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Click this link to read and register for Pantograph Punch x Ōtepoti Writer Lab's upcoming publishing workshop and hear about opportunities coming your way!","title":"Upcoming in Ōtepoti: Demystifying Publishing with Sherry Zhang"},"content":[{"_type":"articleText","description":[{"children":[{"_type":"span","marks":[],"text":"Kiaaaa ooooora Te Waipounamu, we're heading your way! \n\nIn partnership with ","_key":"003dca94ccd60"},{"_type":"span","marks":["e611239b327d"],"text":"Ōtepoti Writers Lab","_key":"5d92b4057b81"},{"_type":"span","marks":[],"text":" and thanks to support from Dunedin City Council, we're excited to be heading to Ōtepoti Ofor a publishing workshop in September, with publishing opportunities to follow. The purpose of this project is to build skills and connections with writers in the area no matter what stage in your journey. 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We’ll take you through pitching to online publications, as the first step of creating your piece. After this step, we will delve into the nitty gritty steps of publishing, including developing and refining your argument and angle and the different stages of editing.\n","_key":"df5071b06ce5","_type":"span"}],"_type":"block","style":"normal","_key":"2ad47d7fb2f0"},{"children":[{"_type":"span","marks":[],"text":"The focus of this workshop will be arts publishing (e.g. personal essays, features, and interviews) as opposed to other forms of publishing.","_key":"0e2af6e23b320"},{"_type":"span","marks":["strong"],"text":"\n","_key":"27260a5fbf48"},{"marks":["26c738398d7d"],"text":"\n","_key":"478bee043f00","_type":"span"},{"_type":"span","marks":["strong"],"text":"NB: WE'VE HAD SO MUCH INTEREST, REGISTRATIONS HAVE NOW CLOSED THROUGH OFFICIAL CHANNELS! Email in submissions@pantograph-punch if you wanna get popped on the waiting list and stay in touch about publishing opportunities!\n","_key":"6d950d2950d5"}],"_type":"block","style":"normal","_key":"7017c1de1eb5","markDefs":[{"_type":"link","href":"https://docs.google.com/forms/d/e/1FAIpQLSd8RYSe3RyfYkIEJVxx7pOUyKrYGfkLGkot_GuYwhMUeqm85w/viewform?usp=sf_link","_key":"26c738398d7d"}]}],"_key":"4ea225242d40"},{"_key":"271b06f03a240d9cf34a55d0c799556b","mode":"default","_type":"articleRule"},{"description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Photo by Julie Zhu. 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While I’ve enjoyed being the sexy lil omnipresent voice hyping up our creative whānau, I’m excited to step into this new role and continue the legacy of punchy (ha!) arts writing.","_key":"4e04fbdfeba83"}]},{"_key":"229070dcd449","markDefs":[],"children":[{"_type":"span","marks":[],"text":"When asked to introduce ourselves, do we open with our job title? Is our worth measured by the ability to contribute to society, or the economy? Do we name the various roles we hold in our whānau and community? Is the answer in our whakapapa, and do we mihi to our tūpuna and the journeys before our time? 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It feels disingenuous to say I’ve always loved the arts. I hate how burnt out I get juggling a creative practice on top of full-time work, study and life. I hate how it was the source of angst, tension and misunderstanding in my family. I hate how it generally gives me three mouth ulcers per project. I’ve sworn to never act again or never write poetry again with varying degrees of melodrama. Yet I cannot help but come back. I can’t help but keep loving it – toxic af yah! As a creative practitioner, I am my grandfather’s worst nightmare. But I hope he’s also a bit stoked by the nerve. 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It provides not just food for nourishment, but a container for water, space, stories, medicine and memory. What if I ask you to wāwahi those containers with me – to mess up, smash and put thoughts back together again in new forms? Could this also be a way of worshipping, respecting and honouring creatives before us, while making way for those yet to come? I see breaking things open as an attempt to understand ourselves, others and te ao on a deeper level. To see criticism as a mechanism to wāwahi, to raise eyebrows, and to meet the incredulous stares of “How dare you?” with “Exactly, we dare to.” To ground disruption in compassion, love and respect. So, I encourage all the ‘calabash breakers’ to play in this space with me. To the odd hats and annoying kids who ask too many questions, haere mai. 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Expect more transformations as we work to ensure quality content, fair reimbursement and sustainable working environments.","_key":"aa28d2312e4b2"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"text":"Let’s dream together to ensure our taonga tuku iho, knowledge and stories flow to the next generation. With discourse, disagreement, connection and celebration as nourishing of acts of love, let’s fucking go! 