Accommodation information

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SCANZ 2013 3rd nature

Residency and Hui symposium options for stay

For residency artists particularly, we recommend Te Henui Lodge. The lodge consists of two buildings, which were formerly student halls of residence, now run as a stand alone business. Consequently they are practically on the WITT campus, which is the site of the residency. They are clean, have good wifi and the building for short term stay (which is where SCANZ people stay) is going to be refurbished according to the new owners. The room rates are the most competitive. Prices are around $60 per night for a single room, $70 per night for twin/double. Weekly rates are $180 for a single, $220 for a twin/double. Residents stay 17 nights from Jan 18 check in to Monday 4 Feb check out, and that means that three weeks applies, so total is $540 single, $660 for a twin/double.

There is also the Plymouth Hotel.  This is an international standard hotel, which is in walking distance (10-15 minutes) of WITT campus. Room rates vary from $110 – $390 per night, and this depends on the time of travel.

Sunflower Lodge is a backpackers type accommodation, and quite nicely set close to bush. It is relatively new, and again close to WITT. They ask that people inquire to get room rates. There are dorm, twin/triple, single and double room options.

 

 

 

 

 

Travel information

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Photo: Historic Owae Marae, site of day one of the hui symposium

SCANZ 2013 3rd nature

developing the culture to create a sustainable civilisation

Themes

3rd nature involves creativity and innovation at the intersection of three critical interfaces:

*Acknowledging the environmental crisis
*Engaging with Maori and indigenous peoples
*Engaging with Sciences and the Hybrid Arts

These three intersecting dialogues provide space for a Third Nature, a fresh space for engaging with new knowledge and approaches vital to a sustainable civilisation.

Important dates

Residency dates: Arrive Friday 18 January 2013

We are asking residents to arrive in New Plymouth by Friday 18th January. This is to allow us to leave early on the 19th, for Parihaka. This marae was the location of an important passage of peaceful resistance led by Te Whiti and Tohu, leaders of the Parihaka community in the colonial period.

We are happy for people to arrive earlier. Some of the organisation team will go to Parihaka on the 18th, in accordance with protocol. The 18th of each month is a day in honour of Te Whiti and the 19th of each month is in honour of Tohu.

Flights to New Plymouth

There are only four or five flights per day to New Plymouth. If you land in the international terminal at Auckland you then need to take the free bus to the domestic terminal, or you can walk following a green line, which takes about ten minutes. Wellington also has a separate international terminal – I haven’t used it but imagine all processes are similar.

Air New Zealand is the only airline servicing New Plymouth (Nga Motu). Locate the Air New Zealand check in kiosks. Checking in is done by you at the kiosks, and there are staff to assist. You then drop your bags on to the conveyor (again someone assists). At Auckland Airport you then need to go to the regional airlines waiting area. Don’t be surprised to see large flight boards with no mention of New Plymouth flights. These are located in the area for departures and arrivals for the main centres.

The regional airlines departure area in Auckland is at the left end of the domestic terminal when standing outside and facing toward the doors. When your flight boards, you’ll walk quite a way to get to the plane, and the plane is quite small.

When your flights are arranged, please give the arrival and departure information to Thilani Nissanga. Thilani is our administrator. In the lead up to SCANZ she will be looking after arrival, departure and accommodation information. During SCANZ she will be staffing an admin office for queries, mainly during normal business hours, 9-4.30.

Car to New Plymouth

It takes around 5 hours to drive to New Plymouth, either from Auckland or Wellington. It depends on how long the breaks in the journey are and also how heavy traffic is. Some cars will no doubt be driving from Auckland around the 18th. For car pooling queries please contact Thilani. For those arriving internationally, we recommend the flight to New Plymouth. If you would like to go by car, we probably need to add an overnight stay (it is very tricky to arrange an incoming international flight arrival with a pick up in time to get to New Plymouth on the 18th), which means you would need to arrive at least a day earlier.

Residency dates: Check out Monday February 4th 2013

One of the reasons we say to check out Monday 4th February is that there are no late flights on Sunday night from New Plymouth. The last flight is around 7.15, so rather than rushing around on the final afternoon, it is simpler to leave the following day, checking out in the morning.

