Read Ebook {PDF EPUB} Waiora Te Ūkaipō - The Homeland by One more step. Please complete the security check to access www.broadwayworld.com. Why do I have to complete a CAPTCHA? Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6585d6f20e4584ec • Your IP : 188.246.226.140 • Performance & security by Cloudflare. 's life celebrated, farewelled at Raukawa Marae. It was an evolving script - with a surprise appearance by - but in the end everything, metaphorically, and literally, came back to Nancy Brunning. The woman in the simple, beautiful casket, would always be the heart of this story. Ōtaki is a town steeped in the history of its iwi and hapū, a place where te reo Māori is spoken more, in the town, schools and homes, than most other places in Aotearoa. On Wednesday, under high cloud on the Kāpiti Coast, it was where the service marking Brunning's life took place. Brunning's death was announced by family friend Stacey Morrison on Facebook on Sunday morning. Stuff , there to cover the service for the actor, writer, dramatist - creator - waited for a group to gather at the front gate. Waiting to enter too was Taranaki man Tom Matiaha. He was there because his wife, Liz Matiaha, was Nurse Jaki Manu's mum (on , not real life). Artists, actors, performers, family - they were all arriving as the marae, with the Raukawa flag at half mast, filled with people. Kaikōrero for the service, musician Tama Waipara said Brunning, despite her young age of 48 embodied "nan-ness": "Nan, in nickname, Nan in character." He said the wero - challenge - for the people at the service was to continue Brunning's vision of a sustainable Māori presence in 's art scene. This would make sure Māori were in the driver's seat, he said. Brunning epitomised aroha - which along with generosity, laced everything she did. Her siblings, who surrounded Brunning on the paepae of the marae wharenui, spoke of a woman with a strong personality, loving soul, and love of performance from a young age. She had once as a child given her own "stage" performance in the family kitchen, lit by the light of the oven. She handed out autographs too. The order of waiata and kōrero in the service might have changed from the outline in the service paper, but that was just part of the "evolving" script for the final goodbye to Brunning, Waipara said. The changes included an appearance by Morrison, who had visited Brunning in her final week before she died. "She had fire, man, she had fire," he said of the woman who had once been his onscreen wife in the film Mahana . "Her voice was incredible, you could tell it came from an authentic, an organic place. The ihi and the wehi and the wana." Co-founder of Hāpai Productions, Tanea Heke said it would be her honour to call herself Brunning's friend. She said the illness that took her friend's life (cancer) had ravaged her tinana, her body, but never conquered her spirit. "She would never give up, ever." Wednesday was the day of Brunning's great escape, she said. "I love you, now and forever. Thank-you for everything you've done for us." Brunning was escorted out of the marae by a guard of wahine toa, women warriors, under a bright sun and a cooling breeze that sent the Raukawa flag snapping. NANCY BRUNNING: 'A LOST TŌTARA' Brunning had grown up in Taupo before attending Toi Whakaari and graduating in 1991. She lived in for most of her life. Brunning was an actor, director, producer, dramaturg, administrator and a fierce representative of Kaupapa Whakaari. She was a major influence in kaupapa Māori productions, directing productions in te reo for and as co-founder of Hāpai Productions with Tanea Heke. She has directed work by strong Māori language advocates including Hohepa Waitoa, Whiti Hereaka and . Brunning became one of the most well-known faces on New Zealand television as Jaki Manu in Shortland Street. Her theatre credits include roles in Hone Kouka's Nga Tangata Toa , Apirana Taylor's Whaea Kairau: Mother Hundred Eater , the NZ International Festival of the Arts hit Blue Smoke and Kouka's Waiora: Te Ūkaipō – The Homeland , which toured both domestically and internationally. Over the course of her career, she frequently collaborated with writer Briar Grace Smith, directing productions of Ngā Pou Wāhine , Flat Out Brown and Waitapu and taking leading roles in Purapurawhetū, Haruru Mai and Paniora and the films The Strength of Water and Fish Skin Suit. She appeared in many feature films across her distinguished career including Mahana , What Becomes of the Broken Hearted , Crooked Earth and When Love Comes . Brunning also worked as the acting coach for the Oscar nominated short film Two Cars, One Night directed by . Nancy Brunning wins playwriting award one day after death. Nancy Brunning has won the top playwriting award in New Zealand - just a day after her death. Brunning, best known for her performance as nurse Jaki Manu on Shortland Street , won the Bruce Mason Award posthumously at the 2019 Playmarket Accolades event at the Hannah Playhouse in Wellington on Sunday afternoon. The prize recognises the professional success of a playwright, with Hone Kouka, Jo Randerson and Victor Rodger among previous recipients. Playmarket director Murray Lynch