Tribute Issue

THEY ARE US YOU SHOULD HAVE BEEN SAFE HERE 15-03-2019

SISTERHOOD ISSUE 004 ARTIST POVERTY-CAPITALISM-TRIBUTE

POUTŪ-TE-RANGI 2020

Proudly printed by:

‫ﻓﻲ ذﻛﺮى اﻟﻤﺤﺒﺔ‬ I ROTO I TE MAUMAHARA AROHA IN LOVING MEMORY

15-03-2019

‫أﻧﺖ ﻣﻔﺘﻘﺪ‬

KEI TE NGARO KOE YOU ARE MISSED

Ghulam Hussain “People are struggling to come to grips with what has happened.”

Mucaad Ibrahim “He’s been loved by the community here. It’s been tough days. It’s been really tough days.”

Husna Ahmed “She thinks of other people first.”

Lilik Abdul Hamid “He was always making friends with anyone.”

Sayyad Milne “I’ve lost my little boy, he’s just turned 14.”

Atta Elayyan “There is huge hole in our hearts.”

Amjad Hamid “He was well liked for his kindness, compassion and sense of humour.”

Ansi Alibava “The life Ansi and I had together, the plans we made, the family we hoped to build here, all vanished in a moment of senseless anti-immigrant rage.”

Ali Elmadani “He considered New Zealand home.”

Naeem Rashid “My brother was a brave man who died to save others.”

Talha Naeem “My son and my husband are heroes.”

Khaled Mustafa “They were just looking for a safe place.”

Hamza Mustafa “He was a great student, a compassionate young man.”

Linda Armstrong “Linda had a huge heart and was willing to help out anyone who needed it.”

Farhaj Ahsan “A very nice gentleman.”

Junaid Ismail “He was just the kindest, gentlest man.”

Karam Bibi “People are struggling to come to grips with what has happened.”

Hussein Al-Umari “He saved the lives of those around him.”

Kamel Darwish “It’s the best place that you can raise your child in.”

Suhail Shahid “His daughters were his life.”

Abdelfattah Qasem “An elder for the community.”

Arifbhai Vora “A very heavy heart.”

Ramiz Vora “A very heavy heart.”

Haroon Mahmood “A very, very gentle, good person.”

Syed Areeb Ahmed “He had only started his career.”

Mohsin Al-Harbi “A kind and caring Kiwi.”

Tariq Omar “It just doesn't feel real.”

Haji-Daoud Nabi “He jumped in the firing line to save somebody else’s life and he has passed away.”

Syed Jahandad Ali “Our much-loved colleague Syed Ali has lost his life.”

Hafiz Musa Patel “A national icon, a recognisable face.”

Hussein Moustafa “He died at home.”

Muhammad Abdus Samad “We’ve lost another brother in a terrorist attack."

Ashraf Ali "He will always be with me."

Matiullah Safi “You could always go to him."

Ashraf El-Moursy Ragheb No comment made Mohamad Moosid Mohamedhosen No comment made Dr Mojammel Hoq “This has left a big hole in our hearts.”

Ozair Kadir “Irreplaceable to friends and family."

Muhammad Haziq Mohd-Tarmizi “A great young man" Abdukadir Elmi “My father survived through civil war."

Muse Nur Awale No comment made Mounir Guirgis Soliman “"A lovely man."

Ahmed Gamal Eldin Mohamed Abdel Ghany “A great man with the purest of hearts."

Osama Adnan Yousef Abukwaik “He couldn't stop telling me how hospitable the people are."

Zeeshan Raza “People are struggling to come to grips with what has happened.”

Credit: Information sourced from www.theguardian.com

‫ﻓﻲ ذﻛﺮى اﻟﻤﺤﺒﺔ ﻷوﻟﺌﻚ اﻟﺬﻳﻦ‬ ‫ﻓﻘﺪوا ﺣﻴﺎﺗﻬﻢ ﻣﺎرس اﻟﻤﺎﺿﻲ‬ Hei whakamaumahara i te aroha mo te hunga kua ngaro i a ratau a te Māehe kua hipa In memory of those who lost their lives last March

IN THIS ISSUE

LOSER PLATES Greer tells people to fuck off. On plates. Genius.

WRITING FOR A GRANT Actual assistance from someone who is in the midst of it. Look at that!

I AM EVERY WOMAN Not in a Whitney Houston way. A beautiful reflection on mirrors.

SUPPORT A LOCAL ARTIST How to make sure your starving artist pals don't starve.

HOW TO GIVE UP YOUR DAY JOB More solid advice. Jeez, this mag's got it all this month!

KAITIAKITANGA Part three of the series on artivism.

SYNESTHESIA Emma's story continues, colourfully.

KATHRYN ARMITAGE We talk to Kathryn about her photographic art.

POETRY PORTFOLIO A Sisterhood Collection

EVA'S SASS SECTION Monthly Moon Bullshit / Quiz / Opinions.... What else could you want?

I AM EVERY WOMAN Zara Collinson

Here I stand, a woman, in front of a mirror.

A mirror is a black hole.

Something so simple, so fragile, so one dimensional, creates endless dimensions inside the female mind. I look in the mirror and I see my hair. Today she is blonde and curly. Yesterday she was long and dark. Maybe tomorrow I’ll see white hairs on my temples, white hairs that speak more of my stresses than my age, and maybe by the next day they’ll be gone again, replaced by another haircut, around another face, that belongs to another woman.

Because I am a woman. I am every woman.

My skin is white, brown, black, and every colour in between. When I run my fingers over my face I feel the smoothness, the suppleness, but I also feel the acne and the eczema. I feel the imperfections that I didn’t see until I was told to see them. Sometimes when I touch my face there are tears, tears that cut tracks in my skin but also tears that are never cried, because they are thrown back in my face as a weakness. But I am every woman, and every woman’s sensitivity is her strength.

A mirror is a black hole and I am every woman that is lost inside its gaping jaws, every woman that loves or hates what she sees looking back at her. There is a sadness that sits with women at times, and it flows out of me through my words, my tears, my very breath. Mirrors do nothing but reflect to us the vessel we walk the world in, and it is a crime that we women are made to feel small in our most powerful forms.

I have the body of a woman and she walks every step that I take.

She has walked me through my childhood, through poverty, through trauma, through insecurity and through her own demonisation. My body as a temple they say, but what about my body as a curse? I am every woman and as every woman I walk a tightrope that has no end, each foot stepping in front of another over and over, my only options to continue this difficult journey, hoping for and end to come into sight, or to let myself fall into the unknown. In front of me walks a girl, because I am every girl and every woman is led into womanhood by the girl they once were. This girl looks back at me from time to time and I am confronted with her innocence. I see her struggling to pull me along, pushing forward against a litany of

of abuse and self-doubt and imposed insecurity, fear in her eyes and she pulls me into the adulthood I have come to know, because so many of my women must become themselves long before they are ready to let go of the hand of their girl.

Here I stand, a woman, under a ceiling of glass.

