Latest news with #RebeccaFox
Glasgow Times
an hour ago
- Business
- Glasgow Times
Opening date of Scotland's first Haribo store in Glasgow
The candy giant announced that the shop, at Glasgow's Silverburn Shopping Centre, will open at 10am on Tuesday, September 9. Visitors are invited to a special ribbon-cutting ceremony led by the iconic mascot, Goldbear. The first 75 customers will also receive a free goodie bag and, for the first hour of opening, people will receive a free treat if they take a picture in front of the in-store Goldbear and upload it to their socials, tagging #HARIBOSilverburn. (Image: Supplied) READ NEXT: Primark to celebrate 50th birthday of first Scottish store We previously reported that the 2500 sq ft store will be equipped with an exclusive 'Pick Your Mix' with over 40 varieties of Haribo and Maoam treats. The store will also feature bespoke products, including a Goldbear plush toy sporting a Scotland flag shirt. The store will also feature a diverse Haribo range from around the world – including Haribo Favoritos and Watermelon from Spain, Haribo Dragibus and Tagada from France, and Haribo Lakritz Schnecken from Germany. The new shop will be the firm's twelfth retail store in the UK and the most northern Haribo store in the world. Rebecca Fox, head of retail, said: 'After months of anticipation, we are thrilled to be just weeks away from the opening of Haribo Silverburn. It's been a fantastic year for our expanding retail footprint, and our first Scottish store marks a significant milestone in Haribo UK's success story. "Preparations are well underway ahead of opening day to make sure all shoppers at Haribo Silverburn will experience moments of childlike happiness in a unique and special way at our new store.' READ NEXT: Major global brand to open first Scottish store in Silverburn (Image: Supplied) (Image: Newsquest) David Pierotti, general manager at Silverburn, said: "The imminent opening of Haribo's first store in Scotland marks another special milestone for Silverburn as we continue to deliver a best-in-class retail experience by enhancing our offering and bringing globally recognised brands to our community. "Haribo's playful spirit and iconic treats complement that perfectly. With its exclusive 'Pick Your Mix' station and Scotland-inspired products, we know the store will be popular with our guests, bringing moments of childlike happiness and a sense of fun and joy for all ages."
Otago Daily Times
a day ago
- Entertainment
- Otago Daily Times
Exhibition explores iconic performers
There is plenty of glitter, glamour and outrageous style in Auckland Museum's ''Diva'' exhibition but it is the underlying story that really resonates, finds Rebecca Fox. Getting up close to outfits most only see on the big or small screens at the ''Diva'' exhibition, there are two things that hit you. One is the extraordinary lengths artists will go to make a statement at the cost of their own personal comfort, and the other is how small they are. Discovering the mannequins the garments are hung on were all custom-made to fit the outfits only reinforces that - such as the Louis XIV-inspired look with towering powdered wig and train worn by Sir Elton John for his 50th birthday celebration, designed by Sandy Powell, or designer to the stars Bob Mackie's Cher costumes or Rihanna's 2018 Met Gala crystal outfit. They are among 280 objects, including show-stopping costumes, fashion, photography and music, that form ''Diva'', an exhibition by the Victoria and Albert Museum in London that has travelled to Auckland Museum. Each garment arrived already on its mannequin in crates. The exhibition is split into two acts: the first traces the origin and legacy of the diva across opera, stage and screen; the second explores the construction of the modern diva through fashion, voice, image and political power. ''Diva'' curator Kate Bailey says ''Diva'' explores the performer, not just as an artist, but as a trailblazer and how they have leveraged their fame to advocate for change from civil rights to gender equality. ''At the heart of this exhibition is a story of iconic performers who, with creativity, courage and ambition, have challenged the status quo and used their voice and their art to redefine and reclaim the diva.'' A highlight is the inclusion for Auckland of Dame Kiri Te Kanawa's millennium coat, worn at the New Year's Day 2000 performance that was broadcast to 1 billion people around the world. Auckland Museum curator of social history Jane Groufsky says it was selected from Dame Kiri's collection at Te Papa because it is one of the most conspicuously Aotearoa garments of the opera singer's due to its reference to the kākahu (adorned Māori cloak). ''She also fulfills a lot of the other things that we see with the other divas. She really fought for what she did, she worked hard, but then now in her more retired career, she has the foundation where she's supporting other young singers to come up and come through and follow that same path - which is kind of something she has in common with a lot of the divas in the exhibition, is that they're all using their voice to kind-of effect change in some positive way or bring up others and to follow in their footsteps.'' But there are also the stories of the first divas, with one of Groufsky's favourites, the Mariano Fortuny dress worn by American