Events – Evening Report

COHA Webinar | Venezuela-Iran: A natural alliance in the face of illegal sanctions

Evening Report — Fri, 01 Jan 2021 01:57:12 +0000

Source: Council on Hemispheric Affairs – Analysis-Reportage

With Dan Kovalik (USA) and Foad Izadi (Iran)

January 12, 2021
2pm-3pm US Eastern Time
By Zoom and Facebook Live

ZOOM Registration: https://zoom.us/meeting/register/tJMkc-itqDsiEtc-JSg5AdPaJWoCcBGYiD68

The United States is imposing illegal sanctions against both Venezuela and Iran, causing great hardship and the suffering of thousands of people in these countries. Today, the natural alliance between Caracas and Tehran, which took root in the early days of the Bolivarian revolution, provides mutual life lines in defiance of a US economic and naval blockade. This webinar aims at providing critical analysis of the historical, regional, and geopolitical context of this alliance.

COHA Senior Research Fellow Dan Kovalic teaches International Human Rights at the University of Pittsburgh School of Law and is the author of “The Plot to Overthrow Venezuela” and “The Plot to Attack Iran”. Foad Izadi teaches American studies at the Faculty of World Studies, University of Tehran.

Co-sponsored by CodePink | Alliance for Global Justice | Popular Resistance

Open flyer:

Steve Ellner in COHA Webinar: “Parliamentary Elections are a victory for Chavismo and the moderate opposition”

Evening Report — Tue, 29 Dec 2020 23:20:04 +0000

Source: Council on Hemispheric Affairs – Analysis-Reportage

By COHA
From Washington DC

Renowned scholar Steve Ellner offered an insightful analysis of the December 6, 2020 parliamentary elections in Venezuela which took place in the midst of severe hardship imposed by a US blockade, a pandemic, and a US-EU backed campaign to boycott the election.

The COHA webinar, titled “The National and Regional Impact of Parliamentary Elections in Venezuela”, took place on December 17 from Washington DC through Zoom and Facebook Live.The panel also included Margaret Flowers, Director of Popular Resistance, one of the final four defenders of the Venezuelan embassy in Washington, DC in the spring of 2019, and who was in Venezuela during the December 6 elections as an electoral observer. Professor Danny Shaw, Senior Research Fellow at COHA, who was also in Venezuela as an observer, joined the panel as well from Dominican Republic.

In summarizing the political consequences of these parliamentary elections, Ellner disagreed with those opposition figures who maintain that Maduro emerged as a loser. “I don’t think so. I think it is just the opposite. I think the election results were a victory for the Chavistas and even more so, it was a victory for a broad group that includes the Chavistas but also the moderate opposition that participated in these elections.”

Professor Ellner added that “the forces in favor of dialogue, against the sanctions, those are the forces that went out on December 6.” He highlighted the fact that even two-time presidential candidate for the opposition, Henrique Capriles, is asking the international community to no longer recognize Juan Guaidó as “president” of Venezuela. Professor Ellner explained that Capriles’ message seeks to persuade the incoming Biden Administration to move away from Guaidó and to support Capriles, as a representative of a faction of the radical opposition.

While Ellner said that there is a lot of distortion of the Venezuelan situation in the mainstream media, he also warned progressive sectors against oversimplifying the politics of the country. “We have to get away from the idea, the utopian idea, that things are black and white,” he explained.

He reminded the audience that the current sanctions that are harming Venezuela are not the only factor causing the economic crisis in the country. “The war on Venezuela has been going on since the first year of the Chávez presidency (…) It didn’t begin with Trump. Obama also implemented sanctions,” explained Ellner.

He also analyzed the low turnout of around 31%, which he explained is a new normal for several countries, not only Venezuela. “It is not a surprise to have low participation in elections in Venezuela”, Ellner said. The country is deeply “affected by the fall of oil prices” that have always created political instability in the country. He added that there were “a lot of impediments that affected electoral participation”, including the big factor of the COVID-19 pandemic, the gasoline shortage that affected the access to transportation to vote, and also the fact that 3 to 4 million Venezuelans have emigrated, in circumstances that the vote from overseas is only allowed for Presidential elections. Ellner also indicated that there had been some erosion in support from the Chavista base, compared to past elections of Hugo Chávez, but that this must be understood in the context of years of attacks on Venezuela.

In response to a follow-up question, Ellner agreed that the Maduro administration has pivoted towards encouraging more private investment as well as public–private partnerships. Margaret Flowers added that a coalition of Chavistas that criticize the PSUV from the left, under the umbrella of the Communist Party (the Popular Revolutionary Alternative) oppose the new anti-blockade law which would facilitate private investment, but that it remains loyal to the common cause of defending the country from outside intervention.

Margaret Flowers also answered a question from the audience regarding the successful story of Venezuela in terms of the fight against COVID-19. She highlighted the high level of prevention measures the government has implemented throughout the country, in the cities, shops, public and private spaces, public transportation, at the airports, that includes strict controls through tests, in every corner of the country. This is a big contrast with what she experienced coming back to the US through Miami where almost no strict controls were implemented for the thousands of travelers.