Symposium dates: February 1-3 2013

Arrive on January 31 2013

Day one of the hui symposium is at Owae Marae. We will be leaving early on Friday February 1st for the marae as there will be a powhiri when we get there. There is not really time to fly to New Plymouth and make it for the start of the powhiri. Anyone driving would need to leave Auckland or Wellington at 3.30am to make it for the powhiri.

Powhiri is the protocol of welcoming visitors onto a marae. The marae consists of a Whare Nui (Meeting House) and a Whare Kai (Eating House) plus a number of other buildings.

We will be called on to the marae, by women  (wahine), one calling for the locals (tangata whenua), one for the visitors (manuhiri). At the threshold of the Whare Nui, there will be a hongi for some (pressed nose greeting where the breath is shared). Once inside, several people will speak – some for the tangata whenua, some for the manuhiri. After each speech, there is a song. The formal ceremony is concluded and then all are welcome to speak, in particular any women who may like to speak.

Owae Marae is progressive in that it is Ok for women to speak. Traditionally, women did not take part in this aspect of proceedings. So please take up this opportunity if you get the feeling to.

Presentations for day one should be those that do not require internet access, as we have had problems in the past with reliability. A projector will be available.

Exhibition opening: Dawn February 2 2013

Day two of the symposium starts with the dawn opening of the exhibition at Puke Ariki. We will have two vans to take people to the opening. Such openings are rare, even in Aotearoa New Zealand so everyone is encouraged to attend. We will have an extended mid morning break so everyone can freshen up.

The remainder of the day is at WITT.

The following day, Sunday starts at WITT and proceeds to Pukekura Park.

Depart on Monday 4th February preferred

While not strictly necessary, we encourage hui symposium attendees to leave on Monday. This allows some ‘slow down time’ after the events of the previous few days. It is also our intention, that those putting forward papers, are able to have their paper impacted by attendance at the hui. Consequently scheduling reflective time is advised. Making a few notes at the time makes paper editing and development that much quicker.

That said, it would be possible to leave by car around 4.30pm on Sunday and arrive in Auckland or Wellington around 9.30pm. Similarly flights from New Plymouth airport could be booked.

 

Andrew Thomas

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Andrew Thomas has contributed audio to the project, adding a dimension of Navajo (Dineh) culture to Wai.

Biography

Andrew Thomas is a contemporary Dineh (Navajo Nation) flute player. He gives thanks to his extended family: Haltsooí Diné’e (maternal)—Meadow People Clan, Bit’ahníí (paternal)—Folded Arms Clan, Kin Yaa’áanii (maternal grandparents)—Towering House Clan, and Tsé Nahabilnii (paternal grandparents)—Over Hanging Rock Clan. He was born and raised in Rock Spring Chapter near Gallup, New Mexico. He is self-taught, and plays music composed from the heart. He has chosen the flute’s voice to express his way of life, heritage and culture.

The flute provided him the opportunity to create the music and narration for a video documentary about male Navajo weavers entitled Men Who Weave. He feels fortunate that his music has allowed him to travel widely, both nationally and internationally. He has performed all over the United States, including the Indian Summer Festival in Milwaukee, the Winter Olympics in Salt Lake City, Ute Mountain Casino, and over 10 years at the American Indian Powwow Gathering in Hawaii. He has performed in Mexico, Peru, South Korea, and throughout Europe, including Sweden where he had a story published in the book, They Call Us “Indians”. He was also the first Native American artist to play at the World Performing Arts Festival in Lahore. He was honored to perform for the president of Pakistan, as well.

His first venture into recording has resulted in a CD titled “Changing Woman’s Blessings”. More recently, he recorded in Perth, Australia, with a well-known Aboriginal actor and musician, Heath Bergersen. This cross-cultural collaboration has culminated in a CD mixing the sounds of the traditional Australian instrument, the didgeridoo, and the Native American flute titled “Friends for Life”.

Through his music and his life, he is an activist in preserving Native ways, creating awareness of the need for communication across cultures, and protecting all human rights. In this way, he strives to give back to the community. He most enjoys connecting with people of all cultures and sharing the musical language of the flute.

