ISSUE 4
FREE
The Shred Method Awaken your inner rock god
Disability theatre Changing attitudes
Chartfest Hothousing local music
ISSUE 4 JULY 2010
Nau mai, haere mai, welcome to Ignition, the magazine that puts a spotlight on all things creative at CPIT. In the depths of winter, it’s easy to head back under the duvet and wait till spring. Likewise, in the depths of some pretty dreary economic weather, it’s tempting to hunker down and wait for things to return to the previously scheduled economic climate. But maybe this is not the time to stay out of the elements; maybe this is precisely the time to head outside and find some new energy in the eye of the storm. Think about it. We know we’re in the midst of some fairly interesting economic resetting, and we know we’re moving out of one way of thinking about “work” and into another. Who expects a job for life and a gold watch these days? This is the age of multiple jobs, lifelong learning and convergence of (just about) everything. Statistics tell us that in the USA one in four workers have been with their current employer less than one year and one in two workers have been with their current employer less than five years. We know that today’s primary school children will have between 10 to 14 jobs by their 38th birthdays. Sounds like a good time to head on over to the Creative Class, don’t you think? As Richard Florida defines it in The Rise of the Creative Class, creativity - the ability to create meaningful new forms - is a decisive force of competitive advantage. In virtually every industry, the winners in the long run are those who can create and keep creating. Florida’s view that “talent, technology and tolerance” will change the world for the better is one we share at the Faculty of Creative Industries. We’re about facilitating the development of creative careers to make things better for our students, our city, our region, our nation and our world. We think creativity helps with lots of things, including economics, but also with peace, love and understanding. If you’re interested in joining the Creative Class, come in and see us at the Faculty to talk about developing your talent into your career.
// circoarts Breaking Records CircoArts going international
// music The Shred Method Interview with Jordan McLean
// viscom VisCom students display their work
Jane Gregg Dean, Faculty of Creative Industries.
Graphic Designer Milan Reinartz - milan.reinartz@yahoo.de
with contributions by Jennipher Stoppel - jennipher.stoppel@me.com
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Gallery
Tene nga kanohi kua tikona e Matariki
Editor Martin Trusttum - trusttumm@cpit.ac.nz
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// music
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Main Stage Chartfest 2010
Copy Editor Hazel Barrer
COVER Design & Photography Jennipher Stoppel Model Bradley King
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CONTENTS
// theatre
// architecture
In a different light
From Bachelors to Masters
Tony McCaffrey on Disability Theatre
Passing It On Ruben Hamblett talks about stage design
// fashion
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CPIT graduates complete their masters qualification in Auckland
// Charlie Brown
Student selection
Tim Johnston
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music + books
// visarts
// animation
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James Squires
Making Sounds Bruce Russell, the Dead C and Left Handed Blows
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photography
Adam Gallavin
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www.ignition.ac.nz
Comicstrip
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// cd reviews
Philagrafika
Doug Caldwell
Micheal Reed shows his work in the US
L.A. Mitchell
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Oval Office Sacha Vee
Award Spin Offs The Mortlock McCormack Law Art Award
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Sumo Jazz
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CIRCOARTS NEWS
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The course made our acts much more polished and broadened our skills immensely
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CIRCOARTS NEWS
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Breaking records Story by Adrienne Rewi Photography by Giora Dan
Squeezing into a box measuring just 65cm x 66cm x 68cm with two other adults, may not be your idea of fun, but for CPIT CircoArts graduates, Jola and Nele Siezen and Skye Broberg, it was just one way to smash a Guinness Book world record in Rome recently. While in Italy, Skye also attempted the world record for the number of different ways she could get through a tennis racket in three minutes; and fellow Circo Arts graduate, Pascal Ackermann, attempted to reclaim his Guinness record for the most fire sticks he could ‘eat’ in a minute. All this, says CircoArts Programme leader, Donna Chapman, is a testament to the enormous variety of skills, the drive and determination instilled in CPIT’s Circo Arts students during their two-year diploma course. Those skills prepare the graduates well for making the most of international career opportunities. “The physical theatre and circus communities globally are growing. CircoArts and the fact that we are New Zealanders is viewed very positively overseas. Being part of Circo Arts gives students a direct link into that international community,” says Chapman. “We New Zealanders have been known and respected for years for our hardworking ethic, our courage and our willingness to give anything a go. That holds true in the theatre and circus worlds.
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“There’s some great work coming out of New Zealand and we groom our CircoArts students to make the most of worldwide opportunities. We teach them performance skills, as well as marketing and branding. Building contacts is really important so we encourage them to get involved with festivals and events.” Chapman says that despite the broad range of skills that Circo Arts students graduate with, it is ultimately up to the individual and their level of passion and drive to determine success. “The most successful graduates anywhere, are always the most selfmotivated ones – the people who can create work for themselves. They don’t just stop because they didn’t get to participate in a festival; they engineer something else and “sell” it to a festival director.” In the 16 years since CircoArts was established, a good number of graduates have gone on to create successful careers offshore. Several are currently working
abroad in circus, physical theatre, film and stunt work or education, making the most of the solid skill base and communication skills they picked up at CPIT. Identical twins, Yola and Nele Siezen, performing as The Twisty Twinz, are a classic example of driven graduates carving out an international niche for themselves. The twins graduated from CircoArts in 2006, and although they came into the course with some travel and performing experience, they say their diploma studies gave them a wider range of abilities and the confidence they needed to take their skills to the world in a professional manner. They admit that being Germanborn, fluent in German language, familiar with Europe and identical twins, have all been big advantages; but they were prepared to start as street buskers to earn money. They’ve also made it a policy to attend as many conferences and festivals as they can.
“We went to an acrobatic conference in Europe in 2002 and we were gobsmacked by the number of people working as circus performers for a living. It was only a hobby for us then but we still made lots of contacts from that event,” says Nele. Now 26, the Twisty Twinz have performed in street shows and numerous festivals and events throughout New Zealand, Australia, Germany, Holland, Croatia, Spain, Scotland, Italy, the Canaries and Austria – “everything from adagio (balancing with a partner ), aerial silks, stilt-walking to acrobatics.” They’ve appeared in Circus shows, at birthday parties, in school shows, collaborations, workshops, in films and on television. “When we went to CircoArts it was the first time we got professional training. We’d already done a lot of acrobatics and climbing but the course made our acts much more polished and broadened our skills immensely. It really made us think about what we wanted to do and achieve.” The twins are also part of The Butler cast, directed by Mike Friend, which travels to London for three weeks in July; and they’ll be keeping their eyes open for further opportunities that might arise during their travels. “You have to travel if you want to get onto the international stage. Even if you don’t have the money, you have to take the risk and throw yourself out there,” they advise. Donna Chapman agrees, adding that the export of productions like The Butler throw up excellent opportunities for CircoArts graduates. “People like The Butler director, Mike Friend are great to have around because they are part of the international community in their own right and they can provide invaluable contacts to our graduates. And we want to see them all succeed. Our staff have a passion and part of that is seeing our students making important breakthroughs in their careers,” she says.
