The Unitec dance programme celebrated its 30^th anniversary with a showcase of six works, one premiere and 5 restaged, performed by current students in the programme. 30 years of Unitec Dance is a significant milestone for our dance industry in Aotearoa, and the story of the programme’s long history is told through three video clips played throughout the performance. Backdropped by clips from classes and performances over the past three decades, we hear about the programme’s genesis, growth, values of innovation, experimentation, and positive social impact from artistic directors Ali East and Chris Jannides, and department head Charene Griggs.

Opening the programme is Pōwhiri, created by Eileen Witika and performed by the full student cohort. Pōwhiri is a karakia that opens the theatre as a space of performance, a ritual preparing us and the space for the creations that will take place across the evening. Cycling through a range of energies, states and sounds, Pōwhiri utilises solos, duets, groups, instruments, and song to build towards a confronting acknowledgement of the audience. The students prove themselves to be strong vocalists with waiata and haka that permeates the full theatre and leaves chills. The energy throughout is electrifying, and leaves us with an eagerness for the rest of the programme.

Penumbra, choreographed by Katie Burton and Paul Young, is an image-rich exploration of infinity, patterns, and twisting helixes. Penumbra feels like the snake that eats its tail- new images are ravelled and unravelled, but with each unravelling is a deliberation towards a new illusion. The patterns are visually pleasing, and rely on the coordination and unity of smaller parts ordered by height, costume colour, shape, and light. The consistency of creation in the choreography pairs with Chris O’Connor’s sound score to create a sense of continuous rhythm and trance. Several images are called to mind through the work- molecules, code, cellular shifts- intangible and collective. The dancers bring the work to life through consistent attention to detail, showcasing a type of performance distinct from the rest of the programme.

One of the highlights of the programme is Michael Parmenter’s Fields of Jeopardy, a gasp-inducing celebration of risk, virtuosity, body, and form of the human athlete. Fields of Jeopardy has been performed several times since its premiere in 1988, and I have thoroughly enjoyed it each of the three times I have seen it. The dancers leap, catch, hold, and resist throughout the work, holding a solid base and discipline within their bodies, and then contributing this anchoring to the group resulting in dynamic feats of partnering. Pockets of solo, duet and group flit on and off the stage, and around each other with speed, there is no time to breathe and relax before the next tension. The lifts, leaps, and throws cultivate a growing anticipation in the audience, each side stage entrance and moment of contact could send a dancer flying. The sense of possibility leaves us craving and rooting for each moment of freefall, the rollercoaster-like drop in the stomach through the moment of fear, and the relief and awe following success. The students handle such a technically challenging work with excellent dedication. I can see their limits being pushed throughout the performance, and can see the moments that they are still grappling with mastery, and find this to be satisfying as an audience member.

Band Solo, choreographed by Tamsyn Russell and now remounted, provides a refreshing comedic twist to the programme. The work progresses through a series of dramatic scenes that develop the characters of the performers through moments of spotlight, before folding them back into the group. The movement progresses through strong, sharp, and melodramatic, to whimsical and comical, to sultry and rebellious, and the students deliver a grounded and passionate performance that nails each state.

Panekeneke is a spectacular duet, choreographed by Jared Hemopo and performed by Faith Schuster and Miriam Eskildsen – who deliver standout performances of the evening. Panekeneke is a deep and peaceful breath in a programme of large casts. Framed by angular spots and crisp lighting design, Schuster and Eskildsen are graceful, strong, and silent. The duet feels like a gentle caress, their partnership is solid, weighted, and easy. The maturity, discipline, and vulnerability of Schuster and Eskildsen is evident, and elevates the shifting, transient choreography of the work.

Trigger is the final work of the evening and is choreographed by Malia Johnston, featuring movement created and contributed by the graduating class. The work begins with an empty stage and we are introduced to each dancer as they arrive to perform a snapshot of movement that reflects their personalities, their name projected on the back wall. As the dancers cluster, a picturesque scene emerges. The work develops as a series of ‘scenes’ driven by Eden Mulholland’s sound score. Trigger carries a sense of loosely organised chaos, a playful romp that revels in joy as groups diverge, dissect, travel, and meet – bare wings exposing dancers at the side of stage changing, preparing, and lining up for their next task. The work builds up to several pleasing images, and is a charming and authentic farewell from and to the graduating class.

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