MAP Publication Autumn 2021

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Published in 2021 by Movement Art Practice, In house artists and guest single international artist. © Juanita Hepi Juanita Hepi has asserted her right to be identified as the author of this work.

© Georgia Giesen Georgia Giesen has asserted her right to be identified as the author of this work.

© Robyn Jordaan Robyn Jordaan has asserted her right to be identified as the author of this work. © NatalieKittow Natalie Kittow has asserted her right to be identified as the author of this work. © Noel Meek Noel Meek has asserted his right to be identified as the author of this work. © Josie Archer Josie Archer has asserted her right to be identified as the author of this work.

© Nefeli Asteriou Nefeli Asteriou has asserted her right to be identified as the author of this work.

© Virginia Kennard Virginia Kennard has asserted her right to be identified as the author of this work. © Julia Harvie Julia Harvie has asserted her right to be identified as the author of this work.

All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, mechanical or electronic, including photocopying or recording, or be stored in any information or retrieval system without permission from the publisher. Cover image by Georgie Giesen Publication and cover layout by Robyn Jordaan Printed and bound by Phoenix Print and Design Christchurch


Who is MAP? What is this publication? Photo by Georgia Giesen Juanita Hepi: MOVE Photos by Georgia Giesen Robyn Jordaan Improvisation Class Plan #1 Photos by Georgia Giesen Larry Bell/ Something caused one of the glass planes to crack (from MIT PRESS, Failure) 1997 Virginia Kennard Photos by Georgia Giesen Nefeli Asteriou (International artist, Greece) Robyn Jordaan Improvisation Class Plan #2 Natalie Kittow Autumn score by Josie Archer Photos by Georgia Giesen Julia Harvie Fischli and Weiss/ How to work better (from MIT PRESS, Failure) 1991 Photos by Georgia Giesen Noel Meek: Ōtautahi Decolonial Orchestra Poster WHAT’S ON MAP Prices MAP Schedule Final word


Movement Art Practice (MAP) is a Not-For-Profit Contemporary Dance Organisation based in Ōtautahi Christchurch. We believe in an Aotearoa where contemporary dance and performance is woven into the cultural fabric of our community. We run community dance classes, artist residencies, community and corporate workshops, and present the annual Ōtautahi Tiny Performance Festival.




Mauri ora ki te whenua kua takoto mai nei, ko Raki, ko Pokohārua Te Pō, ko Takaroa, ko Papatūānuku hoki. Āku nei mihi aroha, he mihi manaaki. E mihi ana ki te hapū o Ngāi Tūāhūriri, ko te mana o te whenua. Tēnā rā tātou mōhou i whakaahuru mai mātou, karaka atu rā. No te uri au o Kāi Tahu, ko Moriori, ko Ngāti Mutunga, ko Ngāti Kahungunu, ko Māmoe, Ko Waitaha hoki. Nō te taha o tōku pāpā, ko Ngāti Wai, ko Ngā Puhi, ko Ngai Te Rangi. E mihi kau ana ki ōku tipuna no Te Waipounamu kua tae atu Te Ika A Māui.

1. Acknowledge Mana Whenua. Acknowledge Atua & Tipuna.

Form gives birth to the story gives birth to knowledge gives birth to form gives birth to story gives birth to knowledge … and on and on in a perpetual motion. Sometimes, Indigenous and Western knowledge bases are simply incommensurable.

2. Recognises that I am profoundly geographically located and

that that informs both my ontological and epistemic positioning. An endless cycle to which there is no time and no space, only atua and whakapapa. This is the way I currently see the world. It is a world of fragments and we are adrift on the ocean without the tools for navigation.

3. ‘Decolonisation is not a metaphor’ - Eve Tuck and Wayne K Yang.

The excellent piece ‘we can build a new utopia’, by Rosaline Tan asserts “From 2021, lip service will no longer be an acceptable form of currency. While we’ve all had a nice time bandying about phrases like ‘diversity’ and ‘decolonisation’, we’re often deploying them within structures that have asbestos in the walls. We paint over them, we decorate them, but that doesn’t change the DNA. So how do we go deeper?”

