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The Nudge, Ahoribuzz and @Peace
GROOVe gUiDe . FamilY owneD and operateD since jUlY 2011 SHIT WORTH DOING tthhee nnuuddggee pie-eyed anika moa cut off your hands adds to our swear jar no longer on shaky ground 7 - 13 sept 2011 . NZ’s origiNal FREE WEEKlY STREET PRESS . ISSUe 380 . GROOVEGUiDe.Co.NZ Untitled-1 1 26/08/11 8:35 AM Going Global GG Full Page_Layout 1 23/08/11 4:00 PM Page 1 INDEPENDENT MUSIC NEW ZEALAND, THE NEW ZEALAND MUSIC COMMISSION AND MUSIC MANAGERS FORUM NZ PRESENT GOING MUSIC GLOBAL SUMMIT WHAT YOU NEED TO KNOW BEFORE YOU GO If you are looking to take your music overseas, come and hear from people who are working with both new and established artists on the global stage. DELEGATES APPEARING: Natalie Judge (UK) - Matador Records UK Adam Lewis (USA) - The Planetary Group, Boston Jen Long (UK) - BBC6 New Music DJ/Programmer Graham Ashton (AUS) - Footstomp /BigSound Paul Hanly (USA) - Frenchkiss Records USA Will Larnach-Jones (AUS) - Parallel Management Dick Huey (USA) - Toolshed AUCKLAND: MONDAY 12th SEPTEMBER FREE ENTRY SEMINARS, NOON-4PM: BUSINESS LOUNGE, THE CLOUD, QUEENS WHARF RSVP ESSENTIAL TO [email protected] LIVE MUSIC SHOWCASE, 6PM-10:30PM: SHED10, QUEENS WHARF FEATURING: COLLAPSING CITIES / THE SAMI SISTERS / ZOWIE / THE VIETNAM WAR / GHOST WAVE / BANG BANG ECHE! / THE STEREO BUS / SETH HAAPU / THE TRANSISTORS / COMPUTERS WANT ME DEAD WELLINGTON: WEDNESDAY 14th SEPTEMBER FREE ENTRY SEMINARS, NOON-5PM: WHAREWAKA, WELLINGTON WATERFRONT RSVP ESSENTIAL TO [email protected] LIVE MUSIC SHOWCASE, 6PM-10:30PM: SAN FRANCISCO BATH HOUSE FEATURING: BEASTWARS / CAIRO KNIFE FIGHT / GLASS VAULTS / IVA LAMKUM / THE EVERSONS / FAMILY CACTUS PART OF THE REAL NEW ZEALAND FESTIVAL www.realnzfestival.com shit Worth announciNg Breaking news Announcements Hello Sailor will be inducted into the New Zealand Music Hall of Fame at the APRA Silver Scroll golDie locks iN NZ Awards, which are taking place at the Auckland Town Hall on the 13th Dates September 2011. -
Making Our Own—Two Ethnographies of the Vernacular in New Zealand Music: Tramping Club Singsongs and the Māori Guitar Strumming Style
Making our own—two ethnographies of the vernacular in New Zealand music: tramping club singsongs and the Māori guitar strumming style by Michael Brown A thesis submitted to Victoria University of Wellington/Massey University in fulfilment of the requirements for the degree of Doctor of Philosophy in Music New Zealand School of Music 2012 ii Abstract This work presents two ethnographies of the vernacular in New Zealand music. The ethnographies are centred on the Wellington region, and deal respectively with tramping club singsongs and the Māori guitar strumming style. As the first studies to be made of these topics, they support an overall argument outlined in the Introduction, that the concept of ―vernacular‖ is a valuable way of identifying and understanding some significant musical phenomena hitherto neglected in New Zealand music studies. ―Vernacular‖ is conceptualised as an informal, homemade approach that enables people to customise music-making, just as language is casually manipulated in vernacular speech. The different theories and applications which contribute to this perspective, taken from music studies and other disciplines, are examined in Chapter 1. A review of relevant New Zealand music literature, along with a methodological overview of the ethnographies is presented in Chapter 2. Each study is based upon different mixtures of techniques, including participant-observer fieldwork, oral history, interviews, and archival research. They can be summarised as follows: Tramping club singsongs: a medium of informal self-entertainment among New Zealand wilderness recreationists in the mid-twentieth century. The ethnography focuses on two clubs in the Wellington region, the Tararua Tramping Club and the Victoria University College Tramping Club, during the 1940s-1960s period, when changing social mores, tramping‘s camaraderie and individualism, and the clubs‘ different approaches, gave their singsongs a distinctive character. -
THAT BLOODY WOMAN by Luke Di Somma and Gregory Cooper in Association with the Court Theatre Thanks to Our Supporters
