DOCSLIB.ORG

More Than a Band Aid: How the Use of Popular Music Helped a City Recover After Disaster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MORE THAN A BAND AID: HOW THE USE OF POPULAR MUSIC HELPED A CITY RECOVER AFTER DISASTER Kris Vavasour Student No. 29112239 A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Cultural Studies University of Canterbury March, 2016 Contents Acknowledgements .................................................................................................................... iv Abstract ...................................................................................................................................... iv List of Illustrations ...................................................................................................................... vi Chapter 1: Introduction .............................................................................................................. 1 Chapter 2: Literature Review ...................................................................................................... 6 Popular music ......................................................................................................................... 7 Popular culture of disaster.................................................................................................... 11 Disaster songs ....................................................................................................................... 12 Music use after disaster ........................................................................................................ 15 Conclusion ........................................................................................................................ 21 Chapter 3: Methodology ........................................................................................................... 23 Research approach ............................................................................................................... 23 Positionality and research methods ..................................................................................... 27 Chapter 4: Music as fundraiser ................................................................................................. 37 Earthquake Relief.................................................................................................................. 38 Televised events ................................................................................................................... 40 Live events ............................................................................................................................ 42 Releases and remixes............................................................................................................ 62 Conclusion ........................................................................................................................ 72 Chapter 5: Music as psychosocial salve .................................................................................... 73 Music and memory ............................................................................................................... 73 Remembering the Dux .......................................................................................................... 76 Empty spaces, missing places ............................................................................................... 84 Music and community after disaster .................................................................................... 87 All Right? ............................................................................................................................... 93 Gap Filler ............................................................................................................................. 101 The long road to recovery ................................................................................................... 112 Conclusion ...................................................................................................................... 118 Chapter 6: Looking back, moving forward .............................................................................. 120 Chapter 7: Conclusion ............................................................................................................. 128 References .............................................................................................................................. 133 Discography ............................................................................................................................ 136 Appendix 1: YouTube Playlist .................................................................................................. 139 ii Appendix 2: Consent form ...................................................................................................... 140 iii Acknowledgements To all those who have ever played or attended a music event, or have made or bought music that was raising money for disaster victims anywhere – thank you. To those who have written about music, musicians, community, communitas, and to those who have made all the projects, events, and special moments happen – thank you. To the management, crew, and supporters of Gap Filler and All Right?, especially Coralie, Ryan, and Ciaran, for everything you have done, and will do for the city – thank you. To Eric Pawson, whose interest, encouragement, and (deservedly) pointed reminders have kept me vaguely on track and helped me over the finish line – thank you. To Tom, without whose undying love and support this whole research endeavour would never have got off the ground – thank you. You get your wife back now. Abstract The combination of music and disaster has been the subject of much study, especially star- studded telethons and songs that commemorate tragedy. However, there are many other ways that music can be used after disaster that provide benefits far greater than money or memorials but are not necessarily as prominent in the worldwide media landscape. Beginning in September 2010, the city of Christchurch, New Zealand, has been struck by several major earthquakes and over 11,000 aftershocks, the most destructive of which caused 185 deaths. As with many other disasters, music has been used as a method of fundraising and commemoration, but personal experience suggests many other ways that music can be used as a coping mechanism and aid to personal and community recovery. Therefore, in order to uncover the connections, context, and strategies behind its use, this thesis addresses the question: Since the earthquakes began, how has popular music been beneficial for the city and people of Christchurch? As well as documenting a wide variety of musical ‘earthquake relief’ events and charitable releases, this research also explores some of the more intangible aspects of the music-aid relationship. Two central themes are presented – fundraising and psychosocial uses – utilising individual voices and case studies to illustrate the benefits of music use after disaster at a community or city-wide level. Together the disparate threads and story fragments weave a detailed picture of the ways in which music as shared experience, as text, as commodity, and as a tool for memory and movement has been incorporated into the fabric of the city during the recovery phase. iv 1: Street art, Christchurch A YouTube playlist has been compiled to accompany this research (full text link and playlist details are in Appendix 1): Click here to launch: More Than A Band-Aid - thesis playlist v List of Illustrations All photographs taken by the author, in Christchurch, New Zealand, unless otherwise noted. 1: STREET ART, CHRISTCHURCH ....................................................................................................................... V 2: DANCING FOR CANTERBURY – WHITIREIA STUDENTS FUNDRAISING IN CUBA MALL, WELLINGTON (MARCH 2011) ....... 44 3: BAND TOGETHER, HAGLEY PARK (OCTOBER 2010) ........................................................................................ 57 4: WAITING (FOR PROGRESS) IN CASHEL STREET, LOOKING EAST (MAY 2012) ......................................................... 60 5: WAITING (FOR THE CROWDS) IN CASHEL STREET, LOOKING WEST (MAY 2012) ..................................................... 60 6: THE EASTERN & FRIENDS PLAY FOR THE CROWD AT ST. ALBANS PARK (MARCH 2011) ........................................... 62 7: 'SAVE OUR DUX' DUCKS, MONTREAL ST FENCE (JUNE 2011) ............................................................................ 79 8: THE LEAFY DUX DE LUX COURTYARD, LOOKING THROUGH THE SAFETY FENCE (APRIL 2014) ...................................... 81 9: DUX LIVE! STREET FRONTAGE, ADDINGTON (APRIL 2014) ............................................................................... 82 10: DUX CENTRAL, SURROUNDED BY CONSTRUCTION & EMPTY SPACE (MARCH 2016) .............................................. 85 11: A HITLAB EMPLOYEE DEMONSTRATING THE CITYVIEWAR APP, CITY MALL (MAY 2012) ...................................... 86 12: LINDON PUFFIN PERFORMS IN A COLOMBO ST GAP (APRIL 2011) .................................................................. 102 13: PEOPLE GATHER FOR THE SOUND GARDEN OPENING (OCTOBER 2013) ........................................................... 103 14: THE SOUND GARDEN OPENING (OCTOBER 2013) ...................................................................................... 104 15: THE PALLET PAVILION AT NIGHT (JANUARY 2013) ....................................................................................
Recommended publications
  • What a Caused Quite a Chuckle Since Being Released Online a Few Weeks Back

