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  Art Murmurs - Wellington Reviews

Reviews

Mana Wahine

25/6/2016

1 Comment

 

Courtney Rose Brown

Picture
Mana Wahine concludes 2016’s Kia Mau Festival, performing a sold out season at Circa Theatre. Presented by Okareka Dance Company, the production is directed and choreographed by the talents of Taane Mete, Malia Johnston and Taiaroa Royal. Drawing inspiration from Te Aokapurangi’s story of courage, the productions chronology is threaded through the stories of the performers and inspiration from the choreographers.

Entering the space, we are greeted with a soundscape of nature, accompanied with bird songs. The set design by Tracey Collins, is simple and effective. A wooden frame of a Marae creates the boundaries of the space. Covered with thin white material spanning the size of the frame, an image of Tui Matira Ranapiri-Ransfield (musical composer with Te-Reo) is projected onto it, already multimedia is introduced as a prominent and important aspect of the show, creating a sense of enchantment.

With the seating block greatly reduced to allow a larger dancing space for the performers, Circa One is transformed in a way that is rarely done. Albeit still about three meters smaller in size to their usual performance standards, (which we find out in the Q and A after the show.) However, it is not apparent within the performance as they fully command the space.

The opening begins with the removal of the white cloth and a karanga, revealing more of Collin’s design. The same material has formed wings on the side of the stage, as well as covering the back wall, with a white floor. The use of the white cloth also aids transitions which builds several striking moments in the establishment of location and in presenting journeys. This is supported by projection, where the white of the set unifies the two beautifully, as it provides a blank canvas for Rowan Pierce’s astounding AV design to paint over.

Pierce seamlessly operates the AV with the overlaying of images in inventive ways, often manipulated recordings of the performers dancing played on top of their live performance. The projected images are local images taken from Ranapiri-Ransfield’s own Marae and of Mokoia island, interweaving the stories of the creative team and of Maori history. Ranapiri-Ransfield’s recorded voice flows through the stage, first heard with her karanga that invites us into the space and in waiatas throughout.

Dancers (Emily Adams, Jana Castillo, Bianca Hyslop, Maria Munkowtiz and Nancy Wijohn), lie under a white sheet, with projected images of their bodies on top of their covered bodies. Underneath they move as heart beats and testing the boundaries of the sheet, with attempts to escape. The soundscape creates a womb like atmosphere, as begins their creation. Victoria Kelly’s original musical composition for Mana Wahine is epic and I don’t say this lightly. Kelly’s design is evocative to the piece, solidifying and supporting moments, with a surreal, yet grounding and breathtaking journey.

Moments of touch and intimacy between the performers create relationships and extend aspects of the journey. Often with a mix of strength and vulnerability in paired dances, where the emotions are tested as they are balanced and shared. The resilience of the women is empowering as they explore aspects of gender through Elizabeth Whiting’s costume design. Dressed in a base of white shirts over cream singlets and underwear, additions of black costume pieces are added. One in particular that stood out to me was the black hoop skirts, which when introduced evoked strong imagery of Fantails. Using the skirts, they suggested stereotypical characteristics of women, including and falling back into rhythms of cleaning and cradling a baby.

Throughout the performance, many battles take place. Emphasised with breath (recorded and their own) as well as battle cries, these showcase the dancer’s physical strength (often they hold the weight of each other) as well as the strength of their mentalities.

Mana Wahine gives women a voice, and a range of voices that are unapologetically their own. Performing how through vulnerability; strength, grace and beauty can co-exist. The magical experience of Mana Wahine, fills the room with pride, creating a community and in the moment a spiritual journey.

There is no questioning of it, Mana Wahine is an outstanding show. Finishing with thundering applause, accompanied with whistling and the stomping of feet, they conclude with a standing ovation and an one man haka.

Mana Wahine’s sold out season runs at Circa Theatre till Saturday the 25th.  The last chance to see it is with their additional show on Friday at 1pm, so get in quick! However they are looking to tour the show overseas next year; what a great excuse to travel!


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1 Comment
Tui Matira Ranapiri-Ransfield
6/1/2018 05:16:10 pm

MANA WAHINE production portrays the quintessence of wahine or women. Inspired from my ancestresses KEAROA and TE AO KAPURANGI. The common greatness between these two women were that they lived in their own era and time. They are both responsible for saving their clans' and people from the wrath of Tangaroa and Tūmatauenga. In doing so, their people survived, otherwise could have been a complete wipe out and non-existence. These women were practitioners of their natural maternal instincts of saving their people at the wrath of powerful men including a high priest or tohunga Ngātoroirangi (Kearoa's husband) and rangatira or chief Hongi Hika (who Te Ao Kapurangi out-smarted cleverly and easily). The choreography was produced by Guest Choreographer Malia Johnston, and Ōkareka Dance Company Artistic Directors & Choreographers Taiaroa Royal, Taane Mete, brought to life by the five dancers powerfully demonstrating the fruits of excellent collaboration, creativity, cultural appropriateness, and my cultural guidance and expertise tell all our herstories, from personal experiences, embedding and weaving these sharings into the magical empowering performances by the dancers. It is airy, the strength of intangible with tangible realness keeps the spectator in awe from beginning to completion of the entire performance. A culmination and multiplicity of contributions together convey the stories - the AV design by Rowan Pierce, the music by Tūī & Victoria Kelly (Composer), the lighting by Vanda Karolczak, the costume design by Elizabeth Whiting, set design by Tracey Collins, and Rachael Penman (General Manager & Producer). The dancers (although only five in every performance must be acknowledged for their pure essences and aroha or love and passion toward the enriching experience ALL spectators allow themselves to be immersed in the magic or tuhi māreikura - women, goddesses, the female element are: Nancy Wijohn, Bianca Hyslop, Maria Munkowits, Chrissie Kōkiri, Jana Costello, Emily Adams, Isabel Estrella, Eikura William, Tiana Lung, Liana Yew, Shanelle Lenehan, Skye Hurst, ..... these women created and contributed and performed from 2012 and the majority are still involved with taking MANA WAHINE to the world. A MUST SEE!

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