Debate | Issue 10 | Fringes

debate ISSUE 10

FRINGES

AUGUST 2022

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IS SUE 5

MUSIC

Keen for a getaway that won't break the bank?

The AUTSA Lodge at Tongariro National Park is available at rock bottom prices for AUT students. Rent the entire place from just $155 (off peak) - it sleeps up to 12 people, so you could pay as little as $13 each a night!

Book your getaway now!

www.autsa.org.nz/the-lodge

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DEBATE MAGAZINE ISSUE 10 THEME: FRINGES EDITOR Sam Clark ASSOCIATE EDITOR Vivien Whyte LIFESTYLE AND CULTURE WRITER Briar Pomana CHIEF NEWS REPORTER Justin Hu NEWS WRITER David Williams CONTRIBUTORS Liam Hansen, Hugo Molloy, Lucy Higgins GRAPHIC DESIGNER Charlie Ratahi McFarland ILLUSTRATOR Yi Jong SOCIAL MEDIA MANAGER Zainab Mustafa ADVERTISING Jesse Jones jesse.jones@autsa.org.nz PRINTER Nicholson Print Solutions

DISCLAIMER Material contained in this publication does not necessarily represent the views or opinions of AUTSA, its advertisers, contributors, Nicholson Print Solutions or its subsidiaries.

This publication is entitled to the full protection given by the Copyright Act 1994 (“the Act”) to the holders of the copyright, being AUT STUDENT ASSOCIATION (“AUTSA”). Reproduction, storage or display of any part of this publication by any process, electronic or otherwise (except for the educational purposes specifled in the Act) without express permission is a break of the copyright of the publisher and will be prosecuted accordingly. Inquiries seeking permission to reproduce should be addressed to AUTSA. Debateis a member of the Aotearoa Student Press Association (ASPA).

FollowDebate! debatemag.com debate_mag autsadebate debate@autsa.org.nz

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From the Editor

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AUT wants TEC to change

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Local Elections for Dummies: A Voting Crash Course

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Dungeons and Dragons - is it just some nerdy shit, or something more?

Samoa House Library: An inner city library for the people

Suburban Reptiles @ Zwines on Durham Street

Matt Trevelyan is leaving his mark on Auckland

Lockdown in Waikato

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Theatre Review: Dawn Raids

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What's On

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Gig Guide

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Puzzles

LETTER FROM THE EDITOR

Kia ora!

Welcome to the tenth issue of Debate. This time we’re looking at fringes, a celebration of alternative culture in Tāmaki Makaurau and beyond.

We’re already halfway through the semester, which means there’s only two issues of Debate left this year. Isn’t that crazy? I hope you’re all hanging in there. If I can do it, so can you. The days are warming up too - last weekend felt like summer. The weather was lovely, but also kind of concerning for August. Either way, spring is upon us. Maybe it’s a sign for a fresh start.

By the time you’re reading this I’ll be 23. So happy birthday to me! In fact, you should all be impressed that the stands are topped up, given the plans I have in store. It’s the first birthday I’ve had out of lockdown in two years, so I’ll be celebrating accordingly.

This may include, but isn’t limited to: evading noise control at my flat, enjoying a beverage or two and trying not to get with my ex. Which all sounds awfully similar to last weekend. So much for fresh starts.

Going along with the theme - I’m spending a lot of time on the fringe of the road lately, as a born-again cyclist. I fell in love with cycling last summer, but lost my mojo after getting Covid. I’m back in the saddle after that hiatus and I can’t believe how much I missed it. It’s a great way to start the day and my favourite way to exercise.

Running leaves you with your thoughts and I’m not fit enough to go anywhere too far… or interesting.

So, here’s my quick guide to cycling in central Auckland: Avoid Ponsonby Road at all costs. It will definitely make you confront your own mortality while you dodge SUVs, inhale fumes and play chicken with the kerb. Is it bad that I kind of like the thrill? From the Bunnings on Great North Road, you can tuck down Bond Street, hit a cool 50km/h and see how far the momentum takes you up the other side. With a bit of luck, it’ll get you past ‘F Bar’, Kingsland’s flagship dive bar. Doing this circuit reminds me of being a kid, recklessly bombing streets on my skateboard, but with fewer bails (so far at least). Bike lines are great, until they suddenly end and you’re in three lanes of traffic. I’ve also noticed the balder someone is, and the shinier their Audi is, the more they hate cyclists.

Sometimes I wonder if there’s an element of jealousy, given the abundance of hair on my head and upper lip.