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The Shred Method Jordan McLean, a recent graduate of the CPIT MusicArts programme, has used his guitar prowess to create an instructional heavy metal guitar DVD.
What is the “The Shred Method”? “The Shred Method” is an instructional guitar DVD, that teaches heavy metal guitar techniques, licks, and tricks. You can learn various approaches to rhythm and lead, with lessons and exercises that help guitarists achieve greater speed, accuracy, and technical ability. It’s an interactive DVD that includes lessons, close up views of both the left and right hands, and all exercises printed as guitar tablature for easy learning. Who is the DVD aimed at? It’s aimed at metal guitarists, or any guitarist who is interested in improving technique and speed. I hope to reach a wide age bracket, although I believe it will attract a younger audience, say teens and people in their 20’s. I have approached the NZ Rockshop and Music works for distribution of the DVD, however, there is no signed agreement or deal as yet, but that’s the next step. What did you enjoy the most about this project? The filming. Although it was challenging, it was a good experience and we had some good laughs during the filming process. Who or what are the strongest influences on your creative process? All the music, backing tracks and lessons on my DVD were written by me, and you can hear my influences—rock and metal instrumentalists (often
referred to as shredders) like Joe Satriani, Yngwie Malmsteen, Michael Angelo Batio, and Van Halen are all a huge inspiration to me. In terms of the more rhythmic exercises on my DVD, I’m influenced by Pantera, Iron Maiden, Killswitch Engaged, and in contrast, many Christian metal bands like As I Lay Dying, Living Sacrifice, and Becoming the Archetype. What have been the biggest challenges you’ve faced making this DVD? The whole thing was quite challenging really, a lot of work went into this project because there are a lot of aspects; like cover art work, recording backing tracks and music, creating effective exercises, planning, filming and editing. The biggest challenge for me was getting used to the camera. We did a practice run of all the lessons with a video camera so that I could get confident with it.
amazing thing is that it is like my very own work of art. What have you enjoyed the most about your course at CPIT? Thanks to the help of the tutors at the CPIT Jazz School (Bachelor in Musical Arts), I’ve gained valuable musical skills and an idea of real professionalism to prepare me for the music industry. What key skills do you feel your CPIT course has provided you? Technical ability on my instrument, the processes of recording in a studio, professionalism, and the business side of music. What advice would you give prospective students wanting to study at CPIT? Go for it!
What about highlights? What’s the biggest so far?
Where do you see yourself in 5 years time?
The biggest highlight about this project is the fact that I have a marketable product, and have the opportunity to gain a foot hold in the music industry. And the most
Possibly teaching music in secondary schools, but to be more ambitious, I could have The Shred Method 2 out by then!
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GALLERY
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JOSEPH SCORGIE
MILAN REINARTZ
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GALLERY
MATT KITTO & MARK MARCHAND
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PARIS TUTTY
BENJAMIN CAREY
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Photography: MOTHERLOVE
Main Stage Story by Adrienne Rewi
When CHARTFEST 2010 kicked off in Christchurch on May 28, it brought together the best of Canterbury music talent and thousands of aspiring young musicians eager to make the most of opportunities within the wider music industry.
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Photography: CHRISTCHURCH CITY LIBRARIES
Christchurch’s NZ Music Month live extravaganza is now in its third year and Music Manager for The Christchurch Music Industry Trust, Jeff Fulton, says it has grown to be one of the largest multi-stage, indoor festivals in New Zealand and the largest regional music initiative in the country. “CHARTFEST is now recognised as a significant event on the New Zealand music calendar and it’s a favourite with schools because their young, aspiring musicians are able to access top people from all sectors of the New Zealand music industry. It’s really Ground Zero for musicians in this city – a place where you can kick off a career in the music business,” he says. Fulton says CHARTFEST shows young musicians alternatives to a stage career by introducing them to the possibilities of working in recording, video, film, sound engineering or as
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Photography: MOTHERLOVE
music journalists, photographers, managers, stylists, web designers, accountants or lawyers. “It’s all about being able to negotiate the wider music world. We focus on providing a wide showcase and most people who come – over 2,000 this year – are blown away by both the possibilities and the quality of local talent.” In addition to performances on five stages at the Christchurch Town Hall, the event includes a comprehensive career and industry expo, music performance clinics, panel discussions, backstage tours, giveaways and schools’ competitions. One aspect Fulton particularly liked about this year’s event was the hunt for the best school band and music team. “Independent music teams are the way of the future in my opinion,” says Fulton.
“The investment of record labels is decreasing as CD sales decline and bands need to be more independent and in control of their own destiny. That’s why, this year, we initiated the new high schools’ competition, Band Team Search, where the kids had to build a team that included a manager, photographer, journalist, poster designer and the band itself. They were required to build a My Space page with all these elements. It’s about teaching them the way of the future and I think the competition has national potential.” It’s that kind of innovation that CPIT recognised as having immense potential, leading them to become both principal sponsors and event partners of CHARTFEST 2009. They came on board again for the 2010 event and Head of the CPIT School of Performing Arts, Tom Rainey says the event is “a good fit” and one that has enormous potential to develop and grow.
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“We saw it as a great thing to align ourselves with. Our aims are very similar. We’re both committed to supporting and growing the local music industry and we’re both passionate about the same things – about giving young people the tools they need to forge a successful career in music,” he says. Tutor of Pop & Rock at CPIT Jazz School, Dave Saunders, agrees. “The profile of Christchurch music has grown a lot in the last five years and through CHARTFEST, we’re able to give kids access to a broad spectrum of music careers in one place. It’s a one-stop shop for all things music. It’s a pivotal event,” he adds. Through the event partnership, a number of CPIT music tutors were involved in performance clinics and that, says Jeff Fulton, makes for an invaluable connection. “CPIT’s participation is much more than a simple monetary sponsorship. There is a synergy between us and the music industry. It is essentially an aligning of values, aims and outcomes and we appreciate their participation immensely. There’s a real spin-off for both organisations and we couldn’t do it without them.” This year’s CHARTFEST highlights included a schools’ Ukulele Orchestra competition; a new City Roots stage that showcased Christchurch’s Maori and Pacific Island artists; and several leading music industry figures including a panel discussion with Professor Pat Pattison, from the Berklee School of Music in Boston (whose former pupils include John Mayer and Gillian Welch); and local music heroes, Roger Shepherd of Flying Nun records, Bruce Russell of Dead C and Graeme Downes of Otago University and The Verlaines.