“Flutes are not political. They transcend heritage differences.”

pou hihiri

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Pou Hihiri

Pou Hihiri – The Womb of the Universe

Project team

Dr Te Huirangi Waikerepuru, Poutua, Kaumatua (Elder), Author
Te Urutahi Waikerepuru, Concept Designer & Artist
Julian Priest, Custom Electronics
Tom Greenbaum, Custom Electronics
Craig McDonald, Graphics Artist
Sophie Jerram & Dugal McKinnon – Sound Effects

Artist statement

The Pou Hihiri is a representation of the womb of the universe. Within its core is the blue print, the DNA, the life‐giving blood of the universe, the unrealized potential of all that is and all that is to come. Pou Hihiri is a visualisation of the receptacle, the womb that holds the great nothing, the long nothing, the deep nothing all of which is yet to be realized. It is pre‐emergent potentiality, at times, heaving, breathing, laboring in its efforts to release it’s burden. Pou Hihiri has the deceptive appearance of stillness, timelessness and spatial immortality.

The pou is part of the exhibition Wai at 516 Arts during ISEA 2012 Albuquerque Machine Wilderness.

 

Residency Project: Jo Tito – Earth Water Stones Light

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Initially Jo’s project was just going to focus on WAI – WATER and where the science of water and te reo Māori meet.

Now, the project will also include: 

Earth Water Stones Light

EARTH – geology, harakeke, stones, geography

LIGHT – photography, photosynthesis, natural light

STONES – as storytellers, creative, healing, spiritual, connection

Jo will venture into different spaces and places within the Taranaki landscape to sing new waiata (songs),  to create art in the moment in harmony with nature, impermanent art works that over time will disappear into nature itself. She will document these creations through photography and moving image and will sing these new songs inspired by nature…

While in those spaces, she will also explore Māori concepts within nature, looking at the science of how water flows, the effect that light has on spaces within the landscape and on the living earth.

The process will be very organic, created alone and with others. Te Reo Māori will also weave intricately through these landscapes and will at some point meet with science. Again an organic process to find where that place and space is.

For more info on the project and Jo visit:

http://sciencewithsoul.com

Wai dawn opening

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Wai will open at dawn, 6.53am September 19th 2012 at 516 Arts, 516 Central Ave SW Albuquerque,  led by Dr Te Huirangi Waikerepuru, as part of ISEA 2012 Albuquerque Machine Wilderness. All welcome.

 

There will also be a special session of ISEA, at OFFCENTER in Albuquerque from 12 to 1.45pm on Sunday23rd September. All welcome to that event too.

 

Later that same day, the 23rd, from 4pm till 9pm, the third Intercreate.org project for ISEA 2012 Machine Wilderness Bus garden will be presented as part of the Block Party on Central Ave.

 

 

 

Car garden + Neighbourhood air

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Bus Garden
ISEA 2012 Albuquerque Machine Wilderness

Once I was in a bus in Japan and I had a vision of being in a forest at the same time as being in the bus. These two are often seen as antagonistic, but we must find ways to unite them.

The Car garden merges two apparently divergent entities to suggest a future cohabitation. On the one hand we continue to use fossil fuels in transportation and on the other hand we must change our relationship to the earth to one that is more sustainable.  This a ‘complex duality’ because it is not a simple dichotomy between transportation or reforesting. Plants filter the air we breath, and inside the Car garden you can explore the Neighbourhood air project while breathing cleaner air.

Neighbourhood air is an epiphyte growing in the Car garden. The work is an ambient software that responds to environmental sensors. Cars, breathers of city air and temperature and humidity circulate in a slowly moving monitoring system. This interactive, online artwork gathers live pollutant levels from Auckland city air. Auckland is New Zealand’s largest city and despite the ‘100% PURE New Zealand’ tourism campaign even geographically remote cities have air quality problems that the winds can’t disperse. Pollutants from vehicle combustion in Auckland, New Zealand in the Southern hemisphere circulate in the same atmospheric container as cities like Albuquerque.

To plant and regenerate the earth’s remaining oxygen producing forests can heal the atmospheric imbalance created by vehicular emissions, alongside crucial changes in human car usage. Somehow we have to leap over where we are, to be where we want to be.

