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    • The artist as many other things first
      • Holly McEntegart in conversation with Anne Noble, facilitated by Mark Amery <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble Merging her work as an artist, mother and full spectrum doula, Holli McEntegart recently brought something remarkably different to the bustle of Wellington’s Courtenay Place, in an exploration of art as a social practice.  Providing a warm, calm space for participation, Inhabit brought together mothers and their infants to examine how community, cultural and whānau postpartum care has changed in Aotearoa, sharing experiences in real-time and as oral history. A private issue was brought into a public realm. Rethinking the artist’s role in society, McEntegart was supported by artist Anne Noble in a project commissioned by Letting Space for vacant space activators Urban Dream Brokerage. McEntegart now has plans to bring the project to Auckland.  Here are Holli and Anne in conversation. Mark Amery Anne Noble: Letting Space and Urban Dream Brokerage have made a really remarkable contribution to the Wellington art scene. Letting Space positioned itself as an entity that sits outside the conventional domain of the gallery, where the artist is mostly defined e as a producer of objects and artefacts. They offered an experimental space and an invitation to artists to expand the ecology of contemporary art and provide support for them to provide a new kind of experience for communities and publics to engage with contemporary art I see Inhabit as a perfect example of the kind of project that Letting Space and Urban Dream Brokerage were established to nurture, enable and support.  When I first thought about your ambition for Inhabit: to marry both your practices as an artist and a full spectrum doula, one of my first questions was about the expanded role of the artist in a social practice. How is your work first and foremost art while being shaped by other practices and concerns?   What came to mind was a book [^1] I’ve had on my bookshelf, which has on its cover The Artist As followed by a list: that includes such descriptors of the artist as .. producer; the artist as… archivist; the artist as… ethnographer; the artist as… catalyst; the artist as… orchestrator; the artist as… poet; the artist as… curator. And it ends with this really beautiful phrase in capital letters: AND MANY OTHER THINGS FIRST. This points to the fundamental premise of your art practice - driven and formed by another whole domain of expertise, professional practice, experience and activist concerns. <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble | Infant massage with Jo Chambers. From left: Megan Rodgers and Jasper, Jo Chambers from Blissful Bubs You define yourself as a social practice artist but you also practice as a full spectrum doula.   How did you arrive at the idea of merging your practice as an artist with your life as a mother, your interest in the post-partum experience and your activism in this space?    Holli McEntegart: You and I talked a lot about the artist as a conduit; or as activator. As a young artist I was always really interested in capturing images of moments that had complicated stories behind them. I realised that my interest was often more in the story; how we got to this point; the full stop. The work was always, for me, in the negotiation of  getting to that image - with the image itself feeling lacklustre in comparison to that journey. Then when I moved to Pittsburgh to complete my Masters I found that there was a greater focus on social practice as a role for the artmaker. The driving need for me has always been to build relationships, and therefore community. So when I was taking photographs I would spend months getting to know people, navigating the permission, not just to be there, but to be accepted; to belong. I’ve joined every group under the sun! A loon (an aquatic bird) counting group in Maine, a porcelain painting group in Mt Albert, a bluegrass group, banjo club and a barbershop quartet in Pittsburgh, and a cake decorating group in Otara, to name a few. But I didn't feel like I had the right to be there unless I was really an accepted part of the community. That came to a head for me in Pittsburgh when I joined a  semi-gated spiritualist community called Lily Dale, and began making work out of the readings they were doing for me. I would spend eight months with them before I could make that work. By the time I was living in New York there were many grants, residencies and galleries supporting a socially engaged framework of art making. My eyes were opened to the fact that this community exchange and the energy I was investing into relationship building was not only valid, it was the work.That really gave me permission to move past just documenting my work with photographs or videos and writing and to pull the focus back to the process, the making and the relationship tending.  Research is a huge part of my process, whatever I’m working on I’m always off down a research tunnel. So, when I got pregnant in New York with my first child Arlo I went on a huge journey to understand pregnancy, birth and everything that was happening to my body. I discovered that in New York City, the maternal mortality rate in pregnancy, birth and early postpartum is astoundingly high, and that black women are 12 times more likely to die in childbirth than white women. OB’s are often pushing for a lot of unnecessary interventions within the hospital system and midwives are not as commonly used, though that is changing. I come from a family of home birthers in New Zealand, it was normalised and seemed like the obvious place for me to birth, but only around 1.5% of people give birth at home in the US, so it's quite a radical thing to do in that context.  