Friday, June 30, 2006

The No.8 Wire - Issue 70

Gondwanaland Ministry of Culture
Artists' Information Bureau


An Electronic Alert for 1274 of Wellington's Creative People

To submit your news, project details, call for participation, or cultural item of any sort, please send your description/text as email to

The No. 8 Wire is compiled, assembled and issued by
Eric Holowacz, Arts Programmes & Services Manager
Wellington City Council
In the
Arts Office
Level One
Wellington Arts Centre
Open Door for Creative Ideas


Viewpoint: Varied standards of accuracy by Sarah Thomas and Karina Rossiter explores the function and dysfunction of mapping and the contrasting relationship to landscapes.
"Maps, no matter how accurate never tell a full story".
Sarah and Karina began a collaborative journey over a year ago when they began exchanging small works on paper. With each exchange the works and ideas were added to, embellished, and developed by responding to what the other person had done. When Sarah went overseas for three months the exchanges continued by post, and the imagery of maps was a recurring feature.
Combining their sculptural and printmaking backgrounds Sarah and Karina have created works that unveil the myriad of truths, half-truths and lies that lie in the lines of the land. through their art they simultaneously celebrate and disparage maps. at the heart of this exhibition is the desire to interrogate the myth of mapping.
Viewpoint features large-scale drawings, etchings, a sculpted landscape and the opportunity to participate in the act of cartography. Spectators are asked to take part in an interactive mapping project. By registering your name you will be given a map kit to take on your travels. Participation in this project will form the groundwork for a future exhibition.
Viewpoint opens at the Wellington Arts Centre GALLERY on Thursday 22 June and runs until 4 July.
For further information contact the Wellington Arts Centre, 61 Abel Smith Street, tel: (04) 385 0654, website:



You are cordially invited to a preview of
The Velveteen City: An exhibition by Alastair McAra on Friday 7 July, 5.30pm at the Wellington Arts Centre GALLERY, 61 Abel Smith Street.

The Velveteen City is an exhibition of pinhole photographs of Wellington's Te Aro precinct that explores the concept of becoming 'real'.

"Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you..." - The Velveteen Rabbit by Margery Williams

McAra believes the worn-in parts of Wellington feel the most 'real'. Te Aro, for example, is rough: layers of old and new buildings conflict, it is at cross roads with the construction of the by-pass - buildings destroyed, relocated, restored. Yet, despite this, Te Aro is a place people feel a strong connection to.

"It's those worn-in places that have character and personality, that generate a sense of place and community."

McAra's images question Te Aro's redevelopment? How will it change the community? Who will inhabit these spaces? Will Te Aro remain 'real'?

"... Once you are real you can't become unreal again. It lasts for always."*

Using a hand made pinhole camera and exposing shots for seconds, sometimes minutes McAra captures the passing of time.

"History coalesces with film and this feels to me, very different to the instant gratification of the digital world. Additionally the wide angle of view and saturated colour give the images a surreal and dream-like quality."

The Velveteen City will encompass McAra's photographs of the Te Aro area and the alternative popular culture that the district is famous for. A projection of un-displayed shots will also be running on a continuous loop at the back of the gallery.

Open from Saturday 8 July - Saturday 22 July
Floor Talk: Sunday 16 July, 2.00pm



The Friday Mix @ The Paramount.
Brought to you by FUSE Productions.
Where: The Paramount Lounge bar
When: Friday nights 9pm - 2am. June 23 - July 14.
Cost: FREE!

Celebrate the end of the week in the Paramount lounge bar. Every Friday a mix of DJ's, projections, occasional live music, and a sprinkle of burlesque performance.
Check out the other side of the street on Courtney Place and enjoy a relaxed atmosphere with great music.

June 23: Launch party with DJ's; West Coast Bro, Big Bird, Remedy
June 30: DJ's; Captain Pow Pow & His dodgy brother Robbie and Sammy E
July 7: DJ's; Roulette
The Burlesque Queens
July 14: Live music from Pacific Bass Culture & support

More information:
If you are a DJ or band interested in playing, email:



An eagerly expected arrival





A Low Hum will pitch a tent, invite some bands, and take over a slice of rural paradise. Click on the BAND link here



In March of 2003, I met Peter Jackson, Academy award-winning director of the Lord of the Rings trilogy, in his hometown of Wellington, New Zealand. Jackson did something unlikely in Wellington, a city of roughly 400,000: He built one of the most advanced filmmaking complexes in the world-a "global talent magnet," he called it.
There, he could attract the best cinematographers, sound technicians, computer graphics artists, model builders, and editors from around the globe. As we walked past a wall map with pins showing the studio workers' native countries, the head of digital animation joked that the organization looked more like the U.N. than a film studio. Jackson told me his key lure was to offer exciting, challenging work with a secure future in a city with abundant natural beauty, affordable housing, and an outstanding quality of life for people of nearly every income bracket.
Jackson's accomplishment in tiny Wellington hasn't factored into any of the recent debates over business competitiveness, jobs or economic growth-but it should.
American economic experts and policy-makers are rightly preoccupied with the emergence of behemoths like India and China, which offer huge markets, capable workforces, and cost advantages. Unfortunately, they overlook a subtler but even more profound shift in the nature of global competition.
In the past two and a half decades, this shift has taken us from the older industrial model to a new economic paradigm, where knowledge, innovation, and creativity are key. At the cutting edge of this shift is the creative sector of the economy: science and technology, art and design, culture and entertainment, and the knowledge-based professions.

Read more



You are warmly invited to the opening of:
New Work
By Rebecca Pilcher
Work From The Stock Room
Tuesday 4 July 5:30pm until 5 August

Aaron Laurence
027 435 8985



Inner City Real Estate
Fiona Connor
With Sarah Hopkinson, Sarah Gruiters, Kate Newby and Daniel du Bern
Opening Celebration Friday 7 July 6pm, with launch of Enjoy retrospective catalogue 2005
8 - 21 July

Artist Talk Saturday 8 July, 2pm
Film Screening: Living on the Faultline: an Historical Geography of Wellington
Saturday 8 July, 7pm at the Film Archive, cnr Taranaki and Ghuznee Street
Entry by koha

147 to 174 Architectural History Talk by Melanie Hogg Saturday 15 July, 2pm
Closing Party Friday 21 July, 6pm
with performances from The Stumps and Birchville Cat Motel

Just over a year ago, Enjoy gallery moved from 174 to 147 Cuba Street. Although this move was short in distance, producing a street number that is satisfying, albeit confusing in its reversal, the relocation brought about a great change in terms of new architectural challenges and considerations for exhibiting artists to work with.

Inner City Real Estate is an ambitious attempt to re-build the 'old' Enjoy within the 'new' Enjoy. Here, windows, light fittings, skirting boards and even paint finishes have been painstakingly replicated true to their original placement at Enjoy's 174 Cuba Street site.

However, Fiona Connor's interest is not merely architectural. She endeavours to explore and acknowledge the gallery's social momentum as a powerful subject too. Inner City Real Estate will function as a gallery-within-a-gallery, with artists' works and events occurring on-site in conjunction with the project. These range from redevelopments of works which once appeared at 174, to new projects offered the chance to be exhibited in a site they missed out on the first time around. Inner City Real Estate will exist, like a memory or dream, as an
incomplete or altered facsimile of reality, but one that comes uncannily close.

Two additional events happening in conjunction with the project provide a context for Inner City Real Estate. A film compiling historical footage documenting Wellington's development will be screened in association with The Film Archive, Saturday July 8 at 7pm. This will be the first in what is hoped to be an ongoing series of screenings run in collaboration between the Film Archive and Enjoy Gallery.

Gallery Manager Melanie Hogg will be giving a talk discussing the architectural, historical, social and functional differences between 147 and 174 Cuba Street, at 2pm on Saturday July 15.

Fiona Connor is an Auckland-based artist who graduated from Elam, School of Fine Arts in 2003. Fiona's practice in recent years has focussed on the mimetic recreation of sites, objects and arrangements. She has exhibited at Ramp gallery, Hamilton, Rm103, Auckland and took part in The Containers Project, Melbourne in March of this year.

The Opening Celebration is generously supported by Macs Beer.

Enjoy Public Art Gallery
Level 1, 147 Cuba Street
P: 04 384 0174



Footnote Dance's thrilling new programme of contemporary dance works - collectively entitled Feats of Fancy - looks set to "tickle the fancy" of dance-lovers from north to south this winter. Five of New Zealand's most exciting contemporary dance choreographers have created new works - and refreshed some well-loved ones - especially for Footnote Dance. The result is an eclectic array of dance works that are quirky, melancholy, high energy, and spiritually evocative. Feats of Fancy tours to Auckland, Wellington and Christchurch in June-July.

Choreographers Malia Johnson, Deirdre Tarrant, Moss Patterson, Raewyn Hill, and leading expatriate New Zealand choreographer Jeremy Nelson have all created their own "feat of fancy" in the show's line-up. Footnote dancers - Halina Wolyncewicz, Hannah Stannard, Anita Hunziker, Sarah Knox, Lance Riley and Andrew Rusk - have the feat of performing them!

"Imagination, ideas, identity, illusions and impact make up this compelling programme of works," says Footnote's Artistic Director, Deirdre Tarrant. "These works are all feats of fancy in themselves and collectively. They show rich diversity in contemporary dance choreography - offering both light-hearted, humourous moments, alongside deeper, sensual ideas that are explored and communicated through dance."

"We have a wonderful strong team of full-time professional contemporary dancers and innovative kiwi choreographers who have a long association with Footnote and who continue to take contemporary dance to new heights," says Tarrant. "Providing an environment and infrastructure that allows this to happen is what Footnote Dance is about."

Moss Patterson's choreographic point of reference for his piece "Kokowai" is the reddish clay that traditionally had many ritualistic and decorative uses for Maori.