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It’s my attempt to make sense of life on the fringe. I can specifically narrow that down to my engagement and fascination with graffiti and the tattoo industry. Being drawn to these fringe arts that have been historically ostracised, I find myself mirroring that to the struggles our tīpuna had to face in reclaiming their Māoritanga in the post-war periods of the 20th century. I find a strange comfort in those metaphysical similarities. 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I’m slowly getting strands of precious mātauraka from special people and that means so much to me as a creative. At art school I majored in painting, and the knowledge I had within te ao Māori was small. I had very few connections and I felt a whole lot of whakamā about myself and my identity. I often asked myself questions like “How can I be a Māori artist?” “How do I make relationships?” I struggled to find what I wanted to express back then, especially because I was fresh out of high school when I started art school. I find institutions to be intimidating spaces, but it did help me grow and learn more about myself. 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I don’t want to be just a painter, or an artist that only works with earth pigments, because I know what I’m like – I’m a haututū, a day dreamer, and a big lover of creativity, whatever that looks like. That could mean bold colours in a painting, or being on my whenua creating a dreamy earth palette of my landscapes or making paper to mimic the surface of Papatūānuku with materials I can find. Whenua pigments are a part of my practice. I’ve been researching and learning about them and they have been such a huge factor of connectivity for me in my toi, which I really value. There’s still so much more to learn! Te ao Māori is huge. There are so many strands of it I want to explore, and that excites me. I’m eager to learn and create as much as I can and I’ll keep grasping on to knowledge and adding that to my kete. 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Through that I came to tuna, which is the predominant kaupapa in my whānau. We are kaitiaki of tuna for Ngāi Tūāhuriri. My first engagement with my Māori identity was learning how to eel in my ancestral river, the Waimakariri. I’ve watched in real time over the past ten years as a lot of the Waimakariri has been lost to the bovine industry due to farming in Canterbury and overuse of the waterways without any challenge. There’s a lot of pollution run-off in the Waimakariri as a result of that, and it’s sad. So I started making these hīnaki that use farming materials. The first one I made was called ","_key":"47654f4075101","_type":"span","marks":[]},{"text":"Matekai","_key":"47654f4075102","_type":"span","marks":["em"]},{"marks":[],"text":", which translates to ‘deathly hunger’. It was an emaciated hīnaki that wouldn’t be able to catch tuna, it wouldn’t hold. I tried to create a sense of melancholy in my works that reflected my perspective of this colonial industry.","_key":"47654f4075103","_type":"span"}],"_type":"block","style":"normal","_key":"2c36390adb39"}]},{"image":{"_type":"image","asset":{"_type":"reference","_ref":"image-8b7e7d6b1eb1b5cffcc7a52174c3933b9416e47d-6000x4000-jpg"}},"_type":"articleImage","description":[{"children":[{"_type":"span","marks":[],"text":"Installation view, 2023. Photo: Rosa Nevison","_key":"aeb04ae68d7e0"}],"_type":"block","style":"normal","_key":"ffa4b4b81b5b","markDefs":[]}],"_key":"fc7f1f508118"},{"_key":"c9edf56a11cb","_type":"articleText","description":[{"markDefs":[{"_type":"link","href":"https://www.paemanu.co.nz/taurakatoi","_key":"495c4f4ac155"},{"_type":"link","href":"https://www.paemanu.co.nz/whakawhitika?lightbox=dataItem-l1a10rys","_key":"6cb3ec5ba098"}],"children":[{"marks":["strong"],"text":"Moewai: ","_key":"4200e7defeeb0","_type":"span"},{"_type":"span","marks":[],"text":"I drew inspiration from the ","_key":"4200e7defeeb1"},{"_type":"span","marks":["em","6cb3ec5ba098"],"text":"Tūturu","_key":"4200e7defeeb2"},{"_type":"span","marks":[],"text":" series that I created for ","_key":"4200e7defeeb3"},{"_type":"span","marks":["495c4f4ac155","em"],"text":"Paemanu: Tauraka Toi","_key":"4200e7defeeb4"},{"_key":"4200e7defeeb5","_type":"span","marks":["em"],"text":". "},{"_type":"span","marks":[],"text":"It was made out of paper using invasive plants, and painted with whenua pigments. That was my first time gathering kōkōwai or maukoroa, and other whenua pigments, from each of the landscapes that I whakapapa to. For this show I wanted to explore another layer of my whakapapa. As Aidan was saying, the materials introduced due to colonisation and disrupting our waterways were an interesting crossover with both of our mahi, so I wanted to create an extension of the work ","_key":"4200e7defeeb6"},{"_type":"span","marks":["em"],"text":"Tūturu","_key":"4200e7defeeb7"},{"_type":"span","marks":[],"text":", highlighting the damage that is happening in te taiao. I wanted to make more paper works and visit sites that had significance to me when I was growing up in Pine Hill, under Kapukataumahaka, with my grandparents. I spent a lot of time at Bethune’s Gully, and have lived by Ōwheo more or less all my life. Those waterways were significant to me growing up, so I felt strongly about making work that highlights the damage that has been done to them. It was a great opportunity to explore something new with my mahi, too.