Some highlights from my last bike ride before print: 1 1 1 1 3

x x x x x

David Seymour spotted on Parnell Rise urge resisted to flip him off Inner Link overtaken on the Grafton Bridge race with man in lycra compliments on my retro Peugeot road bike

That’s all from me. Please enjoy some beautiful writing, artwork and photography from our talented contributors at Debate.

Sam x

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ISSUE 5

DRUGS

NEWS

AUT wants TEC to change

By David Williams (he/him) AUT’s new student success plan is a radical rethink in how the Tertiary Education Committee could fund universities.

The plan, called Ki Uta Ki Tai, “enables a valuesled engagement and strategic process centred on manaakitanga, learning, empowerment, enduring relationships, and sustainability.”

Traditionally, educational institutions make investment plans based on the number of enrolments they plan to have.

The committee will then look at the plan to assess funding for each institution based on student numbers.

However, AUT says Ki Uta Ki Tai represents a new way of measuring student success.

The university says its student success plan reflects “a holistic view where an individual’s place in the world is part of a larger cycle, and enduring relationships and reciprocity are valued above fleeting functional exchanges.”

Vice-Chancellor Damon Salesa says such a plan will align with the way AUT operates.

“There is something very distinctive about the students we attract to AUT.” “AUT has a particularly important contribution to make in this area and we’re making it on a scale that other universities aren’t, and we would like the resources to implement our plan.”

“We see it as being above business as usual, but we’re not sure to what extent it will be funded.”

The university has very strong cohorts of university students from different backgrounds: 10 percent Māori, 20 percent Pasifika. Large proportions of students come from decile 9 and 10 schools.

For many of the students from these backgrounds, Covid has made economic inequalities worse. However, the TEC’s funding model currently is the same as it was two years ago.

Salesa says the one-size-fits-all TEC funding model does not work for a university such as AUT. “Students are funded as if they are much of a muchness.

Students are largely funded the same.”

He would like universities funded along the lines of the compulsory schools sector.

“An equity index approach means those students with different challenges and contexts for learning are recognised in the funding model.”

"If university funding was delivered along the high school models, AUT would be a great beneficiary.”

He says if students are to be able to realise their potential, the funding needs to reflect that.

“Universities have to dig deeper, and it’s the right thing to do. But it does mean that extra work is not recognised in our current funding model.”

He says if a university is doing more work, and AUT is definitely doing more than other parts of the sector, that responsibility will sit heavier with AUT.

AUT says Ki Uta Ki Tai supersedes the industrial, functional vision of the individual, the pipeline, or the EFTS as the framing of university strategy and planning.

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ISSUE 5

DRUGS

Local Elections for Dummies: A Voting Crash Course

By Justin Hu (he/him) Auckland’s local elections are a couple of weeks away and this year’s race will be crucial for our city’s future.

Your vote will matter! If you feel like you’re a bit out of the loop, don’t stress! Debate will get you up to speed.

If you’re enrolled to vote (not specific to local elections), you’ll have the option to vote for three different positions: mayor, councillor and local board members. Here’s what it means to vote in those three races.

What are the parties?

How about councillors?

Ha, prank! There are no big parties. Or, at least not as you know them. In many local election races, you’ll see candidates running as “independent” with only sporadic use of region-wide ticket affiliations. City Vision candidates are endorsed by both the Labour and the Greens local party organisers, while Communities and Residents are National’s de facto local election body. You’ll also see some candidates standing under a Labour-only banner, mainly in the party’s strongholds in South and West Auckland.

For councillors and local board members, you can vote for as many candidates as there are vacancies. Having 20 strong councillors is just as important as having a good mayor - as Invercargill’s councillors can likely attest.

What does the mayor do?

This race is the simplest. Everyone gets one vote and the candidate to receive the most votes becomes mayor.

Think of this role sort of like the prime minister, except less powerful (yes I know, terrible comparison). Jacinda Ardern and her ministers have the power to act because she commands a majority of the MPs in Parliament. However for the most part, the mayor is just one vote among 20 councillors.

Auckland’s mayor does have some unique powers, like managing the council’s all-important policy committees and appointing the deputy mayor. They also propose the council’s spending budgets (voted on by the councillors) and have their own staff. People expect the mayor to have a big-picture idea of where the city is going. For example, former mayor Len Brown spent several years lobbying the then-National Government to fund the City Rail Link project. Brown was successful after around five years of lobbying, and the $4 billion train tunnel is now under construction. They have more influence than councillors standing on their own and are expected to represent Auckland to outsiders.

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Around Auckland Council’s “governing body” table, councillors spend time approving spending decisions, endorsing long-term plans and voting on high-level policies to tackle citywide issues like housing and transport.

