Latest news with #AtamiraDanceCompany
Scoop
2 days ago
- Entertainment
- Scoop
Kōanga Festival Unveils Full Line-Up For This September In Tāmaki Makaurau
(Tāmaki Makaurau, Wed 23 July, 2025) - Kōanga Festival, a captivating celebration of Māori performing arts, has unveiled its dynamic hōtaka (programme) for the 2025 event. Returning to Te Pou Theatre for two packed weekends from 12 to 21 September, the 2025 programme champions new Māori voices and work across theatre, music, and dance, from powerful play readings and live gigs, to a fun-filled community Whānau Day. Kōanga is a time when te taiao comes to life with new growth. Kōanga Festival cultivates new ideas and shares the bounty of new narratives through Māori performing arts. Now in its 11th year, Kōanga Festival is where Māori stories are crafted, shared and embraced. This year's headline show What Happened To Mary-Anne? is a bold, high-energy rock show created by award-winning performer and writer Brady Peeti. Featuring a live band and original music, the show is an unflinching, electric ride through love, identity, and memory. What Happened To Mary-Anne? takes place on three nights only from Friday 19 - Sunday 21 September. Festival favourite Whānau Day, taking place Saturday 13 September, is an open, free festival day for all to enjoy. Expect a magical storytelling grove, kai stalls, a rangatahi curated outdoor music stage, kapa haka, kids' theatre, games, and more. It's a celebration of storytelling that the whole whānau can experience together. 'Kōanga Festival 2025 shares the talents of excellent Māori performing arts makers, and nurtures new stories for the stage, with a focus on crucial voices at crucial times; futuristic thinking, urban Māori stories and electrifying performances.' says Amber Curreen, Artistic Director. From Friday 19 - Saturday 20 September, emerging Māori playwrights will present their newly developed works following three months of creative development through the Kōanga Playwrights Programme. With limited capacity, these readings offer a rare first-look at the future of Māori theatre. This year's playwrights are Leigh Minarapa (Ngāti Rangitihi) with 'Te Koha', Lila Māhina Black (Ngāti Raukawa) with 'Strange Signals: Aliens in Aotearoa', Zody Takurua (Ngā Rauru) with 'WHŌRE', and Ngahiriwa Rauhina (Ngāti Whakaue, Tuhourangi ki Wahiao, Ngāti Tūwharetoa, Ngāti Awa, Ngāi Tūhoe, Ngāti Raukawa) presenting the only te reo Māori work within the Kōanga Playwrights Programme, 'Te Tau E'. 'Te Tau E' marks Kōanga alumnae Ngahiriwa Rauhina's first full-length mainstage work presented entirely in te reo Māori. 'It's the first time we've had so many works dealing directly with Māori futurism and critical contemporary kaupapa.' says Amber Curreen in regards to the Playwrights Programme. 'At this time when there's so much disruption in the world our artists will do what they do best and come together to imagine new pathways forward.' Atamira Dance Compan y will be presenting two unique showings within the festival under Kia Pohewatia their choreographic residency programme with Rachel Ruckstuhl-Mann (Kāi Tahu, Kāti Māmoe, Rangitāne) and Samara Reweti (Ngāti Ranginui, Ngāi Te Rangi, Ngāti Uenukukopako). Kia Pohewatia is dedicated to supporting Māori choreographers in developing new works. Through studio time, mentorship, and collaboration with Atamira artists, this residency offers a space for research, experimentation, and the early shaping of future projects. 'Kōanga is a time for nurturing fresh, new narratives, and Kia Pohewatia embodies this by providing a platform for Māori choreographers Rachel Ruckstuhl-Mann and Samara Reweti to dream, experiment, and share early-stage works that invite audiences into their evolving creative journeys. It will be exciting to witness these unfolding new offerings as they are shared with the public.' says Bianca Hyslop (Te Arawa, Ngāti Whakaue-kaipapa, Tūhourangi-Ngāti Wāhiao, Pākehā), Artistic Director of Atamira Dance Company. 13 Sept | Whānau Day (Free event) 14 Sept | Atamira Dance Company Presents: Kia Pohewatia with Rachel Ruckstuhl-Mann 19 - 21 Sept | 'What Happened To Mary-Anne?' - Brady Peeti 19 Sept | Play Readings Pōmere by Leigh Minarapa with 'Te Koha' & Ngahiriwa Rauhina with 'E Tau e' 20 Sept | Play Readings Pōhoroi by Lila Black with 'Strange Signals: Aliens in Aotearoa' & Zody Takurua with 'WHŌRE' 21 Sept | Te Arero Toi Reo Māori Playwrighting Wānanga and Atamira Dance Company Presents: Kia Pohewatia with Samara Reweti 'It will be a beautiful, big and audacious ten days at Te Pou - we look forward to seeing you there!' Amber Curreen.