\n","_key":"4200e7defeeb8"}],"_type":"block","style":"normal","_key":"c45439e90607"},{"style":"normal","_key":"4030a70e2ceb","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Mya:","_key":"e9ba3030d55f0"},{"_key":"e9ba3030d55f1","_type":"span","marks":[],"text":" Was this your first time collaborating together? Have you enjoyed it? What have you learned from collaborating?"}],"_type":"block"},{"children":[{"_type":"span","marks":[],"text":"","_key":"dcf9c381b7ed0"}],"_type":"block","style":"normal","_key":"cdeb7f789e94","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Moewai: ","_key":"f390e5ef91850"},{"_type":"span","marks":[],"text":"I’ve really enjoyed it.","_key":"f390e5ef91851"}],"_type":"block","style":"normal","_key":"d46ec00b8e55"},{"_key":"2b2a6cfb8da8","markDefs":[],"children":[{"_key":"beccb7026c6e0","_type":"span","marks":[],"text":""}],"_type":"block","style":"normal"},{"children":[{"_type":"span","marks":["strong"],"text":"Aidan: ","_key":"eded38cd6e900"},{"_type":"span","marks":[],"text":"Yeah, me too. The juxtaposition of our works created something larger than we anticipated. From my perspective, my works are industrial, intense and rugged, and they sit nicely against the backdrop of yours, which are delicate and thoughtful.","_key":"eded38cd6e901"}],"_type":"block","style":"normal","_key":"e9481d0968ee","markDefs":[]},{"markDefs":[],"children":[{"_key":"5c2ceff301af0","_type":"span","marks":[],"text":""}],"_type":"block","style":"normal","_key":"fdd348b5ee5b"},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Moewai: ","_key":"cac3e82184050"},{"_type":"span","marks":[],"text":"Yeah, I agree. Aidan and I collaborated on the river stones that sit in the corner of the gallery space. The stones reach a descending point in the gallery, with the work coming down off the maunga Kapukataumahaka. Aidan’s hīnaki move their way through the awa, and the paper I made has movement when you walk around the room. It gives a sense of flow, and hearing the sounds of the awa in the video installation makes it feel more alive and robust, too. Eventually the works come down to reach the river stones and the kōkōwai at the bottom. He carved all the eels into them and I painted kōkōwai on top. I feel like the collaboration in our mahi adds to the layers of connections and whakapapa we have to this whenua. I really like the sculptural element that Aidan presents in his works and how he creates them to become taonga. We both acknowledge the whakapapa of the resources, the place that these works connect to and the mauri present within them.","_key":"cac3e82184051"}],"_type":"block","style":"normal","_key":"64004fa482be"}]},{"image":{"_type":"image","asset":{"_ref":"image-612eaa4dae02b9a08e5c721b3dd3d460e278816a-4000x6000-jpg","_type":"reference"}},"_type":"articleImage","description":[{"style":"normal","_key":"dad34404f241","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Aidan Taira Geraghty & Moewai Marsh, ","_key":"08f7eee5de650"},{"_type":"span","marks":["em"],"text":"Tuna Heke","_key":"08f7eee5de651"},{"_key":"08f7eee5de652","_type":"span","marks":[],"text":", Greywacke, kōkōwai, 2023. Photo: Rosa Nevison"}],"_type":"block"}],"_key":"92472ce4baae"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Mya: ","_key":"51be25163b9c0"},{"_type":"span","marks":[],"text":"I love the stones! What do you both enjoy about being artists living in Ōtepoti?","_key":"51be25163b9c1"}],"_type":"block","style":"normal","_key":"ed4b326f67d3"},{"_type":"block","style":"normal","_key":"cafd528e409f","markDefs":[],"children":[{"_type":"span","marks":[],"text":"","_key":"bdb590c97dbd0"}]},{"markDefs":[],"children":[{"text":"Aidan: ","_key":"adf62772b2ed0","_type":"span","marks":["strong"]},{"marks":[],"text":"The community.","_key":"adf62772b2ed1","_type":"span"}],"_type":"block","style":"normal","_key":"7b4b891dc015"},{"style":"normal","_key":"7936f9b329c2","markDefs":[],"children":[{"_type":"span","marks":[],"text":"","_key":"a62c01363c560"}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Moewai: ","_key":"8bd8d1bf3da20"},{"marks":[],"text":"Yeah, I’d say the same. We have a unique and diverse community here in Ōtepoti. We’re fortunate that we can be a part of it. This year I’ve seen some mīharo as mahi toi and art events are happening here every month. It’s cool to see more art and creativity being represented in our city by local and Māori artists. There are writing workshops, heaps of exhibitions, new art installations and murals. It’s growing and that’s really exciting.