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    • Dorne Cup 2015 HVH results
      • Dorne Cup – Sat 13 June 2014 HVH Results Girls U9 – 1km Megan Cherry 5:22 (3rd place) Boys U9 – 1km Jonathan Green 4:20 (2nd place) Harrison Kowalzyk 4:42 Ashton Tietjens 4:46 Hunter Hughes 4:53 David Gordon 5:17 Bailey Rollo 5:31 Riordan Butler 6:17 Liam Carson 6:32 Girls U11 – 2km Rylee Watt 9:37 Emalise Alding 9:42 Amy Murray 9:43 Madeleine Bailey 10:18 Charlotte Ross 10:33 Boys U11 – 2km Nathaniel Graham 8:07 (3rd place) Alexander Prichard 8:10 Nicholas Green 8:48 Reegan Kowalcyk 8:53 Henry Mellor 8:59 Tyler Rollo 9:47 Oscar Strickland 9:52 Harvey Butler 10:45 Tim Cherry 11:27 Girls U13 – 3km Jorja Watt 14:26 Molly Heath 14:45 Gemma Gordon 15:34 Abbie Kincaid 15:41 Lily Trompetter 16:13 Boys U13 – 3km Nicholas England 17:08 Ben Cherry 17:31 Aidan Cross 18:41 Aiden Jackson 21:49 Girls U15 – 4km Phoebe McKnight 11:35 (1st place) Lucy England 13:07 Maria Cramp 13:22 Jessica Kincaid 14:44 Boys U15 – 4km Jonathan Roberts 12:51 Womens U18 – 4 km Jayme Maxwell 16:38 Ruby Heath 18:33 Mens U18 – 4km Joel Carman 13:16 (2nd place) Jayden McKnight 14:21 Peter Roberts 14:38 Matthew Roberts 16:05 Lars van Beusekom 17:43 Mens U20 – 4km Tom England 14:38 Masters Women 35+ – 6km Liz Gibson 33:14 Isobel Franklin 37:26 Masters Women 50+ – 6km Marian Goodwin 28:52 (3rd place) Trish Coley 33:04 Julia Baron 33:49 Senior Women – 6km Julie Johnson 25:26 Kristi Perkinson 28:17 Masters Men 60+ – 6km Peter Sparks 28:47 John Wood 29:28 Keith Holmes 32:17 Albert van Veen 36:03 Masters Men 50+ – 8km Marcus Smith 32:10 Richard Kellett 33:27 Graeme Burr 35:49 Don Coley 38:08 Paul Newsom 38:20 Steve Robertson 40:27 Glenn Perkinson 41:06 Paul Cavie 43:44 Masters Men 40+ – 8km Darren Gordon 31:17 Myles Carson 33:05 Stephen Cummings 33:18 Brendan Quirke 33:56 Tony Plowman 35:40 Mark Growcott 38:31 Paul Strickland 41:43 Martyn Cherry 46:22 Senior Men – 8km Nicholas Sasse 30:59 Tim Johnson 31:15 Grant Pritchard 32:52
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    • WMTBC December Newsletter
      • In this newsletter:     Race report: WDHS Rd 2 - Karori     Juvie & Duel Slalom Track Opening     South Coast Kids Track Update     Draft Suburban Reserves Management Plan     WDHS Round 3 - Maidstone     WORD Bike-a-Polooza     Escape from Mt Crawford Mini Enduro     Klunkers, Chainless & Kids Bike Dual Slalom     Trail Building Updates Wellington Downhill Series Round 2 - Karori The second race in the Wellington Downhill Series went down last month on the revitalised 98DH aka K-Hole. Historically, racing at this venue has been in the wet, and under these conditions simply getting a bike down the track becomes a game of survival. But on this occasion, Karori turned it on for riders. At the end of racing - Daniel Meilink took out the Open Men category ahead of Michael Mells and Bryn Dickerson. In Masters 1 & 2 - Nathan Timoko and Ali Quinn claimed the top spots respectively. And the juniors were dominated by the Macdonalds - with Finlay taking out under 17 and brother Lachie, under 15. Current National Champ Sarah Atkin recorded a very respectable time that would have put her just outside top 10 in Open Men, and Finn van Leuven also put down a solid time in Hardtail. We’ll catch everyone at the final WDHS round this Saturday, 6th December at Maidstone. Race Results & Series Points Juvie & Duel Slalom Grand Opening Crews and contractors have been hard at work at Miramar of the past months and we’ve recently seen the completion of two new tracks - Juvenile Delinquent, and the Kids Duel Slalom. The sum of these, combined with the pump track and dirt jumps is a great zone for kids and beginners to hone their skills, only minutes from the City. The grand opening of Juvie and the Kids Duel Slalom last weekend was a huge success. About 150 people turned up to mark the occasion on Sunday, including City Councillors and Mayor, Celia Wade Brown. Once the tape was cut, Mayor Celia spoke positively of the Club’s recent work at Miramar and Island Bay. South Coast Kids Track Wins Another Award You may recall that earlier this year, the Club received a Wellington Airport Community Award for its work on the South Coast Kids Track. Well last week the Kids Track did it again - this time at the 2014 NZ Recreation Association Awards. The annual awards recognise excellence in the recreation and leisure industry, and the South Coast Kids Track was named Most Outstanding Project. Thanks once again to Wellington City Council, Trail Fund NZ, Bike Wellington, Revolve Cycling and Southstar Trails.  Draft Suburban Reserves Management Plan Submissions close this Friday 5th on the WCC Draft Suburban Reserves Management Plan. This is the last opportunity members of the public will have to share their views on the future management of Wellington’s suburban reserves - between Khandallah and Miramar (including Makara). This plan will have a significant impact on the future of mountain biking in our city, and the planning process only comes around once every 10 years. So, if you have a few spare minutes and a desire to see the WCC supporting mountain biking in our suburban reserves, get in there.   Upcoming Events WDHS Round 3 - Maidstone - THIS SATURDAY The final round of the 2014 Wellington Downhill Series will take place THIS SATURDAY, 6th December at Maidstone, Upper Hutt. Check the WMTBC website for details and online registration. Online registration closes Friday, 5pm. Enter online >> The Club would also like to welcome Adrenaline MTB as the event’s major sponsor. **VOLUNTEERS** Race marshals and drivers are urgently needed for this event. We greatly appreciate any help offered. If interested - please contact events@wmtbc.org.nz. WORD Bike-a-Polooza - Sunday Dec 7th This Sunday at the Wainuiomata Trails - WORD invites you to join them for the first Bike-a-Polooza - New Zealand's best, super fun, and raddest kids mountain bike event ever! There will be four great courses to choose from on the day - so something for all the 3-17 year olds. Cost: $15 individual, $40 family of 3 kids. For more info and online registration check out WORD Bike-a-Polooza Escape from Mt Crawford Mini Enduro - Jan 19th, 2015 The third annual Escape from Mt Crawford Mini Enduro is upcoming - Wellington Anniversary weekend, January 19th. We’ve run the annual fundraiser for the Miramar Track Project for the past couple of years, and 2015 will undoubtedly be the biggest yet. As per last year, we’ll be running two classes - Misdemeanor and Felony, plus the Sufferfest hill climb, and we’re throwing in a Kids Mini D for the little rippers. Also, in breaking news - Yeastie Boys have just come on board as a sponsor. This is great news if you like beer.   Online entries opening later this month Event Details >> Klunkers, Chainless & Kids Bike Dual Slalom - Jan 24th, 2015 After a successful event earlier this year, Klunkers is back! The aim of the race is simple: dig out your old kit and 90s race weapon, do as many timed runs of Jailbrake as your body (or bike) will permit within 2 ½ hours, and heckle like you’ve never heckled. There will be four categories: Klunkers, Chainless, proKlunkers and Klunkers (under 12), and an additional Kids Bike Dual Slalom race. Entry is by donation of old (useful) bike parts, cash, or your bike. All proceeds go to Biketech and the Mechanical Tempest. Event Details >> Trail Building Updates Clinical (Polhill Reserve) As you may recall from the last Polhill update, The Brooklyn Trail Builders reported significant progress on Clinical. When it’s complete, the track will round off a grand loop of the Reserve. Most of the track is now rideable, and it’s set for completion sometime during early 2015. Currently, contractors are finishing construction of bridges on the trail, and volunteers are working on approximately 200m at the bottom. Although this section is incomplete, there’s a steep track that can be used to bypass it. The next dig is this coming Sunday, 7th December at 3pm. Details over at Brooklyn Trail Builders. There will be an event to commemorate the official opening of Clinical, tentatively around April 2015. We’ll keep you posted. We would also like to congratulate BTB whose work was this week recognised at the Roll on Wellington Cycle Awards. Mt Victoria Thanks to all those who contributed recently to the Mt Victoria trail user survey. We’re currently compiling the results, but feedback was largely positive. In case you missed it - here’s the full rundown. But in short, the WCC has requested that changes be made to the lower part of the Super D line. The Club, in consultation with trail leaders and the Council, has come up with a plan that involves essentially realigning the trail, from the SPCA south. In addition, the plan includes work around busy junctions to reduce the risk of conflict with other trail users. No major work will take place on Mt Victoria until the new year. We’ll keep you updated.  Want to keep in touch? For up-to-date Club news, updates and media - follow WMTBC on Facebook or check the Club page at WMTBC.org.nz
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        • Miramar, Wellington, New Zealand (OpenStreetMap)


    • *official press release*orchestra wellington’s fourth...
