When an artist from the far north began to uncover the harrowing story of the “baby shovel” era, she never imagined the personal connection – and lost older sister – she would find.

Sarah Marcombee’s new musical Put up and Shut Up sheds light on the relatively recent era when countless unmarried women were forced to put their babies up for adoption or simply told they had died.

On an organic farm at the end of a 15-kilometer dirt road in Hokianga, Marcombee has spent the last four years making music, although she’s been making music for much longer.

She and her husband had long dreamed of a rural life; a really simple life where they could grow their food and do their art.

Amidst the fertile lands near Waimamaku, she heard a heartbreakingly commonplace story of the loss of unmarried mothers.

Marcombee’s last album featured a song called Limbo, which tells the story of a young girl who becomes pregnant and is told her baby has died.

“Because she’s Catholic and the baby wasn’t baptized, she thinks it’s in limbo. As I delved deeper into the story, I learned that it was actually part of my own family history,” Marcombee shared.

“My mother was forced to give up a baby before I was born.”

During a writing session, as Marcombee was working on finding the right tone of voice for this lost sister, she logged onto Facebook for a break. Luckily, a message from her was waiting. Turns out they were both looking.

Marcombee said she’s wanted to write a musical since she was 10.

Your dream has come true with Put Up and Shut Up!

In it, she and three other women – Poppy Pritchard, Rachel Derham and Julie Edwards – sing a series of songs that tell the story of a woman who recalls the experience of being forced to give up her baby at 16.

In April, they began performing the show in people’s living rooms, as long as they were big enough to seat 20 people.

Although still in development, Put Up and Shut Up! was recently awarded Best New Work at Whangārei Fringe 2022.

The judges called the show “incredibly polished” considering it was still in development, and called the harmonies and storytelling “powerful.”

“Sarah Marcombee’s very personal family story was boldly told and beautifully told, and the motifs weaved through the story came together beautifully at the end to leave the audience feeling that they had experienced something very special,” they wrote.

The festival featured more than 120 arts events from Northland and across the country. Half of them were directed by the creatives at Te Tai Tokerau.

As part of her profits, Marcombee also receives development support for the work of Oneonesix, an arts and events venue in Whangārei.

In her research into the development of the musical, Marcombee said she learned that more than 100,000 women had their babies taken between 1955 and 1975 here in New Zealand alone.

“So many women asked to keep their babies,” she said.

“This story has been told before, but for me music is the missing link.

“What music does and what created this piece is a sure way to process the pain, to acknowledge it and to work through this generational wound.

“The Kaupapa is only supposed to bring it to the people to avoid fuss and money.”

According to Maggie Wilkinson – who has been campaigning for redress for decades and just this year https://www.nzherald.co.nz/nz/abuse-in-state-care-inquiry-baby-taken-for-adoption-anglican- church-apologises-57-years-later/ZY3XIM6WNVCQ2HBPC5MAOTL4AU/’ target=’_blank’> finally got an apology from the Bishop of Auckland for the Anglican Church – once joint mother and child homes were essentially baby factories for wealthy childless couples.

“If you were pregnant and unmarried or even divorced, this has happened,” Marcombee said.

“It was basically a state-sanctioned kidnapping. Our government and the UK are the only ones who haven’t apologized.”

Marcombee said audiences are moved and amazed, and often compelled to tell their own stories – or those of their mother, aunt or grandma.

“So the show sort of goes beyond the end of the show and we’re just making room for each other.

“There’s comedy in there, black comedy; it would be too terrible otherwise. Then it moves into a love story.”

The next scheduled performance is in January in Kaiwaka.

Anyone who is touched by the story and has space to host a performance is encouraged to contact us.

“We go where people want us to go.”

To find out more, search “Sarah Marcombee Music” on Facebook or contact: sirhowy@gmail.com.

A lock of hair from Queen Victoria, an anti-vaccine poster, a specially designed mug from the hive’s opening ceremony in 1977 and a large wooden elephant.

These items form part of the Parliament Collection, the most notable of which is an important art collection that you can widely see on the walls surrounding Parliament.

The art collection includes sub-collections and these are treasures. Parliamentary collection curator Tasha Fernandez says that many of the works that those who come to Parliament will notice are by notable artists that came out of the MFAT transfer in the early ’90s, as art made in the was kept by New Zealand‘s high commissions, was brought back home abroad.

“If you look down this corridor and some other parts of the precinct, we have absolutely stunning (art) … we have four Colin McCahons – that’s quite exquisite – we have some Frances Hodgkins, some absolutely stunning pieces.” We’re very lucky,” she says.

“An incredibly diverse and eclectic collection,” the Parliamentary Collection has existed since the 1880s but was not formalized until the 1990s, explains Fernandez.

