Collaborations
Ad Parnassum – Purapurawhetū
Chamber ensemble (2-7 players), Works with taonga pūoro, Collaborations, Dance, Film and theatre
A cross-disciplinary collaboration using dance and film, with music for string quartet and taonga pūoro
Ad Parnassum – Purapurawhetū was first presented during Matariki on 21 June 2022 in the North Quad of the Christchurch Arts Centre. The pre-recorded music is performed by the New Zealand String Quartet with Alistair Fraser (taonga pūoro).
About the work
Designed and directed by Daniel Belton of Good Company Arts, Ad Parnassum – Purapurawhetū is a 30-minute film combining digitally re-choreographed dance and music. It is based on Paul Klee’s painting, Ad Parnassum.
My music accompanies the film where the dancers become part of a shared visual and sculptural language bringing together Pacific and Mediterranean influences. Music drives the work which carries 9 women in an elongated vista — a singing bowl brimming with movement and colour codes.
Creative team
Other members of the creative team were creative producer and designer, Donnine Harrison and fashion designer, Kate Sylvester.
The Good Company Arts digital film team were Daniel Belton (cameras, film designer, film editor, post production choreography, motion graphics, audio mastering), Jac Grenfell (motion graphics, Cinema 4D, 2D animation, audio design), Nigel Jenkins, Josef Belton (kinetic props), Bradon McCaughey (cameras) and Stuart Foster (spatial lighting, props, cameras).
The choreographers and dance performers were Nancy Wijohn, Kelly Nash, Jahra Wasasala, Christina Guieb, Laura Saxon-Jones, Lucy-Margaux Marinkovich, Neve Pierce, Kiki Miwa and Stephanie Halyburton.
Score and recording
The score for this work is not available.
Watch the film on the Good Company Arts website, where there is also more information about the work.
Ad Parnassum – Purapurawhetū — Good Company Arts
A promotional video created for the premiere gives a taster of the work.
Ad Parnassum – Purapurawhetū — promo video
Interviews
Daniel Belton was interviewed on RNZ’s arts programme, Standing Room Only ahead of the premiere.
Ad parnassum – Purapurawhetū dance film series — RNZ
The Otago Daily Times interviewed Daniel and me about our collaboration.
Reviews
The premiere was reviewed by Dr Ian Lochhead for Theatre Review.
Ad Parnassum – Purapurawhetū — Theatre Review
There was also a review by Erin Harrington.
Review: Matariki at The Arts Centre — Flat City Field Notes
Award
In March 2023, Ad Parnassum – Purapurawhetū was presented at the Paris Women Festival based in Ontario, Canada. I was awarded Best Woman Composer for my score.
Angels born at the speed of light
For narrator, dancer and improvising trio
Text by Cilla McQueen
Funded by Creative New Zealand, this work was given its first performance at the Trust Bank Theatre, Dunedin in 1992. The choreographer was Bronwyn Judge and the performers were Judy Bailey (piano), Peter Adams (clarinet) and Russell Scoones (percussion).
About the work
Angels born at the speed of light is a collaboration between poet Cilla McQueen, Bronwyn Judge and myself. The dance, in and around a pool of water, involved 3 ages of women — as child, as woman (Bronwyn Judge) and kuia (Shona McTavish).
For some time, I had been interested in working with improvising musicians to provide a musical structure in which the narrative is always recognisable but the detail constantly changes.
I provided the framework and the basic material while the performers — in this instance narrator, piano, percussion and clarinet doubling saxophone — adapt the material and, within the framework, take it where they will.
Instrumentation
The trio is scored for clarinet/saxophone, with improvised parts for percussion and piano. The clarinet part can be played on flute, and a vibraphone is optional.
Score and recording
Buy or borrow the score from SOUNZ.
Angels born at the speed of light — SOUNZ
A recording of the premiere performance made by RNZ Concert may be available from Ngā Taonga Sound and Vision.
