New Zealand Waitangi Day Joining Together for a Harmonious Celebration of Nationhood

Total Page:16

File Type:pdf, Size:1020Kb

New Zealand Waitangi Day Joining Together for a Harmonious Celebration of Nationhood New Zealand Waitangi Day Joining together for a harmonious celebration of nationhood On Feb. 6, 1840, the British gov- tarnished by angry protests as sings only in Maori, pointed out ment to settle their historical ernment signed the Treaty of Maori fought to have rights that in an interview with Maori mag- grievances. Waitangi with a number of had been promised to them azine Mana: “In Europe they’ve T oday, although many Maori Maori chiefs at a Bay of Islands under the treaty, honored by the already done the Latin and Celt- live in urban areas, away from settlement called Waitangi. government. However, in recent ic thing — and they’re ready for their tribal regions, their marae The treaty was written in both years, many iwi (tribes) have the Pacific. I’m quite staunch (meeting place) remains an in- Maori and English and handed had their grievances settled by about te reo [language] in my tegral part of their lives. Any visit over governorship of New Zea- the government and Waitangi music. People ask me to trans- to New Zealand is bound to pro- land to the British. It enabled the D ay has become a peaceful cel- late the lyrics and I shrug and vide an encounter with this peaceful purchase of land for ebration of nationhood. say, ‘Why?’” country’s unique Maori culture. settlement and gave the British With nearly one-half of Maori A n encounter that will allow vis- the authority to establish rule in Maori culture language speakers less than 25 itors to experience rich tradi- the country. In return, the Brit- Maori, the indigenous people of years of age, there may come a tions that have been passed on For travelers who are interested in experiencing Maori ish were to guarantee and ac- A otearoa New Zealand, make time when she won’t be asked from generation to generation. culture, the Waitangi Treaty Grounds are an essential tively protect Maori tribal Kiwis are native to New Zealand. TOURISM NEW ZEALAND up 15 percent of the population to. itinerary item. DESTINATION NORTHLAND authority over their possessions. and are well represented at the Maori lost much of their land The article is excerpted from The ultimate intention of the The council’s actions slowed been many settlements with highest levels throughout the through European colonization the official website of Tourism Treaty of Waitangi, from the down the government’s sale Maori tribal groups based on country. and over the past decades many New Zealand. For more British perspective, was to pro- program and forced it to enter the treaty that have forced gov- Traditional Maori customs have been compensated for information, visit http://media. tect Maori interests from the en- into negotiations with the ernments to adopt a more con- still play a big part in the lives of their loss. A number of iwi are newzealand.com/en. croaching British settlement, Maori. Its argument was based sultative approach when many modern Maori in New in negotiations with the govern- provide for British settlement on the principle that the Maori developing new policies and Zealand and are an intrinsic and establish a government to ceded governorship to the regulations. Treaty consider- part of Kiwi culture for New Zea- Congratulations maintain peace and order. crown or British in 1840 when ations are now embedded in landers. Nothing arouses the The treaty has proved to be an they signed the Treaty of Wait- many official policies. passion of Kiwis like the haka enduring document. In 1988 angi, but not ownership of as- The signing of the Treaty of the All Blacks go through for when the Labor government sets such as forestry. Forestry Waitangi is commemorated their pre-game ritual; nothing Congratulations tried to sell off state-owned as- was part of the package of assets each year with a national holi- chills like the spine-tingling on the 176th Anniversary sets, the New Zealand Maori the government wanted to in- day on Feb. 6, known as Wait- emotion upon hearing a karakia Council contested its right to do clude in the sale program. angi Day. (prayer). on Waitangi Day so in the courts. Over the years there have In the past, this day has been Probably New Zealand’s best- known international Maori identity is opera diva Dame Kiri of Waitangi Day T e Kanawa. She made her debut at Covent Garden in 1971 and has been a star in the opera world ever since. But Dame Kiri isn’t alone. People such as writ- er Witi Ihimaera, who penned the novel “Whale Rider,” actor T emuera Morrison, film director Lee Tamahori, golfer Michael Congratulations Campbell, artists Cliff Whiting and Shane Cotton, the late poet on the 176th Anniversary Hone Tuwhare and business- man Wally Stone add to the cul- of Waitangi Day ture of Aotearoa. It is a culture that, due to ini- tiatives over recent decades to Keidanren Kaikan, 3-2, Otemachi 1-chome, Chiyoda-ku, Tokyo, Japan revitalize Maori language, art and culture, continues to grow from strength to strength. As View of the Auckland seaside suburb of Devonport TOURISM NEW ZEALAND singer Hinewehi Mohi, who PAGE: 5.
