Latest news with #ThisHouse
1News
14 hours ago
- Politics
- 1News
David Seymour defends role in Oxford Union 'stolen land' debate
Newly minted Deputy Prime Minister David Seymour says his self-funded trip to participate in the Oxford Union is worth doing despite his growing workload back home, because the world can learn from New Zealand's experience. Seymour has followed in the footsteps of some of the world's most prominent people, speaking at an Oxford Union event in England. Oxford Union claims to be the "most prestigious debating society in the world'', on its website. Established in 1823 with a commitment to freedom of speech and expression, the union's members largely remain University of Oxford students. The Deputy Prime Minister has followed in the footsteps of some of the world's most prominent people, speaking at an Oxford Union event in England. (Source: 1News) ADVERTISEMENT Seymour was opposing the moot "This House Believes No One Can Be Illegal on Stolen Land" alongside United States immigration reform advocates RJ Hauman and Art Arthur. The proposing side are historian Aviva Chomsky, Palestinian peace activist Nivine Sandouka and Australian Senator and Deputy Leader of the Australian Greens Mehreen Faruqi. Both sides will also include a student speaker. "I believe we're one of the most successful societies that there are in a world that is very troubled in many ways," Seymour told 1News. "A country like New Zealand that does practise the rule of law, that has sought through treaty settlements to right the wrongs of the past, that does welcome migrants." Seymour said he thought the invite was a prank until he saw that Labour MP Willie Jackson had participated in a debate at the union last year. He is opposing the moot "This House Believes No One Can Be Illegal on Stolen Land" alongside United States immigration reform advocates. (Source: Breakfast) On now being linked to the group of distinguished people that have spoken at Oxford Union events, Seymour said humour was his best chance for standing out. ADVERTISEMENT "Albert Einstein's been here, so I'm not the smartest.,They've had people like Elton John, so I'm not the most famous and I don't know if I'll be the funniest, but that's probably the best area to compete," he said. Toitū Te Tiriti spokesperson critical of moot Toitū Te Tiriti spokesperson Eru Kapa-Kingi has criticised Oxford Union's debate topic of "This House Believes No One Can Be Illegal on Stolen Land," saying discussing topics like this under the principle of freedom of expression is "ultimately dangerous". Toitū Te Tiriti spokesperson Eru Kapa-Kingi. He says this principle creates "opportunity for more embedded stereotypes which will damage not only current generations but also future generations of indigenous communities who are in the process right now of reclaiming and reviving their own identity, culture and political authority". Kapa-Kingi helped lead the hīkoi to Parliament opposing the Treaty Principles Bill, which failed at the second reading in Parliament. He's also been critical of Seymour participating in the debate, saying it's problematic. ADVERTISEMENT "He has neither the qualification nor the lived experience to talk either about illegal immigration or the colonisation of indigenous cultures, particularly through the theft of land… "Also, given David Seymour's most recent track record in terms of the Treaty Principles Bill and most recently the Regulatory Standards Bill, direct attacks on indigenous rights, tangata whenua (Māori) rights in Aotearoa, this is a provocative move inviting him to partake in this debate concerning those exact rights.' Kapa-Kingi said he questions the integrity and credibility of the debate, perceiving the event as a "deliberate attempt to incite what will inevitably be hateful rhetoric, damaging rhetoric to indigenous communities". Parliament punishment, free money?, getting wicked again (Source: 1News) Kapa-Kingi said Māori with formal qualifications and lived experience would be a better pick to take part and 'carry the kōrero with respect, honour and in a way that's genuinely productive and genuinely thought-provoking". Seymour has rejected the comments, saying everyone is allowed to share their perspective on an issue. "I think that they need to start respecting each person's dignity and right to have views and share them, instead of trying to say that some people are less able to express a view which seems to be exactly what they believe.' ADVERTISEMENT Seymour claimed the protest group divides society "into victims and villains and we should each know our place". "Well actually I think that we all get a time on earth and should be able to make the most of it, share the ideas that are important for us, throw away the ones that we don't like." A long history of distinguished guests As well as debates, the Union has a long history of hearing from distinguished people from around the world. This has included Albert Einstein, Mother Teresa and Malcolm X. Controversial speakers have also been invited over the years, sparking dramatic protests. New Zealand's most famous Oxford Union debate moment came in 1985 when former Prime Minister David Lange responded to a student speaker that he would answer his question, "if you hold your breath just for a moment... I can smell the uranium on it as you lean towards me!" David Lange at the Oxford Union event in 1985. (Source: TVNZ) Lange won the debate, arguing that "nuclear weapons are morally indefensible" and drawing international attention to New Zealand's anti-nuclear stance.