JEFF FULTON
Chartfest is really Ground Zero for musicians in this city – a place where you can kick off a career in the music business Check out ignition.ac.nz for band interviews
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“Informal brainstorming sessions and discussion panels with successful industry professionals in conjunction with the industry expo gave young people and their parents a first-hand look into what drives the music business and the challenges involved in making it. It allows parents to see that there really are opportunities for a successful, multi-faceted music career; and it’s a rare opportunity for young students to get an overview of the music industry in its entirety. We’re right behind that,” concludes Tom Rainey.
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In a different light Tony McCaffrey has worked in experimental and conventional theatre for thirty years but he’s still open to being surprised. Story by Adrienne Rewi Photography by Tony McCaffrey
Nowhere is that sense of surprise greater than in his work with A Different Light Theatre Company and disability theatre. It’s there that he finds himself constantly challenged and excited by what he sees as “a whole new way of looking at performance and what it means.” McCaffrey, a lecturer in CPIT’s Faculty of Creative Industries, studied linguistics at Cambridge University and Theatre Arts in Paris. He has worked as an actor, writer and director in Cambridge, London, Paris, Istanbul, Denver and, for the last decade, in Christchurch. He established A Different Light Theatre
Company in 2004 after his initial foray into disability theatre at Hohepa (a residential community for people with primarily intellectual disabilities). “A former student of mine asked me if I’d be interested in doing some theatre workshops at Hohepa. I’d had no experience in that area, so for me it’s meant a complete rethink of what both performance and disability mean.” McCaffrey set up Different Light to focus on all types of theatre; mixed ability work was to be just one part of that but it’s since taken over. Six years on, the company – with a core of 12-14 members with varied disabilities – has gone from strength to strength. As artistic director, McCaffrey has devised and directed four mixed ability performances for the Christchurch Body Festival and has toured Ship of Fools to the Awakenings Festival in Australia. In 2008, the company performed Frankenstein’s Children at the Body Festival, for the first time employing only disabled actors on stage. They have also performed at the Southern Ballet theatre and most recently, eight disabled members of the company attended the Arts Activated Conference at the Powerhouse Museum in Sydney with Christchurch City Council funding.
McCaffrey is excited about future potential too. “I have big plans in terms of collaborating with Australian groups; and I have a vision of setting up a centre for diversity in performance arts here at CPIT. That would build on the work I currently do with the Mixed Ability Performance Art group – now part of the Faculty of Creative Industries – that I work with every weekend. “We’d key into the tremendous creativity and expertise at CPIT, drawing people from NASDA, CircoArts and the Jazz and Design schools, encouraging graduates of those programmes to work with people with disabilities. You could create a theatre company that might tour primary schools for instance, presenting a very positive message about the possibilities for people with disabilities.” For McCaffrey, the particular challenge is looking at what happens when you start to work and perform with people with disabilities. “It very quickly calls into question what you mean by performing and that’s the focus of my current doctorate studies,” he says. “If I’m expecting someone with cognitive disabilities to learn lines, moves and choreography in the same way as an able performer
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when we meet on stage, in sadness, performance and beauty, it brings about a sharing that can be very empowering for everyone
might, I may be in for some disappointment. Yet at the same time, if I have low expectations, the disabled performers will only meet those expectations. “It’s about investigating what performance means and that’s what I find so interesting. We’ve had disabled performers organising counter-weight flying on stage and reciting French, Italian and German lines. It’s those sorts of results that have triggered a worldwide wave of interest in disability arts. The quality of some of the exploratory work happening internationally is outstanding.” McCaffrey attributes changing attitudes to a number of things including changing performance forms. Developments in visual media – the computer, video, television, film – are necessitating change in live performance. Conventional plays are fine, he says but through mixed and disability theatre, there is the chance to explore what performance art means and its relevance and place in our lives.
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“We live in a culture obsessed with body image for instance. Through this kind of work we have the chance to look at bodies in a different way, a chance to respect difference and diversity.” That, he says, is part of an international movement – a basic human rights movement that follows on from the civil rights movement of the sixties.
rewarding,” he says. “It’s a phenomenal thing when you see someone with disabilities grow in confidence and learn new ways of expressing themselves, of clarifying what they need and what they would like. That’s absolutely huge. You see people who have been denied access to communication and suddenly they come alive in all kinds of ways.
McCaffrey is under no illusion that gains will be easy.
“You get a lot of coping strategies among people with disabilities. Disability theatre is about allowing them to know that they can play with negative emotions, with sadness and anger. They learn that the stage can be a safe place for that. The life changes that can take place as a result are very inspiring; and finding out from their caregivers and families that they are more communicative, more ambitious and motivated, that they’ve formed new friendships and learned a degree of independence, has been a real highlight for me.”
“Working in this area is totally draining but it’s very, very
Yet, that works both ways and McCaffrey says the experience
“This is a late area of human rights. It’s not so long ago that people with disabilities, especially intellectual disabilities, were marginalised and hidden away in institutions. There is a horrific history of that. Yet I think there is a great deal of room to explore possibilities and accommodate disabled people within the arts; and thankfully, our employment patterns are changing and employment within the arts sector is on the rise.”
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of working with disabled performers can be very empowering for CPIT’s wider student population. “I think it gives a sense of perspective to the NASDA students who work with us. It makes them aware that the talent they have been given is a gift and they should use it well. It can be a real leveller for some of them – an eye opener as they suddenly realise how lucky they are. “It also teaches them about being generous on stage and allowing others to shine. It’s all about openness and the NASDA students quickly discover that there’s always lots of hugs and that the disabled students are very vocal about telling you you’re boring. But when we meet on stage, in sadness, performance and beauty, it brings about a sharing that can be very empowering for everyone.” Audiences too, can expect to be challenged. McCaffrey is not into the portrayal of “cute, sentimental, amusing characters dancing around the stage.” He
wants his disabled performers to be engaged and interested. He wants them to play with ideas. He is very keen that, rather than being treated like children, actors with disabilities should be treated as adults. “That invariably means that topics like sex and death are incorporated into our performances and more often than not, there is a lot of surprise from the audience at the standard of the production. The disabled performer is coming from a place that we can’t know and that opens up interesting possibilities for the audience’s perceptions of the performance. And in terms of movement and physical disabilities, we may be forced to re-look and re-define how we think of beauty when we see the different way that people with disabilities inhabit a space.” As he looks ahead to the coming months – to Different Light’s performance in the University of Canterbury Platform Festival and at Christchurch Body Festival; and to his own international speaking commitments (on
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an international panel at the Society for Disability Studies in Philadelphia and at Performance Studies International in Toronto) – McCaffrey draws attention to a quote from Socrates: “The highest form of human excellence is to question yourself and others.” “I rather like that because it encompasses what we try to do through A Different Light,” he says.
