logo
‘We need more writers who can just remember' says Ockham-winning wahine professor

‘We need more writers who can just remember' says Ockham-winning wahine professor

NZ Herald15-05-2025

'It was certainly a surprise, I wasn't expecting anything quite like that,' she said.
'I felt greatly honoured, it was spontaneous Māori creativity, which I think we need a lot more of to heal the wounds and reset the world that we're currently attempting to live within.'
Category convenor Holly Walker said Hine Toa was a 'rich, stunningly evocative memoir that defies easy categorisation'.
2025 Ockham New Zealand Book Awards
'As well as painting a vivid picture of Ngāhuia te Awekōtuku's early life, from her childhood on 'the pā' at Ōhinemutu to her many creative and academic achievements, it is also a fiery social and political history that chronicles the transformative second half of the 20th century in Aotearoa from a vital queer, Māori, feminist perspective.'
Awekōtuku said she felt it was vital for the next generation to have a sense of New Zealand's history, of 'what these islands used to be like before those realities completely disappear'.
'I am so concerned that the immediacy, and the instant gratification of contemporary cultural and social environments now and stimuli now, really focuses on the immediate and yet having reached this immediate we should know from where we come.'
'... We need more writers who can just remember and rejoice and reflect and actually share and in the process of a political memory or a personal memoir like Hine Toa we can start doing that work.'
Toi te Mana: An Indigenous History of Māori Art won the BookHub Award for Illustrated Non-Fiction.
Twelve years in the making, the landmark 600-page volume is a sweeping survey of Māori art – from Polynesian voyaging waka to contemporary practice – by art historians Deidre Brown (Ngāpuhi, Ngāti Kahu) and Ngarino Ellis (Ngāpuhi, Ngāti Porou).
Judges praised the book as a 'visual tour de force of enduring significance'.
' Toi Te Mana is extensively researched and thoughtfully written, casting a wide, inclusive net. The result is a beautifully designed visual tour de force, and a cultural framework that approaches toi mahi with intelligence and insight.'
Wellington professor and author Damien Wilkins won the $65,000 Jann Medlicott Acorn Prize for Fiction for his novel Delirious, described by judges as 'intimate, funny, honest' and 'unforgettable'.
'With a gift for crisp, emotionally rich digression, Damien Wilkins immerses readers in Mary and Pete's grapples with ageing and their contemplations of lost loved ones who still thrive in vivid memories.'
Wilkins, now director of the International Institute of Modern Letters at Victoria University, first took the fiction award in 1994 with The Miserables. He was a runner-up in 2001 for Nineteen Windows Under Ash and again in 2007 for The Fainter.
He nearly didn't make it on stage to bag his latest prize.
'I was delayed getting out of Wellington – there were plane problems. I boarded my flight at 7pm, which was the start time of the ceremony so I was racing against the clock to get there,' Wilkins told Morning Report today.
'I was picked up by a very kind festival driver at the airport, rushed through Auckland streets, she had permission to exceed the speed limit and pay the fines and I ran on stage at the last possible second to hear that I won.
'It was pretty dramatic and James Bond-like.'
Editor, novelist and poet Emma Neale won the Mary and Peter Biggs Award for Poetry for her collection Liar, Liar, Lick, Spit.
Poetry category convenor David Eggleton said the collection displayed 'an exceptional ability to turn confessional anecdotes into quicksilvery flashes of insight'.
'It's a book about fibs and fables; and telling true stories which are perceived by others as tall stories; and the knock-on or flow-on effects of distrust, the scales dropping from one's eyes. It's about power and a sense of powerlessness; it's about belief and the loss of belief, it's about trust and disillusion; it's about disenchantment with fairytales. It's about compassion.'
The Jann Medlicott Acorn Prize for Fiction winner was presented with $65,000. The Poetry, Illustrated Non-Fiction, General Non-Fiction award recipients were each presented with $12,000.
Four Best First Book awards were also presented at the ceremony, with winners receiving $3000 each and a 12-month membership subscription to the New Zealand Society of Authors.
Full list of Ockham winners and finalists:
Jann Medlicott Acorn Prize for Fiction won by Delirious, Damien Wilkins, Te Herenga Waka University Press.
Shortlisted: At the Grand Glacier Hotel, Laurence Fearnley, Penguin, Penguin Random House; Pretty Ugly, Kirsty Gunn, Otago University Press; The Mires, Tina Makereti (Te Ātiawa, Ngāti Tūwharetoa, Ngāti Rangatahi-Matakore, Pākehā), Ultimo Press.
Mary and Peter Biggs Award for Poetry won by Liar, Liar, Lick, Spit, Emma Neale, Otago University Press.
Shortlisted: Hopurangi – Songcatcher: Poems from the Maramataka, Robert Sullivan (Ngāpuhi, Kāi Tahu), Auckland University Press; In the Half Light of a Dying Day, C.K. Stead, Auckland University Press; Slender Volumes, Richard von Sturmer, Spoor Books.
BookHub Award for Illustrated Non-Fiction won by Toi Te Mana: An Indigenous History of Māori Art, Deidre Brown (Ngāpuhi, Ngāti Kahu) and Ngarino Ellis (Ngāpuhi, Ngāti Porou) with Jonathan Mane-Wheoki (Ngāpuhi, Te Aupōuri, Ngāti Kurī), Auckland University Press.
Shortlisted: Edith Collier: Early New Zealand Modernist, Jill Trevelyan, Jennifer Taylor and Greg Donson, Massey University Press; Leslie Adkin: Farmer Photographer, Athol McCredie, Te Papa Press; Te Ata o Tū The Shadow of Tūmatauenga: The New Zealand Wars Collections of Te Papa, Matiu Baker (Ngāti Toa Rangatira, Te Āti Awa, Ngāti Raukawa, Ngāti Whakaue), Katie Cooper, Michael Fitzgerald and Rebecca Rice, Te Papa Press.
General Non-Fiction Award won by Hine Toa: A Story of Bravery, Ngāhuia te Awekōtuku (Te Arawa, Tūhoe, Ngāpuhi, Waikato), HarperCollins Publishers Aotearoa New Zealand.
Shortlisted: Bad Archive, Flora Feltham, Te Herenga Waka University Press; The Chthonic Cycle, Una Cruickshank, Te Herenga Waka University Press; The Unsettled: Small Stories of Colonisation, Richard Shaw, Massey University Press.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Michelle Duff: Surplus Women
Michelle Duff: Surplus Women

