Capital 62 by Capital

CAPITAL TA L E S O F T H E C I T Y

MUSIC MAKERS WINTER 2019

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ISSUE 62

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CAPITAL

Made in Wellington

Cover photograph by Mark Gee

et’s embrace winter and all the good things about the season: clear windless days, wild storms with the seaspray flying, bracing walks, cosy woollens, comfort food, fires and wood smoke, and lots of wintry activities throughout the region. One of these, Matariki, to our delight, is becoming a more and more established item on the national festival calendar and the range of celebratory activities just keeps on growing. To add our bit to the fun, we’ve taken a giant leap past our monthly It’s Cool to Te Korero, and have commissioned and printed our first full length Te Reo translation of one of our feature stories. Accompanying the story is Chevron Hassett’s wonderful photography. My thanks to Chevron, Hanahiva Rose and Piripi Walker for their assistance in achieving this milestone. Our fascination with darkness and light and stars continues. Marcus McShane tells Sarah Lang about life as an international lighting designer and Francesca Emms asks internationally acclaimed photographer Mark Gee about his fascination with the night sky. To prove we are not lost in dark nights of the soul, Roger Walker test drives the latest Skoda for us and finds it fun, and the Shearers, mother and daughter, provide comfort food in the form of a stew jazzed up with a Brazilian twist. You will see that our cover price has increased to $5.90. We want to keep the magazine as affordable as possible, but some of you (truly quite a number) tell us the magazine is too cheap. Well, we have listened. Looking ahead to August, we’re excited to present the story of Te Wheke for our first ever Wellington on a Plate event. Join our story teller Rachel House and us, for a fun and fishy night. Details are on page 9 or to book go to visawoap.co.nz and search Te Wheke.

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C O N TA C T U S Phone +64 4 385 1426 Email editor@capitalmag.co.nz Website www.capitalmag.co.nz Facebook facebook.com/CapitalMagazineWellington Twitter @CapitalMagWelly Instagram @capitalmag Post Box 9202, Marion Square, Wellington 6141 Deliveries 31–41 Pirie St, Mt Victoria, Wellington, 6011 ISSN 2324-4836 Produced by Capital Publishing Ltd

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CONTRIBUTORS

Staff Managing editor Alison Franks

FEATURED CONTRIBUTORS

editor@capitalmag.co.nz

Campaign coordinators Haleigh Trower haleigh@capitalmag.co.nz Josephine Gallagher josephine@capitalmag.co.nz Lauren Andersen lauren@capitalmag.co.nz Lyndsey O'Reilly lyndsey@capitalmag.co.nz General factotum John Bristed

john@capitalmag.co.nz

Art director Shalee Fitzsimmons shalee@capitalmag.co.nz Designer Luke Browne

design@capitalmag.co.nz

Writer Francesca Emms

journalism@capitalmag.co.nz

Editorial assistant Benn Jeffries

hello@capitalmag.co.nz

Accounts Tod Harfield

accounts@capitalmag.co.nz

PIRIPI WALKER Te Re o Tr an sl ator Piripi, Ngati Raukawa, was manager of Te Upoko o Te Ika, Wellington city’s Maori language radio station from 1987 to 1991 and remains trustee and deputy chair of the station’s trust board in 2019. He lives with his wife Heather, in Silverstream, and is a hands-on Koro to his seven mokopuna.

HANAHIVA ROSE Journ a li st Hanahiva Rose is an art historian and writer from the islands of Ra’iātea and Huahine and the people of Te Atiawa and Ngāi Tahu. She has been widely published for her work on Māori and Pacific art practices in Aotearoa.

Stockists Pick up your Capital in New World, Countdown and Pak‘n’Save supermarkets, Moore Wilson's, Unity Books, Commonsense Organics, Magnetix, City Cards & Mags, Take Note, Whitcoulls, Wellington Airport, Interislander and other discerning region-wide outlets. Ask for Capital magazine by name. Distribution: john@capitalmag.co.nz.

Submissions We welcome freelance art, photo and story submissions. However we cannot reply personally to unsuccessful pitches.

CHEVRON HASSETT Photo g r aphy Chevron, Ngāti Porou, Ngāti Rongomaiwahine ki Kahungunu, from Naenae is a multidisciplinary artist whose interests include cultural identity, whakapapa and urbanisation. In 2017, he was awarded the Nga Manu Pirere Award from Te Waka Toi and Creative New Zealand.

BENN JEFFRIES E ditori a l Assi st ant Benn is a writer, photographer and our newest Editorial Assistant. A lover of all things outdoors – you’ll find him on the water with his rod and reel or in some Wellington park scribbling down godawful poetry. Follow him on Instagram @bennjeffries

P R O U D LY P R E S E N T E D BY

CAPITAL Told by

Rachel House (Thor: Ragnarok, Hunt for the Wilderpeople, Moana)

Prefab Hall 5 August 6:30-9:30pm 6 August 6:30-9:30pm visawoap.com & search Te Wheke for tickets

Te Wheke The story of

Enjoy a four course pacificinspired menu

With wine matched to each course

While Rachel House narrates the legend

CONTENTS

12 LETTERS 14 CHATTER 16 NEWS BRIEFS 19 BY THE NUMBERS 20 NEW PRODUCTS 22 TALES OF THE CITY 24 CULTURE

TO BUILD A LEGACY

Maori traditions woven into a digital future Te Reo translation, page 50

WAVES OF KNOWLED GE Composer Michael Norris and taonga pÅ«oro expert Al Fraser with the NZSO

38 FRANKLY SPEAKING Zakea Page is an artist with global ambitions

BAO AND BEERS WINE AND WONTONS DINE IN OR TAKEOUT AND WE CATER

S TA R S I N HIS EYES Astrophographer Mark Gee looks up

59 taranaki st. www.mrgos.co.nz

CONTENTS

R O S E N E AT H RENO

SHEARERS’ TA B L E

A house on a hill finally has a view

Beef Guinness stew with pão de queijo

79 67

LOAFING ABOU T

WARDROBE WORTHY

Musicians turn sandwich composers

Designer Jess Matthews shares her wish list

68 LIFESTYLE BRIEFS 71 BUG ME 72 EDIBLES 76 LIQUID BRIEFS

88 LET THERE BE LIGHT Marcus McShane lights the way

BY THE BOOK

87 RE-VERSE Claire Orchard introduces her choice

98 GOOD SPORT 100 TORQUE TALK 103 WĀHINE 105 WELLY ANGEL 106 CALENDAR 108 GROUPIES

STOP AT

MODERN ASIAN HAWKER FOOD

LETTERS

KNOW YOUR BUTCHER

BLACK AND WHITE AND READ ALL OVER I tried your dumplings at Mr Go’s as mentioned in your latest magazine (CAP#61). They were good value and looked almost as good as your picture. Please, more of these types of recommendations. S Smith, Lower Hutt

YOUR MEAT

We plan to do more; see mention of our event, Te Wheke (page 72) and our cocktail colab with CGR (page 76) in this issue. Ed HOMES GALORE Thank you for the home issue (Cap#61). It’s the first I’ve received in my letterbox, from a gift subscription. I loved reading all about the fascinating people in this region and all the different houses and tips from experts. It’s a great issue. More please. S Taylor, Melrose ROLY POLY COVER I picked up an old copy of Capital in a café recently. It was the one with the girl in red shoes doing a forward roll on the cover (CAP #54). Inside I was so pleased to see Josette as your fashion model. There are times when I feel a bit invisible, but she made me feel like I could wear anything I want, that age is no reason not to be fabulous. I was reminded of a poem that went something along the lines of ‘When I am an old woman I shall wear purple…’ Thank you for the inspiration. N Henrys, Ngaio MOUSTACHIOED OR NOT I enjoyed Sarah Lang’s piece about Ashleigh Young (CAP #61). But did she have to say that Ashleigh was beautiful because there was no hint of a moustache? It seemed an odd thing to comment on anyway, but also implied that women shouldn’t have any facial hair. It’s actually quite normal. B McVitten, Mt Victoria

Send letters to editor@captalmag.co.nz with the subject line Letters to Ed

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RD E R S E C TCI H OA N THT EE A

INK INC.

One

We l l y w o r d s RISE AND WHINE

brick hiding the spare keys At 7am on a Sunday morning to various council buildings just in case a councillor loses a Welly-worder spotted a their keys while on a bender? parking warden photographing a car with its front wheel SCHRODINGER’S just touching a yellow line. IPHONE She thinks they would surely Walking past a group of be much nicer people if they high-school students a Welly were allowed a sleep in. worder heard the unmistakable sound of an iPhone BRICK TRICK hitting the pavement. Face There’s some confusion over down. The group collecthe bricks being replaced tively gasped and held their outside the St James on breaths. Until, ‘is the screen Courtenay place. We’re broken?’ asks one. ‘I don’t guessing the new bricks are know,’ comes the reply. non-slip, but we rather like ‘Pick it up!’ urges a third. ‘I one Welly-worder’s sugges- can’t,’ cries the owner, ‘it’s tion that they’re actually fake not broken until I look at it.’

PATRICK MCCANN Art or Rebellion? A bit of both. I'm into art and design so I can definitely look at them from that perspective, but I like the idea of being covered and going against the grain. When did you decide you wanted a tattoo? I remember asking mum when I was 16 if she'd let me get a tattoo and her saying I was too young. By the time I was 17 and had finished high-school she didn't mind so much. Family – for it or against it? Mostly for it. As long as it’s not offensive, they’re pretty lax about them. Any regrets? Nope. I have tattoos all over the place, I’m planning on tattooing most of my body, so I’m just chipping away at the moment.

Four S l ee p ea sy A new sustainability partnership between Zealandia eco-sanctuary and James Cook Hotel Grand Chancellor will see $2Two of every Wellington room night Fe a t h e r d ow n booked via grandchancellorhotels.com to conserva- grandchancellorhotels.com A newdonated sustainability tion efforts in the sanctuary. partnership between donated to conservation ‘Our visitors will be supporting Zealandia eco-sanctuary efforts in the sanctuary. ‘Our conservation even while they and James Cook Hotel visitors will be supporting sleep,’ says Steve Martin, the Grand Chancellor will see conservation even while they hotel’s general manager. $2 of every Wellington sleep,’ says Steve Martin, room night booked via the hotel’s general manager.

S E C TCIH OANT H ADER TER

Four

D i o nys u s a p p roves Winetopia is winging its way back to Wellington this winter. Share a glass with former All Black Murray Mexted, or take a food and wine matching masterclass with Nobel Rot. Meet New Zealand’s newest Master of Wine Stephen Wong, (CAP #33) or sample world-class varietals from over 50 re-

Three

nowned vineyards. Singapore Airlines are sending a senior Air Sommelier to share their insight and experience when selecting, tasting and serving wines at altitude, and there’ll be fine cheese, cured meats and chocolate so you can practise your newly acquired matching skills. Winetopia, TSB Bank Area, 12–13 July.

S t a r - s t u d d e d eve n t s

F i ve

Māra tautāne is a traditional ceremonial garden, planted in offering to Matariki. From 17 June Angela Kilford’s Te Mā ra Tautāne will be on display in the Courtenay Place Light boxes. Her work explores connections between the earthly and celestial realms at Matariki. Wellington City Council is hosting Ahi Kā on the waterfront from 6pm on Friday 21 June. It’s a family friendly event to celebrate and learn about Matariki. There will be Māori performers and storytellers, a light

Dollar dollar bills

parade featuring creative talent from local schools, a Hangi, toasted marshmallows, fire on the water, and a midwinter bonfire. Early risers might like the Tangi Te Keo Matariki Dawn Viewing on 29 June. Space Place will have telescopes on the Mt Vic viewing platform for a special 5am viewing of Matariki. The Wellington Sky Show will be held on Saturday 29 June. We love it that this mid-winter fireworks display is at the family-friendly time of 6.30pm.

Did you notice something different when you bought this issue of Capital? Yep, you paid an extra dollar. We’ve always tried to keep the price of Capital as low as possible but due to rising post and print costs it’s now $5.90. That extra dollar is to help us continue

to produce a beautiful, entertaining, locally printed magazine that Wellingtonians can be proud of. And it goes towards keeping our footprint as small as possible – we’ll keep printing on recycled paper, using vegetable inks, and mail out using paper envelopes.

IT'S COOL TO KORERO Ā hea e tunu ai te kai?

When’s dinner?

NEWS BRIEFS

AND THE B A N D P L AY E D O N A proposal to restore and re-open the Oriental Bay band rotunda has been accepted by the Wellington City Council. Developer Maurice Clark has put together the project and says, ‘We are delighted to take on the opportunity to restore and rejuvenate this much-loved site and bring vitality to Oriental Bay.’ The building has been closed for some time as the concrete slab between the upper and lower levels of the building has deteriorated and is unsafe, and the foundations are being affected by the sea.