"When combined with the human form, kokowai evokes for me images of the distant past, for example, Hineahuone - the first woman who was fashioned from kokowai earth by Tane; images of internal heat, struggle, pain, visceral passion and the inherent form of human energy we term 'ihi'"," explains Patterson.

"Kokowai" builds on previous dance works that Patterson has created for Footnote; almost all of which have been based on his Maori culture and tikanga - audiences may remember "Te Ngaru" and "Kura" - and are very high energy.

Deirdre Tarrant's upbeat, energetic dance work, "Cutting the Mustard" examines dialogue around subjectivity, asking the questions - 'Who approves?' and 'What is excellence?' binding up these conundrums in a display of sheer athleticism.

Malia Johnston "Working Title [Left]" takes a different turn to some of her more recent choreographic work for WOW. Dubbed "a working movement study in parts", "Working Title [Left]" experiments with the concepts of active versus passive skin, touch, resistance and physicality, performed to an original composition by Eden Mulholland of rock/indie bands Motocade and Motel Fabulous.

New York-based expatriate kiwi choreographer Jeremy Nelson has led Footnote Choreolab for the last two years, and together with the Footnote dancers has choreographed a work-in-progress work that took shape over a three week period. In Feats of Fancy, Nelson revisits his previous piece created for Footnote last year - "Mursh Mellow", which explored ideas about fitting into a new society - and uses it as a springboard to create an entirely new work. Light and sassy, "Remellowed" incorporates the individuality of each Footnote dancer, drawing out their strengths through the choreography.

Following the success of the recent Footnote Forte Season, Raewyn Hill's ever-popular Footnote dance work "In Time of Flight" makes a welcome return to the stage. Inspired by poet Pablo Neruda's "To Sadness / II", the piece looks at the relationships between bodies and the movement that creates a dynamic. However, as Hill points out; "In Time of Flight" is a pure movement piece possessing no meaning or message. Danced to a hypnotic original composition by Nic McGowan, "In Time of Flight" is dramatic and mesmerisingly powerful.

Feats of Fancy is at: Herald Theatre, Auckland on 26 and 27 June; The James Hay Theatre, Christchurch, on 29 June; and The Opera House, Wellington on 1 July.



Hi all,

I've Just had a cancellation for the dates 21/08/2006 until 27/08/2006.
The hire prices are $100 Bond $150 hire + %10 commission (on artworks

This space is not only available for visual arts, but can be used for a small theatre space, poetry readings, parties etc.

Please let me know ASAP if you'd like to hire this space in the gallery.

Lily Chalmers
Thistle Hall
PH: 04 384 3088



Greetings, craft fans!
CraftWerk Wellington's own indie craft experience is set for Thursday,
July 13th. Sponsored by A LOW HUM, this shopping bonanza will take
place from 5.30 pm to 8.30pm at The Paramount Theatre in Courtnay Place.
Drink, dance, shop and be crafty!

Grab a drink from the bar and get in the mood (to shop!) with music
performances by local bands and DJs while browsing locally hand created
wares. Over three dozen crafters will showcase a wide variety of
handmade goods, including knitwear, crochet skulls, silk-screened baby
tees, handbags, chic and original jewellery, cupcakes, cards, zines,
girly magnets, coasters, vamped up clothing, badges and more.

Take a break from shopping and check out performances by Peneloping,
Captain Hammondhead, Snowfeilds and maybe possibly maybe Alex the kid. Or settle down on a sofa and play giant screen Atari while enjoying music spun by local DJs. Or participate in our Mix Tape swap while you try to spot the bunny.

And proof that Crafters are in it for the love not the money: courtesy
of Juniper at 114 Riddiford Street Newtown a FREE GIFT for the first 50

For a list of our celebrity vendors, and more information please
call: sue tyler on 029 9716941



Wellingtonia Live
Free Sunday afternoon concerts at the Museum of City and Sea
This programme has been running for 3 weeks now, and continues over the next 5 weeks. This super programme of local performers has been organised by Anne McGregor as part of the Museum's public programme for this winter.

Sunday 2 July
1.00pm J & D Julian Ward & Diana Bastion
3.00pm Marg Layton & Bill Lake
Sunday 9 July
1.00pm The Magpies
3.00pm Twos Company
Sunday 16 July
1.00pm Raw Silk
3.00pm Four to the Bar
Sunday 23 July
1.00pm Cinnibar
3.00pm The Jimmies
Sunday 30July
12.30pm Whirligigs
1.30pm Full Fathom
2.30pm The Beat Girls
Museum Website gives a short resume on each group. It's under Wellingtonia Live.



Collaboration between choreographer Maria Dabrowska and lighting designer Martyn Roberts.
BATS theatre 21 - 23 Sept 2006, at 9pm
tickets $12

The darkness is the domain of this dance work that will challenge the way we see performance. BATS will become a solid black void in which the grey light will shift and murmur to tantalize the audience into seeing ghosts of haunting beauty fleeting across the playground of night.

You will be taken on a journey, of light, sound and imagery, a void of no place where beauty and darkly quirky characters emerge transforming the human form and the space into poetic imagery.

We are focusing on creating a map out of the darkness, the observer will never see the entire space of BATS, and our ideas are to distort the viewer's perception of time and space. We are interested in the distinction or point where darkness crosses over into light, that dividing in-between line that reveals shape or character that surprises the viewer and allows them to consider the human form in a different way.

I think the illusionary aspect of the work is something that excites both of us.



The 50th anniversary of John Osborne's

Directed by Miranda Harcourt and starring Aaron Alexander, Lucy Wigmore, Mia Blake and Louis Sutherland.

Set and Lighting Design: Martyn Roberts
Sound Design: Steve Gallagher
Costmes: Zoe Fox
Design Assistant: Laura Nicholls
Stage Manager and Operator: Anna Drakeford
Producer: Mary Parker

July 6 - 22, BATS Theatre, 1 Kent Terrace, Wellington. or phone (04) 802 4175
July 27 - August 12, Silo Theatre, Lower Greys Ave, Auckland CBD. or phone (09) 970 9700.


By Duncan Sarkies
Directed By Lyndee Jane Rutherford

BATS Theatre
11 - 22 July, 6pm
BOOKINGS: 04 802 41 75 or $16 / $12

Does love make you wanna puke?

Lovepuke is a seriously sexy comedy by Wellington legend Duncan Sarkies (Scarfies, Wild Man Eyes, Stray Thoughts & Nose Bleeds) and starring eight sexy singletons looking for love in the Windy City.

It's about love, sex, relationships, bodily functions and how bloody stupid we can get about it all.

Director Lyndee-Jane Rutherford wanted to revive Lovepuke as it's "a fantastic play. It's genius. It's about love. The characters are all people we know, have been, don't want to be and would never admit to being. It looks at all the things people do when love comes along or is taken away from us. It's funny, moving, excruciating and confirms that we're all in this together".

Rutherford has been a professional actor for 15 years. She has over thirty professional theatre acting productions under her belt. She has performed and directed at Downstage, Circa, Bats and Centrepoint Theatre.
She was nominated for actress of the year at the Chapman Tripp Theatre Awards in 2003 for her performance in In Flame at Circa. She has been core cast on many a TV series in the 90's, Skitz, Telly Laughs and The Semisis. She was core cast on the TV2 afternoon kids show WNTV (2002-2003). She has just been cast in a supporting role for a new TV Drama and she is currently rehearsing for Troy at Circa.

Duncan Sarkies is a NZ playwright, screen writer, fiction writer and stand-up comic. Infamous for his rhythm and energy of performance, he's best known as the co-writer, with his brother Robert Sarkies, of the hugely successful 1999 film Scarfies. Lovepuke won awards at the International Youth Playwrights Festival and took out "Best of the Fringe Festival" in Wellington, NZ in 1993.

Relieve your winter blues laughing as you witness four men and four women fight it out on the battleground of love.

Some wanna love, some wanna root and some just wanna puke.


DEATH (and love) IN GAZA,
Homage to a young activist.

Death (and love) in Gaza will run from 25 July - 5 August at BATS Theatre Wellington, followed by a season in Christchurch and then Melbourne in 2007. 'Death (and love) in Gaza' is homage to young people, to those who question - and to the dignity of the Palestinian people.

In 2003, Rachel Corrie, a twenty three year old American, went to Palestine to work with local communities. While trying to protect a Palestinian family's home from demolition, Rachel was crushed and killed by an Israeli Army bulldozer.

Since then, Rachel's vivid descriptions of the two worlds she inhabited and the controversy surrounding her death have seen her become an iconic figure. Writer/director Paul Maunder wrote this tribute, so that Rachel's journey and those of other young activists can be heard in Aotearoa.

Based on Rachel's own writings, accounts from other activists and reports of the situation in Palestine, the play is set in Gaza and centres on an imagined relationship with a fellow activist. This is cutting-edge, yet moving political theatre that welcomes a new generation of people with 'fire in their belly.'

The play stars well-known Kiwi actor Charlie Bleakley, Palestinian Katrina Baylis and ex-pat American actor Elizabeth Marshall. The Wellington City Council Grants Scheme and the University of Canterbury support the production.

You are invited to the play's opening on the 25th July at 7.00pm.

For further details, please contact

Katrina Baylis
P.O Box 11085
Cell: 021607676 /ph: 04 3896868



New works by
Mica Still and Melissa Wyman
23-29 July 2006

Special Viewing Friday 28th July 5:30-8pm
Thistle Hall
293 Cuba Street

Mica Still and Melissa Wyman invite you into investigate and discover
their new show "Take Flight."

Melissa Wyman has worked with Mica in a series of experimental works which deals with letting go of ego and experiencing the process. This collaboration includes drawing, painting and reworking each others aesthetic expressions

Mica Still individually explores two new series:

In Micas first series she invites you to have a closer look to discover the meaning and myth of her installation of mounted Crow heads.

The second is an on going series of works titled "Drink you own culture" This work is the first of more to come that investigates the use of symbols and language the represents her culture of the United States and how they supposedly define her.