NZ Herald
5 days ago
- NZ Herald
My Secret Auckland: Contemporary dancer Caleb Heke shares their favourite spots in the city
The Breakfast Club in Point Chev is the ultimate brunch destination in my opinion. They've got a great range of pancakes, your classic cafe fare, and a solid line-up of thick shakes. My go-to order? Either the Big Brekkie Club or the Classic Stack Pancakes, and yes, I'm always adding bacon. You can't go wrong. Favourite restaurant for dinner with friends? Punjabi Kitchen on Lincoln Rd is my comfort food heaven. It's only five minutes from where I live and it always hits the spot when I'm after a warm, hearty meal. The spices, the flavours, the portions, it's the kind of place you leave with a full belly and a full heart. Favourite place to take a visitor to? Basement Theatre is always my top recommendation when I've got someone visiting Auckland. It's such a creative and exciting space, showcasing everything from theatre and dance to comedy. No matter who you're with, there's bound to be something on that'll spark a laugh or a deep thought, or both! Favourite spot to finish a night out? The Churchill on Queen St is my go-to wind-down spot after a show at Basement Theatre or Q Theatre. It's a stylish gin bar with a moody, relaxed atmosphere and panoramic views of the city. Something about sipping a cocktail while looking out over Auckland just wraps up the night perfectly. Favourite place to get coffee? Coffee Studio in Corban's Estate, Henderson, is a bit of a hidden gem. It's where Atamira Dance Company is based, so on my lunch breaks I love sneaking over for a regular oat flat white and a caramel slice. The vibe is cute, homely and welcoming and the staff are always down for a chat. Favourite fish-and-chip shop? Smith and Wong's Takeaways has been our family's go-to for years, and for good reason. Sunday night fish and chips just wouldn't be the same without it. Crispy, golden and nostalgic. Favourite trail for a hike? I'm not the most avid hiker but I do love the Waitākere Dam Walk. It's got everything, from lush native bush to rivers and waterfalls (great for a cold dip if you're brave), and the dam itself is stunning to walk across. It's not too long or difficult, which makes it ideal for a cruisy weekend mission. Favourite venue for a gig? The Tuning Fork is one of my favourite venues for live music. It has this chill, intimate vibe where you can either be tearing it up on the dance floor or tucked into a corner with a glass of red. Whether it's an emerging artist or someone you already love, the experience always feels personal and electric. Favourite place to find a bargain? As a dancer, I'm constantly needing vitamins, protein, strapping tape and haircare and Chemist Warehouse is a lifesaver. They've got everything I need at prices that don't make my wallet cry. It's my go-to spot for restocking all the essentials. Caleb Heke (Ngāpuhi) is a contemporary dance artist, born and raised in Tāmaki Makaurau. Caleb has been a dancer with Atamira Dance Company since the end 2020.
RNZ News
06-07-2025
- Entertainment
- RNZ News
Brydie Colquhoun on her debut choreographic work
Brydie Colquhoun is one of Aotearoa New Zealand's most captivating Maori contemporary dance artists, teachers, and practitioners. After graduating from New Zealand School of Dance in 2012 , she has had a stellar career so far, including performing natioanlly and internationally. Rongo Whakapa is Brydie's debut choreographic work and explores themes of connection, presence, and the tension between individualism and collective community. Performed this Friday to Sunday at Te Pou Theatre Corban Estate Arts Centre in Auckland, Rongo Whakapa is presented by the Atamira Dance Company, Brydie spoke to Culture 101. To embed this content on your own webpage, cut and paste the following: See terms of use.