dancer and choreographer Isadore Duncan (1877-1927). ''It's hard to remind yourself how groundbreaking that style, that lack of form-fitting, was in the early 20th century. I think its still not known today how he did those pleats. So it's really special to see it in the museum.'' Another standout for her is the only known surviving dress worn by American actress Clara Bow (1905-65), who rose to fame during the silent film era of the 1920s, that is rarely seen outside of the United States. ''I went through a big silent film phase in my teens. She was the original ''it'' girl. It's amazing it survived.'' Accompanying all of these items is a soundtrack to match, played through headphones which cleverly pick up where you are looking and play the corresponding track, adding to the immersive feel of the exhibition. To see: DIVA, Tmaki Paenga Hira Auckland War Memorial Museum, until October 19.
Otago Daily Times
12-08-2025
- Entertainment
- Otago Daily Times
Symphony inspired by South D flood
From New York to South Dunedin . . . Home for three months, composer and musician Nathaniel Otley has been delving deep into the issues facing his old home turf in South Dunedin for a new composition for the Dunedin Symphony Orchestra. He talks to Rebecca Fox about work, life and music. Ten years ago, Nathaniel Otley waded along Bayview Rd in knee deep water and heavy rain holding his violin aloft. His biggest concern was to get his violin home from his school, King's High, as dry as possible despite the rain. He had considered leaving it at school, but the water was beginning to encroach into hallways in some areas. "I was like 'Oh, I have to be careful'. It was a very strange feeling." That experience of the 2015 South Dunedin floods never left him and he always thought that one day there might be an opportunity to use it in a work. Approached to compose a piece for the Dunedin Symphony Orchestra two years ago and learning it would be performed in the King's and Queen's Performing Art Centre, it seemed like the right time to do it. "It's 10 years on ,so we have some ideas of the long-term impacts as well, which has been really important. And I think for some of these more artistic projects, having a little bit of that run-out time is important, because sometimes in the moment things can be a bit raw and fresh." He acknowledges it is still a fraught situation. Having been to some community meetings recently, he has seen how raw and real it still is to people who have faced more flooding events since. "The work's become sort of a mix between this, my own sort of response to it and something that has some community focus as well, which is a fine line to walk." Based in New York, working out the logistics of the project has been a challenge, but a trip back to New Zealand last year enabled him to meet people involved in the issues following the floods and work out who to talk to. In New York he spent six months writing the 17 minute piece This Rising Tide; These Former Wetlands - his longest orchestral work to date. "I've written sort of 10 minutes before. So it's quite a step up in that regard. And then it quickly became apparent that I wanted to expand the project." He applied to Creative New Zealand for an early career grant, which has meant he has been able to "dig into" the reports on the South Dunedin floods and the area's history. "I wanted to try and get a sense of both the history and the current stories and the reports from the South Dunedin Futures team on what might happen down the line." Otley recorded the interviews with those involved and impacted and is using them as part of an electronic addition to the orchestral work, which he will control on the night. "So there's sampled sounds from the local environment, everything from little springs that run down the hill into the catchment area to rain noises to the noise sampled at the South Dunedin Street Festival, things like that." He also wanted to acknowledge the suburb's industrial history, so has included two percussion set-ups, one featuring break drums, railway tracks and wooden boxes he is making himself to get the sound he wants, the second including found objects from the shoreline such as rebar, similar to what is seen in the dunes. "Just trying to find ways to sort of embed aspects of the area in the piece in both a concrete way and an abstract way." His aim is to weave together all the different threads of life in the suburb. "I wanted to do something that's both definitely about the ecological challenges, but also has a community focus. So there are interviews as well and people's voices within the electronics part that I think are going to be really quite different maybe for an attendee who regularly goes to DSO concerts." The concert is another milestone for Otley, who started playing in the DSO 10 years ago as a violinist and has played with them most years except last year. "It's been really nice to be able to showcase some of the people in that orchestra who do amazing work. So there's one particular duet for the concertmaster and oboe, so Nick Cornish [oboe] and Tessa Petersen [violin], who've both been really supportive and wonderful mentors to me at various points." It is also a rare opportunity to write music for an orchestra he knows well. "It has actually made writing it a lot easier, I think, in some ways, but also quite