\n","_key":"8bd8d1bf3da21","_type":"span"}],"_type":"block","style":"normal","_key":"726a1700183a"},{"style":"normal","_key":"aaa60f72df8b","markDefs":[],"children":[{"_key":"9a4fe7a6b5f80","_type":"span","marks":["strong"],"text":"Aidan: "},{"marks":[],"text":"Most people are stoked on what you’re doing. They don’t have to enjoy your mahi, they just like to see the creativity. I’ve got Pākehā mates who don’t understand what I’m making, but they are stoked to see that there’s a high output and such a lovely recognition of toi Māori here. It’s positive. It makes me want to keep making more.","_key":"9a4fe7a6b5f81","_type":"span"}],"_type":"block"},{"markDefs":[],"children":[{"text":"","_key":"d8b58a43d7510","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"dd5cea3dd2ba"},{"_key":"00371adc605b","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Moewai: ","_key":"f4b4f24c56910"},{"marks":[],"text":"Me too. It connects us back to our whakapapa. It’s a real privilege to be making work on our whenua. I feel for people that don’t live on their whenua but are making mahi about their landscapes, or maybe their feelings of being disconnected from home. Whereas Aidan and I, we are home. We’re on our whenua and we get to connect and create with different people all the time. I feel lucky to be able to do that.","_key":"f4b4f24c56911","_type":"span"}],"_type":"block","style":"normal"}],"_key":"509c39420b49"},{"image":{"_type":"image","asset":{"_ref":"image-4fb1a4b1bf67e41c738b7b632837a0d3a19b428c-5397x3598-jpg","_type":"reference"}},"_type":"articleImage","description":[{"_type":"block","style":"normal","_key":"4af3ced6d5a6","markDefs":[],"children":[{"marks":[],"text":"Moewai Marsh, ","_key":"3b9c2c36a16e0","_type":"span"},{"_type":"span","marks":["em"],"text":"Whakaora","_key":"3b9c2c36a16e1"},{"_type":"span","marks":[],"text":", Wood shavings, clay, kōkōwai, grass, leaves, bark, recycled paper, rubbish, 2023. Photo: Rosa Nevison","_key":"3b9c2c36a16e2"}]}],"_key":"752d8f9edee0"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_key":"34f5adcd98f90","_type":"span","marks":["strong"],"text":"Mya: "},{"_type":"span","marks":[],"text":"You’ve both been involved in mural projects and public artworks recently. Can you tell me about those?\n","_key":"34f5adcd98f91"}],"_type":"block","style":"normal","_key":"edc4ccd41945"},{"markDefs":[{"_type":"link","href":"https://www.facebook.com/SouthDStreetArtTrail","_key":"05308487059e"}],"children":[{"_type":"span","marks":["strong"],"text":"Aidan: ","_key":"a676b384ba2d0"},{"_type":"span","marks":[],"text":"I was approached by the ","_key":"a676b384ba2d1"},{"text":"South Dunedin Street Art Trail","_key":"a676b384ba2d2","_type":"span","marks":["05308487059e"]},{"marks":[],"text":" to create a mural that represented the pre-colonial history of South Dunedin. The area itself was situated in marshlands called Kaituna, which is all land reclaimed after first contact. Up until the late 1800s there were still kai trails that mana whenua would come inland to use. The mural tries to capture the identity of tuna as a whole, which ties nicely into my work for ","_key":"a676b384ba2d3","_type":"span"},{"_type":"span","marks":["em"],"text":"Ka kore, Kua kore","_key":"a676b384ba2d4"},{"_type":"span","marks":[],"text":" using that motif strongly. I tried to create something that was accessible to everyone. Kaituna speaks to a wider community of people, not just Kāi Tahu, but tākata Māori and tākata Moana as groups represent a decent percentage of whānau who reside in the area. A lot of whānau who are not mana whenua down here don’t have that immediate connection with their whenua, but they can recognise a sense of identity in these motifs.\n","_key":"a676b384ba2d5"}],"_type":"block","style":"normal","_key":"751c1184ee2a"},{"style":"normal","_key":"a51d26b9cb6c","markDefs":[{"href":"https://ahika.co.nz/","_key":"a8dc2af11e11","_type":"link"},{"_type":"link","href":"https://aukaha.co.nz/","_key":"e51f68fdf54e"}],"children":[{"marks":["strong"],"text":"Moewai: ","_key":"ff82b7d7d3d10","_type":"span"},{"text":"The murals look amazing! I drive past them every day. The kaupapa I worked on is similar to Aidan’s. Last year, I was approached by ","_key":"ff82b7d7d3d11","_type":"span","marks":[]},{"marks":["a8dc2af11e11"],"text":"Ahikā","_key":"ff82b7d7d3d12","_type":"span"},{"_type":"span","marks":[],"text":", ","_key":"ff82b7d7d3d13"},{"marks":["e51f68fdf54e"],"text":"Aukaha","_key":"ff82b7d7d3d14","_type":"span"},{"_type":"span","marks":[],"text":" and Dunedin City Council to create artworks to go onto some new recycle hubs being installed on George Street. I’m not going to lie, it was stressful. It challenged how I usually think. I had to approach art making in a different way, because I’m a pen-and-paper kinda gal, so I was experimenting with using Photoshop and using Procreate for the first time.\n","_key":"ff82b7d7d3d15"}],"_type":"block"},{"_type":"block","style":"normal","_key":"bf56417142bb","markDefs":[],"children":[{"_type":"span","marks":[],"text":"I was nervous to have my artwork in a public space, because anyone can respond to it. The original design I made, I did not like at all. I was working with Aroha Novak and Simon Kaan, and a week before it was due I changed the whole design. Aroha was like, “Just do it. We’ll smash it out. I want you to be happy with it and for it to represent what’s important to you.” I’m grateful for all their tautoko in making that happen, because the design I did create relates more to my current practice and it does tie into","_key":"fb576c82a6150"},{"_type":"span","marks":["em"],"text":" Ka kore, Kua kore","_key":"fb576c82a6151"},{"_key":"fb576c82a6152","_type":"span","marks":[],"text":". It talks about being good kaitiaki for our whenua and caring about the landscapes that we are in."