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This dance theatre project was commissioned to celebrate the New Zealand Women’s Suffrage Centennial, and explores a range of historical and contemporary issues. It is based on documents written by Kate Shepherd and was choreographed by Susan Jordan.

• Fisher: Bone of Contention; facsimile 

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• Fisher: Bone of Contention (excerpt); facsimile 

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• Helen Fisher: Bone of Contention  Year: 1993 

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• Jonathan Besser: Jean - The Ballet  Year: 1990 

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This work was commissioned and premiered by The Royal New Zealand Ballet at the Westpac Trust St James Theatre, Wellington on February 27, 1999.

Through most of 1998, the commissioned creative team including composer Philip Norman, choreographer Russell Kerr and designer Kristian Fredrikson worked on the adaptation of James M Barrie’s enchanting story. “We ate, slept and dreamt crocodiles, pirates and mermaids.”

• Norman/Grenfell/MacKenzie; cassette 

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• Peter Pan 

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• Philip Norman: Peter Pan  Year: 1999 

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• Norman: Peter Pan  Year: 1999 

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In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

Alex van den Broek

• van den Broek: Still Standing Silent; computer-set 

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• van den Broek: Still Standing Silent; computer-set 

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• Alex van den Broek: Still Standing Silent; video 

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• Alex van den Broek: Still Standing Silent  Year: 2009 

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• Ritchie A.: The God Boy; Computer Set 

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• Ritchie A: The God Boy; computer-set 

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• Ritchie, A.: The God Boy; computer-set 

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• Ritchie A.: The God Boy  Year: 2004 

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• Anthony Ritchie and Jeremy Commons: The God Boy  Year: 2004 

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• Opera Otago: The God Boy by Anthony Ritchie  Year: 2004 

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A moonlit scene on a lonely beach with long slow waves rising and receding. Gradually they become more intense; their inward and outward criss-crossing revealing a dangerous undertow. The music reaches a climax, and, certain motives representing two of the principal dancers are heard. The mysterious ‘chorus’ of sirens, of Part 1, is briefly heard, and the principal Siren appears moving front stage while the ‘chorus’ recedes. The principal male dancer now rises, and in a dream, and is drawn towards her. She leads him closer to the sea and they dance to the ‘sea’ and ‘siren’ music. As he tries to hold her, she again and again is allusive, and taunts him deeper and deeper until the sea engulfs him. He drowned and thrown back by the waves onto the beach.

While living in retirement in Oakura I was given a synopsis by Val Deakin to write a ballet for her Dance Theatre in New Plymouth. She choreographed the second movement only and it was performed in New Plymouth with an ad hoc orchestra in 1989, myself conducting.

Hugh Dixon, 22 November 2009

• Dixon: Undertow at Oakura; computer-set 

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• APO play Dixon and Lodge 

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• Wahine Toa 

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