Hinetekakara
Works with taonga pūoro, Voice and instrumental ensemble, Collaborations
For kaikaranga, taonga pūoro, and concert flute, piccolo and alto flute
Text by Aroha Yates-Smith
This version of Hinetekakara was arranged after a bomb attack near the Australian Embassy in Jakarta on 9 September 2004 and premiered there shortly after that. After the attack, not all the players were prepared to continue the trip to Indonesia, so I rearranged the work so the bassoon part could be played by 1 flute player.
About the work
Hinetekakara is an ancestress of Aroha Yates-Smith, whose own composition is embedded in mine. The interpretation of her chants is as follows:
- The singer invokes the spirit of her ancestress beside the rippling waters of Lake Rotorua.
- Tuhohomatakaka conducts the tapu-raising ceremony over Ihenga.
- Hinetekakara, participating in the ceremony, meets Ihenga and they fall in love.
- Hinetekakara’s lullaby welcoming her new-born son, Tuariki.
- Ihenga discovers the murdered body of Hinetekakara at the lake.
- The singer farewells her ancestress.
There are 3 other versions of this work.
Hinetekakara for kaikaranga, taonga pūoro and bassoon
Hinetekakara for kaikaranga, taonga pūoro and ensemble
Hinetekakara for kaikaranga, taonga pūoro, flute, alto flute, and bassoon
About Hinetekakara
Many years ago, Hinetekakara lived with her husband (or father, according to some traditions) Ihenga on the edge of Lake Rotorua. Returning from a hunting trip, Ihenga discovered the body of his beloved Hinetekakara by the lake, murdered, and sang his mournful lament. The settlement at Ohinemutu is named for her (meaning ‘the end of the woman’).
Instrumentation
The taonga pūoro played in this piece are, in order:
- pūtatara — conch shell trumpet
- pūtōrino matai — wooden pūtorino
- pūmotomoto — shakuhachi-like wooden flute
- pūpūharakeke — flax snail
- pūkaea — war trumpet, and
- nguru rākau maire — wooden nose flute.
Score
Borrow or buy the score from SOUNZ.
Hinetekakara
Works with taonga pūoro, Voice and instrumental ensemble, Collaborations
For kaikaranga, taonga pūoro, flute, cello and bassoon
Text by Aroha Yates-Smith
The first performance of this version of Hinetekakara was given by Aroha Yates-Smith (kaikaranga), Richard Nunns (taonga pūoro), Ingrid Culliford (flute), Ashley Brown (cello) and Ben Hoadley (bassoon) at the Hei Tiki Gallery, Whakarewarewa in late 2004.
About the work
Hinetekakara is an ancestress of Aroha Yates-Smith, whose own composition is embedded in mine. The interpretation of her chants is as follows:
- The singer invokes the spirit of her ancestress beside the rippling waters of Lake Rotorua.
- Tuhohomatakaka conducts the tapu-raising ceremony over Ihenga.
- Hinetekakara, participating in the ceremony, meets Ihenga and they fall in love.
- Hinetekakara’s lullaby welcoming her new-born son, Tuariki.
- Ihenga discovers the murdered body of Hinetekakara at the lake.
- The singer farewells her ancestress.
There are 3 other versions of this work.
Hinetekakara for kaikaranga, taonga pūoro and bassoon
Hinetekakara for kaikaranga, taonga pūoro and flutes
Hinetekakara for kaikaranga, taonga pūoro, flute, alto flute, and bassoon
About Hinetekakara
Many years ago, Hinetekakara lived with her husband (or father, according to some traditions) Ihenga on the edge of Lake Rotorua. Returning from a hunting trip, Ihenga discovered the body of his beloved Hinetekakara by the lake, murdered, and sang his mournful lament. The settlement at Ohinemutu is named for her (meaning ‘the end of the woman’).
Instrumentation
The taonga pūoro played in this piece are, in order:
- pūtatara — conch shell trumpet
- pūtōrino matai — wooden pūtorino
- pūmotomoto — shakuhachi-like wooden flute
- pūpūharakeke — flax snail
- pūkaea — war trumpet, and
- nguru rākau maire — wooden nose flute.
Scores and recordings
Buy or borrow the scores from SOUNZ
The work was released on CD in 2007.