      • *OFFICIAL PRESS RELEASE* ORCHESTRA WELLINGTON’S FOURTH SUBSCRIPTION CONCERT   “FATE” Concierto de Aranjuez -  Joaquín Rodrigo Piano Concerto No 2 in F Major - Dmitri Shostakovich Symphony No 4 in F minor - Pyotr Ilyich Tchaikovsky Orchestra Wellington Marc Taddei, Musical Director Michael Houstoun, Piano Andrey Lebedev, Guitar Rodrigo’s guitar concerto casts a shaft of warm Spanish sunlight over Orchestra Wellington’s largely Russian programming this year. The Orchestra welcomes Russian-born Australian guitarist, Andrey Lebedev, performing it as part of his prize for winning the 2013 Gisborne International Music Competition. Gisborne International Music Competition manager Mark La Roche says he is incredibly proud of the partnership formed with Orchestra Wellington to provide the overall winner of the GIMC with the opportunity to perform in Orchestra Wellington’s subscription series. “I can vividly recall Andrey’s winning performance and know you will thoroughly enjoy hearing him play the Rodrigo Concerto - he is an exceptionally gifted and thoughtful musician.” Continuing its association with Michael Houstoun, Orchestra Wellington also presents Shostakovich’s Second Piano Concerto as part of this year’s Russian Piano theme. Shostakovich was a virtuoso pianist and a composer with a reputation for grim and cryptic works. But in this concerto he paid tribute to his son, for whom it was written, with a piece reflecting the boy’s lively, mischievous nature. He also gifted him a slow movement filled with beautiful melodies and lush harmonies worthy of the great Romantics. With his Fourth Symphony, Tchaikovsky stopped trying to be anything other than himself. It opens with the full brass section hammering out an uncompromising theme inspired by the “Fate” motif in Beethoven’s Fifth Symphony. As Musical Director Marc Taddei says, “The Fourth Symphony is Romantic to its core, with clear programmatic expressions of fate, melancholy, grandeur and joy”. Tchaikovsky’s heartfelt expression of his inner life has found resonance with audiences everywhere ever since. Andrey Lebedev on Rodrigo’s Concierto de Aranjuez Lebedev says that the concerto had a profound impact on his life when he first heard it as a teenager. “I knew that I had experienced something very rare and special, and it was a key moment in my journey to become a professional musician. “My goal is to create this same magic when I perform - to remind ourselves that there is something greater than just the here and now.” He likes to view the concerto as a triptych framing the second movement. “The second movement is all about expression and meaning. I strive for intense beauty of sound, intimacy, lyricism, and direction - leading the music organically from the first bar all the way to the climax in the cadenza and resolving into the major cadence at the very end. When all of these elements come together I think the impact can be earth-shattering.” “The first movement introduces Rodrigo’s sound world and draws the audience into a relationship with the guitar and orchestra. It is joyous and spirited. The music has a natural vitality that stems from Rodrigo’s fascination with ancient Spanish rhythms and the flamenco tradition. “The final movement is a buoyant and uplifting finale, again using elements from the Spanish baroque in a modern context. I am still young, and every year I feel like I am discovering amazing new things about music. This piece has grown and developed just as I have over the last years. Most notably I now strongly feel that this is both a flamenco concerto and a baroque concerto, and somehow finding the balance of these elements lies at the heart of understanding the music.” Andrey Lebedev Biography Recognised for his powerful and expressive sound and exceptional musicality, classical guitarist Andrey Lebedev has defined himself as an artist pushing the boundaries of the instrument and gaining acknowledgment from new audiences. Born in Moscow and raised in Adelaide, he was brought to international attention as the first-prize winner of three major multi-instrumental competitions. In 2012 he won both the Australian National Fine Music Young Performers Award and the Sydney Eisteddfod NSW Doctors Orchestra Instrumental Scholarship, in both cases the only classical guitarist to receive this award. His artistry was further highlighted in 2013 as winner and recipient of the Bach prize at the 25th Gisborne International Music Competition, and the only Australian winner of the Adelaide International Guitar Competition. Now based in London, Lebedev enjoys a dynamic performance career as soloist with orchestra, solo recitalist and chamber musician. His engagements for the 2014/15 season include solo recitals at the Wigmore Hall, and the Adelaide International Guitar Festival. He has featured with the Australian Chamber Orchestra and Canberra Festival Camerata. Lebedev studied with Timothy Kain at the Australian National University School of Music and is a postgraduate student at the Royal Academy of Music with Michael Lewin on an ABRSM international full scholarship and Julian Bream Trust scholarship. ORCHESTRA WELLINGTON  “FATE” Saturday 5 September, 7:30pm Michael Fowler Centre, Wellington Tickets from Ticketek box office (0800 842 538) or online HERE Ticket Prices: Adult Full Price $60 Under 35, (with ID), $25 Concession (Gold Card Holder), $48 Community Services Card $12 Student (with ID) $12 Child (still at school) $10
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    • Circa 2015 Season - jam-packed with theatre for all audiences!