Something the Auckland Council has deliberated over recently is whether they should go ahead with its ‘targeted rate’ (a local tax to help mitigate climate change). The new rate would primarily go towards funding new transport options to let more people take more trips without using a car and would mean substantially upgrading service on around 80 bus lines around the city. However, one-third of councillors ultimately voted against the targeted rate. In their past term, councillors have decided whether to zone for more homes during a housing crisis, whether to let AT remove arterial street parking to build bus lanes, and how much money to spend on safe urban cycling paths. Many of them were votes that could’ve gone differently with different councillors.

What are local boards and what do they do?

I want to learn more!

Local boards are an Auckland oddity and work in a rather peculiar way. There are 21 local boards and each has up to nine members elected (149 local board members in total). Boards are charged with decision-making on local issues, activities, services and providing input into regional strategies, policies, plans and decisions. But what does that actually mean? Uh, well, it isn’t very clear.

Don’t worry if you feel like you don’t know enough about the candidates! Google is your best friend. Even a quick two-minute search will give you a better idea of who to vote for - and failing that, who not to vote for.

Different local boards will have different approaches, but you’re likely to find them helping draft a strategy for the future of your local town centre, approving new road names, or deciding what community groups to grant funding to. In any case, they could be using their position to lobby councillors and Auckland Transport.

They also speak to the media about important issues and projects to the people who elected them. Choosing local board candidates is important, because their values and priorities will shine through in what they advocate for and fund at a local level.

Official candidate statements (a 200-word pitch written by the candidate themselves) will be available from September 5. The Spinoff is also bringing back its 'Policy Local' tool which helps compare the policy positions of local election candidates (policylocal.nz). There are also usually candidate debates or events in your local ward where you can hear directly from local people running for office. If you want to learn more about the big issues affecting Auckland, you can find good coverage, on topics like housing and transport, in Simon Wilson’s columns in the NZ Herald or Todd Niall’s local election coverage for Stuff.

But, aside from the chairperson, being a local board member is only a part-time job and this can be reflected in some of the work that boards do. Many local boards complain of having too little power, since councillors ultimately oversee many “regional” projects that people associate with council. But a lot of a local board’s agency comes from the motivation of board members themselves in whether they are active during long workshops, understand council strategies, attend community events, or show leadership on issues where there is none.

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ISSUE 5 ISSUE 5

NEWS

Students need ongoing free counselling AUTSA president

By ByDavid DavidWilliams Williams(he/him) (he/him)

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DRUGS DRUGS

WANT TO MAKE UNI LIFE AWESOME? Every year, you get the chance to vote in the Student Representative Council (SRC) — a group of AUT students elected by AUT students to represent the student voice on campus.

Nominations run from 25 July - 12 August, and voting is open from 19 - 30 September. Check out our site for more info and instructions!

autsa.org.nz/elections

Dungeons and Dragons - is it just some nerdy shit, or something more?

Words: Liam Hansen (he/they) | Illustration: Yi Jong (she/they) The first time I heard of Dungeons and Dragons as a kid was when it popped up on TV - god knows what we were watching.

A young Liam, still wide-eyed and hopeful, looked over to their parents, curious as to why they were laughing. “Wow, is D&D still a thing?” asked Mum, and Dad responded “Even I wasn’t nerdy enough for that!” My father, a man who in his spare time constructs original Lego models so elaborate they’re actually cool, was making fun of another subculture for being lame. I didn’t even know that was possible. My impression of D&D has always been overshadowed by that memory. Was it an angel trying to stop me from getting bullied? If so, it didn’t work, so fuck them. I’ve spent my life observing this subculture, impressed by how committed everyone is. I’m a bespectacled dweeb who has spent a substantial portion of their life playing Skyrim and consuming other fantasy shit. I’m also a wannabe speculative fiction writer and former theatre kid. So, surely I’d love D&D. I reckon it’s time to answer the question: What the fuck is going on with Dungeons and Dragons?

There are a lot of predecessors to Dungeons and Dragons, like chess and…other variants of chess. Recreational war games came into fashion during the 19th century and began to involve roleplaying. More and more, people would take portions of history and change them up, because regular American history is boring and racist. Fantasy made its way in, eventually spawning the behemoth that is Dungeons and Dragons in 1974.

This was the first of its kind to become commercially available, steadily acquiring a large enough following to stand out on its own. The game influenced enough designers to see the medium flourish in various worlds of sci-fi and fantasy, allowing young folks to create new stories, characters and worlds. I’d say a fair amount of speculative fiction released in the past thirty years draws inspiration from D&D.

Trigger Warning: This next paragraph contains mentions of suicide. Pretty cooked for an article about Dungeons and Dragons, right?

Cool cool, that quick history lesson was neat (thanks Wikipedia!). But here’s where things get crazy. After gaining this widespread appeal, several years of moral panic ensued.

