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Across the Ditch: NZ Defence Deployment to Iraq Extended + Auckland Road Tolls + All Blacks V Wales

Across the Ditch: Australian radio FiveAA.com.au‘s Peter Godfrey and EveningReport.nz‘s Selwyn Manning deliver this week’s bulletin and discuss: First up: Weather comparison + Headlines round up. ITEM ONE Defence/Security: New Zealand Government commits to extend defence deployment to Iraq for another two years. Announced a week after revealing a $20 billion defence spend up over the next two decades. ITEM TWO New Tech Plan for Road Tolls The government and Auckland Council are considering applying a toll for drivers on Auckland’s motorways. It’s a bid to help pay for the city’s huge infrastructure upgrades, including an underground rail loop in the inner city and interconnecting the city’s numerous motorways and arterial routes. The burden of paying for the construction is something the government is loathed to meet, and the city’s ratepayers have already faced significant rate increases since the region amalgamated into a fairly expansive single city. SPORT All Blacks V Wales: Thankfully Selwyn does not have to eat his hat on air as the All Blacks did beat Wales last Saturday night. The third and final test is played this weekend in the cold deep south of the South Island in the city of Dunedin. Julian Savea is back in the side and there’s been some tweaking by the coach Steve Hansen.

Across the Ditch broadcasts live on Australia’s FiveAA.com.au and webcasts on EveningReport.nz LiveNews.co.nz and ForeignAffairs.co.nz.

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UPNG students speak out – their own story, video of the police shootings

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Report by David Robie. This article was first published on Café Pacific

AN EXCLUSIVE video created by the University of Papua New Guinea’s Student Representative Council about the events on 8 June 2016 involving the shooting of at least 8 UPNG students by police officers outside of their Waigani campus in Port Moresby.

Hospital authorities denied news reports of deaths, but confirmed at least 23 people had been treated for gunshot wounds, four with critical injuries

The students were assembling at the campus for a peaceful march to Parliament to call for the resignation of Prime Minister Peter O’Neill to face an investigation into corruption allegations.

The narrator is Kenneth Rapa, president of the SRC, and he explains the sequence of events leading up the police opening fire on the students with gunshots and tear gas.

Story on Asia Pacific Report

More reports at APR

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Review: The Magic Flute – It Felt Like Mozart Was There

Review by Selwyn Maning.

