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NZ’S LEADING INDIGENOUS LIFESTYLE MAGAZINE

For allsorts of people

For allsorts of people

MAR/APRIL 2012 - ISSUE 122

TŪ T ŪM MA MAI AI | Ma May May a / Ju JJun June un une ne 2 20 2011 011 0 01 1

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COVER _ Body Paint Artist Yolanda Bartram Photo _ Bret Lucus FSTOP Studios

Rosina Hauiti Rosina has long contributed to TŪ MAI magazine, as well as other mainstream papers including the NZ Herald on issues of controversy. Rosina’s passion for writing and portraying an alternative perspective is also evident in a number of documentaries she has written for and directed.

CONTRIBUTORS

James Johnston (Ngāti Porou) James is Chariman of Partners and heads the Commercial Team of Rainey Collins Lawyers. James has been a Partner since January 1994 and is former Chair of the New Zealand Law Foundation.

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Editorial A

s winter makes its presence felt, the Year of the Dragon is well on its snaking way into our 2012 lives. For Dragon-istas, the year of apparent good fortune is due to expire February 2013 and won’t reappear until another 12 years (in 2024) have passed. Perhaps seizing opportunities with haste is in order. Our cover girl is as close to being our Dragon as possible. There is something about the mystique of dragons or taking on personas, and in this instance she has been skilfully body painted – emblazoned with our iconic fern – striking a mesmeric pose. For us, she ticks off artistic beauty, modernism, national pride … and we are prepared to wait a little for the luck. Waikato Tainui have a saying: ‘A taniwha on every bend of the Waikato river.’ (He Piko; He Taniwha.) For Māoridom ‘taniwha’ conjures up the existence of lurking serpent and dragon types (despite never being seen by the naked eye). So belief in Dragon culture is not an entirely foreign concept to Māori.

Lani Lopez Lani has a passion for natural health; she graduated as a Naturopath with an Advanced Diploma in Natural Medicine (South Pacific College of Natural Therapeutics) and gained a BHSc (Health Science degree) from Charles Stuart University, Sydney.

In contemporary life, Facebook has to be a new taniwha – given it has infiltrated and trailed itself around the world and into the homes and lives of millions. And like any taniwha, Facebook has both good and bad qualities. We believe mostly good for the simple fact that it facilitates communication like never before, and is not prejudiced against race, age or gender – that repugnant trait lies firmly in the weak heads of humans who resort to it.

Marama Davidson (Auckland) Montess Hughes (Wellington) Paul Feenstra (Wellington)

More by being in the ‘zodiac zone’ than by coincidence? TU MAI’ s first RFF (Random Facebook Friend) is LA-based, Wong Chuksingh. As one of our 4500 friends on Facebook, he was randomly chosen to profile and tells an interesting tale of his Ngapuhi roots, as well as his life now as a musician in Tinsel Town.

Production Editor Helen Courtney Design Sheree Bridge, Design Doer Ltd sheree@designdoer.co.nz

TŪ MAI | Mar/April 2012

In the political realm, our Chinese Dragons and Deals feature on page 22 backgrounds what is looking like increased Chinese involvement in the acquisition of NZ Government-owned assets, otherwise known as ‘Ours’. One thing is certain, appreciating and respecting any other culture is made more credible by first understanding one’s own, not only our unique celebrations and wonderfully positive cultural traits, but also the foibles that we all have in common.

For allsorts of people


Contents • • •

Click on an image below to view the article. Keep an eye out for website links and video clip icons throughout. You can join us on Twitter, Facebook or email us using the icons at the bottom of the page.

MUSIC CLIPS

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TOI IHO

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KAHUKIWA ART

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DRAGONS & DEALS

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FACEBOOK FRIEND

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BODY ART

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THEATRE TIME

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NGAWAIATA

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DUNEDIN FASH

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Published by TŪ MAI Media Plus Ltd, TŪ MAI is the ONLY Indigenous Lifestyle Onlinemagazine published in New Zealand.

All previous Online editions are available FREE at www.tumai.co.nz A Level 5, 35 -37 Victoria St, PO Box Wellington 6149 P 04 473 0557 F 04 473 0558 E info@tumai.co.nz All material within TŪ MAI is copyrighted and not available for reproduction without permission.

For allsorts of people

TŪ MAI | Mar/April 2012

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MUST WATCH on Māori Tele T

he stars of a new series entitled Songs from the Inside are not the impressive line up of talented musicians (pictured above) Anika Moa, Warren Maxwell, Maisey Rika and Ruia Aperahama, but the inmates with whom they worked – and by whom the viewer will be enthralled.

as its uncompromising surroundings. Once inside the prisons, the cameras rolled. “We knew we would face barriers,” he says. “But none of us could have predicted what would emerge when those walls finally came down.”

Add to the mix, a quality production and footage as raw as one would expect of a prison environment, and you have a series that is compelling viewing and likely to fit in with the mainstream broadcasters as well.

Music therapy is used in prisons throughout the world, but Songs from the Inside is the first production to bring in established musicians and record the workshops, challenges and outcomes on film.

Filmed in 2011, Anika Moa paired with Maisey Rika to teach song writing to prisoners at Arohata Women’s Prison at Tawa just north of Wellington. On the other side of the Hutt Valley, Warren Maxwell and Ruia Aperahama spent weeks at Rimutaka Prison working with selected inmates to produce much more than song writing.

Once the Department of Corrections gave the goahead for the project, the producers worked with the department on matters of privacy, protocol and safety. All participating prisoners were minimum or medium security; none were sexual offenders or had committed crimes against people under the age of 18; and none received monetary payment. The prisoners also had to agree to be identified on camera – their songs and lives exposed to public scrutiny.

Songs from the Inside is gritty and thought provoking; it premiers Sunday 18 March at 8.00pm on Māori Television. The series covers the ten weeks and follows ten prisoners on a step-by-step music programme developed by Evan Rhys Davies – a pilot programme he had tutored at Spring Hill Corrections Facility in the Waikato.

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Tama, at Rimutaka Prison, says: “I know people will judge me. I was a disgrace, blinded by drugs and stupidity, anger and violence. My fists did my talking. Karma. I deserved what came to me. I deserve it.”

Each episode reveals a little more of the human story behind the prison statistic, ending with a thirteenth, hour-long special in which the songs the prisoners wrote, sang and recorded will be revealed. The viewer can connect with the sadness as well as the elation, while musing about what type of the crime each inmate has committed; some share this with blunt honesty.

Maisey Rika says she was shaken, inspired and humbled by the experience. “At the end of the day they are going to be out among us and before that I’d rather they be around something positive rather than negative. “That’s what we’re giving them – tools in music, tools in writing, tools in therapy. Write it out. Don’t lash out.”

Director Julian Arahanga (Once Were Warriors, Nig Heke) says it was crucial that Songs from the Inside was as real

Songs from the Inside screens on Sundays at 8.00pm from 18 March to 10 June 2012. ■

TŪ MAI | Mar/April 2012

For allsorts of people


For allsortss of people

T的 T 的 MAI MA | Mar/April 2012 MA

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E tu whānau

S

usan Shingleton is a health worker, a mother and grandmother. She and her siblings were deeply and positively affected by their mother’s strong sense of whānaungatanga, values steeped in Māori tradition, which Susan and her siblings have actively and deliberately sought to maintain and pass onto their children. Susan’s mother, Evelyn Shingleton (nee Tahuaroa also known as Watson), was born in 1922, the second youngest of 21 children. She passed away in 2001. Her hapū on her father’s side is Puketapu and her mother’s; Ngāti Turangapeke, Te Atiawa, Ngāti Rārua are her iwi. Evelyn’s family lived as part of a wider whānau and hapu on Anapawa Island in the Marlborough Sounds where they farmed and often harvested kai moana (seafood). She was schooled on the island then moved to Wellington to attend high school. Susan says colonisation impacted less on her mother and her siblings than her generation because they owned and farmed their own land, and as a result were more self sufficient and independent. A large Māori family who did not drink alcohol or smoke cigarettes was largely unheard of in 20th century Aotearoa. According to Evelyn “…it was a traditional whānau and hapu upbringing for mum, where families were well looked after and the children treated wonderfully, with great love and kindness.” Farms and gardens were worked on collectively, health and wellbeing was paramount. The practising of rongoa

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TŪ MAI | Mar/April 2012

(traditional Māori remedies) and caring for each other’s children was also shared. Susan’s grandfather acted as midwife for the birth of all his own children, as well as others on the island. Her mother Evelyn was living in Wellington when she had her children, but Susan says she always lamented not going home to Anapawa to give birth. “It was upsetting for mum to have to give birth in a hospital. She said the birth of a child was very important and that children should be brought into the world with chants and karakia to keep them safe, so she felt hospital was an unsafe place for her and her babies.” For many Māori growing up in the 1920s, it was a time when being punished for speaking te reo Māori was commonplace, as well as living in substandard housing. But for Evelyn Shingleton and her siblings, they lived a very different life by comparison. “It was a world that as a Māori woman, mum was well respected; she was confident and had high self esteem. She was also active and interested in Māori culture and Māori generally. In turn, we grew up being proud of being Māori, wanting to be successful in life and to be good at anything we wanted to achieve,” says Susan. But Susan also became aware that other Māori children of her time didn’t share her view of the world or her aspirations for life. An effect she believes to be the result of colonisation, made worse for Māori from rural areas struggling to cope with finding work and surviving in the city. “Mum was always proud that her father was a farmer, owned his land, and had quality of life.”

