Twenty years ago Neil Ieremia knew one thing, whatever happened he would not fail at getting Pacific contemporary dance on stage.
''I knew that no matter what, I was going to survive. I wasn't going to fail. I don't think its in my DNA.''
Looking back, he admits he might have been ''crazy'' at that time to have gone out on his own - leaving a position in the prestigious Douglas Wright Dance Company - but his belief that it was time to tell New Zealand stories was strong.
''I wanted to tell them from my perspective; in my own voice.''
So he formed Black Grace, a contemporary dance company featuring male Maori and Pacific Island dancers.
''I was naive. I had that youthful innocence.''
At the time he could ''count on one hand'' the number of Maori and Pacific Island male dancers.
''Now they're everywhere.''
''It's certainly easier now, there are so many men involved in dance and so many Pacific Island and Maori.''
The number of dancers involved with Black Grace over the years was ''too many to count'', he said.
''Maybe upwards of 50 or 60 dancers in the main company.''
His determination got him through the tough times and now the company was celebrating its 20th anniversary.
While he chose to celebrate the anniversary with Siva, a large stage show in Auckland, he wanted the rest of New Zealand to be able to take part in the celebrations as well.
''I wanted it to be accessible to lots of people. Dance, contemporary dance, can wrap itself in this unusual cocoon sometimes and people feel a little bit excluded.
''I know it's not everyone's cup of tea, but this is a chance to come and see great works which have toured overseas and see them in your local community hall for $20.''
So he developed 20 for 20 (20 shows for which tickets to attend are $20), which is touring the country's small towns rather than cities.
''I wanted it to be a real grassroots tour. We pack in a hall with 15 or 16 lights and we're away.''
The show features older Black Grace favourites such as Minoi, Method and Human Language as well as two works by original company members Sean MacDonald, who still dances with it, and Siaosi Mulipola.
''I thought it was a great opportunity to give the company a chance to work with other people and it's a nice way to celebrate the occasion.''
The North Island shows had been met by a great response, with people queuing up to get in and getting inventive in ways to circumvent the door sales only policy.
''We've had people bribing dancers with food. It's been humbling.''
It is a contrast to Siva (Samoan for dance), a two-night only show, inspired by Black Grace works such as Minoi, Surface and Vaka.
''It was a monster. It was about honouring the past and trying to focus firmly on the future direction of the company.''
The show also enabled him to fulfil a wish of working with live musicians. Seven singers as well as lighting and animation by Melbourne-based lighting designer Paul Lim, visual artists Bruce Ferguson and Cambodian-based visual artists Peap Tarr and Lisa Mann helped to add another dimension to the show.
''It was a reinterpretation of older works, seeing them in a new way and adding new technology to the experience.
''We made a big show of it. John Campbell [radio presenter] tweeted on it, which I thought was quite cool.''
Looking over work from the past 20 years was part of developing the shows for this year and assessing how far he had come.
''In lots of ways it is easier [now]. We are established, have history and longevity which is great in any business. Once you get over that five-year hurdle it's a little easier.''
The support of a core group of stakeholders and those who love the company had enabled it to firmly establish itself at the forefront of Pacific contemporary dance.
It was part of a Creative New Zealand leadership programme alongside the Auckland Philharmonia and Auckland Theatre Company.
The company regularly tours internationally including to the United States, and last year won a Herald Angel for its sellout season at the Edinburgh Fringe Festival.
Earlier this year, the company toured the US, including a week in New Orleans performing at the Mahalia Jackson Theatre for the Performing Arts, doing residencies and teaching in some of the city's toughest schools.
But the highlight for Ieremia was taking an elderly movement workshop.
''I was in this gymnasium with 60 or 70 elderly people. It was wonderful.''
On his return to New Zealand, the experience inspired him to re-create the experience. He now teaches free movement classes for the elderly.
''It's great and it's so easy to do. All you need is to have something well-prepared and the impact you can make is quite significant. It's a no-brainer really.''
He felt the elderly were often forgotten in the push to work with youth.
''New Orleans was a good reminder.''
The company has also danced in the Kennedy Centre in Washington, the Kimmel Centre in Philadelphia , Jacob's Pillow Dance Festival in Massachusetts and on New York's 42nd St.
''In San Diego it was incredible performing at this university theatre that rivals the biggest theatres in New Zealand.''
Black Grace has also toured to Europe, Japan, Australia, New Caledonia, Guam, South Korea and Mexico.
Over the years, it had also been involved in many community projects, including Urban Growth which had grown out of an Arts Access programme for youth.
The company also travels regularly to Invercargill to work with youth involved with the Murihiku Trust.
It also worked with artists from other countries and had recently been working with a Singporean choreographer on a work that would be presented at the Auckland Arts Festival next year.
Ieremia had recently returned from Melbourne, where he had worked with asylum seekers and refugees on a work for the city's arts festival.
Earlier this year he choreographed a work for the New Zealand Ballet to commemorate World War 1.
''You have got to have different strands going these days. To be really, really frank, it gets a bit boring otherwise and by getting away it stops me from becoming bored and grumpy.''