I was so lucky that I had a neighbour and friend who was training to be a midwife and was working as a birth doula. Through her I discovered this group of folks called doulas. I started learning about the role they play in birth work, about reproductive and birth justice advocacy, and about everything I was going to need to know to birth my baby at home while being supported by a midwife and doula team. <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble New York City is so compact, we had a tiny apartment and I had a home studio. My son, Arlo, was born underwater, in a birth pool on my studio floor. At that point I had been working for some time within these spiritualist communities. I had been really delving into why people were seeking healing in these communities and what it meant to be constantly practising these healing rituals. Birthing my son in my studio was like an epiphany, I was on a healing journey myself and this was a part of the work.  Birth was incredibly healing for me at that point in my life and then, like many people, postpartum was a completely different beast. Like most people experiencing giving birth far from their home and family, I just felt an intense lack of support from the world. And with that a deep loneliness. I was so homesick. My parents came to visit for two weeks which was incredible, but it went so fast. A few good friends showed up as best they could but I was living and working as an artist in New York, I didn’t know anyone with babies or even young kids. People are busy - for everyone else, life goes on. It’s the postpartum person that is stuck in stillness, but constantly working. It was a totally different world. You get the sense  that everybody shows up for birth, everyones interested, you learn so much about pregnancy and childbirth, tracking the changes in your body all the way through to this kind of event, and then everyone leaves, and you’re left in charge of a human. It’s wild, uncharted territory and no-one’s told you that much, or what they have told you is irrelevant, biassed, outdated and sometimes even harmful. I longed for my family, mostly for my mum. I found myself floating out to sea, and there was a realisation that no one was going to rescue me - I had to rescue myself. And to do that I needed  to dive even deeper into what was happening to me, go down that research tunnel again and find out what support there was in the world and how I could heal.  That led to me doing Seen, a postpartum doula mentorship programme with Birdsong Brooklyn, and learning constantly - four or five months too late - what could have rescued me before I needed rescuing! It was eye opening and there was a lot of deep grief about the care I had missed out on, and the ways I could have been  supported. I was diving deeply into the profoundness of becoming a mother and the reality of how much is lacking in the world in supporting new parents. I just fell in love with this idea that we could be healing collectively if we just looked after each other better and shared our knowledge.  I built my community from that in New York in that first year of parenting. At that point I had been  working for three years as the studio manager for an incredible artist, Janine Antoni, who is also a parent and understands that mothering work. It was a huge question for me: how do I keep working in the world as an artist, be able to show up as a mother and earn enough money to live? How do I juggle all of this and stay tethered to myself? I gave birth to my son when I was 38 and I was being called a geriatric mother by the medical system. It scared me. I wanted to breathe in my baby, just inhale him and not miss a second. But  how do I do that and keep up my practice? Well… I just gave birth to my son in my studio…. It was these layers of realisation: this labour is the work. I have to reframe my life so that this labour of the home, the labour of care, of mothering, is seen and valued. So I left my job in the studio with Janine and went straight into postpartum doula training. I needed to be immersed in the community in the same way I had been with the spiritualists or the cake decorators or the bird counters in Maine. <figure class=" sqs-block-image-figure intrinsic " > Image: Holli McEntegart | Multiples Feeding Support Group. From left: Jessie Lee Broadbent, anon Anne: You have talked about your journey as a photographer engaging with communities, and how the outcome can be separated from those experiences that feel like part of the work. That is n true for many documentary photography projects.You’ve also described beautifully your dissatisfaction with being both outside a subject and yet needing to be  right in the heart of it.  The notion of a social practice artist is less common in New Zealand than in the US. It has currency in art schools, but my instinct when we first met and talked was that you have a really highly evolved practice in which you prioritise your  relationship as an artist to the post-partum communities you engage with  Your work  begins with you your life as a mother and your practice as a doula being the site of public art activism, of making the post-partum world experience shared and visible. How have you then addressed the visibility of this as an artwork? You only need to look at the project website to see the level of community engagement and the number of people you have drawn into this space. It’s really significant. Those workshops - people flocked to them. But to make it public, visible to participants and to audiences how does that work?  