      • Red Riding Hood, the PantomimeBy Roger HallSongs by Paul Jenden and Michael Nicholas WilliamsDirected by Susan Wilson2-10 JanuaryCirca One What a big smile you’ll have …Don’t miss Circa’s fabulous Christmas panto! And this year Red Riding Hood is back with one of the great traditional stories – innocent Red Riding Hood, her poor, short sighted grandmother, and of course the handsome woodcutter and that villain of all villains, the Wolf!There’s lots of laughter, hilarious jokes and musical goodies in Red’s basket as she sets off on her journey to entertain young and old with this marvellous magical treat.“A great way to introduce kids to the magic of theatre, and Red Riding Hood is easily the ideal Christmas outing for the holdiays … a treat” – Salient“Roger Hall’s helter-skelter Red Riding Hood… is wonderfully exuberant seasonal fun” – The Dominion Post The Kitchen at the End of the WorldBy William ConnorDirected by Steffen Kreft16-25 JanuaryCirca Two “Something is coming. I don’t know what it is. And I don’t know if I should fight it or welcome it.” One snowy evening, an empty 83-room hotel on the edge of the Vastness receives a thin guest who has walked all the way from the City. Penniless, he is smuggled into the hotel kitchen where a kind cook works near an extraordinary thyme plant. He says that creativity is dying. Described as “intensely beautiful”, “provocative and moving”, The Kitchen at the End of the World is the story of marionettes who know they are limited by the extent of their strings – even kissing can tangle them – but they crave what lies beyond their reach. A story about home, the unknown, and the courage to face everything in between. The show captivated audiences at its sell-out debut season during the Greytown Festival 2012and is a powerful reminder that puppetry is not just a children's art form. SeedBy Elisabeth EastherDirected by Kerryn Palmer17 January – 14 FebruaryCirca One SEX & DRUGS, WITHOUT THE ROCK ‘N’ ROLL IVF isn’t foolproof and IUDs aren’t failsafe. iPhones come with ovulation apps and ‘choosing from the menu’ means selecting your sperm. Seed follows four women as they try to get pregnant, stay pregnant or become un-pregnant - the dilemmas of modern reproduction. Elisabeth Easther’s Seed is winner of the 2014 Adam New Zealand Play Award, which recognises and celebrates the best in new writing for the theatre. It’s a multi-narrative play about the mysterious business of fertility, with all of its challenges, heartaches and hormones. Seed is a drama that’ll have you laughing ‘til the tears are running down your face, and it’s a comedy that’ll make you cry. “Highly entertaining, funny and sophisticated” - Adam Play Award Judges “[A] sophisticated, witty and very contemporary meditation on the timeless processes of procreation.” - NZ Herald STARRING: Tess Jamieson-Karaha, Jamie McCaskill, Emily Regtien, Holly Shanahan and Amy Tarleton Warning: Adult themes and strong language. Demolition of the CenturyBased on the novel by Duncan SarkiesCreated by Duncan Sarkies and Sean O’Brien31 January – 21 FebruaryCirca Two Welcome to the world of Tom Spotswood, an insurance investigator who has lost his socks, his suitcase, his ex-wife and his son, Frank. Fresh from performances in the New Zealand Festival, Auckland Writers Festival, Tauranga Arts Festival and Nelson Arts Festival, Demolition of the Century sees author/performer Duncan Sarkies (Two Little Boys/Scarfies/Flight of the Conchords) stage a humorous and sometimes heartbreaking look at families, memories and the fragility of the human mind. He is accompanied by musician Joe Blossom, who plays a soundtrack that is both haunting and invigorating. “A series of brilliant vignettes, delivered in an inspired cabaret-style reading by the multi-talented Sarkies, and outstanding musician Joe Blossom… Blossom not only creates fluid and essential musical transitions, but his beautiful vocals, self-accompanied on piano and guitar, imbue this work with a powerful pathos that allow glimpses of the inner landscape of these characters. Demolitionis a fast-paced, darkly captivating cabaret-comedy, which leaves us fully entertained and tantalizingly close to solving a puzzle.” –Bay of Plenty Times Wake Up TomorrowPresented by Everybody Cool Lives HereIn association with ActiveDirected by Isobel MacKinnon21-28 FebruaryCirca One Welcome aboard Active Airlines! Join the eccentric passengers during this compelling, surreal and funny flight. Made under the guidance of Wellington theatre makers in collaboration with Active, a service for youth with an intellectual impairment, Wake Up Tomorrow was created from the minds of these incredible young people. Audiences will be transported from the mundane moments on a long haul flight to bizarre and hilarious scenarios.  Please fasten your seat belts, make sure you are in the upright position and enjoy the journey. We may or may not arrive at the expected destination. “In a work of this kind there is always a delicate balance to be held between presenting a polished product at the same time as allowing for a playful improvised quality to emerge that allows the actors to perform to their strengths. This was very evident in the final few scenes …” – Madeline McNamara Yep, Still Got It!By Jane Keller and Sandy BrewerDirected by Alan PalmerMusical Director Michael Nicholas Williams28 February – 21 MarchCirca Two YOUTH IS A GIFT OF NATURE, BUT AGE IS A WORK OF ART – Stanislaw Jerzy Lec Following the huge success of BOOMERS BEHAVING BADLY, Jane Keller returns with another hilarious show. A little older, a little wiser, a lot sassier, and even more confused. Whatever happened to the days when a cloud was a cloud, when face time was over a G&T, and we punctuated our sentences with full stops - not smiley faces? From senior sex and those pesky STDs to shopping sprees and colonoscopies, Jane shares stories of abject embarrassment, medical (mis)adventures, empowerment, and acceptance. In YEP, STILL GOT IT!  she embraces the power of an older woman with no FOMO. Together with the brilliant Michael Nicholas Williams on the piano Jane brings a brand-new show to Circa Two combining her special style of storytelling with her virtuoso Broadway voice. Capital E Kids FestivalCirca One CaterpillarsBy Kallo Collective Directed by Thomas MoncktonProduced by Show Pony7 March 10 am & 11.30am A tale of two puppeteers’ failed attempts at beautification. In the magical world of flitting butterflies, jumping eggs and giant swaying flowers, two lycra-clad puppeteers try their hardest to remain unseen and at service to their puppets: two enormous plump caterpillars. Caught in the wrong place at the wrong time, with nothing but their wits to cover up their escalating blunders, two appealingly hopeless clown puppeteers bring upbeat absurdity, slapstick silliness, and a good dose of reality to their hilarious and unpredictable antics. Beards! Beards! Beards!By Trick of the Light TheatreDirected by Hannah SmithWritten by Ralph McCubbin HowellProduced by Show Pony21 March 10am & 1pm Beatrix didn’t want a tiara. Beatrix wanted a BEARD! From Charles Darwin to Abraham Lincoln, Karl Marx to Mr Twit, it is said the secret to power and greatness is all in the size and shape of the beard. This is a tale of one young girl’s increasingly inventive efforts to grow the world’s most magnificent beard. Join a madcap and hilarious musical romp of physical comedy and clowning, as our plucky young heroine shakes up social rules and attempts to answer the questions that have puzzled mankind since the dawn of the beard. Suitable for  children 5+. The PianistBy Circo Aereo (Fin) and Thomas Monckton (NZ)In conjunction with Show Pony (NZ)Directed by Sanna Silvennoinen and Thomas Monckton7-22 MarchCirca One Direct from Edinburgh Fringe and the London Mime Festival, last year’s hit returns to Circa! “It would be no exaggeration to declare Thomas Monckton nothing short of a genius.” – Broadway Baby (UK) “I doubt very much that you’ll see, in fact I am prepared to bet on it, a funnier show this year…miss him at your peril”  – The Dominion Post (NZ) Fresh from a five-star reviewed season at the Edinburgh Festival Fringe