I feel the gaze of a thousand eyes peering down at me, squinting at me, scrutinizing my every move not as a human, but as a woman. I look up and I see the patent leather soles of countless black lace up shoes pacing up and down the glass, each step a reminder that despite constant efforts to assure me otherwise, I am seen as their inferior.

I am every woman and every woman knows the pain of shouting into silence, because we live in a world by women, of women, but not for women; and I am every woman that faces life and death to carve out her space in such hostility.

But what am I, if I am not a woman?

We live in a world where the whispers of influence turn into screams and my women spend their days with their ears ringing – who are they without their faith, their culture, their ethnicity; who are they when they are not mothers,

daughters, sisters and wives? To be a woman is to acknowledge a life of expectation, to feel its heavy hand resting on our shoulders at all times, feeling the whiplash of failure and the embrace of success.

To be a woman is to know that even with all that you are, there are those that will treat you as less. But my women are so much more than just women, they are brown and black and white and tall and short and skinny and curvy, they are young and old and wise and learning and I am every woman that sees these facets of identity as a strength, a weaving sense of self that creates the very essence of who we are, and the fact that we are all so different means the world can never get tired of my women. I am every woman and every woman is our past, our present, and our future.

Here I stand, a woman, in front of a mirror.

In that mirror I see all of the above, and I see that that is the world.

Because I am woman. I am every woman.

Feature art: The panel on the right signifies capitalism and the destructive notion of progress. The panel on the left is about consumerism and “wanting mind.” The centre panel is about our increasing fragility and the way we’ve become vulnerable to the state of the planet.

The work was a collaboration, @moomologist (Maisie) painted the figures and the talented @brianajamieson (Briana) painted the natural elements in the work from life.

GIULKA EDBUS

WRITING FOR A GRANT

I almost didn’t write this piece

because I was too busy applying for a grant.

When I realised how complicated applying for a grant is, I decided I wanted to write about it, because: 1.

Hopefully this will provide you with an insight of what applying for a grant actually entails, and will help you decide whether it’s worth your time and energy in case you were considering it; 2. You should all be aware of the pain I am going through.

WARNING:

The directions below refer specifically to the grant I am applying for, which is a bursary for emerging writers. The project I’m presenting is a novel, so some of

the documents I have to submit are specific to this. Also, I am by no means an expert: this is the first time I apply for a grant and at the time of writing I haven’t submitted my application yet. Hopefully by the time the July issue comes out I’ll be able to tell you whether I got it or not.

1. Be realistic about the grant you want to apply for.

There are a million different options out there and you want to be sure you funnel your time and energy into something that’s worth it and that you have a chance of actually winning.

2.

Write

a

list

of

all

the

documents you need to submit.

There will be A LOT. You don’t want to risk not winning a grant because you forgot to submit something.

Write. A. List.

3. Check what your application will be assessed on.

This will be something along the lines of: Is your idea strong and compelling enough? Is the project realistically achievable? Will the final product add to the creative scene? These are the aspects you want to emphasise throughout your application.

4. Write a cover letter.

This is likely the first thing that will be seen by whoever assesses your application. You want to SMASH

this. Get straight to the point: tell them what your project is and why it’s amazing. State your previous experience. Tell them what you want from them and what you can offer. Show that you can motivate yourself and stick to a schedule.

Prove that you can do this.

5. Put together a budget plan.

This was the hardest part for me.

Writers are so used to working for free that often times they have no idea how to value their work. Here’s how you should do it: calculate how many hours you want to work each day, how many days per week, and pay yourself $25 an hour. You read that right. YOU DESERVE TO BE PAID FAIRLY. Don’t be scared to ask for what might look like a lot of money. When putting together a budget, things to consider are: rent and basic needs, research (this might include travel costs), insurance, materials (say for an art project), design/editing/printing, marketing, possible employee wages (if you have other people working for you). You might also want to double check if you’re registered for GST as this will affect whether your budget is GST inclusive or exclusive.

masters, five years of experience and be under 22 years old. Being an emerging writer who is already published is a bit of an oxymoron, so you might need to get creative – for example, I put a lot of emphasis on the fact that I’ve worked in publishing for years and I am knowledgeable in the field, more than on the fact that I am not widely published.

8.

Present

samples

of

your

writing.

Ideally, these should be relevant to the project you are presenting. You can of course also submit previous examples of your writing to give an idea of your style, but you also want to show what you will be writing about as this will show whether your project is strong and relevant enough.

9. Write a book synopsis.

This is different from a blurb. The purpose of a book synopsis is not to intrigue the reader but to convince your audience that your project is strong and compelling and you know where you’re getting to. Don’t be afraid of spoiler alerts. You want to reveal what the main character’s secret is and how they manage to

6. Create a timeline.

save the world.

Be clear on when you will start your project and when you’re planning to finish it by. Be as specific as possible on when you’ll be working on what (don’t worry, this can be adjusted at a later stage). Your timeline should support your budget so use it to explain what your money will be going towards.

The more detailed the better.

10. Gather letters of support.

7. Prove that you are “successful

In fact, speak to as many people as possible. Show your face, ask questions, email whoever is responsible for assessing applications and schedule a meeting with them. Having a chat

in your field”.

In a way this is similar to when you apply for a job at an entry level and you are required to have three

Find people who are relevant in your local creative scene and ask them to write about how amazing you are. Guaranteed this will give your self-confidence a massive boost.

11. Speak to someone if you can.

with someone face to face will make a huge difference in how you will approach your application.

12. Find out how to format your material.

Before sending anything, make sure you know what formats are accepted as well as how your documents and support material should be attached to your application. Sounds silly, but you know what’s sillier? If you got rejected because of this.

13. Tell yourself you’re not gonna get it.

It’s best to jump into this with zero expectations (at least, that’s what I’m doing). This way, you won’t be disappointed! (I mean you still will.

But you know what I mean.)

14.

Spend

countless

hours

daydreaming about how much easier your life would be if you did get it.

I’m definitely also doing this. Cross your fingers real tight mates.

NO TRANSFERABLE SKILLS Searching for three months and still the hunt is on. 20% bother to reply, and out of those 90% are automated messages with an upbeat undertone of "you're special, but not our kind of special".

Putting yourself out on the meat market, writing and rewriting cover letters to match what the job is after, and knowing you could easily fit the bill. Is it because I mention I'm returning to work after being a stay-at-home mother? Because I had my own business? Or due to studying through an academy that isn't NZQA qualified?

It's a scary move wanting to change your job description.

Though shouldn't that provide a potential employer a person with confidence, the willingness to learn, and the drive to want to succeed?

The precedent of worldly knowledge is not sought after.

Nowadays it seems a square peg must fit in a square hole, a round peg must fit a round hole. So why can't putty be used to fill these holes? Wasn't it Gene Kranz who said "I suggest you gentlemen invent a way to put a square peg in a round hole. Rapidly." (Apollo 13) So wouldn't that mean thinking outside the box on your feet and using worldly knowledge to resolve

JESSIE WEBB

situations? Wouldn't across-theboard experience show that? In many of my cover letters I write at the end to meet me, give me the chance of an interview. But at over 200 applications I am no better than when I started.