difficult in other ways, because you really care what you're putting in front of people and you want to find ways to challenge [them]." The past 10 years have been busy for Otley, who was an Otago Daily Times Class Act recipient in 2015, along with his future wife Ihlara McIndoe, whom he met while playing chamber music. Playing violin and also enjoying conducting and composition, Otley had some decisions to make on what to pursue for a career. In the end he chose composition, believing there were greater overseas study opportunities. He went on to study composition with Anthony Ritchie and Peter Adams at the University of Otago and violin with Petersen. In his final year, he won the New Zealand Symphony Orchestra's Young Composer's Award for his contemporary classical work Biosphere Degradation . His piece Recalibration , for violin and electronics, also won the 2019 University of Otago Lilburn Trust Composition Competition. The Covid pandemic interrupted his plans to take up a Fulbright Scholarship at the Eastman School of Music in the United States. Instead he was awarded the prestigious William Georgetti Scholarship to study towards a master's degree at the Sydney Conservatorium of Music, but again Covid lockdowns interrupted and he ended up back in Dunedin and then Wellington, where McIndoe was studying, working on his masters long-distance. He was also the 2023 NZSO National Youth Orchestra Composer in Residence. Otley persevered, returning to Sydney when he could and then came back to Dunedin before joining McIndoe, who by that time was studying in Montreal, Canada. When McIndoe secured a place in a Columbia University doctorate programme in New York, the couple moved there. "I genuinely don't know where I'm from at the moment. It's a very strange feeling, because I definitely haven't lived long enough in New York to be New York-based or anything." Along the way he has continued to win accolades for his work, winning the SOUNZ Contemporary Award, Aotearoa's premiere award for Art Music Composition for his piece The Convergence of Oceans in 2024, beating his finalist position for a classical composition the year before. That composition, Mycelium , was premiered by Marie Ythier and Ensemble Ictus in France in 2022, when he attended the Voix Nouvelles programme at Royaumont. The competing demands of Otley and McIndoe's careers has meant long periods apart for the pair, including 18 months while McIndoe was in Montreal. "I think anything vaguely that long again would be difficult, but she was going to come back [to Dunedin for this trip] and then she had other opportunities in the northern hemisphere that were too good to pass up. Although I have been getting slightly jealous of her summer photos in Marseille." After the Dunedin concert, Otley will return to New York, where he will start studying towards a composition doctorate at the City University of New York. He selected the programme because it offers him the opportunity to work on his teaching skills early on. He will be running his own class in his second year at a community college. "I enjoy the teaching, and I want something that's going to challenge me and give me the chance to develop that side of what I do." He finds performing and teaching are ways to balance the time he spends "in a room torturing yourself, going 'is it that note or that note? Is it going too long?'. "The value of those communities and the support networks is really important." Since moving to New York he has been playing violin in a community orchestra to keep up his skills, which allowed him to play for the DSO when he returned to Dunedin this year as he especially wanted to play in the premiere of Gillian Whitehead's new work last month. "If I hadn't been playing while I was over there, I couldn't have done that because you just need to keep the fingers sort of knowing where they're going." He has also been collaborating with McIndoe and performing in her works. "So Ihlara wrote a piece that I played in New York where we collaborated with a dancer last year, and we're doing that again at the end of August. So there's lots of chances to do some really fun little playing things, which is nice." Otley stakes the claim of playing in the most premieres of McIndoe's works, but does not think that record will last long. "There are people starting to catch on to how brilliant she is, and I'm not going to have that title forever, I'm sure." He credits his time at the University of Otago with giving him and McIndoe the skills needed to pursue their careers overseas. In particular, the information from former Mozart Fellow Dylan Lardelli about how to put on concerts and write funding applications was invaluable. "I think that is one of the real benefits of having the Mozart fellowship ... I worry ... it's not being done for next year. We hope it comes back soon." It is knowledge like this that Otley, who also lectures at the University of Otago when he is in the city, is keen to share as he believes Dunedin's artistic community benefits when a variety of people are doing well. "Getting defensive about your own turf is a natural response, but it's not helpful." TO SEE • "Amalia plays Piazzola", King's and Queen's Performing Arts Centre, Saturday, August 16, 5pm; Sunday, August 17, 3pm. • Violinist Nathaniel Otley, Dunedin Public Art Gallery, Saturday, August 9, 1- 2pm.