Who is the storyteller? How, where, when, and why should Indigenous stories be told? What is the story, and who is it for? These questions are foundational in understanding more meaningfully Indigenous stories which reflect Indigenous social, cultural, spiritual and intellectual realities. The arts are inseparable with our lives as Māori. Despite complex layers of socio-political, cultural and economic inequality impacting Indigenous peoples globally, indigenous storytelling survives, as a key tool in the struggle for Indigenous sovereignty.


tūwaewae takahia / (a) type of foot movement in kapa haka ahunga (o te nekeneke) / direction (of movement) whakawhitiwhiti rua / (a) type of foot movement in kapa haka neke teitei / high movement akutō / slow (of movement) ara kōpiko (o te nekeneke) / curved path (of movement) taineke / dynamics (of movement) ara āmio (o te nekeneke) / circular path (of movement) ara hauroki (o te nekeneke) / diagonal pathway (of movement) ara torotika (o te nekeneke) / straight pathway (of movement) taumata nekeneke / movement level ngatete / locomotor movement ara kōpekapeka(o te nekeneke) / zig-zag pathway (of movement) tīonioni / sensual movement of the hips parepare / enticing movement of a woman’s hips (in haka) neke kārewa / floating (movement) hakune / deliberate (movement) whiore taparua / movement of a haka group in two’s aroā nekeneke / movement awareness haukaiwahine / single file formation or movement of a kapa haka group

korahi (o te) nekehanga / scale or size of movement whiore tapatahi / single file formation or movement of a haka group pīkarikari / (a) foot movement in execution of the wero koiri / non-locomotor movement kōkiri / (a) kapa haka movement neke / move, movement raupapa (nekeneke) / sequential (movement) rerenga nekehanga / movement phrase kori / move, movement māngaingai / heavy (of movement) rangatohe / movement korahi (o te) nekehanga / size or scale of movement neke pāhekoheko / counterpoint (movement) neke hahaka / low movement neke inaki / canon (movement) taihuringa / revolving movement in kapa haka neke māhorahora / free movement neke o nāianei / contemporary movement neke o nehe / traditional movement tūārere / movement (in a piece of music) tīrakaraka / (a) type of foot movement in kapa haka neke tāruarua / repetitive movement pūkete nekehanga / movement vocabulary, dance vocabulary keka / rhythmic chant with no set movements ngeri / short haka with no set movements pōkeka / rhythmic chant with no set movements ngeri / haka with no set movements


piupiu / move to and fro whakakoko / move stealthily kapekapetau / move quickly to and fro neke / translate, translation, move ninihi / move stealthily kauneke / move forward whakamōkihi / move stealthily kaunuku / move steadily takaoreore / move to and fro angi / move easily or freely neke / move, movement kōkeke / move backwards and forwards kori / move, movement nuku / move ngarue / move to and fro koropuku / move stealthily whakatairangi / move about aimlessly whakatautau / move in an enchanting way in a performance ori / move easily to and fro paneke / move forward haukori / move briskly hīkaikai / move feet to and fro hita / move convulsively nuku / move tool (digital image editing) whakaangi / move easily or freely tūtū / move with vigour pīoioi / move easily to and fro hūkokikoki / move about irregularly, wobble hūkokikoki / wobble, move about irregularly


Improvisation class #1

Amount of people: 2 or more preferred. Time: 1hr 15mins - 5 min Meditation. - 5 min stretching. - Find partner or imagine someone. - Tell them about your day. - Adjust speed and create tempo. - Create language. - Go silent. - Keep moving. - Change. - Slowly meet others. - Become small organism on the ground. - Breathing awareness. - Begin to Rebirth, take as long as you need. - Building slowly. - Taking that embodiment into an improvised dance. - Move for 20mins. - Bring that to a close. - Breathing being embodied. - Finish with a reflection or talk.


Life as research and practice informing the work informing the practice i want to make a work about sex work and class shame i want to make a work about demisexuality and performing desire i want to make a work about headless women in the media as a metaphor for the silencing and objectifying and dismissing of women i want to read all my delicious books on feminist and queer theory and contextualise the work i want to make

Instead i made a work where i knitted obsessively. Instead i am spending my time learning a jazz dance syllabus and figuring out how best to teach double turns in attitude to hormonal middle class white girls. Instead i am buying a house and reading too much fanfic Instead i am trying to figure out having ADHD and earning enough money and doing my dishes and Instead i am grant fund applying for a community i am no longer super connected with because i work too much

What does it mean to have the space to have a practice.