R OA D R AG E

SWEET TOOTH

PA I N T I N G P U R C HA SE D

The Wellington Chamber of Commerce is urging Transport Minister Phil Twyford to rethink the transport strategy for Wellington, saying the Let’s Get Wellington Moving package is a disappointment. ‘We are pleased to see the commitment to improving public transport connections to the south of the city and airport,’ says Chief Executive John Milford, ‘But public transport improvements are not binary. They must go hand-in-hand with urgently required roading upgrades.’

Sugary drink sales dropped 38% in Philadelphia one year after the introduction of a levy, according to a study in the Journal of the American Medical Association. The New Zealand Dental Association says this research adds to international evidence that sugary drink consumption can be decreased via targeted levies. Spokesperson Dr Rob Beaglehole says reducing the consumption of such drinks will reduce long-term harm, and a levy is the way to do this.

Te Papa has bought a 240-year-old painting by William Hodges, an English painter employed as a draughtsman on Captain Cook’s second voyage to the Pacific.Waterfall in Dusky Bay with Maori Canoe was purchased for $685,000. Te Papa’s Head of Mātauranga Māori, Puawai Cairns, says the painting reflects the early European imagination idealising the meeting between Cook and the people of Aotearoa. The painting has been in a private collection in England for more than 200 years.

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W E L L I N G T O N A P O T H E C A R Y. C O . N Z

NEWS BRIEFS

WA S T E D Water woes continue for South Wairarapa District Council, the council responsible for Martinborough’s drinking water, which has twice recently been contaminated with E. coli. Their application to discharge wastewater to land and air in South Featherston has been fiercely opposed (only two of the 160 submitters were in favour) and now the council’s experts have confirmed the community’s ground and drinking water is ‘at risk of contamination’ should it go ahead. The regional council has instructed the SWDC to undertake an analysis of pathogens in the wastewater treatment plant, a soil survey and a quantitative microbial risk assessment. Those opposed say it’s a shame SWDC didn’t do all that before spending $5.5 million of taxpayer money on the land.

U P T O T H E TA SK

PAT H WAY P L A N

F L O O D R I SK

Kāpiti’s new Waste Minimisation Taskforce is looking at the Kāpiti District’s Waste Management and Minimisation Plan. ‘The challenges identified in the plan include improving the quality of our data on landfill waste volumes and upping our game as a district when it comes to recycling,’ says Sean Mallon, the general manager for infrastructure services at the council. He says the taskforce and the council will work together to meet these challenges and ensure that community perspectives are considered.

A resource consent application has been lodged for the Eastern Bays Shared Path, a 4.4km shared cycleway/walkway along Eastbourne’s Marine Drive. Senior project engineer Simon Cager worked with engineers, planners, landscape architects and ecologists to assess the potential effects. ‘The presence of penguins, the ecology of the area and the need to design a visually appealing path which sits alongside the natural environment are all complex challenges and need to be considered,’ says Simon.

Gravel build-up in the Waikanae River increases the risk of flooding and is directly related to the 2016 widening for the expressway bridge. Greater Wellington Region Council is now investing $80,000 in removing 3,000 cubic metres of wet gravel from the river near the bridge. Kapiti Coast District Mayor K Gurunathan says it will also prevent the gravel from moving downstream and adversely affecting the vulnerable ecology of the Waikanae Estuary Scientific Reserve.

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SB EYC TT H IO E NN H UM E AB D EE RR S

Winter When I was six, my teacher Mrs Winter was unimpressed with my (rather artistic) handwriting. She tore out the page of my book and made me start again – all the while, fixing me with a….well, wintry look. I’ve never had much time for things ‘winter’ since then. But that’s the theme for this month’s mag so I’ll press on.

Chilled people

Chelsea Winter

Mark Winterbottom

Delores Winters

Anna Wintour

New Zealand celebrity chef. Her imaginatively titled fifth cookbook Eat was the top-selling book for 2017.

Australian professional racing car driver. He drives a Holden ZB Commodore ...and then my eyes glazed over.

a character in the DC Comic universe, she can turn things to ice.

editor-in-chief at Vogue, she can turn things to ice too.

Puck yeah

1000 sqm

$17.50

$95

1.3 million

size of the ice skating rink at Daytona Raceway in Seaview

cost to get in

cost for an initial consultation at Wellington Chiropractic

number of months the Wellington Ice Hockey Association has been in existence

Canadians play Ice hockey (its Canada’s official winter sport) – Welly has a ways to go.

(the only permanent rink in Wellington)

Synonumbs

‘Cold innit’ is not an imaginative response considering the number of times the weather will give us reason to say it. So here’s a list of alternatives:

algid, arctic, bitter, bracing, brisk, chilly, coldish, cool, crisp, cryogenic, cutting, invigorating, freezing, frigid, frosty, frozen, gelid, glacial, icy, keen, nippy, numbing, penetrating, piercing, polar, shivery, snappy, wintry.

Compiled by Craig Beardsworth

NEW PRODUCTS

3. 2.

4. 6.

12. 10.

11.

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We t we a t h e r

TA L E S O F T H E C I T Y

Gallery gal W R I T T E N BY F R A N C E S CA E M M S

PETS Rabbits – Rita and Horace

FASHION Dresses with pockets

LEARNING

HOLIDAY

PAST LIFE

Te Reo Māori

Rarotonga

Set designer

Late nights are just part of the job for Tracey Monastra.

ith 20 years experience in the arts, Tracey Monastra is well equipped to lead City Gallery’s public programmes and education team. ‘We run events and programmes that connect contemporary art and culture with audiences,’ she explains. They include regular Family Days, talks, new exhibition openings and their popular monthly Tuatara Open Late. Supported by ‘a passionate, hard-working team’, Tracey has been running the Open Late programme at City Gallery since day one. It began in June 2014 with a live performance, a book launch, an exhibition tour, a bar stocked with Tuatara, and dumplings. It now boasts a jam-packed programme of artist talks, panel discussions, film screenings, live performances, exhibition tours, and changing food vendors. After five years Tracey’s got a few tricks up her sleeve. ‘The beef pho from Fisherman’s Table is my Open Late staple – great for sustaining the energy through a 15-hour day’. Tracey’s two children, 12-year-old Frank and eight-yearold Sylvie, keep her busy at weekends. ‘Both mornings we have kids’ sport – how did I let that happen?’ There’s football and gym and karate. Then shopping, household jobs, life admin and catching up with friends. ‘Everyone’s lives are so wonderfully full with family and work – time with dear friends is gold. And utterly essential.’ Tracey often pops in to The Green at Vogelmorn Bowling Club for weekend coffee. ‘We live just around the corner. There’s a big green for the kids to run around on, a trampoline, and the sun streams in.’ They love visiting the Brooklyn

Library too – ‘We really miss Geraldine, the brilliant children’s librarian who recently retired.’ Tracey can’t wait for the next Hera Lindsay Bird collection, her copy of The Cost of Living by Deborah Levy is so thumbed over ‘it looks like origami’, and she’ll devour anything by Caitlin Moran: ‘Her writing is so funny, smart and political, and I’d love to meet her.’ When it comes to food Tracey loves Rita for a special night out. ‘Not having to make any decisions is such a treat! Plus a trip to the loo there is surprising and delightful.’ New albums from Aldous Harding, Tiny Ruins and Lawrence Arabia are all on high rotation at the moment: ‘It’s been a treat to programme them all into Tuatara Open Late over the past few years.’ But she can’t choose a favourite artist – ‘It’s impossible’. Tracey loves riding her e-bike, ‘so joyful, even uphill,’ and says strolling by the sea is a balm, whatever the weather. Princess Bay is a year-round favourite, ‘I’d walk from there in either direction every day if I could.’ She also enjoys heading from the gallery in Civic Square to the waterfront. ‘I really love that moment on the rise of the City-to-Sea Bridge, the harbour in front of you, and Lauris Edmond’s inspiring words providing focus:“It’s true you can’t live here by chance, you have to do and be, not simply watch or even describe. This is the city of action, the world headquarters of the verb.” ’ Tuatara Open Late is always on the first Thursday of the month. Its fifth birthday will be celebrated on 6 June at City Gallery.

CULTURE

L I K E FAT H E R , LIKE SON ‘Anyone who dares say jazz is a relaxing genre, I would dare to attend a Manzanza gig,’ said a British critic (in a good way) about Myele Manzanza, an award-winning Wellington drummer/composer. On 28 June, First Word Records UK releases Myele’s third album A Love Requited, written after a relationship break-up. Myele, 31, produced the album with bassist Ross McHenry; it features 10 musicians from various countries including local saxophonist Jake Baxendale. Myele plays at The Third Eye, 12 and 13 July. His father Sam Manzanza is a Wellington percussionist of Congolese heritage.

HOUSE OF HORRORS An old Lower Hutt house is the set for thriller Reunion, starring Emmy-winning British actress Julia Ormond, who plays a mother facing her harrowing family history. It’s one of eight New Zealand feature films currently in production. The Statistics NZ Screen Industry Survey shows the film and television sector’s total revenue in 2018 was $3.3 billion, slightly less than 2017 but more than the previous year’s. At least 20 international features and series will be made in New Zealand in 2019.

ORCHARD PICKED

CAPTURE A LIFETIME

Wellington soprano Pasquale Orchard, 22, is one of NZ Opera’s Dame Malvina Major Emerging Artists for 2019, which brings coaching, career guidance and performance opportunities. Pasquale recently played lead Rosina in the company’s national schools tour of The Barber of Seville, shortened to 45 minutes. ‘We performed to 11,000 kids – hectic!’ She’s a chorus member for a full-length production of this comic opera (29 June – 6 July). It’s a collaboration between NZ Opera, Seattle Opera and Opera Queensland, with a new cast.

‘Buildings should reflect our feelings,’ said Guy Ngan (1926–2017), a Stokes Valley visual artist best known for public sculptures and murals. Dowse exhibition Guy Ngan: Habitation (until 15 September) considers how place and belonging influenced the Chinese New Zealander. Pieces exhibited include nine of his 200 Habitation sculptures, which resemble miniature buildings, inspired by Roman ruins and Chinese calligraphy.

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CULTURE

I N H E R NA M E Before dying of cancer in 2017 aged 48, Teresia Teaiwa – a scholar, activist and poet who directed Victoria University’s Pacific-studies programmes – asked that two annual scholarships be established to support Pasifika students (one graduate, one postgraduate) who are majoring in Pacific Studies, face financial hardship, and demonstrate commitment to the Pacific community. The university matched Teresia’s family’s contribution of $100,000, which, with private donations, brings the memorial-scholarship fund to $270,000. Tongan-born Alilia Tupou, who didn’t know Teresia but knew of her mana, received the inaugural $6,000 undergraduate scholarship in May.

FILL THE GAP

HAND’S UP

HORSING AROUND

Are enough documentaries for 11 to 17 year-olds being made? No, say Doc Edge Film Festival co-directors Alex Lee and Dan Shanan. Enter the Doc Edge Rei Foundation Rangatahi Film Fund, which will give $20,000 each to four filmmakers towards a short documentary (up to 40 minutes) targeted at this age group. The documentary festival screens 49 features and 16 shorts at The Roxy, Light House Cuba and Te Auaha (13 to 23 June). School classes get free screenings.

Ronnie van Hout’s five-metre-tall sculpture Quasi – based on scans of his own hand and face – will be installed on the City Gallery’s roof in the next month or so, once engineering reports are complete. ‘Quasi needs to withstand Wellington’s northerlies,’ says Sue Elliott from the Wellington Sculpture Trust, which is collaborating with City Gallery. ‘I hope it makes people smile in Civic Square, given the library and town hall are closed.’ The unusual sculpture’s perch was once Christchurch Art Gallery’s roof, where it polarised locals.

Wellington photographer Victoria Birkinshaw’s image of a horse appears in See What I Can See: Discovering NZ Photography (Pataka, until 21 July). It’s part of her series about a circus’s tour of wider Wellington. ‘I’ve dreamed about running off and joining the circus,’ Victoria says. The touring exhibition from Whanganui’s Sarjeant Gallery accompanies its co-curator Gregory O’Brien’s eponymous book.

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CULTURE

UNDERCOVER Wellingtonian Cohen Holloway, who has acted in every Taika Waititi movie, is Māori but pale-skinned. That’s why he calls himself the ‘undercover brother’ of the Māori Sidesteps, a four-man, now four-year-old musical-comedy troupe. ‘We gently take the mickey out of Māori showbands,’ Cohen says. They’ll entertain audiences at the Hannah Playhouse (13–15 June, in the Kia Mau Festival), then in Carterton (28 June) and Otaki (29 June). Cohen enjoys the change from straight acting. ‘Seeing the instant reaction is a buzz. I enjoy the comedy, and helping write and direct.’

BALANCING ACT Globally, women make up less than 24% of songwriters. To help redress that imbalance, Lily West from Mermaidens and other musicians will teach 12–17-year-olds who are female, trans, or non-binary (identifying as neither gender) at a school-holiday programme, Girls Rock! Poneke (8–13 July). Forty participants will learn instruments, write songs, form ‘bands’, then perform to family and friends. Musician Ali Burns, who is Toi Poneke Arts Centre’s arts administrator, raised $5,000 via Boosted to fund the global programme’s first Wellington incarnation.