 

One Man is an Island – Rachael Rakena

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One Man is an Island, 2009, Rachael Rakena (Iwi – Ngai Tahu, Nga Puhi), High definition video, courtesy of Bartley and Company Art, Wellington

Residency Proposal: Korou Dance

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Ūkaipō

KOROU PRODUCTIONS LTD © UKAIPO_HYSLOP

Korou Productions is currently in the first phase of research and consultation for Ūkaipo – A new dance opera in Te Reo Māori.  SCANZ 2013 will be an welcome opportunity for the Ūkaipo kaupapa to connect with mana whenua and tangata whenua of the Taranaki rohe and attending interdisciplinary artists and scientists.

Ūkaipō Celebrates the divine feminine, the mother nurturer; mother nature.

In exaltation of the natural realms of Papatūānuku and Ranginui where earth meets sea and sky, we honour the sacredness of water, our relationship to the South Pacific, distant homelands of Hawaiki and new horizons. Cloaked in a korowai of sacred forest we re-connect to ancient consciousness in a new form.

Toitū te whenua, whatungarongaro te tangata.  Papatūānuku calls for tremendous healing.  Mankind continues to use the provisions of Papatūānuku in excessive amounts. People live and die, disappear, but land remains, what state are we, the current generations leaving our lands for future generations?

Ūkaipō Births a new art form, merging the traditional vocal genre of classical and Avant-Garde Opera, in Te Reo Māori with contemporary Māori dance theatre.  Envisaging the earthy creation of Rangi Mareikura: Heaven of the adorned sweet voiced singers.  Ūkaipō moves toward creating a celestial experience to affirm our physical, spiritual and intellectual interconnectivity with our intact but remnant environment.

Ūkaipō Will work within Māori and Tauira communities that promote environmental care and wish to expand their stories and their messages of resilience, conservation and sustainability.

Ūkaipō Will engage with allied art forms and artists that desire to share in the holistic and conscious approach to this new work including fine artists, body painters and special effects, sculptors, creators of taonga, adornment makers, glass workers and multi-media and computer graphics design.

Ūkaipō Is to be the first of its kind specifically designed to actively encourage a dedicated team of professional artists to engage in a Dance Opera in te reo Māori, and through wānanga outreach to communities in Aotearoa – both Rural and Urban.

Ūkaipō Is currently in Phase One Research supported by Creative NZ Te Waka Toi Arts Grant 2011.

Residency Project: Agnese Trocchi and Giovanna Dante

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Back to the antipodes

Our project is on the razor edge between poetry, science and science-fiction. We will enquire into the anxieties and expectations of humanity in these days of uncertainty.

We will explore the collective subconscious and it’s relationship with the earth, the geodesic energies and the human settlements.

Our attempt is to use scientific and creative tools to represent the collective dreamspaces across two continents, one at the antipodes of the other.

“Back to the Antipodes“ is a reminder that if we want to give a chance to human beings to live in this planet we should go back to our roots which are deeply connected to the heart of the planet and to the heart of our subconscious.

“Back to the Antipodes” means that we are all interwoven and our attempt is to search for connections between New Zealand and Europe, both on a physical and on a psychical level.

Do the connections exist? How they may be represented?

With our project we are going to collect dreams from the collective subconscious fields in Italy and in New Zealand.

We will choose two different areas and we will focus on the ancient and contemporary human settlements. We want to enquire the etrurian areas (the former inhabitants of Italy 3000 years ago) in relationship with the original indigenous settlements in New Zealand.

To collect dreams from the contemporary humans we use different means: interviews, private audio-box, websites, social networks, private recordings.

We will develop an online platform and a questionary to engage with who will be willing to share their dreams with us.

In the second step we analyze the collected dreams to find recurrency of words, actions and elements.

With the data estrapolated from the analysis of dreams we create one or more tableau vivant to be filmed: the tableau vivant are moving postcards from the dreamscapes.

At the same time we are going to draw territorial maps in GIS environment of the two locations that we choosed for collecting dreams.

In the maps we are going to underline the dream-sources areas (the places from which the dreams arise) with a particolar attention to the distribution of different topics in dreams.

The outcome of the work will be a multimedia installation (video-audio-text) which will show the process of data collecting, the maps and the postcards from the dreamscape.