In the latest season of Stranger Things, the 'hellfire club', who play Dungeons and Dragons, are blamed for a number of disappearances. The jocks then convince the whole town to hunt them down. It sounds crazy, but that actually happened back in 1979, but with fewer tentacles and more angry mums.

It all started when a 16-year-old Michigan State University student (who happened to enjoy D&D) went missing, leaving behind a suicide note. They were found, but ended their life the next year. A frenzy began across the United States, with the media starting constructive conversations about youth mental health. Except of course they didn’t. Instead, they blamed the suicide on a game about dragons. This spurred half a decade of people freaking the fuck out about D&D. The mother of another kid whose suicide was blamed on the game said it encouraged witchcraft, voodoo, assassination, homosexuality, barbarism, demon summoning and necromantics. Sounds like she’s just describing a fun night out! The mother eventually founded BADD - Bothered About Dungeons & Dragons (which is a pretty underwhelming name, but okay). This media campaign argued that the game stopped kids from understanding the difference between fantasy and reality.

Whilst various studies disproved any link between Dungeons and Dragons and suicide (obviously), the popularity of gaming consoles likely helped calm people down by bringing the fantasy genre into pop culture.

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Contrary to popular belief, D&D players are not exclusively angry teenage boys. After chatting to several members of the community, I found that they’re actually quite a lovely bunch of people. My relatively mundane quest to understand the game led me to Cakes n Ladders, a board game cafe in Eden Terrace. Upon walking into the space, you’re greeted with shelves upon shelves of colourful boxes, each bursting at the seams with new worlds and stories. They even have Connect Four! Board game cafes are fantastic areas to hang out with friends, play games across genres, and enjoy a cosy atmosphere that welcomes casual players and dedicated fans alike. Despite this, it wasn’t particularly surprising to see Cakes n Ladders quiet on a weeknight. Chatting to the cafe owner, James McFadgen, I learned that they’ve struggled during the pandemic - which is sad, but not unexpected, given what the hospo industry has gone through these past couple years.

However, they’ve managed to keep a solid customer base and they're still really busy on weekends, event nights and during holiday periods. While I was there, James went out of his way to help another group pick out a game, explain the rules and provide assistance wherever needed. It was a lovely environment and one that I’ll definitely be returning to.

During a game of D&D, you may hear emanating prepubescent yodels of "Oh shit, we need to fireball it!" or, "I need to roll a 13 or higher!" Despite the players' frustrations, these screams are often the sign of a fantastic 'dungeon master', who knows how to create suspense amongst their peers. The role of a dungeon master can be very nuanced and it’s largely dictated by shot-in-the-dark decision making, says Madison - the dungeon master for Cakes n Ladders fortnightly ‘Rainbow Roleplay’ sessions. Their job is to control the game, roll the dice, tell the story, and generally keep everyone happy and enjoying themselves. “I’ve only been doing it for a few months, but it’s been really rewarding!” she said. Pretty much everything in the game is improvised, apart from specific adventures, which are often planned in advance. Madison said this was great for when a new player joins: “I can make it more of a ‘we succeeded!’ thing instead of ‘I am the wrath of god, and I will destroy all of you’ - That probably wouldn’t be a great first experience.” Your experience can vary greatly from game to game, depending on who’s dungeon master and the campaign itself. The only real uniting aspect between games is the fact that you play roles on a tabletop and there's a dungeon master who runs the show.

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Madison started Rainbow Roleplay as she felt there needed to be a dedicated space for queer folks to enjoy D&D. She wanted a game that was centred around understanding, diversity and inclusivity. D&D can be dominated with a competitive and occasionally isolating atmosphere, which is why some people find it difficult to enter the community as a newcomer. “It’s exaggerated in media, but the trope of cis straight white male players is definitely prevalent,” said Madison. Rainbow Roleplay provides a space for people outside of that. Its ultimate goal is to allow people to explore different identities and labels in a welcoming and lovely environment. Madison describes her own experience: “It’s been really nice to be able to explore aspects of myself and understand myself better.” Within the games, Madison discourages any combat between players. “I don’t think it should be a big part of it. Preferably dialogue and nonviolence can resolve any issues within the party.” There isn't exactly a shortage of combat-heavy D&D campaigns, so players won’t be missing out on much. She has also put systems in place so players feel as comfortable as possible. She’ll begin every game with a kōrero to explain that everyone has the right to enjoy themselves and avoid any harm or discomfort.

There are moments where she, as the dungeon master, will intentionally fade to black on a sequence - “I don’t know if you know of the trope of the Bard character class being very active, uhhh… in the realm of sex. I’ve heard numerous horror stories online. Yes, this is a fantasy game, but not that kind of fantasy.”

