Maori and Cook Island Maori put their stamp on the dance

Tu Tangata, Issue 21, 1 December 1984, Page 2

Maori and Cook Island Maori put their stamp on the dance

Tai Royal, Warren Douglas, Willy Thompson. Just three names but they’re being seen as part of the political awakening of the Maori people. How can that be when all three young men would say they are just dancers. The three young Polynesians made their dancing debut in the Maori world at Ratana Pa early in 1984.

Willy: ‘‘We were invited to perform at the Maori Artists and Writers Hui at Ratana so we put on three pieces that had a maori flavour. The choreographer used haka movements as a starting point and our movements in dance were based on her interpretation. The response just brought the house down, we were totally unprepared for that.” After that performance, the Maori world was abuzz with korero about the new Maori dance group who’d combined traditional Maori dance with modern western dance. Most who had caught the Ratana Pa performance were enthusiastic about the ihi that had been captured by the dance trio. However some viewers had reservations about authenticity of the cross-over form of dance. Since that time the dance trio have resumed training at the New Zealand School of Dance and have tried to get on with putting their feet down in preparation for graduation this year and a trip to the South Pacific Arts Festival in Noumea this December. Tu Tangata magazine talked with the trio prior to the Noumea trip to get an idea of what it’s like to be the centre of Maori eyes, at least in the dance world. First of all the group is adament there is no big political statement intended despite young Maori people seeing all sorts of political messages or stances in their dance. Warren: ‘‘We are performers first with an individual message. People expect all of it to come from the Maori side. It’s not like that.” Tai: ‘‘Our movement comes from our background, Maori and pakeha. Because we are Maori internally we have an understanding in the way we interpret movement.” Tai says this interpretation of movement is what makes the trio’s dance alive to Maori eyes and equally exciting for pakeha. ‘‘When Gaylene and Piri Sciascia were choreographing for the Impulse dance company they discovered pakeha dancers found trouble with earthy movements, movements that required being close to the ground. The dancers couldn’t do it because they’re so used to being light and airy

and above the ground. That’s where we are capable of being very earthy.” If this is what Maori people identify with in the trio’s dance, it’s not been carefully calculated format at all. Willy: ‘‘lt’s not that we thought it all out, we just dance. Ruby Shang, who choreographed the haka piece, asked

us to do some haka movements and she then took it over. She was able to do this because she has the feeling to relate to other cultures. She is Chinese/American and was out in New Zealand on a teaching grant.” Do the trio have plans now to actively cultivate a new Maori/pakeha style of dance? Tai: ‘‘A kaumatua from home, Irirangi Tiakiawa has offered to teach the use of the taiaha and patu but I haven’t taken up the offer yet.” Warren: “As long as'we understand the original meaning of the Maori dance then we can interpret it for ourselves.”

The reticence to see themselves as part of any movement except perhaps dance, has made it difficult for some people who want to help them. Tai says one man wanted to take them over and head them in his direction. ‘‘l guess he was well-meaning, but he knew little about dance.” Other Maori activists have spoken to the trio about sharpening up their political act but this finds little favour with the three. Warren: “Tungia Baker (who is organising the trip to the South Pacific Arts Festival) wants us to look at forming a Maori dance company after Noumea, but....”

As Warren puts it, the reality of facing the final year of training in the NZ School of Dance without a job next year is enough to live with now. Warren says he’s elated at the reaction to the few dance shows the trio has shared in, but as yet there’s not a clear direction ahead. What’s facing them now is a bleak period after Noumea, with only a stint with the Summer City promotion during Janaury. After this Wellington City Council funded festival ends, the future is uncertain for Tai, Willy and Warren. What is certain however is their commitment to dance as a way of life. Willy says dancing is his passion although he knows his technique is not suited for classical ballet. Enroling at the NZ School of Dance a couple of years ago was a natural lead-on from involvement with a jazz dance group at Western Heights High School, Rotorua. He was one guy out of five girls who loved to dance. He was born in Rarotonga and came to New Zealand aged eight years old. The family first lived in Tokoroa and then moved to Rotorua. He was encouraged to apply for dance training in the NZ School of Dance and in fact met Tai

Royal on the bus coming to the big smoke.

Willy says his career ideas previously had been in the diplomatic service, building on his fluency with French and German. However he felt he had to try dance out. He says his ideas about his fitness and sporting background were soon shattered at the school where he found it was a different sort of fitness that was needed. He says he’s only coming right now in terms of flexibility of bone joints and use of muscles.

Both Tai and Warren share disco dancing prowess. Tai having won the Bay of Plenty disco title in 1978, and 1979 being the year for Warren’s reign in Christchurch. Tai was destined to be a farmer like his dad and accordingly took horticulture and science at Massey University. However this wasn't to be, and young Tai decided to use his gymnastic experience and try

for the School of Dance. He found it technically very hard at first but has no regrets. Warren grew up in Christchurch gaining experience with the Maggie Bourke Dancers and then the Moving Company. At this time he started an apprenticeship in hairdressing which was left unfinished by his successful application to the School of Dance. His three years hairdressing has come in handy, not just for his fellow dancers, but also as a part-time job during this time of training at the school. His father, who has the family name of Pakipaki and is from Parihaka, wasn't pleased at first with Warren’s choice of a dancing career. Warren says he’s getting used to it now.

Both Tai and Willy also agree that a dance career hadn’t figured high in their families’ expectations. “I guess a lot of Maori think ballet and dance are something airy fairy. They don’t appreciate what goes into dance.” They point to a meeting of Limbs Dance Company choreographer Mary Jane O’Reilly with the Maori people of the Awahou Marae, Rotorua. The occasion came about because Mary Jane wanted to see haka movement. Tai says the Maori people had a close-up look at modern dance and came away liking and understanding what they saw. The trio see that their form of dance, incorporating Maori movement with modern interpretation, is equally invigorating for pakeha. They see it opening a window through which part of a culture can be seen in a new light.

There’s no doubting that their new dance form is a two way window, both breathing new life into a traditional form while opening up previously murky areas for New Zealanders. What is ironic is that the trio at the centre of it seem unaffected by their newly found fame and would much prefer to just keep on dancing.