For allsorts of people


Susan hopes she has imparted the same sense of pride in her own children. “We’ve worked hard to retain the importance of striving to succeed in anything we want to do.” She also believes such traits and values are important qualities that Māori have always attained, as evidenced in stories handed down from tipuna for many generations. “We still eat traditional kai like paua, kina, crayfish and wild game that we go out and get ourselves. Our parents are gone but we try to maintain our connection to land and to sea, and gathering and eating this kind of kai is one way of doing it.” Susan also maintains close contact with her marae; she is proud that her two sons speak te reo Māori to maintain a voice on their marae. “My siblings and I agreed that while our children were young, we would try and live close to each other so our children would know each other and grow up together. Susan says she is concerned so many Māori are scattered around New Zealand and throughout the world. “For our family, we’ve accepted a responsibility to keep our family together and we do this by having a monthly ‘kids’ night.’ Well that’s what the kids call it – an allocated special time with their cousins.” Back in Arapawa, Susan feels very fortunate to know her family still have the home her mother and siblings grew up in and where her cousins now reside. “We still have our urupa; I go home every couple of months to maintain our connection to our marae and the island, and remind our family we are still there.” ■

For allsorts of people

TŪ MAI | Mar/April 2012

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MANA IS GROWN BY CARING FOR AND NURTURING OTHERS, MANAAKI


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MUSIC | TOP TEN

Top 10 Music Clicks What's the point of an e-magazine if you're not using all the bells and whistles? Word alone music reviews go so far but video clips go a heck of a lot further. Enjoy our Top 10 this month ...

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Whitney Houston Exhale

Ahomairangi Kei Konei Ra

http://www.youtube.com/watch?v=NGU8BJ6qM sk&feature=related

http://www.youtube.com/watch?v=TCi9dyrD KJo&feature=related

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2 Ben Taiki Best Cook Island Ukulele Solo

Kimie Miner Is This Love

http://www.youtube.com/watch?v=epCyzhaRYD Y&feature=share

http://www.youtube.com/ watch?v=CXOmKCwZjYo

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3 Merenia Gillies & The Way Sunset Gold

TJ Sun Goes Down Freestyle

http://www.youtube.com/watch?v=01CGSkCen RM&feature=related

http://www.youtube.com/watch?v=TLlPCcqB Odg&feature=related

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9

Pieter T My Baby

Te Awhina Kaiwai-Wanikau Tiaho Mai

http://www.youtube.com/watch?v=C2zDHKNy_ BA&feature=related

http://www.youtube.com/watch?v=2bJR2ELZ s0s&feature=related

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Fortafy & J Williams ft. Swiss / Emily Williams Amazing

Tiki and Sambora Come Fly With Me

http://www.youtube.com/watch?v=yTN9R0xPrn g&feature=related

http://www.youtube.com/watch?v=u54evZD pJOA&feature=related

T的 MAI | Mar/April 2012

For allsorts of people


FEATURE : SIX60 | MUSIC

Feature Six60 - Only to be Massive Entertainment Ltd http://six60.bandcamp.com/track/only-to-be Website: http://www.six60.co.nz/ Facebook: http://www.facebook.com/Six60

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here is no denying the Six60 sound is a fresh Kiwi synthesis of roots, reggae, soulful rock and dub step. The highly anticipated debut album released in October of 2011 finds the band bonding over a shared love of NZ music and passion for making their own. Formed after meeting at a Kora concert in 2006, the three original members were University of Otago students and spent countless hours developing original material in their home recording studio at 660 Castle Street, Dunedin. They released their debut self-titled EP in 2009 and in 2012, they're one of NZ's biggest Generation Y bands with 75,000 Facebook fans, a knack for selling out live shows on their regular tours of NZ and Australia, two platinum-selling singles in Rise Up 2.0 and Don't Forget Your Roots. With three nominations for the 2011 NZ Music Awards, Six60 are about to embark on their first ‘world tour’. But first up is New Zealand then Australia, the UK finally America. ■

Six60 band members

For allsorts of people

TŪ MAI | Mar/April 2012

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LEGAL | CAUGHT WITHOUT COVER Click to view website

James Johnston is a Partner with Rainey Collins Lawyers. Rainey Collins is based in Wellington looking after a range of clients across New Zealand. Comments to jjohnston@raineycollins.co.nz or follow us on Twitter @RaineyCollins For further articles please visit www.raineycollins.co.nz PO Box 689, Wellington, or 0800 RCW LAW (0800 733 424).

Caught without Cover "I didn’t know I had to tell my insurance company that..." Regular contributor and lawyer James Johnston highlights some points regarding insurance cover that you may need to know.

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an recently had a nose-to-tail car accident, where he rear-ended another car causing major damage to his car and the car in front. Dan thought, “No big deal, it’ll be covered by my insurance,” and exchanged insurance details with the other driver. However, when it came to making his claim, Dan was shocked when it was declined. Dan was faced with not only having to pay to fix his car … but also for the other car! The problem was that Dan had received a speeding ticket the previous year and had not told his insurance company when his policy came up for renewal. According to the insurance company Dan had failed to disclose this relevant event. Dan had no idea that that was something he should have disclosed. The claim was declined for ‘non-disclosure’. Many of us are unaware of the many fishhooks when it comes to giving information to insurance companies. This covers all sorts of insurance and not just for your motor vehicle. To help out we have prepared a list of tips to help to ensure you don’t lose the valuable protection that insurance is supposed to provide. Never give false or incorrect information to an insurance company. Always provide the insurer with any information that you think may affect its decision to insure you. This is otherwise known as all material information. There is no distinction under the law between innocent or deliberate non-disclosure. All that matters is that you didn’t tell them, and you should have.

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TŪ MAI | Mar/April 2012

For allsorts of people


If you don’t think something is relevant or you are unsure, tell them anyway. It is better to over-disclose than under-disclose. You have a duty of disclosure, which means they don’t even necessarily have to ask you. Disclose new material information when you renew. Companies ask a whole raft of questions when you first sign up for a policy. Your duty to disclose goes further than that list. When renewing your policy, tell the company anything that has happened in the last year, which could affect the renewal of the policy. As in Dan’s case, for car insurance, this could be something like a speeding ticket, or something more severe like a drink driving conviction. In the case of health insurance, income protection and life insurance … you also have to tell the insurance company about anything that happens between you making the application and the insurance cover beginning. This can be as simple as mentioning a doctor’s visit, or something more serious like developing a health problem. Keep a copy of your answers to questions, and a note of everything else you disclose. Remember to also record the date, and to whom you spoke. Then store that information with your policy documents to help reduce the risk of any problems in the future. If you don’t disclose everything material to your insurance company, your insurance policy can be avoided (ie. treated like it never existed). This can affect other claims that you may have made under the policy and your ability to obtain insurance in the future. The insurance company can even seek a refund on any money it has paid out to you for other earlier claims, as the policy is treated like it never existed! The consequences of non-disclosure can be devastating. So make sure you tell the insurance company everything you think could be relevant when you sign up to a policy, however minor. Ensure that when you are renewing your policy, you tell your insurance company if any of your circumstances have changed. To ensure that you are never caught without cover, we recommend telling the insurance company about your speeding ticket or other relevant event at the time it happens, rather than waiting for renewal. It is better to be safe than sorry! ■

For allsorts of people

Giveaway Fashion hosiery designers, Iwi Creations, have developed a designer range of hosiery that reflects their long association with Māori visual arts. TU MAI has two pairs to give away, on a first in first served basis! Be the first viewer to email editor@ tumai.co.nz with the names of each of the three founders of Iwi Creations! (ref: www.iwicreations.com)

visit site

TŪ MAI | Mar/April 2012

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Carin Wilson at work

Toi Iho closer to new roll out T

where we have to be commercially viable and work with those who currently carry the cultural collateral to help provide that dimension to NZ Inc.”

IKI – the entity charged with managing toi iho: the Māori trademark of quality and authenticity is a step closer to accrediting qualifying users after board members met at Te Putahi a Toi, the School of Māori Studies, Massey University last month. TIKI board member, artist/designer, Jacob Scott, described the alignment of the toi iho discussions with comments by the Minister of Māori Affairs, Hon Dr Pita Sharples’ on the review of the Māori contribution to NZ Inc. the very next day as: “perfect timing, we’re clearly on the same page and toi iho as an established Māori trademark for authentic quality arts, culture and design is well positioned to contribute to the move forward.” Charged with leading TIKI’s strategic plan, Scott says the ten year-old trademark that used to sit under the umbrella of Creative NZ, now has the opportunity to revisit its goals and clarify its philosophy, criteria and purpose. “The world has changed; toi iho has to be able to interface internationally; toi iho needs to be in a space

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TŪ MAI | Mar/April 2012

While details of the government-led NZ Inc initiative are not yet clear, in addressing the Wellington launch of the Māori contribution to NZ Inc, Dr Sharples said: “Overseas markets, and international visitors to New Zealand, are increasingly receptive to the cultural distinctiveness inherent in indigenous products and services. Māori goods and services are unique. Not just in the design or the materials but also in the way we do business. We are in a new era of business and people today want to know the story behind their product – they want to know its whakapapa (heritage).” For fellow TIKI board member and accomplished artist/designer, w, Dr Sharple’s statements were much appreciated; claiming recognition of the Māori art form in New Zealand has never been adequate. “Arts funding in New Zealand has been unfairly

For allsorts of people


Right now we are looking for artists & stockists interested in becoming a part of the Toi Iho™ community.