“We have protest materials, we have photographs, staff uniforms over the years, construction-related materials and an original 1977 carpet from the beehive.”

Fernandez is determined that the public should be able to experience the Parliamentary Collection, which includes four and a half thousand copies. “There’s twenty-eight paperweights in there too!” she adds.

“I’m really careful and make sure the good stuff is seen. I really want a lot of people to see this work. So right now I’m working with an internship program. to digitize the collection, and that’s really important. So you don’t have to be at the station to see it.”

If she is offered any item for collection, she must consider whether it is for Parliament and Country only.

“The latest purchases are related to the big protest (in February/March). And that’s important, because for the collection to remain relevant, it has to reflect our history, and that’s been a big part of New Zealand’s history. It wasn’t a pretty part, but it was meaningful.”

The collection also includes the traditional objects used to open and close Parliament, such as the mace and black staffs. Sometimes things get lost around the district, so it makes sense to keep them under the supervision of the curator, who is also tasked with regularly winding the huge old Magneta Master clock on the first floor of Parliament House.

Fernandez also plays a role in installing art in MPs’ offices. Some, of course, bring art they have sourced themselves, often through members, to hang, but the curator is there to help a member capture their essence a little in art in this office they come to thirty weeks a year .

Meanwhile, art shows in the district are updated frequently, and Fernandez reminds The House that Parliament’s public tours of art have resumed after a pause due to the pandemic.

A man who died in a trailer home fire on the north west coast has been described as a talented artist who lived a reclusive life.

Patrick Gamble, believed to be in his 80s, lived on a property at the end of Wangapeka Rd off Wangapeka Track in the Buller neighborhood.

Emergency services were called to Wangapeka Rd in Little Wanganui around 2.15am on Friday.

The cause of the fire is believed to be accidental.

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* One dead after a truck and car collided on the freeway near Tokoroa
* One dead after truck hit pedestrian on Tauranga Expressway

His friend and artist Svetlana Mickell said she’s only known Gamble for a short time, but he’s had a huge impact on her life.

She said he showed up at her flea market three weeks before she moved from Karamea, and the couple bonded over art and book swapping.

“He came by every other day and we talked. He became a close friend. I think he was pretty lonely, but he was disappointed in the world and people and didn’t want to deal with bullshit or gossip, so he kept to himself,” she said.

She said she was surprised when he invited her to his home – a caravan on property he owned on Wangapeka Road.

She said his possessions are full of his metal and glass art and a little bird that visits him every day has appeared.

“He didn’t usually invite people. I felt privileged. It was like a fairy tale. He lived surrounded by bush. It was nice with lots of unusual stuff.

“I wish I had stayed longer. I told him he needed to open a shop but he said he didn’t want to, he just likes to do his art and keep everything,” she said.

He had never returned to visit Ireland since he left many years ago and told her he had no family.

Mickell said she moved in with Gore and Gamble called her three weeks ago.

“I didn’t know he had a phone. He’s never called me. He asked me to send him a small piece of my art and I sent it two weeks ago – I hope he got it.

“It was funny, the last thing he said to me was ‘I love you’, I said ‘I love you too’. He laughed. When I found out I couldn’t stop crying. He was so nice,” she said.

Little Wanganui Hotel proprietor Tom Newman said Gamble was known in the area for his stained glass artwork and had lived there for about 30 years.

“The community is gutted. He was a nice guy. He came in for a cup of tea and a scone,” he said.

Locals paid tribute to Gamble on social media, describing him as a famous Irishman and special local.

“He was a real character and it was a privilege to have met him,” said another.

A Fire and Emergency New Zealand spokesman said two fire engines had been on the fire for about five hours.

Fire investigators searched the scene for the cause.

“The circumstances that caused the fire are being determined as part of the ongoing investigation. We are unable to provide any further details while the investigation is ongoing,” a police spokesman said.

For the second straight year, LAB have cemented their place as one of New Zealand‘s top bands after cleaning up four tūī at Wednesday’s Aotearoa Music Awards.

Nominated for a total of six awards, 5-track Bay of Plenty Album of the Year (te pukaemi o te tau) for the 2021 release won LAB V, Single of the Year (te waiata tōtahi o te tau) for Mr. Reggae, Best Group ( te roopu toa) and Best Roots Artist (te kaipuoro taketake toa).

The group’s big win on Wednesday night matches LAB’s success in 2021, during which they also won four Tūī, including album of the year and single of the year.

The Aotearoa Music Awards celebrate the best New Zealand releases of the past year.