said Brunning wrote with a personal and sharp-witted view of the world, "working to make visible the kinds of Māori women seldom seen on our stages and screens". Brunning's death was announced by family friend Stacey Morrison on Facebook on Sunday morning. "With a heavy heart, I post this message on behalf of Nancy's whānau . our māmā, our sister, our aunty, our friend, she has followed the call of her tīpuna." The last play Brunning worked on was Witi's Wāhine , an original play she wrote and directed about the author Witi Ihimaera. In July, while Brunning was working on the play, a crowd-funding campaign was launched to raise money for non-funded medication so she would be strong enough to complete the project. She was able to see the play to its completion, after it premiered at the inaugural Te Tairāwhiti Arts Festival. Ihimaera said Brunning had continued to work, despite needing the use of a wheelchair by the time the play premiered in October. "All she could talk about was the future. She had wonderful ideas. "She was sharp as ever, and strong as ever." Ihimaera said Brunning was facing developed cancer. She had been open about her diagnosis with cancer, which she had been dealing with for almost nine years. Throughout that time, Brunning continued to act, write and direct. She was not just well regarded in Aotearoa, Ihimaera said, but also across the world. "We call her Te Wahine Rongonui, a woman of tremendous influence and talent," he said. Ihimaera first met Brunning while she was at high school, when he was invited to watch a school play of The Whale Rider. Next, he recalled the reaction she had entering the Wellington theatre scene. "We kept watching, soon she was everywhere. There she was, on television, in film." And she didn't stop. Ihimaera said her work fostering indigenous art, New Zealand theatre and working with talented women would leave a lasting impact on the arts. Working with indigenous artists in Canada, he recalled a moment when Brunning brought the room to tears. He said there was light in her eyes whenever she talked about not just indigenous work, but art generally. "We sat listening to Nancy and we saw the fire in her belly." Friends, acquaintances and fans took to social media to express their love for the actor, writer and director. Playwright Albert Belz reposted Morrison's message, saying "we lost a tōtara today". The Breaker-Upperers writer and star Madeleine Sami said Brunning's death was "heartbreaking". "Nan was such an inspiration to me when I first started doing theatre. "[I] was lucky to work with her on one of my first TV experiences. She was so kind and humble and just so wonderful to watch on stage and screen. Much aroha to her whanau. Rest in peace sweet Nancy." Actor Mark Hadlow described her as a wonderful and gifted actor and director and a "beautiful human being". "Our industry has lost a truly gifted lady. Deepest sympathy to all her whānau and friends. Rest in peace Nancy." The Spinoff editor Toby Manhire described Brunning's performance as Rongomai in Hone Kouka's Nga Tangata Toa as "immense". Brunning, of Ngāti Raukawa and Ngāi Tūhoe descent, had won awards for her work, including Best Actress at the New Zealand Film Awards for her role in What Becomes ot the Broken Hearted? , the sequel to Once Were Warriors. While best-known for her screen acting, she had also worked extensively in theatre as a writer, director and actor. Morrison confirmed Brunning's whānau did not want to disclose how she died, but she had been unwell for some time. In July friends and family made an appeal to crowdfund a life-prolonging medical treatment for her. Morrison said Brunning's passion had been to "bring unheard stories to the light". "To remind our people that our voices are a powerful tool and aroha is the most important thing of all. "And while she was loved by the world, she was loved even more by us. "She was the person that bound our whānau together." A spokesperson for the whānau, Morrison requested people respect the privacy of Brunning's whānau and friends while they made their final farewells. "We wish to express our deep gratitude and mihi to everyone who has supported Nancy and our whānau. "Thank you to the kind people at Mary Potter Hospice and the hardworking staff at Wellington Hospital. "Thank you to all of you who supported her battle in many ways, including the Manaakitia fundraiser. "Moe mai rā Nan. Hoki atu ki ōu mātua tīpuna. Ka noho mātou ki roto i te mamae, me te aroha mutunga kore ki a koe." TE WAHINE RONGONUI. The last play Brunning worked on was Witi's Wāhine , an original play she wrote and directed about the author Witi Ihimaera. In July, while Brunning was working on the play, a crowd-funding campaign was launched to raise money for non-funded medication so she would be strong enough to complete the project. She was able to see the play to its completion, after it premiered at the inaugural Te Tairāwhiti Arts Festival. Ihimaera said Brunning had continued to work, despite needing the use of a wheelchair by the time the play premiered in October. "All she could talk about was the future. She had wonderful ideas. "She was sharp as ever, and strong as ever." Ihimaera said