Mana Wahine

Much like our own Bangarra Dance Company, The Okareka Dance Company transcends the restrictive label of “Dance” to bring us something ethereal that is made up of history, spirituality, philosophy and physicality. Yes, it is dance, and dance of the highest order, but it is also a lesson in integrity, tradition, belief. Combine all those things and you have one of the most powerful pieces of dance theatre in the history of contemporary dance. The fact that we have a chance, through Regional Centres like the amazing Arts Centre Gold Coast, to see work of this quality outside of the capital cities, is something we should be eternally grateful for

Without a programme it’s impossible for me to sing the praises of individual dancers in this touring company (recently returned from the Netherlands) but the sheer physicality and technique of all these remarkable women was breathtaking, particularly the strength and intensity of the beautiful indigenous lead dancer Nancy Wijohn.

Literally meaning “The Power (strength) of Woman”, the narrative incorporates the true story of Maori Princess Te Aokapurangi from Rotorua who saved her people from annihilation, along with a more esoteric exploration of what it means to be a Maori woman, from creation through motherhood, colonisation and reclaiming your power through tradition in the 21^st century. In a world where displacement and alienation often destroy both family and traditon, Mana Wahine enforces the importance of family (however you define it) and self-belief. Women are all things; from creators (of life itself) to warriors, and this production is an homage to womanhood.

From the second you see the face on the screen and hear the haunting song of Tui Matira Ranipira-Ransfield, you are transfixed and transported to another world of legend and mythology, yet pertinent to all of us who identify as female.  Two of the three choreographers are male (the artistic directors of Okareka) yet are totally immersed and connected with the female force. The result is a creation that is mesmerising from beginning to end, and owes its success in part to a powerful connection with the audience, built on emotional truth.

Victoria Kelly’s haunting and evocative original score marries seamlessly with the choreography; Rowan Pierce’s AV work is just stunning. It’s impossible to separate the projection from the live dancing at times; Elizabeth Whiting (costumes) and Tracy Collins (set design) are totally in sync….simple perfection; and the astonishing lighting design by Vanda Karolczak, and are all imperative to the level of excellence which the company has achieved with this work. Ultimately, though the roots are in Maori tradition and contemporary dance, the story values of Okareka are Universal. This is a must see for anyone who loves theatre.

Coral Drouyn