In a contemporary fusion of Hawaiian and Maori cultural art forms, six dancers have pursued a five day devising processs, interacting with composer Opeloge Ah Sam, to create a new piece that releases a freshness and energy into the room.

Hi’iaka: Our Pacific Heroine Emerges is an exciting new developmental dance work exploring the evolution of pacific dance based on Hawai῾i’s most favoured mythical heroine, Hi’iaka. Envisaged by Pasifika Sway director Aruna Po-Ching but jointly choreographed with Tania Mohuru-Stanley, Hi’iaka is the first stage of a developmental piece, working with two styles of indigenous dance, mau rākau (Māori weaponry) and Hawaiian hula. 

It seems important to honour the intention of the work, which is an exploration into understanding each other’s cultures through dance. Although in development, this short piece (25 minutes) stands cohesively on its own, with linked scenes that trace a clear narrative. A deeper reading of the work might deliver understanding of an acknowledgement of spiritual forces that at times war against us.

The opening description and images of a valley in a wild forest region with huge waterfalls (delivered by producer Michelle Johansson) previews this developmental dance piece, providing an intriguing glimpse of the traditional Hawaiian story of Hi’iaka. We are warned of lizard like creatures with powers that must be battled against.

As lights rise, we meet Hi’iaka and Pau-o-pala’e, in tiered cotton Hula skirts and dark singlets. Carrying ka kāla’au – rhythm sticks, they tap in unison as hips sway and attentive faces seek the path of a journey. They seem powerful and focused. The atmosphere is quiet as they move off stage.

Then three dancers representing the Mahiki clan use mau rakau-based choreography and are moving very close to the floor, portraying lizards with their movements and sounds. The air is electric as the three dancers fill the space with their presence. Floor movement alternates with standing pukeko steps, jumps, hops and taiaha wielding. With mobile expressions emphasising large eyes and half smiles, they appear alluring and cheeky one second, then change to fierce and powerful faces the next.

In scene three, the two hula dancers representing Hi’iaka and Pau-o-pala’e meet the lizard characters (Mahiki clan) and demonstrate the power of the hula dance to overcome spiritual forces. When the Mahiki clan are frightened off stage by the hula, the female warriors attend to the maimed person that is lying on the stage floor. Their focused dancing and praying brings about a miraculous healing.

In scene four, the Mahiki Clan return to engage in fierce warfare. Spinning, shouting and flicking their taiahas they initimidate with their power. With focus and perseverance Hi’iaki and Pau-o-pala’e weave in and out of the creatures, finding their ka kala’au sticks and fighting back to back, hand to hand until two of the creatures lay still on the floor. Movement is fast and carefully choreographed. Enraged and shouting, the third creature is combated by Hi’iaki with her Hula skirt, which is flicked and waved until its power overcomes all opposition. Finally the hula warriors sink to the floor, smiling and victorious, giving thanks as they lift hands and faces to the sky.

In acknowledging Hawai῾i as the ancestor of Aotearoa, Po-Ching seeks to explore the evolution of Pacific dance based on Hawai῾i’s most favoured mythical heroine, Hi’iaka. “Working with the haka and hula, we can publicly celebrate the two communities’ connection culturally, spiritually and physically” (Po-Ching). The Forum, an after performance discussion, reveals Po-Ching’s intention to draw together many dance forms in interaction with hula as she develops this work. Specifically Samoan, Tongan and Tahitian dance forms are mentioned. Also envisioned is the inclusion of traditional instruments found across the Pacific Islands.

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