When recruitment agencies state "You have no transferable skills" I wonder, did they read my resume?

Did they look through the hundreds of applications and actually read them, even though it's part of the job? Do they have favourites? Should I change my cover letter and resume to pink, give it that difference that will stick in their minds?

I had a job offer last year, I was so excited and relieved. It was perfect, I was willing to work over and above the job description. I wanted to show dedication. But verbal agreements don't mean anything anymore, even our Department of Social Development is aware of this happening, Job offers being given verbally, and then a few weeks down the track that position you were so happy to have is reneged, they offer it to someone else and leave you in the dust. Promises were made, you had the job in the bag and were waiting on the contract to be written.

That was last year's problem. This

year's problem is the hunt. Can you pavement pound for an administration job?

Before motherhood I worked in numerous areas of work, moving around NZ and learning and growing. A few hiccups along life's road gave me experience and wisdom not many encounter or have the ability to learn from.

Although having these experiences would and do enable me to think outside the box, they also enable me to work with dedication with sincerity and empathy.

But, how do you explain that in a cover letter? How do you explain that in a CV? It's all square-peground-hole, experience in the same industry for the same job in another company, job security is huge. Maybe I should change my cover letter to pink.

But can I have a job please? I promise I do have transferable skills, if you just read my CV.

Art: Colin McCormick

LOSER PLATES Greer Goldsack talks Loser Plates

How I came up with the idea.

Selling.

Some mates were moving up to the Bay of Plenty and I'd seen some plates for sale around town with witty sayings on them. I thought I could do my own with a more personal flavour as a leaving gift. Nek minute, Loser Plates was born.

I've got no clue how many I've sold. (what an astute businesswoman) hahaha. It's just a hobby. When my youngest started school I was kind of flailing. I didn't want a (proper) job so I started selling them at a pop-up market. I got a good response from them. Then I was contacted by the lovely Sheree at Swell Creative in Newtown and the awesome Jane at Jane Blackmore Studio/Gallery in Lyall Bay sells the majority of them. You can also purchase off my Facebook and Instagram pages.

Why I chose the name.

Me and my bestie often joke about what losers we are. I also took ages to get my full license. It was a kind of a "stick it to the man". Then I got all, shit I don't want to be on my restricted at 40. So it was a combo of being a loser and the L plates you have to display when you are learning to drive.

The process.

I love op shopping. So me trawling around looking for plates is my favourite pastime (loser)! Then I get inspo from all around for sayings.

Friends will send me stuff and I'll pick up ideas and rehash them to suit. I design them up on the computer, usually a plate will be perfect for one thing but maybe not another. Also a plate can give me an idea. My husband is a sign writer so once I've got a design ready I email it to him and he cuts it out on a plotter. Then he brings it home and I weed and stick them on. It's pretty much a sticker. They are super fun to make.

Why I love it.

I love that it doesn't take over my whole life, I can do a bit here and there. I also love that I can be home for my kids. Nothing about it is frustrating, it's all on my terms.

What I think of capitalism.

Not a fan!

Instagram and Facebook: @loserplates

MAISIE CHILTON TRESSLER Editor/poet for salty zine Interviewed by Ollie McCormick What

is

your

name/age/art

style/business?

Maisie Chilton Tressler. 28. I generally paint in oil but sometimes create prints or use watercolour. I also write poetry and edit the art/poetry zine Salty.

human experience. It’s important for holistic mental health to feel mirrored and art offers people that.

I’d say in a country in a mental health crisis we can’t afford to not invest in art.

Do

you

correlation If money wasn't an issue what

think

there

between

is

a

artist

poverty and artist education?

would you do with your time?

If money wasn’t an issue I’d absolutely just paint full time.

Without a doubt.

Should government funding be applied to the creative sector in NZ, why?

I’m currently in the process of applying for Creative NZ funding for my next exhibition, but to be honest if I hadn’t met someone from Creative NZ at the last exhibition I had work in, (Opportunity Arts Visits Parliament) I might not have even considered that as an option. Personally I don’t really hear about individual visual artists receiving funding and it feels like a bit of an unattainable thing.

If you think about taking a photo of a sunrise, and the way that the camera probably won’t quite capture the colours that you see, I think sometimes words are the same. They can miss nuances unless you’re an expert at using them. Art is communication for things that words can’t always capture, and it’s a global language which unites people in the shared

I actually didn’t go to art school, I went to teacher's college so that’s hard for me to speak to. My mother did go to art school and made a career out of art, but only by teaching art alongside her own practice. I was always passionate about art but chose not to study it because I didn’t think I could make a living that way. I also was keenly aware that as someone with a disability I faced a great deal of prejudice in the job world and as a young woman I wanted to make sure I could be financially independent with a “safe” qualification. Art seemed far too risky and because of they way people view me with a disability I knew I couldn’t fall back on typical day jobs like hospo etc. I’m having to make up for that now as there’s a lot to know about the practicality of operating as an artist that’s quite unavoidable and I’d have learned that stuff quicker and more efficiently at art school.

As an artist yourself how do you try and balance following your passion and living a comfortable, affordable lifestyle?

I have a day job. I’m a kindergarten teacher and so a great deal of the time I've been painting has been on top of full-time work.

Sometimes that becomes incredibly frustrating because you often can’t paint when you’re feeling inspired and by the time you get an opportunity you’re probably tired and not in the flow.

Also there's a lot of admin to selling art and sometimes my art to-do list on top of my day to day to-do list and my teaching to-do list all just becomes too much. I actually had to stop teaching for about four months last year due to a mental health crisis and am gradually working my way back up to full-time teaching again, but I have to say I’m anxious about how I’ll keep my current creative momentum up once I’m back fulltime without regressing mentally and emotionally. Art saved me during that period, it’s not something I can just drop or not do and still function emotionally, but it is still work and the reality is I get pushed into essentially working two jobs and even I’m not sure what the answer to that is yet!

Do you ever see it possible for yourself and other artists to be able to make a living based off their art form?

I think if I could set myself up with very low living costs somehow it could be possible and that’s something I’ll continue to try to work towards but it really relies on

a society that sees the value in art and understands why art making needs to be valued as any other paid work.

Why

do

doesn't

you see

think people

society in

the

creative sector as successful as, let's

say,

someone

in

the

financial sector?

I don’t think people understand that although we’re passionate about what we do it still requires a massive amount of work and specific skills that take time to develop. I sort of view society's view on art as similar to the predicament of teaching, in terms of being undervalued financially.

All the research shows it’s undeniable social value but because it has this rewarding nature and people say “I do it because I love it” people are like “Ok, well, you don’t need to be paid then.” I still have rent to pay, man!

Passion doesn’t buy kai.

The corporations that make half the other soulless shit you buy don’t even pay their employees fairly. Not to mention that that money probably won’t end up circulating your local economy.

