1960’s – The Studio
The studio recitals of the ’60’s proved the perfect way for Shona to explore new choreographic ideas and attract more students.
The 1963 Studio Programme
Performing in Dunedin Art Gallery inspired Shona to draw together dances that related to the theme of artists, their visions and their paintings. Some were reworkings of Bodenwieser’s themes, but a new work presented that was to become a classic in Shona’s repertoire was The Other Side of the Wall.
The Other Side of the Wall, explored a theme dear to Shona’s heart: that of the “haves” and “have nots”, using the talents of William Southgate.
The Other Side of The Wall (~1962)
Another significant musical composer was Bill Southgate, later to become Sir William, director of the New Zealand Symphony Orchestra.
“Bill’s first composition for us was The Other Side Of The Wall. Originally inspired by the Berlin Wall, this was a dance of the haves and the have-nots of society and the racial, religious, economic, and political divisions that separate them.”
Leap of Faith, pg 179
Torch Tango (1963)
The dances of the countries she’d visited continued to influence Shona and her young Columba Students were thrilled to dance a romantic South American Torch Tango, trampling imaginary mud in flamenco style dresses with real torches held high!
Visions of The Painters: Picasso, Goya, Lautrec (1963)
Dances of the Spirit (~1964)
Dances of the Spirit – a selection of Negro Spirituals was performed by Columba Dancers at Knox Presbyterian Church.
Dances: Joshua Fought the Battle of Jericho, Go Down Moses, Everytime I Feel The Spirit, Nobody Knows The Trouble I’ve Seen (Sung by Contra-Alto Patricia Payne, who won the Sydney Sun Aria).
Hunger (1965)
“I have always enjoyed choreographing strong, vital movements just as I preferred dancing in powerful roles myself. But Viennese lyricism and soft flowing movements were also an intrinsic part of my training. This, joined to my dawning feminist consciousness, heightened my interest in developing the more passive roles of the women who wait, who heal, who grieve. Hunger (1965) to Dvorak’s melting lento movement of String Quartet in F, was created for the children of Biafra. The dance portrays the anguish of mothers that must watch their children starve, and the way in which each individual accepts life’s tragedies.
Leap of Faith, pg 179-180
This poignant and moving work has been recreated with new dancers many times over the years. Sadly, it always has a piercing relevance.
DANZ magazine 2017 published an article by Shona on the artistic experience of this recreation.
Pania of the reef – Original version (1966)
A trip to Napier in the 1960’s inspired Shona to create a dance drama based on the lovely Maori legend, Pania of the Reef. The performance was the centrepiece of a full programme shown at the Dunedin Public Art Gallery in 1966. The local Maori community were supportive, with Elizabeth Murchie singing a beautiful waiata to set the mood.
This work was later commisioned and recreated by Shona for the Royal New Zealand Ballet in 1973, with Sir John Trimmer dancing the lead role.
“In the first scene, passers-by make use of the statue for their various ploys, with no thought to the story behind it. The legend of Pania comes once more to life as the statue unfolds the story which brought her immortality. First, a reverie of her life in the sea, before the appearance of Karitoki the Maori Warrior, and the dawning of their love. When Karitoki leaves his love and sets forth to hunt, sea sisters emerge and lure Pania back into the waves. Karitoki is in despair when he discovers his love has fled. He is haunted ever after by visions of Pania and her sea sisters.”
Pania Programme Notes, 1966
Encounter (1966)
The success of my religious style dancework led me to believe there could be no theme too grandiose for the dance… Encounter examines the various ways that people have felt and expressed spiritual need… From animism, to sun worship, to subjection under the yoke of a prophet, and finally to an encounter with the “living Christ”.
Leap of Faith, pg 184-185
Following the performances in Dunedin and Hamilton, Shona was invited to recreate the ballet for the 1966 Australian Church and Life Movement.
“I was most happy to be loaned nine excellent dancers from the Bodenwieser Dance Centre and to perform it in the Sydney Town Hall. The reception was so warm that the Australian Broadcasting Corporation made a film of Encounter which was shown in Australia, and then to an appreciative audience at the Cannes Film Festival.”
Leap of Faith, pg. 184-185
Three Images of the lord’s prayer (1967)
The Three Images of the Lord’s Prayer was in three acts: Gothic, Ancient Hebrew, and West Indian Calypso.
My students in Tainan were neither as sophisticated nor as dance conscious as my Singapore dancers had been, but with some volunteers from the city ballet school I was able to achieve a very presentable interpretation of Three Images of the Lord’s Prayer… (to) Gothic plain song, ancient Hebrew melody, and West Indian calypso. This dance was presented to a packed and eager congregation in the main Presbyterian city church. At the conclusion, the college principal, Dr. Song, rushed into the changing room. “A revolution”, he cried excitedly. “A revolution in the Chinese church.” By this, I concluded we had done well.
Leap of Faith, pg 186
Easter Canticles (1967)
Easter Canticles was a piece that was recreated many times world-wide, symbolizing Christ’s death and resurrection. It was most often performed at Easter time, as part of church festivities.
