Tumgik
#kāinga
Text
Matariki kāinga hokinga
Ngā whetū kei runga, Te whenua kei raro, Ko au kei waenganui
Te kāinga ukaipō kei muri Te kāinga whakatū kei mua Ko au kei waenganui
Ka karanga tōku tūrangawaewae Ka karanga tōku ngākau Ko au kei waenganui
Kei hea, kī hea, mā hea te hokinga?
-----
The stars above The land below And me, in between
The home I come from behind me The home I build in front of me And me, in between
My homeland calls My heart calls And me, in between
Where is, where to, by which means, returning?
135 notes · View notes
nochd · 5 months
Note
Kia ora! I followed you before even realising you were from Aotearoa. ^_^ Ko Ngāti Whakaue te hapu. Nō Ōtautahi me Pōneke au. Kei Ōtepoti tōku kāinga ināianei. Just sending a request for elaboration if you care to on your pretty fantastic point from the post re: insulating ourselves from right-wing viewpoints.
"Capitalism promotes selfishness and greed."
"Value is created by labour. Profit is theft."
"From each according to his ability, to each according to his need."
"Reducing all value to monetary value is soulless and shallow."
"You can't earn a billion dollars."
At the very least, leftists need to become aware of the neoliberal answers to these, and start coming up with better counter-arguments.
Kia ora, e hoa. He Pākehā au. Kei Ōtepoti tōku kāinga hoki -- te hia te oruatanga!
I'm probably going to have to spread this out over a bunch of reblogs, but it's going to go quicker if I start by explaining neoliberal economic theory once to begin with, rather than going point by point.
The first premise is that value is subjective. Different things are valued differently by different people, and no-one is wrong about their own valuation of something.
This subjectivity is the foundation of all economic transactions. Economic value is created by the differential between two different people's valuation of a good or service.
Let's say you buy a coffee for $5, and let's say you do so freely. You wouldn't do that if that coffee was worth less than $5 to you. But the sale also wouldn't happen if the coffee was worth more than $5 to the seller.
Just for the sake of argument, let's say that if that coffee had cost $6 you would still have bought it, but if it had cost over $7 you would have gone elsewhere. Then that coffee is worth $7 to you.
Meanwhile, the seller would (hypothetically) be willing to lower their price if they weren't getting enough customers, but let's say only down to $2 a coffee. So the coffee is worth $2 to the seller.
In this scenario, you've paid only $5 for something that's actually worth $7 to you. You've gained value equal to $7 - $5 = $2. The seller, meanwhile, has been paid $5 for something that's only worth $2 to them. They've gained value equal to $5 - $2 = $3. You're both richer, in terms of total value enjoyed, than you were before you bought the coffee. A total of $5 in surplus value has been created out of nowhere, simply by the act of buying and selling.
I've described this transaction in terms of a dollar price, because that's an easy way to talk about value, but it's important to note that the logic works just the same if you're exchanging goods and services directly for other goods and services. If you don't have $5 but you're willing to wash dishes for half an hour in exchange for your coffee, then by definition that coffee is worth more to you than that half-hour of your time.
That, by the way, already illustrates another foundational principle: value is measured by what people are willing to exchange for it. People can talk all they like about what they want and what's important to them, but if they're not willing to put anything on the line, then it's just talk.
What we've seen so far already gives you the neoliberal answer to a couple of our bullet-points:
"Reducing all value to monetary value is soulless and shallow." -- the neoliberal economist would answer, if you're not willing to pay for something, if you're not willing to give anything up for it, then it is your claim to still "value" it in some sense that is shallow.
"Value is created by labour. Profit is theft." -- to unpack that a little, the difference between the sale price of a good and the production cost to make that good is created by the worker's contribution. The economist will answer, no it's not; it's created by the fact that the buyer values the good more than the maker does.