1News
a day ago
- Politics
- 1News
David Seymour taking part in 'stolen land' debate at prestigious Oxford Union
Newly minted Deputy Prime Minister David Seymour says his self-funded trip to participate in the Oxford Union is worth doing despite his growing workload back home, because the world can learn from New Zealand's experience. Seymour has followed in the footsteps of some of the world's most prominent people, speaking at an Oxford Union event in England. Oxford Union claims to be the "most prestigious debating society in the world''," on its website. Established in 1823 with a commitment to freedom of speech and expression, the union's members largely remain University of Oxford students. He is opposing the moot "This House Believes No One Can Be Illegal on Stolen Land" alongside United States immigration reform advocates. (Source: Breakfast) ADVERTISEMENT Seymour was opposing the moot "This House Believes No One Can Be Illegal on Stolen Land" alongside United States immigration reform advocates RJ Hauman and Art Arthur. The proposing side are historian Aviva Chomsky, Palestinian peace activist Nivine Sandouka and Australian Senator and Deputy Leader of the Australian Greens Mehreen Faruqi. Both sides will also include a student speaker. "I believe we're one of the most successful societies that there are in a world that is very troubled in many ways," Seymour told 1News. "A country like New Zealand that does practice the rule of law that has sought through treaty settlements to right the wrongs of the past that does welcome migrants." Seymour said he thought the invite was a prank until he saw that Labour MP Willie Jackson had participated in a debate at the union last year. On now being linked to the group of distinguished people that have spoken at Oxford Union events, Seymour said humour was his best chance for standing out. "Albert Einstein's been here, so I'm not the smartest. ADVERTISEMENT "They've had people like Elton John, so I'm not the most famous and I don't know if I'll be the funniest, but that's probably the best area to compete," he said. Toitū Te Tiriti spokesperson critical of moot Toitū Te Tiriti spokesperson Eru Kapa-Kingi has criticised Oxford Union's debate topic of "This House Believes No One Can Be Illegal on Stolen Land," saying discussing topics like this being discussed under the principle of freedom of expression is "ultimately dangerous". Toitū Te Tiriti spokesperson Eru Kapa-Kingi. He says this principle creates "opportunity for more embedded stereotypes which will damage not only current generations but also future generations of indigenous communities who are in the process right now of reclaiming and reviving their own identity, culture and political authority". Kapa-Kingi helped lead the hīkoi to Parliament opposing the Treaty Principles Bill, which failed at the second reading in Parliament. He's also been critical of Seymour participating in the debate, saying it's problematic. ADVERTISEMENT "He has neither the qualification nor the lived experience to talk either about illegal immigration or the colonisation of indigenous cultures, particularly through the theft of land…" "Also given David Seymour's most recent track record in terms of the Treaty Principles Bill and most recently the Regulatory Standards Bill, direct attacks on indigenous rights, tangata whenua (Māori) rights in Aotearoa, this is a provocative move inviting him to partake in this debate concerning those exact rights.' Kapa-Kingi said he questions the integrity and credibility of the debate, perceiving the event as a "deliberate attempt to incite what will inevitably be hateful rhetoric, damaging rhetoric to indigenous communities". Parliament punishment, free money?, getting wicked again (Source: 1News) Kapa-Kingi said Māori with formal qualifications and lived experience would be a better pick to take part and 'carry the kōrero with respect, honour and in a way that's genuinely productive and genuinely thought-provoking". Seymour has rejected the comments, saying everyone is allowed to share their perspective on an issue. "I think that they need to start respecting each person's dignity and right to have views and share them, instead of trying to say that some people are less able to express a view which seems to be exactly what they believe.' ADVERTISEMENT Seymour claimed the protest group divides society "into victims and villains and we should each know our place". "Well actually I think that we all get a time on earth and should be able to make the most of it, share the ideas that are important for us, throw away the ones that we don't like." A long history of distinguished guests As well as debates, the Union has a long history of hearing from distinguished people from around the world. This has included Albert Einstein, Mother Teresa and Malcolm X, to name just a few. Controversial speakers have also been invited over the years, sparking dramatic protests. New Zealand's most famous Oxford Union debate moment came in 1985 when former Prime Minister David Lange's responded to a student speaker that he would answer his question, "if you hold your breath just for a moment... I can smell the uranium on it as you lean towards me!" David Lange at the Oxford Union event in 1985. (Source: TVNZ) Lange won the debate, arguing that "nuclear weapons are morally indefensible" and drawing international attention to New Zealand's anti-nuclear stance.