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For allsorts of people

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There’s a self-congratulatory flavour to mainstream ‘designer-speak’

affairs that inevitably lacks cultural depth. The thin justification for this is typically couched in the patter that design is an international language, but I believe the soft focus offered reflects an underlying insecurity to look beyond a superficial parading of project outputs.

apportioned to individuals outside the Māori art form; toi iho should have equality in this area because toi iho is a vital vehicle for the indigenous art form both here and internationally.” Under TIKI management, Wilson sees one of the tasks as seizing the opportunity to influence other mainstream entities so they give the Māori art form the recognition it has always deserved. “There has been a clear tendency to follow a line that is deeply embedded in giving unequal support to mainstream groups. Those engaged in art practices, I would typify as embodying a 'heritage of design' language, that is not anchored in the Māori art form. This long standing bias in support has its origins well beyond these shores in the northern hemisphere and is subsequently endorsed in the core of the programmes in design schools.” Wilson sees TIKI’s massaging of relationships with other professional bodies as “…potentially fruitful, we can persuade them to start looking outside their own fences, understand and move towards a national language of design that explores the ground beyond the narrow programme content of the tertiary institutes.” She added, “There’s a self-congratulatory flavour to mainstream ‘designer-speak’ affairs that inevitably lacks cultural depth. The thin justification for this is typically couched in the patter that design is an international language, but I believe the soft focus offered reflects an underlying insecurity to look beyond a superficial parading of project outputs.” Wilson who has been a member of DINZ (Designers Institute of New Zealand) for some time and suggests it could benefit from relationships that TIKI can offer to

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TŪ MAI | Mar/April 2012

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make it more relevant. “There’s a proverb that says, ‘Sometimes you need to use a big stick to make a donkey understand,’ and in a community of interest where there is significant common ground, I believe we have reached the point where we need to wave it around.” Professor Sandy Adsett and musician and singer Moana Maniapoto, who both have vast experience in international and indigenous activities, are also TIKI Board members and agree that they see great possibilities for toi iho artists in world forums. Identifying the upper echelon of Māori artists who will have to prove their whakapapa (heritage) to qualify their authenticity and high quality of work to use the toi iho trademark, will largely be the responsibility TIKI ‘s assessment panel, led by Professor Robert Jahnke. He says there will be strict guidelines around the qualifying criteria for artworks, but the scope of application was relatively broad and would encompass the visual, performance, music, drama and literary arts. TIKI Trustee and Chair, Elizabeth Ellis, says the progress made since negotiating the management of toi iho with Creative NZ in 2010 has been steady and significant considering the circumstances. “Members of the TIKI Board are working voluntarily with little budget, but it’s great to have our website up so people now have a reference point and an idea of who we are, and what we’ve been doing. “I am as committed to toi iho as I was when we began developing the concept in 1995; toi iho remains a brilliant and unique initiative for Māori. It has mana of its own and fits the cultural model referred to by Hon Dr Pita Sharples.” ■

For allsorts of people


Greenstone Adze Jerseys Popular A

t a recent launch of exclusive Vodafone Warriors jerseys, Canterbury of New Zealand has proudly coined its 2012 Heritage Jersey, ‘Te Toki Pounamu’ (The Greenstone Adze). Specifically designed with the club, supporters and players in mind, the jerseys have proved hugely popular, almost selling out in the first week. Colin Gibson, Canterbury of New Zealand Marketing and Sponsorship Manager said his company was privileged to have worked with designer Dave Burke in the formation of the one-off jersey, with guidance from kaumatua and cultural advisor Luke Crawford. “The concept behind the design and the deeper meaning it represents for players, the club and supporters make us extremely proud to be part of the Vodafone Warriors Culture,” said Gibson. According to the the media release the pounamu (greenstone) was a renowned precious stone worn by many to connect to their whenua (land) and their whānau (family). The toki (adze) was a weapon used for both ceremonial and functional purposes; it consists of a hard wood handle with greenstone blade attached to it; a toki is usually carried by those who possess mana (standing) and kaha (strength) – qualities often found in toa (warriors). Steeped in the important foundations of whānau and whenua (family and land) the Māori axiom altered to accompany the jersey is Ma te whānau, ma te whenua, mate ai te toa which translated means ‘For land and family, the warrior will do his all.’ Vodafone Warriors head coach Brian McClennan said the players and coaching staff are highly impressed. “The expertise, care and effort that has gone into designing the jersey for our club is remarkable. We will be honoured and proud to take the field in Te Toki Pounamu. The boys would play in the jersey this Sunday if they could. They love it.” The 2012 Heritage Jerseys are available for purchase from Rebel Sports stores nationwide for $120 for kids and $185 for adults. ■

For allsorts of people

TŪ MAI | Mar/April 2012

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Four Graphic Decades

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ore than 40 years since her first exhibition, iconic artist Robyn Kahukiwa has teed up with close friend, colleague and former student, Hinemoa Hilliard, to present an exhibition comprising 31 key works loaned from public and private collections, spanning four decades. As part of the New Zealand International Arts Festival, Mahara Gallery in Waikanae are proud to present Maumahara by the senior Māori artist with a national and international reputation. Opening its doors in late February, the exhibition will run till to the end of April, no doubt beckoning fans from more than a couple of generations to bask in the glory of Kahukiwa’s message-heavy paintings. Often viewed as raw, honest and undeniably graphic, Kahukiwa’s depictions of the Māori social scene remain distinctive, maintaining their ‘love or hate’ effect on the viewer as much today, as ever.

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For allsorts of people


“My identity in things Māori is made possible because of my ancestors. It exists because of whakapapa, tribal culture and tradition,” says Kahukiwa.

beautifully illustrated a number of books including The Kuia and the Spider and Watercress Tuna and the Children of Champion Street.

As a contributor to the 2005 book The Art of Robyn Kahukiwa, Hilliard’s association with the artist has been much closer than a mere colleague. “Of anyone in the whole world she [Hilliard] knows my work back to front. I couldn’t have asked anyone else,” says Kahukiwa.

In September 2011, Kahukiwa received Te Tohu Toi Ke, the award for ‘Making a Difference’ from Te Waka Toi, the Māori arm of Creative New Zealand, in recognition of her outstanding contribution to Māori arts.

Maumahara : Remember features the major work Resistance/Te Tohenga recently shown in Leiden, Holland. The exhibition also includes a new work, Hae Hae, made especially for this show in 2012. The exhibition extends to book illustrations and posters from her prolific career as an artist/designer and illustrator. Kahukiwa has written and illustrated numerous children’s books. Collaborating with major New Zealand novelist Patricia Grace, Kahukiwa

A former art teacher and self-taught artist, Kahukiwa’s powerful and politically motivated work often depicts issues surrounding Māoritanga and The Treaty of Waitangi. “It’s all about the Treaty. I mean I’ve worked through different political times, but underpinning it all is the Treaty.” ■

Click to see more of her mahi... http://www.prints.co.nz/page/fine-art/CTGY/Artists_Kahukiwa_Robyn

For allsorts of people

TŪ MAI | Mar/April 2012

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t was only a matter of when, not if. Traditional hangi presented in contemporary cuisine style. Wellington’s Māori owned Te Karaka Café on Frank Kitts Park has proved the ideal venue for all types of functions. At a recent Te Puni Kokiri hosted event, gourmet hangi was served café styled for lunch. Hangi cooked slices of pork and chicken in a gravy, with herbed bread stuffing balls on the side and topped with fresh cress. This proved hugely popular. But, when is it not a good time and place for some fresh hangi? ■

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For allsorts of people


Indigenous art communicators Manos Nathan

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ntil the first accredited toi iho (Māori Made) artists roll out, Te Ara Whakarei or lifetime holders of toi iho are the only artists who can legitimately use the toi iho Māori trademark of quality and authenticity.

Museum, the Portland Art Museum, and the Native American Arts Council. A number of our international indigenous artists network are supportive and we will direct people to the toi iho website of course,” says Nathan.

Clay sculpture artists, Manos Nathan (Te Roroa, Ngatiwhatua, Ngapuhi) and Colleen Urlich are Te Ara Whakarei toi iho artists who will take part in an exhibition at the Portland Art Museum in the US late March. International participation “continues to strengthen and celebrate the network of Indigenous artists from around the Pacific rim,” says Urlich.

Both Urlich and Nathan are represented by The Spirit Wrestler Gallery a leading contemporary fine art gallery representing master Inuit, Northwest Coast and Māori artists in Vancouver. The gallery focuses on exhibitions that showcase contemporary directions in aboriginal art, including cross-cultural communication, the use of new materials (such as glass and metal), and modern interpretations of shamanism, environmental concerns, and other issues pertaining to the changing world.

In 1995 a network, initially built on individual friendships among indigenous artists, widened significantly during the first International Indigenous Artists Symposium in New Zealand. This further extended to Evergreen College, Washington State and Hawaii where symposiums have since been hosted. Continuing interaction among the artists from the Pacific rim, and participation in each other’s significant cross-cultural international exhibitions, festivals, and workshops, has established a robust dialogue and indigenous art community that supports increasing depths of perception and commitment to their various art forms.

The cross-cultural connection between aboriginal artists and has built the Spirit Wrestler’s international reputation and its philosophy according to its founders : "The world is becoming increasingly smaller as artists fly in to attend overseas conferences, cultural gatherings, and artist workshops. Many of these artists are participating in art collaborations or securing international commissions. Artists communicate through their art – bridging frontiers, languages and cultural boundaries. These lines are now becoming blurred as cultures also often share similar techniques, subject matter and designs." ■

The pair have been busily firing new works to exhibit but will also play a role in the advocacy of toi iho. “This is an ideal opportunity to do the toi iho advocacy thing; we meet with people from the Halley Ford

For allsorts of people

Click to visit the online gallery http://www.spiritwrestler.com/catalog/index.php?cPath=5

TŪ MAI | Mar/April 2012

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Photo _ Paul Feenstra

Dragons, Deals and Dollars

Written by Rosina Hauiti this article introduces a series that will discuss Chinese investment in New Zealand and how it might impact on Māori. Rosina is Director of Pacific-Intel, Geo Political Reporters. She is a former documentary maker and a long time TU MAI contributor.

