eARTh emag Issue 3 Eco-Fashion Rising February 2014

Whatungarongaro te tangata, toitū te whenua As man disappears from sight, the land remains This statement in Te Reo Maori (the language of Maori) demonstrates the holis�c values of Maori, and the utmost respect held for Mother Earth.

Embracing one’s cultural heritage and discovering one’s place in the world can be exhilara�ng or darn right scary but having great leaders and mentors along the way creates that sense of purpose. Such a journey, our journey, started three years ago when we developed the Indigenous Fashion Unearthed (IFU) Project; crea�ng workshops in fashion, hair, makeup, and modelling led by Indigenous industry mentors whilst building the self-esteem and confidence of Indigenous young people.

We set out to change the fact that Indigenous peoples who are naturally ar�s�c, crea�ve, and expressive, rarely consider fashion as a career op�on even though fashion is one medium where culture could be shared and appreciated. If we are to strengthen the Indigenous presence in the fashion industry we first of all have to take responsibility and the crea�on of the IFU Project is a great star�ng point.

In December 2013, the IFU Project established the world’s first Global Indigenous Management (GIM) with a goal to create an entrepreneurial pla�orm that acts as a sustainable solu�on for its IFU Project. GIM will launch in 2014 and its primary focus is to manage por�olios of Global Indigenous fashion, models, talent, ar�sts, and events.

In February 2014, the IFU Project will be travelling to Arizona, USA to assist Na�ve American models and fashion talent to prepare for its next Indigenous Fashion Runway as part of Virgin Australia Melbourne Fashion Fes�val’s cultural program in March 2014.

For now, we hope you enjoy the images on the cover and inside story – images by Indigenous photographers, of Indigenous models and featuring Indigenous designs reflec�ng an abiding connec�on to earth.

Tina Waru, (Te A�awa, Nga� Kuri) Founder/Crea�ve Director of Indigenous Fashion Unearthed Project.

Mia Brennan designs, model Dream May Langley, photographer Wayne Quilliam

WAYNE QUILLIAM, (Palawa), Photographer and Co-Founder IFU Project Co-Founder of the Indigenous Fashion Unearthed Project and Adjunct Professor Wayne Quilliam, whose photography graces the cover of this February issue, has been recognised through numerous, pres�gious awards such as the 2009 NAIDOC Aboriginal Ar�st of the Year, Human Rights and the Walkley. With work in over 1000 publica�ons, Wayne is equally prolific as an exhibitor of Aboriginal Art having had photography exhibi�ons in Europe, USA, Asia, South America and Australia. www.waynequilliam photography.com.au

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Ancestral Ties – NZ

Indigenous Fashionistas – Aus/NZ

By Natural Design – NZ

Maasai Couture – Africa

Li�le Piece of Africa

Woven Sky – Taiwan

Reuse, Recycle, Remember

Millinery Veteran – Austria to Oz

Back to the Woods

Sophie’s Seeds

Trash Retro and Vintage

Last Word to Madiba

This February issue sees us ‘frock up’ in the name of eco-fashion and design.

Front cover photograph by Wayne Quilliam

ISSUE #3: February 2014 TITLE: Eco-Fashion Rising TEAM eARTh EDITOR: Sandra Conte DESIGNER: Alana Hall WEBMASTER: Declan Holt SOCIAL MEDIA ADVISOR: Zandalee CONTRIBUTORS: Rich Field, Michaél Beaty, Jaia, Rachel Welsh, Tina Waru, Corrie Wright, Sonya K. Front cover Designer: Shona Tawhiao, top from ‘Te Whiri’ and skirt from ‘Black Grace’; Model: Chantell Waho-Moo (Nga� Maniapoto, Mi�aro/Cook Island); Photography: Wayne Quilliam Back cover Wang Wen-Chih, ‘Woven Sky’, Woodford Folk Fes�val 2013, Photography Michaél Beaty The publisher, contributors, editors and related par�es are not responsible in any way for the ac�ons or results taken by any person, organisa�on or any party on the basis of reading informa�on, stories or contribu�ons in this publica�on, website or related product.

Our stunning front cover photograph by the renowned Wayne Quilliam captures the ‘haute couture’ designs of Shona Tawhiao and represents the rise in eco-fashion, while our world seas also rise.

Woven materials sourced directly from mother earth also feature in ar�cles on the monumental, predominantly bamboo, installa�ons of Wang Wen-Chih (Taiwan) and millinery by the Austrian, now Australian-based, Waltraud Reiner. These are but a sample of the mul�tude of ar�cles, including an eco-jewellery sec�on, to be discovered overleaf.

‘First Word’ contributor Tina Waru brings the essence of Aotearoa (New Zealand) with spin-off ar�cles on designers, models and photographers and for this we thank her.

Edi�on #4 is being prepared and will focus on art’s ability to move minds and save mountains, especially through the medium of music and also ‘moving image’ – when combined, these form a powerful, transi�onal force. The aim of this subsequent issue is to travel the reader into the ‘natural mys�c’ and eARTh will bring some ‘Marley magic’ in a micro-e-interview undertaken with Julian Marley focussing on where music and environment, art and earth meet.

Yours in eARTh Sandra Conte, Editor editor@earth-emag.com Eco-Fashion Rising

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Tina Waru.

Photograph

by Zita Kiss

Strength comes from my ancestors; they walked fashion before I.

Ancestors tie Tina to fashion

by Sandra Conte

Tina Waru, Founder/Crea�ve Director of Global Indigenous Management, is the person many young people turn to when looking for cultural support and understanding but from where did Tina draw her inspira�on?

Tina reflects on the strength she found in her childhood environment, cultural role models and ancestry.

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where art meets earth

up in the Maori culture with my siblings learning waiata (Maori songs) as we mastered our tea towel skills and danced with our broom. My father tutored us in kawa (protocols) and �kanga (tradi�onal prac�ces), making us learn first hand at whanau/iwi gathering, a tangi (funeral), or wedding. My upbringing ignited an apprecia�on for my culture and has helped shape me into the person I am today.

In addi�on to my parents and family, I would have to say my grandfather, Sonny Waru, has been my inspira�on as he was in his �me to many others. He worked relentlessly in many posi�ons as a Maori Orator, Tohunga, NZ Cultural Consultant, Actor and Musician. However, his pride and joy was the community program that he developed; he took homeless kids off the streets and into marae (mee�ng house) se�ngs immersing them in Maori Culture and Language.

For many years I used to complain to my grandfather for not having �me for us, and one day I challenged him “Don’t you love us Grandad?” He looked down at me with a tender smile and said “Oh my moko (grandchild ) one day you will realize, that life is no longer about you, it is about your people!” I never understood what he meant un�l the day I stood up to receive my degree in front of my whanau, iwi and friends during Maori Gradua�on at Waipapa Marae (University of Auckland). His words became clear as they slipped from my tongue to the ears of my peers; whose eyes filled with tears, as the words affirmed, that their hard work indeed had purpose.

I once remember standing in shock as my parents welcomed visitors and together they broke out in their sweet notes of te reo Maori, not u�ering a word of English. When they le� my parents wept and wept; as a child they were punished for speaking their language at school and it was the first �me since moving to the concrete jungle that my parents felt their people, culture and that longing for home. This is a strong memory which ignited an apprecia�on for my culture and has helped shape me into the person I am today.

The connec�on with fashion started with my Aun�es, Hana Jackson, Eva Eriwata and Uncles, Steve and Pat Heremaia who established Aotearoa’s first Maori Fashion Event and commi�ee in the late 1970’s; I a�ended an event celebra�ng Maori achievement in fashion. Having had my first child on my 17th birthday and as a single parent of three by age 23 I looked at career op�ons and undertook a youth program sewing garments for local businesses and then went on to train as a makeup ar�st. I par�cipated at several fashion events, but never dreamed that one could make a career in makeup.

A�er my youngest started school, I went on a quest to discover myself and that’s when my journey began with my grandfather. Everything I did somehow had a connec�on to my late grandfather and it was from there that I decided to undertake a career that would make a difference and undertook training in psychology; working with our people in the mental health field for more than 12 years. Following my grandfather’s footsteps I developed a yearning to work with other Indigenous communi�es and arrived in Australia eight years ago. I soon found that my journey would return to an old passion of mine, a journey that would lead Indigenous people toward careers in fashion, ‘My passion became fashion’.

My work with the awesome Aboriginal photographer Wayne Quilliam started when Wayne contacted me wan�ng to support the ini�a�ve, I don’t think he ever knew how much it really meant to me. It was hard to control my emo�ons because I knew it would mean the world to the kids on the program to have one of their own but also one of the best.

Wayne and I spent hours talking about what we could do and the difference we could make and delivered the most fulfilling project; not just for our communi�es but for those around the world. We refined the program, providing support for our models, photographers and developed some deadly workshops. We were delighted when our Aboriginal and Global Indigenous brothers and sisters and new partners jumped on board to join us in our mission to create history.

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Models and designers Designers: (L-R) Nga Tauira O Te Wananga O Aotearoa, Colleen Tighe Johnson, Maehe Tamihana, Lenore Dembski, Be�y and Tracey Brown ; Models: (L-R) Tyrone Bean, Sarah Brodrick, Jesse Weetra, Liam Price, Marlena Mar�n; Hair: Liana Pakinga; Makeup: Tina Waru Photographer: Jason McNally (Nomadic Visions Photography)

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where art meets earth

Indigenous fashionistas

by Sandra Conte

Indigenous Fashion Unearthed (IFU) Project gave rise to a brand en�tled ‘Global Indigenous Management’ which provides inspira�on to talented, emerging and exis�ng Indigenous fashionistas.

The brand covers a lot of territory, not only between Australia and Aotearoa (New Zealand) but across the globe. It first hit success as part of the Melbourne (Australia) L’OREAL’ Cultural Program in 2013 and has since featured as a curated program for 2013 Melbourne Spring Fashion Week.