Otago Daily Times
06-08-2025
- Entertainment
- Otago Daily Times
Suburb's sounds focus for composer
From New York to South Dunedin . . . Home for three months, composer and musician Nathaniel Otley has been delving deep into the issues facing his old home turf in South Dunedin for a new composition for the Dunedin Symphony Orchestra. He talks to Rebecca Fox about work, life and music. Ten years ago, Nathaniel Otley waded along Bayview Rd in knee deep water and heavy rain holding his violin aloft. His biggest concern was to get his violin home from his school, King's High, as dry as possible despite the rain. He had considered leaving it at school, but the water was beginning to encroach into hallways in some areas. "I was like 'Oh, I have to be careful'. It was a very strange feeling." That experience of the 2015 South Dunedin floods never left him and he always thought that one day there might be an opportunity to use it in a work. Approached to compose a piece for the Dunedin Symphony Orchestra two years ago and learning it would be performed in the King's and Queen's Performing Art Centre, it seemed like the right time to do it. "It's 10 years on ,so we have some ideas of the long-term impacts as well, which has been really important. And I think for some of these more artistic projects, having a little bit of that run-out time is important, because sometimes in the moment things can be a bit raw and fresh." He acknowledges it is still a fraught situation. Having been to some community meetings recently, he has seen how raw and real it still is to people who have faced more flooding events since. "The work's become sort of a mix between this, my own sort of response to it and something that has some community focus as well, which is a fine line to walk." Based in New York, working out the logistics of the project has been a challenge, but a trip back to New Zealand last year enabled him to meet people involved in the issues following the floods and work out who to talk to. In New York he spent six months writing the 17 minute piece This Rising Tide; These Former Wetlands — his longest orchestral work to date. "I've written sort of 10 minutes before. So it's quite a step up in that regard. And then it quickly became apparent that I wanted to expand the project." He applied to Creative New Zealand for an early career grant, which has meant he has been able to "dig into" the reports on the South Dunedin floods and the area's history. "I wanted to try and get a sense of both the history and the current stories and the reports from the South Dunedin Futures team on what might happen down the line." Otley recorded the interviews with those involved and impacted and is using them as part of an electronic addition to the orchestral work, which he will control on the night. "So there's sampled sounds from the local environment, everything from little springs that run down the hill into the catchment area to rain noises to the noise sampled at the South Dunedin Street Festival, things like that." He also wanted to acknowledge the suburb's industrial history, so has included two percussion set-ups, one featuring break drums, railway tracks and wooden boxes he is making himself to get the sound he wants, the second including found objects from the shoreline such as rebar, similar to what is seen in the dunes. "Just trying to find ways to sort of embed aspects of the area in the piece in both a concrete way and an abstract way." His aim is to weave together all the different threads of life in the suburb. "I wanted to do something that's both definitely about the ecological challenges, but also has a community focus. So there are interviews as well and people's voices within the electronics part that I think are going to be really quite different maybe for an attendee who regularly goes to DSO concerts." The concert is another milestone for Otley, who started playing in the DSO 10 years ago as a violinist and has played with them most years except last year. "It's been really nice to be able to showcase some of the people in that orchestra who do amazing work. So there's one particular duet for the concertmaster and oboe, so Nick Cornish [oboe] and Tessa Petersen [violin], who've both been really supportive and wonderful mentors to me at various points." It is also a rare opportunity to write music for an orchestra he knows well. "It has actually made writing it a lot easier, I think, in some ways, but also quite difficult in other ways, because you really care what you're putting in front of people and you want to find ways to challenge [them]." The past 10 years have been busy for Otley, who was an Otago Daily Times Class Act recipient in 2015, along with his future wife Ihlara McIndoe, whom he met while playing chamber music. Playing violin and also enjoying conducting and composition, Otley had some decisions to make on what to pursue for a career. In the