    What a Caused Quite a Chuckle Since Being Released Online a Few Weeks Back

    LAUGHING STOCK BY ED CHRISTMAN ® Inspired by the daytime talk show "Maury," where paternity tests are re- vealed on -air, rapper Shawty Putt's comical single "Dat Baby (Don't Look Like Me)," produced by Lil Jon, has What A caused quite a chuckle since being released online a few weeks back. With minimal promotion, the track Exclusive Journe from the Atlanta native's currently un- releases from Best Buy, left, and titled debut album entered the Bub- Journey! Wal -Mart sold 126,000 copies combined. bling Under R &B /Hip -Hop Singles Exclusive Deals Propel The results have been nothing short opted to make lemons into lemonade. ered on YouTube]." chart nine weeks ago at No. 24. It is Classic Rockers Up of spectacular: Sources say it sold In addition to the Best Buy exclusive, The Wal -Mart package acknowl- currently No. 5 on the tally as well as The Charts 28,000 on street date and, according the label put the Journey catalog on edges the material has been re- No. 34 on the Rap Airplay chart. to Nielsen SoundScan, moved almost deal, using its usual tactic of offering recorded and shows a picture of the The accompanying video has al- It's been a long time since retail has 105,000 in its first week, good enough discounts aligned with how much re- band with IDs for the members. So ready garnered more than 1 million rolled out the red carpet for Journey, for a No. 5 debut on the Billboard 200. tail was willing to do for a promotion.
  • Download Rhapsody Summer 2018/19