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I

n recent times, the tolerance levels of many New Zealanders have been tested in ways not experienced before. The notion of our national assets being sold to foreign investors, plus massive investment by China in New Zealand are concepts Māori, in particular, need to grapple with. The public furore has seen government Ministers Maurice Williams, Tau Henare, Bill English and Hekia Parata accuse the dissenting voices, including tangata whenua, of being xenophobes and backward thinkers. But are we? Is wanting to preserve our way of life and assets for our own a racist precept? Is there more to it than just a gut reaction of wanting to maintain an equilibrium we can all understand?

For allsorts of people


The first Chinese immigrants came from Guangdong province at the invitation of the Dunedin Chamber of Commerce during the gold rush era of the 1860s. The unabashedly racist attitudes of the time saw the introduction in 1881 of the ‘head tax’, hereafter referred to as the ‘race tax’, of ten pounds sterling per person entering New Zealand and one immigrant per ten tons of cargo exported. The tax (supposed to deter immigration) was borne well by the immigrants and had the opposite effect. Much to the dismay of the nation the tax increased in 1896 to 934, after China became more favourable in the eyes of the West as a World War II ally. In all, an estimated 4,500 people paid approximately $30m in race-based taxes for the privilege of living here. The majority of the descendants of the first Chinese immigrants, now firmly ensconced in New Zealand society and commonly referred to as ‘Old Generation Chinese,’ can be found mainly in the Otago region, whilst others are concentrated in Poverty Bay, Waikato and Auckland. Waikumete cemetery ‘boasts’ its own separate Chinese section, a further remnant of a racist past that disallowed mixed burials. Regular beatings and forced insanitary living conditions were also prevalent and one can only assume the misery was relieved by the opium dens around central Auckland. Thus, we can clearly see that our past treatment of the Chinese has been quite shameful. The economic and political landscape has changed somewhat and the simplistic view of Chinese needing to expand has at its core the same tenets as those of the gold mining era in Otago, except that China now appears to have the upper hand. Post-World War II China, saw a rapid threefold population increase in 1950 of 563 million to current day of 1.3 billion. China is now the most populous country representing 20 per cent of the world’s population. This growth which averages at approximately 1–7 per cent per annum has been stemmed somewhat by the introduction of the one child policy introduced in 1979 (see notes below). The necessary total fertility rate for a stable population is 2.1; nonetheless, China's population is expected to grow over the next few decades. This can be attributed to immigration, a decrease in infant mortality and a decrease in death rate as national health improves.

This sudden and enormous population growth also threatened the food supplies; in 1970 efforts were made to control population growth and simultaneously decrease it. The strictest birth control programme ever was introduced, the one child policy. Couples were urged to marry older, and have no more than one child. Those that signed contracts to have no more than one child were provided with financial aid, and free

The economic and political landscape has changed somewhat and the simplistic view of Chinese needing to expand has at its core the same tenets as those of the gold mining era in Otago, except that China now appears to have the upper hand. educational opportunities for the child in question. Sterilisation and other birth control methods were widely provided. Between 1970 and 2000 fertility rates dropped, and the number of children born per woman decreased, as well. But despite all the efforts made, the population still grew by 12 million heads, and it is projected to count 1.6 billion by 2050. China, post-World War II relied on its exports to support its burgeoning population base. However it doesn’t take a genius to work out that its own resources will deplete. So in brief, whereas China was once reliant mostly on exports, it has had to look at investment in offshore resources and assets to supply its citizens. China’s Vice Commerce Minister, Chen Jian, at the World Economy Forum in Geneva said that China’s exports slowed during 2011 in the face of ‘grim’ challenges posed by the global economy. He also confirmed that Beijing would continue to pursue its goal of globalising the national economy by increasing outward investment to Europe and the Pacific Region. So far China has stock outward investment (offshore investment) of US$310 billion.

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TŪ MAI | Mar/April 2012

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Chinese-owned assets in Australia amount to approximately NZ$100 billion compared to New Zealand of NZ$1.87 billion.

Over the past decade, China has emerged as the world’s number one exporter, as well as the second biggest importer and destination of foreign direct investment. Outward-bound investment has seen particularly spectacular growth, up from US$1 billion in 2001 to some US$60 billion a year today. But while Chinese investment in the developing world, particularly Africa and Latin America, has expanded dramatically in recent years, Chen suggested that initiatives in the developed world can be expected to expand in the near future as Chinese businesses become more familiar with markets. “Europe-bound investment shows a momentum of rapid growth in recent years, reaching $6.8 billion in 2010, up 102 per cent and accounting for 10 per cent of China’s total outbound investment in the same year,” he said. “China’s development represents an opportunity for companies across the world.” Chinese-owned assets in Australia amount to approximately NZ$100 billion compared to New Zealand of NZ$1.87 billion. While there has been criticism of the value of Chinese overseas investments – with some projects being slammed for importing a Chinese work force – Chen emphasised the positive role that his country’s investments play in the world. Last year, overseas Chinese companies generated 780,000 jobs and US$11.7 billion in tax revenues for host governments he said, ad ding that the investments of Chinese companies were “well-received by local people” due to their contributions to infrastructure development, adherence to corporate social responsibility, and improvements to local living conditions.

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In spite of these assurances, China’s impact has been one of both awe and fear. In a further response to fears, the vice minister called for those still harbouring doubts about the role of Chinese companies to ‘scrap unwarranted old thinking’ and regard the country’s overseas investments in an ‘objective and fair light.’ He insisted that co-operation with the China’s ‘going global’ strategy would produce mutual benefits for investors and recipients alike. In its newest Five Year Plan (FYP), which was passed in March 2011, Beijing announced a shift in economic development from export-orientation, a key factor in its growth strategy for the past 30 years, to a pattern that relies more heavily on domestic consumption. Over the next five years, China will focus on scientific development, ‘vigorous’ expansion of domestic demand, more balanced regional development, as well as ‘speed up the building of an energy-conservative and environment-friendly society.’ Retail sales of consumer goods are projected to reach US31 trillion by 2015, while imports would rise to US$8 trillion. The questions Māori need to be asking themselves may be, not how to avoid interaction with China, as it would appear this is inevitable, but how best to ensure that we are placed in a position of advantage. In spite of China’s assurances of promoting social responsibility, not enough information exists to suggest that China will contribute to the world’s fragile ecology or that it respects the rights of its own citizens and those of tie nations who oppose it. ■ Source: ICTSD – Switzerland Over the coming months China and the impact of its investment worldwide will be investigated by the writer and other contributors from the geo political sector.

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2012 MIROMODA

MAORI FASHION DESIGN AWARDS

CALL FOR ENTRIES

Entries open April 1 for the 2012 Miromoda Fashion Design Awards Competition. This annual event, held at Massey University in Wellington, will see the Winners & Runners up of each category showcase at NZ Fashion Week in Auckland early September. Categories for the 2012 Fashion Design Awards Competition are: U ESTABLISHED Maori Fashion Designers U EMERGING Maori Fashion Designers U AVANT GUARDE Maori Fashion Designers U T- SHIRT PLACEMENT Design

The 2012 Fashion Design Awards Competition Entry Form will be available after April 1, 2012. Entries close 5pm, May 11, 2012. For allsorts of people

www.miromoda.com T的 MAI | Mar/April 2012

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MARZ THE WORD | WHIPPING THE POOR WITHOUT WHIPPING POVERTY

Whipping the poor without whipping poverty C

Marama Davidson (Te Rarawa, Ngapuhi, Ngāti Porou) lives in East Tamaki, South Auckland with her husband and six children. In 2010, Marama helped establish the

hildren are our treasures regardless of what home, family or circumstance they are born into. On the recent Children’s Day I expressed my thanks for my own children and honoured every single child that the earth has been blessed with. Our planet village, the one that is supposed to collectively raise our children, is no longer a given for everyone. For many, there is instead, a staunch and ever rising sterile concrete building in its place. This structure has been successful in advocating the notion of the self-centred individual and ‘survival of the fittest’. It is a ‘one-size fits all’ attitude, which often harbours contempt and hostility for anyone less fit, erected over the top of our gardens of compassion, as if the plantings are only weeds to be frowned upon.

Māori Women’s group, Te Wharepora Hou. The group’s aim was to offer a wahine perspective on all issues concerning the wellbeing of whānau, hapū and iwi. Marama speaks primarily as a concerned mother who has high hopes and dreams for the world that her children and future

As a mother of children ranging from three to 18-yearsold – I can understand and fully empathise with the impassioned cries from outraged parents who wished death and castration for the Turangi teenager who raped and violently attacked a five-year-old child.

generations will grow up in.

If it was my own daughter, I could not guarantee an absence of murderous hell-bent vengeance from my heart and soul. A huge wrong had been done. Without question it was a profound and deep sin, a crime that has created an enormous imbalance within the harmony of the universe for everyone concerned, including onlookers. The young man and his family must be held accountable for what has happened – balance must be restored to that little girl, her family, the Turangi community and our entire planet.

Raurangi Marino, the 16 year old charged with brutally attacking and raping a 5 year old girl.

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To the little girl and her family; I wish for nothing but peace and healing to them all. I struggle to comprehend what they have suffered. Aotearoa is grieving for them because we know this is not who we are.