Workers willingly come in to work and exchange their labour for the wage they're offered; their acceptance demonstrates, by definition, how much their time and energy is truly worth to them. Selling labour to an employer is exactly the same as selling goods to a customer; once sold, the customer owns the goods and is free to do what they like with them, including sell them at a higher price.
(I imagine you can already see at least one of the major problems with this theory; but I'm going to leave counter-arguments for a later reblog.)
Also: "You can't earn a billion dollars." -- the economist would answer that if people are willing to pay you that much money, then by definition whatever you do for them is worth that much money. Provided, of course, that they're fully aware of what they're buying when they agree to buy it.
But if value is subjective, you might be asking, why do economists talk so often as if things had a "true" value or a "correct" price? That's where the market comes in.
Leftists love to use "market" as a word of scorn, but to neoliberals "the market" is simply -- people.
Let's go back to that $5 coffee. If you're only willing to part with $1 for a coffee, you're out of luck. The seller is not willing to sell at that price and the coffee will go to someone else, someone who is willing to pay $5. Contrariwise, if the seller asks for $8, they're not going to get many customers, and people will go buy someone else's cheaper coffee.
If the price is too high, some sellers won't find buyers; the coffee will go unsold, and it will be wasted. If it's too low, some buyers won't find sellers; the coffee will all be snapped up by the first lot of customers to get there, regardless of whether they're the ones who valued the coffee highest, and there will be a shortage. Either way, some surplus value which could have been created, won't be.
But in a free market, customers can choose whose goods to buy, and sellers can choose what price to sell their goods at. Mathematically, the price which will generate the most profit for the sellers is also the price which creates the most total surplus value for sellers and buyers alike, thus minimizing both waste and shortage. That's what's called the market price.
Remember, surplus value -- in neoliberal theory -- is basically people getting what they want. The ideal situation is for the greatest possible number of people to get the greatest possible amount of what they want. That's the same thing as creating the greatest possible surplus value across the economy.
I've already pointed out one of the problems with this aspect of the theory in a reblog of the earlier post. But again, I'll come back to counter-arguments at a later time.
In fact I think I'll wrap up here for now, because this post is already getting megabig. I haven't covered everything yet, but I'm going to save it for next time.
However, this is an ideology which is sincerely and seriously believed by people some of whom are very intelligent. Which means it's important not to underestimate its allure. So to counter that, I do want to impress upon you that according to this ideology, the best possible outcome for any situation is by definition that which is determined by the market, human consequences be damned.
If the market deems that climate disaster is better than cutting back on fossil fuels, then climate disaster is better than cutting back on fossil fuels. If the market deems that millions dying of Covid is better than lockdowns and mask mandates, then millions dying of Covid is better than lockdowns and mask mandates.
Just bear that in mind.
5 notes · View notes
pappito · 4 months
Text
How a developer held the Government to ransom for a $37.8 million bailout | Stuff.co.nz
Brilliant
3 notes · View notes
squishmallow36 · 2 years
Text
Fathoms Below notes!
Kia ora!
  First of all, let me say that, in the terms I learned from my English class this year when we read a story by a Māori writer, I am Pākehā,meaning 'different' as opposed to Māori, meaning 'same'. It's a general term for anyone who is not Māori. By no means am I an expert in Pacific Islander culture. I've just googled shit so it seems like I know something. All of my information is either from Google (search and Translate), a little bit from youtube, and a lot of the Moana Jr. script I used for dialogue reference.
Let's start with my usage of words in not-English. Most of them are in te reo Māori (the maori language), also known as te reo (the language). Kia ora (te reo) is one such example, and it's just a simple greeting. Whakatara (te reo) = a swear word that probably shouldn't be in a Disney movie. Atua (te reo) = god(s). Maero = a traditional Māori violent giant. Pulotu = Samoan/Tuvaluan place for spirits. Hongi = a traditional Māori greeting in which foreheads are pressed together in a demonstration of pure compassion. Tumatārau (te reo) = magic. Iramutu (te reo) = nephew.