FLAT-TERRING The Petone firm Printlink – which prints the magazine you’re holding – has won the supreme prize in the 2019 Pride In Print Awards (for the printing, packaging, signage and graphic-arts industries). Printlink’s team took photos of carvings done by Hastings Prison inmates, then used design software and a 3D printer to create the illusion of a carved surface on three linked panels of flat plywood. Oranga Tamariki Ministry for Children commissioned the artwork and has hung it in its office.

MUM’S THE WORD Why is nine-year-old Ivy Foster joining adult dancers in her mum Sarah Foster-Sproull’s new show Orchids? ‘Because it explores intergenerational female relationships, particularly between mothers and daughters,’ Sarah says. Also, Ivy takes contemporary dance classes. See it at Circa from 24 July. Sarah, an Auckland dancer/ choreographer, worked in Wellington in retail before a dance workshop with Footnote at age 22 set her on a different path.

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CULTURE DIRECTORY

Myele Manzanza Album Release

The New Zealand Cardiac Story

Te wā whakanui a Matariki

Celebrating his upcoming album ‘A Love Requited’, Wellington drummer Myele Manzanza is on tour alongside Jonathan Crayford & Johnny Lawrence. Described by Modern Drummer USA as ‘A drummer who clearly sees the big picture’, Manzanza will be performing 2 nights at The Third Eye.

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23 June, from 5pm Space Place, Wellington Botanic Garden. museumswellington.org.nz

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MUSIC

Waves of knowledge P H OTO G R A P H E D BY J O R A M A DA M S

We hear them in songs, movies, even TV commercials: the haunting plaintive sounds of taonga pūoro – Aotearoa’s ‘music treasures’. They seep into our consciousness and give us a sense of connection to our land. But taonga pūoro came close to extinction, before a renaissance over the past few decades. Composer Michael Norris and taonga pūoro expert Al Fraser spoke to Dan Poynton about their upcoming performance with the NZSO.

ow many of us know about the ancient spiritual meanings of these whispering taonga, that so preciously imitate our endangered birdlife and reflect the entire Ao Tūroa (natural world)? And how many of us have heard taonga pūoro in conversation with Western classical instruments? Like the clash of cultures our land has seen since Europeans first arrived, can such a conversation even work? Wellingtonians will judge for themselves in July, when the NZSO premieres Mātauranga – Rerenga, a piece commissioned for the NZSO Cook’s Landfall Series to mark the 250th anniversary of Cook’s first landing. It was written by prominent composer Michael Norris and features Al Fraser, a tohunga of taonga pūoro. Both men are pākehā. Many people will see this as positive, while others will see it as yet more ‘colonisation’ or ‘cultural appropriation’. Such conflicting perspectives have been reflected in the media in different framings of this year’s celebrations of Cook’s first landfall. Some prefer to call it a ‘commiseration’, owing to the permanent disruption to Te Ao Māori (the Māori world) this event irrevocably set in motion. Both Al and Michael sympathise with this view, but they are also elated at this opportunity to feature taonga pūoro in such a big cross-cultural event. ‘I fully acknowledge the taonga pūoro belong in the Māori culture and I’m really lucky to be able to use them,’ says Al. ‘It’s fair enough if people don’t like what I do.’ But Al says people are usually

just ‘stoked to hear taonga pūoro. They can see that I respect it and what I’m doing is a good thing.’ Al tells the story of a Māori photographer who once said to him that it was ‘so cool to hear these being played by... someone like you,’ hesitating as to what to call Al. ‘I don’t think he could bring himself to say pākehā,’ he laughs. Michael says he has mixed feelings about using these instruments as a pākehā. ‘But the taonga pūoro also need pākehā, just like te reo Māori needs pākehā to speak it, so it’s not culturally ghettoised but it’s actually embraced by the mutlicultural society we live in,’ he says. Wellingtonians Al and Michael both grew up in Dunedin near each other and have been planning a project like this for years. Mātauranga (knowledge) in the work’s title refers to Cook’s mission to study the Southern stars, flora, and fauna and chart the Pacific. ‘Rerenga has many meanings,’ says Michael. ‘It’s the idea of flow, flying, waves.’ He says taonga pūoro were an obvious choice for him to use in this piece. ‘They are the musical representation of the flora and fauna. Al’s [pūoro] collection has kurī (dog), moa, toroa (albatross) – all plants and animals from here.’ This is the first time Michael has composed for taonga pūoro and he’s taken a radical approach, using electronics to process the pūoro sounds. ‘All the electronics come from capturing and processing the sounds of the taonga pūoro which I will do entirely live,’ he says. ‘This creates overlapping

Al Fraser

MUSIC

waves of sounds and the orchestra will reflect these sounds as well. The sound of these electronics and pūoro are quite haunting.’ Michael is no stranger to electronic music; some of his plug-ins have been used by legends like Brian Eno. Al will be using eight instruments in Mātauranga − a tiny portion of his entire collection which includes just about every taonga pūoro we know about so far. They include the kōauau pongā ihu (gourd nose-flute), the porotiti (a whirring, spinning pounamu disc) and other instruments with amazing stories. One is the pūmotomoto, a Tūhoe birthing flute. ‘It’s played and spoken through at the same time, over the mother’s pregnant belly and the new-born baby’s fontanelle,’ says Al. ‘They spoke of knowledge, whakapapa, hopes and desires.’ The pūmotomoto is an example of the groundbreaking research behind the revival of these instruments by legendary pioneers like Richard Nunns, Hirini Melbourne and Brian Flintoff. They spoke with kaumātua who remembered long-gone instruments, often from the mists of their childhoods. ‘The kaumātua described it and then they just made it,’ says Al of the pūmotomoto. ‘When they played it back to them they said “Yeah, that’s the sound”. If we didn’t have the kōrero that Richard, Hirini and Brian got we wouldn’t have some of these instruments because the people have gone now.’ Al will also play the pūkāea – a booming martial trumpet with a ferocious-looking toothed head. ‘This is the vagina of Hine-Nui-Te-Pō (Great Woman of the Night). You enter her vagina when you die, and she’s got teeth in her vagina,’ Al explains. ‘So you’re welcoming your

enemy to die by playing this in battle.’ But like many pūoro, it had various uses. ‘It was blown to signal the birth of a high-born child. In utero they recited karakia and whakapapa into the instrument, and painted it in kōkōwai (red ochre) to represent the afterbirth,’ says Al. ‘But it was also used just to signal that dinner was ready!’ Another featured flute is the pōrutu tutu. The tutu tree and its purple berries are lethally toxic. ‘But they also make baths of tutu juice for detoxifying,’ Al says. ‘An old diary described an old Māori, out of it on fermented tutu with purple round his mouth. I think it was used for psychedelic reasons.’ The story of Al becoming one of the few tohunga pākehā of the pūoro is an unlikely one. His first instrument was the snare drum in the school pipe band. He quickly moved on to drumming in rock bands and then taught himself blues guitar. A degree in jazz guitar at Massey University in Wellington followed. Then, in his last year, he heard master pūoro player Richard Nunns by chance at a concert. Although he’d been given a kōauau which he’d played around on a bit, this was something radically new to him. ‘This wasn’t just a kōauau,’ he beams. ‘I didn’t know there were all these instruments!’ He started making some of the instruments himself ‘because you can’t just go out and buy them.’ Al describes his primitive efforts in the back shed of his flat with a vice and drill, guided by pictures in books. ‘Someone told me about Hirini, and when I was making my pūtātara (conch shell trumpet) I was a bit stuck so I rang him up, and he just told me how to do it on his way to a lecture,’ smiles Al, as he remembers the laid-back kindness of the famous late Māori

MUSIC

musician. Soon after, at a Māori instrument wānanga in Rotorua ‘there was Richard, Hirini and Brian, and I asked, do you guys all know each other? I didn’t even know there was a revival.’ He showed them the instruments he’d made, and these tohunga became his teachers, in both playing and making. These taonga have now been part of his life for 20 years, and it seems Nunns, the great pākehā pūoro pioneer, has passed his baton on to Al. ‘They’re a direct connection to the land and the people,’ says Al. ‘If I’m playing in a natural place it’s a lot about communicating with the voices and sounds that are around me. I’m not sure if the birds or insects react or it’s just that your listening is enhanced − you can hear the stream better.’ You can hear this connection to nature in Al’s latest solo CD, Toitū Te Pūoro, produced by Rattle. The powerful sounds seem to take you into the mystical realm of Tāne Mahuta, God of the Forests and Birds. Like Nunns’ and Melbourne’s seminal album Te Kū Te Whē, which Al describes as ‘unsurpassed’, it’s exclusively taonga pūoru. But Al has developed the soundscapes further with richer combinations, close miking and some electronic processing. ‘And culture’s a fluid thing, right?’ says Al. ‘Māori were innovative. That’s why a lot of people now say it’s cool to use modern

tools, because Māori have always done that.’ Pūoro makers have to be inventive because so many of the instruments have now been lost. ‘But you can look at the environment, see what sounds natural materials produce,’ says Al. ‘Because in Te Ao Māori the natural world is the touchstone.’ Recently Al researched the pūoro of the Moriori on Rēkohu (The Chathams). ‘Because they suffered a genocide there’s not a lot to go on,’ he laments. ‘I did a heap of beachcombing. We’re happy to be informed by the environment. You can make kōauau from crayfish, toroa, shells. We don’t really know if there was a flute tradition there, but we still can make flutes.’ And then he performed for the islanders on Rēkohu marae with these newly created taonga. ‘If all my instruments went up in flames I’d just make more,’ says Al. ‘I’m pretty sure I could get a concert together in a day. You can just go down to the beach and get a collection – you could have a lot of fun with just that.’ Although Al would like to see more young people embrace pūoro he thinks the future is looking good. ‘It’s all about sharing the knowledge and everyone’s welcome. That’s the kaupapa I follow. I try to make as much time as I can to help others out with materials, knowledge, showing them how to make them. This is how it flourishes.’

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F E AT U R E

Frankly spea king Artist Zakea Page tells Sarah Lang about his childhood in Asia and his global ambitions.

‘I

want to be one of the world’s best artists,’ says Zakea, a Massey University student with a quiff like Tintin’s – who definitely doesn’t have Tall Poppy Syndrome. The 20-year-old meets me in the Massey quad, holding a framed image of his medal design ‘Beauty in Diversity’. It’s been chosen by the International Olympic Committee – out of 300-plus entries from 60 countries – for the Winter Youth Olympic Games 2020, to be held in Lausanne, Switzerland. Zakea is the first New Zealander to design an Olympic medal. ‘The design incorporates five spirals representing five continents, five Olympic rings, and the coming together of countries, cultures and athletes in one place,’ Zakea says. ‘It’s about humanity being stronger when it’s unified, especially now, after the terrorist attacks. Art and design are always political.’ The IOC will fly him to Lausanne, where he’ll see his medals hung around athletes’ necks (and maybe do some performance art). Zakea was born in England, where his father lived. His mum is a Kiwi, and the family moved to Tauranga when Zakea was five. His parents – both teachers – wanted the family to experience different cultures, so they and their two sons have country-hopped since Zakea was nine: Kuwait (a year), Bangladesh (a year), Vietnam (two years), and China (four years). Always sporty, Zakea played hockey in Vietnam’s domestic competition, and for Vietnam’s national men’s team against Brunei and Taiwan. After moving to China, Zakea sometimes flew back to Vietnam for hockey games. ‘I’ve learned a lot from being exposed to different cultures. I admire the Chinese dedication and work ethic – whatever you do, it’s a disservice not to perform to the best of your capabilities. My high school was competitive.’ When Zakea finished high school, his family moved to India and he moved to Blenheim, New Zealand to spend time with his grandparents – and

to anchor himself before he ‘goes out into the world’ (perhaps Berlin). He’s midway through a Creative Media Production degree, and lives in a Massey hostel. ‘I’m American in my ways. New Zealanders are more reserved and overly humble. We need to talk constructively about our Tall Poppy Syndrome. We’re not so good at uplifting each other. But I like that New Zealand really values society and community. And I’ve realised I need to adjust how I talk, as I speak passionately about my work, and it can come off as arrogant.’ Zakea gave up hockey to focus on art: mainly paintings, street art, and performance pieces. He’s incorporated hockey into his performance art. In front of spectators at the 2017 Women’s Hockey World League Final in Auckland, he coated a hockey ball in ink, then dragged it with his hockey stick around a canvas on the floor – creating a painting of a female hockey player – while doing ‘tricks’ (like catching the ball on his back) and what could loosely be called dance moves. Last year Zakea went to LA with the NZ BlackStars: a group of 25 aspiring young entertainers formed to compete in the World Championships of Performing Arts, an Olympic-style international meet. Here Zakea performed two variations of the performance piece described above – and another in which he rode a skateboard with a container of spray paint attached, which squirted out a line to form a portrait of a woman. Each performance won a silver medal in the Variety category. He’s interested in the intersection between sport and art. ‘I actually don’t see much difference between them. Both are mentally demanding, and, with both, you’re controlling your movements.’ He wants to challenge the idea that you’re either a sports jock or an art nerd. ‘People have “domain dependence”, wanting to slap labels on things. Whereas I think everything from art and science to sport are all part of a big web.’