    Download Rhapsody Summer 2018/19

    Dame Malvina with Lexus Song Quest runner up Eliza Boom Summer 2018/19 Image: Norrie Montgomery Experiencing opera where opera began A dream to immerse young New Zealand singers in the land of opera’s birth has today Rhapsody become a reality for more than 60 up-and-coming Kiwi artists. Grants and prizes 2018 News from the Dame Malvina Major Foundation Patricia Hurley’s Italian for NZ Opera Singers Masterclasses “Often there are also visits to the towns, homes and has seen the likes of Anna Leese, Bianca Andrew, Moses museums of composers like Verdi and Puccini, watching Manase Latu, New Zealand Aria winner 2018 Image: Tony Whitehead Mackay, Oliver Sewell, Polly Ott and Marlena Devoe benefit opera performances in major theatres, and visits to historic Dame Malvina Major Fellow with New Zealand Opera 2018: from daily Italian language lessons, vocal tuition and places and art galleries to broaden the cultural experience.” Tenor Thomas Atkins performance opportunities as they soak up la bella vita. A note from Dame Malvina Wellington soprano Katherine McIndoe, a former Dame Dame Malvina Major Emerging Artists with New Zealand Opera 2018: Soprano Natasha Wilson, baritone Samson Setu, tenor Manase Latu Patricia Hurley says the seed was first planted when, as Malvina Major Foundation Emerging Artist with New Zealand It is always a treat when, every The Foundation has been sponsoring the first prize of the manager of the opera company in Wellington during the Opera, attended the 2016 programme. second year, the Lexus Song New Zealand Aria competition for 10 years this year – today 1990s, she realised that while 80% of the operas performed “My ultimate impression of the trip was of the extraordinary Arts Excellence Awards Quest and New Zealand Aria a princely sum of $20,000 for the winner.
  • A Crise E As Novas Fronteiras Para a Indústria Fonográfica

    A Crise E As Novas Fronteiras Para a Indústria Fonográfica

    FUNDAÇÃO GETÚLIO VARGAS EBAPE – ESCOLA BRASILEIRA DE ADMINISTRAÇÃO PÚBLICA E DE EMPRESAS MESTRADO EM GESTÃO EMPRESARIAL INTERNACIONAL WILSON VIEIRA LANNES A CRISE E AS NOVAS FRONTEIRAS PARA A INDÚSTRIA FONOGRÁFICA RIO DE JANEIRO 2009 2 WILSON VIEIRA LANNES A CRISE E AS NOVAS FRONTEIRAS PARA A INDÚSTRIA FONOGRÁFICA Dissertação apresentada ao Programa de Pós-Graduação em Administração da Fundação Getúlio Vargas, como requisito parcial para obtenção do Grau de Mestre em Administração, na área de Gestão Empresarial Internacional. Orientador: Prof. Paulo Motta. RIO DE JANEIRO 2009 3 WILSON VIEIRA LANNES A CRISE E AS NOVAS FRONTEIRAS PARA A INDÚSTRIA FONOGRÁFICA Dissertação apresentada ao programa de Pós-Graduação em Administração de Empresas da Fundação Getúlio Vargas, como requisito parcial para obtenção do Grau de Mestre em Administração de Empresas, na área de Gestão Empresarial Internacional. COMISSÃO EXAMINADORA _________________________________ Prof. Paulo Roberto de Mendonça Motta Orientador _________________________________ Prof. Alketa Peci Fundação Getúlio Vargas _________________________________ Prof. Paulo Vicente dos Santos Lopes 4 Dedico este Trabalho A minha esposa pela ajuda, carinho e compreensão, essenciais para tornar este objetivo possível. Ao meu filho, que com um simples sorriso, me ensina o que realmente importa. A minha avó e minha mãe, que me ensinaram grandes valores e foram o início de tudo. 5 Agradecimentos Ao meu orientador, Paulo Motta, pelo estímulo e palavras que me motivaram a não desistir deste objetivo. Admiro seus conhecimentos e seu trabalho. A minha esposa, meu filho, amigos e familiares que me apoiaram nessa busca. Aos meus colegas da FGV, que participaram comigo desta empreitada. Aos professores que compuseram a Comissão examinadora.
  • Unsettling Recovery: Natural Disaster Response and the Politics of Contemporary Settler Colonialism

