PEPE

Renowned artists collaborate for this project to create a cultural time-capsule, focussing on the musicianship and beauty of Taonga Pūoro in dialogue with contemporary dance (kanikani), raranga (weaving) and digital arts. Kāi Tahu wāhine musician-composers, Te Tumu Toi Arts Laureate Ariana Tikao, Dr Ruby Solly and Mahina-Ina Kingi-Kaui are supported by Alistair Fraser and New Zealand Arts Icon, Dame Gillian Karawe Whitehead (Ngāi Te Rangi). The celebrated dance artistry of Nancy Wijohn (Te Rarawa, Ngāi Tūhoe, Ngāti Tahu, Ngāti Whaoa), supported by Kelly Nash (Ngāpuhi, Ngāi Te Rangi, Ngāti Pakeha), resonates with traditional Māori musical instruments through gesture, song, breath and pulse. Wijohn is adorned by the craft prowess of Kahu Collective - she incorporates in her channelled choreography a series of raranga pieces from Lisa Harding, Corabelle Summerton and Cathy Payne. The digital realm is where these distinctive artform voices coalesce, as cine-poems and story fragments. Our design kaupapa respectfully draws on Mātauranga Māori shared by this inspirational rōpū of wāhine toa.

Hineraukatauri, atua of traditional musical instruments, is the kaitiaki of all flutes or kōauau from the Taonga Pūoro family. The motif of the Pepe (Case Moth), is evoked as Taonga Pūoro combines with complementary practices in dance, craft and digital media. Ngā mihi nui to all collaborators involved in this project, including Stuart Foster, Jac Grenfell, Justin Cederholm, Bradon McCaughey, and film director Te Tumu Toi Arts Laureate Daniel Belton with Creative Producer Donnine Harrison. Thanks and acknowledgements to Massey University whānau for your amazing support. The PEPE project is produced with Regeneration Funding from Manatū Taonga Ministry For Culture & Heritage. In March 2025, PEPE was paired with Pōtaka Nautilus as a live performance event for Dunedin Arts Festival - featuring taonga pūoro master artists Ariana Tikao, Mahina Kingi-Kaui, Alistair Fraser and Dr Ruby Solly onstage activating large format live keyed film projections at the Glenroy Auditorium. Mā te whiritahi, ka whakatutuki ai ngā pūmanawa ā tāngata.

Notes on Film

“Congruent with our project kaupapa is the notion of tapered and woven space. When we think of time being tapered, this suggests acceleration. If we consider the tapering of space, this implies compression. As in the act of breathing, expansion and contraction transmit pulse. The Pūtōrino instrument shape (unique to Aotearoa), is physically tapered at both ends and resembles the exquisite form of the Case Moth cocoon. The webbing of silk fibres, spun by the larvae of the moth also carry inspiration for our digital taiao environment design - corridors of luminescent fibres define porous, temporal stages for the dancer to traverse. As sonic visualisations these topographies depict pressurised and released spaces, like oxygenated lungs breathing. The movement of air as inhalation and exhalation relates equally to dancer and musician. PEPE’s bespoke world broadcasts a poetic matrix of filmed kanikani, intertwined digitally to taonga pūoro in cinema. 

The wisdom of the natural world radiates interconnectedness - all that is seeded in the expansive rhythm of Te Ao Māori (the cosmos seen as the defining principle is whānaungatanga, kinship, where all elements of creation within the living and spiritual realms are interrelated). Wide space is deep sound, lower frequency. Narrow space is higher sound, higher pitch. Sound moves us. In taonga pūoro flute calls we hear the bending of pitch, the play of scale and tonality - we feel the texture and vibration of sound as emotionally palpable, charged with life force. Delicate melodies are contrasted with the fullness of directly blown breathy intonements. The frequencies of taonga pūoro transmute the dance, and this relationship is reciprocal.

In this dance-film we are acquainted with a mysterious traveller who signifies both the male and female aspects of Hineraukatauri. She/he must move through the complexities of time and space to bridge evolutionary layers and further realise the power of their true self. They appear strong and sometimes fierce, for it takes a determined effort to find one’s way into the interior of truth and self-knowledge. This is an intimate film work that offers a deeply reflective meditation, honouring the enigma of Hineraukatauri. The dancer navigates dimensional thresholds through a network of motioned mycelium-like spaces. From what might be the mouth of an ancient cave, or a birth canal, she/he asserts a potent projection of hope to the future. In the fiercely sweet terrain of their soul, they reposition themselves to embody the essence of the moth across a new wātea of consciousness. These dance episodes are journeys of metamorphosis, songs of becoming, cocooned by and woven together with the profound aroha of ngā taonga pūoro” Daniel Belton and Good Company Arts