Secondly, most people love art in some form. You’d be hard pressed to find someone who says art hasn’t contributed largely to their quality of life. Music and film are common examples of this yet people forget that if no one financially supports the arts, the art can’t be made.

Do you have any advice for aspiring artists or artists that are about to dive head first into the

there, you just have to keep going. I definitely have moments where I feel shitty for not being at the level of skill I want to be at but I’m better than I was a year ago and I’ll be even better in another year's time! On a more practical note, make it easy to start day to day. My paints probably haven’t left my kitchen table since 2017. The paints are organised into colour groups for quick starts and when I sit on my couch I can look up at whatever I’m painting.

Actually that’s sometimes how I figure out what’s not working in a painting. And just show up and start, it’s always the hardest part.

creative sector full time?

My mum always said that anyone can learn to paint, it’s not an innate talent it’s a learned skill. It was that idea that gave me the courage to finally start trying when she passed away. There’s no replacement for time, practice and work. You’ll get

Maisie

MIRANDA WOLF (RANDY) Local Wellington Artist Interviewed by Ollie McCormick What

is

your

name/age/art

style/business?

Do

you

think

correlation

there

between

is

a

artist

poverty and artist education?

My name is Randy, short for Miranda. I'm 31 years old and I am an artist of all trades. I do illustration, zines, sculpture, mural work and screen printing. I've been an artist all my life and I don't think I could ever work at a desk job. I went to art school at The Learning Connexion in 2016 and graduated last year. I also volunteer for Gender Minorities Aotearoa and am a tutor for Vic Design School. I also have depression and anxiety and ADHD. If money wasn't an issue what would you do with your time?

I would make art without having to worry about commission. I'd have a studio set up and collaborate with all my artist friends. I'd love to open a shop and sell zines and my screen printed patches and tshirts.

Should government funding be applied to the creative sector in NZ, why?

Oh definitely. It used to be a lot easier to get an 'artist benefit'.

Luckily I am an artist at Pablo's Art Studio and a lot of my projects are funded by them. Resene also helps with my mural work. Zinefest is also funded by Creative NZ, but it would be nicer if we had more funding so we could get paid for our time and have an HQ and everything.

A lot of poor artists have an education, which usually ends up in a lot of debt. I can't pay off this debt with regular clients and markets. I am very lucky to have a partner who supports me with a Regular Job™. I am currently looking for a Friday/Saturday job to fill the gaps. I think we are very lucky to live in a city that has a lot of culture and opportunities for artists – residencies, government funded mural opportunities for example. Also since Wellington is so small, I find 'networking' a lot easier.

As an artist yourself how do you try and balance following your passion, and living a comfortable and affordable lifestyle?

I have a husband who pays my rent. If I didn't have him, I'd be a bit boned. I do feel guilty, I would like to be able to contribute to rent. He makes too much for me to go on a benefit or have a community services card, which sucks. All of the money I make as an artist goes to our savings, which also sucks. I am also planning on going into more debt so I can buy a Surface or iPad. Do you ever see it possible for yourself and other artists to be able to make a living based off their art form?

Oh yeah, but it's so hard. There are so many hits and misses, clients who don't pay enough, clients who don't pay at all. I'm currently trying to build my online presence, which involves doing a lot of art for free to get myself out there, and I have 'sold out' as an illustrator, by drawing furry porn and fanart, and doing more 'hotel foyer paintings'. I really hope my connections and mural work get me more work.

Why

do

doesn't

you see

think people

society in

the

creative sector as successful as, let's

say,

someone

in

the

financial sector?

Honestly? I don't know. Art is forever. I don't get why some people roll their eyes when I say I'm an artist – I'm looking at you, dad. Maybe one day I'll be a millionaire if I get famous.

Especially with rich people buying paintings as an investment purposes. Tax write offs anyone?

Why do you think it is really important for locals to support their local artists?

Because we have a passion for the community and the beauty in the world. Supporting us makes the world a more beautiful place to be, for you and your children, your loved ones who need art therapy to heal, for local businesses who need branding and to look good.

GET INTO ZINES Advice for aspiring artists?

Get into zines. It's the most accessible art form and we need the zine community to grow. It's also a good way to put your art out into the world.

Supporting Local Artists BUY THEIR SHIT WEAR THEIR SHIT REVIEW THEIR SHIT LOVE THEIR SHIT ON SOCIAL MEDIA INVITE OTHER PEOPLE TO LIKE THEIR SHIT REPOST THEIR SHIT ON SOCIAL MEDIA BUY TICKETS TO LOCAL SHIT BY LOCAL PEOPLE COMMISSION THEM TO DO THE SHIT TAKE YOUR FRIENDS TO SEE LOCAL SHIT BY LOCAL PEOPLE VOLUNTEER AT THEIR SHIT WHEN THEY NEED HELP

Why? Because they ARE the shit!

Art: Colin McCormick

HOW TO GIVE UP YOUR DAY JOB...

Unfulfilled?

What are you passionate about?

Wishing the hours away in the office?

If you’re swapping the security of a salary for the unknown, make sure your soul sings for it.

Dreaming of being a starving artist?

Here’s some advice!

Are you good?

Do you have any qualifications?

Have other people told you you’re good?

It doesn’t really matter if you don’t but continuous improvement is worth thinking about. There are so many short courses available that can be done by distance or in the classroom.

Do you believe in yourself?

Talent + attitude can get you a long way.

How much time do you currently give to your passion?

You might love it but is there a market for it? Where? Who?

If it became your full-time occupation, would you still be passionate about it?

Our Wordsmith Kate thought people would go crazy for on-the-spot typewriter poetry, but it soon became apparent that people didn’t ‘get it’.

If not, best to keep it as a hobby.

Art: Colin McCormick

What is your unique selling point?

Are you eligible for a grant?

If it’s too out there, people won’t understand. If it’s too samey, you’ll have a lot of competition.

While the arts sector is terribly underfunded, there are some ways to get money to help. Check out our article earlier in the mag!

Do you have any people in your network who can give you opportunities?

Budget like crazy. How much do you get paid now?

Badger them. Get your name out there.

Show up to stuff. Tell people what you’re planning. Lay the groundwork. Even if you don’t go through with it full-time, you’ll have contacts who will know your skills.

How much do you spend? What could you realistically live on if your thing didn’t take off immediately?

Ask yourself if you’d be happy eating beans on toast for a few weeks, if you could sacrifice luxuries and shopping trips, or if you really can’t do without them.

Get a snappy name for your business.

Make sure you use it on social media platforms.

Can you, economically speaking, “survive” for a while rather than “thrive”?

Oh, and get yourself up to speed on social media. Facebook and Instagram are the big ones here in NZ and you need to be consistent. Post daily. It’s okay, there are apps you can use to help do a load at once!

Keep it all above board!

Think about it long and hard.

Register a business name and get a business number. Tell the IRD what’s going on and get a GST number if you think you’ll need one (if you’re going to earn over $60,000). Get an accountant or learn how to do your own accounts.