}]}],"_key":"59b4815fffb6"},{"image":{"_type":"image","asset":{"_ref":"image-4781fbbf35dc0aefaccaaac9f813012340261921-5563x3709-jpg","_type":"reference"}},"_type":"articleImage","description":[{"_type":"block","style":"normal","_key":"1f6ca626f716","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Installation view, 2023. Photo: Rosa Nevison","_key":"e71f84c7e4bb0"}]}],"_key":"4b96e6975d30"},{"_key":"dde54dccbfd2","_type":"articleText","description":[{"_type":"block","style":"normal","_key":"3761fd34f6f4","markDefs":[],"children":[{"_type":"span","marks":[],"text":"A lot of my practice is about being still. Being gentle with the land, gentle with myself and slowing down. My mahi and my thoughts get messy when I’m not being present. It’s a good reminder for myself and for others to slow down. Good mahi comes with good intentions and taking your time. There are motifs of that in the artwork. I drew a manaia on one side, a tuna on the other side, and Papatūānuku is represented in the middle of the design. They all come together as protectors to take care of our earth. All the colours that I chose connect to different landscapes here in Ōtepoti, where I’ve gathered earth pigments from and that connect me to my whakapapa here as a Kāi Tahu artist. It’s a reminder that we have to be good kaitiaki for the land and take more notice of the beauty that surrounds us. Ōtepoti used to be covered in marshlands and had an abundance of tuna, manu, rākau and plenty of other resources. It’s definitely not as abundant anymore, and many of our waterways are polluted, but that doesn’t mean we can’t look after what we have before it’s gone… ka kore, kua kore.","_key":"7803a121d31e0"}]},{"_type":"block","style":"normal","_key":"9e1ea9445dbd","markDefs":[],"children":[{"_key":"ce7baa57f5e60","_type":"span","marks":[],"text":""}]},{"_key":"28c851d0b336","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Mya: ","_key":"7e969933afeb0"},{"_key":"7e969933afeb1","_type":"span","marks":[],"text":"A final question. What do you both have planned for the new year? Any Matariki celebrations?"}],"_type":"block","style":"normal"},{"_type":"block","style":"normal","_key":"97f20f09fcf2","markDefs":[],"children":[{"text":"","_key":"63c13b631b480","_type":"span","marks":[]}]},{"_type":"block","style":"normal","_key":"4b700eab2582","markDefs":[{"_type":"link","href":"http://hangimaster.co.nz/","_key":"2678fa5de3c3"}],"children":[{"_key":"4056503414220","_type":"span","marks":["strong"],"text":"Aidan: "},{"_type":"span","marks":[],"text":"I am potentially moving to Wānaka to spend some time there. It’s about time I left the nest for a bit. I’ve got a job opportunity working with my cousin Nikau for Rewi Spraggon, he runs ","_key":"4056503414221"},{"_key":"4056503414222","_type":"span","marks":["2678fa5de3c3"],"text":"Hāngi Master"},{"_type":"span","marks":[],"text":" and might be extending his mahi through there, so keep your eyes peeled. I’ve always been a hands-on person with kai. Kai is my love language. Working as a chef and in hospitality for the past ten years coincides with my art practice. It is awesome that I’m able to use my hands to create something that everyone can enjoy in two different worlds. Being able to supplement my art practice by going off and doing something within the framework of kaupapa Māori is special. That’s my new year.","_key":"4056503414223"}]}]},{"image":{"_type":"image","asset":{"_type":"reference","_ref":"image-0179540bbd51a4b242fbcbde53783b3613ffff16-2981x1677-jpg"}},"_type":"articleImage","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Moewai Marsh, ","_key":"59f076aa83640"},{"text":"Hokinga","_key":"59f076aa83641","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":", Single channel digital video, 2:17 minutes, looped, 2023. Directed and edited by Adam Gardiner","_key":"59f076aa83642"}],"_type":"block","style":"normal","_key":"a00f01c768e0"}],"_key":"3b6c261d0e95"},{"description":[{"children":[{"text":"Moewai: ","_key":"fba368f324fd0","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":"I’ll be celebrating Matariki at my marae, Puketeraki. I’m going to be staying there for two nights for a wānaka. I’m so excited to be on my whenua, with my whānau, and acknowledge my tūpuna. It’s been a busy and full-on year. We’re all looking forward to having some downtime. We all need it.","_key":"fba368f324fd1"}],"_type":"block","style":"normal","_key":"11b4a8f26940","markDefs":[]},{"children":[{"_type":"span","marks":[],"text":"","_key":"3946bcf351150"}],"_type":"block","style":"normal","_key":"abb31450ae65","markDefs":[]},{"_key":"8dc036675c85","markDefs":[],"children":[{"_type":"span","marks":[],"text":"I was reflecting this morning on future Matariki, in years to come, and how I can align mahi that I’m working on to not coincide with Matariki. To actually block out time where I don’t do any mahi at all, because it is a time to rest and in the past month I haven’t had much rest. I’m doing it all backwards. This isn’t how Matariki should be. How can I be more intentional? How can I be more gentle? I want to be spending more time with my whānau and friends over Matariki. Doing more wānaka. I just want to hang out with my mates, make art, gather dirt, drink lots of tea and eat yummy kai! I’m moving house over Matariki, too. I’m looking forward to a new beginning, setting up my room and hanging all my mahi toi from all my mates and artists I love on my walls. 