“At the deepest level of ecological awareness you are talking about spiritual awareness. Spiritual awareness is an understanding of being imbedded in a larger whole, a cosmic whole, of belonging to the universe” Fritjof Capra


https://vimeo.com/dbel/pepe-purerehua (PEPE Pūrerehua film link)

Winner Best Performance Shanghai Indie Film Festival PEPE (Moth Dances)* Winner Best Experimental Film Swedish International Film Festival PEPE (Moth Dances)* Winner Best Performing Arts Filmzen International Film Competition Chicago PEPE (Moth Dances)* Winner Best Original Score San Francisco Arthouse Short Festival PEPE (Moth Dances)* Honorable Mention Best Sound Mixing Indo Dubai International Film Festival PEPE (Moth Dances)* Honorable Mention Best Original Song Blue Bird Film Festival Kolkata PEPE (Moth Dances)* Honorable Mention Best Original Song Blue Bird Film Festival Kolkata PEPE (Tapatoru Moth Dance)* Official selection Garifuna International Indigenous Film Festival PEPE (Tapatoru Moth Dance)* Official Selection Roma Short Film Festival PEPE (Moth Dances)* Official Selection Tokyo International Short Film Festival PEPE (Moth Dances)* Semi-Finalist Kyoto Independent Film Festival PEPE (Moth Dances)* Semi-Finalist Rio de Janeiro World Film Festival PEPE (Moth Dances)* Official Selection Garifuna International Indigenous Film Festival PEPE (Moth Dances)* Official Selection Tempo Dance Festival (PEPE Pūrerehua)* Semi-Finalist Kyoto Independent Film Festival (PEPE Pūrerehua)* Semi-Finalist Hawaii International Film Awards PEPE (Pūrerehua)* Semi-Finalist Hawaii International Film Awards PEPE (Moth Dances)* Official Selections 12th Māoriland Film Festival 2025* Official Selection Dunedin Arts Festival 2025 (Liveset)* Official Selection Te Matatiki Toi Ora Matariki 2025* Official Selection Doc Edge Festival PEPE (Moth Dances)* Official Selection Scenofest World Stage Design, Sharjah, UAE 2025*

REVIEW Excerpts (Live at the Glenroy Auditorium for Dunedin Arts Festival 2025)

“Pepe”, featuring Nancy Wijohn as an androgynous character is a journeying embodiment of Hineraukatauri, the atua of musical instruments. Dark blues and blacks encase an electric dance with woven fan-like appendages that suggests the fluttering of a moth or the ruffled ritual of a bird. Our taonga pūoro artists performing live in front of us also feature in the digital realms of the film, accompanying the traveller on their journey. The incredible scales the long tones of taonga pūoro are able to call into awareness are powerful and unique. These artists with their instruments, their skill and their wairua evoke rhythms that are beyond those of an individualised human. They shatter that perception of yourself if it ever was there and coax you to dip a toe in the depth of cosmic expanse. Good Company Arts have achieved a special collaboration that feels especially generous and in reverence to life and living” Theatreview, March 29, 2025.

“Beautiful, evocative dance imagery combined with stunning taonga pūoro performance in Good Company Arts’ Pōtaka Nautilus & Pepe last Saturday at the Glenroy Auditorium. Mahina Kingi-Kaui, Ariana Tikao, Dr Ruby Solly, and Alistair Fraser created a tapestry of ethereal sounds using a broad array of traditional Māori instruments. Kingi-Kaui and Tikao also added their voices in beautiful harmonies. The underpinning electronic sounds, designed by Kano, anchored the soundtrack with deep rhythmic pulses. The dance works themselves were fascinating, framed in a way to showcase the shapes of the nautilus shell and seed-like pepe. The nautilus took groups of dancers on an odyssey around New Zealand’s coastal zones, while the pepe highlighted a spiritual space of creativity. All in all Pōtaka Nautilus & Pepe was mesmerising and intriguing in equal measure, earning sustained applause from the large audience” STAR (ODT), April 3, 2025.

“Good Company Arts produced an unforgettable evening of not just dance and cinematic innovation, but also other-worldly musicianship from incredibly talented taonga pūoro artists (Mahina Kingi-Kaui, Ariana Tikao, Dr Ruby Solly and Alistair Fraser), who performed live alongside both pieces. The pūrerehua in particular is always something that hits me in the feels. The second work we were privileged to see was Pepe - centred on a solo performer. Encased in a chrysalis or cocoon with a hope of what lies ahead, the dancer (another undeniable talent, Nancy Wijohn), took us on yet another journey where the life cycle and existence were front and centre” Otago Daily Times, March 29, 2025