SECTION HEADER

F E AT U R E

To build a legacy P H OTO G R A P H E D BY C H E V RO N H A S S E T T

For generations the Hetet family have practised and taught traditional MÄ ori arts. Now they are bringing their knowledge to new platforms. Hanahiva Rose visited to find out more. 41

F E AT U R E

itting in her sister Veranoa Hetet’s studio in Waiwhetu, Lillian Hetet Owen gently grasps a small unfinished konae in her hands. ‘Our Mum sat in her rocking chair when she was sick, working these scraps of whenu left over from kete, just talking and having a glass of wine. She would just magic up something and this was one of those somethings.’ It looks like magic, this intricately constructed vessel; the apparent ease with which it was put together revealing a life spent devoted to the art. All around the room, the family’s passion for traditional Māori arts is pervasive. Kete and kākahu fill the space. Out the window a small waka rests in the backyard, carved by their father Rangi Hetet and Veranoa’s husband Sam Hauwaho for the children to play in. Sam ducks in the door to say hello. He’s not in for long before he leaves again, back out to the carving studio where he works on his own craft. Sam was taught by Rangi, a master carver who learnt the art from the late Hone Taiapa. It was at a Christmas party at Taiapa’s home in Rotorua that Rangi met Erenora Puketapu-Hetet, Lillian and Veranoa’s mother, in the 1950s. Soon Erenora’s grandfather’s dream of building a wharenui in Waiwhetu was about to be realised. ‘He said to our Mum, “Now we’re ready for some carvers”. And Mum said, “I know some carvers”,’ chuckles Lillian. ‘Four carvers came down – one of them was our Dad – and they stayed and lived here with the people and carved the meeting house. And, of course, our Mum and Dad courted and fell in love.’

Veranoa Hetet

HOME

F E AT U R E

Arohanui Ki Te Tangata was opened on 10 September 1960. Unusually, the house is named not for an ancestor but a philosophy: the legacy of the great Taranaki pacifists Te Whiti o Rongomai and Tohu Kakahi. One month after the wharenui was opened, Erenora and Rangi were married inside it. ‘Our parents life’s work together has been to teach and practise our traditional arts.’ Traditional arts like weaving and carving have a capacity to at once memorialize and revitalise. Each piece of weaving carries in its weft and warp the knowledge of the history from which it comes as well as its own uniqueness. But the histories they speak to were, for many years, in danger of fading from view. ‘In the 1950s it was recognised that many of our arts were dying out,’ Veranoa, a renowned weaver and teacher of weaving, explains. ‘Our greatgrandmother Rangimarie Hetet and our great-aunt

Diggeress Te Kanawa, through the Māori Women’s Welfare League, broke with tradition and taught across tribal boundaries to try and revive the arts.’ It’s a legacy Veranoa and Lillian are intent on continuing. Together with Rangi and Sam they have established the Hetet School of Māori Art, an online suite of lessons which take students from the tikanga around gathering harakeke and weaving kete all the way through to weaving a kākahu. They are building on generations of knowledge of teachers and practitioners, following a kaupapa embodied in a waiata composed by Rangimarie: E ngā uri whakatupu Whakarongo Kia kaha Hāpainga ake rā ngā mahi huatau a ngā tūpuna i waiho ake nei hei painga mo te iwi o Aotearoa e

Left, Sonny Davis Top, Sam Hauwaho

F E AT U R E

O coming generations, listen be strong, Uplift the arts left by our ancestors for the good of the people of Aotearoa

in an academic setting with a group of people, everyone is moved along according to an academic year. Online learning is much more aligned with the traditional way. It builds confidence.’ They’re not stopping there. Last year their school received a New Zealand Open Source Award for a pilot programme they developed with Corrections, an online weaving course for incarcerated women. And last month they signed an agreement with Te Aho o Te Kura Pounamu (formerly the New Zealand Correspondence School), to pilot a course that will eventually, they hope, enable secondary school students around the country to learn Māori art through online courses. ‘You look at colonisation and what it’s done to our people. It seems a cruel thing that Māori

By teaching beyond the hapū level, Rangimarie widened the net, with the faith that knowledge shared is knowledge retained. Veranoa and Lillian see the school, and its online accessibility, as the logical next step in following that philosophy. Students can learn when it suits them, without the pressure of a group environment. ‘It’s just one on one with you and your teacher at the pace that suits you,’ explains Lillian. ‘Learning

F E AT U R E

people should have to pay for Matauranga Māori. In the absence of a written literature, carving and weaving is our visual literature. In our minds it has the same value as te reo. So we’re excited about the possibility that Māori, as well as other students, could access this traditional knowledge through modern technology. For free. And they can have that knowledge accredited.’ For a family that has devoted itself to the retention and development of traditional knowledge, Matariki provides a time to reflect and plan. What are they anticipating this year? Well, they have a few books to publish. And

a film will be ready to be screened at the NZ International Film Festival: Mo Te Iwi: Carving for the People, about Rangi and the history of carving in Aotearoa. It’s the last in a series of film-festival documentaries: the first, Tu Tangata: Weaving for the People, focused on Erenora; the second, He Waka Hono Tangata: A Canoe that Unites the People, on the making of the two waka now housed in the Te Māori cultural centre across the road. They also plan to introduce a carving course, which Rangi and Sam are developing. ‘It’s going to be a busy Matariki for us!’ Veranoa tells me as I leave. ‘And I’m sure Mum will be pleased.’

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TUHINGA AHUREI

He tārei taonga tuku iho H E M EA W H A KA A H UA N Ā C H E V RO N H A S S E T T

Mai rā anō he whānau mōhio te whānau Hetet ki ngā mahi toi Māori, he whānau whakaako hoki i ēnei taonga. I ēnei rā kei te kawea ā rātou mahi ki ngā huarahi o te ao hou. I haere a Hanahiva Rose ki te kimi i ngā kōrero mō te whānau nei.

a ia e noho ana i te whare pora o tana teina o Veranoa Hetet i Waiwhetū, e pupuru ana a Lillian Hetet Owen i tētahi kōnae iti, he kōnae kōkau noa, i ana ringaringa. ‘Tā tō mātou whaene he noho i tana tūru pīoi, i ngā rā o tōna māuiuitanga, me te raranga noa i ēnei maramara whenu, he toenga nō te mahi kete, me te kōrero, me te inu i tētehi waina iti. Ka whawhengia ake e ia tētahi mea whakamīharo, koinei anō tētehi.’ Āe rā hoki, he whakamīharo ki te titiro atu tēnei rourou iti, mīharo ōna tini putanga kētanga; te ngāwari ki te raranga kia tū tika, ki te titiro rā, engari nā te ringa rehe anō i mahi. Ka kitea te kai-ngākau o te whānau ki ngā toi Māori tuku iho huri noa i te rūma katoa. He kete i tētehi pātū, he kākahu i tētehi. Kei waho kei te iāri i muri i te matapihi tētehi waka iti. Nā tō rātou matua nā Rangi Hetet rāua ko te tāne a Veranoa, a Sam Hauwaho te waka rā i whakairo hei pikipikinga mā ngā tamariki. Kātahi ka puta mai te kanohi o Sam i te kūwaha, kua peka mai ki te mihi. Kāore e noho mō te wā roa, na, ngaro atu ana, kua hoki ki te taiwhanga whakairo e mahi nei ia i āna mahi. Nā Rangi a Sam i whakaako. He tohunga whakairo a Rangi, i ākona hoki e te tohunga nei e Hone Taiapa, kua moe noa atu i te moengaroa.

I tūtaki a Rangi ki a Erenora PuketapuHetet, te whaene o Lillian rāua ko Veranoa, i tētehi whakangahau Kirihimete i Rotorua i te tekau tau 1950. Kua tata i tērā wā ki te whakatutukitanga o te moemoeā o te koroua o Erenora, kia hangaia he wharenui i Waiwhetū. “I puta tana kōrero ki tō mātou whaene, “ Kua reri mātou ināianei mō ētahi ringaringa whakairo.” Ka kī atu a Mamā ki a ia, “Kei te mōhio au ki ētahi tohunga whakairo,” te kata a Lillian. “Tokowhā ngā tohunga whakairo i heke mai – tētehi ko tō mātou Pāpā tonu – ka noho i konei i te taha o te iwi kāinga, ki te whakairo i te whare nui. Rite ki te tini i mua, ka tata haere a Māmā rāua ko Pāpā, ka whaiāipo.’ I kawangia te whare, a Arohanui Ki Te Tangata i te 10 Hepetema 1960. He rerekē anō i te nuinga, arā, i tapā te whare mō tētehi ōhākī, kāore i whakaingoatia mō tētehi tupuna: arā, ko te ingoa ko te ōhākī tonu a ngā kaihohou rongonui o Taranaki, a Te Whiti o Rongomai rāua ko Tohu Kākahi. Kotahi marama i muri i te whakatuwheratanga o te wharenui, ka mārenatia a Erenora rāua ko Rangi i roto. ‘Ko te mahi a ō māua mātua i ō rāua rā katoa, he whakaako, he whakaahua i ā tātou mahi toi tuku iho.'

Rangi Hetet

TUHINGA AHUREI

Ka taea e ngā toi tuku iho pēnei i te raranga me te whakairo te whakakōhatu, te whakaora hoki i ngā mahi a te iwi. Kei tēnā kākahu, kei tēnā kete ōna whenu, ōna aho, kei reira te mātauranga o te iwi, otirā kei ia kākahu, kei ia taonga anō ōna āhuatanga motuhake. Heoi anō, i aua wā kua tīmata te memeha haere o ngā kōrero, o ngā mahi a ngā tūpuna. “Ka tae tēnei ki te tekau tau 1950 ka kitea e ngā pakeke i te tāmatemate te tini o ā tātou mahi toi," te whakamārama a Veranoa. He ringa whatu kākahu rongonui, he kaiako rongonui hoki a Veranoa. ‘Nā tō mātou tupuna wahine nā Rangimarie Hetet rāua ko tō mātou whaea kēkē nā Diggeress Te Kanawa, i whātoro atu ki ngā iwi maha ki te whakaako, me kore e whakaorangia mai ngā toi. Kāore i tino whakaaetia ērā mahi whakaako i te iwi kē i mua, heoi anō, nā te Rōpū Wāhine Māori i taea ai.’ He mahi ēnei e ngākau-nui nei a Veranoa rāua Lillian ki te kawe whakamua. Nā rātou katoa ko Rangi ko Sam i whakatū tētahi kura e mōhiotia nei ko te Kura Toi o te Whānau Hetet, (Te Hetet School of Māori Art), arā, he akoranga tuihono i te ipurangi e tīmata ana i te atawhai i te harakeke i tōna tupunga, ka mutu atu i te mahi whatu kākahu tūturu. Kei te whakawhirinaki rātou ki ngā mahi a

ngā kaiako me ngā kaiwhatu kākahu o mua, arā hoki te kaupapa i roto i te waiata nā te Rangimarie i tito: E ngā uri whakatupu Whakarongo Kia kaha Hāpainga ake rā ngā mahi huatau a ngā tūpuna i waiho ake nei hei painga mō te iwi o Aotearoa e Mā te whakaako i waho anō i te hapū taketake, i whakawhānuitia e Rangimārie te haonga o te kupenga, i runga i te whakapono, tērā tonu e ora ngā mahi nei, mā te tiritiri ki te katoa. E ai ki a Veranoa rāua ko Lillian, ko te kura nei, me tōna wātea mā roto i te ipurangi, te huarahi hei whakapūmau i taua ōhākī. Ka taea e ngā ākonga te ako noa iho i ngā wā e taea ai, kāore he tāmitanga mai, kāore he whakamā pēnei i uaua o te noho ā-rōpū i ētahi wā. “Ko kōrua anake ko tō kaiako, he ngāwari noa iho te haere.' te kī a Lillian. "Ki te ako te tangata i te ao whare wānanga i roto i tētahi rōpū, kei te ahu whakamua te tira katoa i runga anō i te wātaka ā-tau o aua whare mātauranga. Ko te ako ā-ipurangi he tata kē atu ki ngā tikanga tuku iho. Mā tēnei huarahi ka piki te māia.’