Hamilton Spectator
3 days ago
- Entertainment
- Hamilton Spectator
`This House' makes world premiere, exploring Black history through a family's legacy in Harlem
ST. LOUIS (AP) — Near the end of 'This House,' a heart-wrenching opera given its world premiere last weekend, the matriarch Ida poignantly intones messages to her family on stage and to the audience. 'History's the only thing to survive,' soprano Adrienne Danrich sings before adding: 'You may have left us, but we will never leave you.' A rumination on love, aspiration, coping and the unyielding weight of the past, the roughly two-hour work that opened Saturday night at the Opera Theatre of St. Louis mixes the living and ghosts ambiguously in a Harlem brownstone. Ricky Ian Gordon's lush score brings to vivid life a libretto by Lynn Nottage and her daughter Ruby Aiyo Gerber, weaving impacts of the Civil War, Great Migration, Black Power movement, AIDS crisis and gentrification. There are five more performances through June 29. 'I just wanted to be able to tell all of these really important moments in Black history,' Gerber said, 'but as they relate to one family up into the current moment, so that there is not this erasure as if the past was the past, which I think increasingly now, especially as we see more and more censorship of Black history, is kind of this pervasive narrative.' Writing began when Gerber was a college senior Now 27, Gerber started 'This House' as a play in 2020 during her senior year at Brown while the coronavirus pandemic unfolded. Her mother, the only woman to win a pair of Pulitzer Prizes for drama, for 'Ruined' and 'Sweat, ' suggested Gerber adapt it with her into an opera composed by Gordon, Nottage's partner on 'Intimate Apparel' at Lincoln Center Theater. Opera Theater of St. Louis commissioned 'This House' for its 50th anniversary festival season as its 45th world premiere. 'Equal parts a family drama, a ghost story and a meditation on inheritance and memory,' company general director Andrew Jorgensen said. Ideas were exchanged when Gordon, Nottage and Gerber met at a Providence, Rhode Island, hotel. Among the changes, an escapist duet the librettists centered around Barcelona was changed to Valencia so as not to be similar to Stephen Sondheim's 'Company.' 'Being a mother-daughter you can be so honest,' Gerber said, recalling her mom telling her of one flowery passage: 'That's corny and I don't think it works.' Nottage still lives in the Brooklyn parlor house where Gerber grew up. 'We have different muscles. I'm someone that comes from the playwriting world,' Nottage said. 'Ruby's comfort zone is really poetry and language. and so I thought that between the two of us, we could divide and conquer in some ways.' Opera is set in Harlem brownstone In the resulting story, a house at 336 Convent Ave. was bought in 1919 by Minus Walker, a sharecropper's son. Zoe, a present-day investment banker (soprano Briana Hunter), and husband Glenn (tenor Brad Bickhardt) mull whether to move back to the house and subdivide the property. Zoe's brother, poetic painter Lindon (baritone Justin Austin), doesn't want to leave the house. and his lover Thomas (bass-baritone Christian Pursell) suggests they travel to Spain. Hunter tapped into anxiety, fear, pain and grief to portray Zoe. 'She's an ambitious woman, and she has been through a lot of really horrible, traumatic events through her family,' Hunter said. 'I understand the desire to kind of escape that. She's kind of a classic case of you can't avoid things forever.' Eight of the 10 characters are Black. There's a love triangle, pregnancies and surprise deaths. The house itself sings in 12-tone chords. Ida's Uncle Percy (tenor Victor Ryan Robertson) is a numbers runner who jolts the first act with an aria 'Drink Up!' 'Sportin' Life on steroids,' Gordon said, referring to the dope dealer in 'The Gershwins' Porgy and Bess.' 'We all are haunted by our past, and we all are haunted by our ghosts,' Gordon said. 