Taking to the runways and great outdoors, Tina Waru (NZ Maori – Te A�awa Nga� Kuri), Co-founder of the IFU Project and Wayne Quilliam (Palawa) Co-founder of IFU Project, and renowned Aboriginal photographer have collaborated to bring out the face of Indigenous designers, models and photographers. All par�es have connec�ons to the earth/environment which are here highlighted, whether it be in terms of raw materials, philosophy or natural and cultural inspira�on behind their cra�. We are treated to the pulse of Indigenous Global Fashion, designs and models, on and off the catwalk in cu�ng edge, eco-minded crea�ons.

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1 Designer: Maehe Ranginui Model: Renee Flavell Photographer: Jason McNally (Nomadic Visions Photography) 2 Designer: Maehe Ranginui Model: Jesse Weetra Photographer: Jason McNally (Nomadic Visions Photography) 3 Designer: Ruth Woodbury Model: Atea Tutu Photographer: Jason McNally (Nomadic Visions Photography) 4 Designer: Batreece Poto Morgan, Model: Jahlana Roe Photographer: Wayne Quilliam 5 Designer: Mia Brennan, Model: Elesha Webber Millar Photographer: Wayne Quilliam

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6 Designer: Shona Tawhiao Model: Dream May Langley Photographer: Wayne Quilliam

Talent Unearthed Indigenous Fashion Unearthed Project par�cipants Chantell WahoMoo, featured on eARTh emag’s February cover (in a photo by Wayne Quilliam), and photographer Jason McNally share a li�le about their heritage, aspira�ons and experience with the program.

JASON MCNALLY, PHOTOGRAPHER Born of an Irish/Australian father and an Aboriginal mother from Brewarrina/Ngemba country, Jason runs his business Nomadic Visions Photography from Melbourne, Australia.

Chantell Waho-Moo by Jason McNally, Nomadic Visions Photography

CHANTELL WAHO-MOO, MODEL “My Maori tribe/iwi is Nga� Maniapoto and my island on my Cook Island side is Mi�aro. I started in the project when I was 18 years old hoping to undertake fashion designing, instead, I undertook modelling. Being a part of the program as a model has given me the chance to meet some beau�ful souls and has brought me closer not only to my Maori culture but also to the Aboriginal culture. The confidence and opportuni�es I have gained just throughout the Indigenous Fashion Unearthed Project are amazing and the experience is a milestone I will live with forever. I have now undertaken studies to be a fashion designer”.

In his own words, “Photography is something I have been interested in for a long �me. I have always had a desire to be crea�ve but struggled to iden�fy with any medium un�l I picked up a camera. I finally felt like I was able to be expressive and holding the camera in my hands was a power.”

“Empowering our young and mature Indigenous people alike is important to me, it helps them believe in themselves and gives them a sense of direc�on in life. The IFU Project has increased their self-esteem and self-belief that they can do anything that they try their hand at and it’s a way for me to stay involved within the community while living away from my home. It gives me great pride to be involved in the IFU Project and there is no greater sa�sfac�on than to see young Indigenous people succeed”.

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Mimi Designs make their mark Bare hands unravel cloth, fabric borne from the earth a�er res�ng underground with clay, leaves, and ochre.

– Mia Brennan, Fashion Designer Mia Brennan designs, model Dream May Langley, photography Wayne Quilliam

Mia Brennan with Indigenous model Renee Flavell, photography Wayne Quilliam.

Brennan, designer of the award winning fashion label Mimi Designs, draws influence from the environment, inclusive of her Indigenous culture and the beauty that surrounds the area of Byron Bay, New South Wales, Australia. This affects both her process and the style of fashion produced under her label.

From signature jumpsuits to sassy bodices, tribal wrap dresses to �meless camisoles, Mia creates an earthy elegance, each piece a unique en�ty of so�, flowing lines formed with organic fibres and a contemporary style.

Mia’s connec�on to nature and earth is reflected in many of her designs with pa�erns on her fabric that resemble the trails le� by insects as they burrow through the bark, the hand-dyed fabric with turmeric, paprika and tea to the layering of fabric to capture the texture of the bark.

Mia also reflects on her �me with the IFU (Indigenous Fashion Unearthed) Project: “We as Indigenous designers had the rare opportunity to have the supermodels of tomorrow displaying some of our work and they are Indigenous. This project is wonderful and an ini�a�ve created to provide a pla�orm for young Indigenous people who have talent and a passion for fashion!”

Shona Tawhiao, Whero is Red, NZFW 2010, Collec�on ‘Te Whiri’, Model Ariel Urlich, Photograph Michael Ng

By Natural Design

by Sandra Conte

Shona Tawhiao / Ngai Te Rangi is a designer, ar�st and weaver of tradi�onal Maori techniques crea�ng unique garments and accessories made from harakeke (na�ve flax).

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L-R: Shona Tawhiao, ‘Black Ruffles’ NZFW 2011 and ‘Tino Glam’ Cult Couture Supreme Winner 2007. Both hand woven harakeke and sprayed using high gloss paint. Models Renee Flavell and Shanice Whiley.

Photograph by Wayne Quilliam; Shona Tawhiao, ‘Te Whiri’ NZFW 2010, now in the collec�on of the Auckland Museum; Model Dawn McGuiness, Photograph by Wayne Quilliam; Model Dream May Langley and Designer Shona Tawhiao Indigenous Fashion Runway of L’Oréal Melbourne Fashion Fes�val 2013 Cultural Program.

Photograph by Wayne Qulliam.

wearable art has been seen across film and television screens, fashion runways, theatre sets and showcased in art galleries around the world. Her designs are in high demand but grounded to the land on which she stands, her home in Mount Maunganui, New Zealand.

Having studied contemporary and traditional Maori Fibre Weaving at Unitec Institute of Technology, Auckland but with no formal training in fashion, Shona jokingly says it all started when she was eight, making Barbie doll clothes. Who would have guessed that she would move

on to London, Paris and Australia with her designs, along with invitations to Canada, Berlin and Monte Carlo.

In terms of the creative process, Shona explains, “My best work is usually in a dream then I sketch it and weave it”. Asked what she loves most about her work?

“I love how our old people have passed on a traditional art form and I’m lucky enough to be able to carry it on hundreds of years later. I’m happiest when I’m creating and my main material, harakeke, is everywhere in NZ. My culture and environment are what inspire me in everything I do”.

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Clockwise: Maasai safari guide, Daniel Koya; Maasai women with beads; Maasai retreads; Maasai warriors jumping

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Maasai Couture Words and Photographs by Rich Field African Correspondent

The Maasai are some of the most striking and fashionable people on the planet. Not bad for semi-nomadic pastoralists living on the plains of East Africa.

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live a simple life. The men herd ca�le, and the women are responsible for maintaining the homelife. Their diet includes blood from a cow – carefully drained in order not to kill the beast – mixed with milk. They very seldom eat one of their ca�le, as they are such a highly valued part of their life, preferring the occasional goat or sheep. The fact that they never eat wild game (it is a major taboo) has meant that they can exist in some of the wildest parts of Africa without harming the local wildlife popula�ons.

Lions, always prevalent in areas where the Maasai live, are one of the few wild animals to fear the Maasai. In days past, young men, as part of their ini�a�on into ‘warriorhood’ have had to kill a lion. They would venture into the wilderness as a small group, armed only with spears and chase down a fully grown male lion!

strides through the bush. Whilst the intent is clearly decora�ve, the sound is certainly loud enough to alert a sleeping lion to the presence of a Maasai. Again, the lion will most likely disappear before it is seen.

The lion hunts are one aspect of Maasai life that no longer occurs, but their cultural fashion iden�ty is strong. The way that they dress is clearly of great importance to the Maasai, all of it highly imbued with aspects of their culture and environment.

The Maasai are also intensely prac�cal and are gi�ed at recycling materials into something quite distant from their ini�al design. A great example are the shoes worn by Maasai.

In days past, bits of skin were used, or people would walk in barefeet. These days old tyres are cut up and turned into shoes that clearly serve their new purpose very well!

From a distance, the most notable thing about a Maasai is their ‘shuka’. This is a brightly coloured blanket, these days made from co�on. The most common colour is a bright red, but blue, purple and orange shukas are also seen. Generally a shuka is �ed over each shoulder with a third draped over the top. These bright colours stand out in the dry grasslands in which they live – hardly camouflage yet it affords them protec�on from predators. When lions see someone wearing a brightly coloured shuka walking across the plains they tend to hightail it in the other direc�on!

On closer inspec�on, the Maasai are finely adorned with metal ‘jingles’ and incredible beadwork. The ‘jingles’ are visually beau�ful, but sound like a wind chime as a warrior

The beadwork is really one of the cornerstones of life for the Maasai in general, but par�cularly for the women who create it. Incredibly intricate anklets, bracelets, belts, necklaces, earrings are carefully banded together using a variety of coloured beads. Most of the colours have significance to the Maasai. Red beads are a reference to blood, bravery or unity; blue beads reflect the heavens and perhaps a plea for rain; white is for purity, and green is for the land. The other colours may s�ll have specific meanings and in this way a woman is able to weave a narra�ve through the jewellery she wears.

In contrast to many other African tribes, the Maasai have been able to successfully retain the major facets of their culture. Life is changing though, at a rapid pace. More and more the Maasai are se�ling permanently in areas and some are even growing crops. Mobile phones are a common sight as western style educa�on is being widely introduced. This will undoubtedly further dilute long-standing tradi�ons.

The fashion though, remains significant. Even if a Maasai is university educated, earns foreign currency and generally wears western clothes, he or she will long to return to their home village, where they can wear their shuka and beads.

Only then will they again feel the wildness of Africa coursing through their veins.

