For contemporary dance students considering full-time training in 2026—and for dance educators seeking to deepen their own understanding of how to teach with purpose—there is much to learn from Matte Roffe, Contemporary Dance Tutor at the New Zealand School of Dance (NZSD). A powerful presence in both the studio and the broader dance world, Matte brings over two decades of international experience and choreographic insight to his teaching. At NZSD, he is not only passing on technical knowledge but helping shape the artistic identities of the next generation.

Known for his dynamic choreographic style and nurturing approach, Matte creates space for students to thrive. “My teaching is anchored in structure, generosity, and energetic awareness,” he says. “I value technique class as sacred—a space where dancers can refine, return, and reset. It’s often in the professional world that training takes a backseat to performance and creation, so I encourage my students to treasure this chapter and make their foundations rock solid.”

This philosophy is informed by his own remarkable journey as a performer and choreographer. Matte recalls a highlight: “There have been so many moments that have shaped me. I remember one year when I was lucky enough to do four European tours and two Australian tours—I was on the road for most of the year. One performance that stays with me is Multiverse at the Théâtre National de Chaillot. Moments before stepping on stage, I looked out the window and saw a full moon hanging directly over the Eiffel Tower. In front of the theatre, hundreds of Parisians were dancing tango beneath its glow. I remember thinking to myself: I am living in my dream.”

His time dancing with Australian Dance Theatre, under the direction of Garry Stewart was particularly transformative. Garry saw potential in me that I hadn’t yet recognised in myself. It wasn’t until I left the company that I fully appreciated just how visionary he truly is—his work was fearless and genre-defying. His departure marked the end of a distinct era in Australian dance, and the imprint he left continues to resonate deeply across the industry”. He also credits meaningful collaborations with artists like Sarah Jane Howard and creating his own recent work Showpony as defining moments in his creative evolution.

As a teacher, Matte is deeply invested in empowering students to find their own voice. “I try to uplift my students with positive reinforcement and remind them of their innate brilliance. I believe our inner dialogue holds real power. I encourage them to tune in, quiet the inner saboteur, and step into their own light. We train like athletes but think like artists. We breathe, we pause, we listen. One thing is everything, the quality of your breath will determine the quality of your movement, in order to dance as big as you can you must first learn to be still. That’s the gateway to growth.”

For educators, Matte offers a model of how to meet the challenges of today’s students with empathy, transparency, and resilience. “With so much global exposure and access to curated content, today’s dancers can struggle with comparison and self-doubt. TikTok and Instagram can distort perception and amplify insecurity. So part of my job is helping them remember their unique gifts and inner power,” he says. “Another challenge is trust. The old ‘because I said so’ approach doesn’t cut it anymore. I think it’s important to teach with transparency, and build trust by being authentic and patient. Everyone blooms in their own time.”

Returning to NZSD as a teacher, he shares, has been nothing short of a homecoming. “My time here as a student was one of the most profound periods of my life. I met my husband, my lifelong friends, and I fell in love with Aotearoa. Being invited back to teach felt like a homecoming.” And he’s energised by the calibre of students today. “This generation is incredibly switched on. Their curiosity, emotional intelligence, and desire to understand make you sharper as an educator. They keep you accountable and humble.”

Matte’s work and influences reflect a diverse and deeply considered aesthetic. From Garry Stewart to Bob Fosse, auteur filmmakers to powerhouse dancers like Louise Lecavalier and Kimball Wong, Matte is constantly absorbing and evolving. “Ina Christel Johannessen showed me the incredible power of improvisation as a creative and spiritual tool. She reminded me that authenticity is everything, and that ‘just being’ is a radical act.”

As for what comes next in the field of contemporary dance, Matte sees a shift already underway. “I think we’re moving away from the hyper-athleticism of the early 2000s and leaning more into concept, sensitivity, and presence. Works today are rich in philosophical and existential questioning. The aesthetic leans toward effortlessness, subtlety, and internal complexity. We are invited to make it look easy—but the work is as rigorous as ever.”

He also sees dance as a powerful platform for addressing identity, culture, and society. “Dance has the rare ability to communicate without prescribing meaning. It leaves space for the audience to find their own interpretation. That openness is its power.”

Reflecting on his own choreography, Matte adds, “Showpony delves into the complex duality of performance—the dazzling surface and the emotional undercurrent beneath it. It explores the hunger for recognition, the toll of always needing to be ‘on,’ and the fine line between empowerment and self-destruction. At its heart, the work asks: what are we willing to sacrifice to be seen, and who do we become when the spotlight fades?”

To students considering a future at NZSD, he offers encouragement grounded in truth. “Do it. It’s not an easy road, but it’s a meaningful one. There is no greater gift than being able to speak through movement. We often undervalue the power of this art form, but it is deeply transformative.”

And for the wider dance community, his wish is clear: “More dancers. Especially more male-identifying dancers. Where are they all going? I think there’s still a stigma or fear that dance isn’t a ‘viable’ career, but I want to challenge that narrative. If you love it, do it.”

Because as Matte reminds us: “The world needs more artists. More truth. More embodied magic.”

Photo by Stephen A’Court. Feature by Danielle Brown. Published in Dance Train July 2025.

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