “an intensely physical way to express an idea. It uses influences from theatre, lots of different dance styles and visual art”. The only rule, she says, is that “it must keep changing as the world changes. It’s about exploring new ways to move.”

Because there are so few limitations, this style of dance can be really accessible to everyone, or it can be quite challenging. Sometimes people say they don’t understand it, but the thing to remember is, whatever a piece of art means to you, is what it means to you! This goes for dance, visual art, poetry and music. They’re all open to interpretation, and every interpretation is valid.

According to Sacha, the contemporary dance industry in NZ is reaching out to audiences and changing the perception that contemporary is mysterious and hard to understand. She says that Java has a “really theatrical style, so people can connect with the story as well as the physicality. Communicating through movement is the key.”

Java has a strong youth connection. They make shows specifically for teenagers and tour high schools nationally, performing as well as conducting dance and choreography workshops. In Term 2 next year they’ll be touring North Island schools with Survivor, a show that explores how basic instinct drives us all as we negotiate our place in the pecking order.

In February, Java will be heading off on its first international tour, to perform Back of the Bus at the Adelaide Fringe Festival. The company invites you to ride on a bus through the streets of Adelaide, as dancers propel themselves along the aisles and hang from the roof. What fun! Physical comedy, pure kinetic energy and outrageous scenarios will combine to create a magical mystery tour of the unexpected.

For more information, check out www.javadancecompany.co.nz and www.adelaidefringe.com.au.

This article was originally published in TEARAWAY Magazine – The Voice of New Zealand Youth. www.tearaway.co.nz