RNZ News

time2 hours ago

  • RNZ News

Michelle Duff: Surplus Women

Weaving comedy and truth through her new collection of short stories, award-winning writer and journalist Michelle Duff's new novel Surplus Women explores power and patriarchy through women set in past, present and future Aotearoa. Hungry teenage girls, top detectives who forget to buy milk, frustrated archivists and duplicitous real estate agents, form a cast of 'surplus women'. Michelle won the 2023 Fiction Prize from the International Institute of Modern Letters, and is known for her feature writing for Stuff, New Zealand Geographic, The Guardian and The Sunday Times. She speaks with Susie Ferguson. Tags: To embed this content on your own webpage, cut and paste the following: See terms of use.

Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation
Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation

NZ Herald

time7 hours ago

  • NZ Herald

Runway Show PAPA Returns To Spotlight Weaving & Encourage Preservation

PAPA, a runway display of woven wearable arts, is returning for its sophomore showing in Tāmaki Makaurau Auckland. Co-curator and weaver Beronia Scott tells Madeleine Crutchley about the kaupapa, her learnings through raranga and PAPA's purpose of preservation. Intricate and innovative clothing woven from harakeke, tivaevae and fast fashion waste will take to the runway today in Tāmaki Makaurau Auckland, as PAPA returns to Kāhui St David's community space. The showcase, a one-day celebration, will feature woven garments by Māori and tauiwi practitioners modelled alongside live performances, DJ sets and servings of kai. Co-curator and artist Beronia Scott (Ngāti Whātua Ōrākei) explains the show aims to platform the craft, encourage whānau to spotlight their mahi toi and educate audiences unfamiliar with raranga (weaving). The title of the event takes its name from the Earth Mother (Papatūānuku), and draws attention to the connection between weaving and te taiao (the natural world). 'That's quite a big genre to look at,' Beronia tells Viva. Last year, this encouraged artists to examine the origins of their materials and those that might produce harm to the environment where they grow. A memorable garment for Beronia, which won the People's Choice Award, had white plastic replacing the natural fibres traditionally used for raranga – it was called 'Plastic Invasion'. This year, Beronia says materials are even more diverse: recycled bottles, old records and cassette tapes have been utilised for the garments. For Beronia, PAPA also draws attention to the effects of human-caused climate change on crucial materials. 'Our resources as weavers, our natural resources, are disappearing. I mean, harakeke is fine but there are other resources we use. Kuta [a wetland grass], we dive in the lakes for that... it's getting so warm up north, they're losing their kuta.' For this reason, Beronia is passionate about utilising traditional materials. 'Most of the garments are woven with harakeke, but there are other things in there. I've used corn husk in mine, and I've got nīkau, I've got kuta. I've tried to keep mine as natural as possible. It's all about resources for us, highlighting our resources and that we have to look after it.' Beronia has been weaving since 2001, after learning from her aunty Alice Pihema and Kahutoi Te Kanawa during a korowai wānanga at her marae. It was an unusual beginning for her weaving journey. 'I started there and I knew nothing. Weavers will understand, you usually end up doing korowai [later]. You start with making flowers and little baskets. I sort of started the other way.' Alice was a huge influence. 