and a sell-out season at Circa Two last year, award-winning performer Thomas Monckton returns with his smash hit The Pianist, this time at Circa One! The Pianist is a solo comic contemporary circus piece by Thomas Monckton (NZ) and Circo Aereo (Finland). The show is centered on, in, under, and around the magnificent grand piano. Accompanying this elegant apparatus is the poised pianist himself. Only he is so focused on impressing everyone that before he realises it, his show has transformed from the highbrow concert he hoped for, into a spectacularly amusing catastrophe. Suitable for all ages. The Mystery of Edwin DroodA musical by Rupert HolmesDirected by Lyndee-Jane Rutherford28 March – 25 AprilCirca One Who the Dickens did the deed? You decide! A non-stop ride of mystery, murder, and musical delight! Based on Charles Dickens’ final, unfinished novel, The Mystery of Edwin Drood is filled with clues, red herrings, villainy, and debauchery. Everyone on stage is a suspect – and it's up to you to decide how this mystery ends!Hot off Broadway, this Tony Award-winning theatrical genius is led by director Lyndee-Jane Rutherford (Midsummer (a play with songs)), who reunites with the artistic team that brought Grease and Mamma Mia to the Wellington stage. The cast includes beloved actor of stage, screen and radio, Lloyd Scott, and internationally renowned soprano, Barbara Graham (Christine, Phantom of the Opera). The Mystery of Edwin Drood boasts spectacular big dance numbers, rousing showtunes, stunning theatrics, magic, and illusions!  Tony Awards for Best Musical, Best Book, and Best Score“One of the most inventive, inspired and rousing musicals ever devised.”—AM New York“Infectious fun!”—Time Out New York “Bawdy fun!”—Associated Press “Sheer fun!”—The Wall Street Journal Two MortalsDirected by Geoff PinfieldPerformed by Rachael Dyson-McGregor & Mike McEvoyComposed by Beatrice Lewis1-18 AprilCirca Two 'A powerful theatrical experience suffused with humour, beauty and emotional intelligence' – The Melbourne AgeTwo Mortals is a delicate, poetic and humorous exploration of life, death and the moment in between. Composed word-for-word from interviews with people who live and work at the ends of life – morticians, cryogenicists, palliative care workers and ministers – Two Mortals weaves these true stories and experiences into a richly theatrical exploration of mortality. This uplifting work about one of our society's most taboo subjects was directed by Chapman Tripp Director of the Year Geoff Pinfield. Created and performed by Rachael Dyson-MacGregor and Mike McEvoy, Two Mortals sold out two critically-acclaimed seasons at Melbourne's La Mama Theatre. Improv for KidsBy The Improvisors7-18 AprilCirca Two Kids love theatre that’s interactive. So do the Improvisors. Kids (and their grown-ups) loved the 2014 season of Improv For Kids, so we’re bringing it back. It’s a great opportunity to introduce your kids to the world of live theatre. We may not have millions of dollars worth of computer-generated effects, but we do listen to kids and we make their ideas central to what happens on stage. In Improv For Kids, imagination is the best special effect of them all! Don JuanBased on Don Juan by MoliereCreated by A Slightly Isolated DogDirected by Leo Gene Peters25 April – 23 MayCirca Two World Premiere A sexy, fierce, raucous celebration.  Don Juan explodes with the energy of a music gig or a club.  It’s a cabaret.  It’s chaos.  It’s a furious adrenalized romp through the games of attraction and sexuality.  It’s the BEST… PARTY… EVER.  Five mad performers use a variety of theatrical forms and styles to bring an adaptation of Moliere’s classic play to life.  Loaded with pop songs and flirting, this imaginative work will continually intrigue, delight and surprise. While the bar keeps serving drinks.  All night long.   Created by A Slightly Isolated Dog, one of Wellington’s most innovative and exciting companies.  Critically acclaimed and award winning shows include:  Death and the Dreamlife of Elephants (2009, 2011), Perfectly Wasted (2012 - in partnership with Long Cloud Youth Theatre) and Settling (2007). A Servant to Two MastersBy Carlo GoldoniA new adaptation by Lee HallDirected by Ross Jolly2-30 MayCirca One NZ Premiere Love, passion and pandemonium Goldoni’s much-loved comic classic is a masterpiece starring a wily servant whose cheeky, inventive trickery gets the best of his masters, in a merry mix-up of mayhem and mistaken identity. Truffaldino, the scheming and perpetually hungry servant, concocts a zany scheme to double his wages (and his meals) by simultaneously serving two masters – the lovelorn Beatrice (disguised as a man) and her lost lover Florindo. Hilarity abounds In this sharp, new, rapid-fire adaptation by award winning dramatist Lee Hall (The Pitmen Painters, Billy Elliot).   A delicious, madcap Italian comedy of lovers, disguises, tricks, traps, mishaps and meatballs! “A sparkling, wonder filled new version by Lee Hall... An evening to cherish” – Daily Mail “A hugely enjoyable night out" – Covent Garden Life TheatresportsBy The Improvisors3 May – 14 JuneCirca Two Part of NZ International Comedy Festival The Improvisors are back at Circa with another season of this very popular show. Each night two teams of Improvisors take suggestions from the audience and spin them into short scenes, songs, poems or whatever else takes their fancy. Each show is completely different – what does stay the same is that Theatresportsis always a great night’s entertainment for the whole family. We don’t know what ideas you are going to throw at us – we do know that our kind of improv magic has been keeping audiences laughing over many years. Theatresports – putting the “make up” on stage. Second AfterlifeBy Ralph McCubbin HowellDirected by Kerryn Palmer29 May – 13 JuneCirca Two Return Season of the 2014 Young and Hungry sensation!Dan was an internet junkie – now he’s calling it quits. But in order to forge a new profile, he must face up to his online history and it’s not going down without a fight.When Dan finds himself sucked into the Second Afterlife – a dark underworld of the internet, a very real and dangerous landscape of broken memes, deleted pages, and the ghosts of profiles past. Second Afterlife is a dark comedy about life (and death) in the digital age. Inspired by Dante's Inferno, and in the tradition of Scott Pilgrim vs. the World, it is a twisted allegory for the Facebook generation – a poetic, ass-kicking romp to the darkest corners of the web. “Ralph McCubbin Howell cements his status as one of NZ's best young playwrights with Second Afterlife and director Kerryn Palmer, her designers and crew, and her exemplary cast of six do him proud.” - TheatreviewBy arrangement with Playmarket.Edge/Turning PageBroadway Star, ANGELICA PAGE“An actress of the highest possible voltage” – Wall Street JournalPerforming two shows, alternate nights, two weeks only6-20 JuneCirca One EDGE written by PAUL ALEXANDER Set in 1963 on the day of Sylvia Plath’s death, Edge presents the self-told story of the troubled poet and author of The Bell Jar, The Colossus, Ariel and the Pulitzer-Prize winning Collected Poems. “… a resurrected Sylvia Plath… the showcase of a lifetime” NEW YORK TIMESRETURNING TO OUR STAGE 10 YEARS AFTER ITS SENSATIONAL 2005 CIRCA SEASON TURNING PAGE written by ANGELICA PAGEGeraldine Page’s sparkling career earned her a record-breaking eight Academy Award nominations, an Oscar for Best Actress in 1986, and made her one of the most influential American artists of the 20th century. Turning Page is the triumphant and heartbreaking true story of one of the most celebrated actresses of all time, written and performed by the person who knew her best: her own daughter. “A privilege” Los Angeles Times Matariki Development FestivalPresented by Tawata Productions22 June – 4 JulyCirca TwoAn international indigenous playwrights’ festival boasting an enviable whakapapa of the very best of contemporary Maori & Pasifika theatre.  