Feel free to contact Mica Still for further details
021 079 6923



Poets "go public" on Montana Poetry Day, Friday 21 July 2006, New Zealand's annual celebration of poetry and verse. Established in 1998, it has become one of the most anticipated events on the arts calendar, with poetry-related events for all ages in town and cities from Northland to Otago.

Montana Poetry Day events take many forms street performances, poetry writing workshops, readings in cafés and bars, "open mike" sessions, competitions, poetry book launches, lectures, poetry on the web, poetry on film and much more. The day brings together some of New Zealand’s most popular contemporary poets, those yet to make their mark in verse and those just wanting to share their favourite poem with a friend or an audience.

Some of the highlights from this year’s Montana Poetry Day include:

- The nzepc's (New Zealand Electronic Poetry Centre) Bluffing Auckland, presenting poetry and wine in the new Ian Athfield designed café at the Auckland City Library, starring Southland poet Cilla McQueen with Aucklanders Murray Edmond, Paula Green, Michelle Leggott and Selina Tusitala Marsh among others.

- The Divine Muses III will showcase their work at Artspace on Auckland's K Road with poets Stephanie Johnson, Alistair Paterson, Iain Sharp, Siobhan Harvey and more.

- Mahy Mayhem a mass reading of Margaret Mahy's poem Down the Back of the Chair at libraries in Hamilton.

- "The people’s poet" Glenn Colquhoun, winner of the Readers Choice Award and the Poetry category in the 2003 Montana New Zealand Book Awards giving a reading in Palmerston North.

- Poetry in Song at the Museum of City & Sea, Wellington a concert of New Zealand poetry set to music, including two poems from Anne French’s Wild Cycle for mezzosoprano and Emma Neale’s poem Roof. With the added bonus of hearing Poetry category finalist Bill Manhire, along with Kate Camp, Hinemoana Baker and James Brown, presenting their favourite Wellington-inspired poetry.

- Poetry à la carte featuring poems and music in Christchurch, staring Jeffrey Paparoa Holman, Lindon Puffin, Karen Hunter, Ralph Woodward, Cecilia Garudi and Tom Chesney.

- Poetry and Jazz in Dunedin, featuring another Poetry category finalist Brian Turner with guests Diane Brown, Henry Davidson, David Eggleton, Jenny Powell-Chalmers, Richard Reeve and Sue Wootton.

The winner of the Poetry category in the Montana New Zealand Book Awards
2006 will be announced on Montana Poetry Day. This year’s finalists are Footfall by Brian Turner, Lifted by Bill Manhire and The Time of the Giants by Anne Kennedy. Extracts from these books feature in the Montana Poetry Day sampler which will be handed out on the streets of central Auckland, Wellington, Christchurch and Dunedin on the day. The samplers are available from participating bookshops and libraries throughout the country so nobody need go without a poem on the day.


Laughter, Luck and Lying

Can you spot a liar? Can you be born lucky or do you make your own luck? Why are some things just funny? Find out in Wellington on July 11 at Paramount Theatre.

Richard Wiseman, a former professional magician, and now the UK's most quoted psychologist, has an international reputation for his research into unusual areas of science, including deception, luck, and laughter.

His performances have featured in a range of international festivals including a recent role as resident speaker on-board the Queen Mary 2.

Richard Wiseman will provide an insight into these intricacies of human behaviour and more, in his light-hearted, entertaining lecture.

Richard Wiseman is brought to New Zealand by British Council. Tickets are available for purchase from Paramount Theatre.

Tuesday 11 July 2006, 8pm.
Paramount Theatre, Wellington
Tickets $10 (unwaged) $12 (waged) from Paramount Box Office. (04) 384 4080



Thistle Hall is a vibrant community centre in the heart of New Zealand's cultural capital. We provide a community hall, meeting room and Wellington's only community gallery showcasing a range of artists and crafts people, from the established to the emerging.

On Now
26 JUNE - 2 JULY 2006

Mark Spratt
Mark is an American born artist living in NZ for the past 14 years. His work is a collection of Native American Culture and New Zealand influence combined. Mark works in mixed media from wood, stone, paint and silver. This is a collection of some of his recent works.


Wellington-based artist Martin Basher has created a strange new world: a post-apocalyptic environment where a lone man joyrides his way through a deserted landscape of pine trees, shantytowns and coloured lights; wasteland of billowing smoke. Basher's 'Blackwater', curated by Sarah Farrar, references contemporary politics.
Basher's paintings are set within an installation of debris, painted trees, a beaten-up cantina (which offers 'dining and dancing'), an oil drum and a makeshift outdoor toilet. One of the underlying messages and narratives lies in the repeated references to consumption-represented both by the human body's use of foodstuffs (note the toilet); and of the widereaching impact of humanity's consumption and waste of global resources. Scattered throughout the gallery are discarded food cans. A black pool has oozed out of an oil can which bears the words 'fine dining' and ominous black clouds billow across the sky on can wrappers and in some of the paintings.
Basher suggests a possible connection between the 'Blackwater' project and the Mad Max films, in which a young Mel Gibson lives in a dystopian world, the Australian outback gone apocalypse now. 'I sometimes feel very pessimistic about our future', Basher says. 'I get really angry about it. At other times, I get very resigned to it and think what damn bit of difference can one person do. It's just a matter of time before half a billion people in China get cars. When you've got that many new cars being introduced, or even if we just continue the way we are, that's pretty dire and I want to talk about that.'
Biography: Martin Basher was born in Wellington in 1979. He completed a Bachelor of Arts (Visual Arts) from Columbia University, New York in 2003. Basher has exhibited his work in New York and in New Zealand. His recent exhibitions include: 'The Party Went Off But No-One Came' at Good As Gold, Wellington, 2005; 'Fine Dining' at High Street Project, Christchurch, 2006 and 'The Western Way' at Mary Newton Gallery, Wellington, 2006. Basher, currently based in Wellington, is about to return to New York to undertake a Master of Fine Arts at Columbia.
Paula Savage, Director, City Gallery Wellington is delighted to announce the appointment of Sarah Farrar to the position of City Gallery Wellington Curator. 'It is wonderful to see Sarah Farrar, who has served as Michael Hirschfeld Gallery curator for two and a half years, progress to this new phase in her career. We know she will deliver energetic and challenging projects.' Farrar is considered one of New Zealand's leading young curators. Visual arts guru Jonathan Mané-Wheoki ranks Farrar up with Justin Paton as one of his best students.

Michael Hirschfeld Gallery, City Gallery Wellington
1 - 30 July 2006



Rach J, Marsh, Kiran_x.

Opening Night- 3rd July 5:30 pm
4th- 12th July open daily 9:30-5pm

Gunsling3r collects three very different stencil artists who each have a unique approach to the medium. Together they cross the realms between design and fine art while retaining an urbanised aesthetic.

For a long time the stencil process has assisted the registration of design, reducing specifics to create the bold identifiable image. Because of this nature street artists have found it a successful tool for getting their ideas across.

As part of the graffiti family, stencils illustrate wit, social commentary and creative visual studies while retaining an urbanised attitude, which is no longer restricted to political street messages.

Rach J, Marsh and Kiran_x explore and extend what is already considered from local street art to bring their own unique view on what the medium offers. From air brush to aerosol and graphic design to abstraction, Gunsling3r presents the latest new forum of stencil art to Wellington city.

Rach J
Taking erotica images and applying them to traditional painting surfaces in non-traditional ways allows Rach J to present them in new context- exploring questions of sex, power and paint.

With hopes of establishing a series of images recognisable as signifying New Zealand's ever-growing street-art scene, Marsh embarks on combining in his work, 'alternative' NZ icons together with his own method of imagery. Becoming increasingly sick of your typical NZ images, he focuses on using what he feels to be un-appreciated NZ icons - the likes of the weta and the yellow mini - into this somewhat suspicious 'tank-girl-esque' character image. Colourful, comical, busy and with an explosive attitude in his work, Marsh sets out to enlighten bystanders with what he feels they have never seen but need to.

The function of Kiran_x is to broker urban aesthetics into elaborate funk systems. The characters of Kiran_x act as a type of schizophrenic identity: forged in city texture and frozen in graphic explosion.



"With its gorgeous image-making," writes Michael Fitzgerald in Time Pacific Magazine, Nina Nawalowalo’s play, Vula, is "a sensual antidote to the geopolitical seriousness of much of the 2006 Biennale of Sydney."

Representing New Zealand as the main theatre work during the Biennale, Vula is being performed on a stage flooded with water at the Sydney Opera House until 25 June.

"Vula" (Fijian for "moon") is presented by Wellington's ground-breaking Pacific theatre company The Conch with the support of a $15,000 grant from the Pacific Arts Committee. It combines magic and illusion with traditional song and dance to create a captivating piece of Pacific visual theatre.

Wendy Martin, producer at the Sydney Opera House, saw "Vula" at the Auckland arts festival, AK05, and invited the company to perform in Sydney. Performed entirely in water, the show will involve flooding the Playhouse stage to transform it into a Pacific lagoon.

Original cast members Fiona Collins and Tausili Mose have been joined on stage by newcomer Hellen Stowers and Tusiata Avia, poet and author of "Wild Dogs under my skirt".

"Vula" explores the sensual and spiritual relationship between Pacific women and the sea - a space where the worlds of the natural, mythological and every day co-exist. Under the power of the moon and swayed by the constant motion of the tide, "Vula" takes the audience on a journey through a Pacific day and night. The performers move and dance in and through the water, accompanied by an award-winning score by Gareth Farr.

With "Vula", Nawalowalo wanted to explore a uniquely theatrical language dedicated to combining European theatre traditions with the profound depth of her Pacific Island heritage. The inspiration for "Vula" comes from a trip she made to Fiji in 1994 when she brought back with her the memory of women fishing, wading through waves and calling to each other in song.