'She taught me how to do tukutuku, which we, as a whānau, we did our tukutuku panels in our marae, our wharenui, which burnt down in the 90s.' Her studies continued with Te Wānanga o Aotearoa and tohunga raranga (master weaver) Te Hemo Ata Hēnare. Beronia has also found community in Te Puāwai Raranga. The group of Māori artists and weavers, who practise with traditional and contemporary techniques and materials, are based in Ōrākei. PAPA is a part of a wider art series – the first event was an exhibition at Ōrākei Marae called Tuku. The series began because Beronia and her community of weavers wanted a place to display their works. 'I thought, 'we'll just give our weavers somewhere to be able to show'. Because, you know, we don't really have a lot of spaces.' The first PAPA show was in 2024 and its immediate return this year is spurred by passionate audiences. Paul Baragwanath, the director of the Friends of St David's Trust Kāhui Rangi Pūpū, told Beronia and her co-curator Te Whaea Witika that the response was overwhelming. 'We're hoping actually we can do it every three years after this because it's a lot of work,' Beronia laughs. 'Weaving is not as fast as a lot of people think. It's a lot slower. If people want to put in a korowai, that can take up to two years to make.' The show will also involve Te Whānau Toi Tupu, a collective of weavers, fundraising for a cultural exchange trip to Thailand. Beronia is among the practitioners making the trip. 'They have set us up to go to a whole lot of other weaving places – galleries, temples – so we're actually going to weave with one of the aunties over there.' Within similar spaces, Beronia has witnessed a shared appreciation for what she calls 'the zone' – where weaving becomes a nourishing and meditative activity. She says these exchanges are also an opportunity for building community and knowledge sharing. In future, she hopes the group will make it to Tahiti too. 'I love to share what I know. I don't own any of my knowledge. I was given that and it's my chance now to give it out, to share it.' For Beronia, PAPA amplifies this treasured knowledge and its origins. 'Our tūpuna were so clever in finding out what you can do with harakeke. 'These days we take it for granted. They did all of the science. We're learning and using the techniques that they did hundreds of years ago.' Madeleine Crutchley is a journalist for Viva and lifestyle and entertainment at The New Zealand Herald. She covers stories relating to fashion, culture and food and drink, from her hometown of Tāmaki Makaurau Auckland. Recently, she's written about dressing during the climate emergency, alternative fashion futures and contemporary sculpture artworks. More local fashion From emerging talents to statements through style. Aotearoa Music Awards 2025: On The Red Carpet Stars Shone A Spotlight On New Zealand Fashion. Local artists showcased their love and appreciation for fashion at the 60th celebration of the Aotearoa Music Awards at Auckland's Viaduct Events Centre. Designer Vince Ropitini Reasserts The Art Of Passive Resistance. Vince Ropitini scooped two awards for his collection The Art Of Passive Resistance at iD Dunedin Fashion Week. The designer speaks to Madeleine Crutchley about threading histories of protest together and the influence of contemporary Māori art. From Warkworth To London, Fashion Designer Kat Tua Is Challenging Māori Stereotypes. Menswear designer Kat Tua talks to Dan Ahwa about a deeply personal bespoke creation designed to underpin the values of her brand Manaaki for an international audience. My Style: Aorangi Kora On Fashion, Craft & Creating Crochet Bae. Academic and artist Aorangi Kora's crochet pieces have been winning fans online and off. Emma Gleason caught up with her to discuss her approach to style. . A royal scarf, slogan T-shirts and statements of self-determination play a pivotal role in enhancing the message during Hīkoi mō te Tiriti.