Recommended publications
  • Our Finest Illustrated Non-Fiction Award
    Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each.
    [Show full text]
  • (Te Papa) in the Rejuvenation of Taonga Puoro
    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future.
    [Show full text]
  • Te Aho Tapu Uru Tapurua O E Te Muka E Tui Nei a Muri, a Mua the Sacred Strand That Joins the Past and Present Muka Strands Together
    Te Aho Tapu uru tapurua o e te muka e tui nei a muri, a mua The sacred strand that joins the past and present muka strands together Gloria Taituha A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy 2021 Te Ipukarea Research Institute 1 Abstract This is an exegesis with a shared collaborative creative component with two other weaving exponents, Jacqueline McRae-Tarei and Rose Te Ratana which is reflective of a community of shared practice. This shared practice and subsequent collaborative creative component will be based on the overarching theme of the written component, a synthesis of philosophy, tikanga rangahau (rules, methods), transfer of knowledge and commitment to the survival of ngā mahi a te whare pora (ancient house of weaving) in a contemporary context. The sole authored component and original contribution to knowledge for this project is the focus on the period of 1860 – 1970, which will be referred to as Te Huringa. The design of this exegesis will be informed by Kaupapa Māori Ideology and Indigenous Methodologies. Te Huringa, described as the period from first contact with Pākehā settlers up until the Māori Renaissance in the 1970s. After the signing of the Treaty, the settler population grew to outnumber Māori. British traditions and culture became dominant, and there was an expectation that Māori adopt Pākehā culture (Hayward, 2012, p.1). This period, also defined, as the period of mass colonisation, saw the erosion of traditional Māori society including the status of raranga as a revered art form.
    [Show full text]
  • Tiwissue01.Pdf
    CONTENTS Issue 1 Winter 2006 EDITORIAL Edward Smith Introducing Te Iarere Wavelength Page 5 POINTS OF VIEW Christine Fenton Pathogen paranoia 9 Edward Smith Where to publish 15 CREATIVE WORKS Lesley Pitt Patriarchs, paddocks and the personal 7, 14, 61 Donna Willard-Moore Image details of Dragon 8, 22, 48 ACADEMIC FORUM Rod Bentham Holistic influences on teaching 23 Ian M Clothier Hybrid cultures: what, where and how about us? 33 Megan Dixon 21st century plagiarism 49 TE IARERE WAVELENGTH Issue 1 WINTER 2006 IN THIS ISSUE P 4 Pathogen paranoia by Christine Fenton This is a light-hearted yet factual look at personal health, how we perceive it and what we do, rightly or wrongly, to keep ourselves healthy. Some aspects are traced to the Middle Ages while others relate to developments in modern medicine. Chris- tine was formerly Head of Science at WITT. She is Convenor of the NZ Microbiological Society Education Group and is particularly interested in scientific journalism. Where to publish by Edward Smith As a historical prologue, some of the publishing characteristics and habits of the great early atomic physicists are recounted. This is followed by a consideration of the pub- lishing options for academics. Edward is Director of Research, ICIARE at WITT. He is a mechanical engineer interested in industrial and applied research. Patriarchs, paddocks and the personal - poems by Lesley Pitt These poems were written as part of Lesley’s Masters thesis entitled – “Patriarchs, paddocks and the personal”. She is a Tutor for the Diploma in Social Work and her academic interests include women’s issues, storytelling/life stories and post struc- tural ideology as a way of making meaning.