Michael Fitzgerald's article in Time Pacific Magazine concludes: "When Nawalowalo takes Vula home to Fiji for the first time next month, she'll begin researching her next work, Masi, named after the Fijian word for tapa cloth-making. To this age-old tradition, one can already see Nawalowalo bringing her modern mix of moon magic."



Don't forget our upcoming show 'Post from Home': Poppy and Ann Moore, joined by Michele Irving, Carmel Sherry, Rosie White, Audrey Slater and Matthew Squire. Come in out of the cold and celebrate among the astro dogs, Victorian-punk dolls, knitted Kiwiana and other wearable glories.

Sian Torrington
Gallery Manager
ROAR! gallery
55 Abel Smith St
1st Floor
Above Real Groovy
PO Box 9720

P - 04 3857602
F - 04 3828632
E -



Hi from James at Photospace gallery

Exhibitions by Roland Idaczyk and Jodi Ruth Keet are in full swing. See

If you're visiting Auckland, there's a heap of photographic exhibitions comprising the second Auckland Festival of Photography: It's worth getting stuck in the snow for.

New Books:
Julian Ward has just released Wellingtonia, with an accompanying exhibition at the Wellington Museum of City & Sea.
William Main - Facing an Era looks at historic New Zealand postcards.
There are signed copies available at Photospace, see

And David Langman has kindly donated some copies of the new NZ Jounal of Photography, so those are for sale here also. It's a lively issue - a good read. Next issue, edited by Katy Corner, looks very interesting too. If you don't already subscribe, now's a good time to start, with the NZ Centre for Photography moving to bigger and better things soon.

And a plug for some grass roots C&W; come and see Grasslands Convention at The Adelaide (Adelaide Rd, Newtown) this Saturday night, 9pm, $5.00 cover charge. See
for a photo of us looking real serious, (but we don't play like that).

I think that's everything.

James Gilberd
Photospace studio/gallery
1st floor, 37 Courtenay Place
Wellington, New Zealand
(postal address: as above)
ph/fax: 64-4-382 9502
cell: 027 444 3899
Gallery hours: 10-4.30 Monday-Friday
11-3 Saturdays, closed public holidays



British Council Design Ambassadors Programme is in its sixth year, this programme recognises the best young New Zealand graphics, product or fashion designers.

Each winner receives a trip to the UK, $3,000 and a customised series of introductions to leading UK design talent. This year the visit will coincide with London Design Festival.

To enter this year's competition click on this link



New Zealand composers wishing to further their studies are invited to apply for an Edwin Carr Foundation Scholarship in the July 2006 project funding round, which closes at 5pm on 28 July.

The amount available varies each year and will generally be used to support one or two scholarships for up to a year's duration. Composers at any stage of their career may apply. Applicants must be New Zealand citizens (resident in New Zealand or overseas) and meet Creative New Zealand's general eligibility criteria as stated in The Funding Guide: Nga Putea.

Composers who apply under the Creative and Professional Development funding programme in the July 2006 project funding round will be automatically considered for this scholarship. Intending applicants will need to obtain a copy of The Funding Guide: Nga Putea by downloading it from the link below or if you require further information please contact an Assistant Arts Adviser at Creative New Zealand (Tel: 04-473 0880 Email:

If you wish to be considered for this scholarship, please indicate on the application form.



The In Flanders Fields Museum, in Ieper, Belgium is offering an artist-in-residence position to a New Zealand artist in the first half of 2007. Applications for the residency close on 1 September 2006.

It’s the first time this programme has been offered to a New Zealand artist.
The two-month residency will be timed to precede events marking the 90th anniversary of the Battles of Messines and Passchendaele, and will take place between June to November 2007.

The residency is supported by the New Zealand Embassy in Brussels, New Zealand businesses in Belgium and Creative New Zealand. A selection panel convened by Creative New Zealand will select up to eight candidates for a shortlist to be presented to the In Flanders Field Museum for final selection.

New Zealand artists interested in finding out more information on this opportunity should click on the link below for more information. They can also contact the New Zealand Embassy in Brussels



Two side projects of Latest Trend make their debut this Friday (June 30) at Katipo Cafe, Willis Street (upstairs near New World Metro).

Friday June 30th. 9pm (ish) - Pithy and The Palace Twins

The maelstrom that is middle New Zealand has armed itself with amplified equipment to take on the capital. Hailing from Invercargill, Dunedin and Wainui they've come a long way to keep you entertained. A dash of free noise and a punch of raw power, Pithy will take an express way to your skull in pursuit of sonic bliss.

The Palace Twins
Rosanna and Vorn will help you ease down the road with their delivery of your favourite Bonnie "Prince" Billy songs. I might see a darkness but after working hard and playing hard you'll enjoy this duo. A wolf amongst wolves or a superwolf even will take a break from the hard life to enjoy The Palace Twins.



Wellington College are hosting an art auction on Friday 11 August, 7.30pm in the Breirley Theatre. This will feature work by some of Wellington's finest artists plus music and other entertainment. There is an entry fee of $10.00 which will buy you a glass of wine and the opportunity to put your money where your mouth is. See Michael Hawkins, Studio 2 for further information.



MAGMA directors are calling for entries to this DVD format festival in Rotorua, the first of its kind in the region. MAGMA is a four day short film festival programme, open to all filmmakers, New Zealand and worldwide. There is no restriction on age of the filmmaker or on the age of the film!

"Digital technology has opened the door to so much more visual and sound arts and information," says festival co director, Juliet Boone.

"We are taking that opportunity, to increase the range of arts available to the people of our community."

Categories open for entry are: documentary (time limit of 30 minutes), adventure and sport (also 30 minutes), music (7 minute limit), and with drama, dance/experimental, animation, and comedy (with limits of 20 minutes in length). The MAGMA Festival audience will be asked to select their favourite film as well.

"We also have a special category with the theme of MUD, to signify the festivals link and homage to Rotorua" says Ms Boone. " Entries in this category must make some reference to MUD in a five minute short film".

The MAGMA Showcase section will screen previous award winning films. Entries to this category are free (with NZ Classification in place).

This is the festivals first year of celebrating short film and we are planning to kick it off with a fusion of local and regional performance artists.

MAGMA will feature guest speakers from NZ’s film industry. Awards will be presented on the final evening of the festival. Filmmakers are invited to keep an eye on the MAGMA website for details on prizes and guest speakers.
Entries close on August 18, 2006.

Shambles Theatre, Rotorua
November 8-11, 2006



Triangle Television Wellington is right on target to broadcast live to the capital city in early August. The free-to-air channel, which has been operating successfully in Auckland for almost eight years, is thrilled with the tremendous response it has so far received from Wellingtonians. Triangle Wellington will be unique to the area and will offer a variety of local content together with international news, information and entertainment programmes.

The licence to broadcast in Wellington was granted in 2004, and Triangle Television has been working since then to ensure the region will receive the greatest possible coverage. Though Wellington’s geography poses major transmission problems, reception will reach most of Greater Wellington and the Hutt region and it is expected that this will extend even further later this year when the station is included in the offerings available on the Saturn cable network.

Triangle Television Chief Executive Officer Jim Blackman says the response from Wellington so far has been outstanding: “We are delighted that, at such an early stage of its history, Triangle Television Wellington already has programme-providers whose shows are on target for screening when broadcasting begins in early August. And there are others who are working at present on programmes that will go to air later in the year. The Wellington station will be an excellent alternative to mainstream channels.

The opening line-up of local programmes will include a look at the workings of a local council in the city's life, a programme on Wellington's Baha'i community, and capital-based Kiwi Pro Wrestling.

The station will also screen some programmes that already have a proven track record on Triangle Television and are relevant to a Wellington audience. These include PlanetTV which focuses on politics, social issues and environmental matters, and "Darpan - The Mirror" which offers insights into local topics.

Jim Blackman says the station will work with prospective Wellington programme-makers, giving them support to take their stories to air. Potential programme providers should contact Triangle Television's Station Manager, Callum MacGilvray, on 0800 874 888. Triangle expects to open a local office in the near future.

An advance launch, which marked Triangle Television’s intention to start broadcasting, took place in March at Weltec City Campus and was attended by a broad representation of Wellingtonians, including members of the diplomatic community, MPs, councillors, representatives of community groups and government departments, news media and the film and television industry.

The Hon. Judith Tizard, host for the launch, underlined the important contribution that Triangle Television makes to the communities in which it broadcasts. Newspaper publisher, Michael Horton - a Triangle Television supporter since its inception in the 1990s - encouraged Wellingtonians to "tell their story" by making programmes for screening on Triangle Television Wellington.

"I am struck by how different our well-supported advance launch in Wellington was to our somewhat tenuous one nearly eight years ago in Auckland, and that confirms for me that regional television has grown up," Jim Blackman says.

Triangle Television’s main mast for Wellington will be at Kaukau on UHF Channel 40, with other transmission points at Fitzherbert (UHF Channel 41) and Baxter’s Knob (UHF Channel 41).





Wellington City Council is calling for design submissions for the parade which will happen on Friday 22 September and is this year themed Excessive Accessories in Motion.

Artists and designers need to come up with an idea based on the theme and submit a sketch. Those selected to be part of the parade will be awarded a materials grant of $75.

Wellington City Council Events Co-ordinator Melody Scales says that last year's parade showcased more than 60 works accepted through the design submission process. "There were wonderful, wacky works such as a giant cellphone, a two-metre long moustache, giant crocodile shoes, and an inflatable handbag parading through the streets of Wellington," she says.

Excessive Accessories in Motion is a new slant on last year's theme. The submission panel would like to see accessories found in the natural world that enable motion like wings, tails and fins. Or they could be exaggerated items worn on the body that would help a person move such as huge skates, a skateboard, bike or even a wheelbarrow. The criteria has been made deliberately broad and includes ideas such as flight, sail, wheel and swim.
Suzie Moncrieff, Founder/Director of WOW, says the street parade is a chance for Wellington's artistic community to show off the wealth of creativity in the city. "Last year was stunning. I can't wait to see what Wellington will produce this year."