The Spinoff
06-06-2025
- Entertainment
- The Spinoff
Our reviews from week one of the Kia Mau festival
From musical tales of communal island life to class consciousness in a Crown Lynn workroom, these are the shows we enjoyed at the Kia Mau festival this week. Waenga The strength of Waenga is that its story of police brutality ('humility? futility?'), mana motuhake and self-discovery is one shared by rangathi across the motu. Leads Hariata and Tamati Moriarty (children of highly regarded actor Jim Moriarty and playwright Helen Pearse Otene) wrote this play after working extensively with high schoolers, asking them 'what do your ancestors want from you? What stops you from reaching your potential?' – and what they discovered is stories of young Māori continually facing systemic violence and racism and, despite it all, still having an unwavering desire to live wholeheartedly in their Māoritanga. The result is a just-under-an-hour long show with so much bite it leaves you breathless, coupled with enough comedic relief to soften the pain, and remind you that as Māori, we're pretty damn funny in the face of oppression. Connie (Hariata) finds herself in a police station after an alleged bust-up with the coppers, and doesn't trust her 'kūpapa' defence lawyer Grayson (Tamati) to see her side of the story. But as the two spend more time together, they realise their experiences might not be so far apart, whether you're trying to change a racist system from the inside or outside. /Lyric Waiwiri-Smith He Ingoa Nau mai te pō, te ao, te awatea. Awatea mai te pū, te more, te weu, te aka, te ingoa taketake. Maiangi te tapu, te wehi, te kuru pounamu: he aha tēnei mea te ingoa? Otirā, me pēhea tātou e whakamana i ngā ingoa o a tātou anō. 'What's in a name? That which we call a rose/ By any other name would smell as sweet' – the iconic line from Shakespeare's Romeo and Juliet is flipped on its head. Where Juliet talks about the insignificance of a name – a thing is still a thing regardless of what we call it – He Ingoa emphasises the mana within a name. From the depths of te kore, a name blossoms and is brought into te whei ao, into te ao mārama. A name is given, a name is chosen, and a name is reclaimed. He Ingoa itself is a reclamation. Not only of our own names, but of our stories and our whakapapa. The cast packed a powerful performance and were incredibly well controlled with the intensity in every song, delivering full force right through to the climax at the end. The band and crew's work exceptionally embellished and elevated the show. He Ingoa certainly has carved its name into the stage. /Taipari Taua Ka Mua Ka Muri, Atamira Dance Company A fusion of lighting, sound, stage, choreography, six magnificent dance artists and spoken word. Ka Mua Ka Muri explores whakapapa through a mix of poetic visual and sound constructions and an undulating tone. The show opened with comedy and moved from there to anguish, poignancy, timidity, ferocity, hopes and reflections.I found the design of the show magnificent: all of the elements worked seamlessly together. The high production values made sure this gentle exploration of what it is to be Māori – to exist within the maunga of whakapapa – had impact. The spoken word elements wove throughout the show, like vignettes of internal thought, sometimes quite childlike which spoke to the sense of the eternal spiral of time. At times I wanted the voices to be amplified: The Opera House is a big space and the rest of the production had a sense of scale and awe so at times the lack of microphones for the dance artists was noticeable. The text was also very literal and I wondered if it could be pared back, simply to let the rich imagery of the choreography, sound, projection, stage and lighting do most of the work. The moments of song were magical. Many images will linger in my mind: an arrangement of dancers into various maunga, kupu sliding over them in ascent; bodies running to try and break an invisible barrier and being pinged back; the drift and sway of the veil. The two halves of the show (the first choreographed by Bianca Hyslop; the second by Eddie Elliott) referenced each other so there was a continuous motif of comedy (among other threads) – a self-awareness that worked. / Claire Mabey A Master of None: Brown Fala Lila Crichton's interpretation of the classic myth of Sina and the eel is dark and violent, with the eel – a king in disguise who is desperate to woo Sina despite her objections – sweeping her under waves of despair. It's a well-known Samoan tale, used to explain the existence of the coconut tree (in the original, Sina cuts off the eel's head, plants it and from it grows the palm) but in Crichton's world, it's a warning for the ways in which we undermine the autonomy of our sisters. The myth is the heart of this play, but so is fala, the Samoan art of weaving, and music, the universal language. The vocal abilities of the ensemble cast are breathtaking, whether they're singing traditional song, jazz or rhythm and blues, while Sina and the eel, both living in shame, disappear themselves under woven mats as they grapple with their relationship. By the play's end, Sina and her whānau are able to hold court with the eel, serving him kava as a clip plays in the background, acknowledging the almost nine in 10 Samoan women who will experience physical or emotional violence by a family member. Walking out to a standing ovation at the end, Crichton's only