Steve Ellner is an Associate Managing Editor of the journal Latin American Perspectives and a retired professor of the University of the East in Venezuela. He is the author of Rethinking Venezuelan Politics; editor of Latin America’s Pink Tide: Breakthroughs and Shortcomings and Latin American Extractivism: Dependency; and editor of Resource Nationalism and Resistance. He has frequently published articles in NACLA: Report on the Americas, In These Times and Jacobin and has published on the op-ed page of the New York Times and Los Angeles Times.

Fred Mills, Jill Clark-Gollub, and Patricio Zamorano edited this article.

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COHA WEBINAR: The National and Regional Impact of Parliamentary Elections in Venezuela

Evening Report — Tue, 29 Dec 2020 23:20:04 +0000

Source: Council on Hemispheric Affairs – Analysis-Reportage

COHA WEBINAR: The National and Regional Impact of Parliamentary Elections in Venezuela

Zoom and Facebook Live

Monday Dec. 14, 8PM EST | 5PM PT

Zoom registration, here

SPEAKERS:

COHA Guest Scholar and Keynote Speaker: Steve Ellner
Election Observer Brief: Dr. Margaret Flowers
COHA Election Report From the Field: Danny Shaw and Alina Duarte

The Parliamentary Elections in Venezuela took place in the midst of severe hardship imposed by a US blockade, a pandemic, and a US-EU backed campaign to boycott the elections.

Steve Ellner will provide an analysis of the implications of the Parliamentary elections for Venezuela and the region.

Steve Ellner is an Associate Managing Editor of the journal “Latin American Perspectives” and a retired professor of the University of the East in Venezuela. He is the author of Rethinking Venezuelan Politics and the editor of Latin America’s Pink Tide: Breakthroughs and Shortcomings and Latin American Extractivism: Dependency, Resource Nationalism and Resistance. He has frequently published in NACLA: Report on the Americas, In These Times and Jacobin and has published on the op-ed page of the New York Times and Los Angeles Times.

Professor Danny Shaw and independent journalist Alina Duarte are Senior Research Fellows at COHA. They were present in Venezuela as electoral observers, as well as Margaret Flowers.

Facebook Live: https://www.facebook.com/Council.on.Hemispheric.Affairs

Feature and Video: Pride Protests Police

Selwyn Manning — Wed, 24 Feb 2016 04:26:02 +0000

Feature & Video by Carolyn Skelton.

The 2016 Auckland Pride Parade celebrated 30 years since gay male sex was made legal in 1986.

The parade provided a positive face to LGBTI people, but glossed over many inequalities, and much brutal discrimination that still impacts on LGBTI (lesbian, gay, bisexual transgender, intersexed) people. See RNZ’s September 2015 report on continuing discrimination. No Pride in Prisons protested against police inclusion in the parade, because of the harassment and brutal discrimination of LGBTI people by the police and prison system. My video of the parade and protest Pride parades, once called Gay Pride, arose out of protests against brutal oppression and discrimination of gay men. In 1969, gay men at the Stonewall Inn in New York, retaliated against police harassment. Riots and demonstrations followed. Gay liberation gathered steam throughout the 1970s and 80s. Gay Pride marches were protest marches on which LGBTI people bravely outed themselves in public, at a time when they risked discrimination at school, at work, in housing, on the streets, and all walks of life. In Auckland Hero Parade was an annual event from 1992 to 2001. It’s demise was due to funding and debt problems. In 2012, National Party MP Nikki Kaye began working towards a new Pride Parade, with the support of the PM, John Key. The rationale for the parade focused on social and economic benefits, with the boost to tourism and the economy being foregrounded. The latest Pride Parade seems to be doing OK with funding. A lot of this is probably due to the sliding-scale of fees from participants in the parade. [See the entry requirements] Commercial enterprises pay the highest fees (minimum of $5,000). The only requirements are that they do not have a record of discriminating against queer people, and that they express support of the Rainbow community. They are in fact, commercial sponsors that benefit from the brand association with Pride. It is likely they are focussed on attracting business from the better off LGBTI people. Rainbow community groups or individuals pay a minimum of $200, and charities, government or political groups pay $500 (base fee). This commercialisation and corporatisation of the parade, while promoting positive images of queer people, tends to marginalise the less powerful LGBTI people: those on the precarious edge of social and economic life. Continuing harassment, brutalisation, discrimination, and negative social impacts, are played down. No Pride in Prisons focus on some of the most marginalised and voiceless of LGBTI people: those who are on the receiving end of violence and brutal treatment by police and prison staff. Consequently they object to police being able to march in the parade, albeit to represent lesbian and gay police. The police participation straddles a fault-line in the Pride entrants’ requirements. They are there to represent LGBTI people positively, while the police force as a whole has a patchy record of treating queer people badly. Minister of Police Judith Collins turned up to support the police and march in the parade with them. Again, this sits uncomfortably with the Pride parade requirements. Collins did vote for the marriage equality bill. But her record generally is not that supportive of the Rainbow community. She is on record as positively supporting Cameron Slater and his WhaleOil blog, while not being in any way critical of the blog’s record of the use and condoning of homophobic language and verbal abuse. At Pride 2016, the Labour Party celebrated the fact that it was Labour MP Fran Wilde’s 1986 Bill that resulted in the legalisation of gay male sex (it had never been illegal for lesbian sex). The Labour Party celebrated this in Pride 2016. No Pride for Prisons organised a march from Karangahape to Ponsonby Road, which anyone could going, free of cost. Some of the protesters got onto the street, which resulted in the parade being delayed. This protest got a lot of attention from people with cameras, including the press. Meanwhile, many in the crowd expressed their disapproval of the protesters, cheering the arrival of the police. Some of the parade motorcyclists tried to make noise to drown out the protesters. The protesters chanted “We won’t be silenced” A woman explained to me why she joined the protest: “So last year I came to watch the Pride Parade with my mates. I was so upset because it was the ANZ, the BNZ and all the banks, and then it was the army, and then it was corrections, and then it was the police. And I just felt like the whole thing had been over-taken. And whereas, you know, 20 years ago, it used to be the whole community marching down the road. Now it’s become a spectacle for people who watch from the sidelines.” The banks, various businesses, the army and corrections were all in the parade this year.