Prizes will be presented to the three top entrants on parade day, they include WOW show tickets, dinner for two before the show and WOW merchandise.
Mayor Kerry Prendergast says the parade is a fitting way to kick off the city's WOW celebrations. "We're New Zealand's creative capital for a reason - there are many people with amazing skills. We're encouraging as many people as possible to submit a design and get into the spirit of the parade."
Design submissions are due Friday 14 July. Entry forms are available online.



Friday 30th: Two Fat Ladies, Ritalin and Guests

Saturday 1st:Mr Sterile Assembly, Thee Strapons and Food
Announcing the return of mr sterile Assembly...

After a year in recluse, the anarchic-performance group mr sterile Assembly return to floor. It all went quiet upon returning to New Zealand from their eastern European tour in 2005, but the group has now reassembled itself, restructured even. New performers, an almost entirely new set of songs and new recordings in the pipeline.

And to accompany mr sterile Assembly this night are the legendary Thee Strapons, experimental rock & roll noise makers for the best part of two decades,
and Food, local eccentric rock fronted by the fantastic Taylor Taylor.

This coming-out takes place at HAPPY [cnr Tory & Vivian St.]
On turday July 1. 9.30 start time $5

This show is going to mark the start of live tour preparation for mr sterile Assembly who are in the midst of organising a trip to Malaysia and Java [Indonesia] in late September.

Sunday 2nd - Manimanima

Tuesday 4th - some snazzy humands - making shit up as they go along

corner Vivian and Tory Streets
PO Box 9069
New Zealand
+64 4 384 1965


Issue FOUR
27th June 2006

Silence in the court, the court's in session
Review of Acoustic Pioneers 13th June

Our last Acoustic Pioneers was the best attended yet! It was a showcase of some lively performances from Wellington songwriters including Ila King, James Coyle and the Gracious Deviants. A new element of Acoustic Pioneers which has emerged over the last month is the stage backdrop developed by Seth; a work in progress walked through the bush from Hataitai every fortnight. We had some good scones after Ila which went down well with a glass of Pinot Noir poured by the lovely personnel at Happy, but we need more cakes from those who are in the audience.

We can attribute the great crowd to the friends of Ila King, who graced the stage first. We learnt a lot about Ila as she sung autobiographical tales of woe and love lost. Her lovely lyrics floated with the buoyancy of frogs on lily pads.

Second to the stage, and our second only solo instrumentalist in the history of Acoustic Pioneers, was Reverend Black Keys aka James Coyle. He hushed the crowd with the intensity of his piano playing. His own compositions reflect the varied genres of bands and ensembles he performs in yet revel in the time and dynamics of solo performance.

Gracious Deviants were last on and sang their hearts out with two well drilled male voices, nice harmonies and pop folk song writing. Their energy was good, yet with two guitars strumming away sometimes those harmonies disappeared. They have just started out and will continue to improve with tighter and more diverse guitar arrangement, and writing songs as a duo. Watch out for these guys in the future.

Next Acoustic Pioneers - 11th July

Amid the Din
I'd been living in Wellington on and off for the past six years jamming and recording and in 2005 I'd been studying audio production in Invercargill and playing in various bands and projects. There were a surprising amount of dedicated musicians around (not much else to do in Invers I guess), mostly complete lunatics, but lots of fun none the less. It was there that I met Dale, Robyn and John. Dale and I ended up living together at the infamous Crinan Street flat and John and Rob lived just around the corner. We all jammed, gigged with different bands and got munted together fairly regularly during the year but were never all involved in the same project at any one time. At the start of 2006 we all pretty much decided that Invers was shite and moved back up to Wellington where we hooked up with Natalie and Anita and combined our powers of music and munt to create an acoustic amalgamation of style and genre from, folk roots and dub to indie rock. Basically we're just a bunch of feral wierdo's who love jamming, and our songs have the tendency to escape into the unknown regions of improv quite often, which is just the way we dig it.... So there we go.

Elaine Mclaughlin
Elaine Mclaughlin is a 27yr old British singer/songwriter who writes about anything she feels and normally doesn't know what the song is about until after most of the words have fallen onto the page. That's writing from the heart. Watch out, you might cry!

Matt Hay with Clint Meech
I am basically a singer/songwriter of the 70's country/folk rock variety. I write and sing simple songs about love and other stuff. My influences are many and varied but top of the list are The Band, James Taylor, Neil Young and Jackson Browne. I started performing 14 or 15 years ago with blues band Cool Disposition. This later morphed into an originals outfit called Surge. Both released CD's (Surge released "Then Again" in 1996 and Cool Disposition released "Safe n Sound" in 2001). I have also played with local blues legends Darren Watson, Dave Murphy and Marg Layton. A couple of years ago I formed Matt Hay and the SubUrbans to play my own material. We have since played a number of gigs at Bodega, the Bristol (Room Fulla Blues) and Indigo .

If you are interested in playing or just coming along leave your name and contact details in our contact book or send us an email. We will keep you up to date about what's on at Acoustic Pioneers.

Jessie Moss - Artistic co-ordinator
ph 027 600 8518
Gina Moss - communications/newsletter
ph 021 067 1625

Acoustic Pioneers
Where: Happy, corner Tory and Vivian Streets
When: Fortnightly on Tuesdays at 8pm



You are warmly invited to the Wellington Arts Centre's second FILM NIGHT on Thursday 6 July, from 6.00 - 7.00pm in the GALLERY, 61 Abel Smith Street.
FILM NIGHT 2 promises a diverse line up of short flicks from the animated to the alienable, the brilliant to the bizarre. Film makers featured include Simon Burgin, Darcy Gladwin, Rick Harvie, Daniel Lynch and Andrew Chappell.
Bring along food and/or drink, a cushion and spare change for koha, and settle in for a night of innovative entertainment.
FILM NIGHT offers emerging film makers the opportunity to show their work to an audience in an informal environment. Films can be in any genre, from experimental to animation. Directors are encouraged to discuss their work with the audience, gain constructive feedback, stimulate debate and develop ideas for future projects.
If you or your organisation are interested in submitting a film for viewing at the Wellington Arts Centre GALLERY's FILM NIGHT, please send a cover letter, including contact details with your film on miniDV or as a quicktime file, to the Wellington Arts Centre, 61 Abel Smith Street, Wellington, Attn: Gallery Co-ordinator.
All films will be reviewed by representatives from the Arts Centre's visual arts panel to ensure technical and artistic compatibility with the standards set for FILM NIGHT. A formal decision will be made before scheduling is confirmed. If you would like your film returned after review, please include a self-addressed stamped envelope.

Submitting a Film
If you or your organisation are interested in submitting a film for viewing at the Wellington Arts Centre GALLERY's FILM NIGHT this year, please send a cover letter, including contact details with your film on miniDV or as a quicktime file, to the Wellington Arts Centre, 61 Abel Smith Street, Wellington, Attn: Gallery Co-ordinator.
All films will be reviewed by representatives from the Arts Centre's visual arts panel to ensure technical and artistic compatibility with the standards set for FILM NIGHT. A formal decision will be made before scheduling is confirmed. If you would like your film returned after review, please include a self-addressed stamped envelope.


An experimental project space

Studio 29 will open its doors to studio artists mid July. Artists wishing to use the space are asked to complete a questionnaire (see attachment) explaining what they would like to do in the space, how they will go about it and when they would like to occupy it. Artists will also be asked to show examples of their proposed or recent work when submitting the questionnaire. Questionnaires and examples of work must be presented to the Gallery Coordinator who will contact you to confirm your use of STUDIO 29. Projects will be listed in spreadsheet format on a pin board outside STUDIO 29.



The discontents of winter will soon be alleviated by some indoor exercise for the mind. For firsthand encounters with ideas and stories, Writers on Mondays returns to City Gallery Wellington from 17 July. A strong season of poetry starts with 12 of the best: 11 Wellington poets whose work appears in Best New Zealand Poems 05 read their work on 17 July, followed a week later by Auckland art writer and poet Wystan Curnow, whose work also appears in the anthology. Then on 31 July the focus shifts to film as Taika Waititi and Loren Horsley preview their upcoming feature Eagle vs. Shark. All Writers on Mondays events take place at City Gallery, Civic Square, Wellington, at 1pm. Admission is free. For the full programme, which runs through to 2 October, see



"Road" by CAPACETE is an interdisciplinary project which takes place in
different countries and at throughout several years. It explores both
curatorial strategies and artistic practices directly linked to each
other by diverse concepts. It is to be read as a geo-political research
of contemporary South and Central American territories.

"Road" initiated through an autonomous project in 2004. Through the
following projects it cristallyed into it's actual version were process
is inherant and of conceptual importance.

Capacete's activities reflect its long-term interdisciplinary
initiatives as a mobile and independent art space founded in Rio de
Janeiro in 1997. Capacete researches and documents aesthetic, cultural,
social and political processes in Brazil and in other South American
countries. The political, historic, urban, topographic, environmental
and social contexts of South American cities provide vital laboratories
to probe and create within the continent's complexities. CAPACETE
considers it vitally important not only to represent and promote
continuing developments in the language of art, but also to provide a
platform to organize and document the author's production.

The "Road" project aims to reach a wide South and Central American
public and whishes to establish a deep integration and understanding
among artists and audiences. "Road" is a "mobile" research residence
program, primarily interested in the "space" between arts creative
practices and their reading and in their relevance within a
geo-political context. At each step a series of events are organized in
order to establish a concrete relationship between the involved artists
and the local communities. Such events include shows, talks,
interviews, art residencies, exchange programs etc.

