Secondary Colours provides a platform for a vibrant array of youth dance with a mix of sixteen different performances, mainly from large groups of young people, sharing their skill, passion and commitment to dance. During the course of the show it is possible to track through several popular moves particular body percussion that seems to appear in varying guises.

Four Seasons, danced by Magnum Dance Company from Rangitoto College, opens with a very effective circular tableau awash with colour. The sharp isolated body movements catch the eye with shape changes which  include a particularly effective unison flick of the head. Accompanied by the jazzy Fat Freddy’s Drop, this piece cleverly concludes with a return to the beginning’s intertwined clump of dancers, reminiscent of the cyclic nature of the four seasons.

Under the influence, choreographed by Gabriel Sutton from Boyzdance2, is very well crafted. The contemporary physicality of the piece catches my eye as the dancers clearly relate to each other in a variety of interesting ways. All three male performers are able to embody a range of dynamics seamlessly enriching their strong expressive quality.

An interesting beginning sees bright flashes of white light illuminating the entry of the dancers across the stage, contrasting well with the fleeing exit at the end for St Kentigern’s piece Association. Frequent stage crossings provide a vehicle to showcase each dancer’s best move.

All That Tap begins light-heartedly with Choo Choo all on board the tap train. The multi rhythms ring out as the performers’ feet tap the complicated routines in fine style. The line-ups change in size and gender, finishing with an energetic and exuberant, extended tap sequence for all eleven talented tappers from the Dance Studio Senior Tap Performance Group. Choreographer Andrew Cesan certainly presents us with an enthusiastic celebration of tap.

Beautifully dressed in flowing red dresses with gold appliqué, a trio from Michelle Lucca School of Dance captures the meaning of the song Jar of Hearts in an expressive lyrical dance. Strong performers are at points able to embrace contrast by seamlessly weaving in and out of one another while still remaining connected.

Pointy Dog Dance Company performs with commitment and vitality Now. Reveal Me, choreographed by Vivian Aue-Hosking, a stunning physical piece. A fast repetitive series of bouncing jumps frequently appears like a pulse throughout and strongly underpins this piece. The movement vocabulary has a raw quality to it and is less stylized than many other moves seen in the course of the show, which gives a unique strength and makes it interesting to watch. Precision timing coupled with well-rehearsed committed performers captures the audience.

Psychosocial is danced by seven female performers from Louise Emma Academy of Dance, with the prerequisite being long hair. In combination with the words by Brook Fraser, the hair forms an important element as it swirls, falls and wraps the space around each dancer in order to convey meaning. 

One Step Beyond’s trio sees clever use of repeated movement motifs throughout Same Difference. This has a busy energetic quality and is well performed.

In sharp contrast Fan Dance from Takapuna Grammar brings an example of a traditional dance form with beautiful group shapes and patterns evoking nature such as butterflies and waves, and a distinctive sound as the fan is sharply thrown open.

Rain Dance begins with singing and tapping accompanied by Water Fountain by Tune Yards.  Dressed in striking aqua green tunics, this piece has a solid body percussion foundation and ends with a surprising climax with one dancer lifted up in the air. Choreographed by Perri Exeter and the students from Rutherford College, this well-crafted work is full of movement invention, for example a very distinctive giant running step frequently provides an effective way of traversing the stage.

Spark is a contemporary abstract work by Devonport School of Dance showcasing some interesting duets.

Eleven dancers from Pakuranga College dance Free Spirit, a very enjoyable piece choreographed by Tupua Tigafua. The movement vocabulary couples with changing groupings and patterns to provide a strong connection to the words of the accompaniment Musuka Mafiosa Marselhesa by musical group Lo Cor de la Plana.  

Colourful and vibrant Bollywood, choreographed by Brigitte Knight for The Friday Company’s Bollywood Troupe, rocks the house with its energetic rendition of Bollywood and has real synergy with the Diwali festival happening outside on the street at the same time.

Onehunga High School’s Nafanui begins with a moody start with eleven female performers playing pensively with braided hair that slowly unravels. This piece has its roots in Pacifika with an infusion of more lyrical contemporary movements, with performers wearing flower anklets dancing to Te Vaka’s drumbeats.  Choreographed by Teuila Hughes, the strong performers explore the idea of woman as strength, with flying long hair clearly an integral part of the piece.

Glitch, choreographed by Juliet Cryns, sees eighteen dancers from Takapuna Grammar School’s Cactus Dance Company move with angular uniformity and precision like a group of robots.  Striking silver and black costumes have a Star Trek feel to them, however the connection between the words Gloria in excelsis dei frequently repeated in the music by Eden Mulholland was obscure.

The final piece of the evening is Autele from Mount Albert Grammar, choreographed bySamantha French with an excellent choice of Maori Beat by Highlight Tribe. Programmed as Pasifika contemporary fusion, this is certainly echoed throughout in choice of movement vocabulary. Beginning strongly with Samoan body percussion the performance energy is maintained throughout as the grouping morphs and patterns change. The piece fittingly finishes on a well-executed loud unison clap.  A fitting full stop for the entire show, clearly celebrating that the youth performers in this Secondary Colours are from a vibrant city with a wide array of cultural backgrounds.

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