The Movement post-show information

The Movement

Dancers: Nadiyah Akbar, Oliver Carruthers, Sebastian Geilings, Rosie Tapsell, Cheyanne Teka

Lighting and Set Design: Marcus McShane

Lighting/Sound Operation: Hāmi Hawkins

Stage Manager: Genevieve Poppe

Rehearsal Director: Anita Hunziker

Artifact

Choreographer: Forest Vicky Kapo
Performer: Rosie Tapsell
Composer: Emi Pogoni w/ Forest Vicky Kapo
Voice: Rosie Tapsell
Translator: Naomi Smith (Pākehā, Kaiako, Cyborg Scholar)
Scent: Nathan Taare (OF BODY Olfactive Effects)

It started with the recognition that we are no longer in the era of the machine, that we are in the age of the algorithm, and as we move into this phase of human history in which only that which is computable counts, this work asks what will remain of the human and specifically the indigenous voice?

In the not so distant future, technological escalation may threaten to turn us all into Artifacts unless we, this generation, can define and manifest for ourselves a much needed brave new world.

Forest Vicky Kapo

Hailing from Ponēke/ Taranaki – Te Atiawa, and Ngāti Raukawa, and now residing in Bendigo Australia, Forest Vicky Kapo (they, them) a Unitec grad with renegade spirit has facilitated, choreographed, and collaborated in performance events and festivals around the world. Developing craft and artistic networks in Germany, USA, India, Norway, Greenland, Australia and New Zealand.
An alchemist with a multi-disciplinary approach to creating narratives they often use live and composed sound, text, movement, imagery and installations to help facilitate connection. While uniquely ultilising a cosmic- comics approach (as developed by  writer Italo Calveno) to weave or uncover mythologies that surround current socio- political concerns through and into their performances.
When not working on creative projects, Forest works as a nurse, it is rewarding but highly undervalued work.

About Artifact: I enjoyed the making of this work very much, and owe much of this joy to the very talented and dedicated team that is and does become Footnote Dance Company.
Thank you deeply Rosie Tapsell, and Emi Pogoni.

This.

Choreographer: Jeremy Beck
Performers: Oliver Carruthers, Sebastian Geilings, Cheyanne Teka
Sound designer: Jason Wright

Hold up. What’s happening? What is this? Is this ok? Where is this going? Should I be doing this? Can we stop? Should we stop? Where should we stop? Is it too late? Is this the right direction? Have we gone too far? I know I should change – change is good – is this change good? We can help each other. We can solve this. We can do this. We can step up. All of us. Together.

Jeremy Beck

Born in Ōtepoti Aotearoa, Jeremy is an active free lance contemporary dance performer and dance maker of Ngai Tahu decent. Dancing from a young age Jeremy’s path eventually lead him to the New Zealand School of Dance, where he became a graduate in 2014. Following his training Jeremy went on to complete two years as a full-time company dancer with Footnote New Zealand Dance. Performing in various works including: Just Bet-ween Us, 30 Forward, Now 2015, Transfer, Now 2016, World of WearableArts (2015, 2016) and Lifeworld (in five parts).
In 2017 Jeremy moved to pursue freelance work, performing in the 2017 Auckland Arts Festival with Atamira Dance Company for AWA – When Two Rivers Collide. Over the following years Jeremy appeared in again in the World of WearableArts Awards Show (2017, 2018). He has undertaken various roles for Muscle Mouth under the movement direction of Ross McCormack – as movement support for Triumphs and Other Alternatives, a creative devisor for System, and as a performer for the premier of As It Stands in the 2019 Auckland Arts Festival. His escapades also include performing again for Atamira for the North Island tour of PANGO (2018), Atamira Re-Imagined, Movement of the Human, Chunky Move for the NGV Triennial, TOHU Productions, Tupua Tigafua in Shel We?, Joel Bray in the development of Buldrang, once more for Footnote New Zealand dance as a guest artist in The Clearing, and other independent choreographers across Aotearoa and Australia.

Standing In The Threshold (Between The Void & Light)

Choreographer: Amber Liberté
Performer and movement collaborator: Nadiyah Akbar
Composer: Emi Pogoni
Gong Sound Bath: Erin K Taylor

This work contemplates humanities oscillation between our interior world(s), and their connection to the outside world(s). Whilst having a relationship of cause + effect between both, the two also have a sense of duality. A push/pull. A desire to be connected while also being isolated. For some time – highlighted more intensely in the past year because of COVID-19 – there is a sense of absurdity felt due to the economic systems’ impact on the state of social-inequality and the weight of climate change etc. Humanity grieves and rages within ourselves while also being compelled to look to one another in hope, in question.

