Y CHROMOZONE (2015)
Q Theatre, Rangatira, Auckland
06/10/2015 - 07/10/2015
Production Details
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This festival favourite, all-male dance showcase features a selection of strong, sensual and daring new works performed by acclaimed male dance artists.
Y Chromozone 2015 includes performances by Tom Bradley (Sydney Dance Company), Kimbrian Bergh (South African Ballet Theatre) and Tim Podesta (Projection Dance), Paul Knobloch (Sydney Dance Company), The Dust Palace, Touch Compass, Da Bradas (Identity Co), New Zealand School of Dance and more to be announced. Expect raw power and subtle vulnerability in a showcase that challenges ideas of masculinity, gender and all things representing men. “a programme of brilliant creative force which will definitely leave you wanting more … full of vitality, variety and powerful performances.” Theatreview |
| Tuesday 06 October 2015, 08:30pm |
| Wednesday 07 October 2015, 06:30pm |
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Price: $29 — $45
Duration: 80 minutes
Bookings: https://www.patronbase.com/_QTheatre4/Productions/TQ20/Performances
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Eight - The Friday Company
Choreographer: Brigitte Knight
Music: Creative Force by John Zeretzke Performers: Reece Adams, Ollie Carruthers, Sione Fataua, Regie Malonzo, Johnlevy Rocreo, Fenjay Sapon, Anwell Siena, Charly Thomas Eight men, one stage and three minutes. Go!
With special thanks to Unitec Dance students appear courtesy of Unitec PASA (Contemporary Dance).
Framed Borders
Touch Compass Dance Company
Choreographer: Catherine Chappell Music: Remembrance by Balmorhea
Performers: Alex Hiles-Pervan and Adrian Smith
Two fellow travellers traverse through space with a framed cube representing many aspects of their lives and connections to themselves and the world around them.
Thanks to Adus and Alex for their input into the work and their openness to explore and make such fantastic offers.
Blood On the Loch
The Highland Dance Company of New Zealand
Choreographers: Julie Hawke and Robyn Simmons
Music: Original piece composed and recorded by Jason Schmidt from Invercargill
Performers: Lewis Gibson, Angus Hendry, Leighton Terry
This Dance is performed by three champion Highland Dancers who are members of the Highland Dance Company of New Zealand.
They perform a powerful Address to the Swords, reflecting preparing for the bloodshed of battle and then performing over the sharp cutting edges of the Swords with intricate movements and perfect balance to finish in victory, their dance of defiance.
Walk The New Walk - Tim Podesta + PROJECTion Dance
Choreographer: Tim Podesta
Music: Sleeping Beauty by Tchaikovsky Performed by Andre Previn and the London Symphony Orchestra
Performers: Tim Podesta and Kimbrian Bergh
Walk the New Walk is about two men faced with reality of mortality. 40 years stage experience between them, six surgery procedures, numerous pain killers and ulcers from the pain killers. A bond like brothers, that words could never fully deliver.
The Adonis Complex - The Dust Palace
Choreographers and Performers: Eve Gordon and Rochelle Mangan
Music: What Are You Made Of? by Muscle Prodigy
Presenting "masculinity" from a different vessel. Muscularity and masculinity go hand in hand in our culture. An un-muscular male form does not represent popular "masculinity" even as much as a muscular female form does. In this piece, by presenting our muscularity in a completely gender neutral manner, we invite the audience to look closely at what defines 'masculinity' for them.
From Form
Choreographer and Performer: Thomas Bradley
Music: From Form by Thomas Bradley
What is it, to [be] move[d]? Scrutinise the origin, purpose and effect of motion; continue this process of active observation and experience. It is, and should be, exhausting. That is what it is to learn. Negate passivity; discern how and why we are being moved, and for whose and what purpose.
Gold The BRADAS of IDENTITY COMPANY
Choreographers: All the crew
Music: Gimme the Loot by Jarren Benton, Bboy for life by DJ Ace, Black Raw by Tight Eyez, OC by Creaky Jackals
Performers: Riley Bourne , Nathan Kara, Joshua Faleatua, Connor Muller, Carlos Skipper, Gabriel Sutton, Jackson Tuarae
This Hip Hop set earned the Bradas a gold medal at the 2015 world Hip Hop championships in the adult division against 76 other teams from 50 countries
Beyond The Mat - Trip The Light
Choreographer: Perri Exeter
Music: Memories Don’t Leave Like People Do by Tom Jones, Send It Up by Kanye West, I need by
Maverick Sabre, Always on my mind by Elvis Presley
Sound Designer: Richard Breed
Performers: Rodney Tyrell, Elijah Kennar, Leighton Rangi
‘Beyond The Mat’ is based on the life and career of my uncle, New Zealand wrestling legend Steve
Rickard. The piece explores Rickard's passion and commitment to the development of the sport, as
well as his love for his wife and three sons. The dance is a tribute to the legacy he left behind.