Check out ignition.ac.nz for details of the next NASDA play, Play Upon Me.
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Passing It On Stage Design Photography by ADAM GALLAVIN
Check out ignition.ac.nz for footage of the NASDA plays Pass It On + Wednesday To Come
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Ruben Hamblett talks about his stage design for a NASDA production of the Renée play, Pass It On. Why did you choose Visual Arts as a career? I’ve always had a general interest in the arts, especially the performing arts. I come from a family with a very creative background. My grandfather was an illustrator, and I have an uncle and two brothers who work in the theatre. So I was naturally drawn in this direction. What were you doing before you came to CPIT? After finishing school I didn’t feel ready to go straight into studying,
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as I wasn’t really clear about what I wanted to do. I spent two years travelling overseas in Europe and Asia. After coming home I spent a couple of years working as a builder before deciding I wanted to do the Bachelor of Design course at CPIT. So what do you enjoy most about the Bachelor of Design? I have really enjoyed working in a creative environment alongside my peers: it’s great for feeding and sharing ideas. Having really interesting and supportive tutors to learn from and the facilities and workshop space to develop and create projects is a real plus. Describe the kind of opportunities that have come about as a result of studying at CPIT? I had the opportunity at the end of last year to go to the Melbourne Arts festival where I got to see some very amazing performances and art exhibitions. I was able to approach a
German theatre company and now have the option of taking on a two year internship with the stage set designer in Hamburg. Describe your experience of designing the set for the NASDA production Pass it On? It was a great experience designing the set for Pass it On, especially in collaborating with a team of people to create a concept that would suit what the director wanted. I also had to take into account what would be best for the actors in terms of space and how they used it. Keeping the space open yet visually interesting and engaging for the audience to experience was a challenge. What were the highlights? Being able to see my ideas become reality, drawing up ideas which then became plans for building and creating a 3D space and which was used by other people.
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What things would you do differently? Spending more time on the finishing touches and the decorating of the set probably. I realised if I had an idea or something I wanted for the project I needed to spend a lot of time sourcing the right thing. Has this work led to anything else in a similar or related field? I have taken on a project for CPIT’s New Zealand Broadcasting School. The brief was to design and construct a set for a comedy game show called Off the Record. The creative process of designing stage for the theatre was a whole different experience compared to designing sets for television. In what way do you believe your qualification is preparing you for your future? I think it has given me a general understanding and foundation to build further in the next stages of my career. What advice would you give to someone thinking of doing the same course at CPIT? Show your passion. And make the most of all your opportunities here. I think that’s really important.
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Y: PH RA VIN G O LA IR: OT AL HA D PH M G A RE AD RE UP: E PY l NS MAK Col Mc e i d lo Me
Check out ignition.ac.nz for footage from the 3rd Year Fashion School show Debut
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Bruce Russell bought his first guitar in 1983, between degrees in political studies. After three lessons, he abandoned tuition and taught himself how to make sounds.
“Our output is beyond alternative. It’s totally spontaneous and we push the boundaries of form and structure, where we tip over into noise. A Handful of Dust on the other hand, is totally free and on the chaos side of the line,” he says. He admits he’s the wildest, least musical member of the bands and that his solo career is “highly abstract in terms of sound.” “It’s experimental. I’m interested in music that is open-ended, that is both allusive and elusive – music that makes you think, asks you questions but doesn’t give you the answers. You as listener, get to participate in the meaning.” Russell is very much musically motivated at an intellectual level. He wants his listeners to question his methods, his approach, what the music is about and what effect it might have if they keep listening to it.
Story by Adrienne Rewi Photography by Adam Gallavin
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He wasn’t interested in melody, or making songs; rather he was hooked on “the sound of electricity happening, the actual noise of amplified strings and wood.” It was a kind of music with no profile in New Zealand at the time but that didn’t stop Russell. He went on to forge a successful musical career as a solo performer, as one half of the duo A Handful of Dust and as one third of New Zealand noise legends Dead C. In addition, he’s established two record labels – Xpressway and Corpus Hermeticum; he’s participated in the recording of over 50 albums; and more recently, he has published his first book, Left-Handed Blows: Writing on Sound 1993-2009.
Given Russell’s long-held “policy of mystery” and a history of refusing interviews, it’s surprising that this one is even taking place.
Factor in his work as Usability Consultant/Programme Leader of CPIT’s Graduate Diploma in Information Design; his ongoing role in Dead C and A Handful of Dust; his solo career; the fact that he’s currently working towards a doctorate in sound at Melbourne’s RMIT School of Fine Arts; and his work with Flying Nun’s Roger Shepherd as an archival consultant, and you wonder where Russell, now 50, gets the energy.
Russell happily concedes that his musical abilities “are crap” (“although the outcome is not always crap”). It’s a surprising declaration from someone who has enjoyed a significant degree of fame within the international music scene and it begs the question, just what exactly does he do?
“In terms of Dead C, we’ve made that mystique part of what we do and over time, we’ve benefitted from keeping out of the public gaze. It fires up the sort of people who are committed to our kind of music; it encourages them to seek us out,” he says. “That policy was also about making a virtue out of obscurity. Early on in New Zealand, it was very difficult to get anyone to take us seriously. We were seen as a bad joke. We decided then, that if New Zealand was going to ignore us, we’d just ignore them straight back.”
Simply put, he says, Dead C is perched between rock and chaos.