Amber Liberté

Amber Liberté began ballet & contemporary dance from a young age, and went on to graduate with a B.A. in Performing and Screen Arts (UNITEC) in 2015. Amber choreographs, directs, performs, and curates in theatrical, film, and gallery settings. Her body of work is cross-disciplinary, focussing on: dance, film, sound & space, and consider sociological perspectives; especially exploring how economic and political structures affect identity and relationships. Recent works include: Our Modern Earth (Is A F*cking Mess) (dance/live-art, 2020), Open Space (dance-film, 2019), AKL, Babel (dance-theatre, 2019), Pigeon Loops (Romanian dance-art residency, 2019), The Vagina Monologues (theatre, 2019), A Lost Cause (theatre, 2018), pool (no water) (dance-theatre, 2018), and Catalyst (finalist in the Utah Dance Film Festival, 2017)

Amber has also appeared in, or been a creative team member in professional + emerging productions & TVCs/series by: Footnote Dance Company, HeiHei, DDB/Thick As Thieves, Auckland Theatre Company, Pop-Up Globe, Christchurch Body Festival, Auckland Fringe Festival, Wellington Fringe Festival, Wet Hot Beauties, Last Tapes Theatre, and other emerging production/creative companies.

Apathy: A Horror Genre
(an excerpt)

Artistic Direction: Ooshcon and Jahra Wasasala
Performers and movement collaborators: Nadiyah Akbar, Oliver Carruthers, Sebastian Geilings, Rosie Tapsell, Cheyanne Teka
Sound designers: Paloma Schneideman and Absurd TRAX

With guidance, the dancers found these stories through a politically incendiary lockdown.

The symbol of horror is not static, but embodied.
In order for apathy to breathe, it must do so through us.
We witness apathy cradle its way into a personality,
using the human body as its own tool of expression.
To lend your own breath to sustain such a beast; this is a horror genre.

Jahra Wasasala

Jahra Wasasala is a world-builder, movement psychopomp and writer of realms of Viti/Fiji and Palagi origin, living on the unceded vanua/whenua of Aotearoa (New Zealand). Within the Islands of Viti, she hails from the provinces of Ba and Macuata-i-Wai.

As a student of mythology, their bloodlines and deepening their work within ancestral attunement, Jahra utilises their training and specialisation within performance activation, various street dance style techniques and poetic/voice soundscape as a psychopomp for their shape-shifting and storytelling through public and personal embodiments.
A published writer and award-winning performer, Jahra’s solo and collective embodiment works have toured to theatres, galleries and activation spaces across Aotearoa, Australia, Hawai’i, New York Turtle Island, Berlin, Guahån and Canada. Jahra has created commissioned embodiments for institutions such as the Auckland War Memorial Museum in Aotearoa, The Banff Centre in Calgary, the Smithsonian Museum in Washington DC., and the Metropolitan Museum of Art in New York. As a mentor and facilitator, Jahra has worked in collaboration with Rising Voices Youth Poetry, Pacific Tongues Festival HI, Sailing Solo – Ta’alili Company, Action Education Inc and MIXIT Refugee Youth Arts.

In 2019, Jahra performed their embodiment work ‘GOD-HOUSE’, commissioned by the Metropolitan Museum of Art in New York as part of the closing event for the ‘ATEA: Nature & Divinity in Polynesia’ exhibition. In 2020, Jahra was invited to perform at the Women’s Theatre Festival in Egypt, and is currently in development for their new embodiment work, ‘KALOUGATA’.

Ooshcon

Ooshcon ‘A Decipherer Of Circles’ (Oosh’mob, Projekt Team, Ayz Krump Fam) is an experimental Hip Hop movement artist of Samoan and Palagi origin, hailing from the villages of Vailele and Lalumanu and is based on the unceded lands Aotearoa/New Zealand. Ooshcon is an award-winning Hip Hop theatre choreographer, and a Hip Hop and open-style battler with experimental skills in a range of Street Dance styles. Ooshcon has toured his award-winning Hip Hop theatre works ‘Blueprint’ (in collaboration with Toa Paranihi) and ‘Glitch’ across Aotearoa, San Diego, Mexico, Hawai’i and Tahiti.
Ooshcon is also a member within the ‘Temple Of Hip Hop’ who are Hip Hop’s global and official ministry, archive, school and society who preserve and develop Hip Hop as an international culture, legally acknowledged by the United Nations.
Ooshcon intersects Street Style dance skill sets and philosophies, with his devotion and training for restorative healing within Pasifika and Maori young people. Ooshcon is a mentor and facilitator of creative programmes for young people, including P.L.U.F – Everybody Cool Lives Here, M3 (Mindfulness in Schools and Preschools) and Moving Tāne – Brothers & Sisters Collective.

Ooshcon is currently developing the Krump Theatre work, ‘HYPAMASS’ in collaboration with Byrin ‘XIII’ Mita, Trent ’12’ Baskcomb-Omeri, and Jay ‘PlainSundaee’. Through this work, Ooshcon uses their collective skill sets as a platform to speak into and expose the obstacles that prevent young people – particularly men – from deepening their experience and expression of love.
Ina ia sosolo le alofa / So love may flow.

Post-show resources:

Climate change resources:

Pacific Climate Warriors

School Strike 4 Climate

Anti-racism resources:

Human Rights Commission – Responding to Racism

Anti-racism resources for Aotearoa

Mental Health resources:

Ministry of Health

Mental Health Foundation

Artificial Intelligence resources:

Frankkissstein and Stone Gods by Jeanette Winterson

New Frame