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CREATIVE NZ - ON TO THE BODY & ORAL TRADITIONS |
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Courtesy of ‘On Arts magazine’ |
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Translating contemporary
Pacific dance on to the big screen for the first time is the aim of
Sefa Enari, who is writing, choreographing and directing a work
entitled Gravity.
The Auckland choreographer, whose vision for film has been inspired by
urban dance culture and the growth of Pacific dance in New Zealand, has
just been holding a two-week workshop to “get the work out of my mind
and on to the body”.
Along with performances of Gravity, he’s also capturing the work on
screen. “It’s a natural step to ensure it’s seen by more people,” he
says.
For years, Enari has been working with the Pacific Islands community in
Auckland to develop performing arts programmes across all levels – from
at-risk youth through to tertiary students, gifted performers and
adults.
At the moment, he says, he’s taking a break to indulge his own passion
as an artist. “I’m a trained dancer and I have my own artistic voice,
which I’ve put aside for a couple of years. Now, I want that voice
inside me to be heard.”
Performing arts is in Enari’s blood. His grandfather was a song maker
in Samoa; his great aunt started up the first Pacific Islands choirs in
New Zealand in the 1950s; and his uncle was renowned baritone the late
Iosefa Enari.
The 35-year-old says that when he left school it was a natural choice
for him to become a dancer. “It’s always been what I’ve done. It’s who
I am.”
In Gravity, he’s chosen to work with Pacific actors rather than trained dancers, driven by his belief that
dance is an instinctive part of Pacific cultures rather than a learned artform.
“I want to tell my story by including a wide representation of Pacific people –
not only youth. By working with older people as well as younger performers, I’m
exploring traditional Samoan movement alongside modern pop culture and
contemporary dance.
“Involving a wide age range has made for a much more interesting story
and workshop process. It’s not about me and a bunch of trained dancers.
It’s about empowering the |
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Sefa Enari, writer, choreographer and director of the
performance titled ‘Gravity’, later to appear on the big screen. |
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Brotha D of the Dawn Raid family which include Deceptikonz, III
Sematics, Adeaze, Frontline & DJ Sirvere. |
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Black Grace artistic director / dancer and choreographer Neil
Ieremia at ‘Thrive Pasefika’. |
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community and including those who have a more organic approach to
dance.”
The Pacific Arts Committee supported the dance/film workshop with a grant of
$4970.
Growing up in Fiji, Susan Elliott-Searell listened to her mother’s stories about
the arrival of the first canoes and the habitation of the islands. It’s these
stories that sparked her curiosity in the stories of the highly prized tabua, or
whale’s tooth.
“Many years later, my artistic practice and interest in the power of the word to
move people to action or inaction got me thinking about the tabua not just as a
piece of ivory treasured by Fijians but about the words that resonate during
presentations,” Elliott-Searell says.
Now, the Wellington visual artist is researching the tabua - in particular, the
power of the words spoken during its presentation at special Fijian ceremonies
and events such as births, deaths and marriages.
The tabua also feature in tourist brochures and history books as an iconic
symbol of Fijian culture.
Elliott-Searell says that in Fiji, the words spoken during official ceremonies
are seldom written down. The knowledge is passed on orally.
“Although the traditions of the tabua are alive and well in Fiji, young Fijians
growing up in New Zealand are not often a part of these oral traditions,” she
says. “Consequently, the spiritual significance of the tabua can be overlooked
and even lost in our New Zealand communities.”
Elliott-Searell, who is passionate about her Fijian culture, has exhibited her
work in Wellington, Wanganui and Palmerston North.
Her research will include studies of the tabua collections held at Te Papa, the
Auckland Museum and the Fiji Museum in Suva. But the key aspect of her research
will be through her tribal families in Fiji and Fijian authors who have written
about their culture.
When her research is completed, the artist will document the results and share
them with Fijian communities in New Zealand. She also plans to mount an
exhibition of her work, inspired by the research.
“Within my own artistic practice, I’m interested in the function of memories and
personal histories, and how we ensure these are kept alive.”
Susan Elliott-Searell received a $4000 grant from the Pacific Arts Committee to
research and document the symbolism and use of the tabua.
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Copyright Event Polynesia Ltd.
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