Holli: What comes first for me is the relationship, being a good community member and trust. I come at relationship building and getting people involved with their whole heart; with a genuine interest and respect. I have to have something at risk as well. Inhabit was a year in the making, but the day we opened, with a multiples lactation support workshop. We had six twin mums and probably six assistants or helpers, including grandmas, friends, lactation and doula support. That's 12 babies plus Indigo [Holli’s own baby]. Over 24 bodies breathing life into the space. That was the moment that the work became art; that it became an artwork. It was activated by the community of people in the room and their energy. Up until then there’s a lot of risk on my part because I don’t know who is going to show up and what they will bring on the day. The work is filled with intention but it has to meet people where they are and vice versa, and for that reason, it’s never the same, it evolves and unfolds and, much like mothering, I must surrender to it.   I think I’m comfortable leaning into the unknown. Within a socially engaged practice you really don’t know how your participants or your audience (the public) are going to enter the work.  I consider the folks facilitating  workshops my co-creators. There were six months of emailing and zoom conversations about what I was making with that final group of people, so many conversations about what the community needed. And then there was a point when  they came to me with a  plan to set up this specific workshop for multiples families. They were asking for my permission, and I was overjoyed because, it was at that point that they took ownership and really began to have agency within the work. That was the moment when the community was activated, they started creating what they needed under the umbrella that I offered - this community activation was where the social practice aspect of the work really came into play. <figure class=" sqs-block-image-figure intrinsic " > Image: Milan Maric | Combined yoga and Infant massage workshop with Emma Chen Flitcroft and Jo Chambers I was coming to Wellington, into a community I’m not from, so I’m constantly asking myself, how do I leave this space better than when I got here?  Within social practice I think there is a very real responsibility to care for the community you're working in and to make sure there are ongoing care agreements in that community. Everyone that provided a workshop for Inhabit offers free or sliding scale services that could continue to be accessed after Inhabit closed for example.  Anne: That’s a beautiful description of the artist as catalyst. I’m very fond of the notion that when an artist plays those roles, the artist in a conventional sense disappears to become a  generating and catalysing force  Holli: I’m interested in the way my role shifted from facilitator to participant, or mother , or host. Hourly that changed. Originally I thought I would be facilitating some workshops but I didn't end up doing that because so many people wanted to facilitate their own. At the beginning of each workshop I would introduce the project and really ground it back into the context of an artwork, to remind people they were participating in something both bigger than them, but also inherently generated by them, and then I would participate alongside them. I was  never an observer, I was a participant.  I think it’s really important I have the ability to be part of what’s happening as opposed to being an outsider. Learning, participating and being vulnerable. That vulnerability permissions other people in the space to also be vulnerable. It’s not like, as you’re describing Anne, that ‘‘you’re the artist and you’re over there’ on a pedestal. The process is about me sinking back into the work. It’s a dance between making sure people feel like they are being held and acknowledged and the space is being tended to in the correct way, but not dominating it. <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble Anne: As a public artwork, positioned in Courtenay Place, it was a really beautiful intervention with really subtle signage and this glowing light masked by a wall of handmade stitched together nappies! It offered a surprising encounter that was intriguingly signposted and people were welcomed to just stop and to consider what it might be - as a public art project.  Sometimes I was amazed at the number of people participating and how  the work created an opportunity for a community to assemble. How did you introduce participants to the process of being part of something for them but also part of something larger? Of being participants and collaborators in Inhabit as an artwork. Holli: That was definitely one of my biggest challenges. There were a couple of things I did practically. Even before Inhabit opened I worked very hard to centre the project in the community with this drawing project that involved - six Love Note posters that were plastered repetitively around the city in the two weeks leading up to our opening. I was documenting them in situ and sending images of them to people when they were signing up for the workshops as well as using them in social media. So there was a centring of it as an art project before they arrived. Most people had seen these drawings and then saw the wall of Love Notes  growing on the wall when they came into the space. I introduced that as a collaborative drawing project and really impressed the importance of adding everyone's voice to that growing archive.   <figure class=" sqs-block-image-figure intrinsic " > Image: Lily Dowd I constantly was re-centring it as an artwork in this way all the time, and encouraging the public  to participate, reminding them of what they are a part of. I see the Love Notes as the beginning of an archive of postpartum stories - a collection. And that maybe this is how we start something: a movement, a book, an archive - we just have to start putting our stories on the wall. I think that grew really organically and became a way for people to gently  be reminded of the fact that they were a part of an artwork, and then they forgot about it - which was great. Someone hands them a bowl of soup, nourishes them, checks in and makes sure they’re OK. Offers to hold their baby.  and that energy of care flows into the space and  people feel really comfortable. And that comfort was there in part because I was there visibly parenting, making the work. Creating a space that makes visible the lived experience of parenting, and artmaking at the same time.   <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble As it transpired there was very little foot traffic, and actually the space needed to be very protected, intimate and gate kept. So the curtain that I made really provided a level of intimacy. It is another drawing project I had been working on as a part of the show, but I didn’t quite know where it would fit. I’ve been collecting these used flat nappies. They are very identifiable, heavily washed and starched white cotton with a red stripe down the side. They are the kind of do everything cloth of motherhood. So representative of the labour of the home. Soaking up the mess of it all. I’ve been stamping all over them with my own mother at my kitchen table, “Ssshhhhhh sshhh shhh ssshhh shh shh shh…” On the first day of installation it was clear to me that we needed to be able to transform the space into a private, intimate one, and to open it up to the world. Sewing the nappies together to make a curtain was a wonderful way to create that boundary between public and private. And then at the end of the last workshop I was really inspired to “pull back that curtain” and be seen. I called you and asked you to document this moment of being seen in parenting and artmaking. It was such a moment of connectivity and community connection. There’s now two groups I believe that came together at Inhabit and are continuing to meet. It was great to cultivate this level of nurturance and community engagement  in a place like Courtenay Place - buses, cars and people with so much going-to-work energy,  once we pulled back that curtain I think people were taken aback by it “there are so many babies!” <figure class=" sqs-block-image-figure intrinsic " > Image: Milan Maric | Combined yoga and Infant massage workshop with Emma Chen Flitcroft and Jo Chambers Anne: Yes it was a brightly lit window that glowed like a little jewel! And was such a surprising experience walking by. You’ve described the artist as a generator and how there is a legacy for participants beyond the exhibition space. What were some of the highpoints during Inhabit and some of those legacies? Holli: The highest high was our opening, that first day. 13 babies in the space. One of the sets of twins was only five weeks old and it was their first time out of the house and their mum had driven an hour to get there, they spent all day with us. Any future Inhabit projects will always open with a multiples workshop  because these folks are the least catered for within the system. The world was not made for people birthing two or three babies at a time… So to have this space where people were surrounded by support and advice and understanding. It was so magic and it was so clear there was a need for that.  I think that in the current Covid climate people are feeling so much more isolated and unable to get out of the house. Opportunities for connection that were available to parents pre covid often aren't now, like community or library meetups and coffee groups. Many people were speaking of coming to Inhabit  as the first time they’d been to a group outside the home, there is a lot of isolation and fear out there, and a deep lack in support services. A few people who weren’t parents had some very interesting interactions with the space as an artwork, which I found fascinating. Some really generative conversations came from them being confronted: that they were coming to a public  exhibition, and were questioning ‘what is this?!’ I had very interesting conversations with other artists about what participation looks like when you’re not a parent. For parents their participation was organic but for others, it felt very different. They accessed it through my facilitation and it was interesting seeing them sink into comfort because they were being cared for; getting down on the floor and playing with Indigo. Having some soup, and learning about traditions of postpartum care and methodologies. I’m interested in pulling back the veil on this kind of care work because we can all benefit from learning how to tend to our communities and families. <figure class=" sqs-block-image-figure intrinsic " > Image: Milan Maric Another highlight was my involvement with Little Shadow. They run perinatal mental health support groups in the Wellington region and virtually across the motu. They were so supportive of this project. They really saw the power of what Inhabit created in offering an entrance point  to conversations about perinatal mental health that are softer and more nurturing than how it’s often tackled when people are looking for support within a healthcare system. Inhabit provides nourishing food, a space to express yourself creatively, a place to move your postpartum body,  and a room full of folks on a similar path. Once there, we are able to get into the nitty gritty of what we are all experiencing because the space itself is so tended to. Something that I repeat all the time is that I’m examining patterns of care, whilst caring for our communities. I want to decolonise postpartum care so that we may all gain the knowledge of how to care for each other. Then there was that final reveal, pulling back that curtain. I felt I was truly being seen as my whole self in the work. Before that point I was a shapeshifter facilitating everybody else's journey. But at that moment I was in my deeply creative space of making and mothering as I  finished the project. It felt like closure and an answer to that question of how I can be an artist, make work and be a parent. It struck me how that question has deeply impacted my relationships with people and how I move in the world.  