Through photographs, interviews, and reviews Limbs Dance Company: Dance For All People, 1977-1989 tells the story of Limbs, from their first public performance in Auckland in May 1977, to the last shows in Wellington in the winter of 1989.

In January 1977, a group of young artists met at the Rongomaraeroa Marae in the Hawkes Bay settlement at Porangahau, convened by Gaylene Sciascia, to ‘share, talk, dream…hoping to put dance first and individual egos second.’ Bathed in sunlight and lashed by wind, the dancers dreamed of contributing to the ‘dynamic, spiritual, creative growth of dance in Aotearoa’ over ten days of classes, rehearsals, swims, late-night food and korero.

Forty years later, the legacy of that unique gathering is evident in the plethora of dance made in New Zealand across a range of genres, techniques and cultures. Notably, one of New Zealand’s most influential popular performing arts group of the twentieth century, Limbs Dance Company, emerged from this idyllic summer gathering. Ranging from comic, short dances such as Watch It Buddy, to the 70 minute Now is the Hour, the works described in Limbs Dance Company: Dance For All People 1977-1989 tell the story of New Zealand growing from adolescence to adulthood.

With the advent of Limbs in 1977, the language of movement in New Zealand changed inextricably, expanding and exploding the definition of dance from this small South Pacific nation. Fundamentally, the founding members of Limbs believed that dance could reflect common human issues and emotions and was capable of touching people from all walks of life. With this belief, they made dances that were simultaneously relevant, challenging, sexy, serious, fun and exciting. These core beliefs and means of expression continued over twelve years as new artistic directors, choreographers, dancers and management upheld the passion and innovation of the founding members of Limbs.

Limbs dances both reflected and shaped the zeitgeist of 1970 - 1980s New Zealand. Such a wide array of dances not only entertained and excited the general public, but also inspired other choreographers and artists from different fields to explore their own artistic voices.

Spanning years of political protests and economic reforms, the works that Limbs presented in this time period and their performance settings - large music festivals, prisons and opera houses - reflect the changing nature of New Zealand society. This unique history is a record of New Zealand seen through the lens of dance.

As Simon Wilson comments in his Forward: ‘They were serious and comic, physically daring, shockingly sexy, innovative, political, beautiful of course, and so skilled. They were Limbs. They changed our culture. Marianne Schultz was there, and in her book, written with great affection, insight and critical inquiry, she tells us all about it.’

Softback, 168 pages.