Reviewed by Jennifer Shennan for The Dominion Post, reprinted in Theatreview

This enterprising Kowhiti programme has considerable contrast of aesthetic, lyricism, humour, pathos and power.

He Taonga, by Taiaroa Royal and Taane Mete, has an all-male cast. The masterfully slow opening movements, as though each gesture needs first to be born, builds stunning momentum, opening the path for the evening.

Entangled, a sculptural duet by Merenia Gray, unfolds against the sonorous cello played by Janet Holborow. Her other work, Black Rain, references the mystery and miracle of procreation.

Now This Is It, by Tanemahuta Gray, is up-tempo; his Tangaroa surges with the wave tops of creamy surf; his Past Present Future has lyrical movement overlaid with the suggestion of haka. The Inner Cosmos is disco-dynamite, music-video live, in a performance to please Sammy Davis Junior. 

Memoirs of Active Service, by Maaka Pepene, clowns around but soon displays brilliant co-ordination of marching patterns, through to a poignant group lament that looks to the majesty of Jose Limon’s choreographic vision. Lighting effects here were the best of the evening.

Te Whenua by Moss Patterson continues his exploration of koru and kowhaiwhai as movement motifs. Don’t Feed the Manfish, by Cathy Livermore, makes a plea for environmental care of Pacific island habitats. Pa Kingdom by Taupuhi Toki offers Polynesian juxtapositions. 

He Taura Whakapapa, by Charles Koroneho, is a work of dignity and skill, weaving a rope for a great anchor stone. Taiaroa Royal deserves recognition for his heroic performance legacy across several decades.

Playing Savage, a solo by Cat Ruka, is a damaged woman, wounded bird, fractured society. The flag, Tino Rangatiratanga, is a cloak but then a burden. Plastic trinkets are confused with a baby in utero; there’s a patched leather jacket, shades and smokes. A giant poi disgorges political claptrap and much glitter. It’s a tour de force, more sad than angry, a devastating image of a society afraid of its own history. 

The dance festival continues with a stimulating range of events that mark Matariki – New Zealand’s new year. It deserves to do well.  

Reviewed by Terri Ripeka Crawford for Theatreview

This inaugural Matariki Festival of Mâori Contemporary Dance, curated by Tanemahuta Gray and Merenia Gray and produced by Jenny Stevenson, is both a celebration of Mâori Contemporary Dance and a time to forge exciting new directions and foster strengthened relations in this genre. Kôwhiti is a stake in the whenua, marking the development of this art form within Aotearoa.

The Kôwhiti 2010 premiere performance programme is a mix of avant garde, ceremonial, ambitious and contentious performances. There is no visible ideology underpinning the selections of works within the programme, nor is there a sense of being taken through a journey of a selected best of Mâori Contemporary Dance. 

Of the thirteen items, the stand out choreographies and performances are: Playing Savage by Cat Ruka, The Drill & Reflections by Maaka Pepene, dontfeedthemanfish by Cathy Livermore and He Taura Whakapapa by Charles Koroneho. Within these items are the essence of mana wahine, tiaki whenua, the spirit of the ancient and one’s place in the universe.

Other items in the performance by emergent choreographers, such as Paa Kingdom by Taupuhi Toki and He Taonga by Tai Royal and Tane Mete, are mediocre exemplars or work-in-progress type performances. Future Fame’s LA Boogaloo item, Inner Cosmos, provides some light relief for audience members.

The trilogy of works by Tanemahuta Gray – Now This is It, Tangaroa and Past / Present / Future – and Black Rain by Merenia Gray are disappointing. Apart from the gorgeous signature work Entangled by Merenia, these works, both in structure and performance, almost negate the potency of the Kôwhiti Premiere Performance and somewhat undermine the majority of works shown on this occasion.

The opening night performance included an auspicious formal address by Wellington City Mayor Kerry Prendergast, who acknowledged the Kôwhiti Festival and introduced the Inaugural Kôwhiti Awards. 

Finally! Not only is the artistic genre of Mâori contemporary dance acknowledged by a festival in the capital city, but three of our pioneering leaders awarded a beautiful pounamu toki fashioned by Charles Koroneho for their service and leadership.

The inaugural awards went to Gaylene Sciascia, Tama Huata and Stephen Bradshaw.  In accepting the award, Tama suggested that we are only skimming the surface of Mâori contemporary dance, and that there is so much more to come.

Kôwhiti, a rising star, come and be a part of the ascent. The future potential is bright.

Me piki ake, kake ake ki te toi huarewa!