Top left to right, Sonny Davis, Len Hetet, Sam Hauwaho Front left to right, Lillian Hetet-Owen, Rangi Hetet, Veranoa Hetet

TUHINGA AHUREI

Kāore e mutu noa tā rātou mahi i konei. I tērā tau i whiwhi tō rātou kura i tētahi New Zealand Open Source Award mō tētehi kaupapa whakamātautau nā rātou ko Ara Poutama i hanga, he kaupapa tuihono ako i ngā mahi harakeke mō ngā wāhine kei te whare herehere. Ā, i tērā marama ka hainatia e rātou tētehi kirimana ki Te Aho o Te Kura Pounamu (i mōhiotia rā ko te New Zealand Correspondence School i mua), hei whakamātau i tētahi kaupapa hou, ko te wawata kia āhei ngā akonga kura tuarua puta noa i te motu te ako i ngā mahi toi Māori mā ngā kaupapa tuihono anō. ‘Ka titiro koe ki te whakataiwhenuatanga o Aotearoa, me ōna putanga mā tātou te iwi. Ki a au he mea kino kia whakataimahatia te iwi Māori ki te utu mō te Mātauranga Māori. I te korenga o tētehi tātai pukapuka, he tika te kī kei te whakairo, kei te mahi whatu, raranga ā tātou pukapuka, ina hoki ka tirohia e te tangata. Ki a mātou he rite te whāinga hua ki tō te reo. Nā reira he rawe tēnei huarahi ki a mātou, mā konei pea ka taea e te Māori me ētahi atu ākonga te whakauru mai ki tēnei mātauranga tuku iho mā roto i ngā hangarau o te ao hou.

Ana, kāore he utu. Ka taea hoki e rātou ēnei mātauranga te tāpae hei tohu whai mana.’ Ka tata nei ki te wā o Matariki, ka noho tēnei whānau piripono ki te purutanga me te whanaketanga o ngā mātauranga tuku iho ki te āta whakaaro. He aha ō rātou tūmanako mō tēnei tau? Heoi anō, he pukapuka ā rātou hei whakaputa ki te ao. Tērā anō hoki tētehi kiriata hei whakaata ki te Ahurei Kiriata nui o Aotearoa: Mō Te Iwi: Carving for the People, he kiriata mō Rangi me te hītori o te whakairo i Aotearoa. Ko te mea whakamutunga tēnei o tētehi rangatū pakipūmeka mō te ahurei: i hāngai te tuatahi, Tu Tangata: Weaving for the People, ki ngā mahi a Erenora; ko te tuarua, He Waka Hono Tangata: A Canoe that Unites the People, i aro ki te tāreinga o ngā waka e rua e noho rā i te pūtahi ahurea o Te Māori, i tāwāhi o te huarahi. E mea ana hoki rātou ki te whakauru mai i tētehi kaupapa ako whakairo, ā, ko Rangi rāua ko Sam kei te whakarite i taua kaupapa. ‘Ka nui anō ngā mahi o Matariki mō mātou!’ te kī a Veranoa ki a au i taku wehenga atu. ‘E mōhio ana au ka tino harikoa a Māmā.’

Lillian Hetet-Owen

DISCOVER UPPER HUTT PRESENTS

FIND YOUR RHYTHM Jazz, Blues, Roots and Pop – you’ll hear it all with five shows across four nights at the Expressions Whirinaki Queen’s Birthday Music Festival.

The Barber of Seville THE OPERA HOUSE WELLINGTON 29 JUNE – 6 JULY

BOOK NOW nzopera.com

GET CRAFTY Four great craft breweries unite at Brewtown Upper Hutt – Boneface, Panhead Custom Ales, Te Aro Brewing and Kererū. Try award-winning local craft beer with food matches to satisfy any appetite.

A COMEDY OF LOVE, LAUGHS & HAIRBRAINED SCHEMES.

CREEP OUT Take the kids and explore the ‘BUGS! Our Backyard Heroes’ exhibition at Expressions Whirinaki from 29 June till 11 September. NZO0032_BARBER_CAPITAL

A project by

F E AT U R E

Stars in his eyes P H OTO G R A P H E D BY M A R K G E E

Mark Gee frequently ventures out under the darkest, most remote skies in New Zealand. The multi-award-winning photographer has been short-listed for Astronomy Photographer of the Year every year since 2012 and his short film, Full Moon Silhouettes, has been broadcast by NASA. Francesca Emms asked him about his fascination.

ark wants you to go out and spend time under the night sky. He says it’s a great place to sit back and ponder, and think about life in general. ‘Once you begin to think about the incredibly vast distances in space, you quickly start to realise just how small we are in the grand scheme of things, especially in this world where technology usually keeps us company. So get back to nature, head out to the darkest location you can find, and spend the night looking up at the stars − it can certainly put life in perspective.’ The first time Mark really saw the Milky Way with his own eyes he was putting the rubbish out and happened to look up. ‘It was one of those perfectly crisp and clear winter nights. I had never seen so many stars in my life.’ It was 2003 and he was visiting Castlepoint for the first time. He grabbed his camera and tripod, pointed the camera up and took a shot. ‘The photo was disappointing, as I could see more stars with my own eyes than what was in the photo itself!’ But that night ignited Mark’s passion for astrophotography.

By day Mark is a digital visual effects supervisor at Weta Digital, with a number of feature films under his belt (The Hobbit, Lord of the Rings, Avatar and King Kong, just to name a few). At night he grapples with astrophotography, which he describes as one of the most frustrating forms of photography there is: ‘It’s an environment where the weather is constantly changing, and you’re photographing in remote areas, in the dark, where a lot can go wrong.’ In addition, the night sky is continually rotating. ‘When trying to compose the landscape with the Milky Way positioned perfectly over it, you don’t have long to get the shot. In some cases, if you miss that shot, you’ll have to wait another year until the night sky lines up perfectly to your composition to try again.’ Planning ahead is crucial, he says. Mark does all his location scouting during the day, and uses apps on his phone to visualise where the Milky Way is in relation to the landscape. Focus is critical, and a difficult process as you can’t use auto-focus

F E AT U R E

at night time. The next morning he processes the images on his computer. This can take from two minutes to a few hours, depending on the complexity of the shot. ‘Putting a large panoramic night sky image together can take days. I try not to over-process an image. I like to keep it as natural looking as possible, the way I perceived the scene on the night.’ Mark’s got a few favourite locations. He mentions the Aoraki Mackenzie International Dark Sky Reserve, where ‘the skies are dark and the landscape is spectacular with towering mountains, lakes and glaciers surrounding you,’ and Great Barrier Island, which is officially recognised as a Dark Sky Sanctuary, where ‘you frequently get bioluminescence which glows blue in the crashing waves at night, which looks surreal when photographed under a starry night sky.’ Closer to home, he says Wellington’s South Coast is surprisingly good as the hills block a lot of the light pollution, ‘and rugged coastline is great for photographing against the backdrop of the night sky.’ Cape Palliser in the Wairarapa is an absolute favourite. ‘It’s the first real dark sky location I shot at. I love going there and finding new interesting compositions, and the Cape Palliser Lighthouse is always great to shoot against the night sky.’

The Martinborough Dark Sky Society is campaigning to become an International Dark Sky Reserve, something Mark is in favour of. New Zealand Transport Agency has already agreed to switch to favourable highway lighting and the Mayors of Carterton and Masterton have said they are keen to participate. If a dark sky reserve were created across all three Wairarapa districts it would be almost 6,000 square kilometres, the largest in New Zealand. The Aoraki Mackenzie International Dark Sky Reserve, which attracts tens of thousands of visitors every year, is only 4,300 square kilometres. Mark says a Wairarapa reserve would preserve and protect the dark sky and surrounding environment for future generations. ‘There will also be advantages for businesses in the area with the growth of astro-tourism, and that is certainly something that I and other local astrophotographers could get involved with, as well as having world-class dark sky locations, where we can continue to photograph and develop our art.’ But it’s about more than these practical considerations. Beyond the photography itself, Mark says spending time out in a dark location under millions of stars is something he never tires of, ‘and I truly believe it’s also great for the soul.’

SECTION HEADER

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Breaker Bay, Wellington 61

Rimutaka Forest Park, Wairarapa 63

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Red Rocks, Wellington

Winter Daydreams Wellington Thu, 20 Jun, 7.30pm Michael Fowler Centre

NEW ZEALAND SYMPHONY ORCHESTRA PODIUM SERIES

2019

Mātauranga

Book at nzso.co.nz

Wellington Sat, 13 Jul, 7.30pm Michael Fowler Centre

SEMICONDUCTOR: THE TECHNOLOGICAL SUBLIME

EVA ROTHSCHILD: KOSMOS

23 March – 14 July 2019

6 April – 28 July 2019

FREE ENTRY

Join us at City Gallery for a double helping of international art Core Partner Part of

Media Partners Eva Rothschild: Kosmos Presenting Partner

WA R D R O B E W O R T H Y

Jes s Matthews

ess graduated from Whanganui School of Fashion Design in 2005 with a love for functionality, and pockets. Now based in Wellington, the mother of two manages Summers the Label. From design to production, the label focuses on local and sustainable sources and every garment purchased donates $4 to the NZ Breast Cancer Foundation.

Right now I’m wearing... my reversible Malin Dress and trusty Sylvester biker jacket with my most comfortable sneakers, the Lacoste high tops, for a crazy day of deliveries in the cold.

Such good quality, and they’re a beautiful little design flourish. Every pair makes me happy. Obus ashima socks, $14, Mooma

Both my winter hats (knitted for me by my grandfather) have been claimed by my children and rather than fight them I’m after a beautiful replacement! Dinadi signe hat in mustard, $75, Harry’s

The one item missing from my wardrobe is… this season’s Lulie dress. Lulie reversable dress. $372, Summers the Label

My style in five words is... dependably unusual, pockets for life.

Once my Lacostes wear out, I’ll be replacing them with a pair of Vejas. I spend so much time in sneakers that I need a pair with good support and that will go with anything – and what goes better than conscientious production? Esplar sneakers, $189, I Love Paris

Next on my investment list is a giant chunky jumper and I love the colours in this one. Interval mulbery striped sweater, $325, Goodness

LIFESTYLE

DESIGNER DECADE Matariki, indigenous fashion and wine are the focus for Miromoda’s tenth annual fashion design competition and runway show. This year the Miromoda Runway Show will be held in the Michael Fowler Centre’s Renouf Foyer on 29 June. The event has been moved from its usual location of Pātaka Art + Museum in Porirua. The winners and runnersup of each category (Established, Emerging and Avant Garde) will then showcase their collections at New Zealand Fashion Week, in August in Auckland.

TO O GO OD TO WRITE IN

BLEND IT LIKE BECKHAM

HEART Y

A delightful pink concrete zigzag, an icy landscape, moody Goldfinch street captured in time, mountains ripped in half, and a graphic Bounce. These are the five stunning images on Art Zone’s limited edition greeting cards. Blank on the inside, the cards feature artists James Tylor, Kate Woods, Cam Edward, Amy Unkovich and Harry Culy and include information about the artists on the back. Each pack includes ten cards. Envelopes are included. Available at artzone.co.nz/shop.

Combat the winter chill with Wellington Apothecary’s new bath salt blends, all made with magnesium flakes, organic NZ sea salt, dried herbs, pure clay and therapeutic essential oils. They also have a new range of aromatherapy blends inspired by the elements. Or take advantage of their free consultations and get a custom blend. Jemma Scott, Co-founder and herbalist, says, ‘we always have bottomless herbal tea on offer, so make yourself comfortable, and sip on a herbal brew while your blend is made.’

Pioneering heart clinicians and their courageous patients are celebrated in Brave Hearts, an interactive exhibition by the Auckland Medical Museum Trust. The free, familyfriendly exhibition explains how the heart works, how we investigate heart disease, and the largely untold story of New Zealand’s leading role in the evolution of heart surgery. Brave Hearts is at the pop-up Winter Village on Wellington’s waterfront until 26 July.

Your first class is free with us! No prior experience necessary, just turn up. At Te Auaha Level 5, 65 Dixon Street.

Barre is known to promote strength through elegance. You will find yourself growing stronger, becoming more agile and flexible. Every exercise, stretch and movement is designed to help you build strength and flexibility. Barre incorporates targeted toning, body weight and cardio exercises to help elegantly sculpt your muscles. www.balletbody.co.nz

Park Kitchen 6 Park Road, Miramar @parkkitchenmiramar /parkkitchennz 04 388 3030

New daily specials and winter menu now available. Happy hour 4â&#x20AC;&#x201C;7pm Thursdayâ&#x20AC;&#x201C;Saturday. Spaces for private functions available

A curated range of designer ends & mill overruns. 15 Garrett Street Te Aro, Wellington thefabricstore.co.nz @wearethefabricstore

Join the

Lucky Supper Club.

5 Cable St | 04 801 8017

BUG ME

Flax weevil

20 Name: Flax Weevil

Māori name: According to Andrew Crowe, author of The Life-Size Guide to Insects, the flax weevil has no specific Māori name (or none that is known) − but weevils in general are referred to as ‘snout beetles’, later translated into Māori as pāpaka nguturoa. Scientific name: Anagotus fairburni

Status: Native, protected under the Wildlife Act (making it an offence to collect, possess or harm a specimen).