An excerpt was filmed for a DVD you can borrow from SOUNZ and there’s also an archival CD recorded by the group Tūhonohono.
Hinetekakara
Works with taonga pūoro, Voice and instrumental ensemble, Collaborations
For kaikaranga, taonga pūoro, flute, alto flute and bassoon
Text by Aroha Yates-Smith
This version of Hinetekakara was arranged for a taonga pūoro workshop at which both Alexa Still and Ingrid Culliford were present.
About the work
Hinetekakara is an ancestress of Aroha Yates-Smith, whose own composition is embedded in mine. The interpretation of her chants is as follows:
- The singer invokes the spirit of her ancestress beside the rippling waters of Lake Rotorua.
- Tuhohomatakaka conducts the tapu-raising ceremony over Ihenga.
- Hinetekakara, participating in the ceremony, meets Ihenga and they fall in love.
- Hinetekakara’s lullaby welcoming her new-born son, Tuariki.
- Ihenga discovers the murdered body of Hinetekakara at the lake.
- The singer farewells her ancestress.
There are 3 other versions of this work.
Hinetekakara for kaikaranga, taonga pūoro and flutes
Hinetekakara for kaikaranga, taonga pūoro and ensemble
Hinetekakara for kaikaranga, taonga pūoro and bassoon
About Hinetekakara
Many years ago, Hinetekakara lived with her husband (or father, according to some traditions) Ihenga on the edge of Lake Rotorua. Returning from a hunting trip, Ihenga discovered the body of his beloved Hinetekakara by the lake, murdered, and sang his mournful lament. The settlement at Ohinemutu is named for her (meaning ‘the end of the woman’).
Instrumentation
The taonga pūoro played in this piece are, in order:
- pūtatara — conch shell trumpet
- pūtōrino matai — wooden pūtorino
- pūmotomoto — shakuhachi-like wooden flute
- pūpūharakeke — flax snail
- pūkaea — war trumpet, and
- nguru rākau maire — wooden nose flute.
Score
Buy or borrow the score and parts from SOUNZ.
Hinetekakara
Works with taonga pūoro, Voice and instrumental ensemble, Collaborations
For kaikaranga, taonga pūoro and bassoon
Text by Aroha Yates-Smith
The first performance of Hinetekakara was given by Aroha Yates-Smith (kaikaranga), Richard Nunns (taonga pūoro), George Zukerman (bassoon) in Tamatekapua, the marae at Ohinemutu near Rotorua in March 2004.
About the work
Hinetekakara is an ancestress of Aroha Yates-Smith, whose own composition is embedded in mine. The interpretation of her chants is as follows:
- The singer invokes the spirit of her ancestress beside the rippling waters of Lake Rotorua.
- Tuhohomatakaka conducts the tapu-raising ceremony over Ihenga.
- Hinetekakara, participating in the ceremony, meets Ihenga and they fall in love.
- Hinetekakara’s lullaby welcoming her new-born son, Tuariki.
- Ihenga discovers the murdered body of Hinetekakara at the lake.
- The singer farewells her ancestress.
There are 3 other versions of this work, although this was the original.
Hinetekakara for kaikaranga, taonga pūoro and flutes
Hinetekakara for kaikaranga, taonga pūoro and ensemble
Hinetekakara for kaikaranga, taonga pūoro, flute, alto flute, and bassoon
About Hinetekakara
Many years ago, Hinetekakara lived with her husband (or father, according to some traditions) Ihenga on the edge of Lake Rotorua. Returning from a hunting trip, Ihenga discovered the body of his beloved Hinetekakara by the lake, murdered, and sang his mournful lament. The settlement at Ohinemutu is named for her (meaning ‘the end of the woman’).
Instrumentation
The taonga pūoro played in this piece are, in order:
- pūtatara — conch shell trumpet
- pūtōrino matai — wooden pūtorino
- pūmotomoto — shakuhachi-like wooden flute
- pūpūharakeke — flax snail
- pūkaea — war trumpet, and
- nguru rākau maire — wooden nose flute.
Score
Buy or borrow the score from SOUNZ.