    Unsettling Recovery: Natural Disaster Response and the Politics of Contemporary Settler Colonialism

    UNSETTLING RECOVERY: NATURAL DISASTER RESPONSE AND THE POLITICS OF CONTEMPORARY SETTLER COLONIALISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY STEVEN ANDREW KENSINGER IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DR. DAVID LIPSET, ADVISER JULY 2019 Steven Andrew Kensinger, 2019 © Acknowledgements The fieldwork on which this dissertation is based was funded by a Doctoral Dissertation Fieldwork Grant No. 8955 awarded by the Wenner-Gren Foundation for Anthropological Research. I also want to thank Dr. Robert Berdahl and the Berdahl family for endowing the Daphne Berdahl Memorial Fellowship which provided funds for two preliminary fieldtrips to New Zealand in preparation for the longer fieldwork period. I also received funding while in the field from the University of Minnesota Graduate School through a Thesis Research Travel Grant. I want to thank my advisor, Dr. David Lipset, and the members of my dissertation committee, Dr. Hoon Song, Dr. David Valentine, and Dr. Margaret Werry for their help and guidance in preparing the dissertation. In the Department of Anthropology at the University of Minnesota, Dr. William Beeman, Dr. Karen Ho, and Dr. Karen-Sue Taussig offered personal and professional support. I am grateful to Dr. Kieran McNulty for offering me a much-needed funding opportunity in the final stages of dissertation writing. A special thanks to my colleagues Dr. Meryl Puetz-Lauer and Dr. Timothy Gitzen for their support and encouragement. Dr. Carol Lauer graciously offered to read and comment on several of the chapters. My fellow graduate students and writing-accountability partners Dr.
  • Marathon Runners Wary of Cracks Zontal Rather Than Vertical

    Marathon Runners Wary of Cracks Zontal Rather Than Vertical

    press.co.nz SATURDAY & SUNDAY, JUNE 4-5, 2011 Retail $2.60 New faults fail to dull optimism Paul Gorman findings released yesterday are 25km long. While it had the Science reporter preliminary and that more potential to generate a quake of research is needed. between magnitude 6.0 and 7.0, Three confirmed new faults and The most important missing there was ‘‘no strong evidence’’ two other areas of likely active piece of the puzzle are results from aftershocks were migrating off- faults have been identified near the underground surveying of shore onto any fault structures in Christchurch by scientists what has become known as ‘‘the Pegasus Bay, he said. examining seismic hazards around gap’’. Pettinga said the sub-surface the city. Survey lines in the aftershock- Port Hills fault, responsible for the Extensive surveying over the rich area between the eastern end deadly February 22 magnitude 6.3 past two months has uncovered a of the Greendale Fault and the quake, showed up on a survey 25-kilometre-long fault under the western tip of the Port Hills fault along the beach from Waimairi sea off Kaiapoi. Two faults run were completed only last Saturday. Beach to the tip of Southshore, as almost directly below central Canterbury University geologi- did another less clear fault further Christchurch and two patches cal sciences Professor Jarg Pet- north. containing possible small faults – tinga , who has directed the A north-south survey line down one off the Brighton coast and the seismic surveying work, said the Barbadoes St also showed an second just north of Port Levy and analysis was under way but it underground fault below about Pigeon Bay.
  • CCM-Summer 2016.Pdf