Description: A large, flightless weevil growing to about 20 millilitres long with a long, snout-like head and crooked antennae. Flax weevils range in colour from orange-brown to dark brown and black, and while on first look they can appear rather plain, familiarity lends more than a few to describe them as ‘cute’ and ‘charismatic’; three conservationists spoken to for this column all got very excited about flax weevils and New Zealand weevils generally. Fun fact: The weevil family is the most diverse family of organisms on the planet, with more than 50,000 species. Habitat: Flax weevils live exclusively on harakeke (New Zealand flax) or wharariki (mountain/coastal flax), spending the day hiding out at the base of the plant and emerging at night to chew away on

THE ADAM PORTRAITURE AWARD CALL FOR ENTRIES

the leaves, leaving characteristic oval indentations in their wake. Flax weevils were once widespread throughout New Zealand but due to predation by rats are now restricted to rat-free islands and, occasionally, alpine areas where rats aren’t numerous enough to wipe them out. Near Wellington you can find them in the Tararua range or on Mana Island (see below for a great story about the Mana Island population). Look/listen: In areas where they do well, you’re most likely to spot a flax weevil at night. But try not to disturb them – touching one will cause it to activate its defence mechanism of dropping to the ground and disappearing among the leaf litter below. Tell me a story: In 2004, 80 adult flax weevils were transferred from the Marlborough Sounds to Mana Island. Another 70 were released there a couple of years later. For reasons as yet unknown (there are theories, which you can look up online), the population did incredibly well − so well that by 2013 the flax at the release site had collapsed and died. This was all great news for flax weevils but not so much for the other species on Mana Island that rely on flax − namely bellbirds, tui, and a couple of gecko, including the rare Goldstripe gecko, which has its biggest population on Mana.

First prize: $20,000 Runner up: $2,500 People’s Choice: $2,500

Enter online now at nzportraitgallery.org.nz Entries close 8 December 2019 New Zealand Portrait Gallery Shed 11, 60 Lady Elizabeth Lane Wellington Waterfront, Wellington 6140 (04) 472 2298 nzportraitgallery.org.nz

EDIBLES

T WO T Y PE S OF SPIRITS Both believers and non-believers are invited to Paranormal Readings and Cocktails (Crumpet, 19 June), during the winter-solstice festival Lōemis. Crumpet mixologist Dan Felsing will create three paranormalinspired cocktails, to accompany readings by authors Pip Adam, Dominic Hoey and Chris Tse. Chris, Wellington’s most-affable and best-dressed poet, is writing something spine-tingling. ‘I'll focus on how alcohol has been part of rituals involving the dead in different cultures. It sounds pretty morbid, but I'll make sure it's entertaining!’

GO OD THINGS IN THREES

TE WHEKE

GAME CHANGERS

Beer, peanuts and chilli sounds like a pretty perfect combo. Miramar’s Piece of Cake boutique kitchen has created a chilli and beer peanut brittle made with Mean Doses beer. The team at Mean Doses tell us it’s a beautiful balance of sweet and spicy and goes well with a fresh Mean Doses brew. But watch out – it’s highly addictive. Ask for it when you’re visiting Mean Doses Brewery and Fillery at 130 Tory Street, Wellington.

For our first foray into the fantastic festival of food that is Welly on a Plate, we’re sticking with what we know – telling the tales of the city. Join us and narrator Rachel House (Hunt for the Wilderpeople, Thor: Ragnarok) for a thrilling re-telling of Kupe and Te Wheke, an adventure story of the trials encountered on Kupe’s journey from Hawai’i to Wellington. Egmont St Eatery and wine from Luna Estate will help keep you thoroughly enthralled. Te Wheke, Prefab Hall, 5 & 6 August, bookings essential.

James Cameron has helped produce The Game Changers, a documentary claiming that meat is not necessary for protein, strength, and optimal health. On the set of Avatar 2 here in New Zealand, Cameron has implemented a largely vegan menu for staff. The director, who himself has been vegan for around eight years, suggests the diet has the capacity to put Viagra out of business and be a major factor in turning the tide against climate change.

129 Willis Street BurgerLiquor.co.nz 11:30 - Late Everyday

EDIBLES

WA S T E N O T WA N T N O T Love Food Hate Waste, an initiative to combat food waste and the vast associated financial and environmental costs, has gone through our rubbish (gross!). They report that the average New Zealand household throws away 86kgs of edible food each year – that’s about three shopping trolleys full. Wellington City Council’s Draft Long Term Plan 2018–2028 contains a commitment to investigate ways of diverting food waste from landfill, such as dedicated food waste collection.

HOLY COW

BIRTHDAY BAKES

TRIPLE BEEF BILL

Coffee Supreme is supporting the Gitesi Project, a charitable initiative which provides financial stability for coffee-farming households in Karongi, Rwanda. Each household receives resources, training, and a cow (for year-round nutrition and as a secondary income outside the coffee harvest). In the past three years, 54 families have been provided with a cow and a shelter for the animal, and had their vet costs covered. This year’s Gitesi roast has notes of sweet orange, chocolate and caramel.

A Petone bakery is helping kids with parents in prison feel special on their birthday. Owner Bridget Chessman, a finalist in last year’s Wellington Business Excellence Awards, began making cakes for her daughter. They talked about how other children aren’t as lucky, and the idea for Cake It Forward was born. Anyone who orders a Cake It Forward cake is helping to cover the cost of a birthday cake for someone who wouldn’t otherwise get one.

Pravda’s Beef Series is back for a second year with three delicious dinners designed to teach diners something new about beef. The first, ‘Marvellous Marble’ (6 July), offers diners the chance to school up on the nuances of beef marbling, ask questions, and indulge in a five-course meal matched with Mt Difficulty wines. ‘Who Wore it Beast’ is on in September and ‘Cut the Beef’ in November.

Brewery, Roastery, Eatery

find us just off Cuba Street at 62 Ghuznee Street huskbar.co.nz huskbar

S H E A R E R S ' TA B L E

Beef Guinness stew with pão de queijo BY N I K K I & J O R DA N S H E A R E R

inter for us is all about slow cooking, rich hearty flavours, candlelight, snuggly blankets, crackling fires and surrounding yourself with those you love. Every Kiwi household has their own version of a ‘stew’. Basically it starts with a flavour base of braised vegetables, then some robust flavours such as wine or beer, a beautiful secondary cut of beef, rich stock, and a big dollop of time. This stew recipe also celebrates traditional Brazilian

cheese balls, pão de queijo. Crispy on the outside and decadently chewy on the inside, pão de queijo are made using tapioca flour − a starch extracted from the storage roots of the cassava plant. The flour has been called the holy grail of gluten-free flours; as well as adding a crispy cheesy goodness to the top of this stew, the cheese balls are also a sensational gluten-free nibble served hot out of the oven with aioli on the side. Serves 6–8

GUINNESS STEW

PÃO DE QUEIJO

¾ cup flour 2 tsp sea salt 2 tsp smoked paprika, 1 tsp ground turmeric, ½ tsp ground cumin, 1 tsp garlic powder, ½ tsp cracked black pepper 1.5kg diced beef (approx 3cm − we use topside, trimmed of large pieces of fat) 3 Tbsp olive oil 2 large onions, peeled and finely diced 3 garlic cloves, peeled and crushed 2 carrots, peeled and chopped 2 sticks celery, chopped 750ml Guinness 50g butter 250g button mushrooms, washed and sliced 250g portobello mushrooms, washed and sliced 4 Tbsp tomato paste Generous handful fresh thyme, finely chopped

1 cup whole milk ½ cup vegetable oil 1 ½ tsp table salt 2 ½ cups tapioca flour 1 egg, whisked ¾ cup parmesan cheese, grated ¼ cup smoked cheddar, grated 20 x 1 cm cubes mozzarella cheese

1. 2.

3. 4. 5. 6.

Heat oven to 170°C Mix flour with salt, paprika, turmeric, cumin, garlic powder and pepper in a large bowl. Evenly coat beef pieces in the flour mix. (Or, if you can get your hands on some Traegers Big Game Rub, we sometimes add 4 tsp of this to the flour instead of the individual spices). Heat 2 Tbsp of oil in a pan. Over a medium heat, fry the beef in batches until browned, adding more oil as needed. Remove and place in heavy casserole dish. In the same pan add 1 Tbsp oil, and sauté the onion, garlic, carrots, and celery for five minutes. Pour in Guinness to deglaze pan and add vegetable mix to the beef in casserole dish. Add butter to pan and sauté mushrooms for 3-4 minutes, seasoning with salt. Add mushrooms to beef with tomato paste and thyme. Cover with lid and bake for three hours, stirring half hourly (If you do not have a casserole dish with a lid, make sure that your dish is well sealed with tinfoil). While stew is cooking, prepare pão de queijo. 74

Makes approx 20 1. 2.

4. 5.

In a medium pot, heat milk, oil, and salt, until just coming to the boil. Remove from heat and while still hot, immediately beat in tapioca flour with a wooden spoon. Dough will be grainy and gelatinous. Add dough to electric mixer, and beat for 2–3 minutes, adding grated cheese and egg, ensuring it’s well mixed. Roll into tablespoon-size balls, inserting mozzarella cube in each centre and covering it completely with dough. After cooking stew for 3 hours, increase heat to 200°C and top stew with pão de queijo, then remove the lid. Bake for a further 25–30 mins or until balls are golden and crispy. Alternatively you can bake the pão de queijo separately on an oven tray and put them on top of stew, or on the side for dipping.

LIQUID BRIEFS

C O L L A B O R AT I O N IS KEY After they took us through their infusing processes (CAP #61) we just had to team up with CGR Merchants for a fab new cocktail collaboration. Any time in June pop upstairs to CGR’s cosy Courtenay Place cocktail bar for a quenching Peachy Keen or a rich Chocolat-a Love. The savoury Fowl Play is made with fried-chicken-infused rum, and This & That is a milk-washed boysenberry gin served with a side of ‘coconut mousse’. This is the second in our Capital Collab series; the first was with Mr Go’s.

DAILY GRIND

ART Y PART Y

Emporio Coffee, a roaster and espresso bar just off Cuba St, has launched a new weekly coffee subscription. The deal is they’ll deliver 1kg of fresh coffee every week, from a different origin each time for the first eight weeks to keep things interesting. After that, you tell them what you like best, or if you need more. If you commit to two months they’ll give you the first week free.

In the five years since the Tuatara Open Late nights at City Gallery began, more than 24,000 people have enjoyed the monthly mix of art, music, film, talks, beer, wine and food. To celebrate the Open Late’s fifth birthday on 6 June there will be special birthday treats, along with art talks, an exhibition tour, book club, beats by Radio Active DJ B.Lo and of course, cold Tuatara brews. Celebrations will wind up with singersongwriter Nadia Reid performing.

Did AnYone here order A truckloAd of hops? Our latest release, arriving at a supermarket or bottle store near you.

GIN WIN Denzien Urban Distillery’s Te Aro Dry won Best New Zealand as well as Best Overall in the gin categories at the New Zealand Spirits Awards last month. The judges noted an intense floral aroma, pleasant length and dryness, and great balance and complexity. Directors Eamon O’Rourke and Mark Halton opened the distillery and tasting room in Lombard Lane late last year.

Introducing...

Spy Valley -E BlockMarlborough Sauvignon Blanc

A tilt to something new.

Seek Spy. Find why. Family owned // Sustainably crafted For wine lovers spyvalleywine.co.nz // #seekspy

Proudly distributed by Red + White Cellar - redwhitecellar.co.nz

EXPERIENCE Behind the Scenes

Conservation in action. Join our rangers as we journey through the forest and witness the breed for release programmes taking place, restoring the birdlife across Aotearoa.

W e l l i n g t on â&#x20AC;&#x2122; s n e w e s t b u l k r e f i l l e r y a n d e c o s h o p

R E FI LL

Bookings recommended - www.pukaha.org.nz 40minutes North of Greytown, Wairarapa

R E P U R P O SE

R E TH I NK

1 1 H o p p e r s t , W e l l i n g t o n www.hopperecoshop.co.nz

Showroom Cnr Riddiford and Green Streets (next to duncan mclean) See website for opening hours

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F E AT U R E

Loafing a bout W R I T T E N BY M E LO DY T H O M A S P H OTO G R A P H E D BY LU K E B ROW N E

Just along from the corner of Riddiford and Constable Streets there is an unassuming hole in the wall selling some of the best sandwiches in town.

ou could miss it, if it weren’t for the row of seats on the footpath and the bunch of miscellaneous Newtown characters regularly making the most of a pleasant place to perch. This is Good Boy − the brain child of Al Green and James Paul, bandmates and besties. Besties is probably not the word they’d

choose to describe their relationship, but what else do you call a couple of guys with friendship tattoos? James and Al go way back, though their lives ran in parallel for a while before finally intersecting. They both went to the NZ School of Music (colloquially known

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as ‘jazz school’) but were in different years and didn’t really hang out. They both moved to Melbourne (and still didn’t hang out), but in the end heartbreak led them to each other. Around the same time, both of their girlfriends broke up with them − and they found themselves waiting dejectedly for the same flight back to Wellington. They drank at the airport bar and talked for so long they nearly missed their flight. By the time they landed, Al had invited James to join his band Groeni − which began as a solo project but was going to need a couple more musicians. The third member, already recruited, was Mike Isaacs, who also went to the jazz school and who had actually taught − and failed – Al back in 2013. In the years following Groeni released an EP and a full-length debut, both well received here and overseas; soon after the release of album Nihx, they came up with their next big project. One warm night towards the end of their annual summer bender, the boys were drinking, again. They joked about opening a sandwich shop and then made it happen. These days, Al and James dream up a couple of sandwiches every week, always a meat and a vegan option, loading up bakery bread with flavour combinations like burnt orange beetroot, candied walnuts, brazil

nut ricotta, and vegan remoulade, or rare beef, kale and garlic chimichurri, mayo and rocket. Al, who’s worked in kitchens since he was 18 and as a chef for half of that time, is the savoury flavour wizard, and James looks after the business side and bakes the vegan cookies. Nearly 18 months after opening, Good Boy has well outlasted James’ expectations (Al thought they’d still be going strong but that’s because he believes in James. James was less sure because, well, he has to work with Al). It has meant less time to devote to music, so Groeni has been on pause since Good Boy kicked off. ‘That was maybe overdue. We’d been playing and writing a bunch together,’ says James. But recently the band started rehearsing again, with a mind to playing live and releasing more music shortly. Part of Good Boy’s success lies in the story at the heart of its brand − of a couple of unlikely wasters who accidentally began a business. This story is told again and again, in increasingly ridiculous detail on their Instagram feed (which has been described by customers as ‘anti-marketing’), and it’s a good one. But the truth of the matter is that Al and James care about what they do, and they’re great at it. As anyone who’s tasted their food, or who loves their music, will tell you.