“Our approach as a group though, is not deliberately intellectual. We’re fostering spontaneity and a lack of reflection in what we do. We try not to think when we’re performing. Over-thinking can kill it. It’s a little like abstract painting.” It’s fair to say that Russell, and the bands he plays in, don’t play by the rules. Like abstract painters, who may use the same tools as representational painters, the outcomes are poles apart. Russell is also “coming at it from an untrained, more primitive background,” so it’s understandable that he has difficulty finding like-minded musicians to work with. He’s found them though in fellow Dead C members, Michael Morley and Robbie Yeats and in A Handful of Dust partner, Alastair Galbraith, all of Dunedin. “We all understand each other. Dead C has been going for 23 years now and it’s like a marriage. We have our disagreements yet we have a common musical purpose that keeps us together.” Alastair Galbraith is an Arts Foundation of New Zealand Laureate for his work as an
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instrument builder and sound artist and he and Russell have produced eight albums together as A Handful of Dust. “I really like working with Alastair. He’s brilliant. I like working with people whose ideas interest me and whose musical abilities are compatible with mine. I find it hard to find people who can cope with what I do. Alastair has an innate understanding of my ability, my work and where I’m likely to go with that.” Russell is very serious about what he does but he doesn’t take himself seriously all of the time. “People expect us (as Dead C) to be very serious and dour yet we’re often taking the piss out of ourselves and the audience. But I’m not frivolous. It’s not a comedy show, or a joke; but we do use humour for a serious purpose.” That serious side manifests itself in Russell’s new book, published by Cloud, Auckland in January this year (available in Christchurch at The Physics Room). He describes Left-handed Blows as a book of essays about sound and culture – the theory of what he does. “It’s a very personal perspective. It’s about improvisation and the place of art in society, which is one of my interests. I come at it from a Marxist perspective but within the tradition of avant-garde, leftleaning thought. It’s about reviving out-of-date ideas and making them relevant to today,” he says. Like most of Russell’s creative pursuits, it is a specialised area aimed at a specialised audience. “I’ve come to this theory that there’s this thing called ‘Kiwi’ music and it’s not the same as New Zealand music. The kind of music that’s being sold to New Zealand as cultural expression (is what’s) acceptable to commercial radio programmers. That, baldly, is how it works. I’m not saying that’s wrong and ought never be done but somebody’s got to be prepared to put a bit of money towards people who are prepared to do things for artistic reasons.
DEAD C’s BRUCE RUSSELL
“At the moment that’s not a debate anyone is willing to admit is real. I’d like to think at some point they’ll step back and say “there’s all these other people that keep doing this nonsense music” – not just the people I’m involved with; there’s a whole swathe of people up and down the country involved in stuff that is always going to be a fringe interest that is valid and is New Zealand music as much as ‘Kiwi’ music is.”
most of their records have been released there. They’ve toured the USA three times (1995, 2002, 2008) and Russell is gratified that they’ve had enhanced visibility in the last five years as younger audiences come on board – “kids who were born at about the time we were starting out,” laughs Russell. “At the same time, I’ve noticed we’re selling a lot more XL T-shirts than we used to, as our original fans age with us.”
Russell says Dead C’s success has been at a critical level not a popular level.
At the end of the day Russell is happy with his musical outcomes.
“Our New Zealand career is negligible but we have had success internationally. We inspire others to start bands and we get a lot of respect among musicians. I don’t think there’s been anyone else over the last 23 years, who has managed to balance that fine line between rock and chaos the way we have.
To quote from a previous interview: “I don’t want to be making music that everyone listens to. People say that’s elitist; it’s not, it’s being realistic. Your market is a small group of people, that doesn’t mean they’re better than other people it means they’re people with particular tastes and perspectives on music and the arts.”
“Dead C still defines a genre of music that even now has no name. We’re a genre all on our own and we still defy categorisation. That’s the most important thing about us. That gives us interest and relevance. No one in New Zealand has done what we’ve done and we’ve managed to create a successful, underground career through our ability to network internationally.”
In the meantime, Russell is about to release his new solo album Antikythera Mechanism – a vinyl LP on the Australian label, Spring Press.
Dead C’s career has existed primarily in USA and Europe and
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Philagrafika In March 2010, Michael Reed, senior printmaking tutor at CPIT, traveled to the United States to participate in Philagrafika, Philadelphia’s international festival celebrating the role of print as a vital and diverse force in contemporary art. Article by Dorothee Pauli and Michael Reed
One of the largest art events to be held in the United States, Philagrafika opened 29 January and ran until 11 April, with over 80 venues in the Philadelphia metropolitan area. The institutions hosting and supporting the programme were public and private galleries, public and private museums, libraries, and research and educational institutions. More than 350 American and international artists exhibited in solo and group shows, collaborations, performances, installations, short term events and workshops. Philadelphia has a long history when it comes to printing. Many of the documents that shaped American history had their start on a printing press in Philadelphia. Benjamin Franklin operated his publishing press there; the first US currency was issued there as was the first copy of the Declaration of Independence. Philadelphia has 28 distinctive print collections housed in a number of institutions, including five colleges and universities with strong printmaking programmes, a dozen print workshops and an extensive range of spaces dedicated to showing contemporary art. It was the recognition of this 300 years as a centre for commercial publishing, fine-art print production, and print education that lead to the 5 years of planning that resulted in Philagrafika 2010.
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Michael Reed was invited in 2008 to participate in the show curated by Daniel Heyman, Printmakers Go to War, at Swarthmore College, a leading private liberal arts university in the United States. The works shown there consider the lasting damage done to those that have the misfortune to be caught in the fall-out of armed conflict and political manipulation.
about the social and political issues that affect them. His ongoing critical dialogue with younger artists needs to be recognised as one of the most significant contributions Reed has made to the art of dissent in New Zealand.
Along with Sandra Thomson, a fellow printmaking staff member at the Art & Design School, CPIT, Reed was also invited to contribute to a curated show, Social Remarques, at the University of the Arts, one of the oldest art and performing arts schools in the United States, by lecturer, Mary Phelan.
Reed tends to exploit the varied formal qualities of printmaking, ranging from bold blocks of flat colour to the subtle intricacies of the etched line. To this, he has added experimental work in the form of medallions, installations, assemblages, hand-made books and textile prints. Thematically, his work continues the longstanding connection between print and social comment, an aspect of his practice which constantly forces Reed to question not only the purpose of his work, but also how to best resolve the tension between form and message.
Phelan’s invitation followed a presentation in the UK by Dr Elizabeth Rankin from Auckland University, that included work by Sandra Thomson and Michael Reed. Reed has taught many generations of students, who in turn, have encouraged him to experiment, adapt and innovate as an artist. They have kept him well-informed
His work encompasses a wide range of media, tied into experimental and often challenging combinations of figurative and typographic elements.