Unfortunately, I don't have the patience or resources to translate all of the songs, but one of the songwriters has a website with all of the translations for you. (opetaiafoai.com)
I did have to change some words because of ugh gender in some of the songs, so to help it blend in, on the Moana side at least, I changed a little bit to Te Reo Māori. I've been listening to that version of the soundtrack for weeks on end now and it's very stuck in my head. So you get to enjoy it with me.
These are tamaiti = child. anei = here. Hua-nati = coconut. Tama = son. Te kāinga = home. How far i'll go has a lot changed so i'll let you google translate that yourself. Mihi mai rā = congratulate me (source: youtube comments. I'll find it again if anyone needs it). Taku tina = my lunch. Tēnā = please. Uia, ko wai koe = ask, who you are. Ko wai au = who am I. (Au) E hao nei = this was pretty difficult for me to find, but hao is like capture, and nei implies nearness. E is just there for grammatical purposes and au is kind of just like 'oh' i think. Taku ara = my way. Ko au a (fitzroy) = i am (fitzroy)
Also, If the songs are in quotes, then a character is singing it. All of the songs are in italics, and really short lines, which make it easier to see. Any end quotes either signal the singing has stopped or a different character is singing. Quoted songs are semi-diegetic, which means it sort of takes place within the story, but it doesn't totally, as--at least as far as I know--people don't just randomly break into song. If there are no quotes, then it is entirely non-diegetic, or background music. Note: kiss the boy cannot be physically heard by Fitz during its runtime, because crabs...can't talk...to humans...idk that's what little mermaid canon calls for, which is why it is not in quotes, but it is diegetic to Dex.
Keefe's full neopronoun set is o ia/ia/lona/lona/ia lava. This is because languages that evolved from proto-polynesian, arguably the native language of all our islander characters, really only use one pronoun that covers everybody. I am using the Samoan pronouns for this, as opposed to Te Reo Māori because I used that quite heavily for Motunui, and it gives some contrast. Te reo, Samoan, and Hawai'ian were also my only options on google translate for this kind of thing.
While I'm talking about Keefe, O ia was born in Fiji (or elsewhere in Melanesia it doesn't matter all that much) and then the gods that saved ia were Samoan, so that explains the blond hair thing. Also, on the island of Samoa, there are traditionally four recognized genders: male, female, fa'afafine, and fa'afatama. There are similar gender roles on other nearby polynesian islands with slightly different names. Fa'a- means 'in the manner of', 'fafine' means 'woman', and 'fatama' means 'man'. This doesn't quite have an exact translation into today's western terminology for gender. It's not quite trans, and it's not quite nonbinary either. In this story, Keefe is fa'afafine for reasons that mostly consist of 'why not?'
We all know Flounder from the Little Mermaid, right? So I did not utilize him very well in this, being recast as Sophie, but I did find out that blue angelfish (which is apparently the type of fish Sophie is) is a protogynous hermaphrodite. What does that mean? A female can change into a male at a certain point in their life. Trans fish, everybody! Also Sophie is probably super lost because he's supposed to live in the Caribbean, but let's just add that to our suspension of disbelief, okay?
Why does Fitz know Dex's pronouns right away, even before he knows xor name? Because it's my fic and I can do what I want. And what I don't want is Fitz to misgender Dex. Also I couldn't function with the thought of she/her Biana so ae had to be ae/aer and by that point i didn't care anymore so xe/xem dex.
While I'm thinking about Dex, I would like to explain my reasoning of why I chose xor native language to be Italian in the spotify playlist. (Side note: while Te Reo Tahiti and 'Ōlelo Hawai'i dubs of moana were made, they are not on spotify, so I was left with Te Reo Māori for Fitz's native language). There is some debate over where it takes place, but one source I saw said that Hans Christian Andersen was inspired by his travels in Italy. Also, look at Prince Eric's castle. At least to me, it feels /super/ Mediterranean. The Little Mermaid does utilize the Greek Gods (namely Poseidon) in its canonical script. That being said, the Greek dub was not on Spotify. Trust me, I tried. We're left with Italian, and it would make sense that if Ariel were to speak a human language as her native tongue, it could very well be the one Eric's kingdom uses. No, there is no Mermish version of The Little Mermaid I could use.