Clockwise from top: Tradi�onal Maasai dance; Maasai woman repairing her roof (with ca�le dung); Maasai tradi�onal dancing

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LIPOA

Little Piece of Africa

by Sandra Conte

Mixing the inspira�ons of her surrounds, the bold culture, textures and vibrant colours, Kristy Fair strives to create unique, striking pieces blending tradi�onal African wear with contemporary fashion.

is a child of Africa. She is also one of a new crop of designers with an eco-conscience. Tribal colours from Capetown combined with beading and unique prints provide an outgoing op�on for women wishing for both casual and relaxed formal wear.

This page: Starlight Top and printed Starlight Skirt.

Adjacent page - clockwise from top le�: Harare Jacket, Nan�e Top, Kenny Shorts; Nan�e Dress (Print); Stu Jacket and Jordy Skirt; Nan�e dress with tribal necklaces.

The current collec�on is a fresh selec�on of shorts, tunic dresses, tailored jackets, so� flowing tops set off by glass bead necklaces. It is Kristy’s own hand embroidering which completes the detail to her designs, something she says she loves to do “I was taught to embroider by my mother and grandmother from a young age and I guess the crea�vity is embedded in me”.

Kristy also shares the specific inspira�ons of her work - “My inspira�on for prints come from the Ndebele Tribe who paint their houses differently to express themselves. In RSA, tribes have unique styles in the way they dress – so many different people, so many different cultures. I’m inspired par�cularly by the Maasai Tribe where red is the prominent colour and neck pieces are ar�s�c”.

Without the luxury of online shopping from businesses in South Africa, Kristy travels between South Africa and Australia to transport her Li�le Piece of Africa’.

Recently teaming up with Erin Hassall of Erin Hassall Designs, Kristy has entered into a collabora�ve venture �tled ‘HOUSE OF nate’ which she explains was borne “a mutual love of fashion, style and colour. It’s really exci�ng teaming up. ‘Nate’ is Swahili for ‘seams’ so it was the perfect name to combine our two labels.”

Shop the collec�on at www.lipoathreads.com Eco-Fashion Rising

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Wang Wen-Chih Woven Sky photograph Michaél Beaty

Wang Wen-Chih Woven Sky photograph Sandra Conte

Woven Sky

by Sandra Conte

metre bamboo tunnel and tower structure presented a monumental welcoming statement to a world fes�val. Cra�ed through collabora�ve effort and by the design and direc�on of Taiwanese master sculptor Wang Wen-Chih, the installa�on, en�tled ‘Woven Sky’ was completed over several weeks in December 2013 at Woodfordia, the site of the renowned Woodford Folk Fes�val.

The commission forms an extended entrance to an amphitheatre, the largest venue on the site and scene of many fes�val performances to which the installa�on also provides a spectacular backdrop.

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Bamboo and local materials were employed in a design to create a place of peaceful reflec�on integrated with the landscape of the east coast hinterland of Australia.

A joint project with Cave Urban of Sydney, Australia, and architect, Nici Long, Wang Wen-Chih built it with a team of 30 people. The process for preparing the bamboo poles is by spli�ng them into four pieces with a device created by WenChih himself.

As an ephemeral structure the longevity is predicted to be around three years, seeing out several more itera�ons of the annual fes�val.

Immersion builds connections eARTh emag was intrigued about what it was like to be a volunteer for the Wang Wen-Chih Woodford Folk Fes�val sculpture project.

Interdisciplinary ar�st Corrie Wright provided the answer...

Woodford Folk Fes�val (WFF) has offered me untold opportuni�es to par�cipate over the 18 years I have been to the fes�val. Every year there is a highlight and this year the fes�val had not even started when I received my special moment in �me.

What made this project special? The finished outcome was ambi�ous. Wen-Chih’s vision to create a large-scale installa�on in three weeks with his band of trusty assistants, wife (interpreter) and daughter along with a team of 30 volunteers was courageous.

Strong teams of dedicated people can only achieve projects like Wen-Chih’s and WFF always has its fair share of commi�ed individuals. In combina�on with WFF, Kate McDonald and the Cave Urban’s experienced team led by Nici Long, this large-scale installa�on was possible. Nici and her three adult children, Jed, Ned and Honey were skilled and flexible coordinators adding the right amount of direc�on, large amounts of care, watermelon and treats keeping the mostly young team of volunteers from all over Australia and the world going as they undertook hard, repe��ve work in very hot condi�ons.

The finished result, although spectacular, is only part of the story. The process was rigorous, cu�ng, spli�ng and shucking bamboo; cu�ng, digging and fixing pine pole frames and weaving thousands of bamboo strips. Everyone could vary their own input and build new skills daily and repeat them over and over!

Was it worth it? What Wang Wen-Chih and his merry band achieved was a beau�ful immersive structure to be enjoyed by many. Hard work and dedicated individuals quickly build powerful connec�ons and the sheer delight and sa�sfac�on at the end was very tangible. Would I do it all again? In a flash, yes, if they would have me!

www.corriewright.com.au From Top: Progress images of the Wang Wen-Chih WFF project; Bo�om: Project volunteers.

Photography by Corrie Wright.

MAJOR EXHIBITIONS 2013 Setouchi Triennale 2013, Shodoshima, Japan HÖHENRAUSCH.3: The Art of Towers, O.K Centre for Contemporary Art, Austria 2012 Water and Land Niigata Art Fes�val, Niigata City, Japan “Song of the Forest” (public art), Alishan Forest Village, Chiayi City 2011 “Rippling Moonlit Talk”(public art), Lantan Lake Tourist District, Chiayi City

Wang Wen-Chih, photograph supplied courtesy Woodford Folk Fes�val.

Wang Wen-Chih

2010 Interna�onal Setouchi Art Fes�val Shodoshima, Japan Taiwan Garden “Sky”, Taipei Interna�onal Flora Exposi�on 2010, Taiwan

Wang Wen-Chih was born in 1959 in the mountains of Chiayi Country in Taiwan where he lives today. A fine arts graduate and postgraduate in China, he has also studied in France.

and nature. The handmade weaving skills employ traditional techniques learned by the artist in the mountains of his homeland.

Building such structures involve volunteer participation.

2009 “Cloud Soaring Hand”, Taipei Deaflympics, Taipei, Taiwan

By combining bamboo, wood and rattan his installations provide immersive experiences for the viewer transforming spaces to establish connectivity between the body

Wang Wen-Chih’s Woodford Folk Festival commission commenced on December 3, 2013 for three weeks, with food and a campsite supplied to the team.

2007 Prague Quadrennial 07, Industrial Palace, Prague, Czech Republic

Niigata Water and Land Art Fes�val 2009, Niigata City, Japan

2001 Taiwan Pavilion, The 49th Venice Biennale, Venice, Italy 24

where art meets earth

Clockwise from le� architectural sculptures by Wang Wen-Chih: House of Shodoshima, Beyond the Water, Dragon Dares Tiger Lair. Photographs supplied courtesy Woodford Folk Fes�val.

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Refuse, reuse, recycle...

Remember

by Storyteller Rachel Welsh

I’m si�ng in the chai tent at the inaugural Boomerang Fes�val held last October in Byron Bay, Australia. I am dressed for comfort wearing a favourite pair of well-worn, pre-loved jeans, appliqued with some bright, magenta pinkembroidered flowers. I had cut the flowers from an old vest I couldn’t completely let go of when it became ragged from so much loving wear.

Storyteller Rachel Welsh wearing her recycled flower vest, now a top, shorts and journal cover.

Photograph Alana Hall

women si�ng next to me comment on how much they like the flowers. I tell them what I’ve just told you and from worlds apart through a few words exchanged, we realise we have a mutual friend in eARTh emag, and talk about the next issue’s theme of eco-fashion.

Being a storyteller, I naturally share this story...

Once, a very long �me ago, there lived a Jewish tailor named Joseph. Joseph had learned the trade of a tailor whilst si�ng by his father’s side. He worked very hard and he made beau�ful, fine clothing for all the rich people in his town, but he never had quite enough money to make himself a coat. Joseph dreamed of the day when he had saved enough money to create his own coat from beau�ful, fine fabrics.

Many years passed and finally Joseph had enough money to go to the market and buy some beau�ful fabric. He returned to his shop and laying the fabric out on his workbench, he measured and he cut and he s�tched and he s�tched and he made himself a wonderful coat.

Joseph loved that coat and he wore it everywhere. He wore it and he wore it and he wore it un�l it was all worn out with holes and threads coming loose everywhere. Joseph looked at himself in the mirror and he felt sad. Oh, how he loved that coat. He slowly took the coat off and prepared to throw it in the bin. As he turned the coat in his hands he thought, “There is enough, just enough, just enough...” He layed the coat out on his workbench and he measured and he cut and he s�tched and he s�tched and he made himself a vest.

Joseph loved that vest and he wore it and he wore it and he wore un�l it was all worn out. That was a sad day as Joseph looked at his old worn out vest. He took off the vest and was about to throw it in the bin when... “There is enough, just enough, just enough...” He layed the coat out on his

workbench and he measured and he cut and he s�tched and he s�tched and he made himself a beau�ful cap.

Joseph loved that cap and he wore it and he wore it and he wore it un�l it was all worn out. That was a sad day as Joseph took off his old, worn out cap. He took off the cap and was about to throw it in the bin when he had a thought.

“There is enough, just enough, just enough...” He placed the cap out on his workbench and he measured and he cut and he s�tched and he s�tched and he made himself a beau�ful bow �e.

Joseph loved his bow �e and he wore it and he wore it and he wore it un�l it was all worn out. That was a sad day for Joseph as he remembered all the fun �mes he had wearing it and how youthful it made him feel. He was about to throw the bow �e away when he stopped. “There is enough, just enough, just enough...” He put the bow �e on his workbench and he measured and he cut and he s�tched and he s�tched and he made himself a fine cloth bu�on.

It was a beau�ful bu�on and he sewed it onto his shirt and he wore it and he wore it un�l it was all worn out. Now that, was a very sad day for old Joseph. “Old bu�on, you have meant so much to me, first you were my coat, then my vest, then my cap and my bow �e. Now, there really is nothing le�. It is all gone.” Tears flowed freely down Joseph’s cheeks and fell into the bo�om of the rag bin along with the bu�on.