Vol. 2 No. 6 June 2016 THAT BLOODY WOMAN by Luke Di Somma and Gregory Cooper In association with The Court Theatre thaNKS TO OUR SUppORTERS S IPAL NC I R FUNDER P NG ti NERS T EN R S CORE FUNDER PA RE P sity NER T R VER I FUNDER PA UN Artistic S R Director's Note tE J O R OR A M pp Artistic Director Colin McColl U S t's our great pleasure to present Many thanks to our colleagues the Auckland premiere of That at The Court Theatre Christchurch S Bloody Woman by Luke Di Somma for joining us as presenting partners IA NER T I and Gregory Cooper. of That Bloody Woman. The show will R MED PA When I saw That Bloody Woman in play an eagerly awaited return season its first showing at the Christchurch in Christchurch after this Auckland Arts Festival last year I knew season. Thanks, too, to our fabulous S NG immediately I had to find a way cast, band and creative team. Director ti NER T to bring the show to Auckland Kip Chapman, set designer Rachael R POR P audiences. It is such a good Walker, costume designer Lisa Holmes PA U S night at the theatre: great music, and lighting designer Brendan Albrey outrageously well sung, provocative have all relished the opportunity Q Theatre lyrics and feisty characters. The to upscale the production from its S SKYCITY Theatre inspired idea to present the story intimate Spiegeltent setting to the big NER T Herald Theatre of Kate Sheppard and her flock (in SKYCITY stage, as have our amazingly R PA Selwyn College Theatre, Kohimarama their struggles to secure the vote for talented cast and musicians, led by 2016 VENUE The Civic women in NZ) as a punk rock opera Esther Stephens as an inspired Kate projects the story out of its colonial Sheppard. -
MAKING MAORI AD 1000-1200 1642 1769 ENTER EUROPE 1772 1790S
© Lonely Planet Publications 30 lonelyplanet.com HISTORY •• Enter Europe 31 THE MORIORI & THEIR MYTH History James Belich One of NZ’s most persistent legends is that Maori found mainland NZ already occupied by a more peaceful and racially distinct Melanesian people, known as the Moriori, whom they exterminated. New Zealand’s history is not long, but it is fast. In less than a thousand One of NZ’s foremost This myth has been regularly debunked by scholars since the 1920s, but somehow hangs on. years these islands have produced two new peoples: the Polynesian Maori To complicate matters, there were real ‘Moriori’, and Maori did treat them badly. The real modern historians, James and European New Zealanders. The latter are often known by their Maori Belich has written a Moriori were the people of the Chatham Islands, a windswept group about 900km east of the name, ‘Pakeha’ (though not all like the term). NZ shares some of its history mainland. They were, however, fully Polynesian, and descended from Maori – ‘Moriori’ was their number of books on NZ with the rest of Polynesia, and with other European settler societies, but history and hosted the version of the same word. Mainland Maori arrived in the Chathams in 1835, as a spin-off of the has unique features as well. It is the similarities that make the differences so Musket Wars, killing some Moriori and enslaving the rest (see the boxed text, p686 ). But they TV documentary series interesting, and vice versa. NZ Wars. did not exterminate them. The mainland Moriori remain a myth. -
DOWNLOAD NZSO ANNUAL REPORT 2013 Annual Report
Annual Report 2013 FOR THE YEAR ENDED 31 DECEMBER 2013 Presented to Hon. Christopher Finlayson Minister for Arts, Culture and Heritage 1 To our NZSO Supporters: Thank You. Maestro Circle ($10,000+) Fehl Charitable Trust Mark Barrow Museum Art Hotel Denis & Verna Adam Ian Fraser & Suzanne Snively Michael & Judith Bassett Lorriane Nicholls & Donald & Susan Best Dr John Grigor Philippa Bates Geoff Taylor Sir Roderick & Robin Henderson Patricia Bollard Philip & Viola Palmer Gillian, Lady Deane James & Karen Henry Hugh & Jill Brewerton Barbara Peddie Peter & Carolyn Diessl Les & the late Patricia Jenny Brown Alan & Luba Perry Emma & Jack Griffin Holborow Mary Brown Lady Glennis Pettigrew Charitable Trust Tomas & Jan Huppert Kate M Burtt Tony Reeve The FAME Trust Morgan Patricia Jones Adrienne Bushell John & Helen Rimmer JBWere Annette & Ralph Lendrum Malcolm & Margaret Carr Nigel & Heather Roberts Mary Fitzwilliam Award David Lord & Tracy Grant Lord Noel Carroll Miles Rogers Michael Mongahan Young Ian Macalister Angela Caughey Judith Ross Musicians Foundation Athol & Ngaire Mann Joan Caulfield & Graham Hill Marcus & Eve Rudkin Reeves Harris Orchestra Fund Christopher & Jilly Marshall Dion Church Warwick Slinn Take Note Trust Piera McArthur Lady Patricia Clark Robyn Smith Anonymous (1) Michael McCarthy Jeremy Commons Trevor Smith Campbell McLachlan & Rhona Prue Cotter Martin & Catherine Spencer Virtuoso Circle ($5,000+) Fraser Michael & Marie Crooke Peter & Kay Squires Julian & Selma Arnhold Patricia Morrison QSM Richard & Valerie Crooks Vanessa -
The Bone Feeder