Projects since 2004 Version 1.1 - Rio de Janeiro - Santiago do Chile -
with Ducha Version 1.2 - Valparaiso/Chile -Deserto do Atacama - with
Carla Zaccagnini Version 1.3 - Santiago do Chile - La Paz/Bolivia -
with Olivier Poujade Version 1.4 - La Paz/Bolivia - Lima/Peru - with
João Modé Version 1.5 - Lima/Peru - Quito/Equador - with Gabriel Lester

More information at



Showing off at home: Ans Westra photography exhibition to feature during Rembrandt 400th celebrations in Leiden, Holland

The hugely popular exhibition of photography by Dutch-born photographer Ans Westra, which has been touring the nation's major art museums since late 2004, has been invited to show in Holland's National Museum of Ethnology in Leiden from mid-July through December of this year.

Luit Bieringa, organiser of the popular show and the Montana award-winning book Handboek: Ans Westra Photographs, is delighted that the photographer has been invited back to her home town/city at a time when Leiden is featuring a raft of events and shows to celebrate the 400th anniversary of Rembrandt's birth. 'It will provide a unique opportunity to highlight the social and cultural history of New Zealand through the eyes of Westra during a period when thousands of visitors will come to Leiden to celebrate Rembrandt's 400th birthday.' Being a mere 15-20 minutes from both Amsterdam and Rotterdam, Leiden's visitor catchment area is large and intensive.

The exhibition, which was drawn from the Ans Westra Collection at the Alexander Turnbull Library and organisationally supported by the National Library of New Zealand, has been subtly redrawn for this outing in order to give its Dutch and other European visitors an insight into issues and subjects traversed by Westra's images - such as major social and cultural events and related issues - well-known to New Zealanders but less likely to be understood by visitors to the Leiden museum. This will include the provision of written material, hand-outs, films etc. informing viewers about the Treaty of Waitangi, turangawaewae, the Ratana and Ringatu faiths, the '70s land marches, and the Springbok tour, as well as general information about New Zealand. The exhibition will also be accompanied by a recently completed documentary about Ans Westra.

While the exhibition opens to the public during the summer month with a media launch, an official opening is planned for mid-September to coincide with a proposed Marlborough wine and food festival weekend at the museum.

To emphasise the importance of the Dutch outing, the National Library of New Zealand and MFAT have generously supported this part of the exhibition's ongoing itinerary. After Holland, the exhibition will recommence its New Zealand tour with a further three venues including the Christchurch Art Gallery in the middle of 2007.

For further information, please contact:
Susan Bartel, Public Relations Manager
National Library Gallery / Alexander Turnbull Library
Phone: 0-4-474 3119
Fax: 0-4-474 3063


Hi to you all

Just a quick note to invite you all to Jan Thomson's exhibition which opens at Gallery Frames in Khandallah on Tuesday night of 4th July. Preview is from 6pm until 8pm.

Jan's work is mainly in oils and acrylics and her landscape and seascape styles are distinctively and uniquely her own.

Her exhibition runs until Tuesday the 18th July and I welcome you to call-in to view this exhibition during the gallery hours which are:

Monday 9.30am - 5.30pm
Tuesday 9.30am - 3pm (except Tuesday the 4th July. 6pm to 8pm)
Wed 9.30am - 5.30pm
Thurs 10am - 7pm
Friday 10am - 5.30pm
Sat 10am - 2pm
Sun closed

Please do not hesitate to contact me if you have any queries.

Thank you and I look forward to seeing you during the exhibition.


Andrew Sander
(04) 479 8025
(027) 2018726
14 Ganges Road



There is a phantom in the Opera House - Orchestral Live Cinema returns.

After one year's absence, orchestral Live Cinema will again be part of the Telecom 2006 Wellington Film Festival and be performed in its new venue The Opera House.

"Thanks to the support of the Wellington City Council and The Opera House, the Film Festival and the Vector Wellington Orchestra are able to collaborate once again" says Bill Gosden.

"What better way to return than with one of the silent era's perennial popular hits, The Phantom of the Opera, with its thrilling score composed by Carl Davis, a doyen of contemporary composers for silent film," he adds.

The Festival lost its live cinema venue when the Embassy Threatre's orchestral pit was removed during the cinema's refurbishment at the end of 2003. In 2004 the Festival showed Buster Keaton'sSteamboat Bill with the then Wellington Sinfonia performing behind the Embassy screen: not an ideal scenario. Last year Wellington missed out on an orchestral live cinema performance, while Auckland enjoyed the powerful Russian classic Battleship Potemkin.

A large cinema screen will have to be temporarily installed in The Opera House to show the early benchmark in movie horror, which is still imitated 80 years later.

The 1925 cinematic adaption of Gaston Leroux novel was directed by Auckland-born Rupert Julian. Restored in 1992, this definitive version includes the full colour Masque of the Red Death sequence that reportedly had Jazz Age audiences gasping in their seats.

The Phantom of the Opera is just one of the many highlights on this year's programme, which draws from a pool of over 150 features, documentaries, animated and short films hand picked by the Festivals' programmers over the last year from around the world.

The entire programme will be announced in Wellington on Thursday 22 June. Pick up a FREE Festival programme from Ticketek, Paramount, Embassy Cinema, cafés, information centres, libraries or visit

The Telecom 35 Wellington Film Festival opens Friday 21 July and runs until Sunday 6 August.



Exploring Documentary in Aotearoa/New Zealand
22 - 24 September 2006

The sixth annual biennial documentary conference will be held in Wellington, a collaboration between the host Massey University and the University of Auckland, in association with The New Zealand Film Archives, Screen Director's Guild, and the DocNZ Film Festival. The conference format will consist of two days that will interweave documentary presentations by filmmaker and photographers, along with academic papers. Evening screening events will be held at the NZ Film Archive. The conference will also include participation with Australian and New Zealand commissioning editors and New Zealand commissioning and funding bodies.

Makers and artists are invited to show documentary works still in production (rough-cuts, representative takes, edited sequences, etc.) or, if completed, works that have not yet shown widely. An open discussion session will follow each presentation. In addition to film and video works, we will also feature documentary works in photography and related art-genres. We welcome projects from every aspect of the documentary spectrum - community, activist, indigenous, mainstream, oral history, avant-garde, experimental, art-house, contemporary art, etc. - but each will be chosen for their particular and unique quality. We are looking for exciting, innovative works. The final line-up of projects will be selected through a peer-review process. Currently we are soliciting presentation proposals (250 words max.) along with visual documentation for consideration.

In addition to documentary works, we are also interested in selected written presentations that continue debates and discussions around documentary theory and practices. We are seeking papers from academics and others writing on documentary from a variety of perspectives. Papers may focus on documentary within film studies, history, anthropology, cultural studies, art history, media studies, fine art studies, etc. The final selection of papers will be determined through a peer-review process. Currently we are soliciting abstracts (250 words) for consideration.

In addition to the documentary work presentations and papers, we are also planning programmed screening events and possible exhibition. The nightly screening events will showcase projects that have been recently completed. Participants from the 2004 Expanding Documentary conference are invited to submit their now-completed works for these screenings. Photographers and visual artists are invited to submit works for possible exhibition during the conference. This may include still works, and/or time-based works. The final selection will be determined through a peer-review process. Currently we are soliciting abstracts (250 words max.) along with visual documentation for consideration.

Final date for all submissions: AUGUST 7 2006 (no extensions)
Notification of acceptance: September 1, 2006

Please send all proposals to:
Bronwyn Smith
Massey University
School of Fine Arts
Private Box 756

For information please contact:


More New Zealand writers are coming to the tube over the winter months. On Saturday 8 July the new books programme fronted by Emily Perkins gets its first airing. The series includes appearances by Nigel Cox, Jenny Bornholdt and Damien Wilkins, among others, plus a book panel debating the merits of various new titles. It screens at the relatively enlightened time of 5.30 pm on TVOne. As a warm-up, TV One screens The New Oceania, Shirley Horrocks' documentary about Albert Wendt, this Saturday at 9.50 pm. And Artsville (Sundays, 10.30 pm TV One) is currently running a series of poems by local writers in the last ten minutes of the show. For those who aren't awake at 11.20 pm on a Sunday, the programmes are repeated the following Saturday at 12.30 pm. The line up is as follows:

Glenn Colquhoun: 02 July
Anna Jackson: 09 July
Anne French: 16 July
Brian Turner: 23 July
Greg O'Brien: 30 July
Karlo Mila: 06 August





Canadians just don't get it. That was the bitter message from English theatre producer Kevin Wallace as he announced that The Lord of the Rings will close in Toronto Sept. 3, quashing hopes that the $28-million musical would single-handedly revive a tourism market suffering from a powerful Canadian dollar and high gas prices on one hand, and American security fears on the other.
On Wednesday, a defensive Mr. Wallace used a candid press conference at the Princess of Wales Theatre to retort to the Canadian and American critics who disliked the show, blaming them for its truncated Toronto run.
"We were given a rough ride here in North America," he said, singling out Toronto critics who had panned the show by name, while heaping praise on those Canadian and British reviewers who were more positive. ". . . If the critics don't think they have power, believe me they do."
Calling London the "spiritual home" of The Lord of the Rings, Mr. Wallace argued that the production, which will open in the West End next June, has a distinctively British sensibility that North American critics did not appreciate. Toronto Mayor David Miller concurred, saying the critics were simply wrong in their assessment.
"The first act of The Lord of the Rings is the best theatre I have ever seen and I have seen a lot of theatre," Mr. Miller said, suggesting the London critics should be heard.