This informs my practice. My daily rituals and struggles and expectations inform my practice. Sometimes it doesn’t matter the work i want to make, but the work my life allows me to make, inspires me to make, encourages me to make. I did football drills in my backyard a couple of weeks ago, naked and in 7” blue velvet stripper boots. This was for someone else’s practice.

I watched enthralled as 2 friends created and performed a work distanced by kilometres of ocean. This was celebrating their practice. I grappled with the request from my students for dancing that was “sassy but not sexy”. This was helping others develop their practice. I bought too much yarn, again. This was honouring my hobby, maybe my practice.

I am not eating enough protein. Which parts of these things inform my practice, hinder my practice, are my practice? What does life as research even mean? Are these the ramblings of an explicit body live artist in a strange post-ish pandemic world? What does it mean that i care about teaching my students to have agency, to be learning good technique, but also to be jazz-tastic? What does it mean to have the space to have a practice.

NEFELI A S T E R I O U (GREECE) Website with scores as part of group residency Image scores on next two pages by Nefeli.


Improvisation class #2

Amount of people: 1 or more Time: 1hr 15mins - Check in about energy levels. - Introduction to self and others. - Lead to archilles exercise, slow down the mind. - 3 x reps of 10 slow ups and downs of the foot. - From there moving to a movement exercise to find pathways. - Enter a space 10 times, each different. - Involve movement. - Activate body. - Lead into sections of slow, medium, fast. - Take this journey for 25-30mins. - Close by finding partner or finding comfort on one’s own. - Offer massage. - Then fascia squeezing. - Reflect and communicate.


The clouds are slowly shifting, their form molten. Rippling at the sides. A slow sulk. At the scenes center, they stir around the sun with more energy. An electricity. Rocks and metal set this action. In themselves they are more solid, but still affected by the energy of light. The shadowed parts ground me in their cool, black-blue indented with deeper hues of itself. A line is drawn as that same beating light falls, rock divided in a glint. The metal slides down, and bears this same dance of shade and sheen, but in more of a haze. It is man made, and brings with it complexity and control. It extends, drawing a line from the sky to the gnarly dirt patch before me. It’s my way up, yet mentally I follow it down. I think of those floors, that same grey blue I feel here. Melting into them, shoulder first. Chest glides with, head heavy, a ball, slowly rotates to fall with it. Following lines in my body; bones turn to limbs which are no longer set, but organic and fluid. Things get kinetic, my body follows the limbs up. Holding here, engaging core. Then becoming liquid and falling back down. Melding with that grey-blue now. Space activated. The performer is part of it. Looking over, a memory, wraith like, appears to me. They stand, the sheet metal collapsing slightly under their weight. Arms jolt, catching air, whilst the breeze presses from behind them in that moment. Framed by the rectangular opening, and the way they’re cut off, isolated. I’m watching a film. I see their concentration, a close up. There were other bodies there with me, other bodies performing within the room, yet I wondered who felt more personal to me. The breeze blows them away, and the door is closed, not open. Micro creaks spread across it. Gentle clicks as something shifts. Walking over cautiously, standing before it, turning my ear to hear. It wanes, subtly remaining. I have but a moment to grasp it before it evaporates.


Call someone you love and tell them how much you love them.


Movement Art Practice - Making space for movement makers to flourish in Ōtuatahi A reflection on where we are at, how far we’ve come and where we are going and just what this statement means to our Artistic Director, Julia Harvie:

This statement evolved out of a series of marketing workshops with Hannah McKnight at Ngātahi Communications. Since then we have been using it as a strap line of sorts but it is more than that, it isn’t a cynical or strategic move, it has felt like a natural call to action for us as organisation. It is a reminder of what we are doing and why we are doing it and so I have spent a lot of time reflecting on what this means. It is one sentence but it is expansive and rich and holds deep meaning for us here at MAP.