Our reviews from week one of the Kia Mau festival
Our reviews from week one of the Kia Mau festival

The Spinoff

time8 hours ago

  • The Spinoff

Our reviews from week one of the Kia Mau festival

From musical tales of communal island life to class consciousness in a Crown Lynn workroom, these are the shows we enjoyed at the Kia Mau festival this week. Waenga The strength of Waenga is that its story of police brutality ('humility? futility?'), mana motuhake and self-discovery is one shared by rangathi across the motu. Leads Hariata and Tamati Moriarty (children of highly regarded actor Jim Moriarty and playwright Helen Pearse Otene) wrote this play after working extensively with high schoolers, asking them 'what do your ancestors want from you? What stops you from reaching your potential?' – and what they discovered is stories of young Māori continually facing systemic violence and racism and, despite it all, still having an unwavering desire to live wholeheartedly in their Māoritanga. The result is a just-under-an-hour long show with so much bite it leaves you breathless, coupled with enough comedic relief to soften the pain, and remind you that as Māori, we're pretty damn funny in the face of oppression. Connie (Hariata) finds herself in a police station after an alleged bust-up with the coppers, and doesn't trust her 'kūpapa' defence lawyer Grayson (Tamati) to see her side of the story. But as the two spend more time together, they realise their experiences might not be so far apart, whether you're trying to change a racist system from the inside or outside. /Lyric Waiwiri-Smith He Ingoa Nau mai te pō, te ao, te awatea. Awatea mai te pū, te more, te weu, te aka, te ingoa taketake. Maiangi te tapu, te wehi, te kuru pounamu: he aha tēnei mea te ingoa? Otirā, me pēhea tātou e whakamana i ngā ingoa o a tātou anō. 'What's in a name? That which we call a rose/ By any other name would smell as sweet' – the iconic line from Shakespeare's Romeo and Juliet is flipped on its head. Where Juliet talks about the insignificance of a name – a thing is still a thing regardless of what we call it – He Ingoa emphasises the mana within a name. From the depths of te kore, a name blossoms and is brought into te whei ao, into te ao mārama. A name is given, a name is chosen, and a name is reclaimed. He Ingoa itself is a reclamation. Not only of our own names, but of our stories and our whakapapa. The cast packed a powerful performance and were incredibly well controlled with the intensity in every song, delivering full force right through to the climax at the end. The band and crew's work exceptionally embellished and elevated the show. He Ingoa certainly has carved its name into the stage. /Taipari Taua Ka Mua Ka Muri, Atamira Dance Company A fusion of lighting, sound, stage, choreography, six magnificent dance artists and spoken word. Ka Mua Ka Muri explores whakapapa through a mix of poetic visual and sound constructions and an undulating tone. The show opened with comedy and moved from there to anguish, poignancy, timidity, ferocity, hopes and reflections.I found the design of the show magnificent: all of the elements worked seamlessly together. The high production values made sure this gentle exploration of what it is to be Māori – to exist within the maunga of whakapapa – had impact. The spoken word elements wove throughout the show, like vignettes of internal thought, sometimes quite childlike which spoke to the sense of the eternal spiral of time. At times I wanted the voices to be amplified: The Opera House is a big space and the rest of the production had a sense of scale and awe so at times the lack of microphones for the dance artists was noticeable. The text was also very literal and I wondered if it could be pared back, simply to let the rich imagery of the choreography, sound, projection, stage and lighting do most of the work. The moments of song were magical. Many images will linger