THE BONE FEEDER COMMISSIONED BY AUCKLAND ARTS FESTIVAL PRESENTED IN ASSOCIATION WITH NEW ZEALAND OPERA COMPOSER GARETH FARR LIBRETTIST RENEE LIANG CONDUCTOR PETER SCHOLES DIRECTOR SARA BRODIE FREE PROGRAMME IN ASSOCIATION WITH WWW.AAF.CO.NZ / #AKLFEST FACEBOOK.COM/AKLFESTIVAL WITH SUPPORT FROM PLATINUM PATRONS @AKLFESTIVAL SIR RODERICK AND GILLIAN, LADY DEANE BILL AND FRANCES BELL SIR JAMES WALLACE - THE WALLACE FOUNDATION @AKLFESTIVAL WITH SUPPORT FROM THE BONE FEEDER COMMISSIONED & PRODUCED BY AUCKLAND ARTS FESTIVAL PRESENTED IN ASSOCIATION WITH NEW ZEALAND OPERA ASB WATERFRONT THEATRE THURSDAY 23 MARCH – SATURDAY 25 MARCH, 8.00PM SUNDAY 26 MARCH, 6.30PM 1 HOUR 15 MINS WITH NO INTERVAL POST-SHOW TALK FRIDAY 24 MARCH NAU MAI, HAERE MAI, KI TE AHUREI TOI Ō TAMAKI WELCOME TO AUCKLAND ARTS FESTIVAL 2017 Great artists cause controversy, start revolutions and little by little change the world. Festivals like ours are a catalyst for change creating opportunities for artists to communicate with audiences and audiences to respond to artists’ work. Throughout the Festival you will find small threads that deal with our world today. We hope that the work in the Festival can make you think, laugh, scream a little and perhaps even cry. It has been a long journey for the opera The Bone Feeder to get from an idea to the stage. A number of years ago I saw Renee Liang’s play. I liked the surreal nature of it and thought it would make an interesting opera with its story in different worlds. I approached Renee, and was delighted she agreed to consider writing the libretto, which is an enormous step for a playwright. -
Saluteremembering WW1: Four Dance Works
EDUCATION RESOURCE Education rnzb.org.nz facebook.com/nzballet SALUTERemembering WW1: Four dance works NATIONAL SPONSOR SUPPORTED BY MAJOR SUPPORTER SUPPORTING EDUCATION CURRICULUM In this unit you and your students will: LEARNING OBJECTIVES FOR • Learn about the elements that come LEVELS 7 & 8 together to create a theatrical ballet experience. Level 7 students will learn how to: • Identify the processes involved in making a • Understand dance in context – Investigate theatre production. and evaluate the effects of individual, social, cultural, and technological influences on the development of a variety of dance genres and styles. CURRICULUM LINKS IN THIS • Develop practical knowledge – UNIT Extend skills in the vocabulary, practices, Values and technologies of selected dance genres Students will be encouraged to value: and styles. • Innovation, inquiry and curiosity, by thinking • Communicate and interpret – Analyse, critically, creatively and reflectively. explain, and discuss aspects of performance • Diversity, as found in our different cultures and choreography in a range of dance and heritages. works. • Community and participation for the common good. Level 8 students will learn how to: • Understand dance in context – Investigate, analyse, and discuss the features, history, KEY COMPETENCIES issues, and development of dance in New Zealand, including the contribution of • Using language, symbols and text – selected individuals and groups. Students will recognise how choices of • Develop practical knowledge – language and symbols in live theatre affect Extend and refine skills, practices, and use people’s understanding and the ways in of technologies in a range of dance genres which they respond. and styles. • Relating to others – Students will develop • Communicate and interpret – Critically the ability to listen actively and share ideas analyse, interpret, and evaluate the artistic regarding theatrical ballet performances. -
Gareth Farr Text Only
sion by the 2003 Auckland Festival resulted in Stone and Ice, “Gareth is the most composed for the combined forces of the NZSO and the Auck- amazingly prolific land Philharmonia Orchestra. In 2006 Gareth was made an and talented Officer of the New Zealand Order of Merit, for his services to composer. music and entertainment, and in 2010 he was a recipient of the He makes music prestigious NZ Arts Laureate Award. very accessible to young and Farr’s music is particularly influenced by his extensive study of old alike” percussion, both Western and non-Western. Rhythmic elements of his compositions can be linked to the complex and Helen Clark exciting rhythms of Rarotongan log drum ensembles, Balinese Gareth Farr (1968) is a New Zealand Former Prime Minister gamelan and other percussion music of the Pacific Rim. of New Zealand composer and percussionist. In addition to his music for the concert chamber, Farr has writ- ten music for