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This work has the potential to become a defining piece of Ōtepoti and Kāi Tahu theatre.","_key":"de3abf4b6d0e2"}]},{"markDefs":[],"children":[{"marks":[],"text":"To tell a story so particular to the south, it’s important to unpack the place in which this work is set and shown. Ōtepoti Dunedin is within Kāi Tahu’s large takiwā and is a port and university city, with visiting rural populations from nearby. Kāi Tahu have a long and complex history with tākata pora, who arrived early in the settlement process as whalers and sealers. Scottish settlers prided it as the Edinburgh of the south, and overlaid the town plans for the capital of Scotland on the distinctly hilly and swampy whenua. As this work uncovers, Ōtepoti has struggled through its own ","_key":"4d863b5556680","_type":"span"},{"_type":"span","marks":["em"],"text":"Trainspotting","_key":"4d863b5556681"},{"text":" era.","_key":"4d863b5556682","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"4d863b555668"}],"_key":"row-10050"},{"_type":"articleShortquote","description":[{"_key":"a72cfc8c195e","markDefs":[],"children":[{"marks":[],"text":"Ōtepoti has struggled through its own Trainspotting era","_key":"a72cfc8c195e0","_type":"span"}],"_type":"block","style":"normal"}],"_key":"row-10054"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_key":"9ae55ccf22310","_type":"span","marks":[],"text":"The show is presented as a “homage to Hineahuone, the world’s first woman crafted by Tānemahuta.” The poster shows Tānemahuta and Hineahuone in embrace, and the title, "},{"_type":"span","marks":["em"],"text":"The World’s First Lovers","_key":"9ae55ccf22311"},{"_type":"span","marks":[],"text":", gave me the impression that I was walking into their love story. I quickly realised that was not what I had stepped into. Tānemahuta and Hineahuone are spliced in (along with a bigger creation story) as a dramatic device. The pair share one affectionate scene with almost no dialogue. Instead, the work focuses around a central protagonist, Fortune, moving through the trials and awakenings of being both a woman and Māori in Ōtepoti during the 1980s.","_key":"9ae55ccf22312"}],"_type":"block","style":"normal","_key":"9ae55ccf2231"}],"_key":"row-10053"},{"mode":"default","image":{"alt":null,"_key":"d09e36689ded","asset":{"_weak":true,"_ref":"image-29466fcbe45b87a6784af106b7f308d557ddce52-800x534-jpg","_type":"reference"},"railsData":{"metadata":{"filename":null,"size":137605,"mime_type":"image/jpeg","width":800,"height":534},"id":"image/10452/attachment/c8c6ebded0139bd6c4037b46e0619f0d","storage":"store"},"_type":"image"},"_type":"articleImage","description":[{"children":[{"_type":"span","marks":[],"text":"Princes St at Moray Pl, Dunedin, 1980 (Photo credits: Leroy W. 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The show opens with a message, “You are all gods”, setting up the central idea that to live well we must remember we descend from atua – because disconnecting from whakapapa, recent and metaphysical, has severe effects. After she is created, Hineahuone implores: “If you forget me, you will forget who you are. Remember my name.” Using pūrākau as a narrative device, or framework for performance, is becoming common in Māori theatre. These works could form a genre in their own right, characterised by atua appearing as characters within a work, pūrākau framing the piece, or atua as an allegory.","_key":"21cbd462bcbe0"}],"_type":"block"}],"_key":"row-10056"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"text":"Using pūrākau as a narrative device, or framework for performance, is becoming common in Māori theatre","_key":"2a34de53af420","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"2a34de53af42"}],"_key":"row-10057"},{"_key":"row-10058","_type":"articleText","description":[{"_type":"block","style":"normal","_key":"05c1f456f390","markDefs":[],"children":[{"_type":"span","marks":[],"text":"This work offers a cathartic process for Māori raised in Te Waipounamu, which I assume could resonate more for generations who lived through the 1980s. I tread carefully into storytelling about trauma as it can overwhelm me. I need to laugh, and to hear all the other experiences beyond trauma that make us three-dimensional people. But the reality is that all of these stories can, and should, be told simultaneously to describe a holistic world of being Māori. The atua in this work allow it to tell a difficult and familiar Māori story without further scarring the audience. Pūrākau are growing in usage across many disciplines, even as a treatment method in mental-health care, by people such as Dr Diana and Mark Kopua. There are confronting moments of violence, racism and mental distress within the work, but these aren’t dwelled upon. During a haunting mental breakdown, a narrator calls out, “Psychosis or matakite. A blessing or a curse.” Taoka pūoro, waiata and characters changing into atua provide relief and bring us out of the heaviness, reaffirming that live performance is a potent and transformational medium. By using sensory processes like ihi, wehi and wana, and the unity and