4 notes · View notes
davidsauchang · 1 day
Text
(Research) Stigmatization and underfunding as key issues to Housing Crisis...
Advocates for public housing in New Zealand criticize the government for concentrating its attention on "anti-social tenants," rather calling attention to decades of underfunding and neglect. "A People’s Review of Kāinga Ora: In Defence of Public Housing," a report, emphasizes that in order to properly address the housing crisis, public housing must be constructed and upgraded with consistent investment.
Housing Advocates demand a renewed commitment to public housing in opposition to recent plans that would have increased evictions and moved people into private apartments. They draw attention to the more extensive effects of inadequate public housing resources, such as pressure on health care and academic performance. In order to create prosperous communities, the research highlights public support for increased public housing investment and calls on lawmakers to give it top priority.
0 notes
mikaelalai-ardn516 · 5 months
Text
500 WORD STATEMENT
“Where in the world am I? And what stories can I tell?”
After living in different areas around East Auckland, I can say that the most exciting of them all has been living on Trig Road. Situated in south-east Auckland sits a rural town called Whitford and on Trig Road is where I have lived for nearly 8 years now. The Whitford township was founded on the headlands of Turanga Creek where multiple pā and kāinga sites were once located. (Wikipedia contributors, 2023) After some research, I discovered that Whitford had been the location of a major Pā site called Te Awakarihi. What was once a predominant fishing settlement, notable for considerable drying racks and areas for food storage, has now been altered and is home to many families and animals. (Auckland Council, N/A) Trig Road is a very large road, spanning a distance of 4.3 kilometres, where cattle, horses and sheep inhabit the land along with humans. On Trig Road, being outside is where we connect with other people. Our sense of community is strong and people are friendly with each other. It is not uncommon to see someone drive past on their quad bike and stop to have a conversation or simply just give each other a wave. 
Through visual storytelling, I want to provide a look into the lifestyle and community I am surrounded by as I thought it would be different from what most people are used to. The odd structures built for animals and insects, the people who built and care for them, the animals, the traces of human activity passing through. These all work together to make Trig Road special.  It was interesting to photograph the environment knowing that although the land seems natural, it had been changed many years ago to make space for pastures and pine trees were introduced to the area. Even today, alteration of the land can be seen as trees are cut down and more housing is starting to develop.
When we first moved to Whitford, my brother and I used to spend a lot of time hanging out with my neighbours. We would frequent each other's houses but the most memorable moments were when we would go walking and explore what our street had to offer. As we grew up, the time spent together became less and less, resulting in me choosing to stay inside. Through this project, I was able to rediscover the quirks and qualities that made living in a rural area just more interesting and different than suburbs or the city. All of my photographs were taken outside. I thought this was most appropriate as it truly captures the essence of living in a rural area and how as kids we just like to walk around and explore. Chevron Hasset, Yekaterina Gyadu, Tatsiana Chypsanava and Tira Khan are artists who have inspired my work throughout this project, helping me to develop a better sense of the documentary photography genre. These artists connect to the places they photograph, giving spectators a raw and vulnerable view into the communities they photograph and share their stories. 
REFERENCES
Wikipedia contributors. (2023). Whitford, New Zealand. Wikipedia. https://en.wikipedia.org/wiki/Whitford,_New_Zealand 
Auckland Council. (N/A). Unitary Plan Appendix 21 Treaty settlement legislation - Statutory acknowledgments. Auckland Council. https://unitaryplan.aucklandcouncil.govt.nz/Images/Auckland%20Unitary%20Plan%20Operative/Chapter%20M%20Appendices/Appendix%2021%20Treaty%20Settlement%20Legislation%20-%20statutory%20acknowledgements.pdf 
0 notes
Roll_14_Welcome to Roskill South
After some feedback and direction in class, it pushed me to finally go and photograph more of my neighbourhood, Roskill South. After the week we looked at Brendan Kitto's work on gentrification in Glen Innes I felt like my 'photo essay' should follow that route.