“Wait!” Joseph cried. “There is something le�! There is just enough, just enough, just enough... to make a STORY of all the things I have made and all the experiences we have had together and I will tell it to everyone I meet.”

Joseph kept the bu�on his pocket, he carried it everywhere so he could show it to his listeners and his family. “You see, he would say, there is always just enough for a Story!

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I bought my pink and green flower embroidered vest when I had moved to Brisbane in 1988. I wore it and I wore it and I wore un�l it was all worn out. The body of the vest was faded and becoming threadbare, but the flowers were s�ll as bright and vibrant as ever. I cut the flowers from the vest and my daughter Darcie sewed them to an old, but comfy pair of opportunity shop jeans. Recently, I was preparing to go to the Woodford Folk Fes�val and I needed a pair of comfy shorts. I couldn’t find a pair I liked and I couldn’t jus�fy spending $40 for a pair I might like. I rang my daughter, “I’m going to cut my flower jeans into a pair of shorts.” “Don’t do it mum! You’ll regret it.” I didn’t regret it and walked with a spring in my step and a swagger in my hips as I arrived at Woodford in my flower appliqued shorts and converse boots.

When Sandi and Alana asked me to contribute to this edi�on of eARTh emag, I went looking for photos of me and my vest.

It was only when I began looking through the photos that I realised why this vest meant so much to me.

I wore it at my son’s first birthday, I wore it the day his father and I took him to his first Brisbane Ekka and we bought him a harmonica. I wore it on one of our few family holidays to Sydney. I was wearing it on the ferry ride to Taronga Zoo as I held my three year old son in my arms and he planted a big smiling kiss on my wai�ng lips. I wore it as I helped to decorate the vehicle for his kindergarten entry in the Nambour Sugar Fes�val Parade.

As I explored the photos, I was reminded of the clothes I made him; hand painted, �e-dyed overalls and t-shirts, leaf-printed overalls in all the colours of the rainbow. Clothes that were handed down to other mothers and their sons.

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My son turns 24 soon. There was just enough le� over from the vest and the jeans and the shorts to make a book cover. I’ll give it to him for his birthday and tell him how much I love him and we can remember our stories.

Do you have of a piece of clothing or belonging that means a lot to you? Has it worn out? What did you do with it? Do you s�ll have it? Even if you no longer have a once favourite piece of clothing you can RE-MEMBER them through sharing those stories.

Happy memories; Rachel wearing her flower vest during various occasions in the early years of her son’s life.

Rachel and her son Daniel in ou�its she lovingly sewed and painted for him.

Sources for the Story Jewish folk song: ‘Hob ikh mir a mantl’ (If I had a li�le coat); E. Pearmain, Once upon a Time – Storytelling to Teach Character and Prevent Bullying, Character Development Group, Inc., 2006 P. Gilman, Something from Nothing, Scholas�c, 1992

RACHEL WELSH, STORYTELLER Rachel Welsh is a performance Storyteller who aims to share this ancient art in our homes, communi�es and on the stage and to awaken the Storyteller in each of us.

www.rachelwelsh.com.au

Hats & Hands ‘Millinery veteran’

by Sandra Conte

A 1980’s journey from Austria to Australia bought a new-found passion to Waltraud Reiner, pa�erning her into a milliner.

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Hats made from the earth by Waltraud Reiner

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entry to the cra� was working under Melbourne milliner Magda Urban, royal milliner Phillip Somerville and London’s Rose Cory. She also studied under Frau Bollman in Munich, Germany in 1986 and u�lised her travel �me to resurrect techniques and materials from varied locales. The results were stunning with her taking out the 1989 ‘Winner of Hat of the Day’ at Australia’s Melbourne Cup. By 1990 Waltraud had launched her own millinery studio en�tled the Melbourne School of Millinery. From 199093 her work was publicised in Vogue, Elle, Studio Bambini while developing her business into supplying techniques and new materials. In 2000, Waltraud undertook a course with Norwegian felter May Hvistendahl and in 2001 with UK felter Jeane�e Appleton.

Waltraud explains her mission has, for many years, been “to bring the art of hat-making to people across Australia by running mobile millinery classes and providing supplies to Australians in remote and local areas”.

The psychology of hat-making is as fascina�ng as fascinator head-wear. Waltraud explains, “Through the medium of hats, we aim to reach out and connect people with others and with themselves. Our classes and tours aid emo�onal well-being by providing space, skill and opportunity for people to express their feelings through colour, texture and shape. Art can be a powerful form of emo�onal therapy, and we believe that the hat is the art of the HEART. The hatmobile also supports the Reach Founda�on by using the acronym of HATS: Helping Australian Teens to Succeed, to raise awareness of such as we travel”.

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Waltraud states, “Hats have given my life outreach beyond belief. By following my heart, which took me away from Austria 30 years ago, I found what I believe to be my purpose. Working in Australia throughout Arnhemland is one of those situa�ons. It is not about hats, it is about connec�ng through hats. I speak and talk through hats. Hats have metaphors. We keep things under our hats and we change hats all the �me. The language of hats lets me get close to myself and people. Hats are colour and texture and shape. When working with different people throughout the country it is the techniques from all sorts of ar�san skills I can use to make hats”.

The basket making techniques in Arnhemland merge with Waltraud’s process to which she explains, “To me baskets are hats turned upside down.

You need just to see the shape and let it form to the head, let it become one with you, not force it, be guided by the material.

Indigenous communi�es give the opportunity to sit on the ground to share and learn… an opportunity for an exchange, of using the basket coiling technique which belongs to so many people all over the world and turn them into hats and show that there are other ways to look at the same thing. In return, I have learned to recognise plants and which roots give beau�ful colour to dye the fibre”.

www.torbandreiner.com

Clockwise from top le� : Waltraud’s Hatmobile tours the country delivering millinery workshops; Waltraud and ladies preparing for a remote workshop; Waltraud and ladies harves�ng pandanus in Arnhemland; Fibre dyed with natural ochres and drying in Arnhemland; Making dyes from roots.

Photographs courtesy Waltraud Reiner.

Back to the Woods

by Sandra Conte

Backwoods Original is the business of A.C. Barton who has cra�smanship in his blood – the great grandson of a blacksmith, grandson of a carpenter and son of a stonemason, Aaron has responded uniquely to this predetermined calling to ‘create’.

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C. Barton creates handmade furniture and installa�ons with both his immediate landscape and the needs of the environment in mind, approaching each piece with integrity, heart, intui�on and a whole lot of recycled wood.

‘Dinner with Gravity’, Photograph by Dane Beesley

At a home studio, set-up in a charming rural Australian hamlet with partner Genevieve Trace, a theatre director and performance maker, the duo run the ‘nerve centre’ of Backwoods Original – their city store outlet is an hour or so away in the metropolis of Brisbane. eARTh emag once happened upon a Backwoods Original catwalk/runway, fashioned from recycled �mber for the high profile event, ‘Undress Brisbane’, finding the raw beauty and drama�c presence a true reflec�on of the integrity and goodwill that swirls around the brand. While the runway project is a “happy memory”, the energy of Backwoods Original seems now directed towards capacity building and ‘reach’, as evident in some unique projects:

COLLABORATING WITH GRAVITY Performance maker Sarah Winter, one of Genevieve’s industry colleagues, commissioned Aaron to create the dinner table around which audience members sat for ‘Dinner with Gravity’. As Aaron outlines, “The challenge was laid down to make a 5.4 metre dining table that can be easily taken apart and put back together for a touring theatrical show. I was lucky enough to have dinner (and wine) at this table in full flight. The basic concept is for 18 strangers to sit down at a table where the food floats around suspended from large helium balloons, as a menu is passed around with suggested topics for conversa�on. It was as close to having dinner at the Mad Ha�er’s table as I think I’ll ever get. Although we do set design, this amazing space wasn’t dressed by me but by Sarah Winter and her ‘Dinner with Gravity’ team. I made only the window table”.

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‘ALL ABOUT EVE’ The Nest Ensemble, a theatre company, in presen�ng their performance “EVE” saw Margi Brown Ash commission a set for the company’s version of an Australian shed-cross-mys�cal treehouse. The “Eve” set incorporated organic material (mostly wood) and responded to Brown Ash’s simple brief to “build a treehouse, do what you want I trust your decision”. As Aaron outlines, “The set was made completely from recycled, found and re-purposed materials. The s�ck balls (thanks to Greg Ha�on for sharing your secrets) were made from s�cks that were washed up by the river near the workshop a�er floods. The shack was made from sawmill offcuts des�ned to be burnt or thrown in land fill, floor boards le� over from renova�ons at the Old Museum, pine logs from sustainably managed planta�ons, roofing and framing from Caylamax (my local demoli�on yard).” In this produc�on the dressing of the set was also designed by Backwoods Original and proves that you can make anything into a beau�ful visual statement. Aaron goes on to state, “The chair was made from old pallets and an old deupholstered chair (bought from a trash and treasure). I grew up with the bath tub, so the tub on stage was collected from my parents’ rainforest garden where I kept a yabby farm in it as a kid. But when it came to collect the bath tub I discovered it was being guarded by a Red Belly Black snake.” Thus proving the extent to which the young designer goes to get the right piece for the right client! Aaron goes on further to highlight the collabora�ve nature between his partner Genevieve Trace that spans both the Backwoods Original business and her home-ground in the theatre. “The chandelier or Shantylier was arranged by the ligh�ng designer, my partner in crime, Genevieve Trace.”

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As beau�ful as these pursuits in the Brisbane theatre industry are, Backwoods Original’s focus remains with the building of the company as a leader in small scale furniture manufacturing and design. As a designer, Aaron’s focus remains true to individual pieces imbued with tradi�on and a story to tell, such as the trusty Standard Issue Trestle Table and one-off commissions.