    CCM-Summer 2016.Pdf

    Classical Reflection By Chantelle Constable Identical mirror twins Hannah and conjunction with the EP, which is Naomi Moxon grew up singing titled "The Night Before Christmas." nursery rhymes and listening to "Our video was really something Emmanuel & ourselves had been Vivaldi and Shania Twain in the car. talking about since we left The Voice. "We remember singing along... it was We had so many lovely comments probably quite embarrassing!" Now, about the song so we felt we really at the ages of 20, they are veterans of wanted to give back something to popular television talent show The those who support us!" Voice, and have just released their The girls' love of singing was instilled first Christmas EP. "We love from an early age. "Since the moment everything about Christmas... we could talk our mum would sing probably our favourite things are: with us for about an hour every Getting up early on Christmas morning. It was never about being perfect but just having fun!" Classical morning, dinner, wrapping everyone’s crossover seems to have also been an presents, and having family board instinctive choice, with the freedom it games." offers in its blend of styles and relaxing mood that appeals to a wide A video for "The Living Years," audience, even those who primarily featuring The Voice co-competitor listen to other genres. In choosing Emmanuel Nwamadi, was released in songs for their repertoire, melody enjoy everything!" takes top priority. The twins love As expected, the girls' voices are both "emotional songs," and love having soprano, and nearly identical to the audiences leave their concerts feeling point that they will often tradeoff "uplifted and happy." between the high and low harmonies within the same song ("It seems very "We always feel really honored when confusing but it happens naturally").
  • Performing Blackness in the Danza De Caporales

    Performing Blackness in the Danza De Caporales

    Roper, Danielle. 2019. Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales. Latin American Research Review 54(2), pp. 381–397. DOI: https://doi.org/10.25222/larr.300 OTHER ARTS AND HUMANITIES Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales Danielle Roper University of Chicago, US [email protected] This study assesses the deployment of blackface in a performance of the Danza de Caporales at La Fiesta de la Virgen de la Candelaria in Puno, Peru, by the performance troupe Sambos Illimani con Sentimiento y Devoción. Since blackface is so widely associated with the nineteenth- century US blackface minstrel tradition, this article develops the concept of “hemispheric blackface” to expand common understandings of the form. It historicizes Sambos’ deployment of blackface within an Andean performance tradition known as the Tundique, and then traces the way multiple hemispheric performance traditions can converge in a single blackface act. It underscores the amorphous nature of blackface itself and critically assesses its role in producing anti-blackness in the performance. Este ensayo analiza el uso de “blackface” (literalmente, cara negra: término que designa el uso de maquillaje negro cubriendo un rostro de piel más pálida) en la Danza de Caporales puesta en escena por el grupo Sambos Illimani con Sentimiento y Devoción que tuvo lugar en la fiesta de la Virgen de la Candelaria en Puno, Perú. Ya que el “blackface” es frecuentemente asociado a una tradición estadounidense del siglo XIX, este artículo desarrolla el concepto de “hemispheric blackface” (cara-negra hemisférica) para dar cuenta de elementos comunes en este género escénico.
  • Download Sonic Highways

    Download Sonic Highways

    Download sonic highways click here to download Download the new leak for Foo Fighters Sonic Highways music album for free. This eight part series follows Foo Fighters as they make their 8th album. Season Pass Bonus Content Includes over 3 hours of bonus footage extended interviews & 2+ hours inside the recording of Sonic Highways. Dave Grohl and Foo Fighters connect with Steve Albini, owner of. The official website for Foo Fighters Sonic Highways on HBO, featuring full episodes online, interviews, schedule information and episode guides. Sonic Highways | Foo Fighters to stream in hi-fi, or to download in True CD Quality on www.doorway.ru Roswell Records, Inc. under license to RCA Records, a unit of Sony Music Entertainment THIS ALBUM DOWNLOAD FEATURES HIGH. Foo Fighters – Sonic Highways () FLAC (tracks) bit/44,1 kHz | Time – 08 minutes | MB | Genre: Rock Studio Master, Official. In Sonic Highways, The Foo Fighters tap into the musical heritage and cultural fabric of eight cities--Chicago, Austin, Nashville, Los Angeles, Seattle, New. Foo Fighters - Sonic Highways album artwork For their eighth studio album, Dave Grohl has taken Foo Fighters out onto the streets of America. Sonic Highways is a American documentary miniseries directed by Dave Grohl and written by Mark Monroe. The documentary was made concurrently with . Check the dates for the Foo Fighters Concrete and Gold Tour Records - You are buying the title "Sonic Highways" by Foo Fighters on one gm Sonic Highways LP [Vinyl New] gm Infinity Cover + Download. Buy Sonic Highways [DVD] [] [NTSC] from Amazon's DVD & Blu-ray TV Store. Everyday low prices and free delivery on eligible orders.
  • New Zealand Architecture Awards 2015 Canterbury