It’s not an easy decision. Everything changes. You’ll battle self-doubt, your work hours will definitely not be 9-5 (unless you’re incredibly good at time management) and life will be completely different. Is it worth it?

Art: Colin McCormick

K A I T I A K I T A N G A O F A R T I V I S M A N D M A U R I O R A WEAVING TOGETHER THE CONSCIOUSNESS OF PEOPLE AND PAPATUANUKU.

For parts one and two, see issues one and two!

3. Kaitiakitanga as a model to balance power towards reciprocal relationship – Whanaungatanga.

The relationship between love and power and its correlation to control and disconnection was sparked by discovering an anonymous quote. ‘He who loves the least has the most control.’ The relationship between love and power and its expression in culture and upon nature contributes to where we find ourselves today.

Carl Jung observed ‘Where love rules, there is no will to power and where power predominates, love is lacking. The one is the shadow of the other.’

This analysis is in alignment with Kaitaikitanga as it seeks to heal the rift between matter and spirit by acknowledging, ‘Western patriarchal civilization

has

Enlightenment constructed

dualisms and hierarchies that link women, non-human nature, and indigenous and third world cultures in a category of "subordinated Others", we have

omitted the spirit world from our consideration. Yet, by excising the spirit world from our world-view, we are disregarding numerous

diversity and its spiritual essence by denying the spiritual approaches we need to rebalance the relationship between love and

"others" whose agency and guidance actually affect our lives in powerful ways.’ (Orenstein 1990)

power as it expresses through interconnected cultural views versus meaningless utilisation and its impact on nature.

This is evident in the fact that Western science is late to the environmental protection party.

First Nations people have long pointed out that Western culture is an exploitative and disconnective culture that makes our society's values out of balance with nature. When I hear people say that humanity doesn't deserve to survive the crisis, this denies that there have been many First

The caveat is that in addition, we must continually be careful to avoid cultural appropriation resulting in distorting and diluting the necessary and natural diversity that is human culture and ecological expression.

Nations people who have not contributed to the imbalanced

to do their own journeying into the spiritual realm alongside us, this is

lifestyle we find ourselves in today.

This is not an issue of humanity’s

a principle of empowerment so that the spiritual power is in the

value but of a dominating cultural imbalance. This perception of humanity denies the diverse histories of global First Nations cultures and their religious practice as contributions to the earth's custodianship.

hands of the other should they choose to be invited rather than a hierarchical form of religious indoctrination.

Creating as Kaitiakitanga is being spiritual advocates and ecological artivists to engage our audiences

Without this re-entering into a

The importance of both being authentic in spiritual practice and action whilst encouraging the preservation of appropriate

spiritual/cultural practice we fail to acknowledge and encourage

cultural spiritual practice is key to quality practice of kaitiakitanga. As

Westerners, we tend to deny what is natural for Indigenous peoples, and that is, everything is spiritual.

There are four streams of spiritual knowledge that are available in a Kaitiakitanga artivist model for potential integration into creative action, that of the audience’s ability to access self-knowledge (empowerment), the kaitiaki’s ability to gain knowledge from the spiritual realm as reflection for potential integration (shamanism), the audience's access to cultural knowledge (especially indigenous cultural relationship to land) and if available the opportunity of gaining knowledge from the natural realm from a subjective experience (relationship with the land).

‘Where love rules, there is no will to power and where power predominates, love is lacking. The one is the shadow of the other.’

Jung (1943) The link between power and love concerns how to co-create a balanced relationship.

The power Jung is talking about is the power to unjustly influence and control our environment and others in it for our own individual benefit. The power to change the world and model it in the forms of hierarchies, the desire to care for some and not others, to lead a revolution based on superiority, the drive to be seen as significant comparative to others, to compete and take pride in our power, can be summed up as the desire for imbalance. This is the delineation between individualism versus the good of the collective, both human and non-human. The current generation pitched against the future generations.

The hierarchy of the self and the desire for the imbalance is the kind of controlling power Jung

HEIDI THRELFO

speaks of. questioning of power and its ability to blindly separate spirit from matter which is crucial for the kaitiaki to explore.

Just as the pākehā backed by the colonial establishment marched towards an imbalance of power; so too does this imbalance of power and partnership take hold interpersonally and professionally in Aotearoa today and in doing so reveals the focus and purpose of the Kaitiaki to rebalance.

Indigenious land rights are also the rights of all others. If the Country of First Nations had been respected, the world would have far less nuclear and fossil fuels to contend with. Farmers would not have been in drought from water mining. Indigenous struggle for land protection can no longer be viewed as isolated geographical choices. In a global economy these corporate and national thefts, mean future generations will struggle to survive. These issues cross geography and time.

all in Aotearoa today. In my view, this is why intuitive and spiritual practice marks the difference between current Western art approaches artivism.

and

Kaitiakitanga

As a manwhiri (guest) and a Kaitiaki, it is important that I use my intuition and my own seeking of spiritual knowledge without coming from an intention of ‘knowing best’ about the other, as this creates the very hierarchy that the model seeks to address.

The audience’s mana is paramount to the transformative integration of the knowledge that is sought within the artistic action. What is their intuition on the matter? What does their culture say about this experience? What meaning do they find, what can they see in their future? How does it relate to the Tangata Whenua and the future of Aotearoa and the global environment? All artivism invites these kinds of questions upon installation and community engagement.

The kaitiaki’s role is to examine the culturally-driven Western hierarchy of power and its schism between spirit and matter and nature and culture. In this way, it is paramount that Indigenous spiritual practice is acknowledged because for the Tangata Whēnua worldview, spirituality is inseparable from life.

Marsden Explains (as cited in Royal 1998) Mauri is ‘elemental energy derived from the realm of the Te Korekore out of which the stuff of the universe was created’. Mauri is the force of creation in all things.

There needs to be a constant consideration for restoring equality in positioning and avoiding the pitfalls of cultural, personal transference and inequalities of power. ‘Somehow we must come up with a balance in which we honor both non-Western cultures and ourselves for all that is beneficent, while constantly maintaining a critical position toward all forms of abuse of power.

(Orenstein n.d.)

This is the heart of my Kaitiaki

safe eco-spiritual T O Bpractice; E guardianship which preserves the It is crucial that I acknowledge and O N balance T I N ofUlove E D . . and . power, encourage any movementC towards allowing reciprocal relationship bringing the practice of between cultural creation and recognition of the mauri in SPIR I T U Aecological L CONN ECTIONS AS restoration. everything as the spiritual and T O L D B Y H E I D I T HRELFO cultural heart of the relationship to

/ˌsɪnɪsˈθiːzɪə/

noun PHYSIOLOGY•PSYCHOLOGYthe production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body.

SYNESTHESIA AN

Emma, what is art to you?

“Well, I want to draw things that I like but I can’t draw well. I can’t sing either but I love music. It’s a coping mechanism for me. I guess I use other people’s art as a way of coping with everything.”

Ollie mentions that Emma is amazing at Minecraft, creating incredible towns and houses for her village people (insert your own YMCA reference).

“I haven't been gaming much since I came back from hospital because I've actually been happier.

