Cultural Storytellers: Philippa Pidgeon

Philippa Pidgeon danced and taught ballet all over the world before coming home to teach and choreograph at AUT. Her piece at the recent Viva Eclectika, an intercultural dance festival, referenced both Eastern and Western forms of dance. Philippa talked to Renee Liang about her dance influences.

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Philippa and I were classmates in internediate school.  I did school holiday speech and drama competitions with her sister while she did the ballet competitions, and our families used to wave to each other from the audience. But while the rest of us muddled through our improvisations and poetry readings, Philippa was already gaining national recognition. And I remember how envious I was when, at the age of 16, Philippa won a Young Achiever’s Award and danced her way off to England and Germany, returning briefly  to deal with a stress fracture injury and begin studying at the University of Auckland. Then the opportunity to dance whilst studying full time in the United States came up. Later Philippa toured with the Royal NZ Ballet while maintaining an active career in the US.

But like many stars, family eventually drew her home and these days, she teaches and researches in dance at AUT. She’s an award winning teacher and dance choreographer, a regular participant in dance festivals such as Tempo, and this weekend she’s co-choreographing a piece to be performed at Viva Eclectika, an intercultural dance and music challenge which is part of the New Zealand Diversity Forum.

Organised biennially by the New Zealand-Asia Association, Viva Eclectika encourages the mixing of intercultural dance as the language of intercultural communication. Organiser Vivian Chow says, “It is about the performers going beyond their comfort zone to collaborate, recreate and dance together.” Philippa was approached to co-choreograph (with Monica Mu, a dancer from the Chinese community) a piece involving both Western and Chinese dance forms. The piece involves dancers from different ethnic backgrounds exploring their shared language – and the final piece, depicting a friendship between a Chinese princess and a Maori warrior, promises to be intriguing. I asked Philippa about her dance inspirations.

Why did you start dancing?

After seeing the BBC's Magic of Dance programme on TV in the Christmas hold and dancing around the house all dressed up, my parents let me start attending ballet classes.

You've danced all over the world. Do you think it's important for dancers from NZ to be exposed to international influences?

Yes, definitely. It's important to be open -open to new ideas and styles, attitudes etc.  but also to learn from well respected teachers etc. We can also learn from other disciplines too. It's important though to remember your roots and who have helped you on your journey...often going overseas allows you time and opportunity to re-evaluate what is important in your life ...

How have the different countries you've lived in, influenced your dance style?

My time in Berlin at the Deutsche Oper in the early 90s has had a huge impact on me. There, I was privileged to observe many dance ‘greats’ at work (in studio and on stage) through either choreographing new work or re-stagings.

The size and scale of productions intrigued me as well. I also loved the fact I was working with people from all over the world, including a few other Kiwis.

What themes are you currently exploring in your work?

Abstract dance and sculptural form interests me with movement based on the ballet vernacular, but with a pedestrian element -- to make it seem as if anyone could just get up on stage and do it.

Vigeland's sculptural Park in Oslo, Norway continues to have an influence on me and is evident in my work indirectly.

"Land of Dreams" does have a narrative thread underlying the dance fusion -- I've treated it as a mini-ballet in how each part is linked.

Can you explain the term dance research?

It is as with any discipline - aims to push the discipline further, re-discover what has gone before, tries to answer questions... But instead of merely being published in the written format as Dr Karen Barbour (Uni of Waikato) states, “Creative practice as research can be represented in a range of ways - yes, written, but also performative, film or oral.”

Always refining, re-defining your craft, sharing experiences/knowledge with new dancers...

How have you juggled the roles of being a working mum with active dance practitioner?

It seems to be the norm today - I've learnt to manage my time slightly better... although I can't listen to the music ever enough or else I have another tune in my head even if I am "allowed" to play the music at home or have the headphones on! Or I'm too tired to concentrate and be creative. I've always had quite a critical eye and enjoy observing and now my young son teaches me to be all the more patient as well as to not overlook some of the small every day moments and aspects we often taken for granted. In turn, I try to take this fascination into the studio and the notion that the transitions are paramount in the execution of the choreography.

In this show, dance students collaborate with dancers from the Chinese community. What differences and similarities have you found? Is it true that dance is a universal language?

Everyone is keen on performing and having fun whilst doing what they love. Scheduling rehearsals when everyone's free has been a tad stressful for some and fast tracked some of the choreographic decision-making.  A few terms have needed to be defined plus rehearsal protocol so we're all on the same page as not everyone has the same training in stage productions etc. Everyone's been enthusiastic and committed to the success of the end product.

The deeper we've gotten in the rehearsal process the more ideas dancers have come up with to add to the piece. I like that it's a collaborative effort and some dancers are meeting up and working together outside of scheduled rehearsals.

If I ask for a jump or fight scene to move the storyline through movement the dancers have all been great at giving their 2 cents through improvising and then it's my role, together with Monica to sculpt the raw movement, or to modify their movement choice so that it integrates into the whole piece - or to give an alternative whether it be an idea verbally, another dance step etc. We're all working with the human body and our emotions so yes, it is universal - just some are naturals - it's in their veins, whereas some really need to work at it and then there are others who just prefer to watch...and sometimes I'm one of those!

Why have you chosen to tell the story of an intercultural romance?

If I may correct you - it's intercultural friendships....this of course could lead to a romance. I connected with this on a personal level too. My husband is Indian, but grew up in Bahrain, and we enjoy a multicultural relationship which began from a friendship. 

This topic was something already forged when Vivian introduced me to Monica and so I decided to run with it.

Our dancers were also already exposed to both genres through one of their core dance papers and so there was a small common base to start with.

What role does the dragon play and how do you portray this in the work?

The dragon is seen as both a protector but also controlling the elements. The dragon is asleep on stage and so the Chinese princesses are able to play and explore ..and meet some other people unbeknownst to the dragon. The dragon wakes as a result of a ferocious haka and two warriors fighting but eventually calms down and enjoys the celebration of cultures in a colourful finale.

What projects are next for you?

Right now I'm refining a short group dance for a cast of 6 dancers as part of AUT Dance Company's offering in the Tertiary Colours programme presented by Mary-Jane O'Reilly for Tempo Dance Festival, early Oct at the new Q, so that's exciting to be part of its inaugural season.

I'm leaning towards some site-specific projects as well as creating opportunities for more youth to be involved in the production/choreographer role. Watch this space.

• Viva Eclectika

DATE: Saturday 27 August, 2011

VENUE: Dorothy Winstone Centre, Auckland Girls’ Grammar School, 16 Howe Street

COST: $10 (earlybird, by 20 August); $15 (at the door)

For TICKETS, please contact: Joseph, 021 267 6368 or viva.eclectika@gmail.com