    [Show full text]
  • A Comparative Analysis of Content in Maori
    MATTERS OF LIFE AND DEATH: A COMPARATIVE ANALYSIS OF CONTENT IN MAORI TRADITIONAL AND CONTEMPORARY ART AND DANCE AS A REFLECTION OF FUNDAMENTAL MAORI CULTURAL ISSUES AND THE FORMATION AND PERPETUATION OF MAORI AND NON-MAORI CULTURAL IDENTITY IN NEW ZEALAND by Cynthia Louise Zaitz A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida August 2009 Copyright by Cynthia Louise Zaitz 2009 ii CURRICULUM VITA In 1992 Cynthia Louise Zaitz graduated magna cum laude with a Bachelor of Arts in Drama from the University of California, where she wrote and directed one original play and two musicals. In 1999 she graduated with a Masters in Consciousness Studies from John F. Kennedy University. Since 2003 she has been teaching Music, Theatre and Dance in both elementary schools and, for the last two years, at Florida Atlantic University. She continues to work as a composer, poet and writer, painter, and professional musician. Her original painting, Alcheme 1 was chosen for the cover of Volume 10 of the Florida Atlantic Comparative Studies Journal listed as FACS in Amazon.com. Last year she composed the original music and created the choreography for Of Moon and Madness, a spoken word canon for nine dancers, three drummers, an upright bass and a Native American flute. Of Moon and Madness was performed in December of 2008 at Florida Atlantic University (FAU) and was selected to represent FAU on iTunesU. In April 2009 she presented her original music composition and choreography at FAU in a piece entitled, Six Butts on a Two-Butt Bench, a tongue-in- cheek look at overpopulation for ten actors and seventy dancers.
    [Show full text]
  • “It's Hard to Keep Track”
    ―It‘s Hard to Keep Track‖: Mapping a Shifting Nation in Dylan Horrocks‘s Hicksville Hamish Clayton A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature School of English, Film, Theatre & Media Studies Victoria University of Wellington 2009 Contents Acknowledgements 3 Note 4 Abstract 5 Introduction: Local and Special 6 Chapter One: Local Heroes 14 Chapter Two: Going Global 36 Chapter Three: Local Knowledge 58 Chapter Four: Art as Comics as Taonga 84 Chapter Five: Mapping Hicksville 105 Conclusion: Standing Upright Here 123 Works Cited 128 2 Acknowledgements I would like to offer special thanks to my primary supervisor, Mark Williams, whose enthusiasm for this project has been boundless. Without his friendship and guidance I would not have been able to write the thesis I wanted to write. Thanks also to Tina Barton, my Art History supervisor, for her support throughout. I would like to thank the staff of both English and Art History programmes at Victoria University for their extended support and friendship over the last five years, as well as that of my former colleagues at Victoria University‘s Student Learning Support Service. I gratefully acknowledge the financial support of the University, and the provision of a Scholarship for Masters study 2008-09. I am indebted to Dylan Horrocks, who very generously sent me copies of his comics no longer available for purchase in shops or online. Thanks also to the many friends and family who have supported me immeasurably. In particular, Stephen McDowall, whose professionalism and achievements have been an inspiration; Kirsten Reid, whose unconditional support and enthusiasm have been truly invaluable; and Rosie Howell, for her unwavering faith in me.
    [Show full text]
  • Urban Maori Art : the Third Generation of Contemporary Maori Artists
    Urban Maori Art: The Third Generation of Contemporary Maori Artists: Identity and Identification A thesis submitted in partial fulfilment Of the requirements for the Degree of Master of Arts in Art History In the University of Canterbury By Kirsten Rennie University of Canterbury 2001 THESIS II Photo Ted Scott Design. Observe the young and tender.frond of this punga:shaped and curved like a scroll of a .fiddle: .fit instrument to play archaic tunes. A.R.D. Fairburn ABANDON AU HOPE YE WHO ENTER HERE! Peter Robinson Divine Comedy ( Detail) (2001) 111 Contents Page Title i Frontispiece ii Contents iii Acknowledgments v Abstract vi Kaupapa 1 Introduction 2 Section !:Continuity and Change 6 1.1 The Space Between: DefiningA Voice 6 1.2 Contemporary Maori Art: An Evolving Definition: 1950- 2000 in Context 10 1.3 The Third Generation/Regeneration 24 Section 2: Mana Wahine 30 2.1 Reveal the Tendrils of the Gourd so that You May Know Your Ancestors 30 2.2 Patupaiarehe: The Construction of an Exotic Self 39 2.3 Pacifika 44 Section 3: 'Essentially' Auckland 49 3.1 Essentialism 50 3.2 The Space Between 57 3.3 There Are Words Attached To It 60 3.4 Biculturalism and the Arts 63 Section 4: 'Constructing' Canterbury 68 4.1 Reconnection 1964 - 1992 71 IV 4.2 Identity in Focus: Shifting and Strategic 1993 - 1995___ __________79 4.3 Careerism: The InternationalArtist 1995 andBeyond____ __________�85 Conclusion: Journey Without End___________ 89 Appendix ____________________97 References�---------- ---------102 Illustrations v Acknowledgments I would like to thank the artists who gave so generously of their time, in particular for the hours spent with Brett Graham, Eugene Hansen, Chris Heaphy, Lonnie Hutchinson, Kirsty Gregg, Michael Parekowhai, and Peter Robinson.