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WHIPPING THE POOR WITHOUT WHIPPING POVERTY | MARZ THE WORD On Children’s Day I remember what happened to that innocent child and I am horrified. The teenager who committed this wrong has been sentenced to ten years in prison. But I am not convinced that any prison sentence alone will properly restore this overwhelming disjunction. I am not sure that true accountability and reflection from this teenage boy and his whānau will happen purely as a result of jail time. In ten years time, he will still be a young man. Whether we agree or not, he will be back in our communities. I ask what sort of young man do we want him to be when he arrives back to us? Is it too much to hope that at the least, he will not be a monster? Is it too much to expect that with appropriate support, he might even become a society contributing adult instead of a burden to society? I do not know the teenager or his whānau, but something somewhere went very wrong. By all accounts, it appears this kid did not receive a ‘decent’ upbringing. We all know that many exceptional people have come through all sorts of adverse circumstances to become quite functional or even outstanding individuals. There are no excuses for the actions of this teenager or his whānau, but how can we stop this from happening again? If the ideal ‘justice’ is a jail sentence – equivalent to him being hung and quartered in the town square, with his ‘irresponsible’ whānau looking on – what then? Will that ultimate act of revenge ensure other families and children are all strong and confident and resourced in our communities? Will that act of ‘justice’ provide the incentive for all parents to suddenly become role models in society? Here in South Auckland where I live, people like the Manurewa Marae nannies inspire me. They ignore the unforgiving concrete edifice that is devoid of kindness and they stretch their uplifting hands to those who are struggling. The nannies form authentic relationships with those who have already lost the race. Their work is challenging, full of complex problems and dynamics and is more often than not, akin to pushing crap uphill with a hot knife. They are of course underpaid, under-resourced and under-valued by most. I place huge value in the nannies small, but important, gains. Recently they spoke to me about a young mum coming out of the darkness. The nannies spoke about the many months they had spent just supporting her to feel like she was worth more than the life she was currently living. These are immeasurable gains?

However, the nannies are up against ‘that building’ as well. Yes, many communities, marae, and whānau have planted great gardens of collective compassion and nurturing. This has been where some incredible work has happened, despite the cold concrete creation that is concerned only with the care of the self. I am also aware that many families have done quite nicely for themselves and their children just by tending to their own backyards only. If you do nothing but be good parents, yes you are my heroes too. But we all need to be heroes so our children thrive, and there is work to be done. Only true accountability will give that young guy from Turangi and his whānau any hope of a future. I am choosing to fight for sustainable wellbeing for all of our children and whānau. It is beyond this current arrangement of indifference, hostility and outright hate towards families who are anything less than heroic right now. I realise this approach takes more intelligence, work and balls, but we can all share the load. Currently the government is breaking our country into bits and selling it to more ‘cold colossal’ corporations; whipping the poor without whipping poverty; harassing our natural resources, instead of harassing out-dated fossil fuel energy; and generally instilling economic, social and political policies that further destroy healthy but basic human values in favour of corporate ones. In Manurewa we have more prison buildings for our children to look up to than we do tertiary education institutions. We owe it to our children to reject such fee market neo-liberal thinking because it is destroying our planet village. At the time I was born my parents were young, poor, unmarried, clueless and Māori. By some lunatic analysis, they should not have been allowed to breed at all. Thankfully I entered this world and can now take my place to write articles of profound importance, espouse words of stunning grandeur, conjure notions of revolutionary thinking and inspire mass world change. Failing that, I will just try and be a good Mama who models care towards others. Thanks to Mum, Dad and my planet village for ensuring that we remain fiercely proud of being Māori. Thank you also for teaching us to stand up for, rather than stand on, others. ■

For allsorts of people

TŪ MAI | Mar/April 2012

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RFF | MEET WONG CHUKSINGH

In it to win it. On the eve of the 21st millennium, asked what the most important thing was that parents could pass on to their children in the new era, the Queen Mother replied, “That would be manners, be certain to teach them good manners.” Employing good manners is no longer touted as important as it used to be but it is something wholly appreciated when expressed – in any era. On accepting invitations to be friends of TU MAI magazine’s Facebook page, our procedure (rightly or wrongly) is to assess if there are friends in common and if so, a deft click of a wireless mouse sees the mechanics actioned. With more than 4500 friends and growing (although Facebook will apparently cap us at 5000), scores of people are added on a weekly basis without expectation for further direct acknowledgement from either party. So when a very polite message of gratitude arrived from someone based in LA with an obvious Asian name, it stood out and curiosity kicked in. With the speed of cyber, a series of emails ensued and prompted the first of our regular profiles on a RANDOM FACEBOOK FRIEND (RFF).

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os Angeles based Wong Chuksingh warns he will be “crying part-Māori tears for a week” if his name is spelt incorrectly. Adding, that in America, the tendency for people to quickly shorten his name to ‘Chuck’ is something the culturally proud Chuksingh finds abhorrent and lets them know in no uncertain terms. Surname first, is of course the proper Chinese format. As TU MAI’s first RFF (Random Facebook Friend) and again demonstrating good manners, Chuksingh says he is honoured and grateful to be a part of a positive initiative, “Thanks for the aroha! Or as they say all over my hood, muchos gracias!” His LA neighbourhood is typically dominated by Espanics – a fit he can easily relate to and vice versa. From the outset, Chuksingh establishes his connection to Aotearoa. “I am of Nga Puhi and Te Arawa descent on my Māori side.” Orphaned for the first six months of his life, Chuksingh shares how he was “adopted out to two great parents who always told me I was adopted, and that I was part Māori and Chinese. Later on, I found out about Scottish and Irish bits, but they’re definitely not visible.” For his adopted Australian mother and Chinese dad, Chuksingh’s Asian appearance would not have raised any major issues of acceptance but Chuksingh suspects when he became a teen questions of identity surfaced. “To be honest, I would always consider myself an outsider and unfortunately growing up in Australia, Māori were stereotyped in narrow negative ways.” Despite the circumstance, Chuksingh maintains he was always eager to learn more about areas of Māori culture, philosophy and medicine, spirituality and tactical warfare. “And I always wanted to contribute – primarily via my

For allsorts of people


MEET WONG CHUKSINGH | RFF music; so a few years ago, I recorded an instrumental arrangement of a song written by Nga Puhi composer, Piripi Cope, called Ngā Puawai O Nga Puhi. It’s available free on my website, or anyone can shoot me an email to send it to them. It’s a beautiful waiata, and I’d love to do some more waiata in guitar instrumental form.” Having grown up adopted to non-Māori in another country, Chuksingh missed out on any type of Māori culture. His need to know about his background led him to do some extensive research by the time he reached adulthood. Chuksingh made several trips across the Tasman, scanning records in the Births, Deaths and Marriages Offices, as well as accessing material sourced online, but with little success. One day, Chuksingh says, he got the urge to make one more attempt to find his family and he embarked on a journey to New Zealand. “Something told me to go back to Aotearoa; so I dropped everything and left for what turned out to be a month-long journey which revealed detail after detail, and eventually led me to meet my long-lost whānau.”

Above _ Family photograph with Chuksingh as a baby in Australia. Below _ Now as a musician in Los Angeles

Unfortunately, Chuksingh’s grandmother died before he arrived to meet other family members. “Maybe she instigated the reunion, who knows?” mulls Chuksingh. In what Chuksingh describes as a “large and diverse looking whānau, that comprises several full and half uncles, aunties and tons of cousins, I feel complete to know where I am from.” Grateful to have secured information from an uncle who had copied notes from another relative, Chuksingh was able to trace information about his older sister, whom his parents had also adopted. “I found out her family details leading to her reunion also. Unfortunately, not everyone is lucky to find out about these things. I’ve met a few Māori (and other races) in that situation and it’s definitely affected them negatively.” Chuksingh has managed to meet more members of his extended family via Facebook and says, like him, his siblings are also comprised of Māori and different influences. He was a typical teenager who listened to pop radio and watched TV, until one day at school Chuksingh says he sat in on fellow students jamming in the school hall. “It sounded pretty bad, but I was immediately infatuated with the guitar.” It was not long before Chuksingh got his first guitar and spent hours each day playing and practising before

For allsorts of people

TŪ MAI | Mar/April 2012

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RFF | MEET WONG CHUKSINGH

securing a place in a few bands. “My Dad told me to take it seriously if I wasn't intending to do anything else, so I went to university and did a Bachelor of Music Degree. At the same time, I was performing all over Australia, and then other opportunities presented themselves.” The opportunities included being booked to perform and record in Los Angeles; at that point he decided to relocate. “In all honesty, the most important reason was to get married to my beautiful wife and settle here. She’s from the Philippines, and there are lots of similarities between Filipinos and Māori – music, good times, laughs, kai.” Although Chuksingh readily admits music is definitely not a ‘job’ he has made a living from it. “It’s served me well. I’ve performed with classical choirs, pop, soul, funk, RnB, jazz, rock, metal bands ... it’s all been good! And being in L.A has opened up lots more exciting opportunities that aren’t available in Australia or New Zealand unfortunately.”

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he had wanted to pay respect to his Māori heritage. “It’s awesome to see so many Māori proudly showcasing their tāmoko! I’m biased, but no other tattoo work comes close in meaning, or in design.” Chuksingh says a carved guitar that features the artwork of his cousin, Troy Jackson-Folau, is representative of Aotearoa and always turns heads. “Wherever I do my gigs – from Sydney to Vegas thru to the Sunset Strip – I always get asked about it.” Adding, “I think it’s important for everyone to know and proudly display where they came from in some way. How can you have a clear direction for your future if you haven’t had any knowledge of your past? Chuksingh plans to do more touring with some great artists having had the opportunity to perform around L.A with soul/gospel/rock Grammy artist, Eartha. “I plan to release more of my catalogue later this year also. I’d love to do some more performances back in Australia and Aotearoa in the not too distant future too.”

“I’m actually celebrating my second year anniversary here and am currently learning tunes for an up and coming tour, playing in a variety of RnB/soul/jazz/reggae groups, studio session work and writing for various people. I have just released an instrumental CD of some old tunes.”