THE STANDARD ISSUE TRESTLE TABLE Aaron explains his apprecia�on for the Trestle Table in the following, “I have long appreciated the simplicity and prac�cality of the humble trestle table. Originally developed in the Middle Ages as a few loose boards over collapsible legs in order to feed many hungry mouths. Then, in later �mes the trestle table evolved into the frame based design we recognise today.” He goes on to say, “We reckon the Standard Issue Trestle is a great heart for any home. Plus you won’t knock your knees on that awkward post in the corner on your way out”.

Craftsmanship and Design A BOOKSHELF COMMISSION Aaron took a cross sec�on of �mbers recycled and otherwise to fulfil this commission and outlines how, “The concept was to replace an old TV cabinet remove the TV and replace it with some books. We wanted it to be useful both standing in portrait and lying in landscape. I used salvaged Silky Oak windows for the exterior texture which were filled in with French Oak that was milled out of beams found in a barn house from the Lavoix Valley, France. The shelving was constructed from mixed Australia hardwoods. I used box joints, mitres and dowel joints in the construc�on.”

www.backwoodsoriginal.com www.facebook.com/backwoodsoriginal Instagram: @backwoodsoriginal

Sophie’s Seeds From Kew to Cairns

by Sandra Conte

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Seedpods referenced in Sophie’s work.

Sophie Munns is enamoured by seeds. Her arts prac�ce is a series of encounters in bio-cultural diversity that has taken her on a journey across countries to places like the Kew Gardens Millennium Seedbank in West Sussex and the Cairns Botanic Gardens in far north Queensland, Australia. taking up residencies in Universi�es and public garden studios to conduc�ng workshops in schools and opening pop-up spaces, Sophie has made a record number of moves, 36 in fact. Irrespec�ve of locale or country, the con�nuity in Sophie’s prac�ce is the homage she pays to the humble seed. Sophie views all her ac�vi�es as rich in opportunity for cross-pollina�on with individuals and ventures around seeds, plant science and community.

It all started in her childhood on the Clarence River where Sophie would collect black bean seed pods, a species valued

by Indigenous cultures. From 2004 onwards these started to manifest in her pain�ngs and by 2005 she was being drawn into the realm of climate change and food security, as explained by Sophie – “Large scale paradigm shi�s were drawing my a�en�on. A mysterious seedpod mo�f, seemingly unconnected to things that ma�ered, was oddly compelling but a mute symbol in pain�ngs coming from my studio at that �me.”

In 2007, when Sophie relocated from a coal city to the sunnier climes of the sub-tropics, she excitedly discovered that “pods fell from trees everywhere one walked and long-persistent ques�ons graduated into the idea of an allencompassing response exploring seeds”.

Sophie’s Brisbane Studio today.

Living in her new city of Brisbane, Sophie a�ended volunteering sessions at the Seed Lab set up by the Millennium Seedbank Program at Brisbane Botanic Gardens.

From this, she formulated a project ‘Homage to the Seed’ and was later selected for the 2010 Brisbane Botanic Gardens Ar�st-in-Residence Program. Sophie also explains how her “modest book published about the Mt Coot-tha residency” was sent to Kew’s Seed facility which resulted in an October, 2011 Residency there.

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Sophie’s artwork ‘Coun�ng the Inheritance’ was painted onsite at Kew, on linen from India, hand-s�tched with linen thread measuring approximately one metre square. As an artwork it is, according to Sophie, “in the vein of cultural works like the tapa cloth”.

“This work refers to the work at the Millennium Seedbank where they have set targets to save 25 per cent of the world’s wild habitat species by 2025, hence coun�ng the inheritance!”

The Kew residency led to another, this �me, at the Ins�tute for Molecular Bioscience, University of Queensland in late 2011 and by May 2012 Sophie had produced the arres�ng DNA sequencing series, a black and white triptych.

A further residency resulted, this �me in the far north of Australia, producing an exhibi�on en�tled ‘Homage to the Seed in the Wet Tropics’ with designs inspired from the forest se�ng, resul�ng in Rainforest Pa�erning and a Rainforest Rhythm series.

Sophie Munns, Coun�ng the Inheritance, acrylic and ink on linen

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Sophie Munns, Rainforest Pa�erning, acrylic on linen, 80 x 80cms “Each mo�f is the cross sec�on of a rainforest fruit seed capsule” – Sophie Munns

Sophie Munns, Rainforest Rhythms 1, acrylic and ink on linen 40 x 40cms. Abstracted blue pod forms based on black bean seed pod.

Sophie recently launched her studiobased prac�ce to encourage the public to visit on Thursdays; it is here that Sophie can also foster quiet contempla�on on the ideas she has gathered in her residency research. Balancing pain�ng with wri�ng, journals, blogging and also connec�ng with community in online dialogue are processes valued by Sophie — “My journals and representa�onal drawings along with the abstract pain�ngs, seem to offer a subtle access point for the enquiring minds not so keen on the some�mes tougher debates and agendas to be found on the web. It is, however, the ancient symbol-makers whose visual language of signs and symbols was imbued of in�macy with the plant world and nature who inspire me to act on a primary desire as an ar�st facing the future ... to join with others in the necessary work of re-enchan�ng our collec�ve rela�onship with that which grows, sustains life and the very air we breathe... placing value on the perennial and how u�erly interdependent all things are”.

www.about.me/sophie_munns Sophie Munns, Perennial Symbols from the Botanical Realm, acrylic and ink on linen, diptych 120 x 60cms

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Clare Poppi, Living Cage III, Photography by Sam Wright, Talys Photography.

Small Green Leaf

by Sandra Conte

Clare Poppi creates unique, environmentally responsible jewellery and metal sculptures using recycled metals and ethically sourced materials.

Her primary prac�ce is in jewellery and metal-smithing, focusing on sustainable design and wearable art. there to be a lack of understanding about the harmful impacts of jewellery produc�on, Clare established the label Small Green Leaf in 2013 with the intent of promo�ng the ideals of eco-jewellery to the public on a number of levels. Small Green Leaf sets out to not only educate consumers about these problems but to provide them with the opportunity to purchase ethically produced, locally made jewellery.

Clare also imparts such informa�on through teaching, exhibi�ng and travel.

As a recent recipient of a compe��ve travelling fellowship, she undertook a mentorship in San Francisco with leading eco-jeweller, Chris�ne Dhein. Clare outlines her experience and the outcomes, “San Francisco was great, absolutely amazing. I was so fortunate to work with Chris�ne and we are currently working on a project where we are producing an e-book and hopefully an i-phone app for jewellers, to give them informa�on about eco-jewellery produc�on. San Francisco is a beau�ful city with a strong connec�on to environmental issues, so it was the perfect place to go :)” 42

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Clare has had a constant string of exhibi�ons with one par�cular highlight being a 2011 group show en�tled ‘Green Na�on’ which was curated by Kirsten Fitzpatrick and saw exhibitors produce work of all things growing. Clare explains, “From giant glowing planter boxes to light bulbs containing live plants I was proud to be part of an exhibi�on which so keenly embraced environmental concepts and to discover so many other ar�sts working with similar themes and materials as me.”

In terms of the future, Clare explains the need for interac�vity – “Now that eco-friendly studio techniques are so firmly embedded in my prac�ce, I want to explore new ideas while s�ll basing my physical prac�ce on ethical techniques. I want to look at more ways of involving the wearer of my jewellery in its final outcomes whether that’s growing pieces or a completely new process I haven’t discovered yet”. This is where Clare’s Growing Jewellery Project comes in as not only a major aspect of her ethical prac�ce but one which intends for the jewellery to form

Clare Poppi, MonoCulture Brooch Series, Photography by Sam Wright, Talys Photography.

a connec�on between the grower and nature, and when worn, the jewellery is a visible statement of environmental awareness and provokes conversa�on and dialogue. This involves her sending out growing jewellery to par�cipants (locally and interna�onally) who look a�er the pieces for a �me and document their experiences on her blog.

With the splash of green against the hard metal in her illustrated pieces, Clare explains “I think I will always be interested in the transient, the ephemeral and ways to capture that in something so solid and immutable as metal”.

www.clarepoppi.com www.facebook.com/ClarePoppiJewellery POSTSCRIPT: Clare has commissions and awards to her credit and was a finalist in the 2012 Noosa Biosphere Art Prize, the most recent itera�on of which is covered in the ar�cle ‘Dressing the Part’, in this edi�on of eARTh e-mag.

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The magical se�ng that is the Podie Pie store.

‘Podie Pie’ conjures eco-artists

by Sandra Conte

From the moment you step into her pop-up store with the intriguing name of ‘Podie Pie’, you are transported to something magical. It’s no surprise to learn proprietor Jodie Swales is a children’s magician with a background in theatre.

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Jodie Swales, snowball in hand when living in Switzerland, introduces fun and magic wherever she goes.

toured Australia and New Zealand with puppet, magic and an�-bullying school shows, Jodie embraces all things crea�ve and applies her passion for seeking out and celebra�ng individuality and talents, encouraging others to do the same. This she has done in the Podie Pie shop where ar�sts and cra�speople deliver handmade work in a scrump�ous, pie-filled mix of clothes, jewellery and one-off pieces.

So why the name Podie Pie? Jodie explains, “My niece calls me Podie — we have a very close rela�onship and have

always inspired each other to follow our dreams; and my dad, who has given me an incredible life, always used to sing a nursery rhyme to me that said ‘Podie Pie’ so the philosophy behind the shop is to encourage and inspire others by using our collec�ve talents and to celebrate the unique talents of the ar�sts and to provide a space for like-minded people to engage in crea�ve based workshops and classes”.

Two of these ar�sts are Jemica Ostrofski and Dusica Nikolic.

Read on to find out more about their unique designs and environmental approaches.

