Aug 9, 2022 Metro Arts
And just like that it’s been a whole week already! Weeks starting and ending feel especially prescient at the moment being in my final weeks at Metro — 2 weeks left here to be specific, which means this is my 2nd to last ever Metro Arts! How terrifying. I’ll save the soppy stuff for next week but just know that it’s coming. Apologies in advance. For some reason Jean thought it would be a good idea to put the pressure on the last couple of Metro Arts to be “bangers”, all I gotta say is, when you set your expectations too high, you end up hurting yourself. So let’s all just adjust our expectations, and let the last two Metro Arts wash over us (that was the advance the CEO of NZSO gave me on Friday night *see Reckons).
Also I haven’t stopped thinking about Leafa Wilson/Olga Krause’s work in Simon Denny and Karamia Muller’s show Creation Stories at Gus Fisher Gallery and Michael Lett that I saw on Friday. I’m biased of course, Leafa/Olga is one of my favourite artists ever. The TV box with the pink on the white brick wall of Michael Lett’s terrifying bunker *chefs kiss*. The whole show is pretty great, backed with an exceptional amount of research. I spoke to the duo about the show in our current issue, but to see it come to life is a whole other ball game. It’s a show that is layered, challenging, and includes lots of little surprises including Leafa Wilson/Olga Krause’s work but also Leah Jaynes Karp’s works which have not been exhibited in New Zealand before, and a beautiful piece by Daniel Boyd. My favourite kind of exhibition making, highly recommend going to see the show if you haven’t already.
As always, if you have something you want to share hmu! firstname.lastname@example.org.
Win a Night at the Opera
We have a double pass to give away to the Auckland Opera Studio Annual Gala a fabulous event created by the Auckland Opera Studio to showcase New Zealand’s top young Operatic Talent. The line-up includes Eliza Boom, Natasha Te Rupe Wilson, Amelia Berry, Christina Orgis, Paul Whelan, Oliver Sewell, James Ioelu and Emmanuel Fonoti Fuimaono, with piano by Somi Kim. The programme is all in the original language, mostly Italian or German, with English subtitles.
If you would like to win a double pass send me an email by midday Wednesday with Opera in the subject line and let me know who you would take along with you.
We went on a class trip to Truth and Beauty by the New Zealand Symphony Orchestra on Friday night, conducted by Gemma New and including violin performances by Hilary Hahn. Full disclosure: it was my first ever time at the NZSO. My heritage arts are usually of a different flavour. While I lack a barometer of quality in this instance and the language to discuss what I saw and heard, it felt good. It felt especially good seeing the joy that it brought others.
In the row in front of us was a kid who was fully rocking out — arms moving, head nodding, and in parts fanning his face perhaps fanning his tears. His mum was watching him with a huge grin on her face. The orchestra I felt was his thing, and she was along for the ride. Not too dissimilar to how I felt sitting next to Henry tbh.
I reckon I learnt some things about myself: I both love and hate the flute; I get thorough enjoyment from watching the back line (the percussion) — personal highlights were the tambourine and triangle despite the trigger to primary school music class; also when the trumpets have their time to shine, it means the music is at my preferred level of intensity.
While I think Jean and I may have terrified the NZSO board members we told about our orchestra virginity, experiencing new art forms isn’t that scary. And actually orchestra people are incredibly friendly. I reckon if you haven’t already, you should give it a go.
As someone who has an affectionate relationship with the word ka’a, I highly recommend going to see Ka’a (pictured above), singer/songwriter Pati’s showcase of original music, which opens at Basement Theatre tonight! But don’t take my word for it, here’s what Pati had to say about the show:
What does Ka’a mean exactly?
Ka’a is a colloquial word used to describe hanging out and having fun. Sometimes it has the connotation of hanging out “too much”, doing things that are “naughty” or being a “little sh*t”. The phrase “ka’a so’o” is often used to describe someone who does too much play, and not enough work, or doesn’t take things seriously.
More recently it can also be used to describe a person who is immature/ behaves like a child and needs to “grow up”.
What is the origin behind making Ka’a?
I originally created the music first; which tells the story of what it was like for me to grow up as a pacific person in my community. My community upholds a lot of the colonial standards around what it means to be a “good” woman, and these standards are still evident in the way we discuss how women should behave. As I grew older it started to cause more issues for my career and personal life, and became a barrier in me understanding my sexuality and my sexual orientation. I noticed it was causing issues for the other people around me too.
However, it was really hard to express the issues that I observed without being labelled as a “Ka’a” – speaking out of turn (i.e speaking without a title, without being older, and without standing in the community) meant that the issues I noticed were swept under the rug, and instead I (and others) were called immature for bringing it up. Initially, I thought that the best way to move forward would be to remove myself as much as possible from the label of being a Ka’a.
Eventually, I realised everyone deserves to take up space in their communities, regardless of their labels, and so this piece is my way of leaning into the identity of being a “Ka’a” and talking about my experience unapologetically.
What should audiences expect from Ka’a?
Good music, laughter, sadness, and a safe space to be a little shit.
Kaʻa is on at Basement Theatre from 9—12 August. We have a double pass to Ka’a for Thursday night to give away. email me with the subject line ‘Kaʻa’ by midday Wednesday to enter the draw.
Emily Karaka and Ngahuia Harrison
30 July — 27 August
9 August — 12 August
10 August — 13 August
13 August, 7.30pm
13 August, 7.30pm
Call of the Huia
14 August, 4.30pm
Design Lives HERE
25 August, 6pm $30
Auckland Fringe Festival 2022
30 August — 17 September