What amazes me about D&D is just the sheer amount of dedication people have. It can take hours of prep work and steep investments - even just playing requires ample amounts of commitment to your game, your friends and your time. Madison casually mentioned that she had completed year-long campaigns, and that completely new terms have now become part of her regular vocabulary. I barely got to touch on ‘homebrew’ (content created by the players and dungeon masters, e.g. original characters and campaigns), independently released games and the absolutely insane custom-made dice people sculpt. You don’t need to take part in these things to enjoy tabletop gaming, but it makes it way more fun. No other hobby community takes that level of care and commitment in the name of social connection with others. “The TTRPG community today is much bigger and more prevalent than it was even just a decade ago,” Madison said. The internet has allowed a new generation of fantasy fans to enjoy the games, connect with others from across the world thanks to online campaigns, and discover more about themselves than they can in any other environment. So, go on my fellow nerdy queer folk. Let’s all convene and unite over the fact that dragons are fucking sick.

Samoa House Library: An inner city library for the people

By Briar Pomana (she/her) I still remember my first trip up to Sāmoa House Library. My friend Mugiho showed me the spot after a casual day of loitering on Karangahape Road. She couldn’t believe I’d never heard of the place. Mugiho and I have always bonded over our shared love of reading and art. We often meet at the Auckland Art Gallery and have a wander before sipping on what is normally an overpriced iced chai. This time though, I was intrigued immediately at the name of the library - Sāmoa House? What did that reference to? Was this a spot for young moana-centric creatives and learners like myself? I was brimming with anticipation.

Mugiho assured me that the stairs leading up to the library were worth it. We trudged along in our second-hand leather boots, tote bags falling off our heaved shoulders with each flight. When we finally arrived I looked at Mugiho with ambiguity.

From the outside, it looked like a typical office in the city. It was dark and dingy with the only light source emanating from the inside of an old door. Under normal circumstances, and if I had been alone, chances are I probably would’ve left after the first flight of stairs. But Mugiho entered and so did I. The space was glorious! A few folks were lounged out on bean bags discussing some worldly matters.

A few were at old desks by the front window, writing as if their lives depended on it, and everywhere, with shelves buckling under the enormous weight, were books. As all wanderers in a place like this do, I traced my fingers along their spines. Some seemed to tingle at the touch.

I headed straight to their Māori literature section and noticed some familiar covers. Their names called me toward them like pōwhiri. Mugiho and I exchanged giggles at the treasure trove and continued with our independent curiosity.

Sāmoa House Library seemed like the kind of place you’d choose as the backdrop in a screenplay.

Where a lowly writer girl with mousey features (but at the same time with somewhat of a sexual presence) would come with her reusable jar of cold brew coffee to write an unsuccessful manuscript. This is not so far-fetched. There might be a weekly crew that would meet frequently after a long day at work, or failed relationships to debrief over cheap beer and pizza amongst the mountains of literature. The library was a kaleidoscope of quotes and theories. It seemed like a safe place for girls with buzzed hair and boys with soft hands. Where notebooks could finally be filled and those who were lonely could take a lowly nap.

The library is a relatively new addition to Karangahape Road. It was founded after the proposed closure of Elam’s Fine Arts Library in 2018. Opened in 1950, Elam itself is a school known for its uber-cool students that hang out in packs, leaning against bus stops and holein-the-wall bars. Famous artists that have come out of the institute include Michael Parekōwhai, Rita Angus, James Lowe and Lynley Dodd to name a few. It is an epicentre for those who are daring enough to dream and create. The library at the school was high up in the trees behind St Paul's Church on Symonds Street. Guarded by a dramatically steep hill, the school and its students are a reminder of the immense talent that lurks in our country.

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When word got out that their beloved library would face closure, students, alumni and staff took action immediately. I can actually remember signing a few ‘Keep our Library Alive’ petitions on the corner of Wellesley and Symonds by the traffic lights one day after a Māori media class.

For those that rallied, the closure of the library was just another erasure of the arts. Funny how even a whole arts school, the importance of which I would argue is a fundamental part of our national identity, can be sidelined.

Interestingly, the original Elam Library was home to the biggest collection of fine arts books and texts in the southern hemisphere. For some, closing the library was a clear indication that research conducted by fine arts students was not to the same calibre as other degrees. Bullshit.

Initial murmurings of what would happen to the multitude of texts and resources were rather uncertain. Among the suggestions was the idea that if the books that were not wanted at the main University of Auckland library, they would be shredded and disposed of. Of course, this is a nightmare for any book lover. But it wasn’t just book lovers who were distraught over this decision.