MDF 2015 features new writing by Natano Keni, James Nokise and Pikihuia Haenga. the beautiful onesWritten and Directed by Hone KoukeProduced by Tawata ProductionsMovement by Dolina Wehipeihana & Hone KoukaDesign by K*Saba, Tama Waipara, Johnson Witehira, Wai Mihinui, Jaimee Warda, Sopheak Seng, Laurie Dean 27 June – 11 JulyCirca One World Premiere A hyperreal digital love story.  the beautiful ones is a story of young love.  A promise Hana made to Ihia – a promise to return.  Will she return?  Will love triumph over temptation?  the beautiful ones bursts from the late night sheen of a city club.  Beautiful bodies & vital vocals.  Defiant dance moves and the meaning of love.  the beautiful ones features a dance floor for the audience to share the vibe.  From the company that brought you I, George Nepia, Sunset Road and TŪ. Warning: Contains Big Beats & Dance Music. The Ugly OneWritten by Marius von Mayenburg; translated by Maja ZadaDirected by Giles Burton11 July – 8 AugustCirca Two A scalpel sharp, absurd comic fantasy about beauty. Lette thinks he is normal, but when he discovers that he is, in fact, unbelievably ugly he turns to a plastic surgeon for help. Suddenly he is the most beautiful man in the world. Fame and riches follow; women want to sleep with him and men want to look like him. And with surgery they can look like him. Exactly like him. Received around the world to great acclaim, The Ugly One now receives its NZ premiere. With writer von Mayenburg’s star very much in the ascendant, this show is a must see.   "A stripped bare satire on the nature of beauty. If you are interested in theatrical story-telling see this show." – The Times (UK) “Savage social satire … A small but perfectly formed play” – The Guardian (UK) “The concept is simple but the philosophical implications are profound: What if money could buy the perfect face? It’s The Elephant Manmeets The Matrix” – Post City (Toronto) The Hound of the BaskervillesBy Arthur Conan DoyleAdapted for the stage by Clive FrancisDirected by Ross Jolly25 July – 29 AugustCirca One Sherlock Holmes vs the Powers of Evil A bloodcurdling howl is heard across a cold, moonlit moor; the horrifying, spectral hound has claimed another victim … When Sir Charles Baskerville is found dead on his remote estate, in eerie, seemingly supernatural circumstances, Sherlock Holmes, the legendary, world-famous detective and his assistant, the ever-reliable Dr Watson are called upon to unravel the extraordinary mystery of The Hound of the Baskervilles. Sir Arthur Conan Doyle's most famous and most popular story, in an exhilarating adaptation by Clive Francis (Our Man in Havana), sees four actors playing all the parts in this gripping, classic tale of terror. A thrilling, ripping good night of fun, drama and suspense! “A cracking good yarn … Excellent ... Highly enjoyable." - Daily Telegraph "Chillingly atmospheric... this fun show will really thrill. " - The Observer Downton AdlibBy The Improvisors2 August – 27 SeptemberCirca Two Quality costume drama – only funnier. An aristocratic English family and their servants face the challenges of life in the early twentieth century. A cast of Wellington’s top improv comedians face the challenge of making up a brand new episode every night. We supply the characters, you supply the key plot ingredients and the result is costume drama as you’ve never seen it before. Love, laughter, passion and a wide range of hats! The Travelling SquirrelBy Robert LordDirected by Susan Wilson5 September – 3 OctoberCirca One NZ Premiere “We that live to please must please to live” – Dr Samuel Johnson From Robert Lord, the author of the award-winning and much loved Joyful & Triumphant, comes The Travelling Squirrel, a romp through the fickle nature of the entertainment industry. Protagonist Bart compares his struggles as a writer to those of Roger the squirrel, a misunderstood painter. Hilarious and packed with larger-than-life characters, this play is a testament to Lord’s ability to write brilliant comedy.  A satire tempered with deep affection, The Travelling Squirrel depicts a dangerous world in which fame and fortune are always temptingly just around the corner “This is surely one of Lord’s funniest plays, just as it is one of the most moving”   – Philip Mann “For two decades, Robert Lord’s plays astonished and entertained theatre audiences with their sharp satire and flamboyant farce.”  - David O’Donnell The BookbinderWritten by Ralph McCubbin HowellDirected by Hannah SmithPresented by Trick of the Light Theatre25 September – 10 OctoberCirca TwoThey say you can get lost in a good book. But it's worse to get lost in a bad one... From award-winning company Trick of the Light Theatre (The Road That Wasn’t There) comes a story of mystery, magic and mayhem. The Bookbinder weaves shadowplay, paper art, puppetry, and music into an original dark fairytale in the vein of Coraline and Jonathon Strange and Mr Norrell. An inventive one-man performance for curious children and adventurous adults... suitable for children 8+. Best Theatre and Best in the Fringe - NZ Fringe 2014 International Excellence Award - Sydney Fringe 2014 "Spell-binding storytelling at its purest and best..." - Theatreview"Absorbing and imaginative… a small gem of theatre" - The Dominion Post "Tuned to perfection... Bookworms of all stripes and ages will adore it."- The Age, Melbourne For more information visit www.trickofthelight.co.nz GiftedBy Patrick EvansBased on the novel of the same nameDirected by Conrad Newport10-31 OctoberCirca One It is 1955 and beyond the famous hedge something magic is about to happen. In his beloved garden the “Father of the Nations Fiction” Frank Sargeson is waiting for his old mate Harry to turn up. Instead, he encounters a young woman fresh from a mental institution. Her name is Janet Frame. Their world is about to change forever. From the director of Rita and Douglas comes this very funny and profoundly moving story. Touring the Arts Festivals in 2013 to incredible reviews and widespread acclaim it’s now Wellington’s chance to experience this celebrated New Zealand production. “Like an exquisite work of art, the play Gifted is honed to near perfection … go and see this gorgeous production.” – Taranaki “Superb performances by all … it is thrilling … it makes for astonishingly joyful, mischievous theatre.” – Dunedin “Sheer quality” – Christchurch Adventures in PianolandWritten and performed by JAN PRESTONDirected by GAYLENE PRESTON15-17 OctoberCirca Two How I learned to stop worrying and love the piano The irrepressible Jan Preston comes clean on her longstanding and sometimes bumpy road to piano stardom. Jan will spin yarns from dives in Soho to the concert halls of Europe, to stealing a piano in broad daylight from the 1860s Bar in Lambton Quay. She will accompany herself, of course, on Circa Theatres' lovingly cared for piano.  You will hear Chopsticks as you have never heard it, with Jan's original songs and compositions providing perfect counterpoint to her story. AcheBy Pip HallDirected by Lyndee-Jane Rutherford24 October – 21 NovemberCirca Two Fate, chance and rooftop romance.  Ache is a fateful comedy about two thirty-somethings trying to find their way through modern love, materialism and the Wellington dating-drought. At a time when we are promised happiness with the swipe of a card or the swig of a bottle, true joy and connection seems almost impossible. At crossroads and rooftop gardens, fate decides to surprise them. At last, connection, chemistry, charisma. He’s perfect, she’s gorgeous. Only timing’s not as kind – he’s taken. Is it just not meant to be or will she push timing aside and take fate into her own hands?   