Also big in 2022 is country artist Tami Neilson, known for 2020 hit You Were Mine. The singer beat out finalists Lorde, Reb Fountain and Rob Ruha to become Best Female Solo Artist (kaipuroro takitahi toa), making her the first female artist to win the category since Bic Runga in 2006.

Neilson won two other awards this year, Best Country Artist (te kaipuroro tuawhenua toa) and Best Producer (tekaiwhakaputa), for her latest album Kingmaker.

CONTINUE READING:
* Country singer Tami Neilson wins the NZ Country Music Awards
* Aotearoa Music Awards finalists announced – here are ten takeaways
* The Beths receive five nominations at the Vodafone New Zealand Music Awards

Fresh from his huge win at the 2022 Silver Scroll Awards in October, viral sensation Rob Ruha, who topped the nominations with six total, was hailed as Best Soul/RnB Artist (te kaipuroro awetoa) for the album Preservation on Wednesday.

The popular Māori artist was also awarded Ka Hau for the Waiata 35. The song enjoyed huge popularity on TikTok in 2021 and won the te māngai pāho mana reo Tūi.

In the group’s second win that night, Ka Hao took home Best Māori Artist (te māngai pāho te kaipuoro Māori toa) for the record Ka Hao: One Tira, One Voice.

Auckland-born pop star Benee won Best Pop Artist (te kaipuoro arotini toa) and Alien Weaponry for Best Rock Artist (te kaipuororakapioi toa) for a fourth time, and Georgia Lines from Tauranga won Breakthrough Artist of the Year (te kaituhurapuoro toa o te tao) for their second EP Human.

The other categories considered in New Zealand’s response to the Grammy Awards were Best Alternative Artist (te kaipuoro manohi toa), won by Vera Allen for the album It’s Your Birthday. Robert Ashworth and Sarah Watkins won the Tūī for Best Classical Artist (te kaipuoro tāhiko toa) and Best Hip Hop Artist (te kaipuoro hipihope toa) was won by Diggy Dupé for The Panthers Original Soundtrack.

Electronics producer Leaping Tiger (real name Jacob Park) picked up a win from his first AMA nomination, taking home Best Electronic Artist (te kaipuoro tāhiko toa).

Roots outfit Six60 proved they’re still producing the big hits, winning Best Selling Artist (te toa hoko teitei) and Radio Airplay Record of the Year (te rikoata marakerake o te tau) for the single Somebody to Be Around.

Behind the scenes, Chelsea Jade Metcalf took home the Best Album Cover (te toi ataata pukaemi toa) award for her Soft Spot album cover, and Joel Kefali and pop megastar Lorde accepted the Best Video Content award (te kiko puoro ataata toa). . for the video Secrets From a Girl (Who’s Seen it All).

The New Zealand Squash Open starts tomorrow, November 8th.

The NZ Open, hosted at Tauranga’s Trustpower Arena, is the first PSA (Professional Squash Association) jointly sanctioned squash tournament to be held in Aotearoa since 1993.

Mana Whenua, Ngā Pōtiki, will greet the international players with a Pōhiri at the Tahuwhakatiki Marae, Tauranga.

“The players will be led by Ngāi Tūhoe’s Raniera Albert, Ngāti Porou and Te Whānau a Apanui, Ngāti Porou’s Joelle King and Greymouth’s Paul Coll,” says a spokesman for the event.

King, world number five Ngāti Porou and world number two Coll will headline the NZ Open. Both New Zealand players are doubles and mixed gold medalists at the Birmingham Commonwealth Games and men’s singles and mixed champions.

“The tournament draws feature 20 different nationalities including Scotland, Canada, Colombia, Argentina, Egypt and Japan.

“The NZ Open will integrate Te ao Māori through Toi Māori (Māori art) that truly represent Tauranga Moana.

“Local artist Stu McDonald has created a Māori design combining pūhoro and mangopare – representing the strong tides of the Moana along with the strength and resilience of the mangopare (shark).”

The NZ Open runs from Tuesday 8th November to the final on Sunday afternoon 13th November at the Trustpower Arena in Tauranga.

With summer just around the corner, Forrester Gallery is encouraging visitors to appreciate the region’s beautiful landscapes through its new exhibitions.

The Oamaru Gallery usually introduced only one new exhibition at a time, but with the Burns Memorial Art Exhibition previously taking up the entire gallery, it had to bring in four, said gallery curator Imogen Stockwell.

The new exhibitions were Rare and incomparable beauty, Not far away, Find Lyalldale and Scottish faces.

Ms Stockwell said she was really excited about the opening of new exhibitions.

“I love exhibition openings because I like the moment artists come in [show] something they have been working on.

“In this case, these guys have been working on it for over a year.”

Not far away is a collection of works by Oamaru couple Alison Bevers and Kit Macgregor.