Whenever I try and be creative I find I can’t be. But when I’m not really trying, I do much better!”

INTERVIEW

-

KATE

SPENCER

“Oh, you are a smart cookie! Yes, I see colours. I see colours and images in different parts of my body. It’s how I understand my ‘inbetween pain’, the stuff that isn’t physical or emotional. I don’t visually see it, but I imagine it in my body clearly. Twice I told doctors what my CT scan results would be before I’d even had the CT. I’m more in tune with what’s going on inside me.”

I’m fascinated. I’ve studied some psychology and want to learn more.

it, but I don’t understand why they’re feeling that. For example, there was a lady outside the supermarket the other day. She looked tired, worn out. I was then indecisive in the supermarket and she was still there when I came out! I asked her if she was okay and she said ‘Thank you, it’s good to know other people care.’ She’d been waiting for husband whose car had broken down. It’s funny that I can notice emotions in others and ask them about it but can’t notice when I’m feeling lots of emotions.”

Does she see colours in people?

So how does she express herself?

“When I paint, I know I’m able to express it like that. It’s hard to describe in words, I need to get paint.”

“Oh, have I ever told you I have synesthesia? It’s when…”

“When I look at people it’s not necessarily synesthesia, I don’t think. It’s strange, when I see someone else I can read their feelings really easily. It’s so simple.

But I can’t read myself. Other people are written in English and I’m written in gibberish.

I tell her I know what it is.

In movies, if I see the emotion I feel

“Oh my goodness,” she exclaims.

Something Emma.

suddenly

clicks

in

I ask if she finds it easier to express herself in colour rather than through words.

“When you said that I got a feeling under my sternum like clouds dissipating.”

She stands up to show me what she means in gestures.

“I don’t understand which colours represent my emotions. It gets harder in the evenings, too. After all my habits, misdiagnoses, and mistreatment I know I need to make new habits. I want to paint to express myself. It makes sense!

Other people might find it interesting too.”

Ollie has tuned back in and asks: If maths equations were seen as more beautiful by society would you find it easier to fit it?

“Equations are like sentences that make more sense to me. Putting words into sentences feels bad to me,” she laughs.

And how has art helped with your mental health?

“I can talk about my anxiety as though it’s not part of me any more. After my most recent surgery, instead of me and anxiety in an abusive relationship, now she just comes to visit.”

Emma was down the road from where the Christchurch shootings happened. She vividly remembers helping a distraught woman.

“I said to her: ‘I’m not going to ask you if you’re okay.’ She grasped on to me, hyperventilating. I could see the pain. I’d never looked at someone’s eyes and understood so clearly what pain was. It was indescribably indescribable. I felt... I don’t know how I felt, I just knew that I felt. Myself and some others helped. She thanked us profusely. I wondered if what had been broken was fixable. She seemed strong but broken. It was one of the hardest things I’ve ever had to face. I’ve got goosebumps just talking about it.”

While Emma might not see her own pain and know how to deal with it, she certainly knows how to help others. Surely there’s a lesson there for all of us.

For help from Lifeline, call 0800 543 354 or free text 4357 (HELP).

Free call or text 1737 for 24/7 for support from trained counsellors.

KATHRYN ARMITAGE PHOTOGRAPHY Being

a

photographer

these

days is being able to get your name out. Word of mouth is so important.

You

can

market

yourself but it's really saturated out there. You have to find your niche.

Aside from the bread and butter work that photographers need to do – the boring stuff that brings in the money – I like communitybased work as well as getting out at 2am to look at the stars (and take pictures of them!)

One of my favourite projects was a portrait series that I did of the LGBT community. Portraiture work is different. You're bringing through the essence of a person – it's more than standing them still and taking a picture. People's personality's are so diverse – what works for one might not work for another. Are they a beach/forest/studio type?

What are they most comfortable with. The surroundings are crucial.

I've done a few weddings and the interesting, intriguing ones are my favourite. They change the style of what you get. I love finding out who they are as people and what their passions are. One groom I had was a biker so we had someone do a burnout behind them!

Gay weddings are always more fun.

I've never laughed so much as when I had with two ladies who were both hilarious. They were super relaxed and it showed in the pictures. There was no pressure and everything flowed beautifully.

There were so many special little moments that I was able to get – remember, you can't go back and redo a wedding!

I've been passionate about photography since I was 16 and the goal, ideally, is to go full-time with it. In a perfect world I'd be fully booked! But I'm still emerging and getting myself out there. People who have seen my work are booking me, which is great. I need to work on my website and Instagram – promotion is hard!

Like I said before, I love something that's going to benefit community building. The LGBT project I did was before and after shots of drag queens. I watched their process and saw the transformations from beginning to end. It took hours!

There was a phenomenal difference and the artistry behind it is astonishing.

When the exhibition was on, people were moved in their own ways. Photography is so subjective.

I was a little concerned when there were a group of homophobic men who came in and started laughing.

Luckily no one else was in the space while they were there. Later that day a woman came in and had an incredibly emotional response to the work. I was glad she had the opportunity to feel what she felt without worrying about judgment. I actually went and gave her a hug!

I want my work to resonate with people. I did a personal project where I featured in the pictures but didn't tell anyone or use any descriptions. I wanted them to respond in their own way. Doing that project also gave me a better understanding of what it's like to be in front of the camera. For me, it solidified the importance of making people comfortable with vulnerability.

While I still have to do part-time work on the side to keep the household running, I'm doing as much as I can with my passion. I've started doing product photography for a natural organic pet cream, of all things!

I'm really excited to see where this journey takes me and I'm so glad that after all my studies I can make it happen. I'm not averse to anything, I want to get creative!

WE’RE REDEFINING THE WORD “SISTERHOOD” ITSELF SISTERHOOD MAGAZINE

WANT

TO

KEEP

UP

TO

DATE

WITH

SISTERHOOD?

VISIT

OUR

STORE

AT

WWW.SISTERHOODNZ.COM/SHOP

POETRY A SISTERHOOD COLLECTION

R I A H #1

love will leave you Men will kill you Women dressed like cotton threaded queens in gold n' brass tastin' like salt skin and catholic guilt will kill you, too just in different, haunting ways like an endless and dead aired summer so stand tall (salted and wounded) pillar to pillar with the one of whom you Love Now equal to equal stitched together from the same sun-kissed teen to adult timeline bedsheet born outta the same star sides of the same coin maybe love won't leave maybe This Man won't kill you maybe the Next Woman isn't a liar these summer maybes ain't good for no one especially the likes of you they leave you dry and kill you, too

#2

Hand to my heart (don’t you promise?)

Hand your pocket (don’t you promise?)

Knife behind back – just in case (I cannot promise!) trust but not so much like turn tides of a tall heaven's grass a whispered secret that doesn't last these hot 3 months of a summer's worth of desperation

D E E Transposing: a song in two parts Part A

One key opens two doors, opposing each other, across a long corridor.

Each day, heart clashes with head, desire wrestles with logic, passion grapples with status.