Achingly-funny and heart-breakingly sad, Ache is a modern story of love, timing and seizing the day.Don’t miss this WELLINGTON PREMIERE, finally on our stage after its SOLD-OUT season at Christchurch’s Court Theatre. All Our SonsBy Witi IhimaeraPresented by Taki Rua5-14 NovemberCirca One World Premiere Courage and loyalty is tested in this new play by Witi Ihimaera “Once they fought each other, now shoulder to shoulder they fight together” Two generations go to war while a third fights a battle to keep her family at home. Waru Mataira and his two sons Tai and Rangi volunteer to represent the Maori iwi of Mataira Mountain in the New Zealand Native Contingent to Gallipoli. Under the guidance of their Pakeha leader Alec Campbell, they join the battle on the western front as part of the newly titled Pioneer Battalion where their courage is tested and so too are their loyalties. Taki Rua Productions presents the World Premiere of All Our Sons, a ground-breaking play by Witi Ihimaera. Roger Hall’s Robin Hood, the PantomimeSongs by Paul Jenden and Michael Nicholas WilliamsDirected by Susan Wilson21 November – 20 DecemberCirca One There he is! Oh no he isn’t. Oh, yes he is!! With loaded bow behind a treeYou never know where he will beHe moves like velvet, sleek and svelteAround the Wellington town belt His eye is quick, his aim is sureHe robs the rich to feed the poorHe’s always on the side of goodThe hero known as Robin Hood He lies in wait for those who ownA big estate and second homeFor millionaires who don’t pay tax  For bankers who don’t watch their backs You’ll see them suffer their defeatIn Circa’s brand new summer treatA pantomime for one and allIt’s Robin Hood by Roger Hall “fabulously fast and furious ... A treat”  - Capital Times “ACTION-PACKED… TONS OF FUN FOR YOUNG AND OLD!”  - The Dominion Post A Child’s Christmas in Wales (and other memories of childhood)By Dylan ThomasDramatised and performed by Ray Henwood28 November – 20 DecemberCirca Two What has been described as one of the most magical of Christmas stories is brought to the stage by Ray Henwood. It is rounded out by other memories of childhood, first presented by Dylan Thomas in one of his regular talks on the BBC Welsh Home Service. Thomas had a very happy childhood and so many of his young experiences resonate still with us today.The town of Swansea which is the locale of his stories had changed little by the time Ray was growing up. While Dylan lived in more salubrious surroundings, Ray was a “Sandfields” boy referred to by Dylan- and played in many of the areas described in the stories. It is a truly timeless tale and family celebrations have changed little, even in countries that celebrate a summer Christmas. Dylan’s work brings back memories that resonate so well with young and old. it is a true celebration of our experiences growing up. www.circa.co.nz
      • Accepted from drama* on the waterfront posts
      • Tagged as:
      • tawa
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        • Circa Theatre, Taranaki Street, Te Aro, Wellington, Wellington City, Wellington, 6011, New Zealand (OpenStreetMap)


    • Keeping the Council and the Airport honest, or will Tangaroa have the last word anyway?
      • Over the last couple of months two important developments occurred regarding the proposed Wellington Airport Runway Extension: Its $90m co-funding by Council found its way into the LTP – despite significant opposition against it, but with some very important caveats Nature has shown us on several occasions just how insane the proposal is to put such vulnerable infrastructure into the Cook Strait. In addition, WIAL met with the directly affected residents of Moa Point to update them about the work they’re doing in relation to the airport extension. We will discuss these two points in separate blogs, so let’s have a look at how the Long-Term Plan consultation went first… Despite being touted as a great success by its proponents, with apparently only a ‘noisy minority’ of people opposing the $90m for the runway extension that was ring-fenced in the LTP, this really doesn’t stack up on closer scrutiny. Strathmore Park blog has written about this extensively, eg here, here and here, but it was clear during consultation that both the Council and WIAL got quite rattled once submitters started asking some difficult questions. The WIAL CEO went as far as swearing – twice! – during his oral submission when he commented on the report by NZIER reviewing EY’s economic impact statement  that they prepared for BARNZ, the Board of Airline Representatives. However, upon reading the EY report’s full page of caveats it becomes very clear that the content cannot be relied upon as a fair representation of the truth, not that that stopped Justin Lester from insisting that ‘the numbers are sound’. When the Councillors were asked if they had actually seen any plans or designs so far for the $90m of ratepayer money they were willing to put forward, they looked on rather blankly. It is a sad indictment that you even have to ask a public official if they would pay a builder millions up-front for building their house without having seen any designs or plans, but as we suspected, the answer to that question was a resounding ‘no’. However, despite all of this, and the fact that the submission process may well have violated Section 93B under the Local Government Act as well as there being questions about whether the Mayor and Deputy Mayor fulfilled their own code of conduct in relation to giving at least the appearance of open-mindedness and independence during a public consultation process, the majority of Councillors signed off this mad plan to ring-fence almost $100m of our money for this ‘white elephant’ (according to John Key). On a very positive note, however, our and many other submitters’ strong objections did lead to some extremely important caveats and amendments being included. The LTP now says that the Council will make a final decision on this project and whether to commit funding to construction once: WIAL has obtained resource consent for the project The Council has received and considered a cost-benefit analysis and business case from WIAL that will be independently reviewed. Other key considerations that the Council has said will need to be considered before it makes its final decision relate to: The resilience of a runway extension to weather and climate change The proposed investment vehicle and any revenue agreement Satisfactory airline commitments Funding arrangements for construction and confirmed construction costs The governance and management structure to oversee construction. The Council has also said it will undertake further public consultation before making a final decision on whether to commit funding to construct the runway extension. It is our expectation that it won’t ever get that far as the business case simply won’t stack up, but at least we now have some protections in place to stop the Council from just gifting a private company several million dollars more on top of what ratepayers have already given without setting out some clear requirements first. By the way – to this date, it seems not a single report (other than the EY statement) or progress update has been received by Councillors from WIAL for the almost $3m they gifted the airport for undertaking the resource consent application (back in May 2013 and then again in December 2014), which may be a breach of contract. Presumably, the Mayor would have received updates during board meetings in her role as Director but it does not seem as if this information flowed on to the rest of the Council. This again raises the potential conflict of interest of the Mayor who sometimes seems to take her position as a WIAL Director more seriously than her mandate to the city and its ratepayers. Why has no one wondered about this lack of progress or at least started asking some hard questions before signing off the money in the draft LTP? All this makes it clear that it is really important to make sure that the Council will stick to what it has approved in the LTP in relation to the runway extension instead of rolling over again and doing WIAL’s bidding based on no more than one-sided, overly optimistic and inadequate information and PR spin. It is also really important that all, but especially the most severely affected residents, have a fair say during this process which to date has been intransparent and inadequate. So far, the involvement and conduct of the Council has not led us to believe that they are overly interested in due diligence but we hope that the new caveats will ensure that we are protected against pushing ahead with a project where the main benefit seems to go largely to the airport company, but the main costs, risks and impacts sit squarely on the ratepayers and residents.