Read more


For the last few weeks, the question that most theatregoers in Toronto were asking was not if The Lord of the Rings would close, but when. We now at least have an answer: Sept. 3.
Now, let the real questions begin. Why did it close so early after all the excitement that greeted news of its arrival? What failed in its marketing as the guiding light of Toronto's cultural renaissance? How will it fare in London, its "spiritual home," to use producer Kevin Wallace's words, when it opens next June at the Drury Lane Theatre?
Did the Toronto critics, as Wallace suggested in one of his mixed messages at yesterday's press conference, really kill the show's momentum and, if so, is their non-British theatrical sensibility the reason they (and most other North American reviewers) didn't "get" it? The British critics who flew to Toronto for the March 23 opening, Wallace continued, loved it -- a statement that conveniently ignored one of the most acerbic reviews The Lord of the Rings received at the hands of the very British Charles Spencer of The Daily Telegraph.
While there are many questions and almost as many people to blame (at least in Wallace's mind), the real explanation for the show's demise is simple: It failed to connect with audiences on a deeper level than the visual. Despite some innovative stagecraft, The Lord of the Rings, in the version critics saw at least, was a hollow, lifeless affair with no real emotional pull to the storytelling, the music or the acting. The story itself proved confusing to anybody not familiar with J.R.R. Tolkien's trilogy of books. Not even the lengthy synopsis in the program was of much help.
Too much time and energy have gone to the logistics of the adaptation and not nearly enough on its emotional life.
Although Wallace insisted that his market research indicated that nine out of 10 audience members would recommend The Lord of the Rings to their friends, effectively bypassing critical opinion, he and the rest of the producers failed to translate that into a critic-proof phenomenon. Most audience members were literally not buying it. On Broadway as in the West End, many, many musicals (The Phantom of the Opera comes to mind) survive critical drubbings and evolve not just into success stories but social phenomena.

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At the time of the opening of Tate Modern - London's temple to contemporary art - a story swept the press. A visitor had reportedly dropped his wallet in a gallery. Realising this, he went back into the room to find a crowd gathered admiringly round the leather rectangle. When he stooped to retrieve his possession, an attendant rebuked him for touching an exhibit. Whether or not it happened, this anecdote fast became the sardonic gospel of the enemies of modern art, filed alongside similar legends of gallery cleaners accidentally chucking out what they assumed to be rubbish on the building floor but were in fact the famous Turner-shortlisted works Garbage or Sweet Paper.
To conservatives all these stories hold the same moral: that once anything can be accepted as creativity it becomes impossible to distinguish between a work of art and lost property or litter.
This week the anti-modernists were offered another sheaf of newspaper cuttings to keep safe in their wallets. David Hensel, a sculptor from Sussex, submitted to the Royal Academy summer exhibition a piece that consisted of a large bronze laughing head mounted on a plinth of slate and kept in place by a support shaped like a bone.
Pleased to have the piece accepted as item 1201 in the catalogue - One Day Closer to Paradise (edition of 9, £3,640 each) - Hensel was dismayed on visiting the show to find that his effort had been decapitated; he was represented in the exhibition by what looked like a dog's toy on a paving stone. It turned out that the head had become separated from the support during unpacking.
For the artistic reactionaries the Hensel event tops even the wallet story as proof that modernists would believe that a fart was art if a man in a bow tie told them it was. The sculptor David Mach, a selector for the summer show, was even on record praising the "minimalist" qualities of the bone-on-slab display. And as the faces of traditionalists aped the roaring mouth of Hensel's missing head they were given even more cause to cackle when it turned out that the bronze bonce had not simply been left behind in a storeroom but had gone before the selectors as a separate art-work and been rejected.
Yet another bone thrown to the anti-modernist dogs is the fact that the plinth with the bit on top is now expected to sell for far more than the original price of the whole combination. For the provisional wing of the watercolourists association this will prove that modern Britart combines artistic indiscrimination with financial idiocy.

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A word from the WCC grants office

Applications are now open for the Council's July grant round. Applications close at 5pm on 31 July 2006. This is the first round of general grants under our new grants framework - applications can be made to any of our four grant pools (Social, Cultural, Economic and Environmental). There will be two further general grant rounds in the 2006/07 financial year - closing at the end of November 2006 and March 2007.

An overview of general grants and description of the four pools is available on our website

There is also a page explaining recent changes to the grants framework. There is one application form covering all grants that can be downloaded from the website. There is also a new project description template which we would like all applicants to use - this is a word document that can be downloaded and used electronically. The application guide gives an overview of grants criteria and how to apply.

Advice seminars to explain the new grants framework and how to apply will be held on 28 June from 1-3pm and 6-8pm, 10 July 1-3pm and 12 July 1-3pm and 6-8pm. To book a place in a seminar please fill in the form on the website or call Barbara Franklin on 801 3595. If you can't make it to a seminar but would like to discuss a possible application please feel free to contact myself or another member of the grants team.

Please feel free to pass this around your networks. You have received this because you are on one of my mailing lists for WCC grant rounds or work for WCC. Please let me know if you would like to be removed from this distribution list.

Katharine Macann
Grants Assistant
Wellington City Council
DDI: 04 801-3158
Fax: 04 801-3635



We are inviting proposals for performance art at Pablos annual art auction. This is a very high profile event, with wide media coverage and over 300 people in attendance. We are a community organisation which raises funds at this event, and we are looking for a static performance around which we can place collection buckets. We are thinking a contemporary version of the static sculpture works, but are open to suggestions. Please contact Sian Torrington at

for further details, and submit proposals by 30th September 2006.


4-6 August 2006

The inaugural New Zealand Affordable Art Show took place in August 2004 at the Events Centre in Wellington. The show ran for a three-day period with an opening gala evening. 6,000 people attended the show and spent a total of $395,000. Many people walked away from the art show with their first ever piece of original art under their arms; many artists sold their first piece of art. Artists were being scouted by art connoisseurs and eventually had phone calls from gallery owners.

Feedback from artists and the public was extremely positive and it became very clear that the event was sustainable annually. The 2005 show built on the success of its predecessor, but more streamlined processes and a refined marketing campaign made it run much more smoothly and attract many more artists and visitors. This trend is set to continue as process, strategy and marketing are further improved in 2006.





Aided by the generous support of Creative New Zealand the South Project looks towards Chile as the next location for the annual Gathering of artists, writers and cultural thinkers, following on from the success of the gathering held in Wellington in 2005. Creative New Zealand has been an integral supporter of the project and this will continue in 2006 through funding from the CNZ Arts Board. The South Project will base itself in Santiago, in October 2006, to present two major international exhibitions under the South banner alongside the symposium Culture and Politics in times of the South, which will feature speakers from across the south including a consortium of leading New Zealand arts practitioners and commentators.

TRANS VERSA, conversing across the south features the work of Australian and New Zealand artists and is co-curated by Australian curator Zara Stanhope, who made a significant contribution to the New Zealand art scene as the inaugural Director of the Adam Art Gallery, and Danae Mossman, Director of the Physics Room in Christchurch. Reflective of New Zealand's growing relationship with its Pacific neighbor Chile, TRANS VERSA brings to the fore important cultural ideas and practices emerging from lateral connections between the countries. TRANS VERSA features the work of six established and emerging artists from New Zealand including Dane Mitchell, Maddie Leach, David Clegg, Daniel Malone, and Fiona Jack. All avid contributors to the New Zealand art scene, these artists present an artistic perspective firmly grounded by a New Zealand vernacular yet progressively outward looking in their attempts to explore the tenants and threads of lateral connections, migration, travel and modes of communications - the language of an increasing global village. The Australian artists include, among others, Tom Nicholson, Selina Ou and Ash Keating.

Housed in three of the leading venues in Santiago, the Museum of Contemporary Art, Galeria Metropolitana and Matucana100, TRANS VERSA will be the first major exhibition to be developed by the South Project and an important point of contact for a Chilean audience largely unfamiliar with contemporary art practice from New Zealand and Australia. The second exhibition to tour to Santiago is Make the Common Precious, an exhibition of contemporary Australian craft, curated Kevin Murray, director of Craft Victoria and the South Project.

The exhibitions will open during the symposium Culture and Politics in Times of the South, which will take place from 3-6 October 2006. The symposium will provide speakers an opportunity to debate and explore issues concerning contemporary art practice in the south, particularly notions of translation, political activism in the arts, notions of exile, alternative structures and collective practices. The New Zealand presence at the symposium will be significant and include leading arts thinkers such as Ian Wedde, Christina Barton and Manos Nathan.

Further information on the Santiago Gathering can be found on the project website

Registrations for the Gathering will be received in August.
For all media enquires please contact Nicola Harvey



Folkart and Matryoshka (Russian nesting dolls) painting
ten weeks course

This new course taught by an experienced Matryoshka artist is designed for students who wish to learn the basics of folk art painting. The course will be broken into two parts. The first part explores decorative painting techniques based on Ukrainian petrikivka style. You will complete a series of decorative designs, will make a special decorative brush and learn how to prepare wood, apply patterns and varnish. The second part of the course offers you a rare opportunity to paint your own matryoshka. This course is for both new and experienced artists wishing to add to their craft and painting skills. The matryoshka (5 dolls set) and all basic materials are provided.

Course starts 15 August
Tuesdays 5:30pm to 7:30pm
Cost: $220
To book: phone Tetyana Khytko
on 04 970 7107 or email



The Communication Research Group of the School of Creative Communication at the University of Canberra is putting together an anthology of short fiction and poetry written in and/or about the South Pacific, by both established and emerging writers.

While Pacific writing is still relatively new, there have been a few excellent anthologies published in the past decade, and this one seeks to add to our understanding of this dynamic region that emerges in such publications.

They invite submissions of unpublished work for consideration for this anthology: poetry, or short fiction (up to, say, 1500 words). It may be that the stories and poems selected are those that bring to light the wonderful paradoxes of the South Pacific region, with the focus always moving between seaways and land masses, tradition and innovation. It may be that they draw out the ways in which writers in this region experience the processes of coming and going, of moving between spaces while remaining attached to home. It may be that they offer ways of speaking between and across the cultures, languages, traditions, histories, concerns and contexts. The editors do not wish to set a theme, but to respond to the works that are submitted, and to produce a book that showcases writing from the region, and focuses on who we are, and where we might be going.