end he chose composition, believing there were greater overseas study opportunities. He went on to study composition with Anthony Ritchie and Peter Adams at the University of Otago and violin with Petersen. In his final year, he won the New Zealand Symphony Orchestra's Young Composer's Award for his contemporary classical work Biosphere Degradation . His piece Recalibration , for violin and electronics, also won the 2019 University of Otago Lilburn Trust Composition Competition. The Covid pandemic interrupted his plans to take up a Fulbright Scholarship at the Eastman School of Music in the United States. Instead he was awarded the prestigious William Georgetti Scholarship to study towards a master's degree at the Sydney Conservatorium of Music, but again Covid lockdowns interrupted and he ended up back in Dunedin and then Wellington, where McIndoe was studying, working on his masters long-distance. He was also the 2023 NZSO National Youth Orchestra Composer in Residence. Otley persevered, returning to Sydney when he could and then came back to Dunedin before joining McIndoe, who by that time was studying in Montreal, Canada. When McIndoe secured a place in a Columbia University doctorate programme in New York, the couple moved there. "I genuinely don't know where I'm from at the moment. It's a very strange feeling, because I definitely haven't lived long enough in New York to be New York-based or anything." Along the way he has continued to win accolades for his work, winning the SOUNZ Contemporary Award, Aotearoa's premiere award for Art Music Composition for his piece The Convergence of Oceans in 2024, beating his finalist position for a classical composition the year before. That composition, Mycelium , was premiered by Marie Ythier and Ensemble Ictus in France in 2022, when he attended the Voix Nouvelles programme at Royaumont. The competing demands of Otley and McIndoe's careers has meant long periods apart for the pair, including 18 months while McIndoe was in Montreal. "I think anything vaguely that long again would be difficult, but she was going to come back [to Dunedin for this trip] and then she had other opportunities in the northern hemisphere that were too good to pass up. Although I have been getting slightly jealous of her summer photos in Marseille." After the Dunedin concert, Otley will return to New York, where he will start studying towards a composition doctorate at the City University of New York. He selected the programme because it offers him the opportunity to work on his teaching skills early on. He will be running his own class in his second year at a community college. "I enjoy the teaching, and I want something that's going to challenge me and give me the chance to develop that side of what I do." He finds performing and teaching are ways to balance the time he spends "in a room torturing yourself, going 'is it that note or that note? Is it going too long?'. "The value of those communities and the support networks is really important." Since moving to New York he has been playing violin in a community orchestra to keep up his skills, which allowed him to play for the DSO when he returned to Dunedin this year as he especially wanted to play in the premiere of Gillian Whitehead's new work last month. "If I hadn't been playing while I was over there, I couldn't have done that because you just need to keep the fingers sort of knowing where they're going." He has also been collaborating with McIndoe and performing in her works. "So Ihlara wrote a piece that I played in New York where we collaborated with a dancer last year, and we're doing that again at the end of August. So there's lots of chances to do some really fun little playing things, which is nice." Otley stakes the claim of playing in the most premieres of McIndoe's works, but does not think that record will last long. "There are people starting to catch on to how brilliant she is, and I'm not going to have that title forever, I'm sure." He credits his time at the University of Otago with giving him and McIndoe the skills needed to pursue their careers overseas. In particular, the information from former Mozart Fellow Dylan Lardelli about how to put on concerts and write funding applications was invaluable. "I think that is one of the real benefits of having the Mozart fellowship ... I worry ... it's not being done for next year. We hope it comes back soon." It is knowledge like this that Otley, who also lectures at the University of Otago when he is in the city, is keen to share as he believes Dunedin's artistic community benefits when a variety of people are doing well. "Getting defensive about your own turf is a natural response, but it's not helpful." TO SEE • "Amalia plays Piazzola", King's and Queen's Performing Arts Centre, Saturday, August 16, 5pm; Sunday, August 17, 3pm. • Violinist Nathaniel Otley, Dunedin Public Art Gallery, Saturday, August 9, 1- 2pm.