      • Accepted
      • Tagged as:
      • consultation
      • runway-extension

    • May Update from DCM - Together we can end homelessness
      • 96 May Update from DCM - Together we can end homelessness p{ margin:10px 0; padding:0; } table{ border-collapse:collapse; } h1,h2,h3,h4,h5,h6{ display:block; margin:0; padding:0; } img,a img{ border:0; height:auto; outline:none; text-decoration:none; } body,#bodyTable,#bodyCell{ height:100%; margin:0; padding:0; width:100%; } .mcnPreviewText{ display:none !important; } #outlook a{ padding:0; } img{ -ms-interpolation-mode:bicubic; } table{ mso-table-lspace:0pt; mso-table-rspace:0pt; } .ReadMsgBody{ width:100%; } .ExternalClass{ width:100%; } p,a,li,td,blockquote{ mso-line-height-rule:exactly; } a[href^=tel],a[href^=sms]{ color:inherit; cursor:default; text-decoration:none; } p,a,li,td,body,table,blockquote{ -ms-text-size-adjust:100%; -webkit-text-size-adjust:100%; } .ExternalClass,.ExternalClass p,.ExternalClass td,.ExternalClass div,.ExternalClass span,.ExternalClass font{ line-height:100%; } a[x-apple-data-detectors]{ color:inherit !important; text-decoration:none !important; 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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; } } Today we introduce you to a few of our kaitautoko, people like you who support DCM and the most marginalised people in many different ways. Kaitautoko   noun Someone who supports, backs up or advocates for TOGETHER we can end homelessness – DCM's tagline acknowledges the many individuals, businesses and groups who share our vision and are part of team DCM. Here we introduce you to a few of our kaitautoko, people like you who support DCM and the most marginalised people in many different ways. Mon Mon has been supporting DCM for many years – in our Foodbank, at the DCM Bookfair, and as a regular donor. "It must have been 18 years ago that I first joined team DCM. I wasn’t working, and wanted to try something a little different. I first heard about DCM through Volunteer Wellington, and joined the team as a Foodbank volunteer one day a week, back when DCM was based in Eva Street. Steph was new in the role of director, and Pam Whittington was another key person on the team at that time. I sorted out the food donations and stocked the shelves in the Foodbank. I got to know Steph well and she shared a lot about DCM’s work and vision with me. After about a year, I got a full time job – but of course I wanted to continue to be part of DCM’s great work. Year after year, Mon was part of the team which delivered DCM's highly successful annual Bookfair. Here she is at the DCM Bookfair in 2014 (left) and 2017 (right). From 2005 right through until the final Bookfair in 2019, I was part of the team delivering the iconic DCM Bookfair, working with the book sorting teams during the year and at the Bookfair itself. In the later years, my job meant I could no longer help with sorting but I continued to work on the Bookfair weekend. Over the last four years, I have also been part of the DCM Foodbank Appeal, another great way to be involved over a weekend. As my working life has become busier and I have had less opportunity to support DCM with my time, I have chosen to become an AP donor, setting aside a little each month to support an organisation and way of working which I am totally committed to. Why is this? I guess I began with an understanding that I was fortunate while others were doing it tough, a sense of social justice and an awareness of the unfairness in our society. Over time, I came to understand more about the connectedness we have to each other. One measure of marginalisation is isolation, lack of connection, being unseen and unknown. Is that the worst thing of all? Quite possibly. To be invisible, to exist in a society where governments, societies, individuals, want you to be out of sight. DCM will NOT let this happen. Over all of these years, I have witnessed DCM doing an incredible job of truly seeing these people. Of knowing them, of connecting to them, and in turn connecting them to others. DCM is genuinely an organisation which is trying to do themselves out of a job! They really do make a difference in the lives of the most marginalised people. I love that they now regularly share awesome stories with all of us who support their work. The challenge to us now is to share those stories with our networks, to make the people DCM works with visible across our society. Through our time, our dollars and our sharing of stories, we can build and celebrate the connectedness we all have to one another." If you would like to know more about regular giving, please get in touch - donate@dcm.org.nz <!-- --> Tia Recently we put out a call for furniture for some of the people we are working with who are now housed. And then we received a message on Facebook... DCM kaimahi Stephen Bowater (left) and Moses Davis (right) visited Tia to pick up furniture for taumai who they are supporting. Tia was moving to the Hawke's Bay, and had a household of furniture to donate, which was great timing for a number of taumai who we are working with. She thought of DCM, as her late stepbrother Brad was supported by us and went on to work here. She was surprised and pleased to learn that we indeed remembered Brad, who died in 2014. You may have read the story of Russell in last month's update or on our website. So many of our taumai pass away at a young age. Brad was 47 years old when he died, but at that time he was housed and doing well. He wanted to give back to DCM, and had started volunteering in DCM's Foodbank as well as helping out at the DCM Bookfair. How special it is that Tia's furniture now lifts up other taumai - the items have been shared with several different people. What a wonderful way to support these taumai to thrive in their very own homes, just as Brad did. <!-- --> Restocking DCM's Foodbank It is that time of year again, when we need to re-stock our empty foodbank shelves for the winter. And this year it is more important than ever, with increasing prices placing even more pressure on those who have very little.  It’s a time when we are always reminded of the many different people who come together, offering their time, money, food donations or skills, to make our work possible. Here are just a few of the many supporters who were involved in last weekend’s Foodbank Appeal. Some are new faces, others will be very familiar to you all. Shaun Shaun Monaghan is DCM's Property Procurement kaimahi. Shaun and Tihema visited New World Chaffers on Saturday to support the DCM team. It was great to see DCM kaimahi popping by on Foodbank Appeal day. Day in, day out, Shaun works tirelessly, seeking out rental properties, speaking with landlords, finding whare for us to house taumai in. His partner Tihema is a dentist who has taken dental sessions at DCM. If you or anyone you know would like to find out more about providing a rental property for someone who is experiencing homelessness, Shaun would love to have a chat with you. And you can enjoy reading the story of one such very special kaitautoko, landlord Dev, again here. Stephanie DCM’s former director Stephanie McIntyre  You never know who may drop by to support the DCM Foodbank Appeal, including our former director Stephanie! "Stephen has done a great job of leading DCM through such challenging times. For many years, DCM has insisted that the answer to homelessness is homes! More than a decade later, everyone is now accepting this. None of the tail-chasing to set up emergency housing and transitional housing has been effective. All can now see that this is not the answer. I am very pleased that DCM remains committed to housing first, to supporting people to access and sustain their own homes. During the period since I left DCM, I have continued to be involved, albeit often at arm’s length, in finding ways to grow the stock of permanent homes for DCM’s taumai. And I know that DCM will continue to deliver the wrap-around support that is essential for taumai to thrive in their homes." Shaun DCM Board member Shaun Greenslade-Hibbert and his husband Alan helped out at the Foodbank Appeal. Shaun joined the DCM Board in 2021 as a representative of the Religious Society of Friends, a community which has been supporting DCM since the very early days. He trained as a nurse in the 1980s and has worked in palliative care for over 25 years. Shaun arrived in New Zealand from the UK in January 2019 to continue his work in palliative care at Mary Potter Hospice. He has welcomed the opportunity to support DCM’s work in any way that he can – including taking his turn on Foodbank Appeal day, welcoming shoppers and telling them about our work. Wesley Church It is quite a job, sorting and labelling the food we receive at our Foodbank Appeal. DCM is very grateful to Wesley Church for providing the space to sort and store this much needed kai. Wesley Methodist Church has been supporting DCM since we began as ICM back in 1969. In fact the original DCM office was located at Wesley. They have always been there when we have needed them – providing space for community events like the Thanksgiving meals we hosted with the US Embassy, a room for our uke band to practice, putting a basket out for food donations at their church services, and groups of volunteers whenever we need them. Many Wesley Church members also choose to donate regularly to DCM. And now, with space all over this city at such a premium, Wesley has stepped up again and provided somewhere for DCM to store kai, and to sort food donations during our two annual Foodbank Appeals. Tree and Rhea Tree was down at New World Chaffers last week, ensuring that the DCM food donation bin was clearly marked ready for the weekend's Foodbank Appeal. We love it when people reach out to us and suggest creative ways that they can support our mahi. Tree Mackay is an accomplished designer who approached us to offer her time and skills. She has helped us re-fresh our food donation bin at New World Chaffers. Rhea is part of a team of talented students who have been undertaking some design work for DCM, developing new templates, infographics and digital tools for us. She created some designs and flyers to let people know which items we most need for the DCM Foodbank. "I'm currently undertaking post-graduate study at Victoria University. I first heard about DCM through Ignite Consulting, an organisation which connects students with socially conscious organisations. A few weeks ago, I was able to visit DCM and see first-hand the work being done and the tangible difference DCM is making in people's lives." If you were not able to drop some food items in over the weekend, why not pop down to New World Chaffers, have a look at Tree’s handiwork, and leave some of the items suggested in Rhea's beautiful shopping list for DCM to provide for taumai. Yes, it takes many different kaitautoko to deliver DCM's mahi and vision. And this month, once again, you all stepped up, supporting us when we needed it most. TOGETHER we can end homelessness – we cannot do this important mahi without you all. It’s as simple as that. <!