I did my capstone project, a couple of years ago, on redevelopment and gentrification in Roskill South/Puketāpapa. At the time we were in lockdown and I was unable to go out and photograph the progression of the devleopment (and I forgot about it in the interim).
It has since progressed significantly, yet still leaving scapes of abandoned social housing and the odd privately owned property that refused to be bought out.
Whilst exploring the development area (and a new area that started last year) I found a number of ironies some of the signage still up in the area. The large number of Kāinga Ora (KO) signage made specifically for the development has been removed as masses of homes have taken over the area. Yet some still remain in dribs and drabs.
With the upcoming election, it is going to be interesting to see whether the current government is going to be able to finish this redevelopment, now in its third year, or whether some of the still large blocks of land will remain empty.
I took an extensive amount of photos as this was the first time I had really interacted with the area, beyond routing around it, but I think it was necessary to give me a good starting base to work with for going back if necessary.
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Technical reflection for this shoot:
I do need to get some polarizing/nd for my camera lenses to reduce the overpowering brightness of the sky in my photographs. This shoot was taken on a very overcast day between 5-6pm so I did find getting a good balance of light a bit difficult in some shots but will try to rectify where needed in my RAW editing.
I tried to remember to take a variety of shots from establishing to close-up. However, something I do want to do is get my hands on a longer zoom lens to get some better close-up shots and be able to photography things in the distance (or where I can't access) a bit better.
Moving forward \ shots needed:
I will work through these shots and determine what I am missing \ need to work on. Particularly in shots I think I could get better versions of, different lighting environments (go at a different time of the day).
Do some research around Roskill South, possibly around photos that have been taken in this area in the past > of the social housing that has been removed.
0 notes
thxnews · 8 months
Text
Empowering Vulnerable Children: Oranga Tamariki Action Plan
Tumblr media
  Uniting for a Common Purpose: The Oranga Tamariki Action Plan
In its inaugural year, the Oranga Tamariki Action Plan has already made a significant impact, bringing together various children's agencies to prioritize the welfare of those in greatest need. Chief Executives from Oranga Tamariki, the Police, and the Ministries of Education, Social Development, Health, and Justice have collaborated to achieve better outcomes for children and young people in care.   A Collaborative Effort: Contributions from Diverse Agencies Beyond children's agencies, several others, including the Department of Corrections and the Ministry of Housing and Urban Development, have contributed to this collective endeavor. Kelvin Davis, a strong advocate for the approach, emphasized the importance of working together with the community to provide comprehensive support, thereby preventing children from entering state care.  
Tangible Impacts: Positive Outcomes in Families' Lives
The Oranga Tamariki Action Plan has yielded tangible results, enhancing the lives of families in various ways. For instance, the collaboration between Oranga Tamariki and Kāinga Ora has increased the availability of homes for disabled children in need of intensive support. Furthermore, a new data system developed jointly by Te Whatu Ora and Oranga Tamariki has facilitated smooth healthcare transitions for children in Oranga Tamariki residences.   Enhancing Support: Partnerships Lead to Notable Initiatives The partnership between agencies has sparked noteworthy initiatives, such as the introduction of senior social worker liaison roles at Starship's acute mental health unit. Following a successful trial, these roles will also be introduced in Wellington and Canterbury.  
Empowering Frontline Workers: A Long-Awaited Approach
Frontline social workers have expressed long-standing support for this collaborative approach, and Minister Kelvin Davis acknowledged the fulfillment of their aspirations. While the foundations are now in place, Davis emphasized that the work has just begun, and he looks forward to rapid progress in the days ahead.   Sources: THX News & New Zealand Government. Read the full article
0 notes
rorytait · 1 year
Text
Wellington Architecture: the Central Spine
Following Route 3 "the Central Spine" from John Walsh's "Wellington Architecture: A Walking Guide" I went for a wander through the western part of Wellington's city centre.