Heart is spell-bound by the multicoloured door with its intricate carvings of mystic runes and mythical beasts.

Within, there is a room full of soft satins and velvet gowns and lace shawls.

Waiting to go dancing in the moon light and escape into the woods.

Head is absorbed by the monochrome door, with its flat panelled surface and sensible design.

Within, there is a room full of coarse cottons and stiff collars and charcoal grey suits.

Requiring to sit at a desk, and work to a deadline.

Each day head has won the battle, crushing desire with logic, overthrowing passion with status.

Today, I choose For it to be different.

"Fine”

Part B

Hang on a moment!

What did you just say at the end there?

Head battles with heart, head wins, heart loses?Just think about that for a moment.

Is head any different to heart?How would heart operate without head?

How would head survive without heart?

Aren’t you just battling with yourself?

If heart wins and head loses – then what?

You still lose.

You don’t win.

Stop battling!

Stop fighting!

Try loving.

If you called Plato a dick head, He might smile back in that neurodiverse way of his, And ask, what do you mean?

My penis is part of my body.

It doesn’t think – it not even part of my soul.

My rational soul is in my actual head.

My penis lower than even my gut desires.

Descartes proclaimed, ‘I think therefore I am.’

But if all I have left is thought, I am no more.

When that happens, please tell me you will cut the life support!

Let me die quickly and peacefully, and not suffer.

For if I am thought without body, There is no life.

If I am mind without experience, There is no point.

I think, I feel, I experience, I act, I move, I rest, I sleep, I wake, I eat, I shit, I kiss, I fuck, I see, I touch, I taste, I smell, I feel,

I am!

K A T E Why Is It So Hard?

why is it so hard love yourself to believe in to trust

to

yourself yourself

to be

the extraordinary human you know yourself to be? why do you not love and speak love and be love to yourself ?

YOU ARE WORTHY you are EXTRA EXTRA EXTRA extraordinary so why is so hard? why? ask yourself why every day ask yourself and every day love yourself a little more love yourself

until you extraordinary

Tend

Like a garden that needs tending I need

soft hands kind hands knowing hands space

I am the gardener who tends to his own garden in the space

in the desert oasis

I am the desert oasis tender mysterious necessary

himself

A N O N Y M O U S ART BY NECESSITY

Find love Discover the reason that demands you to breathe; See if it has spread to the depths of your soul; Confess to yourself whether you would perish if forbidden this passion.

Query the darkest hour of night In all its sincerity; Dig deep for your answer; And if the answer cries out in sanction; If you meet this solemn question with passion, then build your life in accordance to this necessity for as long as you live.

In even the humblest hours describe every thought that comes to mind, illustrate your belief in immeasurable beauty.

Describe this with absolute heart felt sincerity, and when you express yourself grasp that passion, free your mind, immerse yourself.

After all the best works of art have arisen out of necessity.

M A I S I E Life is reductive.

Every morning I wake up my fingers grasp at endless sheets of silk scrunching them down tightly into a trivial pocket probably that of a businessman or of ‘Cotton On’ jeans, too tight for any body to fit into.

A real feat of mans design simultaneously serving up your flesh like a rump steak with hollandaise, and punishing you for having one.

A steak, or a body. And, the pocket isn’t real either woman don’t need to carry things they just need to look good

You know it’s bad when you find yourself alone in the dark at night pouring spoonfuls of dry nutritional yeast into your mouth because even though you’re 27 and meet about 4 out of 5 of the recommended requirements of being an acceptable human being, you still don’t believe you deserve to eat

Whip me across the face with the side of your tailored suit jacket as you pass me by babe.

LISTEN, I just want to love without restraint.

Listen, that includes myself.

I tried to self-love but who needs roses when you can eat Turkish delight for breakfast, bathing in white powdery self-loathing.

Sugar is the worst kind of white powder because at least cocaine makes you thin.

Real life is when you lie in bed to listen to the rain pouring but all you can hear is your cat licking itself. and,

when you can no-longer tell the difference between genuine self-esteem and maladjusted coping mechanisms

Is there one? and, me trying to figure out if I can make your name rhyme with cunt.

I don’t want to need you I just want to want you and when did we decide that needing someone was romantic?

I’m always looking through binoculars backwards and this is the light that stains the back of my eyes

It’s there when I try to close them it starts when it starts.

Engrained by florescent hospital lights a frequency only woman see when we weren’t clear enough in saying “No” to exiting the womb.

Life’s cattle-prod.

God’s branding stick Eve really fucked up by succumbing to her temptations.

We are born but with strings attached.

You can fuck the puppet master but he still won’t give you your freedom he might just let you hold the spoon.

M A I S I E Two dead birds.

This morning I saw two dead birds on the street magenta and crimson everywhere I look.

I can arrange meetings with CEO’s and lead compelling, intelligent conversations with confidence but I can’t seem to fucking look you in the eye when we speak.

Eventually I’ll run out of things on your wall to make polite conversation about and have to look at you.

I’ve been thinking about how you can’t change the grain in wood no matter how deep you strip it down.

What happens when I strip you down?

My cheeks magenta and crimson sabotaging our pitiful attempts at hide and seek these eyes make love to every stranger in the street but not to you.

Magenta and crimson pōhutukawa petals embroider the spiderwebs encasing my car and I take peace in the knowledge that they have about as much right to be here as I do.

K A T I E

T H O M A S

Mother

She arrives, uninvited. No gentle reminder, no forewarning of her presence but unequivocal in her essence.

Painless at first, she invokes in me a familiarity of years past. Old feelings of comfort and warmth, enveloped in the timing of her arrival. The steady throb of her being gnaws at my body as the days tick by. “How long this time?” I ask, tenderly so as to not inflame her. I try not to take her lack of response as a bad thing and settle in for the ride.

It was in the middle of the night that I realised she had left. Barely an indication of her visit, just warm places where she had just been. A damp bedsheet, the lingering scent of her tracing its way from my room, through the hall and out the door into an eerily still, pre-dawn air. This was something new; I didn’t cry but fell back into sleep, my dreams multi-coloured and effervescent.

Days passed and I had already moved on. Normality of life overtaking her fleeting disruption. It was the third day it all became undone. Again, no warning but this time her presence filled with rage, pain and hate. She came and I felt her warmth between my legs, pulsating. I reached down inside and drew her scent up to my face. As violent as she had been, I felt comfort in her release and ran my fingers through her essence as a primal surge raged through me. I wanted to taste her, feel the viscosity of her seep through my teeth, roll to the back of my tongue and return to the place where it was birthed.

Her departure was staggered but calm. I watched her gather her belongings; the larger more obvious pieces first, followed by minute reminders that seemed to make their way into her bags without obvious command. The question hung heavy within my chest, throat clearing itself of any fluids as I struggled to say the words “when will you be back?”.

She turned from her position in the door well; what first appeared to me a smirk, softened into a smile and the creases of her eyes welled with gentle tears.

“Next month”, she said.

