”Atamira’s choreographic development programme Hou was created to nurture talent and provide opportunities for upcoming Maori choreographers and foster the development of new work in the community.”

This one off show, as part of Southside Arts Festival – Urbanesia, does all these things.  And along the way Jack Gray, Bianca Hyslop and Kelly Garnham Nash bring us with them.  We are welcomed, as always by Atamira, grounded in the moment and ready for the performance.  The shed at Corban’s Estate Arts Centre (CEAC) is buzzing with a good gathering of Atamira whanau and friends.  The vibe is willing and friendly as we stack one upon the other up the bleachers.

Jack Gray’s work, Kopatapata, is film based in two sections.  The Pecha Kucha presentation is personal, political and sets the lineage for his work to be presented in 2015, ”Mitimiti”.  Introduced here is ‘turangawaewae’, a place to stand; a theme that each of the Hou pieces touch on to a greater or lesser extent; standing together, standing tall, standing apart, acknowledging (or not) one’s place of standing.

Elisabeta sings us beautifully into the second film section; a mix of media, fragments of images and ideas, inviting flashes of the dance that is on its way in 2015, always the wairua or spirit.  I am reminded that ‘that which is not shared is lost’. 

Tell the world Jack, indeed, through dance and story.

Bianca Hyslop’s choreographic debut 15 Billion Years in 20 Minutes features a male duet (Mark Bonnington and Matthew Moore).  Theirs is a good partnership as they move together with ease through the development of life.  They connect and disconnect in both flowing and cumbersome ways, not seeming to dare separate.  That is until they reach the ‘laughable’ and separated stage of human.  The audience respond to the frozen bodies and animated human faces.  As we might expect for a development piece the choreography is awkward in parts and the transitions of both the movement and the music/audio clips likewise.  Maybe this is intended in part … “And then the Humans happened”. Are we as odd, robotic, driven as we are portrayed?  Humans are still a young species with much to learn.  This is a young piece with a natural rawness, ‘blokey’ energy and youthful enthusiasm, with time to develop.

Ki te ao e hou ana, In the world that is new by Kelly Nash is the highlight of the night.  Five dancers, Bianca Nancy Wijohn, Hyslop, Eddie Elliot, Daniel Cooper and Matthew Moore, cluster in casual clothing.  I experience echoes of an earlier studio showing of the work and anticipate the difference a month or so can make.    

There is good use of placement, pace and pause throughout and many moments of ‘oh so human’ interaction.  Bianca and Daniel’s ‘David and Goliath’ dance and her puny, jabby punches.  Nancy and Matthew’s repel and attract as a couple, where gesture is telling.  The music works without intruding.  And Nash’s obsession with re-grouping is handled with a light touch and a sense of spaciousness.  Eddie Elliot is granted and makes good use of his solo.  It is not just the choreographers that are developing through performance opportunities.

The extensive use of facial expressions in both the dances relies on the up-close nature of the venue and I am not sure how they would translate to a larger stage.  However Ki te ao e hou ana, In the world that is new, manages to take ordinary movements and interactions that are recognisable and weave them into a dancing whole.

Three eclectic works, in three different (and valid) stages of development; Hou is a reminder of the need to create, present, and to continue to develop dance works and to have a forum to do so.  This is important for the company, and the voices within it, and the audience.  As audience we get to experience and potentially widen our understanding of dance and the stories expressed, in an atmosphere of give and take.  

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