Otago Daily Times
28-05-2025
- General
- Otago Daily Times
Exhibition hoped to foster connection
In a first for the Hocken Collections a waka has been installed in its foyer as part of the exhibition ''Ruruku: An exhibition by Hauteruruku ki Puketeraki waka club'', Rebecca Fox writes. ''She just glides so beautifully.'' Having been lucky enough to take part in Kuramātakitaki 's dawn maiden voyage, Jacinta Beckwith (Ngāti Porou, Ngāti Kahungunu) can attest to the waka's movement on water. However, that first sail out into the open water was not without some apprehension for the crew from Hauteruruku ki Puketeraki waka club who had spent two years creating the tradition-inspired vessel from scratch. ''We were all nervous that she would float. And she did. And she just really holds herself really well. It's a really amazing experience.'' Beckwith first became involved in the Karitane community through the Ki Uta ki Tai native plant restoration project with Puketeraki marae back in 2018. On one stay on the marae, she had the opportunity to go out on a waka with the club. ''That community vibe is very [much a] part of their kaupapa, inviting everyone in to join in and experience what it is like being out on the water.'' Beckwith loved the experience so much she has been involved with the club ever since. She has crewed on other waka such as the double-hull waka hourua Hinemoana , from the national waka festival, Te Hau Komaru, at Kaiteretere, to Whakaraupō (Lyttelton) in April last year. ''It was like nothing I had experienced before, just joyous being out on the water and very restorative. It made me think a lot about our ancestors when they came here on their waka. Seeing the stars and seeing the land from the perspective of being out on the water was just amazing.'' So when she became the head curator Māori at Hocken Collections in 2023 and was invited to produce an exhibition her first thought was of Hauteruruku ki Puketeraki and creating a community-led exhibition. She took the idea to the club, which had previous experience installing a smaller waka Hauteruruku in the University of Otago's central library many years ago. ''It really drew people in.'' So despite the space being smaller at the Hocken, the club were keen to do it again and the work began. What has become known as the Ruruku project received funding through the Coastal People: Southern Skies, National Centre of Research Excellence. The club decided to construct an 8m, double-hulled waka joined by two 3m-wide kiatō (thwarts) with a 8m mast using a strip-plank timber traditional design which is lighter than a dug-out hull and also makes more efficient use of natural materials. Western red cedar, known as the tree of life, was selected for use in the hulls as it connects the waka to Pacific Rim North America. Other woods such as Atlantic cedar, Canadian oregon, native beech, Fijian and native kauri, rimu, Pacific hardwood meranti and Australian hardwood were used as well. The materials were all cut, joined, carved, sanded and sealed using contemporary methods by volunteers from the community and the club over many weekend workshops. ''We've all shared skills, or for me, learnt lots of skills, like fiberglassing, there's been a lot of sanding.'' It is designed for coastal voyaging and can be paddled or sailed or both. On May 19 the finished waka was sailed down Otago Harbour and then taken on a trailer to its temporary home in the Hocken foyer as the centrepiece of the exhibition ''Ruruku: An exhibition by Hauteruruku ki Puketeraki waka club''. ''The great thing about the waka is people are able to touch it. So this is like a living exhibition. People can touch the waka. People can get on the waka, two at a time, take photos with the waka. So it's different from the idea of not being able to touch artwork.'' To continue the living theme, there will be a group of weavers making a sail from harakeke (flax), inspired by the traditional waka sail ''Te Ra'' returned to New Zealand in 2023 on loan after being in the collection of the British Museum for 200 years. Hauteruruku ki Puketeraki co-founder Suzi Flack