Michael Reed’s commitment to the message, with themes that
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Art is creative for the sake of realization, not for amusement... for transfiguration, not for the sake of play. Max Beckmann
encompass the effects of nuclear testing in the Pacific to the social costs connected with the global arms trade, is unprecedented in the context of New Zealand art. His interest in the art of social comment developed from his student-day encounters during the ‘60’s and ‘70’s. Throughout his career he has maintained an artistic stance which compels him to bear witness, to question and to produce art which makes him, and by implications his viewers, confront a reality beyond immediate personal interests. Reed is well aware that as a resident of Christchurch/New Zealand he lives at a safe distance from the events which provide the subject matter for much of his work. As such, his art is guided by a spirit of solidarity and compassion, and he refuses to give up on the potential of art to make a difference. His objects are designed to help save, not decorate the world and to give another voice to the most vulnerable members of the human family.
An Award for Hollow Promises Michael Reed, 2003 Screen-print on paper and bandage , Perspex, metal fitting, PVC pipe, 4.5” diameter
Good Grunt Michael Reed, 2007 Screen-print on paper and bandage, Perspex, metal fitting, PVC pipe, 4.5” diameter
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Award Spin Offs Story by Adrienne Rewi Photography by Adam Gallavin
The Mortlock McCormack Law Art Award, presented annually to a third-year School of Art & Design student, provides them with a visible network for their work and can act as a springboard to the next stage of their creative endeavours. ignition 26
Established in 2003 by the Christchurch firm, Mortlock McCormack Law (MML), the awards ceremony is also an important date in the Mortlock McCormack calendar and General Manager, Jan Crooks, says they fit well with the company philosophy of being socially responsible. “We established the Award to work with and encourage young people within the community and to forge an ongoing relationship with CPIT and Centre of Contemporary Art (COCA), to celebrate art with our clients and to grow our own corporate art collection,” says Crooks. “It’s a great opportunity for students to get their work out into the community. Winning the Award can be a great addition to their CV, and from our point of view, it’s a marvellous way to foster the partnerships that are key to our business. We’re into partnerships; that’s how we do business. We’re very proud of our art collection, which includes everything from painting and sculpture to photography, printmaking, glass, ceramics and design.” Head of the CPIT School of Art & Design, Hubert Klaassens, agrees that the Award is a very good experience for students from a wide range of backgrounds and an excellent way for them to interact with the wider community. “It’s laudable and brave, for a company to offer an award to students at this level; and it’s a generous award that is all about supporting students when they really need it,” he says. The winning work, judged by Mortlock McCormack partners, and director of COCA, Warren Feeney,
is acquired for the Mortlock McCormack collection and that, says Klaassens, is a valuable prize that has the potential to launch the winner into the next stage of his or her career. He cites 2006 MML award winner, Sam Harrison as a classic example. “Sam has gone on to create a considerable profile and he’s exhibited widely. After three years of study, it’s not always easy for students to get into their studio and work, yet this award can act as a springboard for them. Harrison, who Klaassens considers “a precocious talent,” graduated from CPIT, Bachelor of Visual Arts, in 2006 and in the same year he won both the Mortlock McCormack Award and the Farina Thompson Drawing Award. He also had one of his works purchased for the CPIT William Cumming Memorial Collection. Sam had his first solo exhibition at COCA in 2007, has had two solo shows since and is now represented by a leading Auckland art dealer. COCA’s Warren Feeney is not surprised. “Sam Harrison is an exceptional talent – everyone agrees on that. He’s a consummate craftsman across several mediums and while I think he would have been a successful artist regardless, the award has definitely been helpful to him. It’s a great affirmation for any artist at the start of their career,” he says. Feeney considers the Award is an ideal chance for students to get their work out into the public for the first time and he is impressed by the calibre of winning works.
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“Overall there have been a significant number of really strong works submitted to the awards. That’s as much a credit to the students as it is to the CPIT tutors and it’s helped Mortlock McCormack establish a very strong collection.” “We like to think that everyone benefits from that,” says Jan Crooks. “The students gain kudos, a significant sum of money and a chance to boost their career; we are able to add to our collection, which our staff and clients alike enjoy; and we have the opportunity to build relationships and mix with CPIT students and tutors. It means a lot to us that everyone benefits.” Simon Mortlock, partner of MML. See highlights from the MML Art Award Collection at the retrospective exhibition at COCA gallery 11 Aug to 5 Sept
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ARCHITECTURE
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From Bachelors to Masters Three Architectural Studies degree graduates from CPIT take their Masters at Unitec. Story by Chris van Empel
“The construction aspect of the CPIT course prepared me well for the next stage of construction-based work at Unitec’s Masters programme. I believe both the construction and science components of the programme are of real value – the course is extremely worthwhile and interesting,” says Max. When he graduates in 2010, Max plans to travel to Europe and find employment in the architecture industry. He also plans to establish his own successful architecture business in the future.
MAX WARREN Max Warren has always been passionate about architecture. He chose CPIT for three key reasons: location, the interesting content of the Architectural Studies programme and because he had heard “good things” about CPIT and its reputation within the industry. During his study, Max found the emphasis on construction to be the main strength of the degree. The enthusiasm, energy and passion shown by his tutors also impressed and motivated him to succeed in his study, particularly in his final year. “The highlights for me were the trip to Wellington and the third year final public exhibition EXIT,” he says. Max is now studying towards his Masters degree at Unitec in Auckland, and believes CPIT’s Architectural Studies degree has prepared him well for his post-graduate study.
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EMILY BAKER When Emily Baker left secondary school, she struggled to find her way through tertiary education. After training for one year as a chef, followed by several attempts at university, she finally found her niche when she heard about CPIT’s Bachelor of Architectural Studies. “After school, I did a one-year certificate in cookery and worked for a short while as a chef. I wasn’t happy on that path, so I went to Canterbury University and tried out a mix of courses to see if anything there suited me. Then I learnt about the Bachelor of Architectural Studies programme at CPIT and decided to give that a go,” she says. “Because I hadn’t studied art or design at high school I didn’t have a portfolio; so I needed to do the Foundation
ARCHITECTURE
course at CPIT before I could begin the degree. This was a really good move for someone in my position.” Emily has always had a keen interest in design and art, and appreciated the difference good architecture could make to a space, having watched her parents renovate three homes during her childhood. At CPIT, she found the Architectural Studies degree helped her turn those childhood memories into something tangible, ultimately making them her passion. “At CPIT, I really enjoyed the tight knit community environment in the classroom and the relationships that I built with my classmates and tutors,” she says. “The field trips were a definite highlight of the programme. The trips to construction sites were beneficial to help the class gather an understanding of the construction process, and the trips to Dunedin and Wellington were both interesting and fun.” Now studying her Masters at Unitec, Emily is well on her way to a successful career in the architecture industry.
