It is a very profound  experience for me to review a Black Grace dance performance. I expect that anything that relates to this company has top tier contemporary dance of the highest calibre. Especially in regards to the connection of Neil Ieremia – the artistic director intertwining his Samoan heritage, with Māori and Western influences to contemporary dance expressions and embodiment. 

What makes this opportunity even more profound is understanding that this show is offering new aspiring creatives the chance to be mentored and trained under Ieremia’s guidance as a part of an initiative called ‘Company B’. To review this show means that I have to be cognisant of the mix between professional dancers and aspiring professional dancers. Company B allows certain practitioners to be taught from someone who is renowned in the contemporary dance industry. This is a new shift and a much needed shift, it intertwines the traditional elements of Black Grace’s physical aesthetic with fresh talent to create I am a Renaissance. 

Watching I am a Renaissance on opening night at Auckland’s Herald theatre is a whirlwind of dance and theatrical experiences. The opening scene is an audio collation of former Prime Minister Dame Jacinda Ardern speaking about the lockdown, a Samoan proverb by Suluafi Brianna Fruean, who is a young prominent climate activist, an interview recording of the Samoan South Aucklander poet and activist Aigagalefili Fepulea’i Tapua’i and Chlӧe Swarbrick a politician and MP for Auckland Central for the Green Party talking about wealth tax. 
It is quite overwhelming at the beginning, as we see the Black Grace-Company B dancers look directly at the audience smiling intensely, and then having brown paper bags covering the face to show themes of abstract uniformity. 
It is an interesting way to start the show, with the combined abstractness of the audio, smiling faces and brown paper bag coverings. It allows the audience to almost immediately start thinking critically in order to unpack the themes. Ieremia captivates a new form of creative protest at the beginning which eases us into the theme of renaissance, what that might mean to each dancer, and with the contemporary movement that followed, whilst the dancers were wearing a brown paper bag. It is a natural progression that we all see evolving. 

A solo from Oli Mathieson makes the audience engage, as his embodied aura shifts the energy from something serious to a moment of pride, humour and sense of hubris. 
The second solo from Demi-Jo Manalo, who is a Black Grace dancer, shows through movement the utmost grace and poise as she hones into the central ideas of the work and allows the audience to feel the moment fully.
The third solo shortly after was Chas Mamea who embodies contemporary movement with a natural flux and flow of hip hop. Her movement is aesthetically clean and is complimentary to the other two dancers.  The three soloists then stood on the shoulders of three other dancers with brown paper bag masks on their heads, who have lined up on a wall. They look upwards, maybe beyond struggle to their aspirations. 

The work shows a great flow of ensemble and chorus work. In certain scenes they’ll laugh in time and evoke surprise at least expected times. Shadows play behind them giving the silhouette feel of other entities in the space, evoking ancestral themes. It shows liveliness and a frenzied chaos which is aesthetically captivating.  The dancers truly inhabit the physicality or elements of the trademark intense physicality of Black Grace shows. 
Showing the traditional flavour with the inclusion of claps and body percussion – where fa’ataupati a Samoan slap dance is woven in certain performative pieces throughout the show. 

Another component comes with shifts of energy when a blue light appears and solos morph into a scene depicting dance battles. Everyone hyping each other up is encouraging to watch, then having the few theatrical ensemble improvisations at certain moments uplifts the energy of authenticity. 

However, the most memorable moment is the Kim Kardashian scene. Ankaramy Fepulea’i and David Tuitama, wearing KK masks, show subtly fluid expressional dance to the snazzy soundtrack.  This makes the audience either chuckle, or piercingly look and focus. The other dancers add to the space with Kim Kardashian face masks on also, bringing bizarre comedy to a memorably humorous, but aesthetically well put together choreography which elevates the performance quality. 

It is pleasant seeing effects created when the dancers use their phones as lights through contemporised movement: having little selfie mini skits and talks in their groups whilst walking is a nice touch. 
It is a great surprise seeing the dancers Mamea and Melissa Sripromma embodying theatre motifs effectively whilst engaging in the choreography. This captivates the audience with the two mediums of drama and dance. 