Bon Voyage
Choreographer and Performer: Paul Knobloch
Music: Living Room Songs by Olafur Arnalds
Bon Voyage reflects upon the people in my life I have had to say good bye to. The family that are
always with me in heart but physically no longer present on Earth. I believe a light source fills
us all, an energy that fills the sky's once we have passed and a star that continues to shine
bright at night. This is the Soul. Until we meet again.
Father & Son - White Face Crew
Choreographer: Justin Haiu
Performers: Justin Haiu and Eric Ripley
Music: Excerpt from Eight Hours of Relaxing Piano Music
This tale was inspired by Justin's experiences as a son and then again as a father, and shares the
inevitable journey of life.
Sound
Choreographer and Performer: Brandon Carter-Chan
A display of my passion for rhythms and sound, using Tap as the instrument.
Derezzed - The Dust Palace
Choreographers and Performers: Carlin C-Dawg Brown, Geoff G-Force Gilson
Music: Derezzed by Daft Punk
This piece is merely a zygote of an idea about questions around the masculine self. We are looking at the ‘The Cyborg Manifesto’ by Donna Harraway (1991). This cyborg we present to you has no origin story, its birth is capitalism, it is an economic model par excellence. It holds in its very beingness the assumptions of eternal progress, of efficiency, of eternal replication outside the need for nature; and in this act it dislocates the female from the birthing process. It is that masculinist reproductive dream, which patriarchal cultures have created in the past, and continue their attempt at domination into the future. Where can we search to find wholeness? Light and shade?…. in a world where only masculinist values replicate themselves…… In other words, we hope to explore these ideas more deeply in the future, and currently we are investigating them as a dance duet on aerial straps wearing glowing costumes…..
Rhythm in Blue - The Highland Dance Company of New Zealand
Choreographers: Julie Hawke and Robyn Simmons
Performers: Lewis Gibson, Angus Hendry and Leighton Terry
The champion male dancers of the Highland Dance Company of New Zealand present a toe-tapping hard shoe Irish dance, New Zealand style, to an eclectic mix of Celtic music. Enjoy the rhythm.
Without Regard - New Zealand School of Dance
Music: Te Aihe Butler; Nightbook by Ludovico Einaudi
Performers: Jag Popham and Samuel Hall
Uptown Funk - OMG from the Dance Studio
Choreographer: Richie Cesan
Music: Uptown Funk by Bruno Mars
Performers: Ferruccio Orlando, Mark Bourne, Sjouke Van Houten , Paul Vodanovich, Andrew Tuarae, Peter May with Richie Cesan
Boys night out! OMG are a group of dads of dancers who originally just got together for a bit of fun. They are now seasoned performers and love to entertain. They take their dancing much more seriously these days and can often be found at the studio practicing. Their lesson is the highlight of the week for tutor and choreographer Richie Cesan.
Just Say Hello - The New Zealand Dance Company
Choreographer: Tupua Tigafua
Music: Hallelujah I'm a Bum by Harry McClintock
Performers: Chris Ofanoa as Treee and Tupua Tigafua as SimiSimi
It was the music that came before the idea. As soon as I heard this song I felt very happy. So why not make a dance to it.' The New Zealand Dance Company's Just Say Hi is choreographed by Tupua Tigafua and performed together with fellow NZDC dancer Chris Ofanoa.
Thank you The Zealand Dance Company for giving us the space, time and the moneys. Also thanks to Tempo for the opportunity to perform.
wind-carry The Dust Palace
Choreographers: Edward Clendon and Eve Gordon
Music: Song to the Siren by This Mortal Coil Performer: Edward Clendon
There was once an ancient figure. The people thought he could communicate with the wind and they were scared of him. He lived alone and apart. Sometimes he would cry and his tears were caught by the wind and thrown into the clouds, who threw them back at the mountains in disdain.
Pasifika contemporary dance , Multi-discipline , Integrated dance/mixed ability dance , Indian classical dance , Improv , Hiphop , Kapa Haka theatre , Dance-theatre , Dance , Contemporary dance ,
80 mins
Significant dance for entertainment's sake
Review by Camelle Pink 07th Oct 2015
Seriously, change your plans for Wednesday night and purchase tickets to Y Chromozone. This smorgasbord of dance works will have you leaning in to appreciate the nuances in the movement scores, as well as relaxing into your seat with laughter. The show certainly celebrates the strength, agility and artistry of the men (and women) who are active in our New Zealand dance communities, bringing some fabulous offerings from local dance companies, groups and individuals. Thank you to the performers, choreographers, and the Tempo Team for bringing this delight of a show to Q Theatre.