The Magic Flute – Performed by New Zealand Opera. Accompanied by the Auckland Philharmonia Orchestra. AUCKLAND: ASB Theatre, Aotea Centre Thursday June 16, Saturday June 18, Wednesday June 22, Friday June 24 2016 performances at 7.30pm. Then Sunday June 26, at 2.30pm.
IF YOU GET A CHANCE do treat yourself to New Zealand Opera’s performance of Mozart’s The Magic Flute, which continues this week at Auckland’s ASB Theatre. The music alone is sublime, and, most importantly in honour of Mozart, the Auckland Philharmonia Orchestra delivers under the baton of conductor Wynn Davies. [caption id="attachment_10598" align="aligncenter" width="640"]Queen of the Night's three ladies - Amelia Berry, Catrin Johnsson and Kristin Darragh - Image by Marty Melville - New Zealand Opera's performance of The Magic Flute. Queen of the Night’s three ladies – Amelia Berry, Catrin Johnsson and Kristin Darragh – Image by Marty Melville – New Zealand Opera’s performance of The Magic Flute.
[/caption] The director of New Zealand Opera’s performance of The Magic Flute is Sara Brodie. She has nurtured something special from this opera. She has brought into balance the essential elements of the original while giving opportunity for today’s audience to consider interpretation. There’s conflicting layers to this story, a plot with threads that come together to weave a fairy tale fabric of 21st century life. It transports with relevance. There’s puppetry (a controversy according to one critique) that drew hilarity from the audience. I thought it marvellous. It’s so Mozart. And of course, there’s the music. At times during the Auckland performance, I shut my eyes and simply listened – to the music, to the singing. The orchestra was like the fabled flute and a delight in itself. Under Brodie’s guidance, Kit Hesketh-Harvey’s English translation of The Magic Flute connects with its Auckland audience. Brodie speaks of softening the accents to accommodate her international cast. It works. [caption id="attachment_10579" align="alignright" width="200"]Tamino (Randall Bills) gets his girl Pamina  (Emma Fraser) -  Image by Marty Melville - New Zealand Opera's performance of The Magic Flute. Tamino (Randall Bills) gets his girl Pamina (Emma Fraser) – Image by Marty Melville – New Zealand Opera’s performance of The Magic Flute.[/caption]USA tenor Randall Bills balances wonderfully the initial frailties and eventual conquering dualism of the vulnerable Tamilo’s character. And Sydney-based New Zealand soprano Emma Fraser (who is New Zealand Opera’s 2016 Dame Malvina Major Young Artist) is the perfect balance as Tamino’s infatuation-become-love, Pamina. Emma Fraser’s stage presence wonderfully supports her soprano performance. She is a testament to the quality of this country’s performing artists. And in this role, she is an absolute delight. The UK’s Ruth Jenkins-Robertsson certainly brings alive the dark depths of brooding intent from her character the Queen of the Night when she reveals her malcontent to her supposed beloved daughter Pamina. It’s powerful opera that would lead to tragedy, but for the strength of Pamina and that magical flute. And there was a moment of pure magic at the opening night of the Auckland performance, when a member of the audience called out from his seat somewhere amid the theatre’s front-left stalls. The calling to Papageno would no doubt have had Mozart chuckling from his lofty pew. Immediately, on hearing the call, as if on cue, Papageno, in the hands of Australia’s Samuel Dundas (a graduate of Melbourne’s Melba Conservatorium of Music) interacted and traded banter with the improvising theatre-goer. Then, with the entire audience sharing hilarity, Dundas continued seamlessly with Papageno’s journey. It was comic timing at its best and perfectly in character connecting to the somewhat bawdy, fairy tale, ambience of the Freihaus-Theater auf der Wieden where the opera was first performed in 1791. [caption id="attachment_10583" align="alignleft" width="640"]Papageno (Samuel Dundas) and Papagena (Madison Nonoa) triumphant in love - Image by Marty Melville - New Zealand Opera's performance of The Magic Flute. Papageno (Samuel Dundas) and Papagena (Madison Nonoa) triumphant in love – Image by Marty Melville – New Zealand Opera’s performance of The Magic Flute.