-- --> Support DCM We call the people we work with taumai, meaning to settle. This reflects the journey we set out on together – to become settled, stable and well. Nāku te rourou, nāu te rourou, ka ora ai te iwi With your basket and my basket, the people will thrive <!-- --> Copyright © 2022 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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    • July Update from DCM - together we can end homelessness
      • 96 July Update from DCM - together we can end homelessness p{ margin:10px 0; padding:0; } table{ border-collapse:collapse; } h1,h2,h3,h4,h5,h6{ display:block; margin:0; padding:0; } img,a img{ border:0; height:auto; outline:none; text-decoration:none; } body,#bodyTable,#bodyCell{ height:100%; margin:0; padding:0; width:100%; } .mcnPreviewText{ display:none !important; } #outlook a{ padding:0; } img{ -ms-interpolation-mode:bicubic; } table{ mso-table-lspace:0pt; mso-table-rspace:0pt; } .ReadMsgBody{ width:100%; } .ExternalClass{ width:100%; } p,a,li,td,blockquote{ mso-line-height-rule:exactly; } a[href^=tel],a[href^=sms]{ color:inherit; cursor:default; text-decoration:none; } p,a,li,td,body,table,blockquote{ -ms-text-size-adjust:100%; -webkit-text-size-adjust:100%; } .ExternalClass,.ExternalClass p,.ExternalClass td,.ExternalClass div,.ExternalClass span,.ExternalClass font{ line-height:100%; } a[x-apple-data-detectors]{ color:inherit !important; text-decoration:none !important; 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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; } } "DCM helped me get into a house, and they are helping me to stay in the house." Happy Matariki This month we have been celebrating Matariki, the Māori New Year, at DCM. This is a time to reflect on the past, celebrate the present and plan for the future. We came together for our Matariki Seasonal Kai, an opportunity for kaimahi to connect with taumai* during the cold days of winter, and to enjoy a very special hangi. Taumai wrote some beautiful reflections in a book that we gifted to the Tristram whānau, who make this meal possible. Smurf shared his poem: You may remember Smurf from our recent film clip; he first connected with DCM when he was rough sleeping in 2014. He has seen a dentist, audiologist and physiotherapist at DCM, regularly attended Te Hāpai and worked with Te Aro Health around his health needs. In 2020 he was housed by our Aro Mai Housing First team. We're very proud of the progress he has made on his journey to wellbeing. As he himself reflects, "DCM helped me get into a house, and they are helping me to stay in the house. I don't think I would have got healthy if I wasn't housed." <!-- --> How can New Zealand solve its social housing crisis? DCM Director Stephen Turnock with Associate Minister of Housing Marama Davidson This month DCM featured in an article in the UK newspaper, the Guardian, about homelessness in Aotearoa New Zealand: “Once a world leader in social housing, New Zealand now faces what the UN has called a “human rights crisis”. Although the government is pouring money in, the waitlist for social housing has ballooned to 23,000 – triple that of three years ago – and there are more than 4,000 children living in motels. The government has repeatedly said it is rectifying a problem it inherited from the former National government, which saw the sell-off of state housing and underinvestment in social housing. The prime minister, Jacinda Ardern, told local media in January the government would leave “no stone unturned” to fix the problem. But groups working to end homelessness say despite those good intentions it could be years before those at the sharp end of the crisis are permanently housed. DCM, a Wellington organisation that helps rough sleepers find housing, has had a rise in the number of people with highly complex needs seeking its services, its outreach manager Natalia Cleland says. Often they are people who have come up against barriers trying to access state-run social housing. Nearly $1m a day is being paid in grants to more than 8,000 people requiring emergency accommodation. Motels are often used to house people for short periods and have been widely criticised as being unsafe and unsanitary. That money would be better spent on permanent housing, Cleland says. “It’s a tricky thing for the government to hold, because on the one hand we don’t want people sleeping rough or living in cars. For them to be inside and have a bathroom and power they can turn on is better than those scenarios. But the money being spent on that could be spent on permanent housing.” The housing crisis is affecting people “across the continuum”, DCM’s director Stephen Turnock says, adding that those who are chronically homeless struggle the most to get a home. The government of New Zealand has poured money into building social housing but the pace has so far been slow. It is a complex and nebulous problem that could take years to solve, Turnock says, and the crucial fix is more housing supply across the board: “[The government’s] vision is bold enough but the ability to pull all the necessary levers in unison is a very difficult task.” He puts the slow pace of new builds down to high construction costs, complicated and restrictive land and housing regulation, a shortfall in construction workers and skyrocketing prices for existing properties. DCM has permanently housed 82 chronically homeless people in Wellington using the Housing First model – which prioritises finding permanent homes for the homeless before addressing other needs such as drug counselling – but has 120 on its waiting list and there are no houses available. DCM finds most of its Housing First properties through the private market, rather than through the government’s housing agency Kainga Ora, and increasingly finds it is competing with Kainga Ora and other housing providers to rent homes. “We are all in the same sandpit together, and the sandpit is not big enough,” Turnock says." Would you like to know more about how you can provide a home for people who are experiencing homelessness? Do you have friends, contacts or networks who would like to be part of this? Stephen would love to hear from you, and to speak more with you about this. You can contact him at director@dcm.org.nz <!-- --> Now I can finally smile It has also been great to see a story about the DCM Dental Service in this month’s OnMas magazine. Dentist Frances Ruddiman reflects on her experience of volunteering at DCM. “The changes that taumai undergo are incredible,” Frances says. “A lot of them haven’t seen a dentist in a long time, so naturally they’re nervous and sometimes worried about being judged. But we’re as welcoming and inclusive as we can be. We want to make sure they know that we see them as a person and will treat them as a person who is valuable and who deserves to have their needs met.” Living in constant pain can take over people’s lives and make it hard to focus on anything else. “When you’re in pain and stressed and worried about what’s causing it, that’s always there in the background. Once we get people out of pain, their spirits seem to be lifted. Often they do need more work, but they’re so much more confident and happy to come back.” “I’ve had patients tell me that now they can finally smile. I had someone tell me, ‘I’m going to a housing interview this afternoon, and I’m so happy that I can walk in and smile with them’,” says Frances." We encourage you to read the full story here, and to share it with any dentists or dental assistants you know. <!-- --> How can I help? We first met Peter just before last year's lock-down, when he connected with our Outreach team. He had been rough sleeping for many months, and DCM kaimahi helped get him on the social housing register. Lock-down brought rapid changes, and Peter found himself in emergency housing. Since then he has been working closely with the Aro Mai Housing First team and he is now stably housed in his own whare. “DCM has helped me more than I could ever have imagined. I have a roof over my head and am extremely grateful. I have my life back.” Peter needs a vacuum cleaner so he can keep his whare clean. Do you have one you could donate?  If so, please get in touch with Matt. *We call the people we work with taumai, meaning to settle. This reflects the journey we set out on together – to become settled, stable and well.   Support DCM! Nāku te rourou, nāu te rourou, ka ora ai te iwi With your basket and my basket, the people will thrive <!-- --> Copyright © 2021 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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    • 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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