Malaga is a double-bill featuring Thomas Fonua and Vivian Hosking Aue’s new works, respectively Malaga and EVE.

Opening with the naming title, Malaga, translating as a journey from Samoan, traces the story of Samoan men, women and children who were taken from their home in the 19^th Century to tour Germany. Drawing from the history of these “human zoos”, the piece is powerful and somewhat disturbing, illustrating the brutality and horrors of the time without being overly graphic. This is a group piece, rhythmic and catching the essence of Pacific contemporary dance. The dynamic pace is set from the beginning and the impact is forceful, raising the expectations of the audience. As the piece progresses, the dancing is strong, emotive and very well executed, and the energy of the group is palpable.

The expressions, vocals and breathing of the dancers fill in the spaces in the music, giving the performance form. A disturbing, arresting sequence shows the cold, clinical dissection of specimens, the dancers working sharply and in unison to reduce the human form to just another discovery or commodity. Their brutal, efficient movements embody the message of the piece as they remove all sense of humanity from their actions.

As enthralling as the work is, it somewhat struggles to progress to the next level, with the second half providing more of the first, rather than moving the narrative along. Malaga culminates with a family changing places and forms, which makes a beautiful tableau, but there are some lost opportunities to further use the audience to explore the themes of captivity and voyeurism. A powerful and emotive work, it seems strangely incomplete as it draws to a close.

Vivien Hosking-Aue’s new work, E V E, explores the ideas of creation and the absoluteness of the original sin. Piles of apples are strewn across the stage, acting almost as an independent character in the piece.

The opening is seductive and sensual, the emphasis on the musculature and bodies of the dancers as much as their movements. Holding an apple in her mouth, Eve undulates across the floor as the men writhe around her.

The apples permeate the dancing, moving from one performer to another, and chewed pieces sprayacross the stage, ostensibly the results of the original sin moving through Eve’s family and thus humanity. It culminates with a sticky liquid (blood, perhaps) pouring over them all, perhaps in reference to Cain’s unforgiveable act. There is sometimes a disconnect between the dancing and the story, and the narrative is difficult to follow, leaving the overall message somewhat unclear.

The dancers display a lot of strength and power, and much of the dancing is sharp and precise, their movements emphasising the music and sustaining the high energy of the piece. The two women, however, seem to struggle with the sharper movements, evidently more comfortable with the more traditional contemporary dances.

While the apples do provide some connection throughout, their presence seems to distract from the performance while better transitions between sequences would help with the piece keep its momentum. Overall, EVE is an interesting work, entertaining and enjoyable, with some lovely sections of dancing.

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