Understandably, it felt like an entire community was losing something of immense value and beyond monetary gain. Once the decision was made by the University of Auckland to close the library, social media flooded with commentary in favour of keeping the building and the books. The University of Auckland dismissed these, stating their indifference from the outset. It seemed something important, but on the fringes, was lost - once again at the hands of institutes and people in power.

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Salene Schloffel-Armstrong, an urban geographer who specialises in public library spaces, wrote the following in the Pantograph Punch, one year following the closure of the Elam library and encapsulates beautifully the story of transition from once space to another: “In imagining a future for Sāmoa House Library, I thought it may prove useful to situate the University of Auckland library closures and the subsequent emergence of this new space against a backdrop of global trends… There are numerous examples globally of libraries being embraced and recognised as contemporary community spaces, and these projects may illuminate a range of possible futures for Sāmoa House Library.”

It would be foolish to not mention the liminality of Sāmoa House Library. The community that wraps itself around this ‘office space’ of old books and bean bags is what makes this library feel like home for so many artists, organisers and book junkies. Without the support of its volunteers and imagined/not-imagined group of friends that end up lounging in its bookshelves, the space would not be half as great as it is. Sāmoa House library is what all libraries hope they can be: a lighthouse.

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Matt Trevelyan

is leaving his mark on Auckland Matt tattoos on his own terms.

27 years old and self-taught, his Grey Lynn studio is booked out weeks in advance.

WORDS | Sam Clark (he/him)

Photo by Sam Clark

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Photo by Jarrod Saville

Matt Trevelyan, aka Trev From Down The Way, is sit­ting on the couch in his corner of the sunny Friends Studio, a shared workspace in Grey Lynn. He’s done for the day. Hidden behind a car yard on Great North Road, the bright blue entrance hints at what goes on inside.

The stereo’s always cranking, and this time it’s ‘Sweet Thang’ by Shuggie Otis. The two large cabinet speakers and modern hifi system are a centrepiece of Matt’s studio. It’s separated from the rest of the building by a clothes rack filled with handmade clothes. Aside from some equipment on the far side of the room, you wouldn’t know you were in a tattoo studio.

But that’s how he designed it.

It’s far from typical, but so was his journey getting here. “Mate, I absolutely stumbled into it like you wouldn’t believe”. He went from tattooing himself and his friends, to figuring out how to organise 20 bookings a week and how much to charge.

It’s common to finish an apprenticeship before becoming a fully-fledged tattoo artist.

And, being self-taught, he’s very aware of how that could be perceived within the tattoo community. Although hand-poked tattoos are trending at the moment, he says there’s always been a bit of stigma around them. Whether that’s because they’re taking potential busi­ ness, or if it’s being done in a clean and sanitary envi­ronment, Matt gets it. But he stresses that hygiene is always the top priority.

He points out that hand-poked tattoos came first. Matt’s operating on the periphery of what

many view as a sacred art. He says he likes to ruffle feathers, but he’s not here to offend anyone. “Because I don’t know any of the rules, I break them all the time. But I reckon they look hot as shit, so that’s all that matters.”

“Because I don’t know any of the rules, I break them all the time.”

But that’s the appeal of hand-poked tattoos.

The aesthetic is sometimes called ‘ignorant style’, which Matt says is more about the approach. “They’re breaking the rules. You look at traditional tattooing and the big motifs… The swallow, the snakes, the dragons, the women. I take these, tweak them and put them on parts of the body where maybe they shouldn’t go.”

He explains why this appeals to him: “I love object-based tattooing… like putting a ladder on your body, what the fuck’s that about?

It’s sick, it looks cool. It’s grungy, it’s ignorant.”

Matt’s first introduction to ignorant style was an early idol, tattoo artist René Gibson. Things came full circle recently when Gib­son returned to New Zealand and they tattooed each other.

Back in the day, there was a greater expectation to be a jack of all trades. Now, Instagram allows artists to find their niche and hone their style.

Matt says it’s important to be savvy on the platform: “It doesn’t matter how good you are, if you take shit photos peo­ple won’t want a tattoo from you.” His clever brand­ing has helped him cultivate a large following. Word of mouth is also spreading. A girl who came in earli­er was recommended to Matt by ten different people from all over the country.

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Photos by Matt Trevelyan

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“When it’s perfect symmetry required, I like to hand poke. I could probably achieve a good result with my machine, but little simple tats should be hand-poked because that’s the steeze.”

In recent years, Matt has teamed up with Stolen Girlfriends Club, giving tattoos at a collection launch. Last year, one of his tattoos was a prize on the wheel of fortune at Working Late festival. All of this gets people talking about Trev From Down The Way. He’s very aware of his brand, but he’s careful not to let it outweigh his style. “My shit looks janky, cool and stylistic and it’s on trend… And I do it because it’s truly what I want to draw. I’m smart, I see what Instagram want and what people like and I draw that. To be creative is fantastic, but you have to be commercially creative right?”