release of waiata, we are able to feel all of these experiences. Rather than keeping them to rot within us, we exhale them out in our next breath.","_key":"05c1f456f3900"}]}]},{"_key":"row-10059","mode":"default","image":{"_type":"image","alt":null,"_key":"a2429a4b22e6","asset":{"_weak":true,"_ref":"image-a94274da2ac9fc3fb754c76f17e820a98c4e3200-850x510-jpg","_type":"reference"},"railsData":{"metadata":{"mime_type":"image/png","width":850,"height":510,"filename":null,"size":784358},"id":"image/10453/attachment/f28b6d5f9ce2ded764ec11c74948d7c6","storage":"store"}},"_type":"articleImage","description":[{"_key":"23217c11084a","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Photo credits: Kassandra Lynne","_key":"23217c11084a0"}],"_type":"block","style":"normal"}]},{"description":[{"markDefs":[],"children":[{"text":"By using sensory processes like ihi, wehi and wana, and the unity and release of waiata, we are able to feel all of these experiences. 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At times it was hard to follow where in time a scene had jumped to, especially with cast members playing multiple people, deities and narrators. This lack of clarity didn’t overshadow the quality of the work, and I anticipate these finer delivery details will get sharper in the play’s premiere season.","_key":"1cf1faf3bce00","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"1cf1faf3bce0","markDefs":[]}],"_key":"row-10061"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"...energetic performances of cataclysmic creation moments, with Dragon Ball Z-style kāmehameha attacks, but with a twist of tīhei mauri ora!","_key":"687953783a8c0"}],"_type":"block","style":"normal","_key":"687953783a8c"}],"_key":"row-10062"},{"_type":"articleText","description":[{"style":"normal","_key":"f9efb6969cba","markDefs":[],"children":[{"_key":"f9efb6969cba0","_type":"span","marks":[],"text":"The script is a consistent merit of the work. As Latton’s debut full-length written play, the story has been developed extensively through programmes, festivals and residencies. This development and research time is clear in the detail of the script. One example is the extensive descriptions of Hineahuone’s creation, impressively the many atua who gifted the intricate parts of her genitals are named. The dialogue is poetic, including lines revealing that Fortune’s marae is at Rāpaki, on Te Pātaka-o-Rākaihautū Banks Peninsula:"}],"_type":"block"}],"_key":"row-10063"},{"_type":"articleLongquote","description":[{"markDefs":[],"children":[{"text":"“Rāpaki is as real as a mountain.\"","_key":"1bd1bae80c190","_type":"span","marks":["em"]}],"_type":"block","style":"normal","_key":"1bd1bae80c19"},{"_key":"e026492ebaa7","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"“There are taniwha in the harbour. Takaroa take us home.”","_key":"e026492ebaa70"}],"_type":"block","style":"normal"}],"_key":"row-10064"},{"_type":"articleText","description":[{"style":"normal","_key":"fc59a988cd3b","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Latton’s poetic and descriptive language elevates the script and creates an immersive, distinctively Ōtepoti wairua within the theatre. The script cuts between vignettes of cruel kids who sell possum skins at school, skinheads in Caversham and punks in cold mansions. A disturbing favourite was the description of living in exile in a haunted house surrounded by paddocks, swamps and dog shit, where a kaumātua is paid $5 and a packet of cigarettes to clear out a ghost.","_key":"fc59a988cd3b0"}],"_type":"block"}],"_key":"row-10065"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"marks":[],"text":"a haunted house surrounded by paddocks, swamps and dog shit, where a kaumātua is paid $5 and a packet of cigarettes to clear out a ghost","_key":"b788c135610f0","_type":"span"}],"_type":"block","style":"normal","_key":"b788c135610f"}],"_key":"row-10066"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"The layers of ahurea Kāi Tahu in this work add a complexity I want to see live performance keep moving into. The Kāi Tahu creation whakapapa shared covered the web of relationships between Pokoharuatepō and Rakinui (which birthed Aoraki), and the love triangle between Takaroa, Papatūānuku and Rakinui (the latter two who birthed Tānemahuta). I was absorbed, wondering how and which whakapapa would be recited. The only other time I’ve felt a similar Kāi Tahu-specific creation excitement in a performance was Rua McCallum’s ","_key":"484bcdf8bab10"},{"text":"Wairua","_key":"484bcdf8bab11","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":" (2021). The script is supported by seamless use of Kāi Tahu mita, replacing ‘ng’ with ‘k’. Another highlight was fellow Kāi Tahu designer Amber Bridgman’s costuming. I spied a kākahu, potentially made from neinei, on Hineahuone and admired the understated details of mahi toi Māori in the costuming for the rest of the cast. The piece closed with the uplifting waiata ‘Ka haea te ata’, with the final lines declaring that as mokopuna of Tahupōtiki we settle here. This work represents a direction in which theatre should be moving, towards Māori-led and performed works, telling iwi stories, within our