The anthology will be launched at the triennial ACLALS Conference in Vancouver, Canada, in August 2007. If you would like to contribute to this anthology, please email your submissions to Jen Webb
and Kavita Nandan
by 15 September 2006. They will respond with a decision within 3 months.
(Please note: for the purposes of this collection, and for reasons of focus, South Pacific does not include Aotearoa/NZ, Australia or Southeast Asian nations.) However, so as long as people identify as members of the South Pacific community - from the islands outside Aotearoa/NZ; or if the story or poem is about the South Pacific, then their submissions will certainly be welcomed.



Online journal Deep South is emerging from several years of hibernation. It is currently inviting submissions of original poetry, short fiction, critical essays, extracts from work in progress, reviews, and work by artists and photographers. Submissions can be made by email to or by mail to Deep South, Department of English, University of Otago, P.O. Box 56, Dunedin. The journal can be viewed at



Script to Screen is the new name of the organisation formerly known as The New Zealand Writers Foundation. On 7 June the fresh face of the script writers' organisation was launched with a new programme, including a public event series called 'The Writer's Room', which offers 'an opportunity for both experienced and emerging writers to meet regularly to discuss their craft and hot industry topics.' Script to Screen will continue with its work developing the local screenwriting culture. Previous projects include script workshops for Brad McGann's In My Father's Den and the forthcoming features Eagle vs Shark by Taika Waititi, and Black Sheep by Jonathan King, as well as UK scholarships for New Zealand screenwriters (in partnership with the British Council).



Elfrida - the sheep who decides to be different

Gecko Press is launching its latest book with the help of a flock of dancing, singing, performing sheep from the Kidz Club Performing Arts School. The performance is open to the public and will take place in front of an audience of more than 200 young schoolchildren and will combine humour, song, rhyme and dance.

The book being launched is called Elfrida. It is the story of a sheep who decides to bring a little colour into her life. Bored by her white mop of hair she is inspired by a passing poodle to get a radical new cut and colour. When the other sheep, and the farmer's wife, see Elfrida's new look they decide they all want to look gorgeous too.

"I chose this book because it is warm, exuberant and light-hearted," says Gecko Press publisher Julia Marshall. "I think it has a strong New Zealand connection, not only because of the sheep, but because it celebrates individuality."

Elfrida, originally published in Austria, is by the same illustrator as the successful Donkeys, the first release from Gecko Press. Like Donkeys this book has been translated into English by Catherine Chidgey and adapted by Penelope Todd into rhyme.

With this title Gecko Press continues to give New Zealand children access to some of Europe's award-winning, popular, and beautifully illustrated books, publishing them in English for the first time.

Gecko Press publishes books which are strong in story, illustration and design, by authors and illustrators with a strong track record in a number of countries, and who are winners of international awards. Austrian illustrator Heide Stöllinger was awarded the Illustration Award of the Austrian State Prize for Children's Literature in 1998 and 2003, and the Golden apple for the Biennale Bratislava in 1999. Klara Fall is a journalist in Austria.

Elfrida will be launched in Wellington's Civic Square at Capital E on the morning of Tuesday 18 July from 11.00 am.

For further information please contact freelance publicist:
Kathryn Carmody
Tel. 04 387 2833
Mob. 027 287 7963



Wild Creations artist residencies applications open Deadline August 31 "Wild Creations residencies are a unique opportunity for artists to really focus on their art in some of the most beautiful areas in New Zealand,"

The six-week residencies are open to practising artists in any artform or cultural tradition, and are chosen from one of over 20 significant conservation sites throughout New Zealand. The Department of Conservation hosts the artists during their residencies and Creative New Zealand provides a stipend of $5000, plus up to $2000 for travel and materials, to each artist. Artists selected for the residencies must be New Zealand citizens or permanent residents.

For more information about the residencies, artists should contact Anastasia Turnbull at the Department of Conservation (04 471 3182 or or Helaina Keeley at Creative New Zealand (04 498





July 6 at 6.00pm

But we already told you that!



Artist residencies in Asia open for applications Established New Zealand artists across all artforms are invited to apply for residencies in New Delhi and Beijing, offered annually by Creative New Zealand in partnership with the Asia New Zealand Foundation.

The two three-month residencies are the Sanskriti Residency in New Delhi, hosted by the Sanskriti Foundation of India, and the Red Gate Residency, based at the Red Gate Gallery in Beijing, China.

The Arts Board of Creative New Zealand will cover the cost of accommodation and facilities, and provide artist stipends of $10,000 each while they are in residence. The Asia New Zealand Foundation will meet the cost of return airfares.

Both residencies are aimed at established artists who wish to pursue projects related to the location or the facilities of the host organisation. Priority will also be given to applicants who show an appreciation of the environment and culture of the residency's country.

Beijing's Red Gate Residency
is a well-established residency programme and offers studios and accommodation. It also has access to the facilities of the Beijing Arts Academy.

The Sanskriti Residency is hosted by the Sanskriti Foundation of India
The accommodation and facilities for this residency are based at the Sanskriti Foundation's Kendra campus on the outskirts of New Delhi.

The deadline for applications for Beijing's Red Gate Gallery and Sanskriti residency is 5pm, Friday 30 June 2006. Artists are expected to take up the three-month residency in New Delhi between October 2006 and June 2007 and the residency in Beijing from April to June 2007.

For application forms and guidelines please contact an Assistant Arts Adviser on Tel: 04-498 0702 or Email:
or visit the resources section of Creative New Zealand's website





NZ Music Podcasts - The Voice Booth

If you have an idea for a podcast you'd like The Voice Booth to consider producing, then email us at

Info at



Square Eyes | New Zealand Children's Film Foundation





The 1st International Council for Health, Physical Education, Recreation, Sport and Dance (ICHPER-SD) Oceania Congress is to be held in Wellington, October 1-4, 2006.

Hosted by Physical Education New Zealand (PENZ) the congress theme will be Fusion Down-under; Recipes for Movement: Challenging perspectives and constructing alliances. It will explore aspects of health, physical education, recreation, sport and dance from an integrated perspective.

For information on Keynote speakers, submitting papers or registering for the congress visit:

The 17th conference of the International Association of Dance Medicine and Science (IADMS) will be held in Canberra, Australia from 24-27 October, 2007

It is the first time the conference has been held in the southern hemisphere and over 400 delegates from the USA, Europe, the UK, the Asia Pacific region and Australia are expected to attend.

The conference explores all aspects of dance medicine and science with a view to enhancing dancers' performance, health and well-being. There is a strong focus on injury prevention, psychology, nutrition, biomechanics of dance technique and surgical intervention.

The conference will be held at the Australian Institute of Sport, which will facilitate a two-way exchange of new research and information. Both dance and sport have always placed a great emphasis on preparation and there are many similarities in the physical and mental challenges faced by their elite performers.



From a forum held by DANZ at The National Dance Conference - Tuanui Whakamaru Dance Canopy 05 in July 2005 It was established that there is a need for a national Community Dance Network in New Zealand.

It is felt that this part of the professional sector needs greater visibility and that there needs to be more clarity and discussion on the nature of Community Dance practice. Community Dance needs to be known more widely as an important and particular method of dance practise and a career option.

As part of its commitment to Community Dance, DANZ held a weekend workshop led by Petra Kuppers with New Zealand Community Dance practitioners in February 2006. Petra Kuppers is Associate Professor of Performance Studies at Bryant University in Rode Island, USA and was the Caroline Plummer Dance Fellow (Community Dance) at the University of Otago in 2005/06.

DANZ is currently planning a Community Dance section on its web site, providing information on Community Dance, models of good practise and New Zealand projects.

To join the Community Dance Network contact DANZ on 04 801 9885 or email











Jamie Selkirk talks about his various roles on the 'Lord Of The Rings' trilogy and his Oscar-winning edit of 'The Return Of The King'.

ONF: What first prompted your interest in working in the screen industry?
JS: It came purely by chance really. Unsure of what I really wanted to do when I left college, I eventually scored a job in the late '60s, initially as a studio camera cabler in the NZBC Television studios in Waring-Taylor Street, Wellington.
In those days the NZBC gave you opportunities to move on to bigger and better things fairly quickly so is wasn't long before I was operating the studio cameras. Unfortunately, I was incapacitated due to a car accident for a long period of time so the prospect of staying in that role dissipated and NZBC management offered me the more sedentary role of editing. I thought, "Wow...what's an editor do?"

What industry-related training did you do?
Absolutely none... I was thrown in the deep end. I remember my boss saying, "Here's a hot splicer, there's the film, cut these commercials into the appropriate places." That was the days when 16mm film commercials were physically cut into the television programmes to create commercial breaks, then removed the next day and slotted into the next nights viewing.
Basically it was on the job training. It wasn't long before I was cutting single system news footage, then it was on to double system documentaries. Eventually I found my niche in editing drama production and that's where I stayed for 13 years.

How and when did you get your first screen industry gig? What was it?
After several years working for television on a variety of productions, I felt I had enough experience to move on from the small screen and offer my skills up to the feature industry. I left the NZBC and started out as a freelancer. I hadn't actually worked with 35mm at that stage but, "What the heck, it's only twice the size and races across the Steenbeck editing table twice as fast... This will be a cinch."

Soooo... it took a while but, after a stuttering start and a mixture of 35mm commercials and 16mm documentaries, I was hired to edit my first feature, 'The Squeeze'. I can't imagine anyone will remember that movie but it was my first breakthrough into the feature industry - a milestone.

How do you view the editor's role in the production process?
The editor's role in New Zealand has developed over the years. There was a time when the editor was hired from the completion of the shoot and had to make do with material presented. These days the editor is very often hired during the pre-production period to work with the director during the storyboard stage and then carry on through the shoot period doing a first pass edit on the footage as it comes.

A key role for the editor through this period is to view all the dailies, checking for shot quality, focus issues, negative damage etc. More particularly, this stage gives the editor the chance to be more involved in the shot selection and direction the scene is going and the opportunity to request additional pick-up shots to enhance the dramatic content of a particular scene.
Essentially, though, the editor's role really comes into its own during post, with a collaboration developing with the director to bring out the best in the drama, the emotion and the pace that the story deserves.

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