Tolu is a celebration of Western music intertwined with South Pacific culture, and a seductive dance chimera. Stimulating and soothing.
This was the finale performance of the Pacific Dance Festival of 2024.
Under the direction of Iosefa Enari, Tolu is a fusion of music with the NZTrio, and dance with Pacific Dance NZ.
I attended two earlier shows in this year’s programme, Weredingo and The Station, but I was still surprised and delighted by the approach of this mash-up of traditions.
NZTrio founders Ashley Brown cellist, and Amalia Hall violin feature. Along with concert pianist Liam Wooding for this performance.
Brown is one of this country’s leading soloists. A doctorate in music, and he has played with Neil Finn and Moana Maniapoto in the field of popular music.
Hall is a concert master for Orchestra Wellington.
Along with their young piano player they span genres from classical to chamber to pop, folk and gospel. Meticulous about avoiding overplaying, allowing music the space to breathe and fill the amphitheatre. It is the notes you don’t play which allow the space to resonate.
They are joined by guest musicians Alan Motofua, playing a Polynesian pate (a hollowed-out log) and acoustic guitar. Niulala Helu is a baritone singer and Helen Palulu a soprano.
Close to a dozen individual pieces of music, some from New Zealand Arts Laureate composer John Psathas. Arrangements of Polynesian music provided by Poulima Salima, Ryan Youens and John-Paul Muir.
The broad themes are the vast expanses of ocean and the music which binds, bridges and weaves a multi-cultural fabric.
And the immensity of this South Pacific basin can reduce a person to nothingness.
Once upon a time I worked in Samoa for four months. To visit Tokelau, it took us three and a half days to reach the tiny atoll by cargo ship. In the midst of a cyclone. There was no harbour, so we ferried from the deep sea to each of three islands, spending a day at each.
This was the nearest neighbour to Samoa East and West.
Traversing this vastness and being linked by music and dance. The island nations of Samoa, Tonga, Rarotonga, Fiji, Tahiti, Hawai’i right down to the tiny Tokelau’s break the surface and glide through the currents.
Polynesian drum rhythms begin the show as a call to arms, and there is a parallel to the talking drums of Africa.
The violin plays high and celestial, the cello is grounded and rhythmic. The piano plays intermediary.
Dancers are introduced as solo performers.
Tupe Luala is familiar and welcoming in traditional style, with some seduction added.
Josie Bonnington-Mailisi performs spectacularly on the high acrobatic ring.
Faivaeselopepe Anric Sitanilei provides the sole masculine energy.
The sounds of Isa Lei as the dancer is on the suspended ring.
A bright piano melody leads a song dedicated to Samoa.
Palulu sings a wonderful piece which has her embedded in Fifties Pop with delightful Jazz phrasing and ends on a high soprano.
A stormy tempest with wild racing stars projected on the screen behind. At one stage a massive tree arises from the briny.
After the storm comes the serenity and peace again.
We are reminded that the power of nature still far exceeds human influence, despite our narcissistic ego.
The underwater volcano that erupted near Tonga in 2022 had a far bigger impact on climate than any human endeavour.
Of course, we should understand that a significant part of Polynesia is now also New Zealand culture. In sport, music and the arts.
Tolu ends with Niulala Helu singing How Great Thou Art in Samoan and English.
Rev. Orange Peel