Her artwork depicts some of the landscapes of the Waitaki district.

They had two very different art styles that contrasted well, Ms Stockwell said.

The rare and incomparable beauty The exhibition is on loan from the Kelliher Art Trust and is touring the South Island.

It shows landscapes from all over New Zealand.

Ms Stockwell said Forrester was really lucky to have such a high profile exhibition.

“There was some criticism from the Kelliher group that none of the major centers took over the show, but I think that’s a real asset to the regions.”

People from Dunedin traveled to see the works, which weren’t normally part of the collection, she said.

Find Lyalldale and Scottish faces can be seen until early December, while Rare and incomparable beauty and Not far away show by January next year.

Researchers at New Zealand‘s Liggins Institute at the University of Auckland are harnessing rapid genome sequencing technology in hopes of improving the well-being of critically ill newborns.

The Liggins Institute Associate Director, Professor Justin O’Sullivan, is leading efforts to introduce rapid neonatal genome sequencing in New Zealand in a research project that will begin in 2023 and ultimately result in the technique becoming mainstream clinical practice. It is already being used extensively in leading hospitals in Australia, the United States, Germany and the United Kingdom.

The Liggins Institute has ordered two state-of-the-art PromethION machines to sequence approximately 500 genomes from approximately 170 babies and their parents for the research project, which will cost $6 to $7 million over the next five years. The research team is in the process of applying for ethics committee approval for the study.

Given the amount of information testing provides about risk for other diseases, ethical considerations and the support of genetic counseling are crucial.

The sequencing could reveal genetic variants linked to a range of cancers, as well as the increased risk of a range of conditions, some of which are untreatable.

Jessica Hinerangi Thompson-Carr (aka Māori Mermaid) finds a taonga in the pages of Dr. Hinemoa Elders sequel to the bestseller Aroha.

Wawata – Moon Dreaming by Dr. Hinemoa Elder is one of the most exciting books I’ve read this year.

A practical and poetic guide, this pukapuka takes us through the 30 different phases of the Māori lunar calendar. Not only do we receive ancestral knowledge of what the many faces of Hina can mean to us and our communities, but we also receive a very personal perspective from Elder himself.

Wawata begins by introducing us almost immediately to the ātaahua Okoro lunar calendar created by Ted (Edward) Llewellyn Jones in 1969. I was so grateful to have this visual reference to refer to as I progressed in moon dreaming. I have always found the Maramataka a daunting challenge to understand. I know it will take me a lifetime to come to terms with this and the biggest step for me is taking the initiative to actively live with it. Elder has made this learning process a little easier.

Her pukapuka rises and falls like the breast of the sea. We begin in Whiro, a time of darkness and renewal. From this new moon we are guided to the first light of Tirea, a beautiful moon that presents us with vital information about our bodies, how we treat and value them. Elder is not afraid to ask us the tough questions. How can we forgive ourselves more? How can we get our anger back? What does it mean to say “I love you”?

With each moon, we are kindly presented with thought-provoking questions that can be interpreted in so many different ways. I have no doubt that each reader will develop their own unique relationship with Wawata.

The way Elder writes feels so close and personal, like she’s whispering in my ear the whole time. Some chapters were very relatable, while others offered lived experiences I had yet to encounter, such as motherhood and a fluid life with Te Reo. It is a joy to absorb Elder’s advice for the future, her voice is so enveloping, her knowledge so deep.

In Wawata, we are offered all kinds of reflections. One of my favorite phases is Huna, the phase when we are most aware of our breathing. In this section, Elder encourages us to explore our own breathing and talks about Hineahuone, the first woman, and the breath she passed on to all of us. Elder has a great way of bringing relief with her writing—I felt the pull of her words and sat with them for as long as needed. It is safe to be still with Wawata, it is safe to be still.

Throughout her writing, Elder recalls pūrakau from our atua, such as Hine-nui-te-Pō, Tangaroa, and Tāne. The stories of these atua are presented to inspire and challenge us to see what power we can bring into our own circumstances. Her presence in this pukapuka is strong. The stories of the olden days have so much to offer us in terms of our daily life lessons and decision making. (As seen in the Hotu section on Māhinaarangi and Ngāti Raukawa – that part was so divine!)

There is an emphasis on female humor and the power of the female body and sexuality, particularly under the Ōturu moon. I love how Elder recognizes that our Tūpuna are really good at laughing at sex while remaining firm in their sexuality and wild in their desires. She encourages us to carry that confidence and good cheer into our own modern lives.

In Wawata, not only do we get to know the faces of Hina, but we also get to know Hinemoa Elder a little better. She lets us in to hear and feel her aroha, her dreams, her insecurities, her losses and her triumphs. She leads by example, engaging with each moon in her own way and sharing her relationship with each phase.