dance, theatre and television. In 2003 Farr won the Chapman Tripp theatre award for his soundtrack to Vula – a Gareth Farr was born in Wellington, New Zealand. He began his NZ/Pacific Island theatre piece – that went on to perform studies in composition and percussion performance at Auck- extensively overseas including Australia, the Netherlands and land University. The experience of hearing a visiting gamelan London. orchestra prompted his return to Wellington to attend Victoria University, where the characteristic rhythms and textures of In 2006, the Royal New Zealand Ballet toured the country with the Indonesian gamelan rapidly became the hallmarks of his their brand new work The Wedding, featuring a score by Gareth own composition. -
OQS0762 Subs 2011 Brochure Text V6.Indd
SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre. -
Officers for 2002
April 2018 Highlights in this month’s Spotlight President’s Final Address 58th AGM and Volunteer Training Weekend – it’s a wrap Update from John Herber/NZ Fire Shield on their vouchers from conference Meet our newest Life Member – Valda Peacock QSM (KOV) Meet our new (well not really, but new positions) Executive team members – Dan, Helen and Tania Conference Competition Results and Award Recipients (Merits will be announced in June) MTNZ Calendar – it’s huge – so many training and networking opportunities Agendas for May meetings – Combined North Island and Zone Five NextGen Boot Camp – August, Lake Karapiro – our third one Latest news from iTICKET #mtnz2018 Zone One News – PUSS, Rising Stars, Heathers, Beauty and the Beast, Book Club Masterclass opportunity with Hayden Tee Zone Two – Shrek, Last Legs and Celtic Connection Zone Three- Blood Brothers, a great idea from Abbey MT, Once Upon a Mattress Zone Four – Defying Gravity, new associate members 4th Wall and Dennis Brown; Combined South Island Meeting 14 – 15 September Zone Five – Grease the arena spectacular, strat planning in Queenstown and Priscilla comes to Dunedin, South Otago have been painting their green room and we welcome new members Taieri Dramatic Society to the MTNZ family, April 2018 will see Triple Threat Academy NZ return to Christchurch and Wellington with their three day intensive musical theatre workshops. The next New Zealand Singing School: Te Wānanga Toi Waiata will be held at the Eastern Institute of Technology, Napier, from 4th to 14th January 2019 – registrations are now open Techie info – NSL, our ETNZ award recipients, Showtechnix, Philips Entertainment, John Herber Copyright info – Flashdance, Joseph, Madagascar, Little Miss Sunshine, NZ musicals from Playmarket 1 Thinking of all our New Zealand communities this month and in Australia, of which our community theatres both here and across the Tasman, are such a huge part of, as we remember our ANZACS who served in World War One and those who have served in further conflicts since the “great war” – we will remember them. -
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. -
Z67 Lytteltonreview December 17 2012
“ lyttelton review “ lyttelton harbour community update www.lytteltonharbour.info 17 December 2012 E67 Haere rā 2012 A Year Worth Celebrating 2012 kicked off with raving reviews from Lonely Planet about how Lyttelton is the “essential foodie destination” and that the township was “bouncing back with remarkable community spirit”. As 2012 comes to a close the editorial team here at the Lyttelton Review are looking forward to a small break, but not before taking the opportunity to reflect on just some of the highlights throughout the year: Freemans Dining Room re-opened; delicious pizzas, pastas, Italian fare and live jazz on Sundays; Plenty to Share initiative started as an opportunity for residents to swap extra produce and food; Gorilla artwork turns up on vacant sites and broken infrastructure to entertain and colour our world; SCIRT team worked continuously on repairing Lyttelton retaining walls; Harbour Co-Op, the first community co-operative food store in New Zealand is launched; Pirates of Corsair Bay bought summer laughter and fun to organisers and audience; Christchurch Relief Fund donated $250,000 to the Loons to help with the huge repair and rebuild costs; Live Music Events in Lyttelton including Jackie Bristow; Black Orpheus; Johnny Possum; Hobnails; Don McGlashan and many more; Lyttelton Rough House Revival Tour with The Eastern, Lindon Puffin, Delaney Davidson, Marlon Williams; Lyttelton Urban Downhill event was a sporting spectacular, now scheduled as an annual Lyttelton event; Lyttelton resident Bettina Evans releases “The