In my first few days in Wellington I had a clear vision of that image we captured at the  end. I saw the room glowing with light, semi dark outside and the interior being a place of making and of process. A gallery, and a living room and a studio and a feeding place. Where bums are getting changed, a place where all of life is happening at the same time. And that the public are walking past and peeking in. The labour of parenthood and of artmaking is usually so invisible. That moment at the end just felt like: let’s get it all on display! <figure class=" sqs-block-image-figure intrinsic " > Image: Milan Maric <figure class=" sqs-block-image-figure intrinsic " > Image: Milan Maric Anne: I love what you say about risk. Because if art doesn't involve risk it doesn't leave the opportunity for engagement - If it's there and says it all it doesn’t ask very much of people. The way both your processes of making and lived experience are entirely central to the work raises questions for people coming in off the street  - challenging their notions about art - and confronts them with the invisibility of the post-partum experience. Can you talk about how Inhabit is an evolving work? How it’s more than  a one-off event where communities come together and are potentially transformed. How is the  website a part of the evolution of the work? Holli: If you are thinking about community engagement and looking at different types of communities' needs then you’ve got to move around those communities. My vision for Inhabit was always that it would move around the motu. One of the things I thought was important about the experience in Wellington was that it felt disruptive. It felt radical. It was an  interesting way to inhabit vacant space in the CBD and disrupt a community. It ignited something that people were aware they needed, but no-one knew how to connect on and build.  <figure class=" sqs-block-image-figure intrinsic " > Image: Anne Noble I think there’s a lot of power in Inhabit travelling around regionally and disrupting systems in ways that are really positive and ignite connection. I think of little things growing, sprouting. And of having this homebase of an archive online where we can collect and hold these postpartum stories and learn from what we’ve been doing here to better support communities. Anne: Thanks Holli - for the pleasure of being a small part of this project with you.  Anne Noble (Laureate), ONZM, is a photographer and curator whose work spans still and moving image, installation and international curatorial commissions. Over multiple projects Annne Noble has considered the significance of memory and imagination to personal and cultural narratives of place and belonging.Holli McEntegart is an interdisciplinary artist using social practice, video, performance, photography and text. She holds a Bachelor of Visual Arts in Photography (NZ), and a Masters of Visual Art and Design from Auckland University of Technology (NZ), which included a one year MFA scholarship at Carnegie Mellon School of Art, Pittsburgh (USA). In 2014  she was an artist in residence at the Skowhegan School of Painting & Sculpture in Maine (USA). Her work has been performed and exhibited throughout the USA and New Zealand. In 2018 she trained as a Full Spectrum Doula after giving birth to her first son in Brooklyn, New York. Returning to Aotearoa in 2020, where she continues her work as an artist and as a Reproductive Justice Advocate. Holli is now an island named Mother to two boys, aged 4 and 9 months.  <figure class=" sqs-block-image-figure intrinsic " > Image: Holli McEntegart | Multiples Feeding Support Group - From left; Anon, Georgie Manning, Jessie [^1]: Aileen Burns, Tara McDowell, and Johan Lundh, The Artist As Producer, Quarry, Thread, Director, Writer, Orchestrator, Ethnographer, Choreographer, Poet, Archivist, Forger, Curator, and Many Other Things First. Institute of Modern Art, Brisbane, Curatorial Practice at Monash University, Melbourne and Sternberg Press, 2018.
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    • Open for Business in Level 2
      • <figure class=" sqs-block-image-figure intrinsic " > From Thursday 9 September the Hataitai Centre and Community House Playroom will be open for our regular hirers and one off. The main Community House room and office will reopen on Monday 13 September. From Thursday we will have QR codes at each gate to the Village Green - for use when passing through, using the community garden and compost bins, or running your kids or dogs on the Green. As the Waipapa Road playground is a shared space with our Playgroups, and hirers, we will also put up QR codes for the playground. Following are guidelines for Delta Level 2 when using our buildings as a one-off hirer, or attendee to a function, class or group. Sign in All hirers / hosts must sign in and are responsible for ensuring all attendees of their event / class sign in. We will provide a sign in box for those that do not have the app.  The Village Green is also considered a public space and will have its own QR code. Please ensure all parties are aware to scan in if they are using the green or passing through Face Coverings When you are leaving your home at Alert Level 2 you legally must wear a face covering when: using public transport, airplanes (including in arrival and departure points such as train stations and bus stops) and in a taxi or ride-share vehicle visiting a healthcare or aged care facility inside retail businesses, such as supermarkets, pharmacies, shopping malls, indoor marketplaces, takeaway food stores, and public venues, such as museums and libraries visiting the public areas within courts and tribunals, local and central Government agencies, and social service providers with customer service counters. As such we ask that all hirers abide by guidelines below;  Public class / event;  All hirers / hosts/ customer facing people must wear a face covering at all times. You are asked to advise all attendees of your event / class to wear a face covering wherever possible, except when exercising.  