'The question of living one's life is how does one reconcile the past and go on? How do you move into a future unbridled and free enough to be liberated and not imprisoned by the past?' Conductor has a penchant for contemporary works Daniela Candillari led her third world premiere in less than two years after Jeanine Tesori's 'Grounded' at the Washington National Opera and Rene Orth's '10 Days in a Madhouse' at Opera Philadelphia. Gordon originally envisioned the orchestra as chamber sized to hold down expenses, but Candillari pushed to add instruments. Conducting this is different from leading Verdi or Puccini. 'You can have two conductors read the score in a very different way,' she said. 'Having that direct source. a living composer who can tell you: This is what I heard and this is how I meant it and this is what this needs to be, that's incredibly invaluable.' Forty-eight players from the St. Louis Symphony Orchestra were in the deep pit at the Loretto-Hilton Center for the Performing Arts, a venue with a thrust stage and difficult acoustics. James Robinson, the company's former artistic director, returned to direct the performances and is likely to bring the staging to Seattle Opera, where he became general and artistic director in September 2024. 'It is kind of a ghost story, and I think that's the most important thing, knowing that we're able to bounce back and forth between time periods efficiently,' he said. For Danrich, portraying Ida has a special resonance. She is a St. Louis native and is staying at a hotel three blocks from where she grew up. 'My cousins, my grandmother, my grandfather, me, my sisters, we all lived in that big old house and we called it the big house,' she said. 'I was like, yep, this is my house. I'm actually basing her movements and her mannerisms off of my mother.'
Washington Post
3 days ago
- Entertainment
- Washington Post
`This House' makes world premiere, exploring Black history through a family's legacy in Harlem
ST. LOUIS — Near the end of 'This House,' a heart-wrenching opera given its world premiere last weekend, the matriarch Ida poignantly intones messages to her family on stage and to the audience. 'History's the only thing to survive,' soprano Adrienne Danrich sings before adding: 'You may have left us, but we will never leave you.'
Yahoo
3 days ago
- Entertainment
- Yahoo
`This House' makes world premiere, exploring Black history through a family's legacy in Harlem
ST. LOUIS (AP) — Near the end of 'This House,' a heart-wrenching opera given its world premiere last weekend, the matriarch Ida poignantly intones messages to her family on stage and to the audience. 'History's the only thing to survive,' soprano Adrienne Danrich sings before adding: 'You may have left us, but we will never leave you.' A rumination on love, aspiration, coping and the unyielding weight of the past, the roughly two-hour work that opened Saturday night at the Opera Theatre of St. Louis mixes the living and ghosts ambiguously in a Harlem brownstone. Ricky Ian Gordon's lush score brings to vivid life a libretto by Lynn Nottage and her daughter Ruby Aiyo Gerber, weaving impacts of the Civil War, Great Migration, Black Power movement, AIDS crisis and gentrification. There are five more performances through June 29. 'I just wanted to be able to tell all of these really important moments in Black history,' Gerber said, 'but as they relate to one family up into the current moment, so that there is not this erasure as if the past was the past, which I think increasingly now, especially as we see more and more censorship of Black history, is kind of this pervasive narrative.' Writing began when Gerber was a college senior Now 27, Gerber started 'This House' as a play in 2020 during her senior year at Brown while the coronavirus pandemic unfolded. Her mother, the only woman to win a pair of Pulitzer Prizes for drama, for 'Ruined' and 'Sweat, ' suggested Gerber adapt it with her into an opera composed by Gordon, Nottage's partner on 'Intimate Apparel' at Lincoln Center Theater. Opera Theater of St. Louis commissioned 'This House' for its 50th anniversary festival season as its 45th world premiere. 