BERTY BEE Dusica is known as Dee and her jewellery label is ‘Berty Bee’ for which she produces handmade sterling silver jewellery from her home studio. Dee states, “I am very conscious about the quality of materials I use when crea�ng any of my art or jewellery and the impact it might have on the environment.

Due to this, I only source materials from a reputable supplier who recycles and produces silver responsibly. Where possible, I always re-use and minimise waste. My favourite pieces are my thin and delicate rings. I have a simple taste in jewellery and have never been able to find rings dainty enough for my liking, so I decided to make them! I have been lucky enough to find them a home in the beau�ful Podie Pie pop-up shop and online on etsy. It is great that there is so much support for independent makers and that people are more inclined to shop ethically these days”.

www.etsy.com/au/shop/bertybee www.facebook.com/bertybeeshop

Berty Bee jewellery is fine and recycled

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Meekz Contemporary Jewellery: Collage of pieces; necklaces, brooches and rings.

Meekz Contemporary Jewellery: ‘Bu�on this’ rings

MEEKZ CONTEMPORARY JEWELLERY Jemica Ostrofski’s label is Meekz Contemporary Jewellery.

Holding a Bachelor of Fine Art with Honours, a�er majoring in Gold and Silversmithing, Jemica says, “the inspira�on behind Meekz is to create contemporary pieces of costume jewellery and fashion jewellery that can be worn every day. An explora�on into the built environment, society and design, the elements of line, shape and form are visually recognisable and provide a dis�nc�ve aesthe�c throughout each collec�on”.

Environmentally conscious, Jemica uses a wide range of recycled materials such as aluminium, perspex, plas�c, stainless steel, brass, copper, gold and sterling silver. All pieces are handcra�ed by Jemica and unique, whether as a one-off or part of a series, they are very durable when worn.

www.jemicaostrofski.blogspot.com www.facebook.com/meekz.contemporary.jewellery www.etsy.com/shop/jemicaostrofski

With this collec�ve of jewellers producing handcra�ed and recycled work, Podie Pie has delivered on its mul�ple intent – to bless the community by providing a beau�ful, unique space for the public to visit and engage with; to provide exposure to the good arts and to highlight, for visitors interested in the work, the difference between handcra�ed and mass-produced jewellery. The 17 or so ar�sts represented in Podie Pie are from all corners of the globe.

Podie Pie ships products interna�onally.

www.facebook.com/PodiePie 46

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Blackbird’s Bower Self-confessed bowerbird Kimberley Mather creates a range of unique jewellery using recycled metals such as silver, gold, copper, bronze and brass along with eco-resin and found objects including shells, feathers, sea glass and stones. about using ethically produced silver and stones, Kimberley can regularly be found combing the local �p market and opportunity shops for unusual materials to incorporate into her jewellery.

Kimberley’s interest in making jewellery began three years ago when she purchased a simple but unusual ring and became intrigued by how it was made.

“I decided to enrol in a six week silversmithing workshop for beginners which taught me the basics. I then moved on to intermediate and advanced courses and last year, was lucky enough to complete a workshop with the interna�onally renowned, New Orleans-based jeweller Thomas Mann,” Kimberley said.

Just three years a�er ge�ng started, she has a fully equipped studio/workshop and is selling her hand made jewellery to customers all over the world. Visit her online to view more and request commissions.

www.facebook.com/blackbirdsbower instagram: @blackbirdsbower

Blackbird’s Bower designs: textured bangles, arrow pendant; bird and branch ring; quartz and silver ring.

Sonya, selfie; Sonya Blogging at a recent fashion event, Photograph Sandra Conte.

most people, I love to shop. Back when I had a more disposable income, I pre�y much bought something every week – usually online, but some�mes in store as well. Even though I haven’t been shopping in a fair while, my cupboard is filled to the brim. I honestly don’t think I could get much more clothing in there.

Some�mes, looking at the clothes, I feel a li�le pang of guilt.

The vast majority of my clothing could be considered “fast fashion”. Even though I definitely do wear the items more than once and there are no ar�cles of clothing that s�ll have tags on them, I s�ll get those guilty pangs.

Eco-Savvy Plus ‘Blogger’, Sonya, who runs ‘Australian Fatshion’ took up eARTh emag’s challenge to locate some eco-fashion in upsizes and was surprised at the results.

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I’m trying to live a slightly more environmentally conscious life and making small changes where I can do so. I try and buy animal friendly makeup and beauty products. I source my coffee from ethical companies. I buy eco-friendly cleaning products. Now, I’d like to try and introduce some sustainable clothing into my wardrobe (while maybe ge�ng rid of some other stuff I don’t regularly wear).

However, I am plus sized. What does this mean? Well, it means that it can be much harder to be a conscien�ous consumer. When you’re plus sized, o�en, it can be just enough that a store has clothing that will fit you, let alone needing to think if that clothing is ethically made. And even if you find that holy clothing grail, it s�ll has to suit your own personal style and budget. O�en, all these factors don’t mesh.

I’ve been doing research into eco-friendly plus sized clothing and there really isn’t a great deal. Most of it isn’t my personal style at all and is well out of my price range.

However, there is STILL some availability, so I’ve made a list of the stores (all online) that I think are doing a good job.

“Check out this awesome swing dress I am dying to buy” – Sonya Photograph courtesy Lorraine Hall

Online Eco Upsize Retail – Sonya’s Pick Navabi – lots of linen in the mix, so is perfect for summer months.

Lorraine Hall – Lorraine Hall uses co�on, hemp, linen, silk and fine merino wool in her garments.

Mewv via Saffrona is an op�on for those who want something dressier, but s�ll ecofriendly. Mewv use organic co�on, soy, hemp and linen and eschew the use of bu�ons, zippers and hooks. The best thing is, they have a very large size range. They are based in America though, so I believe you will have to contact them for interna�onal shipping.

Etsy is a great place to search for eco-friendly items of all types. Most sellers will custom make clothing and have rela�vely reasonable shipping rates. Here are my favourites: Yanadee custom makes clothing out of salvaged items.

Gaia Concep�ons has lots of simple, well-made clothing. Mostly winter wear at the moment as they’re based in America.

Pierogi Picnic are based in the US and have a new take on funky, trendy, youthoriented eco wear. They will also custom make designs if requested.

Linne Sand doesn’t have very many items at the moment, but there’s a raw silk tunic on the shop that I am just dying for. I think it will be lovely and cool come the ho�er months.

Take off Your Clothes has an avant garde looking approach to eco fashion and I am loving it. It’s totally right up my alley for trendy, sustainable, but just a li�le bit different from the norm of fashion. They’re also based in the US and will also custom make garments.

So, there are my favourites of the eco-friendly, trendy fashion out there for plus sized women. Do you have any others I can add to the list? I’d love to hear from you!

www.australianfatshion.com

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Tania Smith in her ‘Ka�an Queen’ label, photograph supplied courtesy ‘Ka�an Queen’. Ka�an Queen designs modelled at Brisbane Designer Fashion Show, 2013, photographer Sandra Conte.

Fashioning a Kinder World Spli�ng her �me between India and Australia, ‘Ka�an Queen’, Tania Smith, beau�fies the world in kind and crea�ve ways. of Polynesian, Caucasian and Oriental looks, Tania was celebrated on the runways of top interna�onal labels. Now with her own handcra�ed label of limited edi�ons and sustainable sources, riding high on the catwalk, Tania con�nues to pursue her involvement with Indian orphanages. She does so in order to help implement a variety of training programs for the children while being true to her own, simple mandate to help fashion a kinder world.

Tania says that working with underprivileged communi�es within developing countries, in par�cular India, creates long-term, rewarding and sustainable career prospects.

As the Founder of the ‘Ka�an Queen’ label, Tania mentors and supports young female orphans living in India, to assist their passage into adulthood.

See more at: www.ka�anqueen.com.au

Dressing the part – Green Art Noosa Biosphere Art Prize was established to recognise the diversity of green art produced in its region and the role art can play in crea�ng a sustainable future.

The 2012 compe��on theme of Wearable Green Art required entrants to connect their work with the Noosa Biosphere Reserve. The $2000 prize pool for 2013 was shared between five recipients. Kathleen Hunt took out First Place for ‘Muta�on’, combining the concept of consumer lifestyles and gene�c muta�on through pes�cide pollu�on with the deconstruc�on of a coat hanger whose galvanising process uses Cr (VI) – a controversial pollutant explored in the film ‘Erin Brokovich’ as a known water pollutant, an environmentally damaging process. Highly commended awards went to Robyn Woodrow for ‘The Flora Dress’, a wedding gown made completely from recycled materials, mostly discarded books, which signified the marriage of human to environment. Rene Bahloo’s ‘Outer Skin Dress’, constructed and layered with natural fibres, the piccabeen palm and emu feathers local to the Noosa Biosphere, also took out one of the highly commended awards.

‘BlueBo�le Biosphere’ was the name of Sandy Barclay’s Encouragement awarded piece, made purely from recycled glass bo�les, inspired by the Blue Bo�le species that is commonly mistaken for a jellyfish. Sandy used the Blue Bo�le as being an analogy for the Noosa Biosphere Reserve given it is a colonial organism made up of many parts working together in balance and harmony. The final encouragement award went to Julie Johnson for the sculpture, ‘Harmony’. Recrea�ng the human form, Julie constructed leaves from discarded black and rep�le pa�erned upholstery pieces to represent the black cockatoo and the lace monitor. Under the foliage canopy is reclaimed, locally beach-combed rope to represent the roots.

Leah Barclay, The Noosa Biosphere Ltd (NBL) Cultural Board Member says the Noosa Biosphere Art Prize is about the response to the environment and the engagement in deeper conversa�ons to be�er understand and showcase the environment.

www.noosabiosphere.org.au/artprize Top photograph Sandy Barclay (right) with model wearing ‘BlueBo�le Biosphere’; Noosa Biosphere Art Prize 2013 Finalists.