[/caption] Oh, and watch out too for Hamilton’s Madison Nonoa, who is New Zealand Opera’s Dame Malvina Major Emerging Artist. She is fabulous in the latter part of Act two in bringing to life a vivacious Papagena (kitted out with an arty leg tattoo). Oh, and Wellington’s Bonaventure Allan-Moetaua, honestly this guy is absolute class, and, an audience pleaser as the conflicted and brooding Monostatos. Of course, The Magic Flute carries perhaps Mozart’s most poignant message. As Sara Brodie said, it isn’t simply a story of good being triumphant over evil. It’s much more than that. It came to me when I closed my eyes to see. At that moment when Papageno sensed hope and broke free from fear and doubt. It was as if Mozart was there in the theatre, his voice clear and speaking as music as his genius fluttered and danced about – speaking from his past to our future, with his cheeky wit, his shock humour, poking fun at the male chauvinists of his time and ours, exposing how dippy in character they were and are, how easily manipulated, how dangerous is the circumstance when envy, jealousy, difference and indifference intersect, when belief and reason, conceit and control align to compel the meek to become the tools of powerful fools. New Zealand Opera created the opportunity for Mozart’s message to be heard. This review isn’t a critique. It’s my celebration of one night at the opera, and my hope that you too will become a witness to a world-class performance of a musical genius’ enduring gift to us all. Cast To Watch: TAMINO Randall Bills FIRST LADY Amelia Berry SECOND LADY Catrin Johnsson THIRD LADY Kristin Darragh PAPAGENO Samuel Dundas PAPAGENA Madison Nonoa QUEEN OF NIGHT Ruth Jenkins-Róbertsson MONOSTATOS Bonaventure Allan-Moetaua PAMINA Emma Fraser.
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The Backstage Backstory: Of course there’s always a huge team of talent that doesn’t make it to the stage, that all play their part to make a performance, to create the opportunity for magic to happen. https://youtu.be/TBU7W3SWUp0 The Director: This performance of The Magic Flute is directed by Sara Brodie. The opera was first performed at Freihaustheater auf der Wieden in Vienna, Austria, on 30 September 1791 only 10 weeks before Mozart’s death. It is said that The Magic Flute is open to interpretation. That its message is varied, is layered within the structure of plot and music. When interviewed for New Zealand Opera’s programme, Director Sara Brodie says: “It is certainly a red herring to think of it as a tale of good versus evil, but its themes are universal. Like a good fairytale it seems to include a lesson, a hidden mystery or meaning to be revealed. “I tend to think of it in layers. There is a conglomerate of theatrical layering, which includes: musical theatre, pantomime, comedy, opera and magical effects. The layers of plot; a quest, lovers who need to prove they are worthy before achieving the sacred marriage, battling leaders, trails in an underworld, and the sub-plot of an everyman. And then the thematic tension of: superstition versus the enlightenment, anima versus animus, and night versus day. “It is most certainly a comedy but one which is subliminal and sublime,” Sara Brodie says. The Set: https://youtu.be/vQnaLHvJnGs NZ Opera’s David Larsen profiled set designer John Verryt for the performance’s programme. He describes how the design concept always begins with the script. Verryt says: “‘It is impossible to read the script too often. With an opera, you want to marinate yourself in the music as well as the story. But this is a matter of listening, not of watching recordings of other productions.’ The great classic operas have design histories stretching back centuries; he does not want those legacies cluttering his head as he starts work… After the opera has soaked into his brain, Verryt starts to draw. Sketches, scribbles, rough ideas.” The final set design became rather a challenge for the performers and choreography team. The raked stage is significantly higher at the rear than the front. That means the cast must perform on a slope which is challenging on feet, ankles, knees. The upside is the sloping stage delivers clearer sound to the audience, the vocals are more accentuated, more balanced.
But it doesn’t end there. The set design is simple. Oblique. Giving structure to the stage. But as the performance ticks along, the set transforms, giving added dimension to scenes, aiding interpretation as the plot progresses, as the story unfolds. And along with The Magic Flute come host of strange and larger than life creatures, like the Spider that looms from above and behind. It’s quite a menacing critter, that’s subdued when the Magic Flute is played. The Costumes: https://youtu.be/XXA04HiUn_c The costume designers for The Magic Flute are Elizabeth Whiting and Lisa Holmes and they speak about how a clever tattoo design was created for Papageno’s love, Papagena that trailed down the performer’s thigh. The costumes were also made unique for each chorus singer, which is a feat in itself. The Conductor and the Score: https://youtu.be/vGAnhrUEiAg Auckland Philharmonia’s much loved and celebrated Wyn Davies conducts the Auckland performances. Director Sara Brodie says she “adores” working alongside Davies.
The Cast: TAMINO Randall Bills FIRST LADY Amelia Berry SECOND LADY Catrin Johnsson THIRD LADY Kristin Darragh PAPAGENO Samuel Dundas QUEEN OF NIGHT Ruth Jenkins-Róbertsson MONOSTATOS Bonaventure Allan-Moetaua PAMINA Emma Fraser GENIE 1 Barbara Graham GENIE 2 Katherine McIndoe GENIE 3 Kayla Collingwood ARMED MAN/PRIEST Derek Hill åˆ SARASTRO Wade Kernot THE SPEAKER/ARMED MAN/PRIEST James Clayton PAPAGENA Madison Nonoa.
Bravo!]]>