rohe.","_key":"484bcdf8bab12"}],"_type":"block","style":"normal","_key":"484bcdf8bab1"}],"_key":"row-10067"},{"description":[{"children":[{"marks":[],"text":"the piece closed with the uplifting waiata ‘Ka haea te ata’, with the final lines declaring that as mokopuna of Tahupōtiki we settle here","_key":"c70bbebf1dab0","_type":"span"}],"_type":"block","style":"normal","_key":"c70bbebf1dab","markDefs":[]}],"_key":"row-10068","_type":"articleShortquote"},{"_type":"articleText","description":[{"children":[{"_type":"span","marks":[],"text":"My lasting sentiment is that, for Māori living in Ōtepoti, and wider Te Waipounamu, works like ","_key":"cb27358e3cda0"},{"_type":"span","marks":["em"],"text":"The World’s First Lovers","_key":"cb27358e3cda1"},{"marks":[],"text":" are essential. A core part of tikanga Māori is acknowledgement. We mihi to the whare, to the dead, and we chant whakapapa to keep focus through karakia. Have all Māori wāhine in Te Waipounamu lived versions of the same life? In a rural schoolyard-scene a young boy mocks Fortune crudely about blood quantum: “Are you a half? Or a quarter? An eighth? Or what are you, a 32th?” (pronounced as “thirty two-th”). This moment, among others within the work, has been lived by many in Te Waipounamu but, until recently, has not been a big part of our local cultural conversations. As the play ended, I wanted to crawl back into smoke-hazed 80s Ōtepoti, into the family kitchen where Fortune’s mother is urging her to forget Māoritaka including “the old gods” and back into the velvet embrace of Hinenuitepō. I understand this desire as the same reason I poke bruises or pick scabs. To examine injuries and to witness them. This timely work witnesses the experiences of Māori wāhine, and calls for our restoration as the descendants of atua in Ōtepoti and beyond.","_key":"cb27358e3cda2","_type":"span"}],"_type":"block","style":"normal","_key":"cb27358e3cda","markDefs":[]}],"_key":"row-10069"},{"description":[{"style":"normal","_key":"0f6fa4a31497","markDefs":[],"children":[{"_type":"span","marks":[],"text":"I washed my hands to whakanoa as I left the show, and thought of all the other people who need to witness this Ōtepoti, and Kāi Tahu, story.","_key":"0f6fa4a314970"}],"_type":"block"}],"_key":"row-10070","_type":"articleShortquote"},{"_key":"row-10071","mode":"default","image":{"alt":null,"_key":"483b138c96da","asset":{"_weak":true,"_ref":"image-13c3991c1a8a45b70f38709cd1716b0f7819286b-850x510-jpg","_type":"reference"},"railsData":{"metadata":{"filename":null,"size":508124,"mime_type":"image/png","width":850,"height":510},"id":"image/10454/attachment/ab564b373265dde45225db27237d97cf","storage":"store"},"_type":"image"},"_type":"articleImage","description":[{"markDefs":[],"children":[{"marks":[],"text":"Photo credits: Kassandra Lynne","_key":"99ef86dae27d0","_type":"span"}],"_type":"block","style":"normal","_key":"99ef86dae27d"}]},{"mode":"default","_type":"articleRule","_key":"row-10072"},{"_type":"articleText","description":[{"children":[{"text":"The World’s First Lovers ","_key":"33d6f40c8f160","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":"Development Season","_key":"33d6f40c8f161"}],"_type":"block","style":"normal","_key":"33d6f40c8f16","markDefs":[]},{"_key":"54180ca89a18","markDefs":[],"children":[{"_key":"54180ca89a180","_type":"span","marks":[],"text":"7–10 December 2022"}],"_type":"block","style":"normal"},{"_key":"8614623800fc","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Allen Hall Theatre, Ōtepoti \n\nSECOND SEASON ANNOUNCED:\n","_key":"8614623800fc0"},{"marks":["em"],"text":"\nThe World's First Lovers","_key":"8aff73c3f27b","_type":"span"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_key":"d9a2c83b9a9d","_type":"span","marks":[],"text":"13 – 17 June 2023\nBATS Theatre, Te Whanganui-a-Tara\n"}],"_type":"block","style":"normal","_key":"869938b1125a"},{"children":[{"_type":"span","marks":[],"text":"Programmed as part of ","_key":"f788ac5da622"},{"_type":"span","marks":["271ba952a1f4"],"text":"Kia Mau Festival","_key":"f239a897a259"}],"_type":"block","style":"normal","_key":"4c3adbad6bf2","markDefs":[{"_key":"271ba952a1f4","_type":"link","href":"https://kiamaufestival.org/events/the-worlds-first-lovers/"}]}],"_key":"row-10073"}],"tags":["PIJF"],"image":{"_key":"9d1653ec5d53","asset":{"_weak":true,"_ref":"image-4b742c2584c96784f01af5d3b238349f40bb7721-1920x1080-jpg","_type":"reference"},"railsData":{"id":"image/10450/attachment/a80e61c2682f48164b6f22e86341c76c","storage":"store","metadata":{"size":2596123,"mime_type":"image/png","width":1920,"height":1080,"filename":null}},"_type":"image","alt":null},"viewCount":365,"readTime":"9 mins","videoUrl":"","articles":[{"_key":"9ef25a196874","_weak":true,"_ref":"article-1374","_type":"article"},{"_type":"article","_key":"2c1fbc83c0dd","_weak":true,"_ref":"article-1805"},{"_key":"a13262932889","_weak":true,"_ref":"article-688","_type":"article"}],"_type":"article","authors":[{"_weak":true,"_ref":"author-371","_type":"author","_key":"371"}],"seo":{"image":{"_type":"image","asset":{"_ref":"image-05ccdf0b69ac70d3b0359d74424019edd9e51263-1920x1080-jpg","_type":"reference"}},"description":"Something new is brewing in Ōtepoti and Kāi Tahu theatre. 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