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“The programme at Unitec is pretty full on, as you would expect with a masters level course. There is a lot more work, especially in the Design Studio. At Unitec, they offer a new project every six weeks and there are usually several projects to choose from, so you can choose something that interests you. It also gives you a chance to work with new tutors every time.”
“I was already studying engineering at university but I wanted to do a course related to architecture; that’s when I was shown CPIT’s Bachelor of Architectural Studies degree by a careers advisor,” she says.
“Once I have finished studying, I will maybe work for a year or two and then head off to Europe to do my OE to see all the amazing architecture. Then I will, of course, return to New Zealand and hopefully work as an architect and become registered.”
“The strengths of the programme were around construction and science. We also learnt how to use archiCAD really well. The real highlight for me though was our exhibition and then, of course, finally graduating.”
AMIE WILLOCK For Amie Willock, deciding on whether to pursue a career in engineering or architecture revealed an underlying flair for creativity. Although Amie had begun her study in engineering at the University of Canterbury, a stronger will to explore her creative side lead her to investigate other study options in the field of architecture.
“What I enjoyed the most about the degree was the great class environment and the fact that the tutors were so accessible – especially in the last year of study.”
Amie, who is now studying towards her Masters at Unitec, recommends anyone thinking about studying Architecture at CPIT be prepared for an intense and thorough programme. “I feel I have learnt so much. The knowledge of archiCAD was a definite advantage and my knowledge of construction also equals that of my Unitec mates, which is great.” Once Amie has completed her Masters, she plans to travel, work and become a registered Architect.
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PHOTOGRAPHY
PHOTOGRAPHY
A selection of some of CPIT’s finest photographic work taken by students studying Professional Photography.
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PHOTOGRAPHY
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CHARLIE BROWN
Check out ignition.ac.nz for more photo galleries of student work
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COMICSTRIP
James Squires
ANIMATION
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ANIMATION
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CD REVIEWS
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CD Reviews
Doug Caldwell – Waiting At the Red Door
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Review by Andy Gibbs Composer, musical director, accomplished arranger, and one of the country’s foremost jazz pianists, Doug ‘Maestro’ Caldwell is no stranger to recording and producing quality albums. Waiting At the Red Door upholds this same fine standard of light and fresh jazz, full of traditional tones and quiet confidence. This is no surprise considering Caldwell’s background. He studied music, arrangement and composition at Michigan State University, later cofounded the Jazz Inn on Bedford Row during the 1950’s, and in more recent years tutored at the CPIT Jazz School after it’s opening in 1990. Caldwell is no stranger to high quality jazz and brings his years of experience and exposure to this album with beautifully crafted solos and effective arrangements. Backed by the rhythm section, comprising drummer Ted Meager and Richie Pickard on upright bass, the trio manages to sustain a high level of energy and interaction throughout, without the need to overplay or take away from the true feel of each tune. Varying between comfortable intensity and considerate sensitivity, the trio moves from higher tempo tunes to moody ballads with style and ease while still retaining their interwoven band sound – one of the major overall successes of this album. This stems from the obvious musical awareness between the players.
During more recent years, jazz has continued to develop and expand, branching into varying styles and forms, some of which delve into the realms of over-complication for the sake of it. While these newer styles are still currently paving their own way and allow for the ever-needed growth in any field of music, it is still a pleasure to reconnect with the traditional avenue that has stood the test of time and still draws in listeners and players alike today. This album provides just that. The players bring with them their years of experience and this is reflected in how modestly the tunes in question are presented while still retaining the level of expertise required to keep things sharp and of interest to both the players and listener. Waiting At the Red Door is totally accessible to those who have never listened to a drop of jazz in their life while still offering the more seasoned player plenty of material and substance to sink their teeth and ears into. Kudos to the great Doug Caldwell for another job well done.
L.A. Mitchell – The Matterhorn
Review by Matthew Mous L.A. Mitchell’s performances display both great musicianship and the true essence of emotional song-writing. If you have ever heard L.A. Mitchell live then you will already know that your attention rarely strays: your ears will tune into every layer of Mitchell and her
band’s unforgettable music. This particular treat, recorded live at The Matterhorn in Wellington City, features L.A. Mitchell and the Nativa Band performing an inspiring set of original music, and is now available for everybody to enjoy. The first track on an album generally sets the mood for what is to follow and so it is here. After a short instrumental Intro track you are immediately drawn to the beautiful, yet haunting backing vocals at the start of It’s Music Too. This style of performance immediately creates an awareness of the entire band that features L.A. Mitchell and this continues throughout the 13 tracks of the recording. In terms of lyrical style, L.A. Mitchell stands out as one of the most creative and emotional performers available in the jazz/ soul idiom in New Zealand today. It is difficult to fault somebody who has the ability to grab your attention with their voice and spread a sincere, heartfelt message. The use of backing vocalists Kate Taylor, Roslen Langton and Dan Fidow adds a dynamic element that further emphasises the emotive values contained within her music. All of this is particularly evident in Never Wear White where an amazing use of vocal harmonies continually lifts the songs beauty, leaving it impossible to be left unaffected by L.A. Mitchell’s deeply moving lyrics. The supportive role from the remaining members of the band is a fine example of great awareness and musicianship. The rhythmic foundations set by bassist Jonathan Barus and drummer Arona Veale groove with an energetic unity that is only enhanced by Posenai Mavaega’s unique guitar style. The interaction between them perfectly suits the overall intention of L.A Mitchell’s compositions. L.A. Mitchell Live At The Matterhorn is a fine example of
CD REVIEWS
groove-driven New Zealand music that is accessible to everybody. This performance shows a great deal of talent from a CPIT Musical Arts School graduate who is truly grateful to be performing her music. Highly recommended.
Oval Office – Oval Office
slick arrangements are present throughout the entire album and form an integral part of the Oval Office sound. Other band members include keyboardist Darren Pickering and guitarist Harry Harrison. These two veterans of the local music scene make their presence known with hip sounds from the Hammond organ and Fender Rhodes as well as funky guitar riffs with a healthy dose of wah pedal action. What sets Oval Office apart from other funk bands, however, is their commitment to excellence. Their irresistibly funky grooves are a testimony to the seasoned musicianship of bassist Richie Pickard and drummer Dan Kennedy. Other guests include trumpeter Cameron Pierce and clarinetist Reuben Derrick who are both key tutors at the CPIT School of Musical Arts. This is a highly enjoyable album by what is widely considered to be the dream team of Christchurch jazz and funk musicians. An album that was clearly created by experienced professionals. Highly Recommended.