Keith Rankin on Public Equity Dividends and Capitalist Reform

Economic Analysis by Keith Rankin.

Public Equity

[caption id="attachment_1450" align="alignleft" width="150"]Keith Rankin. Keith Rankin.[/caption]

In a series of recent articles, a book-chapter, and a presentation to the New Zealand Fabian Society, I have discussed how, practically, a Universal Basic Income – as a core component of a conceptual reform of income taxes – can be implemented in New Zealand, and can open the door to reveal a future that does not require there to be poverty in the midst of plenty.

I suggest a move away from the name Universal Basic Income; a name that I adopted in 1991 through the following construct: “a universal tax credit available to every adult – the universal basic income (UBI) – and a moderately high flat tax rate” (from my The Universal Welfare State; incorporating proposals for a Universal Basic Income, most easily accessed here).

In the present debate, Universal Basic Income has come to too many to mean a rigid and politically unsaleable something‑for‑nothing proposal, funded implicitly through levels of taxation much higher than New Zealanders are familiar with. The name for the universal payment that I now advocate – noting that language is very important – is Public Equity Dividend (PED). A PED is an unconditional payment from public revenue that may be small or large, and that is seen as a complement to rather than as a substitute for other forms of social assistance. A ‘public equity dividend’ represents a distribution from a capitalist fund that reflects public property rights, somewhat analogous to distributions from private equity funds.

The central concept that can take us forward is that of ‘public equity’; a concept of public income that finds common ground between the philosophies of the liberal capitalist right and the liberal egalitarian left. The presumption is that the public is an equity partner to market production. As such, public equity offers a new way to clearly demark the division between publicly‑sourced and privately‑sourced incomes, and can facilitate the regrowth of a genuinely liberal economic order. Public equity can become a way of distributing some income equally, enabling gains from past and future productivity increases to be available to all, and making it easier for people to make more sustainable and less pressured life choices.

We note that the historical sources of productivity gains are essentially public (eg the application of public knowledge and other public domain resources to productive processes). The PED, more than ever, needs to be understood as a productivity dividend, which adjusts sufficiently to ensure that productivity gains do not become causes of increased inequality or exploitation.

The underlying concepts are not usefully injected into the party-political environment of a general election campaign, where sound-bites, bumper stickers and pledge-cards reign. Rather the ideas presented here, which are essentially apolitical – all political parties represented in the New Zealand parliament advocate liberal capitalism – may be incorporated into public finance reform in New Zealand from as soon as 2018, regardless of who becomes government after the 2017 election.

Distributional Challenges of Liberal Capitalism

Reforms informed by the concept of public equity are essential if liberal capitalist societies are to meet the distributional challenges of rising economic productivity. Such societies require adequate – indeed more than adequate – spending capacity on the part of the ordinary (especially middle‑decile) people who constitute the markets for the ‘wage goods’ whose production is the hallmark of liberal capitalism. If the system cannot distribute income to those for whom these goods and services are designated, then the whole capitalist edifice eventually fails; such failure is delayed only by a spiralling indebtedness that compensates to some extent – and only temporarily – for present failures of income distribution.

In the process of meeting the distributional challenges that can sustain liberal capitalism, ordinary people are able to make labour supply choices – work‑leisure trade‑offs – that cannot be made when systemically‑inadequate wages and consumer debt are their sources of purchasing power. Maintaining a more elastic labour supply – with people working shorter hours in normal times – is the key to the sustainability of the natural environment as well as the sustainability of capitalism itself.

Income security in high productivity societies is neither unaffordable nor a luxury. Rather, income security extends the core liberal capitalist concept of ‘consumer sovereignty’ to sovereignty over household time as well as over consumer choices. A mature liberal capitalist society that acknowledges and values public equity has a mechanism to recycle income to all its equity‑holder households in such a way that they can make genuine choices about spending and sustainable living. Their governments could easily adjust the core fiscal parameters (especially the income tax rate and the size of the ‘public equity dividend’) to ensure that nobody is left behind, and that nobody is forced to enter into exploitative labour contracts or degrading self‑employment in the informal economy.

Public Equity Dividends are our best means to keep in circulation the money that represents our disposable incomes, and that atrophies when concentrated in private hoards. Public Equity Dividends represent capitalism’s option of economic freedom; of a happy liberal future. Capitalism begets other illiberal futures if we do not have the imagination, or if we are too cynical, to acknowledge and enforce our public property rights.

Public Equity and Social Assistance

Please refer to my longer essay Public Equity and Social Assistance (PDF) for a practical step‑by‑step guide to integrated tax-benefit reform in New Zealand, based on liberal equity principles.

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