Making space? This is something we have always endeavoured to do. In the past, perhaps it has been more abstract but still action based - making room for movement makers to be heard and seen, creating space to share process, to teach, to present work. Making people who perhaps haven’t felt that dance has given them space to move in their bodies, in their own ways. It is about making space to have big conversations about movement and what it means in a wider cultural context.

Now, as we move into our own studio, this becomes more literal, as we open it up to local artists to train, research, rehearse, network and share. It gives them space - even freedom, to chip away like any craftsmen does in their workspace, be it a shed, a painter’s studio or a writer’s desk. The dance studio can also be a sterile place so it is important that our artists feel they can be messy if they need to be, but that it is also a safe space, where they can test ideas, experiment, be bold and brave as well as vulnerable and raw and sometimes you just need to lie on the floor and look at the ceiling. Framing that ‘lying on the floor and looking at the ceiling’ in a studio validates this as just as much about the creative process as sweating it out and bouncing off the walls.

Movement Makers? This is important - dance is hard work, to be called a dancer, to make dance, it is loaded and in some ways limiting. I hope this can encompass and validate people and movement in a more broad and also diverse way which can elevate our understanding and valorisation of dance for both individuals, institutions and society.

I think of movement making as something that everyone is doing all the time, moving bodies through space, consciously or subconsciously, walking down the street, dancing in a club or creating cutting edge new work, we want to demystify, democratise and maybe try to decolonise dancing, so it can be claimed by everyone, no right or wrong, all that is needed is a body and curiosity. Movement making is political - it claims space, it expresses politics and ideologies.

To flourish? For me, this is about how contemporary movement can play its part in the wider arts ecosystem and more broadly speaking, be woven into all cultural conversations. Dance so easily can be ignored as entertainment, or to be looked upon as ornamental. if the arts are a ‘nice to have’, you would see contemporary dance as near the bottom of the heap - which seems like a contradiction right? A luxury at the bottom of the heap? We believe that dance does have so much to offer through the creation of dance works, the practice of moving, be it improvising, learning material, or exploring mind-body connections through somatic practices. There is nothing like movement in the context of dance. It is cognitive, social, physical and creative. If the art form is flourishing, it is more than simply making dance shows, it is not a luxury item that can be spared but that it is seen as part of life, that is nourishing and being nourished, also that it is read, written and spoken about - that people feel they have the words to describe the experience of dancing and experiencing dance. “MAP as an organisation and community is giving me a backbone to feel supported and energised as I teach Contact Improv in the community. For many years I have been paddling my own boat, teaching independently. Now, under the auspices (and heart) of MAP I feel there is more wind in my sails to keep on teaching what I love. I feel it is so very important to have a hub where contemporary dance has a place, a home, to flourish and grow”. Lisa Mills

“For me ,what MAP is providing = ‘space ‘ translates to ‘opportunity’ whether that be by providing physical space to work in, classes, or room to experiment without an intended outcome”. ‘flourish ‘ translates to ‘growth’. Growth happens when you are nurtured and feel supported enough to expand. This will happen with reflection on both positive and negative experiences. Movement makers is a great term that lacks restrictions . It envelops anyone who finds joy in moving”. Fleur de Thier


WHAT’S 21April

Listening: The Body


With Julia Harvie and Olivia Webb Where: CHCH art Gallery Bayleys Knight Frank Foyer When: 7pm Cost: Free



Where: Waltham Community pool When: 3pm Public Form

5pm Artist Talk 6pm Performance 7:30pm performance Cost: Tickets on sale May 1st Check MAP newsletter on how to sign up to be part of this project.

ON 13May - 22May Te Rongomaiwhiti Where: Little Andromeda When: 7pm and 8pm

Cost: Tickets online via Humanitix




Chch Art Gallery When: 7pm Cost: Free Collaboration between Robyn Jordaan and Olivia McGregor Where:

29April-18June Community Choreographic Project


If you are interested in submitting a piece of writing, photography, score, anything related to the world of dance, for the next WINTER issue send through to Also welcome any updates on shows,performances, dates to look out for june/july/august. Please send before June/July. at robs.jordaan@gmailcom.