This post doesn't cover every building, or even the exact route, but I highly recommend the book for an interesting way of exploring the capital.
Tumblr media
Starting with the Pukehinau Flats (1978) which remind me of LEGO.
Tumblr media
Then I headed towards Aro Valley and it's mix of character properties and mid-20th century towers.
Tumblr media Tumblr media
The First Church of Christ (1983) has seen better days, and actually since going on this walk, has now been demolished.
Tumblr media
St John's (1885) now sits in contrast with 111 Dixon Street, one of Wellington's better examples of urban high density that isn't a flat glass box.
Tumblr media
Further up Dixon Street are the Dixon Street Flats (1944). Built as some of the first apartment-based public housing in the country, these now Historic flats are still part of the Kāinga Ora's public housing stock.
Tumblr media Tumblr media Tumblr media
Not that I'm huge on churches but St Mary of the Angels' (1922) is, in my opinion, Wellington's most grand. At least from the outside.
Tumblr media Tumblr media
The Hibernian Building (1930, on the right) now marks one side of a small urban park along Willis Street, neighboured by the large Rita Angus mural.
There were many more buildings along the route with architectural interest but were either difficult to photograph or I had already captured them previously. Once again, highly recommend Walsh's book, there are also versions for Auckland and Christchurch now too!
[24 October 2022]
0 notes
ridethepunkhorse · 1 year
Text
Personal Bests: 2022
Drive My Car (Ryusuke Hamaguchi, Japan, 2021)
Everything Everywhere All at Once (Daniel Kwan/Daniel Scheinert, USA, 2022)
Nope (Jordan Peele, USA, 2022)
Great Freedom (Sebastian Meise, Austria/Germany, 2021)
Aftersun (Charlotte Wells, UK/USA, 2022)
Beyond the Infinite Two Minutes (Junta Yamaguchi, Japan, 2020)
Decision to Leave (Park Chan-wook, South Korea, 2022)
Mona Lisa and the Blood Moon (Ana Lily Amirpour, USA, 2021)
Bodies Bodies Bodies (Halina Reijn, USA, 2022)
The Quiet Girl (Colm Bairéad, Ireland, 2022)
Noteworthy: Barbarian (Zach Cregger), The Beasts (Rodrigo Sorogoyen), C’mon C’mon (Mike Mills), El Planeta (Amalia Ulman), Happening (Audrey Diwan), Kāinga (Various), The Stranger (Thomas M. Wright)
1 note · View note
swldx · 1 year
Text
RNZ Pacific 1309 16 Dec 2022
7390Khz 1259 16 DEC 2022 - RNZ PACIFIC (NEW ZEALAND) in ENGLISH from RANGITAIKI. SINPO = 45343. English, s/on w/music (no bellbird int. and no pips!) and news @1300z anchored by Susana Leiataua. Russia has launched a fresh round of airstrikes on Ukraine, targeting the capital Kyiv, and damaging several buildings. President Volodymyr Zelensky says Ukrainian air defence forces shot down 13 drones. Russia has been repeatedly targeting the country's energy infrastructure in recent months, in what Ukraine says is a bid to demoralise its population. The state housing provider is rejecting claims of anti-competitive behaviour relating to a proposed housing development in South Auckland that it refused to fast-track. Kāinga Ora is being sued by property developer Winton. Winton wanted to build more than 4000 homes and three retirement villages in Papakura, and asked Kāinga Ora to use its special powers under the Urban Development Act to fast-track the project. Winton claimed Kāinga Ora said it was "too busy" to process private sector applications. Twitter has suspended the accounts of several prominent journalists who recently wrote about its new owner Elon Musk, with the billionaire tweeting that rules banning the publishing of personal information applied to all, including journalists. A giant aquarium containing a million litres of water in the lobby of the Radisson Blu in Berlin has burst, flooding the hotel and nearby streets. The "AquaDom" - home to 1500 fish - is 15.85m high and was described as the largest free-standing cylindrical aquarium in the world. Two people were injured by falling glass after the blast. @1303z trailer for RNZ "Saturday night requests". @1304z Weather Forecast: cloudy, scattered rain. @1306z "All Night Programme" anchored by Susana Leiataua. Backyard fence antenna, Etón e1XM. 100kW, beamAz 35°, bearing 240°. Received at Plymouth, United States, 12912KM from transmitter at Rangitaiki. Local time: 0659.