Brunning was facing developed cancer. She had been open about her diagnosis with cancer, which she had been dealing with for almost nine years. Throughout that time, Brunning continued to act, write and direct. She was not just well regarded in Aotearoa, Ihimaera said, but also across the world. "We call her Te Wahine Rongonui, a woman of tremendous influence and talent," he said. Ihimaera first met Brunning while she was at high school, when he was invited to watch a school play of The Whale Rider . Next, he recalled the reaction she had entering the Wellington theatre scene. "We kept watching, soon she was everywhere. There she was, on television, in film." And she didn't stop. Ihimaera said her work fostering indigenous art, New Zealand theatre and working with talented women would leave a lasting impact on the arts. Working with indigenous artists in Canada, he recalled a moment when Brunning brought the room to tears. He said there was light in her eyes whenever she talked about not just indigenous work, but art generally. "We sat listening to Nancy and we saw the fire in her belly." NANCY BRUNNING: 'A LOST ​ TŌTA ​ RA ' Brunning had grown up in Taupo before attending Toi Whakaari and graduating in 1991. She lived in Wellington for most of her life. Brunning was an actor, director, producer, dramaturg, administrator and a fierce representative of Kaupapa Whakaari. She was a major influence in kaupapa Māori productions, directing productions in te reo for Taki Rua and as co-founder of Hāpai Productions with Tanea Heke. She has directed work by strong Māori language advocates including Hohepa Waitoa, Whiti Hereaka and Witi Ihimaera. Nancy became one of the most well-known faces on New Zealand television as Jaki Manu in Shortland Street. Her theatre credits include roles in Hone Kouka's Nga Tangata Toa , Apirana Taylor's Whaea Kairau: Mother Hundred Eater , the NZ International Festival of the Arts hit Blue Smoke and Kouka's Waiora: Te Ūkaipō – The Homeland , which toured both domestically and internationally. Over the course of her career, she frequently collaborated with writer Briar Grace Smith, directing productions of Ngā Pou Wāhine , Flat Out Brown and Waitapu and taking leading roles in Purapurawhetū , Haruru Mai and Paniora and the films The Strength of Water and Fish Skin Suit . She appeared in many feature films across her distinguished career including Mahana , What Becomes of the Broken Hearted , Crooked Earth and When Love Comes . Nancy also worked as the acting coach for the Oscar nominated short film T wo Cars, One Night directed by Taika Waititi. ISBN 13: 9780908975273. Book Description Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages. Seller Inventory # M00908975279-V. 2. Waiora: Te Ukaipo - The Homeland; A Play. Book Description Play set in 1965 about a Maori family. With Waiata composed by Hone Hurihanganui. -- Softcover, 122 pages. Condition: near fine. ISBN 0908975279. Seller Inventory # 33274. 3. Waiora. Book Description Condition: Good. Shows some signs of wear, and may have some markings on the inside. Seller Inventory # 17795937-6. 4. Waiora: Te Ukaipo : the Homeland : a Play. Book Description Condition: Very Good. The Year Is 1965. A Maori Family, Recently Migrated To The South Island From The North Island's East Cape, Prepares To Celebrate A Birthday With Their Pakeha Guests. In This Cultural Borderland, Freshly-forged Identities Are Passports Presented For A Passage To Prosperity. Yet Origins Cannot Be Easily Forgotten. Waiora Is Compelling, Comic, Devastating. Exploring Differing Interpretations Of Home And Belonging, It Addresses, In Kouka's Words, All Of Us Who Have Travelled From Somewhere Else. The Critically Acclaimed Waiora Was Commissioned By The 1996 Wellington International Festival Of The Arts, Where It Played To Sell Out Audiences. Since Its Initial Success The Play Has Travelled Internationally And Has Become A Set Text For Secondary And Tertiary Courses. 122 pages. Seller Inventory # 1269820. 5. Waiora :Te Ukaipo - The Homeland. Book Description Paperback. First published 1997. Seller Inventory # 11477779. Christchurch City Libraries Blog. Twenty years ago, Hone Kouka wrote a play for the New Zealand International Arts Festival, set in the 1960s called Waiora. It toured nationally and internationally for several years afterwards and has been staged in places as diverse as the UK, Japan and Hawaii. It is studied in universities and high schools. Waiora is being restaged in Christchurch at the Court Theatre and I spoke to playwright Hone Kouka about the play. He describes it as “an immigrant story”, specifically that of his own family who moved from north of Gisborne to the Catlins, later settling in Rangiora. Playwright, director, screenwriter and producer Hone Kouka (image supplied) One of the key phrases for me, was my mum said a few times that it felt like we moved to another country. So it was a really interesting story of being like immigrants in our own country. And yes there were other Māori there… but even so for her going from a community that was predominantly Māori to a community that wasn’t was a major shift. And my family eventually settled in Rangiora and have pretty much