    New Zealand Architecture Awards 2015 Canterbury

    New Zealand Architecture Awards 2015 Canterbury Introduction Architecture is driven by concept and necessity; by insistent and thorough ideas integral to the design as a whole; by forms and details intelligently articu- lated by those involved in the realisation of the built idea. The fulfillment of the idea enables the fulfillment of necessity. In the built environment therefore, quality of ideas is what sets good architecture apart. To produce good architecture, architects need the commitment of sympathetic collaborators – clients, consultants, contractors, councils – and the skill to manage those relationships well, especially in an environment such as post-quake Canterbury. Architects working in Christchurch have been challenged. Opportunity has been partnered with frustration. To call the amount of construction happening in Christchurch considerable is of course an understatement. A record number of entries were received this year covering all parts of the city and greater Canterbury. Yet one thing that struck the jury was the number of projects that had been initiated prior to the earthquakes, and how architects had been required to reimagine their work while negotiating significantly changed conditions, navigating a quite different course to completion. To develop a design and see it through such altered circumstances and still produce a meaningful building takes skill, patience, and perseverance. The awards celebrate the architects, their clients and collaborators in Canterbury who have excelled under these conditions. Tim Nees Jury Convenor NZIA Canterbury Branch The Awards Programme Programme The Awards Each year since 1927, the New Zealand Institute of Architects has offered an awards programme that presents high quality architecture in New Zealand.
  • B.167 Bulletin Christchurch Art Gallery Te Puna O Waiwhetu Autumn March

    B.167 Bulletin Christchurch Art Gallery Te Puna O Waiwhetu Autumn March

    bulletin Autumn Christchurch Art Gallery March—May b.167 Te Puna o Waiwhetu 2012 EDITOR THE GALLERY IS CURRENTLY CLOSED TO THE PUBLIC. Bulletin Autumn DAVID SIMPSON HOWEVER, THE GALLERY SHOP IS OPEN AS USUAL. Christchurch Art Gallery March—May Te Puna o Waiwhetu 2012 GALLERY CONTRIBUTORS CHRISTCHURCH ART GALLERY DIRECTOR: JENNY HARPER TE PUNA O WAIWHETU CURATORIAL TEAM: KEN HALL, FELICITY MILBURN, CNR WORCESTER BOULEVARD AND MONTREAL STREET, JUSTIN PATON, PETER VANGIONI PO BOX 2626, CHRISTCHURCH 8140, NEW ZEALAND PUBLIC PROGRAMMES: LANA COLES TEL: (+64 3) 941 7300 PHOTOGRAPHER: JOHN COLLIE FAX: (+64 3) 941 7301 WWW.CHRISTCHURCHARTGALLERY.ORG.NZ OTHER CONTRIBUTORS SALLY BLUNDELL, Katie Thomas, Coralie Winn GALLERY SHOP TEL: (+64 3) 941 7370 EMAIL: [email protected], [email protected] FORM GALLERY TEL: (+64 3) 377 1211; (+64) 21 776708 WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. EDUCATION BOOKINGS EMAIL: [email protected] FRIENDS OF CHRISTCHURCH ART GALLERY EMAIL: [email protected] CHRISTCHURCH ART GALLERY TRUST TEL: (+64 3) 353 4352 CURRENT DIRECT SPONSORS OF THE GALLERY CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST CREATIVE NEW ZEALAND DUX DE LUX FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN GIESEN WINES Mitsubishi ELECTRIC NEWSTALK ZB PHILIP CARTER SKY ARTS CHANNEL SPECTRUM PRINT STRATEGY DESIGN & ADVERTISING THE PRESS THE ROYAL NETHERLANDS EMBASSY THE NZ NETHERLANDS FOUNDATION DESIGN & ADVERTISING DESIGN AND PRODUCTION ART DIRECTOR: GUY PASK EDITORIAL DESIGN: Matt Kitto, LEON
  • 7707 Ashburton Glassworks