Elder offers these bite-sized treasures, precious stories, accounts of past Wahine in our history and in their own whakapapa. Breaking the ingoa of Hina’s faces, she reflects on how the pandemic has changed so many lives and what this means for us as we look ahead. She talks about memories of female anger and laughter and talks about how climate change is affecting us all.

All of her concepts and emotional impulses will resonate with us in many different ways, and I can see readers veering from Elder’s book to their own little notebooks where they can begin to record their own feelings and pātai around the phases of the moon pursue. Wawata encourages us to search for new knowledge about Te Ao and ourselves. From repeating the cycle above, we are constantly changing below, evolving in our bodies, our sexuality and our wisdom. Elder reminds us that no matter how distant some of us feel from it, we are unmistakably connected to nature. One cannot escape the effects of the moon.

It can be hard to remember when life moves so fast. Many of our educational systems and work environments will not allow us to move and breathe in accordance with the Maramataka. Capitalism doesn’t care if it’s Korekore or Ōtāne. But being able to hold Wawata, having it on our desks or in our pockets and checking it every now and then helps us remember who we really are. Complicated, beautiful beings who, despite all the hustle and bustle, go through a spectrum of emotions that this book could perhaps better illustrate. And the beauty is, we can read it anywhere, we don’t necessarily have to be out looking for the moons, we’re connected no matter where we are: Elder, through their own accounts, reminds us to visit other countries or to be on the road open sea.

Some insight into the traits and shared effects of the faces of Hina allows us a better insight into why some days we feel down and slow or some days full of energy and passion. Rather than assuming that the majority of our experiences and inner feelings are random and unconnected, Wawata encourages us to consider our connection with the moon, the tides, and our place in the world of light.

Wawata is the taonga I so desperately needed as a young Wahine, especially as I emerged from the educational system and tried to find my feet as an individual in a chaotic world.

Personally, I can’t wait to carry this pukapuka with me through each phase of the moon, re-read and refer to it, and dream my own dreams. Wawata is an intimate and generous text lovingly stitched with self-reflection, sacred knowledge, and the rich life experiences of an incredible Wahine. It will act as an anchor for many Māori on their journey of reconnection, and it is a taonga to keep closed year-round, throughout life.

Wawata – Moon Dreams: Daily wisdom guided by Hina, the Māori moon from Dr. Hinemoa Elder (Penguin NZ, $30) is available to order from Unity Books Auckland and wellington. dr Elder appears around Verb Readers & Writers Festival, 2-6 November in Wellington.

Pax Assadi: Beautiful boy

Opera House, October 28, 8 p.m., from $34.90

Award-winning comedian Pax Assadi is visiting Wellington during his first national tour for Handsome Boy, straight after his sitcom Raised by Refugees. Pax will wow the crowd with an evening of hilarity. Tickets: Ticketmaster

Don McGlashan

Old St. Pauls, October 28, 7:30 p.m., from $55

McGlashan is joined by Shayne P Carter (Straitjacket Fits, Dimmer), Chris O’Connor (SJD, Phoenix Foundation) and James Duncan (SJD, Dimmer) and multi-instrumentalist Anita Clark (Moth). Maps: donmcglashan.com

SIX60 Saturdays with SIX60, Tones And I, Supergroove, Coterie, Niko Walters

Sky Stadium, October 29, gates open at 4:30 p.m., tickets from $79.90

SIX60 Saturdays 2022 sees the band bigger with an incredible line-up including Tones And I’s only NZ date this summer. Tickets: ticketek.co.nz

Follow the reef festival

Panhead Brewery, Brewtown, October 29, 1pm-9pm, tickets from $60

Featuring Beastwars, Stalker, Pull Down the Sun and more. Obey the Riff once again takes over the hallowed grounds of Panhead Custom Ales for an epic day and night celebrating some of the finest doom, rock and metal acts the country has to offer. Tickets: undertheradar.co.nz

Retrospective by Crow’s Feet Dance Collective

Coastlands Theatre, Te Raukura ki Kāpiti, October 29, 3pm, $15-25

Crows Feet takes up favorite works from the last 22 years. Women’s work on Ravel’s Bolero and Requiem by Karl Jenkins. Join them for a fun and uplifting afternoon of dancing. Bookings: eventfinda.co.nz

Bowlzilla

Waitangi Park, October 29, 10am-6pm, Free

Bowlzilla Wellington is the largest gathering of local and international skaters to be held in Aotearoa, with skateboard stars catching some air while popping, ollie and carving the bowl. Visit bowlzilla.net

Dope as a Halloween comedy

Fringe Bar, Allen St, Oct. 28, 8 p.m., $10-20

Join us this Christmas Eve for a good old time at the Fringe Bar! Starring Booth the Clown, Blu Marqueses, Jules Daniel, Truly Friday and Keegan Thomas. Tickets: kiwiticket

Songwriters Showcase #58

Moon, Riddiford St Newtown, 30th October, doors from 6pm, music from 7pm, $10 at the door or from Eventfinda

Each songwriter showcase features three local songwriters performing their own songs. This show features Shan Jordan, No Mans Heath and Lily Jones.