says Te Rā Ringa Raupa has been teaching experienced weavers of Whiria Ka Aho ki Puketeraki how to weave their own sail using traditional fibres and materials, relearning a lost practice. These weavers will then be able to teach others so this mātauraka (knowledge) is not lost again. ''The materials, harakeke, kiekie, feathers and techniques, learning a new pattern, using the right cultivars, making muka for the ropes - it's important to share so these new skills aren't lost again. ''Like building a waka, weaving a sail is a journey. We laugh when we thought weaving whaariki [sleeping mat] was a big job, and it was, but this is even bigger.'' But the waka is just the start of the exhibition. In the Hocken's gallery visitors can view objects of personal and cultural significance from the club and marae which tells the story of the waka and the club. ''We have photographs from the waka build days and photos from the launch. She launched it in February this year. And then photos from the club, from the building of the first hull of the first waka in 2010.'' The first waka built by the club was Hauteruruku , followed by Hiwa-i-te-rangi , and then Kuramātakitaki . But the club's activities also include using waka unua, waka ama, stand-up paddle boards and a Happy Cat sailboat brought to life by Ewan Duff. Beckwith says they have built relationships with different voyaging societies so the exhibition celebrates those waka connections, both throughout New Zealand and overseas. The exhibition includes photographs from Te Hau Komaru which the club took part in. ''What is great is having these little waka in on the water and among the big waka, enjoying that bigger waka whanau.'' There is also koha that has been given to the club over the years including six paddles, an anchor stone and waka ceramics by artist Phyllis Smith. A series of artworks made by a group of rangatahi and local artist Simon Kaan back in the late 1990s that depict the story of the coastline are being hung along with works of different waka from around the Pacific including 13 watercolour prints by Hawaiian artist and historian Herb Kawainui Kane. ''They show the connections. They're of different waka from different Pacific places, including Hokule'a . Hokule'a , was built or finished in 1975. It's been the 50th anniversary of this waka this year, and it was the big inspiration for the waka revitalisation. So he was the designer for that.'' One of his artworks depict New Zealand scenes including a waka and a weaver. ''So it celebrates waka kaupapa, waka taonga and waka connections throughout Aotearoa and the Pacific.'' Hauteruruku ki Puketeraki's journey began as a result of the revival of traditional navigation and sailing spear headed by Te Toki Voyaging about 15 years ago where there was an opportunity for Ngāi Tahu whanau to come together and sail as an iwi. Puketeraki kaumātua Hinerangi Ferrall-Heath's vision was to establish a club, so with Flack and husband Brendan Hauteruruku ki Puketeraki was formed with the aim to get whanau out on the water in a fun, safe way. Some whanau joined Fire in Ice waka ama club to learn paddling and steering and competed in a regatta. ''Gradually we grew towards being more kaupapa Māori than competitive,'' Flack says. They also began to build their own waka, bringing together people with different skills and interests. Its first job was to build a roof over its waka shed. ''At its heart is the build but what also grows are the relationships and connections made along the way.'' Now the waka is complete members will continue to learn how to sail it, water safety measures and how to look after it. Having the waka and other club taonga exhibited at the Hocken is a celebration of what the club has achieved during the past 15 years and the people involved, Flack says. ''We hope that those who have been involved with the waka over the years - whether as club members or through time spent on the water with us - will come and reconnect.'' TO SEE: • Ruruku: An exhibition by Hauteruruku ki Puketeraki waka club Hocken Gallery, until August 2. • Ruruku Waka Workshop, June 28, 11am.