    [Show full text]
  • Teatinga Book.Pdf
    Edited by Nigel Borell CONTENTS 9 Foreword Cliff Whiting 11 Mihimihi Ngataiharuru Taepa 13 Te Ātinga 25 Years of Contemporary Māori Art Nigel Borell 33 Ngā Ngaru e toru, Robert Jahnke The three waves of tertiary intervention in Māori art 47 Ko Te Rā Pūhoro – Te Ātinga Gatherings Chris Bryant-Toi 59 Te Ahi Kaa: Anna-Marie White A Future for Te Ātinga and contemporary Māori art 66 Appendices 69 Acknowledgements 4 5 FOREWORD Te Ātinga is a mainstream Māori arts funding body that focuses on supporting individual Māori artists to explore, experiment, develop and share their creative interests. What makes it different from mainstream New Zealand art is that our Māori art forms can come together to create whānau, hapū, iwi and group events. These rely on individual artists who can help to establish style, identity and standards to give expression to the collective needs. Te Ātinga polices have helped artists to focus on their art forms and their needs. This encourages innovation and initiatives for cultural exploration that can lead into the use of new materials, technologies and inter-cultural exchanges that modernise and challenge the status quo. It also does simple support processes like helping an artist buy materials to do their mahi. That Te Ātinga still works for its clients, after 25 years, is a measure of its achievements. It is a credit to its leaders and committee members who have retained its purpose, credibility and integrity. Ka nui te mihi, Dr Cliff Whiting ONZ Previous page: Tawera Tahuri Ngā Ariki Kaiputahi, Te- Whakatōhea, Atihaunui-a-Pāpārangi
    [Show full text]
  • Catalogue Addenda Mailout***.Pages
    ! ON DISK! A MOVING IMAGE RESOURCE! FOR NEW ZEALAND CLASSROOMS! ! ! CURRICULUM & NCEA LINKED DVDS EDITED FOR ! THE ARTS / ENGLISH / MEDIA STUDIES /! HISTORY / GEOGRAPHY & SOCIAL STUDIES www.filmarchive.org.nz ! ! SECONDARY SCHOOLS DVD LIBRARY CATALOGUE 2009 + 2010 ADDENDA CONTENTS [ * New Titles Highlighted ] !! ! Page ! !!!!!!!!!!!!!! ! Introduction !! ! ! ! !! 3 ! !!!! ! !English / Media Studies Menu !! ! ! ! !! 5! ◇ * Māori Filmmakers (3 Disks) ◇ * Representations of Pasifika (2 Disks) ◇ * New Zealand Television: Television News ◇ * New Zealand Television: Public Service & Commercial Television ◇ * New Zealand Television: Media Issues ◇ Genre Studies: Documentary in New Zealand (2 Disks) ◇ New Zealand Writers (2 Disks) ◇ New Zealand Poets ◇ Director Studies: Niki Caro ◇ Director Studies: Peter Jackson ◇ Oratory - Words in the Frame ◇ Propaganda ◇ Selling New Zealand – The Language of Advertising ◇ New Zealand Feature Films - An Overview (2 Disks) ◇ Representation of Women ◇ Representations of Youth ! ◇ Representation of New Zealand Identity !History / Social Studies Menu ! !! ! ! ! ! !! ! 11! ◇ * The Treaty: Te Tiriti o Waitangi (3 Disks) ◇ * Patu! New Zealand Society and the 1981 Tour (redeveloped) ◇ New Zealand in the 19th Century (3 Disks) ◇ New Zealand's Search for Security 1945-1985 (2 Disks) ◇ Race Relations (4 Disks) ◇ Women in Health – Women's Impact on New Zealand Society 1915-1985 (2 Disks) ◇ New Zealand Identity (2 Disks) ◇ Anzac – New Zealanders at War 1899-2006 (3 Disks) ◇ Vietnam ◇ The Bomb - New Zealand & the Nuclear
    [Show full text]
  • Download PDF Catalogue
    ART + OBJECT Important Photographs and Contemporary Art August 10th “…people say Maori didn’t have a written language — it’s not that at all. They did. They did it with their arts.”1 Cliff Whiting, Te Wehenga o Rangi rāua ko Papa, 1975 Collection of the National Library of New Zealand. Welcome to A+O’s winter 2017 Important Photographs and Contemporary Art catalogue. This catalogue features the finest selection of photography we have offered for some years. Alongside our leading New Zealand practitioners we are pleased to be able to offer some seldom seen works by leading international photographers, not the least of which is a superb Ansel Adams image dating to the late 1950s. In mid-July we learnt of the very sad news of the passing of Cliff Whiting (1936 – 2017). Born in Te Kaha on the East Coast and affiliated to the Te Whanau a Apanui iwi, Cliff Whiting was the creator of some of the most spectacular large-scale, carved in-situ installations in New Zealand. Perhaps his greatest work is the carved house Te Hono ki Hawaiki which is the centrepiece of Rongomaraeroa, the Marae of Te Papa Tongarewa. It is without doubt one of the most viewed artworks in New Zealand. Whiting emerged in the 1950s as part of that extraordinary generation of Maori artists who came to prominence as part of the Tovey scheme under the auspices of the Department of Education. Other artist teachers in this group include Ralph Hotere, Para Matchitt, Muru Walters, John Bevan Ford and Sandy Adsett. These artists and their students went on to rewrite New Zealand art history and to bring the unique Maori visual ART + arts language to a much wider New Zealand and, via ground-breaking exhibitions such as Headlands, international audience.