Excited and loaded

BATS Theater, through October 29, 7:30 p.m., tickets from $20 to $40

Now, after three successful seasons, Comedy Gold takes on the Wild Wild West with new puns, new stunts, and the same old comedy genre that Wellington audiences are sure to love. Tickets: bats.co.nz

NZ Chamber Soloist Concert

Waikanae Memorial Hall, 2:30 p.m., Oct. 30, $30-40, students cheaper

NZ Chamber Soloists will perform popular piano quartets by Mozart and Schumann, as well as a new work for piano trio by New Zealand composer Helen Bowater. Musicians are Katherine Austin (piano), Lara Hall and Dimitri Atanassov (violin and viola), James Tennant (cello). Info: waikanaemusic.org.nz

Otari Raranga Weber

Leonard Cockayne Centre, Ōtari Wilton’s Bush, 160 Wilton Rd, various dates and times through December 17, $0 to $40

Ōtari Raranga Weavers provides an introduction to Raranga with Harakeke. The courses aim to spread knowledge of traditional Māori weaving and healing practices using the native plants at Ōtari Wilton’s Bush. Ticket/Booking Details: Eventfinda

Terror-Fi Film Festival

The Roxy, through October 30, tickets $15 for seniors, $17.50 for adults

Terror-Fi 2022 has an incredible selection of the latest and greatest genre and cult films of 2022 – with two retro classics thrown in for good measure. Program/Tickets: terrorfifest.com

The wasp

Circa Theater, through October 29, Tue-Thu 6:30pm, Fri-Sat 8pm, Sun 4pm, $25-54

Heather and Carla haven’t seen each other in years. During an unexpected comeback, Heather makes a deadly proposal to Carla. Maps: circa.co.nz

Wellington heritage week

Until 6.11. different locations and prices

Wellington Heritage Week celebrates the many people, places and stories of the region. The festival features over 60 events, hikes, talks and activities centered around Te-Whanganui-a-Tara – most of which are free, but many require booking. Visit wellingtonheritageweek.co.nz for a full listing of events/ticketing.

exhibitions

Ko Murihiku Tōku Whaea, Southern Mother

Pātaka Art + Museum, until December 5, free

A group show of works by three artists with ties to the South (Murihaka, the Great Mother of the South). Artists Kyla Creswell, Emma Kitson and Kim Lowe pay tribute to the region that nurtured their artistic talents and values.

Whetūrangitia/Made As Stars

The dowsing rod is free until February

Whetūrangitia/Made As Stars explores the real-time relationships of early cultures with their gods. Through storytelling, each of the artists in this exhibition lifts the veil and grants access to the concepts, practices, and belief systems of their cultures. Featuring works by leading artists from Aotearoa, Nepal, Canada, Hawai’i, Sāmoa, Tonga and Laos.

art showcase

Rita Angus Village, 66 Coutts St, Kilbirnie, 29-30. October, 10 a.m. to 4 p.m., free

Professional and amateur artist members of the Wellington Art Club will exhibit an impressive collection of their most recent artworks. record exhibition entries; all works for sale.

Megan Dunn: The Mermaid Chronicles

Adam Art Gallery, until December 18, free

Vintage artifacts are brought together with paintings, sculptures, underwater photographs and videos to explore writer Dunn’s longstanding fascination with mermaids and the world of professional mermaids.

Lucien Rizos: Everything

Adam Art Gallery, until December 18, free

A project by Wellington-based artist Rizos. For more than three years, Rizos has documented the possessions of his uncle Gerald O’Brien, former Labor MP. Curated by Robert Leonard.

Colorful painters

Hutt Art Centre, until November 6th, 10am-4pm, free

The Colourfest group of painters organizes its annual exhibition with co-exhibitor Emilia Hrstich. A donated painting will be raffled off, with all proceeds benefiting Te Omanga Hospice.

Group exhibition II

Studio Toru (3 Oroua St, Eastbourne), until 13 November, Thurs-Sat 10am-4pm and Sun 10am-2pm, free.