in my mind: an arrangement of dancers into various maunga, kupu sliding over them in ascent; bodies running to try and break an invisible barrier and being pinged back; the drift and sway of the veil. The two halves of the show (the first choreographed by Bianca Hyslop; the second by Eddie Elliott) referenced each other so there was a continuous motif of comedy (among other threads) – a self-awareness that worked. / Claire Mabey A Master of None: Brown Fala Lila Crichton's interpretation of the classic myth of Sina and the eel is dark and violent, with the eel – a king in disguise who is desperate to woo Sina despite her objections – sweeping her under waves of despair. It's a well-known Samoan tale, used to explain the existence of the coconut tree (in the original, Sina cuts off the eel's head, plants it and from it grows the palm) but in Crichton's world, it's a warning for the ways in which we undermine the autonomy of our sisters. The myth is the heart of this play, but so is fala, the Samoan art of weaving, and music, the universal language. The vocal abilities of the ensemble cast are breathtaking, whether they're singing traditional song, jazz or rhythm and blues, while Sina and the eel, both living in shame, disappear themselves under woven mats as they grapple with their relationship. By the play's end, Sina and her whānau are able to hold court with the eel, serving him kava as a clip plays in the background, acknowledging the almost nine in 10 Samoan women who will experience physical or emotional violence by a family member. Walking out to a standing ovation at the end, Crichton's only request for the crowd for us to 'just talk to each other'. /LWS WINHANGANHA, Jazz Money + National Film and Sound Archive of Australia I make no secret among my peers of my adoration for poet Jazz Money. WINHANGANHA is Money's film that brings together archival footage, an original score and her phenomenal poetry as an act of remembering ancestors, whānau and the history of First Nations and Torres Strait peoples. It took us on a journey across multiple chapters segmented by Money's poetry and I could feel the energy in the theatre as we all responded physically and emotionally to the film. After the film there was a question and answer session with Money, which was perfect. Hearing from her about her own film and its creation was inspiring and gave me much to think about. I will carry WINHANGANHAwith me for a long time to come. / Melissa Oliver The Handlers There are so many dynamics to enjoy in The Handlers, a slice of life look into a Crown Lynn workroom of the 70s, where Māori women shape mug handles and try to make sure the production line never halts, lest they feel the Pākehā wrath of their boss, Mr John. Tongan worker Salote isn't actually Māori, of course, but it's easier just going along with whatever John thinks, and she's already found a home in her colleagues: aunty Whero, Kiri and Hine. Sister duo Kiri and Hine can't stand being on the same production line, while making Crown Lynn crockery has been Whero's entire life for the past 20 years. There's a reason why all the characters are to keep their connections secret – Salote's issues with Immigration are causing her strife at home, while a tragedy in the family sees Kiri, Hine and Whero struggle with how much to divulge, and whether it's mahi or whānau that should come first in a post-colonial New Zealand. The Handlers is a beautiful piece of theatre, made strong by its ensemble cast and faithfulness to the New Zealand of the time – half of it desperately trying to assimilate into Pākehā culture, and the other half, trying desperately to hold onto indigenous mana. But it's not all serious and sad – The Handlers is funny! It's refreshing! It's hopeful! And at the end of it all, on opening night in Circa theatre, the show received a hearty standing ovation. /LWS

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store