0 notes
w2qw · 1 year
Text
Kāinga Ora sued, accused of misusing market power over huge new Sunfi..
Kāinga Ora sued, accused of misusing market power over huge new Sunfi.. Kāinga Ora sued, accused of misusing market power over huge new Sunfield proposal  New Zealand HeraldProperty development company Winton takes Kāinga Ora to court over refusal to fast-track $4b "car-less" neighbourhood  StuffKāinga Ora faces legal action over refusal to fast-trac.. . . . . . . . .
0 notes
taylastudio2022 · 1 year
Text
ARTIST STUDY - LOUIE ZALK-NEALE:
Louie Zalk-Neale:
Louie Zalk-Neale (Ngāi Te Rangi, Pākehā) is a is a queer performance artist and costume designer based in Te Whanganui-a-Tara Wellington.
Tumblr media
“...I make performance art and installations with a faggotty essence and transfeminine overtones. I embrace the power of clothing to affirm my takatāpuitanga, recycling fabrics and wielding materials from forests, beaches, and gutters to add extensions to my body. I am a cultivator of hair and nails. I immerse my audience in ritualistic performances, bringing a queer utopia abruptly into the present....” (Circuit.com). 
Screenshots from, Louie Zalk-Neale, Stranding (2019)18 min 27 sec Single channel / Digital Video / Colour / Sound: 
Tumblr media Tumblr media
“...the costume is constructed from recycled fabrics and upholstery; weighted at the bottom with rice. its veil-like structure seems ritualistic and traditional but can’t be pinned to a particular culture, time-period or gender. it feels unfamiliar and alien; it looks like it should have a purpose but it’s not clear what that purpose is. moving with slow, fluid gestures, i mimic the drifting tendrils of sea creature, or a lampshade swaying in an earthquake. i must be from beyond this terrestrial world, yet here i am, and here you are....” - Artist Statement (Circuit.com). 
Tumblr media
^Installation view of kei matairangi tōku kāinga ināianei (2020) Louie Zalk-Neale, in Artspace Aotearoa's 2020 New Artists show. Photo: Sam Harnett.
Tumblr media
Kei Matairangi tooku kainga inaaianei (2020) ^ 
Tumblr media
I find it super lovely to look at other modes and mediums, such as performance, to communicate a narrative or feeling, like how Louie Zalk-Neale explores in their work. Their consideration for materiality, embodiment, gender identity, movement, and a relation to the body, are all themes that resonate with my own practice. 
I enjoy the way Louie speaks about their work, and their feelings. It is expressed so beautifully in their statements. They talk about the power of clothing and dress, which I found quite thought provoking in terms of it’s power and place within my own work. I have always considered what materials I use, and how charged they are with connotations of “femininity” is something that I have attempted to harness in my work. 
Something I haven’t considered until recently, is the performative nature or potential, for my work. I don’t think I would consider performance as an option for this semester necessarily, but I think that the connection or echo of performance, and movement, is super relevant. 