On the subject of wisdom, Chuksingh says. “Don't waste a minute … see the world if you can, or at least one other place from your norm – especially starting with beautiful Aotearoa. Don’t take sausage rolls and pies for granted!”

Sporting a tāmoko that was inked by renowned Nga Puhi Artist, Ben Te Hau McDonald, Chuksingh says his tāmoko pays tribute to his roots, and references the present and future in various ways. Before leaving Australia,

Adding, “Don’t let negative people hold you back from fulfilling any dreams. You’ve gotta be in it to win it, and I’m trying hard to be in it always – I caught the L.A crazy vibe and love it!” ■

TŪ MAI | Mar/April 2012

For allsorts of people


One of the best ways of getting your business name and what you offer out to the right people is through networking. It’s one of the fastest and effective ways to profile yourself and your business kahoni ki te kahoni. Te Awe has been connecting Maori in business for 16 years and covers a wide range of Maori businesses within Wellington. Te Awe has another fantastic year of great networking and social functions lined up for 2012. In March these include: Te Awe Charity Ambrose Golf Classic 16 March. Shandon Golf Course. One of the favourite events is back again this year. A great opportunity to participate in a modified Ambrose style golf competition with members of the Wellington Maori Business Community.

Te Awe / Families Commission 28 March. Te Raukura Te Wharewaka o Poneke. A co-hosted event that will see Sir Professor Ngatata Love joining with the Family Commission in the launch of their next report Partnership with Maori - He Waka Whanui. Sir Ngatata is Chair of the Ahikaa / Entrepreneurship NZ Trust, one of the He WakaWhanui partners. He Waka Whanui - Partnerships with Maori reports on work that the Families Commission has undertaken with its partners: Ngai Tahu; Te Kohanga Reo National Trust; Maori Women’s Welfare League; and Ahikaa / Entrepreneurship NZ Trust. The report includes a literature scan of research on partnerships with Maori including partnerships with central and local government, iwi, Maori organisations, Maori business and NGO’s.

For more information on these and other events visit the Te Awe website; www.teawe.maori.nz Thanks to our sponsors:

For allsorts of people

TŪ MAI | Mar/April 2012

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FASHION COVER | CLEVER | FASHION CONCEPTS THROUGH FORTRADITION BODY ART

Body Paint Artist Yoland

a Bartram

Clever concepts for body art B

BodyFX is New Zealand’s largest make-up company with studios Auckland and Wellington, and it is very much a family affair with Nicole Heydenrijk and daughters, Yolanda and Myrtha, the founders. The trio have many years of experience in body painting, face painting, make-up and special FX make-up. The company has been heavily involved in face and body art since 2001. As the main artist and director of Auckland-based BodyFX New Zealand, working in collaboration with reputed photographer Bret Lucas of F’Stop Studios, Yolanda created the work titled Fernatic that earned first place in the coveted Maadi Cup and the PSNZ Gold Award (2011). In its third Body Painting competition, the NZ Body Painting community pitched the NZ Body Painting Festival 2012 to have a theme attracting out-of-thisworld creatures and incredible creations entries. The Taupo hosted competition saw a total of 21 artists from all over New Zealand as well as Australia, Belgium, South Africa, Netherlands, Malaysia, Denmark, Sweden and England. Make-up, hair and body artistry teams made up of professionals, emerging and amateurs applied their skills to models, who then took to the stage to satisfy the insatiable appetite that the visual feast of body art evokes.

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tival 2012 NZ Body Art Painting Fes son liam Wil e Kat sica Photo _ Jes

Originally from the Netherlands, Yolanda has been teaching internationally for over eight years in the make-up and body art industry. She has extensive knowledge and creative talent that is also evident in her film and television, commercial and editorial work. In 2011, Yolanda was invited to teach a master class at IMATS Los Angeles, considered the industry’s most prestigious trade show.

RHS _ Artist _ Yolan da Bartram Photo _ Bret Lucu s FSTOP Studios

ody Paint artist Yolanda Bartram for TU MAI’s cover has racked up an impressive list of Competition Awards and placements annually for the past near 15 years.

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CLEVER CONCEPTS FOR BODY ART | COVER

Mem Bourke, body paint doyenne and executive producer for the festival, says her committee is wholly grateful to sponsors who make the event possible and the positive feedback that makes the exercise, which calls on a lot of voluntary input, worthwhile. She says the artwork produced by the artists involved and tutors, through the workshops that are part of the festival, continues to be of a high calibre ensuring the event’s continued success. A special feature of the festival was the Purerehua Award and its trophy, which was carved from 30,000-year-old swamp kauri. It features a stylised Purerehua in a pure abstract form. This symbol depicts the period before the creation process begins. For body painting, it’s the stage before creative energies are applied to an object or to a body.

NZ Body Art Painting Festival 2012 Photo _ Jessica Kate Williamson

The Purerehua is a wind instrument used in traditional times to call upon the various energies and forces to assist with certain tasks and ceremonies. ■

For allsorts of people

TŪ MAI | Mar/April 2012

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Knock Yourself Out – Gladly A look at the International Festival of Arts 2012

When the NZ International Arts Festival comes to Welling-town, the town’s folk scurry, scamper and talk up being a part of the arts’ frenzy.

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hether it’s peer pressure or media hype, the near month long festival has punters tossing up between shows before scrambling to secure tickets. Like festivals of previous years, the 2012 menu offered something for everyone to savour, and some to experience and even ponder the arts theatre scene for the first time. The degree of Māori-themed shows in the NZ Arts Festival is no longer tokenistic, but packs a solid punch while matching the high calibre of others on offer. Theatre and arts buffs willingly knock themselves out – cramming as many shows as they can afford into the space of three weeks.

* * * * * * * * * * * * * * * * * ** * * * * * * *

Birds With Skymirrors * * * * * * * * * * * * * * * * * ** * * * * * * *

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he extraordinary Birds With Skymirrors has been described as a powerful new dance-theatre work by acclaimed Samoan choreographer Lemi Ponifasio. Blending dance, ceremony, chant and oratory across Māori and Kiribati cultures, the show mimicked birds that had fallen prey to human environmental waste. Glittering black plastic carried by frigate birds triggered the inspiration for Ponifasio, who saw birds on a Pacific Island beach and initially thought they had liquid mirrors in their beaks hence the title Birds With Skymirrors. Hailed by the French newspaper Le Figaro as one of the greats of modern dance, alongside the legendary Pina Bausch and Merce Cunningham, Lemi Ponifasio’s style is poetic, stark, hypnotic and taut with concentration. The dancers of his company, Mau, seem to float across the darkened stage. A topless karanga by a curvaceous and sensuous female dancer soon after the opening of this provocative and uplifting dance-theatre work heralded a contemporary and brave shift from the norm. Male dancers moved in slipper shuffles so smooth, they appeared to be were moving on wheels. The hand body clap synchronisation with deft precision was both a visual and audio treat.

Photo _ Sebastian Bolesch

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Established by Ponifasio in 1995, Mau, the Aucklandbased company has forged an international reputation for its ground breaking style, weaving diverse Oceanic cultures and exploring complex forms of knowledge, such as navigation and genealogies. Mau has performed in more than 20 countries and at festivals including the Edinburgh International and the Venice Biennale.

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Tu * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * *

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atricia Grace’s award-winning novel Tu was the inspiration for a new play by celebrated playwright and director Hone Kouka for the New Zealand International Arts Festival. Cleverly housed in Pipitea marae, centre stage was literally down the centre of the wharenui with clever lighting to keep the audience captivated by the many characters, who slowly and surely intersect to reveal a sweeping family drama. Tu brings redemption to a man in exchange for his long-held burden. For the novel, Grace (Ngāti Toa, Ngāti Raukawa, Te Āti Awa) drew on the experiences of her father as a member of the 28th Māori Battalion in Italy during WWII. Grace is widely regarded as one of New Zealand’s finest novelists and short story writers. Tu won the Deutz Medal and the Montana Award for Fiction at the 2005 New Zealand Book Awards. From scenes reminiscent of kapahaka practice at a local community hall, the slaughter chain of a freezing works, mundane tram commuting, boisterous brother (and sister) jostling to dislocated cousins with attitude, talented playwright Hone Kouka has cleverly captured Grace’s book and hints at its potential for the big screen.

Kouka’s previous work includes the internationally renowned Waiora and Ngā Tangata Toa. He was the youngest playwright to win the Bruce Mason Playwriting Award (1992). And is also a screenwriter, essayist and producer and actor. Waiora was commissioned for the 1996 New Zealand International Arts Festival, and toured nationally and internationally in 1997. Kirk Torrance, whose recent roles include Wayne Judd in TV3’s Outrageous Fortune, plays the lead in Tu. Weaving text and image together, the story travels from 1940s Wellington to the battlefields of Monte Cassino, to postwar Te Tairawhiti on the North Island’s East Coast, where Tu’s reconnection with his family gives him hope and the chance for redemption. Tu has been developed by Tawata Productions over the last 24 months with funding from Te Waka Toi. Wellington-based Tawata created the acclaimed I, George Nepia as well as the musical He Reo Aroha, also directed by Kouka, which charmed audiences at the 2010 New Zealand International Arts Festival. “People who think romance is dead in Aotearoa should make it their business to see Hone Kouka’s touching, but impressively unsentimental production,” wrote The Listener.