Children under 12 are encouraged to wear a mask, but it is not mandatory. If you’re using the building for exercise, please ensure you wear a mask while moving about, but once you have your ‘spot’ you can remove your mask.  Please put it back on when you’ve finished class before vacating. We will mark out 2m distances on the floor for a visual guide. Private event;  We encourage all attendees to wear a face covering wherever possible, especially if it is hard to maintain physical distance from others.  In general, face coverings should be worn whenever you can. The Delta variant is more transmissible by droplets, so face coverings are a way we can protect ourselves and each other. For more info - https://covid19.govt.nz/activities/private-social-gatherings/#social-gatherings-at-alert-level-2 What else we need to do at Alert Level 2 to stay safe Hand sanitising is compulsory on entrance and exit, and sanitiser will be providedYou must maintain a distance of 2 meters from people you do not know and 1m from people you do know, you must also manage this guideline for your attendees.  If distancing is difficult, it is mandatory to wear a mask. 50 people maximum are allowed over the whole Hataitai Centre- upstairs and downstairs. The Community House is a much smaller space, so please bear in mind this number will need reducing to provide adequate distance required for everyone's safety. If you are providing food and drinks at an event, everyone must be seated to be served.  All high touch surfaces need to be cleaned after use - door handles on both sides of the building entrance door and toilet door, tables and counter tops used.  Cleaning equipment will be provided. We will also be arranging additional regular cleaning throughout Level 2.  Do not host your event / class if you have cold or flu symptoms or you have been asked to isolate.  Please ask those who attend your event / class not to come along if they have cold or flu symptoms or you have been asked to isolate. If you have any reason to believe that you or anyone who attended your class/event has developed covid please let us know as soon as possible so we can discuss next steps and take necessary precautions.  Remember; If you are feeling unwell, stay home and call Healthline or your doctor for advice.  Even if you have been vaccinated against COVID-19, you should still stay home if you are feeling unwell. Staying home will help protect you, your whānau, friends and community. 
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    • Ngā Kōrero - Latest Stories from DCM
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} } @media only screen and (max-width: 480px){ .mcnTextContent,.mcnBoxedTextContentColumn{ padding-right:18px !important; padding-left:18px !important; } } @media only screen and (max-width: 480px){ .mcnImageCardLeftImageContent,.mcnImageCardRightImageContent{ padding-right:18px !important; padding-bottom:0 !important; padding-left:18px !important; } } @media only screen and (max-width: 480px){ .mcpreview-image-uploader{ display:none !important; width:100% !important; } } @media only screen and (max-width: 480px){ h1{ font-size:30px !important; line-height:125% !important; } } @media only screen and (max-width: 480px){ h2{ font-size:26px !important; line-height:125% !important; } } @media only screen and (max-width: 480px){ h3{ font-size:20px !important; line-height:150% !important; } } @media only screen and (max-width: 480px){ h4{ font-size:18px !important; line-height:150% !important; } } @media only screen and (max-width: 480px){ .mcnBoxedTextContentContainer .mcnTextContent,.mcnBoxedTextContentContainer .mcnTextContent p{ font-size:14px !important; line-height:150% !important; } } @media only screen and (max-width: 480px){ .headerContainer .mcnTextContent,.headerContainer .mcnTextContent p{ font-size:16px !important; line-height:150% !important; } } @media only screen and (max-width: 480px){ .bodyContainer .mcnTextContent,.bodyContainer .mcnTextContent p{ font-size:16px !important; line-height:150% !important; } } @media only screen and (max-width: 480px){ .footerContainer .mcnTextContent,.footerContainer .mcnTextContent p{ font-size:14px !important; line-height:150% !important; } } When we connect with our neighbours, good things happen communities where whānau are housed, connected, valued and thriving About Us Contact When we connect with our neighbours, good things happen Ka tūhonohono te hapori, ka puta ngā hua DCM has been taking part in Neighbours Aotearoa throughout the month of March. Neighbours Aotearoa is all about making connections in your neighbourhood. If we can be a resilient and supportive community, we can make longer-term and more deeply ingrained changes to the social fabric of Aotearoa. At DCM, we have often wondered how we can better take part in our neighbourhood. We work with the most marginalised people in our city. We are so focussed on ensuring our people are housed and supported to become good neighbours – but Neighbours Aotearoa made us ask, how can we as an organisation be good neighbours too? One thing DCM does very well is sing! And so, throughout March, we have been taking our daily karakia and waiata out into the middle of Te Aro Park, inviting everyone to join in. It has been a fantastic experience and we know that much like our location on Lukes Lane, the park also occupies the historic space of Te Aro Pā. It is right and appropriate that waiata should again be heard here. Ka mihi au kit e takiwā o Te Aro Pā. DCM's chess tournament in Te Aro Park. Cesar (top right, in wheelchair) was the winner on the day. A highlight of the month – and year – was a chess tournament held in Te Aro Park in collaboration with Wellington City Council. We had members of Police, Community Law, BGI (Wellington Boys & Girls Institute), Hāpai Ake (Local Hosts), Te Paapori, Barkers Clothing, students from Te Auaha Barbering Academy, and members of the public who happened to be walking past, join in the fun. But it was DCM whānau who scored the most wins, with Cesar at the top of the leader board with 10 wins in total. Nice job, Cesar. DCM kaiāwhina Fabian shares his thoughts about the day: DCM's kaiāwhina Fabian was nervous getting on camera, but here shares his thoughts on Neighbours Aotearoa and playing chess in Te Aro Park with the DCM crew and our neighbours. <!