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Growing Designs

by Sandra Conte

Transla�ng the La�n for ‘happy place’ into the label name ‘Laeta Loca Designs’ (Laeta Loca is pronounced Lay-ta-lowka) the intent of designer Meg Geer is clear from the outset. Meg’s lovingly designed and hand-cra�ed homewares are about contribu�ng to the happy place of others.

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Laeta Loca Designs: Felt vases - hand made by Meg with the highest quality Merino and Corriedale Wools.

of Meg’s silk and felt hanging pendant lights along with furnishings created in her island studio has a story behind it. She handpaints her silk pendant light shades so no two are alike; their �mber collars, handcra�ed by Laeta Loca’s ‘Woodsman Dave’, are made from Tasmanian oak and can be stained or oiled with a �mber oil made in Byron Bay Australia from the friendliest ingredients.

Felt pod lights are derived from 100 per cent Merino wool and by employing spiderweb thin fel�ng, the resul�ng singular or clustered pieces can be coloured and arranged to suit every type of interior. The effect is simply stunning.

Quality control drives Meg’s design ethic, as she outlines, “I am very determined to know where my materials come from in order to maintain an ar�san quality to my line. This perhaps makes it more expensive but special. I want people to take home something that is chemical free, made with love and has done as li�le damage as possible to the environment on its way through. I think if we could make that desire a regular part of the buying psyche, posi�ve change would come faster to industry and the world. I work with natural

mostly not dyed fibres to take the shortest route from its natural form to art form. It is straight from the sheep’s back, well as close as I can get without actually having a sheep in my back yard! There is o�en residual organic ma�er tangled in the wool that remains present in the vessels with the resul�ng elegant, simple forms allowing the natural fibre and exis�ng organic materials to be no�ced”.

Meg believes that the work she creates is imbued with the energy of the process, explaining, “I find producing these cra�s to be nourishing and joyful which I hope transfers with the objects to those who own them.”

Meg is currently working on a large scale sculptural exhibi�on based on the natural beauty of the Moreton Bay region in south-east Queensland, Australia and says, “ I am researching materials and fibres for the exhibi�on and always in my mind is the desire to make the spirit of the exhibi�on carry through all levels of the work. I don’t think it can truly portray the energy and beauty of the region if it does damage to it along the way. It’s all interconnected.”

www.laetaloca.com

L-R: Meg Geer; Fairy floss felt; Stone vases; Silk fabric design

eARTh to ARTISANIA

Tiffany introduces eARTh to her Sunbird workshops.

Photograph Michaél Beaty

TIFFANY BECKWITH-SKINNER

by Sandra Conte

eARTh travelled to the Woodford World Folk Fes�val and what we found was the subterranean world of ar�sania, a place housing an array of diverse art and cra� workshops. It is here that we came across, Tiffany Beckwith-Skinner, Rene Bahloo and the Brown Owls.

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Of Japanese American heritage, Tiffany has worked on mul�ple film, theatre and fashion projects across the world. As an experienced stylist, costume maker, makeup and hair ar�st specialising in theatre, film and fashion she is a gi�ed facilitator who will tease out your ar�s�c crea�vity. Her ‘Sunbird’, ‘Alter-Hour’ and ‘Decora�ve Parasol’ workshops were a hit. The sunbird, an original design, is a light-winged jacket beau�fully protec�ng shoulders from the sun or cool breezes which Tiffany tailors to your form and you embellish, paint, appliqué and embroider to produce a beau�ful memento of Woodford. ‘Alter-Hour’ provided a space to transform an exis�ng garment into something new, those needing to fix a beloved item of clothing could hang out with crea�ve s�tchers. ‘Decora�ve Parasol’ workshopping saw Tiffany use a range of techniques for par�cipants to create a unique parasol – focusing on bright, beau�ful Indian prints and colours it meant joining in with the Bollywood Parade or just enjoying the shade of the bespoke parasol.

RENE BAHLOO

BROWN OWLS Brown Owls are a cra�y club who meet monthly at various loca�ons to learn a new cra� or bring along their own cra� to do. It’s all about sharing cra�y knowledge and skills, mee�ng cra�y people and having a cuppa. Their ‘17th Century Fabric Bu�ons’ sessions allow par�cipants to discover the tradi�onal cra� of covered bu�on making to create fabric brooches or bu�ons. For lovers of 100 percent handmade it means no glues or quick assemble tools are allowed and is all about slowing down and valuing the �me and skills involved in this age old cra�.

www.brownowls-members. blogspot.com.au

Above: Rene Bahloo, Weavery crea�ons, Photographs Michaél Beaty

Rene Bahloo’s Weavery is a mind and art space from which Rene shares her weaving wisdom with the world through workshops. From teaching simple basketry skills paralleled with prac�cal life philosophies her Nest Basket with Palm Fibre workshop allows you to weave your own mariposa-style coil s�tch wearable pendant basketling. These are made in two parts that are sewn together, and are meant for sharing at pivotal moments in life, like coming-of-age, childbirth, or other special �mes. Her ‘Nest Baskets’ workshops are the means to weaving a nest basket to house your own bromeliad or orchid. Learn how to recycle those pesky palm fronds into an amazing crea�on. See how weaving can show you a way of being in the world, in tune with your inner nature. Rene Bahloo of Weavery shares the wisdom of weaving through engaging, connec�ng and fun workshops.

www.weavery.com.au

Review by Sandra Conte

The Very Aware Hare – Ruby Red Shoes

All illustra�ons by Kate Knapp. Reproduced with permission © Twigseeds Pty Ltd (Australia)

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We could all take a leaf out of the children’s book Ruby Red Shoes where the beau�fully cra�ed character, Ruby, introduces readers, young and old, to the treasured life she shares with her wise and warm-hearted Grandmother and carer Babushka Galina Galushka.

we journey ‘down the rabbit hole’ into Ruby’s charmingly believable world, we come across the reasons why grace and courtesy never go out of style and how caring for all creatures great and small is an honour not a task. Ruby shares her gardening �ps and many other sage-pieces of advice.

Author and creator of Ruby Red Shoes is the effervescent Kate Knapp whose prose provides a refreshing re-entry to childhood wonderment. The book Ruby Red Shoes had our en�re family hooked, unlike any other; our eight year old daughter woke one Christmas to find the toy Ruby, yes there is a cuddly Ruby as well, si�ng in the tree and the tradi�on has taken hold with something of Ruby to open at that most wonderful �me of every year. Ruby has become a treasured part of our household residing on a toy swing a�ached to the bedroom

wall. The book has been purchased for cousins in the UK and repeatedly accompanies the children on trips to Grandma and Grandads’ for re-reads. It is one of those tales that seems new and fresh every �me it is revisited.

The second, recently released book, Ruby Goes to Paris means, together, we can travel to a different land with Ruby, as if on a magic carpet ride seeing new places through the eyes of a child.

Kate Knapp’s inspired watercolour and ink works and words of universal wisdom mean Ruby’s tales and travels have been have been brought to children all around the world. It is not the same formulae of Beatrix Po�er but a twist of old worldy with contemporary where the philosophy of one li�le rabbit gives pause for thought and delight.

www.twigseeds.com

Miss Kate Knapp at a book-signing with young fans.

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Monsters M have a ball

by Sandra Conte

There were no monsters hiding under the bed at this year’s Woodford Folk Fes�val, instead, they were parading the streets, every day, and forming an integral part of the epic opening and closing ceremonies.

accompanying photgraphs show some monster designs prepared by children from their imagina�ons – they drew them and wrote up descrip�ons of their monsters’ personali�es which were then interpreted by teenagers and master puppeteers at community workshops. The final winning entries were built by a specialist in giant puppet making, Daniele Poidomani, from Adelaide company ‘Knee High’. Over the years Daniele has built a huge range of puppets, seagulls, snails, elephants, and a 17 metre long Blue Whale, the longest puppet he has ever built. For the Woodford Folk Fes�val, Daniel created his first ten-headed puppet!

Throughout the building of the puppets, the workshop was open for locals to come and learn more about the art of puppet crea�on. The puppets took three weeks to build and the team rehearsed for the big fes�val performances with special effects incorporated to highlight one monster’s fire-breathing quali�es!

Daniele recommends that all aspiring giant puppet makers should realise, “The beau�ful and perfect ideas in your head may come out somewhat differently than expected.

Yet once realised and out in the real world you can see, touch and hear them and you’ll know how to make progress with your next work.”

The monster puppet project came about from the 2013/14 Woodford Folk Fes�val theme based on the quote by Mahatma Ghandi that ‘”the only devils in this world are those running around in our own hearts, and that is where all our ba�les should be fought”.

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Top two photographs by Michaél Beaty; bo�om right 10-headed monster by Sandra Conte; bo�om le� Tiffany Beckwith-Skinner directs costume crea�ons at the monster puppet workshops, courtesy Woodford Folk Fes�val.

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Music captures Climate

MUSIC REVIEW

By Sandra Conte Climate Change upon us it is refreshing to find fes�vals such as Woodford doing all they can to ‘green the world’; mass tree plan�ngs on the Woodfordia site in the form of a mini fes�val each year en�tled ‘The Plan�ng’, has formed part of the annual program and landscape, providing shade to punters. In the 2013/14 Fes�val it had never been needed more with temperatures cranking upward to 45 degrees celsius bringing sweet relief with thunderstorms and showers. This is captured in the lyrics of M. Callaghan whose ‘Sounds of Then’ (This is Australia) was wri�en decades ago and has never been more relevant. ‘Out on the pa�o we’d sit, and the humidity we’d breathe, we’d watch the lightning crack over canefields’.

The band GANGgajang who made it their hit in the 1980s revived the song in the Grande venue of the Woodford Folk Fes�val where a cool breeze calmed the air and brought ‘a certain texture, a certain smell’. Here eARTh introduces 80’s rocker and fes�val punter, Jaia who, captures the essence of Gangajang and reviews The Basics.