Sisterhood presents

Every m onth!

s ' a ev s s sa n o i t c e s

Monthly Moon BULLSHIT

 QUIZ!

Opinions you didn't ask for, and honestly, you probably don't need.

You can’t buy happiness, but you can buy pajamas, and that’s pretty close.

My mother has always been an advocate of pajamas. My little sister lived in pajamas until she started school and was forced to wear a uniform.

Mum treats herself to a new $30 nightie from the Warehouse once a year. When I broke up with my boyfriend of four year, she left on my bed a pair of blue flannelette pajamas with dogs on them for when I got off the plane.

I’m very privileged to earn enough and live in a place where special clothing to wear to bed is an affordable luxury. From the way the store smells to the feel of soft cotton on your skin, it’s a religious experience.

Mum, in her role as pajama advocate, has always informed me that when you’re feeling down, buying pajamas does wonders to cheer you up.

This is surprisingly true, and when I’m having a bad week and find myself, completely accidentally I swear, walking past a store with some disgustingly cute, ruffly, pastel coloured pajama set in the window, I usually don’t think twice.

Maybe I’ll donate a dollar to charity in exchange for a cloth bag. It’s self care, I reason.

I go home, put on the pajamas, and make a cup of tea. Immediately I feel a lot better, even if that was the last $27.50 in my bank account. It’s self care? It’s self care!

Arguably one of the best things about moving out of home is the way that I can genuinely do whatever I want, and my flatmates probably won’t give a fuck because they’re all off doing equally strange things in their own bedrooms.

Once, a flatmate of mine bought two advent calendars and opened them all at once. I walked in on another happily nibbling away at a whole wheel of brie as if it were a hamburger. Flatting is weird.

I can arrive home at 2pm, put on my seventeenth pajamas and make banana and marmite muffins, and it won’t be the weirdest thing any of us will do that day.

And so, tea in hand, new pajamas on, door shut, I forget about the world and go back to bed. It’s 3:24pm, and it’s been a long day.

MONTHLY MOON BULLSHIT

Aquarius: The earth spins whether you like it or not, Aquarius, so like it or lump it.

Gemini: When the bird cries and the wind is in the north, you'll remove the rose-tinted glasses and see it for what it is, Gemini.

Aries: One small step for man.

One drop in the puddle. One hay in the needlestack. You're making a difference, Aries, although it might not feel like it.

Keep recycling your takeaway containers. Every little helps.

Taurus: At the end of the day, do you hang your clothes on a chair? Do you fold them? Do you throw them into the laundry basket? Think about how you treat people when you're done with them, too. Even the stinky socks might be useful when clean.

Cancer: On your supermarket shop, DO NOT speak to the man in red. He's only out for your yams.

Leo:Â If you haven't learned to sew on a button, literally what are you doing with your life? Do better.

An astrological prediction of your future as told by Eva Charles.

Admittedly, someone who knows nothing about astrology.

Virgo: Knowing your mind is sexy, Virgo, but sometimes so is asking for help. Think of all the opportunities to bond.

Libra: So many things to do before the end of the month.

Prioritise mental health and let them slide? Or prioritise mental health and get them done?

Hmm. A quandary.

Scorpio: Going round in circles in your life? Join an art class.

Draw nothing but circles. SO many circles you go mad. Then you'll be sorry.

Sagittarius: You like the rain, Sagittarius, but stop shying away from the sun. People are going to start thinking you're a vampire, or a mole, or an overripe fig.

Capricorn: Beware the rise of the tide this month, Capricorn.

Go back to your roots. Your old school, a favourite cafe, your high school best friend. Ground yourself, and then remember why you left.

Pisces: I love what you've done with your hair, Pisces. Don't forget to pass on the compliment.

WE’RE REDEFINING THE WORD “SISTERHOOD” ITSELF SISTERHOOD MAGAZINE

WANT

TO

BE

DO

NEXT

MONTHS

QUIZ

OR

HOROSCOPE?

SEND

SUBMISSIONS

TO

OLLIE@SISTERHOODNZ.COM

QUIZ TIME, BITCHES*! *that's all of you, regardless of gender 1. Which New Zealand supermarket chain has the most stores?

a) New World b) Countdown c) Four Square d) Pak'nSave

2. What year was the New Zealand dollar introduced to replace the British pound?

a) 1980 b) 1974 c) 1967 d) 1948

3. Rank these countries by GDP per capita:

a) China b) Japan c) Germany d) United States

4. What made diamonds popular?

a) The discovery of them in Egyptian tombs b) Queen Victoria c) A De Beers (a mining company) marketing campaign in the 1940s d) The Romans used them in jewellery

5. What is the name of the Greek king who gained the power to turn everything he touched to gold?

a) Plutos b) Hermes c) Menelaus d) Midas

sadiM )d( .5 !)c( yltsom ,ylgnisirprus tub ,)d( dna )c( fo obmoC .4 .)noillirt 00.4 :PDG( :ynamreG ,)noillirt 79.4 :PDG( :napaJ ,)noillirt 4.31 :PDG( anihC ,)noillirt 94.02 :PDG( setatS detinU  )b( .3 .dnuop eno ot srallod owt fo etar a ta ,7691 )c( .2 .snwot llams ni yltsom ,serots 082 – erauqS ruoF )c( .1 :srewsnA

KATE SPENCER FRINGE BAR 7PM

MARCH 4TH-8TH

SARA & JORDAN THE POWWOW ROOMS 6PM

MARCH 14TH-17TH

HUGO GRRRL BATS THEATRE 6:30PM

MARCH 17TH-21ST

W.F.P.C Join The Wellington Feminist Poetry Club in 2020 as the nerdiest kids in school deliver you a whip-smart and biting night of spoken word poetry. The capital’s sharpest literary students will be taking the podium with moving, lyrical and even comedic stories of modern girlhood, queer resistance, or anything they damn well please! The curriculum is enticing, the reading list is moreish and the homework, nonexistent. It’s the most entertaining extracurricular activity about.

Just $5 - $10, sliding scale.

FRINGE BAR 7:30PM MARCH 26TH

thank you!

I DONUT KNOW WHAT I WOULD HAVE DONE WITHOUT YOU

KATA KOMICS KATE SPENCER OLLIE MCCORMICK EMMA MCCORMICK COLIN MCCORMICK ZARA COLLINSON GIULKA EDBUS JESSIE WEBB EMILY DEMPSEY MAISIE CHILTON TRESSLER RANDY HEIDI THRELFO KATHRYN ARMITAGE RIAH DAWSON TANYA PUTTHAPIPAT DEE KATIE THOMAS EVA CHARLES BE ALARMED ABOUT PRINT ADOBE CANVA

WE’RE REDEFINING THE WORD “SISTERHOOD” ITSELF SISTERHOOD MAGAZINE

WANT

TO

KEEP

UP

TO

DATE

WITH

SISTERHOOD?

VISIT

OUR

STORE

AT

WWW.SISTERHOODNZ.COM/SHOP

Sisterhood – Poutō-te-rangi 2020 Made from 100% sustainably sourced materials