With no interval, it is quite a long program, but one that is worth your time. Even for the sheer prospect of seeing the OMG Dad’s get their groove on -Bruno Mars should get these guys on tour! There are well-placed breaks in the show allowing allow viewers to relax the mind and simply enjoy the pleasure of seeing wonderful execution of steps combined with a flair for performance.
Y Chromozone kicks off with the bright Eight by Brigitte Knight performed by current Unitec students. The simple backdrop sets the scene for energetic leaps and bounds. It interprets the music appropriately while showcasing the youthful male power of these dancers.
Next, Touch Compass Dance Company bring us an interesting play with the frame of a box in Framed Borders. While this work seems mostly inwardly focused, there is an engaging play with the idea of travel, time, and proximity between the performers. The lighting state really enhances the images within this work.
We witness two strong examples of champion male Highland dancers from The Highland Dance Company of New Zealand. Our first introduction to these adept dancers is their sword dance Blood On the Loch. The audience responds marvellously to their explosive jumps and beats. Their second offering Rhythm in Blue contrasts with the light ballon of the sword dance through the more grounded (but no less sharp) Irish hard shoe dance. Their posture and crisp footwork is rhythmic, and fierce.
Tupua Tigafua has created a nugget of gold in Just Say Hello. The tone of this work is playful, lively and a total crowd-pleaser. There is a precision in the sequencing of the movements, and an innovative mixture of styles slip into this piece. The guys certainly capture the high spirits of the song.
Pay attention to Edward Clendon in wind-carry. He harnesses an impressive power, suspended close to the stage lights. There is a clean, articulateness to his leg movement that is coupled with absolute strength. This is fascinating to observe as he passes through a variety of graceful gestures and motifs.
Perri Exeter presents us with Beyond the Mat. The changing music provides a soundscape to the movements that we come to recognise. There is a sense of wrestling between people and ideas in this piece. Both fluid and strong, the choreography is well performed by Rodney Tyrell, Elijah Kennar, and Leighton Rangi.
In Bon Voyage we get to relax into the vision of pleasing virtuosic extensions that Paul Knobloch is capable of. He is smooth and dextrous. As a repeated image, I wonder what the beautiful leg extensions are saying? Of several interesting moments within this work, the two that stick in my mind have little to do with technique and everything to do with the break in movement. Face-planted to the suitcase and the plucking of light from the case seemed to hold more meaning and intention for us as observers.
I am no tapper, but Brandon Carter-Chanheld the audience’s attention with his street style tap. Appropriately titled Sound, the dance plays with rhythm and generates lively audience involvement -do not worry, you will not have to get up on stage!
Father and Son returns some lightness to the show. The facials truly make this piece work as is expected with a name such as White Face Crew. The mime allows everyone into the work, with recognisable moments between father and son.The piece comes full circle, in a pleasing way.
Without Regard presented by Jag Popham and Samuel Hall demonstrates their skill at partnering and moving with ease in and out of the floor. Moments of their music are reminiscent of a piano-version of the techno sandstorm track. With this they capture an intensity in their duet which exudes control over each other, and leads me to wonder is this about self-dialogue?
The Dust Palace tackle some hefty subjects in Derezzed and The Adonis Complex. Both pieces deserve an essay written on how they unpack their concepts around the masculine self and what defines masculinity. There is definite potential in Derezzed to delve into the theory by Donna Harraway (1991), however it satisfies with a spinning spectacle of light and action. Human movement layered with screen projection adds another layer to this cyborg-like performance. The Adonis Complex invites the audience to see these muscular women as they perform, and challenges us to see them doing strength tasks that are a display of paradoxically gendered actions.
A bare stage, a pedestrian style and precise technique makes Walk The New Walk an intriguing narrative of two men faced with the reality of their morality. Sounds deep, but Tim Podesta and Kimbrian Berg keep us satisfied with their ability to create humour and commitment to the movement score. This style of choreography may be a bit dense for non-dancers, however everyone agrees that it is a delight to see.
We see choreographer-performer Thomas Bradley revealed by a window of light as he writhes in From Form. Moving through a series of nuanced bodily articulations he compels us to ask ‘what is it to [be] moved? There is a continual sense of morphing and re-working of himself to develop a studied, deliberate performance that takes full advantage of the lighting potential of the theatre.
The Bradas wrap up the show with their high impact hip hop performance. Gold is clean, entertaining, and exhibits the skill that led them to win their champions title at the World Championship earlier this year. They continue to toy with movement and music to make exciting pairings. This set has a clubby feel at times, with the contrived facials that are present in the spectacle of hip-hop dance. Definitely a strong finish to Y Chromozone.
Truly, I could write five times as much about all of the performances in Y Chromozone. The show is testament to all the wonderful choreographic and performance work by, and for males in New Zealand. I commend the artists for tackling some huge subject areas, and also to those who remind us that dance for entertainment’s sake is significant. I am wowed, and humbled by the expertise shown in Y Chromozone. Keep making work and sharing it with us!
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