This contemporary jewelry exhibition showcases and brings together seven talented jewelers and visual artists from across the Motu: Fiona Christeller, Christine Cook, Leah Firth, Philothea Flynn, Lesley Fowler, Natalie Halley, Zita Wespell Rose. studiotoru.co.nz

Come up

Close up: An Evening with Jane Campion

Marsden Auditorium, Samuel Marsden Collegiate School, Marsden Avenue, Karori, November 1, 6 p.m., $35-65

Hear acclaimed director, producer and screenwriter Dame Jane Campion talk about her love of books, international success and inspiration at a special fundraiser for Katherine Mansfield House & Garden. Maps: katherinemansfield.com

owls cry

Circa Theater, Nov. 3-13, Tue-Thu 6:30 p.m., Fri-Sat 8 p.m., Sun 4 p.m., $25-54

Janet Frames Owls Do Cry follows the story of Withers siblings Daphne, Chicks, Toby and Francie and their life in small town New Zealand after a family tragedy. Tickets: nz.patronbase.com

Verb Readers & Writers Festival

Various venues, Nov. 2-6, $0-$55

Celebrate books, writers, stories and ideas with some of the greatest writers from Aotearoa and the world as they come together on Radical Possibilities. The festival includes the ninth annual LitCrawl on November 5 – the country’s largest one-night literary celebration. Maps: verbwellington.nz

Great beasts

BATS Theatre, 1st-5th Nov, 6:30 p.m., $20-25. Relaxed matinee performance November 5, 2 p.m

Come with us from the big city offices to the other side of Loch Ness to find out where the Fab Beasts went. With unicorns, plesiosaurs and secrets. Tickets: bats.co.nz

The woman in Black

Gryphon Theatre, 2nd-12th Nov, 7:30 p.m.; November 6, 3 p.m.; November 8-9, 6:30 p.m., $20-$25

The haunting begins after All Souls’ Day at the Gryphon Theater where The Woman in Black will make its spooky, ghastly entrance to delight and terrify all souls who dare to behold this dark and terrifying tale. Tickets: iticket.co.nz

Michaela Cadwgan and Bruce Greenfield

St Andrew’s on The Terrace, Nov 2, 12:15 p.m., koha

The couple in a recital of song cycles and French art songs: French mélodie by the composers Duparc and Poulenc, Ravel’s Shéhérazade (1903) and a selection from Wagner’s Wesendonck-Lieder, WWV91.

Making Space: A History of New Zealand Women in Architecture

National Library Auditorium, Aitken Street access, 2 November, 12:10-1:00pm, free or virtual

Hear stories about women who have carved their way into a male-dominated profession, including many whose careers have been almost completely lost in the historical record. Register at natlib.govt.nz

Stand-Up Comedy: Alien Comedy

Moon Bar, Newtown, Nov. 3, 7 p.m., $10

Alien Comedy is Newtown’s coolest and only monthly comedy show. Wide variety of food at Newtown’s favorite bar. MC Laura Bruce from Canada. Tickets: Box office or Eventfinda

Vida Kelly has worked with famous authors and illustrators from around the world, some in London but many also from the comfort of their own home in Raumati South, where she talks to reporter Rosalie Willis about her career.

Vida Kelly doesn’t agree with the age-old adage “don’t judge a book by its cover,” but she has reason to be biased.

Originally from England, Raumati South is a children’s book designer who has worked with some of the world’s most famous authors and illustrators. But if she does her job well, you will hardly notice her work.

“I like the question ‘What are you doing?’ Not. when I meet new people because so many people think I must be an illustrator or a writer. It’s always my most dreaded question because most people don’t know book designers exist. It’s not easy to sum it up – artistic direction and design.”

But if you step into the children’s section of a bookstore, chances are you’ll see her work.

Vida’s career in book design began after attending Norwich School of Design. Vida went to art school because she loved art and loved all the different disciplines the course started with including photography, illustration, animation and design.

As the degree became more specialized, she took the graphic design path because there were a lot of jobs there – and she wasn’t convinced she wanted to be an illustrator.

“I wasn’t quite sure if I was good enough for illustration, so I opted for the design side of the course, aimed at getting a job at a design company.”

But one project changed Vida’s direction. “We had a sophomore project where someone came in and did a class on children’s book design.

“It was just a week long project where you took a fairy tale, created a puppet, did some rough illustrations and planned what would appear on each page, but I just loved it. I felt like even in that one week it changed my mind about what I could do.”

Vida was doing internships at a number of design companies in London and didn’t feel quite right about it. Instead, Vida began sending her resume to book publishers. When Vida received a response from Harper Collins and accepted a maternity fill-in role, Vida said it felt right immediately when she started.

“It paid off immediately. I got to work with these great illustrators and still had to draw something myself. In the end it was the best of both worlds.”