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BY THE BOOK

ONE JUST WRITES Forty or so years ago, Fiona Kidman’s novels, short stories and poetry were dismissed by male critics as ‘the thinking woman’s Mills and Boon’ and ‘the menstrual school of poetry’. Her response? ‘One just keeps writing,’ Fiona says. Last month she won the $53,000 fiction prize in the Ockham NZ Book Awards for her novel A Mortal Boy. The Wellingtonian, 79, also won the national fiction prize 31 years ago. ‘It’s been a long time between drinks. It still means as much. And I won’t stop writing. What else would one do?’

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A 2019 report on writers’ earnings in New Zealand found authors earn an average of $15,200 per year from writing, many supplementing it with nonwriting work. The endurance required to write despite its penury became a theme in Season Two of the New Zealand Society of Authors’ podcast series. In seven podcasts, broadcaster Karyn Hay introduces and plays recorded interviews with authors conducted over the past 30 years for the NZSA Oral History Project.

Levin author (and Horowhenua College library manager) Carole Brungar has won the Australia/New Zealand Best Regional Fiction prize in the global Independent Publisher Book Awards, for her novel The Nam Shadow ($35). A sequel to her bestseller The Nam Legacy, it is also about Kiwis who served in the Vietnam War. Carole travelled to Vietnam and watched many documentaries. ‘Veterans have contacted me, and some said reading the books was cathartic.’

They’ve often been overlooked by historians, but the 28th (Māori) Battalion played a key role in World War II. Wellington historian Sir Wira Gardiner tells the stories of the WWII front-line infantry battalion’s B company of 900 men (one is still alive) in a handsome, heavy hardback with a very long title: Ake Ake Kia Kaha E! B Company 28 (Māori) Battalion 1939–1945 (Bateman). Illustrations include maps, letters and photos.

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SEB CY T I TOHNE HBEOAODKE R

Re-verse I N T R O D U C E D BY C L A I R E O R C H A R D

About the poet: Yazan El Fares attends Mana College, where he has been part of the student council, and enjoys playing football. He is from Syria, has been in New Zealand for two years, and hopes to one day study dentistry at university.

W H E N M Y FA M I LY

Why read it: The first stanza is a delicately wrought depiction of a family evening. The courtyard with the grapevine, the mats on the floor, the details of the grapes and watermelon provide access into the scene. But the poet is careful to maintain a balance between what he reveals and what he keeps from us. We can see the tableau clearly, and yet the names and relationships of the family members are not mentioned, the title of the TV drama not given. This shift from the specific to the indistinct helps show this scene as one that could be unfolding in many families. Maybe something similar is going to be happening at your place this evening. Why I like it: At least partly because it connects to my own experience of family; with the minor substitutions of biscuits for the fruit, of a warm sitting room for a grapevine shaded courtyard, this is a spot-on depiction of how evenings with my extended family often play out. We lounge about watching TV. We discuss and debate what we’re seeing on the screen, or what we’ve read or heard out in the world earlier in the day. And sometimes, ‘when there are two sides’, our ‘voices go up.’ In the end, we agree, or we agree to disagree. You’d imagine, at the end of such evenings, it would only take ‘five minutes to say goodbye’. But of course, as the final stanza highlights with quiet humour, this is not the case. The rituals of departure always take much, much longer. The deeper delight I take from this poem is the way that final stanza reminds me of the unspoken deal families have going for them. Whatever we say or do, we remain family. And at least a part of what we’re communicating with our extended leave takings is that we know we’re the lucky ones; the ones able to be all together. More like this: This poem is from an impressive collection of poems, More of Us, a stunning selection of poetry about the migrant and refugee experience by a range of writers, from first-time authors to well established poets, recently published by Landing Press. I recommend getting your hands on a copy and, when it leaves you wanting more, the good news is it has a companion volume, the equally engaging earlier collection All of Us.

I S A L L TO G E T H E R

We sit in the courtyard in the shade of the grape vines. We put mats on the floor, we have tea and fruit – grapes and watermelon. Sometimes we bring the TV outside and we all watch our favourite drama. Some are sitting, some are lying, some are talking, some are listening. They get into the talk, they discuss, they get excited about their talking, and when there are two sides, their voices go up. At the end when we finish it takes five minutes to say goodbye and another five minutes and another five minutes and another five minutes. By Yazan El Fares from More of Us, edited by Adrienne Jansen (Landing Press, 2019)

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Let there be lig ht P H OTO G R A P H E D BY A N N A B R I G G S

Lighting designer and artist Marcus McShane talks to Sarah Lang about his work, living in a car, and saving the planet.

arcus McShane sprawls on a couch wearing a pink cap and faded jeans. He talks around topics, and ends sentences with ellipses. ‘I’m a terrible waffler, sorry… I waffle a lot… am I waffling right now?’ He is. But he’s also laid back, likeable, and very good at what he does. Asked what he does, he simply says ‘designer’. He doesn’t mention that he’s considered one of New Zealand’s best, and most prolific, lighting designers. Over the past 12 years, Marcus has tackled 400-plus projects – around three a month. His 20-plus awards include six Wellington Theatre (formerly Chapman Tripp) Awards for his lighting design, five NZ Fringe awards for his light-based artworks, and two Architecture NZ awards for his work lighting buildings. Marcus, 42, nods when people ask if he’s got enough work. Actually, he’s booked out two years in advance – with a little leeway for interesting projects that pop up – working mainly in New Zealand and occasionally internationally. He once helped a friend design and light a complex animation for an event at the New York Metropolitan Opera. Six months out, his schedule has few gaps. ‘Timeframes can be fluid, but it all works out. I enjoy the variety.’ Lighting design is much more complicated than I’d realised. In theatre, lighting designers work with the director, choreographer, set designer and sound designer to create the onstage atmosphere, look, and ‘time of day’ (say, dusk). ‘Essentially, a lighting designer directs where the audience should look at any one time. It’s like being the Director of Photography in a film – you’re framing all the shots.’ He’s no longer the lighting operator/technician at the back of the theatre who gets a shout-out at the end. ‘I do miss the immediacy of being that guy.’ The technician operates a console that controls multiple lights, according to Marcus’s design. When productions tour, Marcus sometimes fields late-night calls from the technician. ‘They might say “this space isn’t what we thought at all,” and I’ll say “send me photos”. Although I’m in my underpants in Wellington, somewhere else a laptop gets

plugged into the venue’s sound system so I can Skype in and explain the changes I’m making, while people wait for me to edit the “plot”.’ The lighting plot is a fourdimensional image of the show’s lighting – a bit like an architectural blueprint – that Marcus creates using design software. He takes on the occasional concert, and was both lighting designer and lighting technician for Russian protest punkrock group Pussy Riot’s shows in Auckland and Wellington earlier this year. ‘Pussy Riot was crazy, ad-hoc, fun. I never knew what they’d do next, so I was improvising with them and just going with it.’ What about his lighting design work for buildings? ‘That’s some of the best fun I’ve had. I dream about what a structure or space could look like at night, then, generally, water this down to practicalities.’ His projects have included commercial buildings, heritage buildings and museums: sometimes the interior, sometimes the exterior, sometimes both – for example, Olive café and its courtyard. He decides which features to draw attention to. ‘If people don’t notice the lighting [design], particularly in architecture, you’ve done a good job. You’re trying to be invisible, in a way.’ A favourite project was projecting a dappled pattern evoking a ‘sunlit’ oak forest on the vaulted ceiling of Old St Paul’s cathedral for an event; the church staff loved it, so it stayed there for months. Some of his lighting is kept permanently. Marcus doesn’t see much difference between being a lighting designer and a ‘light artist’. ‘Everything bleeds into everything else.’ His widely-exhibited installations produce light, or are created through the manipulation of light, colours and shadows. In 2015 his work Sky represented New Zealand at the Prague Quadrennial international design festival. Marcus used a night-vision camera to track Wellington’s clouds, whose shapes were plotted on a grid then projected, in miniature and in real time, onto the ceiling of a ballroom in a Prague palace. His most-exhibited work is performance piece Nag. Two people pedal bikes which power everything (such as laptops) that they need to do their own work in the

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exhibition space (which might be, for example, a shipping container). Marcus typed, with difficulty, while pedalling. ‘The more things you turn on – printer, lights, record player – the harder you have to pedal. If you stop, everything goes dark which is fun.’ Nag uses washingmachine motors rewired as generators, and other ‘dumpster-dived’ parts found in skips. Yes, he’s a kind of ‘eco-artist’. ‘But I try not to rant about the environment to people. Being preached at by a vegetarian, bicycle-riding, anti-flying, dumpster-diving hipster-artist definitely turns people off.’ He hasn’t owned a car for 20 years and still dumpster dives. ‘Once I found 96 perfectly good blocks of halloumi, which I could barely carry on my bicycle. Everyone in my flat gained weight.’ Now Marcus and his partner – actor/writer Claire O'Loughlin – share 12 bikes and an apartment in the central-city Hannah’s building. Marcus lived on a yacht docked in Evans Bay on and off for six years. ‘Claire grew up on a boat, so that’s probably how I snagged her!’ Working largely from his kitchen table, and visiting locations, Marcus spends about half his time on lightingdesign jobs and half on artworks. But the design work provides about 80% of his income. ‘That’s important now I have a mortgage.’ He’s most productive between 8am and 10am, and (about twice a week) between 11pm and 2–3am. Marcus sometimes suffers from insomnia, which he finds aggravatingly inefficient, so when he can’t sleep he gets up for a bit. ‘That’s when I worry about the world. But I've got some hope right now, with the climate-change protest movement. I went on the kids’ climate-change march – the only time I've felt both old and joyous at the same time.’ New Zealand’s gross CO2 emissions equate to 16.5 tonnes of carbon dioxide per person per year. In 2018, Marcus kept his own greenhouse-gas emissions under 1.9 tonnes. If everyone in the world followed his lead, it would reduce global warming by about 25%, postponing the worst effects of climate change until, hopefully, humans manage

to reduce emissions globally. So, last year, Marcus chose not to go on a Caribbean sailing holiday with Claire and her mother, because it involved long flights. Instead, he biked around New Zealand. They don’t have kids – yet. Marcus was raised by a cash-strapped solo mother. From ages five to nine, he travelled with her between fruit-picking and other temporary jobs. Mostly they lived in their 1960s Morris Minor traveller, with a mattress in the back. ‘I thought it was all a big adventure.’ They never stopped for more than eight weeks, so Marcus attended 14 primary schools. His parents had broken up before he turned one. ‘When I was 10, Mum ran into my father again and we moved back to Wellington. They’re still together. I’ve got a brother 15 years younger than me.’ Marcus did a Master’s degree in English Literature, and an honours degree in philosophy. ‘I paid my way through uni by working for a lighting company – mainly rigging concerts – and suddenly I had a trade. I enjoy making, fixing, fiddling with things. I like simple, efficient things that last, or can be reused.’ Also a writer, he has drafted a novel, and written many ‘short rants’: opinionated, sometimes funny, mini-essays. They’re all 101 words long because he liked the challenge, then the uniformity. His ‘rants’ form the basis of the ‘101 Rants’ exhibition he curated to celebrate BATS theatre’s 30th birthday. Written mainly by Marcus, along with some other writers, the 101-word ‘rants’ are displayed inside 30 energy-efficient lit-up panels in BATS’ bar and entrance area. Marcus swaps out the rants for others every week; the exhibition, naturally, is on for 101 days (until early July). In one rant, Marcus admits that ‘being Green I’m trapped with Labour’ while Freya Daly-Sadgrove rails against Whittaker’s pink and blue ‘gender-reveal’ chocolate. ‘Work is always stronger when other people feed into it and collaborate with you,’ Marcus says. ‘I love that side of what I do.’

