In this most recent, full-length version of his work Moko, choreographer Moss Patterson, assisted by Kelly Nash, presents a theatre of imagery that is both fleeting and subtle, to illuminate the visual impact of the sacred art of tā moko (Māori permanent face and body markings). 

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Moko seems to mark a reinvention for Atamira, exhibiting new branding, new faces, new energy and new horizons brought about by many years of hard work shouldered by a small army of dedicated participants. The enthusiastic crowd, made up of a high calibre art types and long developed diehard fan base is testament to our ongoing interest and investment in this company and its work, and the status they have achieved.

The preset is dark and deep. A savage red x shape cutting across the back of the stage, is revealed to be intersecting ropes as my eyes slowly adjust to the gloom

A shaft of light reveals a powerful male figure standing near an amorphous black fabric mass suspended in space by multiple ropes. Suddenly the world springs to light and life, pulsating with undulating colour and texture. There are human figures prone beneath. Atamira has often used technology to a high standard but the fact that we are dealing with projection mapping indicates a more forward thinking approach. We see images wrapped around inanimate shapes and perhaps more impressively, around moving bodies. The angular, tensile mess of rope and fabric is in contrast with the smooth, sensual beauty of the dancers underneath. Set apart, Daniel Cooper commands the space with pulses of his torso and shoulders. Perhaps he is the deity who shouldered the land and sky apart.

Like an advancing platoon the dancers are on fire and ready to fire. With no opening night nerves visible they are obviously very well rehearsed and well immersed. Slick as.

The amorphous set form is more versatile and multi dimensional than I first realise. Although I sense that the staccato pace is due to the necessary resets and corresponding blackouts, it is ultimately the star of the show, fulfilling the roles of Te Kore, Te Pō, Ranginui and Papatūānuku, waka, cloud, tent, wall, canopy and cloak, or all or none of those things. In a key moment a dancer leaps towards it and is caught by it, engulfed and supported in the air with no other bodies to be seen. This is the sort of magic and make believe eshewed by Yvonne Rainer, but so effective in this context. She disappears and another emerges at the bottom as (Nancy WiJohn this time) Mahuika, or Hine-nui-te-pō, it could be either or neither. There are fiery sparks and all engulfing blackness both.

The music, what can I say? I don’t get it. The direction taken towards upbeat a certain type of pop later in the work seems out of place to the point of having been imported from another dimension.

There are moments of sublime beauty. The poster image is brought stunningly to life in an elastic duet between Andrew Miller and Bianca Hyslop, which fulfils the promise of the still poster image beautifully

Apart from the staunch opening, the movement vocabulary in first few sections are yin, of the earth and of the world, foregrounding the sinuous elasticity and gentle sensitivity of Hyslop, Thomas and Bonnington. The latter part of the work explores more familiar athleticism of Modern choreography with strong lines and elevations where the muscles of Atamira come into play. I do find it very peculiar that the inhabitants of this world ever exhibit such congenitally classical ballet movements as batterie, penche, arabesque and rond de jambe, no matter how much ihi, wehi and wana it is imbued with. Why move towards modern vocabulary? I realise that there will always be an element of the audience who feel gipped without a splash of old-school, but why pander to them. It seems a litle reductive.

The base costume is a generic tight black ensemble that doesn’t exactly pop but does, however, serve to accentuate the more strikingly sculptural costume elements which appear for specific scenes, notably the red tube dress worn by Bianca Hyslop, it’s tentacular sleeves used to great effect. Also a sexy Madonna-esque boned leotard worn by Nancy Wijohn and glamorous feathery arm adornments worn by Mark Bonnington, that wouldn’t look out of place on Mika.

Light and projection provides texture, tone and movement throughout, and some surprises too. It may have been a chance discovery, but the effect of light on rope in a scene which recalls Māui subduing the sun, is wonderfully holographic. Talented newcomer Andrew Miller impresses in this section. I always found this story so sad because the sun had a face and I didn’t want it to be hurt. Atamira makes it look like a futuristic party that we all want to go to.

Undeniably strong dancing by all, a bold aesthetic, conviction and a strong ethical compass make Atamira a company worth supporting and encouraging. While I miss the charisma and characteristic diversity of the old guard I am looking forward to what comes next.

I hope its nothing that I can imagine.

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