GANGgajang – Listening to them is like driving an EH Holden along the great Ocean Road; with your hand firmly on the twang bar, the odometer comfortably on 120 beats per minute, with the occasional downhill coas�ng.

– eARTh music reviewer, Jaia

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Wally from The Basics on drums Woodford 2013/14. Photograph by Sandra Conte.

The Basics

by Jaia White shirts, skinny black �es and harmonies – The Beatles references don’t stop there. These three cool cats could be straight out of the 60’s with their rendi�on of ‘Wipeout’.

Wally De Bakker’s exhilara�ng drumming formed the backbone of The Basics, flawless to the point that he could be playing with Grinspoon or The Living End. Along with his stunning soprano vocals and high harmonies, he nailed it all.

True to their name, The Basics are straight up rock ‘n’ roll and naughty to boot - a cross of Bri�sh Rock n Roll La�no/ grunge with powerful vocal arrangements. Not for the faint hearted, and probably more suited to a sweaty a�ernoon at The Big Day Out, it was nonetheless a class act. They finished off with a great version of ‘Proud Mary’ that (not being ageist) would bring your great grandma out of her rocking chair. In this instance she’d probably want to remove the hearing aid, but having said this, The Grande stage sound levels were spot on.

Introducing Michaél Michaél Beaty is a 17 year old photographer who was born in America and grew up in Australia.

He approached eARTh emag to offer coverage of the Woodford Folk Fes�val. Travelling back from voluntary work in his Aunt’s HIV/AIDS research clinic in Africa before he commences his own medical studies, Michaél spent a day ‘snapping’ at Woodfordia.

His gallery of images follow…

Top: Rain breaks the heat; Monster Parade Opening Ceremony; Backsliders; Busby Marou; Opening Ceremony; Half Moon Run. Photography by Michaél Beaty.

Michaél, who has visited Africa more �mes than he can count, stood in line for ten hours to pay his final respects to Madiba, Nelson Mandela. Read his sen�ments on page 66 followed by our African correspondent Rich Field’s Last Word.

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Recycled mats are great for around the home and brightening confined spaces

Recycled Mats feature Indigenous Designs Save the planet and your floor with recycled, durable floor mats. Machine woven from recycled polypropylene to create a lightweight finish, the benefit of woven recycled plas�c (from materials like polypropylene, car tyres and PET drink bo�les) is a so�, warm surface to walk or lie on that washes clean. They are ultra-hard wearing and there are no toxic materials used in the produc�on or dyeing processes, making them planet friendly.

These exclusive Aboriginal, Torres Strait Island and New Zealand mat designs invite you to celebrate Indigenous art and culture with rich colours and educa�onal mo�fs commissioned from both Indigenous Australian and New Zealand Maori ar�sts. So versa�le and resilient, given the machine woven threads are UV treated to survive in and outdoors, the mats can be used inside or outside – from the classroom to the camping ground. They’re extremely popular as childcare mats, thanks to their bright colours and lightweight, comfortable texture and are easily washed with soapy water, so there’s no need for harsh chemical cleansers. They make fantas�c mul�cultural resources for teachers or vibrant addi�ons to any home, office or community space.

recycledmats.com.au

RECYCLED MATS Recycled Mats, trading as Global Kids Oz, is a proud member of the Indigenous Art Code. As a signatory to the Indigenous Art Code they are commi�ed to ethical and transparent business dealings with Indigenous ar�sts and abiding by the standards set out in the code. Recycled Mats was the first business to create Indigenous Australian recycled mats and is the leader in design, variety and as far as we know is the only business to be accepted into the Indigenous Art Code as a member for this unique product. We are working with more and more local ar�sts all the �me to con�nually bring new designs, colours and concepts to the marketplace to celebrate Aboriginal and Torres Strait Island culture. We are working with Torres Strait Island ar�sts to introduce a unique range of TSI mats in 2014.

Trash Retro and Vintage Trash retro and vintage is a recycle fashion store for men and women, selling preloved items always in ‘A1’ condi�on. Retro., vintage and designer pieces are purchased from local people and second-hand items imported from Europe. Trash owners have their own label called ‘Remix’ which sees them making a range of skirts, shorts and dresses from vintage fabrics or vintage linen sourced from opportunity shops/ markets and local people. ‘Trash’ believes in recycling and reusing anything beau�ful they source from lace to bu�ons, giving new life to old and unused garments.

www.facebook.com/TrashByronBay

Photographer: Sally Pa�; Models: Miss Ella and Dom Brown; Jewellery: Allurenz; All clothing by Trash retro and vintage; Styling: Debbie Gordon; Hair and makeup: Pamela Anseeuw.

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Global Event Guide Email editor@earth-emag.com (by May 1, 2014) with your earth-inspired art happenings from June 1, 2014.

Canada – Subtle Technologies – May 16-25

Turkey – ARTSIT 2014 – November 6-8

Australasia and the Asia-Pacific – Future of Places – March 6-7

The 17th annual fes�val in Toronto Canada.

The Symposium, performances, screenings, exhibi�ons and networking sessions provide a forum for the explora�on of ideas and posing of ques�ons at the intersec�on of art, science and technology. Subtle Technologies has an interna�onal reputa�on for presen�ng ar�sts and scien�sts whose work is at the cu�ng edge of their respec�ve disciplines. It creates a space for dialogue that leads to further discussions and future collabora�ons. 2014 theme is ‘Open Culture’. The Fes�val will celebrate the ways ar�sts and scien�sts are crea�ng and making use of tools and techniques to harness the collec�ve power, knowledge and crea�vity of the ci�zen.

Now in its fourth edi�on, ArtsIT has become a leading scien�fic forum for the dissemina�on of cu�ng-edge research in the area of arts, design and technology. The conference (6–8 November 2014, Istanbul, Turkey) aims to bring together leading researchers and prac��oners from academia, the arts and industry to present their innova�ve work and discuss all aspects and challenges in a s�mula�ng environment.

The main focus of this edi�on of ArtsIT is to present par�cipants with tools, systems, models, artworks, performances, shows and empirical studies that may enrich the possibili�es for ar�sts and crea�ve people to work with new media technologies.

The overall purpose of Future of Places is to indicate the importance of public space and placemaking in city planning. Organisers are convinced that in the future, the most func�onal ci�es will be the ones that encapsulate the public realm and the people who u�lise these places. This is a people centered vision for ci�es – one that enables a transforma�ve shi� in the tradi�onal planning and management of ci�es, a shi� that benefits everyone, specifically those at the bo�om of the economic ladder. Conference Themes include Crea�ng Places Together and A place at the table for all?

www.subtletechnologies.com

www.artsit.org/2014/show/home

www.placeleaders.com/images/ stories/ConferenceThemes_ FutureOfPlacesMarch2014.pdf

New Zealand – ADA Aotearoa Digital Arts Network

Australia – Sunshine Coast Yoga Day – February 15

Japan – The Japanese Society of Cultural Anthropology – May 15-18

ADA Mesh Ci�es Christchurch will be a series of events held up to 2015 addressing the role of media art in the city, exploring key issues such as urban space, social engagement, memory and specula�ve futures; having commenced in 2013 over the total three-year period the ADA Network will host three major symposia, a series of workshops and speaking tours. Tour dates announced end of February 2014.

The Sunshine Coast’s Largest Celebra�on of Yoga, Sunshine Coast Yoga Day hosts three yoga halls with back to back classes in the beau�ful loca�on of Lake Kawana Community Centre.

Par�cipants have the opportunity to experience a large array of yoga classes with experienced teachers. Workshops, yoga and health related market stalls and live music performances can be enjoyed during the day.

(JASCA) invites anthropologists from around the world to our 50th Anniversary Conference to be held jointly with IUAES Inter-Congress 2014. The conference aims to a�ract over 250 interna�onal delegates to Chiba City in Greater Tokyo. The theme will be The Future with/of Anthropologies. The language of the conference will be English. The conference will take place from 15th to 18th May 2014.

www.ada.net.nz/meshci�es

www.yogafest.com.au/yoga-day

www.iuaes.org/japan2014/index.shtml

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A huge tree has fallen.

The key now is to pick up the pieces and move forward.

The night of Nelson Mandela’s death was a hard �me for all South Africans.

By chance, I was at ‘Madiba’s’ house that night.

The atmosphere around me, while sad, was ul�mately celebratory, of a man whose life meant so much to his people. That week, President Zuma announced that the country would have 10 days of mourning. During that �me, Nelson Mandela’s body would lie in state for public viewing at the Union Buildings. I heard that there was a medium sized crowd to view the body, so when I arrived at 6:00am, I was u�erly surprised to s�ll see a queue stretching into the distance.

As I started the long walk to the back, I realised how much the man affec�onately known as ‘Tata’ or ‘Father’ meant to South Africans.

Michaél Beaty in 2012 at his Uncle’s African eye clinic.

Michaél Beaty

Nelson Mandela is a hero of our �me for many reasons.

In his earlier days, with honesty and dignity, he stood up to a brutal and repressive regime in the hope of realizing the dream of a free and democra�c society. In his trial he openly stated that this was an ideal for which he was ‘prepared to die’.

For his honesty, he was incarcerated for 27 years. Yet he emerged from prison more determined then ever that the future South Africa was one where white and black people were able to live together in peace. It was only his single mindedness that prevented outright civil war in South Africa.

His deeds have inspired the breakdown of many long held racial barriers for both black and white people in South Africa. He has provided the pla�orm for the country to move forward.

South Africa s�ll has many issues, and the road ahead is paved by uncertainty. However, his legacy looms large and has been highlighted and strengthened in his passing. He will con�nue to unite the country for genera�ons.

His journey and his ideals are represented in the skin of a zebra – a quintessen�ally African animal where black and white live together side by side in total harmony.

With great respect and gra�tude, we salute you Madiba. If more of us can draw inspira�on from your acts and deeds, the world will certainly be a be�er place.

Rich Field, eARTh emag African Correspondent

Zebra Splash, Photograph by Rich Field.

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