    7707 Ashburton Glassworks

    7707 Ashburton Glassworks (Former) 8 Glassworks Road and Bremners Road ASHBURTON Ashburton District Council 270 Longbeach Station Homestead Longbeach Road ASHBURTON Ashburton District Council 284 Church of the Holy Name (Catholic) Sealey Street ASHBURTON Ashburton District Council 7593 Pipe Shed South Belt METHVEN Ashburton District Council 7753 Symonds Street Cemetery 72 Karangahape Road AUCKLAND Auckland City Council 94 Auckland War Memorial Museum 28 Domain Drive Auckland Domain AUCKLAND Auckland City Council 122 Cenotaph Domain Drive Auckland Domain AUCKLAND Auckland City Council 124 Domain Wintergardens Domain Drive Auckland Domain AUCKLAND Auckland City Council 4478 John Logan Campbell Monument 6 Campbell Cresent Epsom AUCKLAND Auckland City Council 2623 Clifton 11 Castle Drive Epsom AUCKLAND Auckland City Council 18 Highwic 40 Gillies Avenue Epsom AUCKLAND Auckland City Council 7276 Rocklands Hall 187 Gillies Avenue Epsom AUCKLAND Auckland City Council 4471 Auckland Grammar School (Main Block) 87 Mountain Road Epsom AUCKLAND Auckland City Council 4472 War Memorial, Auckland Grammar School 87 Mountain Road Epsom AUCKLAND Auckland City Council 116 St Andrew's Church (Anglican) 100 St Andrew's Road Epsom AUCKLAND Auckland City Council 7664 Auckland Municipal Destructor and Depot (Former) 210‐218 Victoria Street West and Union and Drake Streets Freemans Bay AUCKLAND Auckland City Council 98 Church of the Holy Sepulchre and Hall 71 Khyber Pass Road and Burleigh Street Grafton AUCKLAND Auckland City Council 5440 Cotswalds House 37 Wairakei
  • 2017 Programme

    2017 Programme

    NZ ARIA TRUST PRESENTS THE NZ Aria Trust wishes to thank the following for their generous support 2017 Programme ROTORUA PERFORMING ARTS CENTRE All Sections: Friday 27 October - Sunday 29 October 2017 Finals Night: Sunday 29 October 2017 www.nzaria.org Coombes Johnston The New Zealand Aria Trust wishes to thank the following for their generous support The Dame Malvina Major Foundation provides educational and training opportunities for young New Zealanders in the performing arts and supports young New Zealanders of outstanding ability and real potential to prepare for professional careers. www.dmmfoundation.org.nz For further information on how you can help please contact: Trust Administrator The Dame Malvina Major Foundation PO Box 9976 Marion Square Wellington 6141 Telephone 04 384 9745 Mobile 021 858895 Fax 04 384 9785 Email: [email protected] Coombes Johnston The New Zealand Aria Trust welcomes you to the 71st Festival Weekend of Song to be held in the Rotorua Performing Arts Centre All Sections - Friday 27 October - Sunday 29 October 2017 Featuring the finals of the NEW ZEALAND ARIA on Sunday 29 October 2017 OFFICERS 2017/2018 Trustees: Mrs Jo-Anne La Grouw MNZM, Mrs Anne Larkin, Mrs Alison Perrin JP, Mr Grahame Hall QSO JP, Mrs Dianne Estcourt, Mr Lyall Thurston QSO JP, Mr Ian Edward QSM, Mr Monty Morrison JP President: Mrs Jo-Anne La Grouw MNZM Vice President: Mrs Anne Larkin Vocal Convenors: Open Classes: Mr Ian Edward QSM Under 21 Section: Mrs Anne Larkin ANY QUERIES, PLEASE CONTACT Event Co-ordinator - Jo-Anne La Grouw