'Equal parts a family drama, a ghost story and a meditation on inheritance and memory,' company general director Andrew Jorgensen said. Ideas were exchanged when Gordon, Nottage and Gerber met at a Providence, Rhode Island, hotel. Among the changes, an escapist duet the librettists centered around Barcelona was changed to Valencia so as not to be similar to Stephen Sondheim's 'Company.' 'Being a mother-daughter you can be so honest,' Gerber said, recalling her mom telling her of one flowery passage: 'That's corny and I don't think it works.' Nottage still lives in the Brooklyn parlor house where Gerber grew up. 'We have different muscles. I'm someone that comes from the playwriting world,' Nottage said. 'Ruby's comfort zone is really poetry and language. and so I thought that between the two of us, we could divide and conquer in some ways.' Opera is set in Harlem brownstone In the resulting story, a house at 336 Convent Ave. was bought in 1919 by Minus Walker, a sharecropper's son. Zoe, a present-day investment banker (soprano Briana Hunter), and husband Glenn (tenor Brad Bickhardt) mull whether to move back to the house and subdivide the property. Zoe's brother, poetic painter Lindon (baritone Justin Austin), doesn't want to leave the house. and his lover Thomas (bass-baritone Christian Pursell) suggests they travel to Spain. Hunter tapped into anxiety, fear, pain and grief to portray Zoe. 'She's an ambitious woman, and she has been through a lot of really horrible, traumatic events through her family,' Hunter said. 'I understand the desire to kind of escape that. She's kind of a classic case of you can't avoid things forever.' Eight of the 10 characters are Black. There's a love triangle, pregnancies and surprise deaths. The house itself sings in 12-tone chords. Ida's Uncle Percy (tenor Victor Ryan Robertson) is a numbers runner who jolts the first act with an aria 'Drink Up!' 'Sportin' Life on steroids,' Gordon said, referring to the dope dealer in 'The Gershwins' Porgy and Bess.' 'We all are haunted by our past, and we all are haunted by our ghosts,' Gordon said. 'The question of living one's life is how does one reconcile the past and go on? How do you move into a future unbridled and free enough to be liberated and not imprisoned by the past?' Conductor has a penchant for contemporary works Daniela Candillari led her third world premiere in less than two years after Jeanine Tesori's 'Grounded' at the Washington National Opera and Rene Orth's '10 Days in a Madhouse' at Opera Philadelphia. Gordon originally envisioned the orchestra as chamber sized to hold down expenses, but Candillari pushed to add instruments. Conducting this is different from leading Verdi or Puccini. 'You can have two conductors read the score in a very different way,' she said. 'Having that direct source. a living composer who can tell you: This is what I heard and this is how I meant it and this is what this needs to be, that's incredibly invaluable.' Forty-eight players from the St. Louis Symphony Orchestra were in the deep pit at the Loretto-Hilton Center for the Performing Arts, a venue with a thrust stage and difficult acoustics. James Robinson, the company's former artistic director, returned to direct the performances and is likely to bring the staging to Seattle Opera, where he became general and artistic director in September 2024. 'It is kind of a ghost story, and I think that's the most important thing, knowing that we're able to bounce back and forth between time periods efficiently,' he said. For Danrich, portraying Ida has a special resonance. She is a St. Louis native and is staying at a hotel three blocks from where she grew up. 'My cousins, my grandmother, my grandfather, me, my sisters, we all lived in that big old house and we called it the big house,' she said. 'I was like, yep, this is my house. I'm actually basing her movements and her mannerisms off of my mother.'