For allsorts of people

TŪ MAI | Mar/April 2012

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The Māori Troilus and Cressida * * * * * * * * * * * * * * * * * ** * * * * * * * * * * * * * * * * * * * * * * * * ** * * * * * * *

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ike Tu and Opera Hohepa, the sparkling new Māori translation of Shakespeare’s Troilus and Cressida makes it World Premiere at the 2012 New Zealand International Arts Festival. Starring Rāwiri Paratene as Pandarus, and presented by a 14-strong Māori ensemble cast – Ngākau Toa, The Māori Troilus and Cressida has been translated by Te Haumiata Mason. Ngākau Toa’s dynamic approach will feature haka and waiata created especially for the production and after their debut, the Auckland-based company will travel to the UK, where their unique version of Troilus and Cressida, co-produced by Rāwiri Paratene, will play at London’s Globe Theatre.

Paratene starred as Koro in the critically acclaimed 2002 film Whale Rider. He has enjoyed a varied career as an actor, writer, director and producer in theatre, television, radio and film. His connection to the Globe goes back to 2009, when he was the first Māori actor to perform there, in Romeo and Juliet. Performed at Te Papa Amphitheatre, The Māori Troilus and Cressida is offered free to the public, so those who are unfamiliar with Shakespeare’s work can at least sample an interesting version at no cost.

Photo _ Matt Grace

Here, Ngākau Toa will represent New Zealand at the Globe’s multi-lingual Shakespeare festival for London’s

2012 Olympic and Paralympic Games celebrations. The festival will feature an unprecedented 38 international companies each performing Shakespeare’s works in their languages.

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For allsorts of people


Photo _ Rawhitiroa Bosch

Hōhepa * * * * * * * * * * * * * * * * * ** * * * * * * *

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resented by The NBR New Zealand Opera and the New Zealand International Arts Festival, Hōhepa is the story of friendship between the Māori chief Hōhepa Te Umuroa and a Pākehā settler during the turbulent time of the 1840s land wars. The human story behind New Zealand’s early settlement history is brought vividly to life in Hōhepa, an ambitious new opera by acclaimed New Zealand composer Jenny McLeod. Spanning the 19th century to the 1980s, it represents more than a decade of extensive research by McLeod, based on recorded, personal and oral histories. The result is a warm and at times humorous opera, epic yet very human at heart.

Michael James Manaia * * * * * * * * * * * * * * * * * ** * * * * * * *

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ecognised as one New Zealand’s Theatre icons, Michael James Manaia and indeed Wellington’s Downstage Theatre where it is performed by Taki Rua Productions’ reappears after 22 years when it first burst onto the stages of the world. Written by John Broughton, Michael James Manaia is the poignant story of a New Zealander who returns home from the Vietnam War to find himself at odds with his culture, his history and his memories. His journey traverses childhood, family, love, grief, violence, conflict and passion.

Hōhepa features an outstanding cast. Returning from the UK to sing the title role is The NBR New Zealand Opera’s PwC Dame Malvina Major and young artist, Phillip Rhodes. Alongside him are fellow New Zealanders Jonathan Lemalu, Jenny Wollerman, Rāwiri Paratene, Martin Snell, Deborah Wai Kapohe, Eddie Muliaumaseali’i and Nicky Spence. A further nine singers take the remaining roles and form the ensemble. Hōhepa is directed by Sara Brodie, assisted by Teina Moetara (Cultural Advisor) and Taiaroa Royal (choreographer). The design team also includes Tony de Goldi (set and costumes), Louise Potiki Bryant (video) and Jeremy Fern (lighting). ■

This heart-wrenching one-man show played by Te Kohe Tuhaka and directed by award-winning Nathaniel Lees sees Taki Rua’s new vision of Michael James Manaia crossing the generations, and proving to be as insightful and relevant today as when it was first written. It’s raw, humorous and unsentimental in its telling, Michael James Manaia is a theatrical experience quintessentially of, and about, Aotearoa.

For allsorts of people

TŪ MAI | Mar/April 2012

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FASHION | NECK FASHION MINUTE... THROUGH TRADITION

Neck Minute... Yes, autumn and winter are knocking at the door. But never fear, cling to the brights with a bold printed scarf – It’s effortlessly chic! Be innovative, try different ways of wearing the scarf around your head or tie one around your handbag for a sneaky splash of colour. ■

SUSSAN Stripe and Polka Scarf $29.95 (http://www.sussan.com.au) ❤• ❤• ❤

SUSSAN Abstract Floral Scarf $39.95 (http://www.sussan.com.au) ❤• ❤• ❤

SUPERETTE Leopard Scarf $69.00 (http://www.superette.co.nz) ❤• ❤• ❤

SUSSAN Striped Ikat Scarf $39.95 (http://www.sussan.com.au) ❤• ❤• ❤

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For allsorts of people


NECK MINUTE... | FASHION

SUSSAN Oversized Ikat Scarf $39.95 (http://www.sussan.com.au) ❤• ❤• ❤

DOTTI Aztec Print Scarf $30.95 (http://www.dotti.com.au) ❤• ❤• ❤

TOP SHOP Kissing Birds Scarf $35.95 (http://www.topshop.com) ❤• ❤• ❤

SUSSAN Multi Print Scarf $39.95 (http://www.sussan.com.au) ❤• ❤• ❤

By Montess Hughes

Click to view blog

For allsorts of people

TŪ MAI | Mar/April 2012

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Photo _ Birgit Krippner

Photo _ Rakai Karaitiana

Stoned, naturally

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T的 MAI | Mar/April 2012

For allsorts of people

Photo _ Rakai Karaitiana

Photo _ Birgit Krippner


Contemporary artist Nga Waiata works from home in Napier creating tactile handcrafted rings and pendants from recycled hard native woods matched with natural crystals. As well as designing unique great rings, Nga Waiata also puts a lot of emphasis on wearing natural fabrics by investing in treasured pieces that are timeless and well made such as items by Karen Walker and Zambesi to name a few. She takes the time to chat with Fashion Blogger, Miss Mondo.

What is your personal style? My clothes are all well cut in beautiful, natural fabrics. I tend to play dress-ups till the outfit feels right; this is easier now I am older and have lots of Zambesi, Karen Walker, Helen Cherry and Nom-D. What is your earliest fashion memory? Getting some white Beatle Boots, wearing a red and white bikini with a white pleated ruffle or getting my first pair of Amco peach flares all rate highly! What is your latest fashion buy or wardrobe addition? Pink sequined Zambesi top, black sequined Zambesi top, Dreis van Noton sequined skirt, Helen Cherry linen wide trousers, Karen Walker wide trousers, shocking pink trousers and floral top. Nom-d lace sleeve top. A Zambesi bright blue bow top, blue check skirt and a long hoody. A vintage Oroton gold bag. And my first net-a-porter purchase, a pair of boots! What was your worst fashion moment? It’s been erased from my mind!

Photo _ Brian Culy

What are your favourite fashion items? My citrine ring and pendant as they attract wealth to my life! Karen Walker lapis lazuli dress ring as it is glamorous. My ‘Love and Hatred’ garnet and rose gold ring, as I love the strong name of the brand and it was my first proper piece of jewellery. Every thing in my wardrobe is my favourite actually. I need each and every piece as getting the right combination absolutely enables me to be the successful designer/artist/entrepreneur that I am. ■

For allsorts of people

TŪ MAI | Mar/April 2012

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FASHION | POINTS FASHION OF THROUGH INTERESTTRADITION

Points of interest It’s time to consider the impending colder weather, but no need to be drab and utilitarian when it comes to winter dress.

RUBY Cat Ring $499.00 (http://shop.rubynz.com) ❤• ❤• ❤

MEADOWLARK Faceted Cocktail Ring $139.00 (http://meadowlark.co.nz/) ❤• ❤• ❤

BOH RUNGA 'Lil Hug & Kisses’ Necklace $119 (www.nzmintjewellery.com) ❤• ❤• ❤

HOUSE OF HARLOW 1960 Abalone Stations Necklace $180.00 (http://hoh1960.com/) ❤• ❤• ❤

BARGAIN : JEWEL ROCKS Lady Bracelet $39.00 (http://www.superette.co.nz) ❤• ❤• ❤

SPLURGE : NGA WAIATA Crystal quartz pendant necklace, hand crafted by Nga Waiata in Hawkes Bay, New Zealand. $750.00 (http://ngawaiata.com/) ❤• ❤• ❤

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For allsorts of people


POINTS OF INTEREST | FASHION

LAYER accessories to glam up any outfit. Layering adds instant x-factor to stand out in the crowd. Mixing a variety of colours, textures and patterns to create new looks on established fashion trends is just good fun. EMBELLISH your fingers with rings like it’s nobody’s business. Bombard your wrists with an excessive load of bracelets. Cuff bracelets are stylish on their own, but try layering links, beads, charms and bangles of varying widths and shapes. MATCH delicate chains with chunky necklaces. Necklaces should be different lengths, so each layer makes a statement. Try different combinations. TIP The key to layering jewellery is knowing when to stop. Too much layering ends up looking messy.

For allsorts of people

TŪ MAI | Mar/April 2012

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FASHION| |CAN HEALTH FASHION YOUR THROUGH GP HELP YOU TRADITION LIVE LONGER?

Can Your GP Help You Live Longer? By Lani Lopez Naturopath BHsc, Adv Dip Nat.

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Dutch health insurance company has completed and published new research with some encouraging findings on how your GP can help keep the cost of health care and hospital visits down, while extending longevity. The research found that: “Patients, whose GP has additional CAM training, have up to 30% lower healthcare costs and also lower mortality rates, depending on age groups and type of CAM.” Complementary and Alternative Medicine (CAM) is more commonly referred to as Natural Health or Holistic Health. The main streams of CAM in NZ are Naturopathy, Nutrition, Acupuncture, Herbalism, Homeopathy and Traditional Chinese Medicine (TCM). The research objective was “… to explore the costeffectiveness of CAM compared with conventional medicine.” To do this, a Dutch health insurer looked at the data of 150,000 insured customers from 2006–2009. The mean age of people studied was 38.4 and women made up 53%.