Very quickly, the tables turned and Vida had one of her college tutors bring in illustration work to be considered for a book. When he joined Penguin, Vida was involved in the re-covering and modernization of the Roald Dahl titles.

“Roald Dahl was very popular at the time, but middle fiction (ages 9-13) children’s books were growing in popularity and it was taken for granted that Roald Dahl would always sell.”

As the market became more competitive, publishers decided to recapture all of Dahl’s titles and turned them into a market research project. Since Dahl was no more, a lot of people from the Roald Dahl Foundation were involved along with the famous illustrator Quentin Blake.

“The entire children’s book team submitted cover designs along with designs from other professional designers. The books were tested on children, with the children being observed through a one-way screen to really see what they were reacting to. I took a very different approach with my design. It got really bright and outside, and I used Pantone colors for some.

Of all the designs, Vida’s was chosen and she continued to work on the entire Roald Dahl collection and developed a relationship with Blake. While Blake was revising all of the illustrations for the novels, Vida began color treatment for his work.

“I took the black and white drawings, printed them on watercolor paper and painted on top of the color in his style, mimicking what he would do. It was oddly harder than I thought it would be, but it was actually a lot of fun. He gave me classes in his studio and I learned so much about color from him. He makes it look so simple, but everything he does is so thoughtful.”

They received a lot of guidance on the first book they collaborated on, but the feedback gradually diminished as Vida became more attuned to what he wanted. “The first book that came back with no comment was amazing.”

Vida has continued the color treatment of classics like Joyce Lankester Brisley Milly Molly Mandy even after moving to New Zealand.

“I was amused that I sat in Raumati South and painted Matilda for all these classic books.”

As art director for picture books and gift books at Pan Macmillan in London, Vida’s success was largely due to her openness, sharing her ideas and working with a team.

“As a designer, you’re always very caring about the books, but you always have to get other people’s approval — it’s not just your baby, you’re part of a larger team.”

The broader team includes the author and illustrator along with the book publishers, editors, and sometimes even bookstores.

Since moving to New Zealand, Vida has transitioned to working independently, taking jobs as a contractor rather than as an in-house designer. The couple originally moved here for just six months with their Kiwi husband Luke, who is also a designer, and have since lived in Raumati South with their three children.

“It was pretty discouraging when we moved here because I didn’t know if I was going to get a job.”

Vida was still able to get some work from UK publishers along with the color treatment for Blake when she started approaching New Zealand publishers.

“When you come to New Zealand, more people own their own businesses, so it’s a lot more normal. I don’t know if I would have taken the risk of working for myself if I had stayed in London.”

Working on New Zealand books has helped Vida to find her feet and learn about not only Kiwi culture, but Māori culture as well.

“As an English person, it’s very special for me to work with some of these books that are so special to New Zealand.”

Recently, Vida has continued to work Matariki Around the World: A Star Cluster, A Story Cluster by Rangi Matamua and Miriama Kamo, released in time for New Zealand’s first public holiday celebrating Matariki.

“I’ve learned so much about New Zealand Māori culture and I feel really privileged to be able to work on books like this. I feel very fortunate to be involved in the production of such New Zealand content.”

Collaboration with New Zealand author and illustrator Gavin Bishop, whose work includes retellings of Māori myths, was particularly noteworthy.

“Gavin makes books that are really valuable to New Zealand – books that people will end up keeping on their bookshelves as classics. Some of them will be nominated for the PANZ Book Design Awards this year.”

The awards are no stranger, with Vida winning the 2020 Scholastic New Zealand Award for Best Children’s Book and going on to go on to win its top honor, the Gerard Reid Award for Best Book mop head by Selina Tusitala Marsh.

“mop head It was a really fun book to work on. It was author Selina’s story about her mixed-race upbringing and trying to navigate the world.”

When asked to work on the book, Vida said Selina made the drawings herself but they weren’t quite there.

“I took all of her drawings, played around with them, and she ended up redrawing them all after we worked out our approach.”

When designing a book, Vida accompanies the entire publication process. “It’s always important to have the right feeling and the right pace.”

To the mop head This meant printing on heavyweight sketchbook paper, and the text, according to the jury, “interacted seamlessly with the hand-drawn typeface.”

“A picture book is an animated work. Turning the page is really important — you have to make people want to turn the page,” Vida said.

Not only has Vida worked with famous people, but books she has worked on have been given to famous people, including one of Jacinda Ardern’s favorite children’s books Tulip and Doug which Ardern gave to Prince William.

“In a way, if I’m doing my job well, you don’t know I’m there because it just works and you don’t think about it. I want to be able to work to make the best books I can, taking the illustrations and the story into consideration and bringing them together seamlessly.”

This story was first published in Spring/Summer 2022 Celebrating Kāpiti magazine.