    [Show full text]
  • The Pacific Author(S): Matt K
    The Pacific Author(s): Matt K. Matsuda Reviewed work(s): Source: The American Historical Review, Vol. 111, No. 3 (June 2006), pp. 758-780 Published by: The University of Chicago Press on behalf of the American Historical Association Stable URL: http://www.jstor.org/stable/10.1086/ahr.111.3.758 . Accessed: 11/04/2012 00:32 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and American Historical Association are collaborating with JSTOR to digitize, preserve and extend access to The American Historical Review. http://www.jstor.org AHR Forum The Pacific MATT K. MATSUDA IN THINKING OF SEAS AND OCEANS, Fernand Braudel famously illuminated his Med- iterranean by imagining multiple civilizations joined by trade and cultural exchange; his Annales approach of a longue dure´e built upon archaeological and ecological evidence shaped a brilliant chronicle of kingdoms and powers. Yet as he noted of his subject itself, the Mediterranean was not even a single sea, but rather “a complex of seas, and the seas are broken up by islands, a tempest of peninsulas ringed by insistent coastlines.”1 To establish the project, he knew, “the question of boundaries is the first to be encountered.” Defining the “Pacific” is an equally daunting challenge.
    [Show full text]
  • Welcome to the 2014 Auckland Writers Festival
    Prize winning fiction ofAdam Johnson and the hot-off-the-press memoir of CONTENTS WELCOME inner circle defector Jang Jin-sung. 8 What’s On 9 Wednesday 14 May TO THE 2014 Following a year where stories of 9 Thursday 15 May surveillance and gender dominated 10 Friday 16 May the public discourse, writers will 14 Saturday 17 May AUCKLAND debate the merits of privacy and 21 Sunday 18 May deliver a powerhouse discussion 27 Family Day on the position of women. 29 Workshops WRITERS 45 Biographies 74 Index Music’s powers of narration will wow 75 Booking and Festival Information in three special performance events, 77 Booking Form FESTIVAL as well as at a session in memory 81 Timetable of Hello Sailor’s Dave McArtney, chaired by Karyn Hay. The brilliance of Jane Austen will be honoured in the CONTACT DETAILS one woman play Austen’s Women and 58 Surrey Crescent, Suite 3, Level 2, we’ll send 30 strangers out to create Grey Lynn, Auckland 1021, New Zealand tales of the night on a Midnight Run Phone +64 (0)9 376 8074 with performer, poet and playwright Fax +64 (0)9 376 8073 Inua Ellams. THE ONLY PLACE TO BE Email: [email protected] Website: writersfestival.co.nz A WORD FROM THE There are exclusive opportunities FESTIVAL DIRECTOR to be entertained by loved writers FESTIVAL TRUST BOARD Nicky Pellegrino and Sarah-Kate Lynch at Toto; take tea with novelists Carole Beu, Erika Congreve, Owen Marshall, Jenny Pattrick and Nicola Legat, Phillipa Muir, Fiona Kidman or go awol over lunch Mark Russell, Sarah Sandley (Chair), with explorer Huw Lewis-Jones at Delina Shields, Peter Wells, the Langham; and hang out at hot Josephine Green (Ex Officio) Auckland joint Ostro with Michelin- starred chef Josh Emett.
    [Show full text]