request for the crowd for us to 'just talk to each other'. /LWS WINHANGANHA, Jazz Money + National Film and Sound Archive of Australia I make no secret among my peers of my adoration for poet Jazz Money. WINHANGANHA is Money's film that brings together archival footage, an original score and her phenomenal poetry as an act of remembering ancestors, whānau and the history of First Nations and Torres Strait peoples. It took us on a journey across multiple chapters segmented by Money's poetry and I could feel the energy in the theatre as we all responded physically and emotionally to the film. After the film there was a question and answer session with Money, which was perfect. Hearing from her about her own film and its creation was inspiring and gave me much to think about. I will carry WINHANGANHAwith me for a long time to come. / Melissa Oliver The Handlers There are so many dynamics to enjoy in The Handlers, a slice of life look into a Crown Lynn workroom of the 70s, where Māori women shape mug handles and try to make sure the production line never halts, lest they feel the Pākehā wrath of their boss, Mr John. Tongan worker Salote isn't actually Māori, of course, but it's easier just going along with whatever John thinks, and she's already found a home in her colleagues: aunty Whero, Kiri and Hine. Sister duo Kiri and Hine can't stand being on the same production line, while making Crown Lynn crockery has been Whero's entire life for the past 20 years. There's a reason why all the characters are to keep their connections secret – Salote's issues with Immigration are causing her strife at home, while a tragedy in the family sees Kiri, Hine and Whero struggle with how much to divulge, and whether it's mahi or whānau that should come first in a post-colonial New Zealand. The Handlers is a beautiful piece of theatre, made strong by its ensemble cast and faithfulness to the New Zealand of the time – half of it desperately trying to assimilate into Pākehā culture, and the other half, trying desperately to hold onto indigenous mana. But it's not all serious and sad – The Handlers is funny! It's refreshing! It's hopeful! And at the end of it all, on opening night in Circa theatre, the show received a hearty standing ovation. /LWS
Scoop
13-05-2025
- Entertainment
- Scoop
Brydie Colquhoun's Rongo Whakapā Decolonises The Performance Space
Rongo Whakapā is the debut choreographic work by one of Aotearoa's most captivating Māori contemporary dance artists Brydie Colquhoun (Ngāpuhi) on from Fri 11 – Sun 13 July at Te Pou Theatre. Presented by Atamira Dance Company this bold and intimate new work invites audiences into a circular, non-traditional space to experience performance in 360 degrees—free to move, enter, and exit the environment as they choose. With five performances only and limited audience capacity Rongo Whakapā explores themes of connection, presence, and the tension between individualism and collective community. It asks us to slow down and consider new - and perhaps old - ways of gathering and witnessing. Meaning 'sense of touch,' Rongo Whakapā responds to a contemporary world marked by increasing disconnection. This 70-minute work invites people to tune in and be fully present as they share space with six dancers who build an ever-shifting environment through movement in a decolonised performance space. Choreographer Brydie Colquhoun draws on her extensive embodied knowledge of contact improvisation, durational movement, and score-based practices, supported with sound design by Eden Mulholland and spatial design by Rowan Pierce. Building the foundational shape of this work are conversations, interviews, and wānanga with Mātanga Mātauranga Māori, whānau, colleagues, and friends around intimacy and connection in our contemporary lives. 'Brydie moves through the world with care, integrity, and intention. Rongo Whakapā is a beautiful unfolding of her journey—an offering of presence, intimacy, and reconnection. This work holds us gently while asking powerful questions about how we gather, how we touch, and how we listen.' — Bianca Hyslop (Te Arawa), Kaihautū, Atamira Dance Company PERFORMANCE DETAILS RONGO WHAKAPĀ Choreographed by Brydie Colquhoun Te Pou Theatre Fri 11 July – 7.30pm Sat 12 July – 4.00pm & 7.30pm Sun 13 July – 2.00pm & 5.00pm Duration: 70 minutes (no interval) Tickets: CREATIVE TEAM Kaitito Nekehanga | Choreographer: Brydie Colquhoun (Ngāpuhi) Dance Artists: Abbie Rogers (Kāi Tahu, Te Arawa), Sean MacDonald (Ngāti Kahungunu, Ngāti Raukawa, Tūwharetoa, Rangitāne), Caleb Heke (Ngāpuhi), Jeremy Beck (Kāi Tahu), Rachel Ruckstuhl-Mann (Kāi Tahu, Kāti Māmoe, Rangitāne), Tai Taranui Hemana (Te Arawa) Kaihoahoa/Set & Lighting Designer: Rowan Pierce Kaitito | Sound Designer: Eden Mulholland (Ngāti Porou) Advisors: Tūī Mātira Ranapiri-Ransfield, Mokonui-a-rangi Smith, Miriama McDowell Kaihautū: Bianca Hyslop (Te Arawa) Kaiwhakaputa Auaha: Marama Lloydd (Ngāpuhi, Te Tahawai, Te Rarawa, Ngāti Kahu) Kaiwhakahaere: Ashley David Kaiwhakahaere Tairanga, Kaiwhakahaere Ako: Abbie Rogers Atamira Dance Company is a leading force in Māori contemporary dance, fostering artistic excellence, nurturing talent, and creating transformative experiences that resonate globally. It uplifts, inspires, leads, and celebrates the richness of te ao Māori through performances, collaborations, and advocacy, honouring mātauranga Māori through storytelling that connects celestial wisdom with earthly expression.