Links: 
https://www.sharedlines.org.nz/louie-zalk-neale 
 https://www.circuit.org.nz/artist/louie-zalk-neale 
https://www.instagram.com/louiemole/
0 notes
dagoonite · 2 years
Text
Transmission 1
Hello there! Greetings from Wolf Pack Kāinga! My name is Sarah Banner, and I’m part of the crew of the Astarte. We’re the rotational gravity spacecraft at the rear half of the Wolf Pack. I’ve been given authorization to send out messages for everyone back home.
I know that everyone’s scared and grieving, but there’s still hope. Wolf Pack Kāinga has the primary goal of turning Ceres into a full-fledged habitation. I know that a lot of people have their hopes set on the Moon or Mars, but we know that each of those present their own unique challenges. Instead of putting all our eggs in one basket, it was decided that it would be best to see about turning planetoids into something somewhat habitable.
We’ll be supported by the other two Wolf Packs, but their main goal will be the collection of materials to send back to the Near Earth regions. So while we aren’t on our own, they’ll be focused on making sure that all of you have what you need to stay in good repair, and maybe even keep expanding the number of spacecraft out there.
I’m stationed on the rear section of our spacecraft. It has two separate rotational sections that go in different directions, so that we can simulate gravity without our craft trying to flip around constantly. Rotation is a strange beast. My section is mainly focused on growing food and feeding the animals that we brought. Yes! We have chickens! They’re still very skitterish, recovering from the launch and the time that they spent in microgravity. Our commander suspects that they’ll be that way for the rest of their lives. I hope that he’s wrong.
Regardless, the chickens help us to recycle our plant matter more easily; or they will once we get to harvesting. Their eggs also help supply the other spacecraft in the Wolf Pack with eggs. But I’ll go into that another time. We have a long way to go to the asteroid belt, so I want to make sure that I have plenty to talk about!
The front half of the spacecraft is dedicated to people. The two rotational gravity craft are the largest of the Wolf Packs, so our guests are lucky. I hear that some people who spend their shift resting on the other Wolf Packs have trouble when they’re assigned to R&R; in order to maintain .25 gravity, they have to spin pretty fast, and some people have problems with that.
Us and our sister spacecraft are lucky. We maintain about .35 G, or about the same gravity as Mars, with a lower rotational speed than the others. We have a couple of doctors on staff, helping to make sure that people can acclimate and to treat anyone brought onboard for treatment. They’re also studying us in the rear section, and they’re hoping to learn a lot about life at our gravity level.
You may be wondering why we’re so much bigger, but I already told you in a sneaky way. While there’s a lot of plans on how to create habitats on Ceres, one of our contingency plans is to just drill two holes and sink us in there. There’s a lot of variables there, and a lot of ways that it could go. Regardless, we’re going to be vital to the Wolf Packs as a whole. Before Kāinga even starts thinking about how we’re going to colonize Ceres, we’re going to deploy huge solar arrays to collect energy so that every spacecraft in every Wolf Pack can just drop by to recharge quickly and easily.
I’m super excited to tell you all more about our mission, and get to know all of you. Feel free to send messages to MIDOR, who will send them our way. I’ll answer as many as I can! I’ll talk to you next time!
0 notes
The PROJECT TE ARA POUTAMA A tool for courageous conversations
Tumblr media Tumblr media
Tumblr media
Te Whāriki held a series of guided conversations (Courageous Conversations) with Hauraki whānau Māori, focused on leadership and breaking the silence around mahi tūkino (whānau and sexual violence) between 2018 and 2020. The purpose of these conversations was to give voice to whānau thinking and solutions about breaking the underpinning codes of silence that ultimately protects perpetrators and perpetuates the cycle of violence. Each conversation built on the previous one, ensuring that the emerging themes were woven into each discussion.
These conversations helped identify clear categories: • What protects leaders and hides abuse, • What stops disclosure and breaking silence • What needs to change, and What is needed (gaps)
The kaupapa of Kāinga Kōrero theorises that having guided conversations with Hauraki whānau Māori in environments and with people they feel safe with, will contribute to breaking the silence that protects perpetrators of whānau violence.
0 notes