been there for the last 30-odd years. So that’s pretty much the basis of my family, and that’s where the story came from. My dad was a saw miller, and I just wanted to pay a homage, to a degree, to them. It’s really interesting being here in Christchurch. There are a lot of new immigrants here… For this reason and others, Kouka feels that Waiora is as relevant now as it’s ever been. There are a lot of reasons why I said yes to it happening down here, just engaging with the Māori community down here. There are a lot of great artists and yeah, just wanting more art in regards to all the changes that have happened to the city. And it’s great to be partnered with the Court Theatre and they are working really hard to try and engage with Māori here which is just fantastic. One of the reasons it’s being done here at the Court was that 20 years ago it was done here as well, at the old Court Theatre… He’s hopeful the play will encourage people, Māori particularly, to discover theatre. Waiora: Te ū kai pō – The Homeland. (image supplied) Lots of Māori I know would never have been to the theatre before. This (play) is a really great example of something that’s travelled around the world and is lauded over there and bringing it back for our people… It’s been a great experience to be back here. It’s just an art form that Māori don’t usually associate with and that’s really what it comes down to, and what I’ve found is lots of the shows that I’ve put on around the world, and around New Zealand, once Māori turn up they go, oh yep, this is ours… and it (Waiora) covers a whole lot of things in regards to us as Māori – there’s haka, waiata, reo all through it as well – and that’s one of the things that theatre, because it’s live, can do that books can’t. That you’re actually living and breathing it. We’ve got kapa haka exponents in the play as well and I wanted to wrap those art forms up. So it’s really bringing together, the strength of Māori all over the place to tell a Māori story. He goes on to explain that theatre offers something that other media can’t. I spend a lot of my working world between the film and the theatre industry, and at the moment people want a live experience because they’re constantly in front of screens, and they want, actually, communication with other human beings. …it’s not like a movie. You can’t talk through it. You can’t turn it over or anything like that – it’s right in front of you. You can hear them breathing. You can see them sweating and people really like that. Kouka has worked on recent features such as Mahana (based on Witi Ihimaera’s novel Bulibasha) so I asked him if there is much of a difference working in film and working in theatre. Yeah there is. I was the original screenwriter for it (Mahana) and then I was one of the producers. I prefer theatre to the film industry. And the biggest difference is money, to be honest, as it therefore goes through more people’s hands, and as an artist it’s more diluted – what you create. And that’s why I prefer theatre because you can say exactly what you want to say, how you want to say it, where you don’t have to abide by the finances and things like that. So it’s just more difficult that way. I feel really lucky that I can move between the two. Mahana and Born to dance are two projects that came out recently that I worked on and I’ve got others coming up as well. So I’m just really lucky that that’s what I do – that I’m an artist who moves between both art forms. Oh the horizon are another film project, travel, and more indigenous theatre. Our company’s got a new feature that’s basically, you know the French film Amelie? – it’s a Māori Amelie. I wanted to write something that was light and really colourful, bursting with energy… so that’s where that came from. So I just had a Skype meeting with a financier in Denmark so that’s one of the most recent. I leave on Saturday to do a theatre project to travel to Vancouver – our company’s got a co-production with 2 Canadian First Nation companies over there, It’s super active at the moment and it’s really on a big upswing, and that’s another reason why I wanted to engage with Christchurch and get the Court Theatre involved because globally there’s a lot of work happening – in Wellington it’s really on a big upswing and upsurge there so it seems to be a good time to be involved in Māori work and travelling around the globe because they’re very open to it, which is great. When it comes to libraries he is unequivocally in favour. I didn’t start reading until I was about 7… and then I went crazy. I love them. For me, it gives me time to think because it’s quiet, most of the time, if that makes sense? Libraries, they’re essential. They’re great meeting places. They are places of space and thought – that’s really what I associate with libraries. They should be one of the absolutely protected things that we have. It’s important for us to have knowledge and share it and at times the Internet – there’s not always a lot of depth to what you can gain from there – but you can from books. And also I really love the tactile nature of books. I really love them. Waiora: Te ū kai pō – The Homeland plays at The Court Theatre 13 August – 3 September.