This is coupled with the unique experience he’s created for clients. It’s all carefully considered.

“I want to create more of a lounge vibe than a tattoo studio. Everything’s legit, clean and good for it. But at the same time, people come in and the nerves go away when they can sit down and feel comfy.”

Matt grew up in a very creative household. His father paints watercolours and his mother makes clothes. They didn’t have a TV or microwave, but they had an eco-friendly bach in Mangawhai. He’s the oldest of three kids.

When he was a teenager, he made underwater hockey gloves - first for himself and then his team. By the end he was filling orders for everyone up to the men’s and women’s national teams. “I found a niche and I filled the niche, from my garden shed.” An attribute he still carries.

“I found a niche and I filled the niche, from my garden shed.”

High school was tricky. He went to Mount Albert Grammar School, the second biggest high school in the country. Grey uniformed, rugby-orientated with no real emphasis on the arts, MAGS was a let down. He says these problems come down to its sheer size. “When you’re trying to educate 3000 people a day, there’s people who are gonna slip through the cracks.” He places his grey caliburn vape on the table. “I was cast as the naughty kid. The kid who couldn’t sit still, the kid was lippy to the teacher… One of my biggest things was my schooling and bullying. I was so sensitive, man.

And I think now that’s why I want to stand out.”

Matt compares high school to the forty hour work week, something that still gives him anxiety. However, he was doing exactly that before moving into Friends Studio. He recently finished a two-year stint at Blink, an equally young design firm behind a lot of branding and signage around Auckland. “I was just grinding for the man. They were great dudes and I love them to bits. But I thought to myself - shit, I’m doing four tats a week on top of working full time… something’s got to give.” Before opening his private studio, Matt was giving tattoos out the back of Blink’s industrial Mount Eden workspace. He’d meet you outside and lead you past their workshop laden with stacks of sheet metal through to his makeshift studio.

At first, he toyed with the idea of staying part time, but three days a week wasn’t going to work. “I thought fuck it, I’m going to take the leap.” “Fast and loose” is his motto and he’s turned that decision into a full-on career.

He now has a repetitive stress injury in both hands from tattooing for six months straight (and some pre-existing damage from underwater hockey). But, he’s bought a new machine that doesn’t rattle as much. Chunky silver rings on each finger, he itches his own new tattoo, a padlock. “Honestly everyone always winging it! Which is so cool. Some of the best tattooists in the world … their lines are blown out all over the show. It’s this expansive pot of knowledge that people reckon they know but no one really knows.”

After studying in Wellington and living in London, Matt’s back in Auckland and he’s here to stay. “Auckland’s my home, I absolutely love it. It’s my favourite place to be.” Over the past couple of years, Matt’s had a complete career change and seen the end of a longterm relationship. He’s since started dating someone new and couldn’t be happier. So what’s next? “For me, tattooing for a few more years… That’s what I want to do, that’s my calling. The world needs to be pretty and it needs to be filled with people who look at life through a different lens.”

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I’m in my early twenties, so my experience of the pandemic has been vastly different to other groups. Studying during Covid was difficult, but it also wasn’t the worst place to be. Sure, you hear that our twenties have been burdened or squandered by Covid. But realistically we had a few years of staying home and shifting online. It also gave us the chance to build meaningful relationships with whomever we were sharing a roof with. However, I don’t wish to generalise or speak naively. I know how devastating the pandemic has been for so many of us.

So, I dedicate this small series of images to a man I met who lost his livelihood and his home to the lockdowns, being pushed to the fringes of society. He had set up camp by a railway in Waikato and approached me as I walked past with my camera. He insisted that I took images of his situation and encouraged me to share them. I gave him twenty dollars for his troubles of showing me around, thanking him for letting me glimpse into his situation. @hugo.molloy (he/him)

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Theatre Review: Dawn Raids

Review by Vivien Whyte (she/her)

Showing at the ASB Waterfront Theatre until 3rd September. Purchase tickets from Auckland Theatre Company’s website.

Tickets are discounted for all AUT students.

THEATRE REVIEW

Twenty-five years since it was first produced, Pacific Underground and Auckland Theatre Company bring Oscar Kightley's Dawn Raids to the next generation in a blaze of spectacular performances and powerful storytelling.

The story transports the audience to central Auckland in the 1970s, as we follow the lives of seven Samoan immigrants living in Aotearoa. The power behind Kightley's storytelling lies within its humanity. A budding musician, a passionate university activist, young love, migrant parents trying to give a better life to their children and immigrant children providing for family back home.