-- --> On the road with the Noho Pai team This month we share the story of DCM’s Noho Pai (Sustaining Tenancies) team. The Noho Pai team work tirelessly to support whānau to sustain their tenancies, to be good neighbours, and to thrive in their communities. Their focus is on ensuring positive outcomes for vulnerably-housed whānau – and sometimes it is very demanding and time-consuming mahi. The team is also there to pick up the pieces when things fall apart. When DCM says we work with marginalised people, this is what it truly looks like. The Noho Pai team have some of the most vulnerable members of our entire community on their books. As a result, we have opted to change the names of the people featured in this story, and we will not share any photos from inside their homes. Delena’s first stop of the day is a tall concrete building owned by Kāinga Ora (formerly Housing New Zealand). A security guard lets her in the front door, where she will visit the small, ransacked flat of someone who will not be home – Marie – because she is in prison. Delena’s task today is to save as much of Marie’s stuff as she can, especially items that are meaningful to her. Kāinga Ora has agreed to store some of Marie’s stuff, but the rest will be dumped. Patsy is a Kāinga Ora tenancy manager and good friend of DCM’s. She lets Delena into the small one-bedroom flat. The place is a shambles, with items strewn everywhere, and graffiti on the walls. The kitchen is a no-go zone. Delena explains that this isn’t entirely Marie’s doing – other people have made themselves at home, causing a lot of collateral damage. Like many of the whānau DCM works with, Marie is extremely vulnerable. She has experienced severe trauma, and lives with a chronic condition that makes socialising with others a challenge. This also makes living in a small, noisy apartment, among many other vulnerable people, a problem for people like Marie. But Marie will not be able to come back to this flat – as Kāinga Ora will not allow people to return. Like many buildings in Wellington, it needs multi-million-dollar upgrades. When Marie finally comes out of prison, all she will be left with are the items Delena can save. Marie is very proud of her clothes, and so Delena focusses on saving the items she can recognise. She puts post-its on other small items, and ensures Patsy knows that Marie will want to keep the peach couch. Marie was very proud of her couch – it will mean a lot for her to see it on the other side. Patsy from Kāinga Ora (left) with Delena. On the top floor of the complex, a number of people are taking part in a weekly café-style lunch. This is a chance for tenants to connect with one another while enjoying coffee and home-baked kai provided by one of the local faith communities. Numerous people known to DCM have come from other complexes to join in the occasion. Ava makes her way around the café with ease. She stops to talk with Douglas – whose story we shared in 2021 – in the rooftop courtyard that overlooks the city. The café is a great opportunity to catch up with people DCM hasn’t seen in a while. Ava also catches up with Patsy from Kāinga Ora about one of her whānau who was not at their flat today, with whom she wants to have a catch-up kōrero. Ava finds her relationship with Patsy essential to her work. When one of Ava’s whānau moved to another property due to circumstances outside their control – without Ava’s knowledge – it was Patsy who helped her reconnect with them at their new address. Also at the café today is Elaine, who is 67 years old and housed at another location. Elaine’s new flat sits by itself and Elaine misses the social connections she was able to make at this complex. It is good to see Elaine, as when she is unwell she will completely disconnect from services. Like a keel, the Noho Pai team know that they can use their friendship with her to help right things again. Elaine loves jigsaw puzzles, and Ava says that she has picked up some new ones for her. The Noho Pai team will pop around to visit her in her whare tomorrow, and while there will check that she is doing well inside her still-new four walls. Douglas with Ava. Across town, Moses arrives at Fred’s place. Fred suffers from schizophrenia, bipolar disorder, and depression. Wellington City Council want to re-carpet Fred’s whare, but he doesn’t trust them, and tradespeople refuse to enter the property due to the state it is in. As a result, Fred doesn’t like letting people into his home – but he opens the door to Moses. Fred seems comfortable with Moses, who is here to try to get him on to the correct benefit. They travel to Fred’s health centre as Fred needs a medical certificate. While there, Moses advises Fred to pick up a payment card from MSD so he can buy a phone and keep in contact with Moses and other important people in his life. These are positive outcomes for Fred today. Moses will broach the subject of Fred’s carpet soon – which will help raise his overall quality of life. Moses. At court, Tipene is stopped by security who ask him to put his possessions in a plastic container, which goes through a scanner. On the second floor, Tipene enters courtroom number 2, waiting for one of the 15 people on his caseload – Dean – to arrive. Dean has been having a tough time since the lockdowns, when his drinking started up after years of sobriety. He is facing charges for an incident involving some friends he has been having a hard time distancing himself from. Dean arrives, and the mood in the room is tense, with the gallery full of others waiting for their turn to be called