Review by Bazi Baker After many years of being highly active in the New Zealand music scene, a handful of Christchurch’s finest musicians have collaborated to form one of the most polished bands in the country. Specializing in funky grooves, tight horn arrangements and catchy melodies, Oval Office has become an instant favorite amongst local musicians and fans. The self-titled debut album Oval Office presents a set of ten original numbers which draw heavily from jazz, funk and blues traditions while retaining a uniquely homegrown sound. Vocalist Sacha Vee who features on eight of the ten tracks takes on the role of lead vocalist and lyricist. While her vocals do sound somewhat derivative of the typical ‘New Zealand sound’, they are enjoyable none the less. Vocal highlights include songs such as Layback and Who Knows. The opening song ‘Dartbread’ showcases the punchy horn arrangements of saxophonist Gwyn Reynolds and trombonist Scott Taitoko. These
Sacha Vee – Sacha Vee EP
Up-and-coming vocalist Sacha Vee’s debut EP opens as it means to continue. Sassy vocals combine with a relentlessly energetic band to produce six tracks of a soulful artistry that makes for an great listen.
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produced by Sacha Vee and guitarist Oakley Grenell who also provides the guitar parts on the final three tracks of the EP. Even more impressively; all music was also written and arranged by Vee aside from horn arrangements, which were done by Gwyn Reynolds. The rest of the band comprises tutors from the CPIT Jazz School and other familiar names in New Zealand music. Opening track Trouble sets its tone within the first few bars. The amalgamation of a funky bass-line, drum track and horn section creates a solid stage for Vee to open her lungs and impress us all. The track carries on with sufficient edginess and form and bleeds well into the second track. Entitled Patience, the single off this EP was rated number one on Christchurch radio station RDU for several weeks and is by far the most mature number from this particular EP. A mellow but driving tune, it allows Sacha to work off her band and they from her. The next track, Break It Down was reminiscent of 1980s funk and is a fun and danceable tune whilst still serving the listener with meaningful lyrical content. Break It Down then segues sweetly into the EP’s most mellow track Honey Bee. A pleasant number, if slightly bizarre in its lyrical content, Honey Bee serves as a nice break from the funky style of the rest of the album. Opening with vocals and keys, this track shows off Sacha’s ability to hold her own at a slower tempo before breaking into a collaboration with her rhythm section. Again a catchy tune with simple hooks and wide audience appeal. The following track 3pm reinstates the album’s original direction with bopping rhythms and a forum for Vee to show off her impressively large range. The final track Wanna Rely is a great closing track. The song opens with extremely pretty piano work from Darren Pickering before launching into a powerful and soulful tune with those ever present funk influences lying just under the surface. As the song continues, the power in Sacha’s voice, in conjunction with an extremely supportive band leads into the close in a well-produced and cleverly composed fledgling venture in the New Zealand music scene.
Borrowing influences from artists such as Erykah Badu and local legend L.A. Mitchell, the album is
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Sumo Jazz – Throwing Salt
Review by Sam Blakelock
Hear highlights from these CDs on ignition.ac.nz
This is the debut album release from Christchurch jazz quartet Sumo Jazz. The album features 11 original compositions that explore the meaning of ‘Jazz’ in its widest sense. Members Gwyn Reynolds – saxophones, Darren Pickering keys, Richie Pickard - Bass and Dan Kennedy - drums, are all tutors at the CPIT Jazz School and prominent
musicians in the local scene. The quartet is joined by other Jazz School tutors Cameron Pearce (trumpet), Reuben Derrick (sax) and Harry Harrison (guitar), who each contribute compositions to the album. Special mention should be made of guest guitarist Andrew Knopp, a recent graduate who did the highly creative artwork and contributed two strikingly original compositions to the album. Throwing Salt opens with a memorable Latin number titled 7:15 Time to get up. Although it is in multiple odd-time-signatures, the composition has a deep sense of groove. Its catchy melody and lyrical solos by Reynolds, Pickering and guest trombonist Scott Taitoko pull you into the music and don’t let go. The second track Blue Hue, is a mellow composition by guest trumpet player Cameron Pearce. After listening to this song, you cannot help but find yourself in a positive state of mind or a meditative state, most likely both. It has a strong pulse, a sweeping melody and a general oozing of ‘good vibes.’
‘In your face’ would be how I would describe the third track Setting Irrelevant. It jumps at you like an angry tiger that hasn’t eaten for a couple of years. The brooding waltzlike middle section gives respite from the ‘carnage’ before once again the tiger returns to finish of this meal. For me this was the standout track in terms of creativity and intensity for the album. As you can see from the first three songs, this album has a wide range of moods within it. All the tracks have different ‘vibes’ that stimulate different emotions. There is a nittygritty boogie-woogie, a reflective 5/4 waltz, an on-the-edge powerrock influenced song, the list goes on. This contrast between songs and the creativity of the songs themselves, are what make this album for me. There are some worldclass compositions on this album, which is a reflection on the level of local talent we have in Christchurch. All in all, a superb album of topnotch compositions. Check it out.
ILLUMINATI
illuminati NZ U20’s win third world title Tyler Bleyendaal, a student completing his final year of the Bachelor of Architectural Studies, captained the New Zealand under 20’s rugby team to their third successive junior world rugby title with a sublime 62-17 win over an outclassed Australia in Argentina recently. Bleyendaal, in superb form, directing play from first five-eighth, capped off a brilliant tournament with a try of his own.
CPIT wins Gold at Ellerslie International Flower Show
Story by Sarah Gordon The School of Architectural Studies, celebrated in March with news that one of its students won top honours in the prestigious Ellerslie International Flower show. Pete Hodge, who is studying in his third and final year towards CPIT’s Bachelor of Architectural Studies, together with his creative team, was presented with a Gold award for his Family Urban Garden. “When we finished the set-up, we stood back and were pretty proud of what we had done. If the judges walking by had said “well done” we would’ve been happy, but for them to award us Gold was incredible – it was just amazing! We were absolutely delighted!” said Pete.
NASDA students selected for High School Musical 2: On Stage Monica Hope was recently selected to play Gabriella in Disney’s “High School Musical 2: On Stage” for Canterbury Children’s Theatre. Along with ten other NASDA students and many other young, talented Cantabrians, Monica spent around three months rehearsing for and then performing in a ten-show season at the James Hay Theatre in February of this year. Go to www.ignition.ac.nz to read more.
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