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The study looked at quarterly information on healthcare costs (care by GP, hospital care, pharmaceutical care, and paramedic care). Three institutions collaborated on the findings, The Department of Economics, Tilburg University, Department of Care, University of Applied Sciences, Zernikedreef and Department of Healthcare and Nutrition, Louis Bolk Institute. The study was only published at the end of June 2011, so there is a lot of discussion ahead before its findings are heeded in medical and educational circles. But I don’t think we should wait to heed it ourselves! The research found that the benefits of lower costs increased with the age of the patient. In fact for patients aged 75 years and above, having a GP trained in CAM/ natural health “total costs are about 400 Euros lower per quarter.” At the current rate of exchange, that is decrease in healthcare costs for each person of $700 every quarter or a staggering $2,800 a year. These savings “result from fewer hospital stays and fewer prescription drugs.”

For allsorts of people


While the research suggests GPs should undertake training in CAM/Natural Health, it is unlikely to happen here – in the short-term at least. But in New Zealand we are lucky on two counts. We have ready access to natural health providers and also increasing numbers of GPs practising Integrated Health, that is, practising alongside natural health practitioners. This news should motivate us all to find a GP who has an Integrated practice, is trained or training in natural health or, at the very least, has an open mind about it. Most importantly I think is to choose a GP who is open and ideally encouraging of you as a patient using natural health for your own wellbeing. Certainly the research backs up the benefits of this to you and your wellbeing. Personally, I find this research exciting, but not surprising. One of the core features of natural health/ CAM is its orientation towards disease prevention and the promotion of health wellbeing. Naturopathic medicine considers a human being as a whole entity – body, mind, soul and individuality. It aims to stimulate the self-healing forces of the body, restoring the balance of bodily functions and strengthening the immune system, rather than working just to relieve the symptoms of disease.

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A result of this is better general wellbeing; a lifestyle that supports health is the very foundation. Deploying the benefits of exercise, managing stress and life pressure, and using the healing power of food. As Hippocrates put it in 400 BCE: “Let thy food be thy medicine and thy medicine be thy food.” All of these approaches are proven to lead to less prescribed, less and shorter hospital stays with the health benefits that brings as well as the financial ones found in the new Dutch research. As a Naturopath I’ve always advocated Integrated Health and take every opportunity to work alongside GPs, specialists and researchers. The best in any field are collaborative and in medicine will do whatever it takes to help and guide their patients to the best possible health. At the top of this article I asked, “Can your GP help you live longer?” The answer of course is, “Yes.” If you are both prepared to put in the work. Now doesn’t that sound familiar? ■

For allsorts of people

Design Doer is proud to do TU MAI magzine! We like to get design done so if you have a project that needs a graphic touch, give us shout! info@designdoer.co.nz

TŪ MAI | Mar/April 2012

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Digital Television – Sync or Swim By By Paul Feenstra

Paul W. Feenstra is an entertainment industry professional with more than 25 years experience working in Hollywood as a producer, director, audio mixer, studio facility owner and media consultant. He has accumulated over 1000 screen credits and is the recipient of multiple Emmy nominations. Paul now lives and works in New Zealand as a Media Strategist and honoured to be a member of the World Class New Zealand Network.

T

entertained and informed – and made New Zealand television better?

housands of New Zealanders have been unfairly blamed for hogging the television remote and increasing the volume just as advertisements appear on the box.

In September 2012, analogue switch–off will begin; how ready and prepared are New Zealand’s television networks? Can they provide the viewer with superior quality digital television as advertised? With five years to sort out issues and address teething problems, they do not appear ready. Or will viewers continue to be burdened with content and quality issues?

Funny thing is, this annoyance has nothing to do with the remote or any alleged hard of hearing culprits in lounges across the country. Nor have the moans and groans found a sympathetic ear elsewhere – it’s just another irritation for New Zealand television fans. Since its inception five years ago, the New Zealand television broadcasting industry has had every opportunity to deliver compelling, high quality digital television. Instead, marquee broadcasters have demonstrated the industry is now in a state of chaos. Channels have come and gone, promises broken, and subscription television services have established a firm foothold. Even TVNZ is in bed with its competition, offering select channels that are only available on its rival network, Sky TV. Viewers are frustrated at the quality of content, and pervasive technical problems affect a positive viewing experience. The television landscape has altered, but have these changes satisfied the desire to be

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Analogue television broadcasts have their own set of technical challenges, namely a grainy picture, poor reception and fewer available channels. In the new digital ‘Freeview’ era will viewers continue to experience volume inconsistencies with advertisements louder than the preceding programme or an out-of-sync picture where the audio doesn’t match? Is it acceptable? Freeview does not accept responsibility for the synchronization issues, and squarely places the fault with each individual broadcast network, therefore complaining directly to Freeview is not the solution. Created as a non-profit organisation, Freeview is only a “broadcast platform” and is not responsible for the technical quality and content that is broadcast on its service.

For allsorts of people


The abundance of ‘Reality’ programming has seen channels lose their identity as TV1, TV2 and TV3 are now virtually indistinguishable. While cheaper to produce, Reality TV does little to enhance viewing experiences. The exploitation of conflict, competition and controversy does not equate to viewer satisfaction or the desire to be entertained by other compelling programming content. Shows of cultural or artistic significance are almost nonexistent, ‘live’ mainstream sport is available through Sky’s subscription TV service – for a fee. The alternative is to watch Reality television on Freeview. With the exception of Māori TV and TVNZ7, other major networks have determined the viewer wants to watch Reality television; perhaps this decision is based more on economic considerations. It’s cheap. Reality TV also does little to provide jobs for local actors or encourage technical excellence and competence by the crews and operators. In response, the networks generally state that their programming selection is determined by ratings, and Reality TV returns significant ratings. However, if there are no other available programming choices, then chances are, the viewer will end up watching either a cooking or a police Reality programme. Nor do scheduling inconsistencies nurture viewer loyalty.

Presumably, the more channels that are available to the viewer, the more choices they have in deciding what to watch. However in simple terms, the result of more channels is a reduction in broadcast quality because more TV channels reduce the available bandwidth; so more channels equate to poorer quality. After five years of digital television, it’s obvious some networks have been slow in responding to the technical challenges they face. Viewers have lost a functioning television Public Broadcaster, but have more channels and proportionately more low cost programming to view. As we know more channels don’t mean better television, and digital television doesn’t always mean better picture and audio. If broadcast standards have been breached, then concerns can be addressed to the Broadcast Standards Authority. If viewers are looking to report technical or other broadcast related issues outside the scope of the BSA, then no effective mechanism exists to receive and investigate those concerns. Clearly, writing to the networks or Freeview achieves very little. Who then is really ensuring the New Zealand broadcast industry is acting in the best interests of New Zealand and more importantly New Zealanders? ■

For allsorts of people

TŪ MAI | Mar/April 2012

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Dunedin pulls fashion talent yet again Dunedin’s Fashion history has created and launched careers for budding fashion designers from around the world when they show their collections in a the coveted iD International Emerging Designer Awards. This year will mark its eighth year and 28 finalists from seven countries have been selected to vie for top honours 29 March.

V

ictoria Muir, iD’s event co-ordinator says the iD Awards are continuing to attract international talent who travel from around the globe including Switzerland, Israel and Croatia.

“For the first time since this international fashion competition was launched in 2005, we have a finalist from Canada, with an even stronger representation from New Zealand and Australia. Every year I’m amazed at the quality of the entries we receive, and this year is no different. I’ve collated over 100 entries from 11 different countries, representing some of the most prestigious fashion schools in the world.” Dunedin proud Tanya Carlson, fashion designer and selection panellist, says it is exciting to see more menswear collections in this year’s entries, alongside many applicants showing sustainable processes and a greater awareness of the environment. “It’s great to see an increase in the number of Australian finalists embracing the opportunities the iD Awards offer – including having their collections seen by one of the industry’s best, Hilary Alexander, who I’m looking forward to meeting again!”

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This year’s finalists are: New Zealand Auckland University of Technology : Vihanga Mahesh Sontam Massey University : Luka Mues, Samantha Murray, Andie Ye Ji. Otago Polytechnic : Grace Averis, Phillip Hawkins, Jojo Ross. Whitecliffe College of Art and Design : Sally Huang, Yun Shin Do. Australia Royal Melbourne Institute of Technology : Carolina Barua, Allison Bell, Jon Cordiano, Katie Dickinson, Christina Exie, Jane Fuge, Chris Ran Lin. University of Technology, Sydney : Penny Allen, Ben Bala, Kacey Devlin, Natalia Grzybowski, Patricia Kapeleris, Caitlin Murray, Keira Paradice. Austria University of Applied Arts, Vienna : Tanja Bradaric, Taro Ohmae. Canada Ryerson University : Yvonne Lin. Croatia University of Zagreb : Verdrana Mastela. Israel Shenkar College of Engineering and Design : Renana Krebs. Switzerland University of Applied Sciences Northwestern Switzerland : Julia Klein-Klute. Prizes include NZ$5,000 for first place winner, $3,000 for second place, $1000 for third place, with other special prizes yet to be announced. Winners from the 2012 iD International Emerging Designer Awards will show their collections at the iD Dunedin Fashion Show on Friday 30 and Saturday 31 March 2012. ■

For allsorts of people


For allsorts of people

T的 MAI | Mar/April 2012

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JoJo Ross, Otago Polytechnic Photo _ Cecily R@Ali McD Charlotte McLachlan

Jon Cordiano, Royal Melbourne Institute

Samantha Murray, Massey

Exie Christina, Royal Melbourne Institute of Technology


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TU MAI March/April #122  

NZ's Only Indigenous Lifestyle Magazine

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