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HOME

Roseneath reno P H OTO G R A P H E D BY A N N A B R I G GS

A Wellington couple looked beyond the rundown villa they bought on the hill in Roseneath, charmed by its position and rambling and overgrown site. Sarah Catherall visited to see how it’s changed.

hen Sarah Harrow and her husband, Rob Douglas, bought their new home on The Crescent six years ago, they had glimpses of Oriental Parade and across Wellington harbour, but their view of the sea was obscured by a forest of pine trees. ‘It was like a little bit of the country in the city,’ recalls Sarah. The section and the house lost the sun, permanently blocked by the trees. For the first two years after they moved in, the couple and their children – Sam, now 13, and Scout, now 11 – had two diggers permanently on site removing the large trees and bush covering much of the 930-square-metre property. With a second entrance off Grass Street, their property has eight adjoining neighbours and eight boundaries.Their neighbours also pitched in to clear the trees on their site and one below it, so they could collectively enjoy sweeping sea views. Today, a stack of firewood beside the sliders to the renovated house is a physical reminder of the trees. Sarah and Rob spent many weekends weeding and landscaping, and today they enjoy the fruits of their efforts – a lush, natural garden full of natives. Rengarengas line a new stone pathway, and grasses wave in the breeze. ‘We hauled sacks and sacks of branches off the property to get it this way,’ Sarah groans. It’s hard to imagine the Roseneath property the way it used to be, although there are remnants of its former life. Along with the stack of firewood, a tyre swing hangs from a pohutakawa tree, while a massive rhododedron takes pride of place on the manicured front lawn. The house had been a rental for many years, and had been added to and renovated in its lifetime. Sarah and Rob had rented a house across the road, buying their home privately

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from its owners whose home adjoins their property and overlooks their section. When they bought the house, Sarah says: ‘It was pretty horrible, with a dark kitchen and vinyl wallpaper. It had been a rental for so long it wasn’t in a great state.’ The house wasn’t big enough, didn’t make good use of the sun, and had poor insulation and gaps in the exterior so was freezing cold. The couple employed architect David Melling, of Melling Architects, to revive their home and give it a contemporary look. David didn’t bother retaining existing windows, doors, bathrooms or kitchen joinery, describing much of the more than centuryold house as well past its use-by date. He also decided to remove an addition from the front of the living area and a lean-to from the back. ‘The original part of the house from the turn of the century was the part we wanted to keep and restore to its former glory,’ he says.

However, with the additions gone the original cottage was no longer big enough for the family of four. David adds that the house was well positioned on the site, however, with plenty of room to add an extension. His objective was to create a modern family home, making the most of the sun and stunning views over the harbour and city. He designed a seamless modern extension to the original villa, connecting the two buildings by an internal hallway with a flat roof. This hallway is the first point of contact for visitors, with a main entrance at one end, and opening to a view at the other. Sarah loves her open-plan kitchen and living area. It’s a modern, fresh space, with recycled rimu floorboards from the demolished parts of the house. One of the standout features is the macrocarpa kitchen ceiling, complete with an extraction fan hidden behind it. It is a simple but stylish space, with

HOME

a stainless steel bench and white subway tiles as a splashback. David tried to reuse the native timber in the house. The kitchen features an island bench, shelves, and fridge and pantry surrounds in recycled rimu. Outside the kitchen and living area, a louvred canopy extends to the perfectly flat lawn. The new wing used to house a 1970s addition including a man-cave. Once the structure was bowled, the resident diggers carved out more room beneath, sending the spare dirt down a ramp on to the neighbour’s property below. Before Sarah and Rob’s renovation, the neighbour below had a steep site; they also now have a flat lawn. The couple’s master bedroom is on the top floor of the new wing, an understated space with a deck, a dressing room and an ensuite. The extension is covered in vertical shiplap macrocarpa weatherboards. Beneath the house where the man-cave used to be there are now a spare bedroom, study, ensuite and utility room. The

last houses the solar battery storing power from the 24 solar panels on the roof, which have reduced the family’s power bill to about $150 a month. Solar power is a fitting choice, as everything about this house is stylishly understated and as natural as possible. Even the entrance is low key and hidden: from the road, you wouldn’t know this beauty is 25 steps away. Rob enjoys the way his renovated home opens up and flows to the outside. ‘The property is in such a unique position on the hill and we wanted to capitalise on its position by getting the best of the views and sunlight. At the same time though it was important to have privacy from our neighbours who are on all sides.’ Asked if she is a keen gardener, Sarah shrugs her shoulders. However, she grew up on a Canterbury berry farm, and she spends about a third of the year there, running her family’s berry shop over summer. Along with the expansive spaces she is drawn to, she tends her urban vegetable garden near the front door. ‘We fell in love with this place. I just love being home,’ she says.

GOOD SPORT

SURF’S UP Local surf lifesavers have been recognized for hard work, dedication and skill at the 2019 Capital Coast Surf Life Saving NZ Awards of Excellence last month. Teri Anderson of the Paekakariki Surf Lifeguards received the Distinguished Service Award and was also named Surf Official of the Year. Amy Spiekerman, also of the Paekakariki Surf Lifeguards, received a Service Award and was named Volunteer of the Year. Lifeguard of the Year went to Palmerston North’s Elizabeth Baty.

WHEELIES

WINTER RUN

QUICK HANDS

It’s rugby, but it’s played on a court, and forget the oval ball. Wheelchair Rugby has many twists on the traditional game, but the physicality of the sport remains and gives para-athletes looking for a bit of rough and tumble a chance to get their fix. The second round of the Wheelchair Rugby Championships is coming to Wellington this winter. Hosted by parasport charity Dsport, the competition will be held at Porirua’s Te Rauparaha Arena on 20 and 21 July.

Attracting more than 5,000 runners every year, the Gazley Volkswagen Wellington Marathon (30 June) is a major event on the region’s running calendar and offers a Kid’s Magic Mile, full and half marathons, and a 10k. Gazley’s own team is made up of 31 staff and partners, most of whom will be running the 10km. Aaron Musgrove (Group Operations & Marketing Manager) tells us that Gazley's paid for training to get them ‘from couch potatoes to 10km, in 10 weeks.’

Competitors will race against the clock as they twist, twirl and tussle with the infamous Rubik’s Cube, and other less famous twisty puzzles, at the Oceania 10th Anniversary 2019. An official speedcubing competition sanctioned by the World Cube Association, Oceania is the first event of the Cubing Down Under Tour series of competitions leading up to the WCA World Championship 2019, in Melbourne. Hosted by Wellington College, Oceania runs from 28 to 30 June.

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T O R Q U E TA L K

Czech mate W R I TT E N BY RO G E R WA L K E R P H OTO G R A P H E D BY LU K E B ROW N E

zechoslovakia’s Skoda has always been a car company full of character. Before they came out from what was then the Iron Curtain, Skodas were ... interesting. Volkswagen took command of the company, and these days Skoda produces practical, cleverly designed, reliable vehicles. And they’re great value for money. In Skoda’s car and wagon range, we have (small to larger) the Fabia, Octavia, and Superb. There have been rave reviews in Europe for the Scala family hatchback which is soon to be released in New Zealand. It fits between the Fabia and the Octavia. The littlest family member, Citigo, is not sold in New Zealand, but is popular in fuel-conscious Europe. The Koroq and Kodiaq are their SUVs, and the company’s RS badge lets you recognise the sporty versions. I’m reviewing the top of the line Kodiaq RS which is not that much more expensive than the base Kodiaq. It’s the biggest, most powerful and fastest Skoda ever built, and holds the lap record at the Nurburgring for a seven seater SUV. This makes a modern day family’s transport comparable to the Jetsons. It’s handsome, with art house 20 inch wheels set close to each corner of the well proportioned bodywork, resulting in a look of subtle aggression. It is thrust along by an upgraded 2-litre twin turbo diesel producing 176KW and a mountainous 500NM of torque which if you’re in a hurry will get you to100kmh in seven short seconds – pretty, good for a seven seater SUV. Synthesised engine noise makes it all sound more interesting to those inside. This frugal powerhouse (7.7 litres per 100km) is connected via an electronic dual clutch to a seven-speed box, and it’s AWD – 4-wheel-drive on demand. Some overseas reviewers have described the Kodiaq RS as ‘athletic’, but I like Skoda’s mantra – ‘Simply Clever’. Inside is an interior capacious enough to provide head and leg room for Stephen Adams. There are heated seats, and integrated headrests for the driver and front seat passenger, while red stitching sets off dark-toned Alcantara finishes. The flat-bottomed steering wheel is heated too, and the digital touch-screen dashboard provides multiple ways of knoblessly viewing large amounts of information. Aluminium sports pedals greet the feet.

Clever bits I have never seen in another vehicle include a central glovebox which has a removable bottle holder that grips your drinks so firmly that only one hand is needed to screw their tops, and there’s a trash compartment in each door. There are two gloveboxes one above the other on the passenger’s side. One has a pen holder (with a pen) as well as a brolly. There are also clever edge protectors (to stop those paint chips on the doors) which appear and disappear as you open or shut the doors at supermarket parks, and there’s a removable LED in the boot to inspect that animal you just ran over. Rear passengers have separate heated seats, and their own climate control. Retractable sun shades are fitted to the side windows. The rear space has two seats, which when folded down allow a huge 600 litres for whatever you want to carry. Cameras on the wing mirrors supplement those at the front and rear for 360-degree vision. At the rear, the towbar folds away, and the boot lid controls itself, when your hands are full of stuff. A curiosity at the rear is that one of the twin chrome tailpipes is functional, and other a dummy, which might signal the future possibility of a different motor or maybe a hybrid. The easy-to-read controls cover various modes: ‘Eco’ shifts the transmission earlier, frugalises climate control, utilises downhill coasting and heavies up the steering (to use less energy). ‘Comfort’ has softer suspension. ‘Sport’ stiffens suspension, sharpens steering inputs, and introduces anti-roll chassis control for spirited cornering. ‘4x4’ has hill descent control and off-road camera views showing approach/departure angles. In Europe there is a growing resistance to driverless cars. The Kodiaq RS does the boring bits of motoring and leaves you to confound the driverless believers and enjoy the pleasure of driving it. If I bought one, I might have the optional glass sliding sunroof to lighten the interior. Otherwise my girlfriend, my four children, and one fortunate grandchild, would not change a thing. Skoda: they’ve come a long way.

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WĀ H I N E

Cluster about BY M E LO DY T H O M A S

une is here and the good days on which you can’t beat Wellington have officially retired for at least a few cold, blustery months. Let’s not kid ourselves − it’s gonna get miserable. Most of us live in draughty old houses where you can still feel the southerly on your face as you shiver in bed. Parents with high-energy children are staring down the barrel of months of effort to stay sane while they bounce off the walls. Yes, we be layering so fashion gets a win; but turns out those boots you were told would definitely keep your feet dry definitely don’t. Plus Game of Thrones is over forever and because the season was shorter there are whole months where it’s not around to keep us going. But at least we have Matariki. The beautiful Māori New Year, a shining beacon in what would otherwise be a dark, directionless time. Every year in June or July (this year from June 25) a cluster of stars known as Matariki (also the Pleiades) reappear in the skies, signalling to Māori whether the coming season will be warm and abundant or somewhat bleaker. At that time, people gather with whānau and friends to reflect over good food, music and games. It’s a wonderful celebration, and one that − luckily for those of us who didn’t grow up knowing about it − has enjoyed increasing exposure in recent years. These days, the Matariki calendar is packed with free public events including musical performances, star-gazing events and storytelling − even the annual fireworks display has come to join the party. Parents all over the city are thankful − no longer must we ferry the kids into town on the bus for a Guy Fawkes display at the hellish hour of 9pm. If

we’re lucky, we might see the return of Matariki the Southern Right Whale (though maybe the baleen bae could postpone his arrival until after the fireworks on June 29 this year?) The older I get, the grumpier I become over holidays that originate in the northern hemisphere and are translated to the absolutely wrong climate here at the bottom of the world. The historical roots of Easter lie in a pagan celebration of spring, and yet we trade eggs and bunnies in autumn. Halloween comes from the ancient Celtic pagan festival Samhain, marking the end of summer, a bountiful harvest season and the beginning of the cold months – and we dress up as ghouls and beg for sweets in spring, when the coldest months are behind us. Have you ever wondered why your New Year resolutions fail every single year? Do you think it might have something to do with the fact that you’re trying to make goals and plans at a time of year that is all about excess and frivolity? Who wants to reflect and take stock when the sun is shining and the beach is calling? Who can drink/ eat/smoke less when everyone around you is living it up like they’re rolling with Bacchus? Much better to do all of this at Matariki. To gather the people you love around you, to eat delicious, hot food. To reflect on what you’ve all achieved, to remember the people you lost on the way, to celebrate those who came into life and to plant the seeds of plans and goals that will spring into being as the world starts to warm again. Matariki happens at exactly the right time because it came about in this very place.

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Capital 62

Articles inside

Stars in His Eyes

Beef Guinness Stew with Pão de Queijo

Waves of Knowledge