to the stand. Dean is called, and it is humiliating for him to have to get up in front of so many strangers. The judge speaks first, and then the conversation moves from lawyer to lawyer, and finally to Dean. A date is set for the next stage in the case and Tipene takes Dean aside for a quick kōrero. Dean is relieved to have the support of a familiar face at these proceedings. This is a still from a story about Wellington's Special Circumstances Court, which you can watch on our YouTube page. Delena visits the whare of another person on her caseload – Sarah. Sarah is housed in a Kāinga Ora property, but it’s a standalone house, which Delena explains is a more appropriate fit for Sarah, who didn’t do very well in a housing complex. The lawn is overgrown but Sarah doesn’t have any gardening tools – something the team will get to when they can. Today it’s all about a phone – as Sarah’s phone is not able to make or receive calls. The whare is in a very quiet and isolated spot, and because Sarah also has schizophrenia, it’s important that she can be contactable, but also call for outside help too. Sarah freely talks about being “Under the Mental Health Act”. She sees this as a positive, as when she has an episode, or when things become a bit too much, she knows that she can go into respite care for a time. Delena explains that Sarah’s level of support at the moment is about practicalities such as a working phone. Another need at the moment is a bed. Sarah says she gets $300 a week, but Delena thinks she can access a special grant to get a bed, as sleeping on the floor isn’t ideal. Sarah says she has made a pasta meal, which Delena is delighted to hear. People have different levels of skill, and for whānau like Sarah, it’s sometimes a “two-step process”. In Sarah’s case, that’s successfully boiling the pasta, and adding some pasta sauce. There’s no cheese, but then that would be one step too far – for now. The Noho Pai team - Moses, Kesia, Ava, Penny, team leader Robert and Tipene. (Delena not pictured). Ava makes her way to the outer suburbs of Wellington to visit Hector. Ava has been working with Hector for some time. They see each other every week, and have built up a trusting relationship. When DCM first met Hector, he was sleeping in his car. He is now housed in a Kāinga Ora complex. Hector lives in a barren, windswept location, in dull, grey buildings that house many other vulnerable people. But inside Hector’s whare it’s a different story. Artworks adorn the walls and a coat that Hector is making for himself from unused curtains lies on the floor, a current work in progress. Hector has a Master of Fine Arts and his accomplished creativity is visible throughout his whare. Ava talks with Hector like an old friend, and the conversation flows across topics ranging from religion to kebabs. Hector wants to visit a local community centre, and so Ava drives him over to a bright, vibrant building that stands in stark contrast to the Kāinga Ora complex. Ava asks Hector to give her a call later about a food parcel, and Hector goes to see what’s happening at the centre today. On the road with Tipene (Stephen). Tipene goes to visit one of the most challenging people on his caseload – Trevor. Trevor is no longer able to access his property due to hoarding, and so now sleeps outside. Trevor has made his own campsite from scavenged materials, painted in bright colours. In Trevor’s mind, he had no choice but to build this fortress, with no other housing options available for him – just bureaucratic dead ends. Tipene calls out a greeting, and Trevor answers. They have a kōrero about Trevor’s situation. Trevor is understandably struggling at the moment and feels disenfranchised by the way others within the social sector treat him, particularly mental health services. Tipene often finds himself acting as an advocate for Trevor so that his mana is upheld, as at times he is known to walk out of meetings. Everyone wants the same outcome for Trevor – for him to be sustainably housed, connected, valued and thriving – but right now this seems far away. There are discarded tins of food around the campsite, and Tipene asks Trevor if he needs a food parcel with easy-tear tabs. Trevor says he is OK for now, and Tipene says that he will catch up with him soon. It is hard to leave Trevor behind on what has turned into a cold, wet afternoon. <!-- --> These are just a handful of stories from DCM’s Noho Pai team. How challenging it can be to stay housed after you have spent years living rough. Maybe you’re dealing with unaddressed mental health issues such as hoarding. Maybe you have an addiction. Maybe you were never taught how to do housework, or to cook. Maybe your mates need somewhere to stay, but their behaviour disrupts other tenants. When our whānau are dealing with these daily frustrations, housed among other vulnerable people while living on low incomes during a cost of living crisis, it might seem easier to go back to life on the street. The work of the Noho Pai team is challenging. But Ava, Moses, Tipene, Delena, Kesia, Penny, and team leader Robert don’t give up on anyone. They lift up the mana of our people, achieving positive outcomes for all – one step at a time. Ngā manaakitanga, Noho Pai team! WORDS / PHOTOS: MATTHEW MAWKES & MIRIAM HENDRY. Later in the year we will share the stories of DCM’s other amazing teams. In the meantime, thank you for your support of DCM – please do forward this Ngā Kōrero on to anyone you think may be interested in learning more about our mahi, and you’ll find other ways to support us by clicking the button below.   Support DCM <!-- --> <!-- --> Copyright © 2023 DCM. All rights reserved. Our mailing address is: DCMPO Box 6133Marion SqWellington, Wellington 6011 New ZealandAdd us to your address book Want to change how you receive these emails? You can update your preferences or unsubscribe from this list.
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