A moment that is lovely to see, is Lyncia Muller embodying Tauolunga (Traditional Tongan dance) and contemporary dance together, showing such a diasporic Tongan choreography that stands out.  In this moment on the left side of the stage Ben Saveasoi strongly starts the domino effect of the ‘aiuli (Samoan gesticulating exuberant movement) type of stance and movement.  The ensemble starts to proliferate that same Samoan energy which compliments the Tongan movement. This moment for me evokes Polynesian dance camaraderie and incorporation of support and mana in the Western theatre space. It shows an indigenised flow through contemporary that will always be a monumental feature when you work with Mana Moana theatre and dance practitioners. 

The use of breath and sound is another prominent feature which could be used more, giving a slight pause that is needed before carrying on the momentum. The trademark physicality and intensity is always impressive and it carries the messaging of I am a Renaissance showing themes of individual but the interwoven connection of what renaissance means to these dancers with diverse understandings and backgrounds. 

The show I am a Renaissance depicts amazing physicality, ensemble work and a mixture of theatrical elements and, of-course, incredibly flash movement that makes this show fun to watch. 
When you think of the future of Black Grace, I see this new shift of ‘Company B’ dancers showing a new youthful energy that is a rebirthing and unearthing moment for Black Grace. Watch this show if you want to see a new look at Black Grace, whilst of-course appreciating the traditional and international standard of professional dance that Black Grace forever exudes in their work. 

The mixture of Black Grace dancers and Company B dancers bring authentic talent and synchronous collaboration to the forefront. 
A special shoutout to those that worked behind the scenes Tara Hodge, Brian Fairbrother, Siufaitotoa Simanu, Kiona Ieremia and on stage all the other amazing dancers from Black Grace and Company B that I have not named in this review, you all were invaluable in this process, and as an audience member you all show your own love for what renaissance means to you and the love of performing. 
Malo lava le tapena Neil Ieremia for another successful show! 

Additional material
The abstract, the humour, the pride, the physical nature, the joy, the culture, the chaos that underpins their truth is profound. This is an adjective usually attached to a Black Grace production, and so from understanding and taking this performance in I know I needed to communicate to the dancers themselves about the shows process. So I had the opportunity to interview two dancers from the show:
Chas Mamea (South Auckland Street dance practitioner & PhD dance researcher) and Paula Kahu (Hip hop dancer & Bachelor of Dance student). I asked Mamea and Kahu:- What did you learn from the choreographic and creative process being a part of a Black Grace show? 

Mamea answered:- “From this process, I’ve taken away the value of hard work and pushing beyond your ‘comfortable’ boundaries. I come from a street dance background, and am not as technically ‘sound’ as some of the other trained dancers, but throughout the process, Neil’s really encouraged us to give our best in everything we do. I never let what I don’t know limit my potential. I’ve always tried to give things my best go, even if it seemed difficult or out of my comfort zone. I’ve grown so much simply by trying”. 

Kahu answered:- “I have learned a lot about choreography and creativity in the five weeks that I have been a part of Black Grace’s-Company B. Because I studied dance at Auckland University, I am accustomed to tasking, writing, and creating. Having those abilities and an improved understanding of them helped me throughout the creative process of Black Grace. Nevertheless, I’m still learning about it. Every day brings a new lesson for me. For instance, learning to understand counts since I am a hip hop dancer I am more accustomed to matching movement to music than I am to knowing counts. Every artist and dancer in Black Grace has particular strengths and weaknesses, and it’s fantastic to be a part of this kaupapa and see how each person has advanced from beginning to end. However, some days I feel challenged because of this”. 

They both also shared thoughts being under Ieremia’s direction and guidance where Mamea states:- “My most favourite part of the creative process has definitely been the talanoaga/kōrero we’ve been having around the concept I am a Renaissance. Neil knows how to hold space in a way where we’re able to critically think about our connection to the piece, but also our roles as artists in the world we live in today – and how we are going to better serve our communities after this process. I’ve learnt so much – it’s been an honour to be a part of the nuanced shift for Black Grace, that is Company B”. 

And Kahu states:- “Initially Neil was only meant to take in 8 dancers, however he had chosen 12 out of 40 that auditioned. To be a part of the 12 selected dancers I am forever grateful to have been given this opportunity. Being taught by Neil Ieremia has been a privilege and an eye-opening experience. I have learned a lot from the process and journey I underwent while working for Company B. The experience has been incredible for someone who comes from a strong Hip Hop background and only has a foundational understanding of contemporary dance from Auckland University”. 

This opportunity for aspiring professional dancers being taken under Ieremia’s wing is such a great opportunity as these interviews, with two creative practitioners, show their appreciation of the creatively robust process that can help them in their upcoming career”.

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