These are tales as old as time and all intimately linked with the lives we live today. As an audience, we have to watch as all these things are brutally disrupted and shattered, and come face to face with the reality of some of the darkest moments in New Zealand’s history.

The play may not be simple, but it certainly isn’t flashy nor overdone. It goes along at a steady pace, and herein lies its strength. As the scenes fade into one another the audience is left to absorb everything and get to know the central family and their friends. Live music, humour and the warm singing talents of Sione (read: Samoan Elvis Presley) bring the performance alive and will leave you in states of laughter to tears, from being serenaded to shock.

Kightley masterfully weaves in a variety of positionalities. Each character is lively and complex, and although each is underpinned by wanting to do what’s best for their community and family, their responses to the

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Dawn Raids are varied and distinct, showing that even though there is collective pain to this story, it is not black and white. Following each character and understanding who they are as they traverse the reality of the Dawn Raids breathes humanity into “the Dawn Raids”. Their tears, fights and love remind us that this was not just a moment in history, but people and families torn apart.

In this way, Kightley shines a light on the atrocities committed in a way that no history book ever could. These are the stories of the generations before us. Yet, we are detached from the realities of what lies in our collective history. “Those who cannot remember the past are condemned to repeat it.” And repeat it we do. The hand of colonisation continues to justify innumerable acts of violence and discrimination. It continues to decide who comes to New Zealand (read: white New Zealand) as a welcome guest/worker, and when they almost inevitably transition into unwanted other. Only last week we watched as Minister Michael Wood defended a new policy which lowers the median wage for migrant workers. This month new data has come out about the exploitation of RSE workers. Not to mention a pandemic filled with inequitable outcomes. Dawn Raids reminds us of the importance of solidarity, kotahitanga, tufa’atasi and unity.

This is truly a once-in-25-year chance to see the show, so if you can I recommend you do! Finally, fa’afetai tele lava to the cast, musicians and creatives for your storytelling and trust.

avenly e • •H

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AUTSA BALL 2022 SAT 8 OCT 22 • AUCKLAND TOWN HALL • R18 EARLYBIRD AUT $60 • AUT GENERAL $70 PUBLIC GENERAL $80 • TICKETS AT EVENTFINDA.CO.NZ

WHAT'S ON

AUG + SEP + OCT

FESTIVAL

Auckland Fringe Festival

Ahurei Mōwaho o Tāmaki Makaurau Tāmaki - wide

August 30th - September 17th

WHAT'S ON

WHAT'S ON

Several events free/koha!

Independent and open-access, the Fringe Festival celebrates inclusivity and otherness in Tāmaki Makaurau.

Designed festival venues shipping

to be accessible, the is held across all kinds of from retirement villages to containers.

FILM

Sundance Film Festival: Indigenous Shorts Tour Academy Cinemas

Tuesday, September 13th, 6:30pm

WHAT'S ON

$14 Concession

Six short films directed by Indigenous filmmakers. A curated series, featuring narrative and documentary shorts originating from the Philippines, Mexico and the United States.

Runtime: 91 mins.

AKL - TĀMAKI MAKAURAU

How Inconvenient!

WHAT'S ON

THEATRE

Basement Theatre

August 30th - September 3rd $18 Concession

Talk - The Life of Rainbow Artists

WHAT'S ON

TALK

WHAT'S ON

An expression of strength and pain through song, dance and performance. A group of Māori and Pasifika performance artists demonstrate how our bodies can hold and express emotion.

Auckland Art Gallery, Toi o Tāmaki

Saturday, October, 15th Free! *must book

Featuring: Zena Elliott, Sara Moana, Rebecca Swan and Steve Lovett.

WHAT'S ON

An artist-led talk about inspiration and how being part of the rainbow community comes into their practice.

* SEP + OCT 2022

g e d i i G u G

Swallow The Rat, Warm Leather & Alien Hand Where? Cupid Bar When? Friday, 2nd September Cost? $10 presale

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*

TĀMAKI MAKAURAU - AKL

Dimmer - I Believe You Are A Star 20th Anniversary Tour. With Louisa Nicklin Where? Hollywood Avondale When? Friday, 16th September - Sunday, 18th September Cost? $60

Helium Project - Celebrating Te Wiki O Te Reo Māori Where? Harmony Hall When? Saturday, 17th September Cost? $25

Yumi Zouma

The Beths

Steve Gunn

Where? The Tuning Fork When? Saturday, 24th September Cost? $40

Where? Auckland Town Hall When? Friday, 7th October Cost? $65

Where? The Funing Fork When? Thursday, 20th October Cost? $50

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