The protesters chanted:

“Army of the rich, enemy of the poor”

“It’s not your parade”; “Shame, shame, shame”; “Whose got the power- We’ve got the power – What kind of power? – People power”. There were some small signs of protest in the parade. Surfers had a placard on their float that said: “No Way TPPA”. Many carried the current NZ flag, indicating their preference in the upcoming referendum. I saw no alternative candidate flags. The main focus of mainstream news reports of the 2016 Auckland Pride parade, was on the protest. They like drama and conflict. Gains were celebrated in Pride 2016. No pride for Prisons carried on the tradition of the original Gay Pride protests, representing those still suffering discrimination.]]>

Waitangi Day, Bastion Point – a place to take a stand

Selwyn Manning — Mon, 08 Feb 2016 19:22:56 +0000

On Waitangi Day, 6 February 2016, I decided to honour the history of Bastion point by going to a Waitangi Day Festival there. The event notice for it said it was from 10.00am to 6pm, that “Kiwi reggae favourites, House of Shem are headlining” and invited the public to, “… join Ngāti Whātua Ōrākei, as we celebrate Waitangi Day Festival 2016, in conjunction with Auckland Council. Commemorating the signing of the Treaty of Waitangi by Māori chiefs and representatives of the British crown on 6th February 1840, join Ngāti Whātua Ōrākei to celebrate the occasion with this free event.” The website for New Zealand History: Nga korero a Ipurangi o Aotearoa, has a summary of the history of Bastion Point. My video shows some moments from the festival: https://youtu.be/2iFp5UIhCTs It wasn’t the best of weather for an outdoor event, especially in the morning, so I arrived early afternoon. There was a small crowd in front of the stage in the rain. There was a very welcoming, and infectious sound of a man and woman on stage rapping, immediately drawing me in. I was ready to rock. The rain showers came and went. That and the strong wind made filming a pretty trying task. But the audience wasn’t bothered, continuing to dance and sway throughout the showers: the warm wind soon dried us out. Numbers of people increased as the weather improved. The first performance that I really watched was that of Majic Paora. She honour the history of Bastion Point, and her Ngāti Whātua Ōrākei connection. The occupation of Bastion Point began on 5 January 1977 – read about it here:

“Joe Hawke led an occupation of Takaparawhā (Bastion Point reserve), Auckland, to protest against the Crown’s decision to sell land that Ngāti Whātua maintained had been wrongly taken from them.

The occupation began after the government announced plans for a housing development on former Ngāti Whātua reserve land. The land had been gradually reduced in size by compulsory acquisition, leaving Ngāti Whātua ki Orākei holding less than 1 ha. Police evicted the occupiers after 506 days. Following a Waitangi Tribunal inquiry and recommendations, much of the land was returned to or vested with Ngāti Whātua.” Majic talked of all the ways music was important, and sang soulful songs of struggle, love, fun and unity. From there on it was reggae all the way. This Majic YouTube video begins with a homage to Bob Marley https://youtu.be/lyMpwlw8R6c The MC urged people to dance to the sound of recorded music between the live acts. He got the crowd going with his requests for people to dance, and many happily obliged. Bob Marley’s birthday was celebrated with some recordings of his songs. The view out across the Waitemata was, as usual, spectacular, with the sight of rain showers coming towards us across the harbour. Next on stage was 1814, with some great sounds and rhythm – perfect for a relaxed afternoon outdoors – and people kept dancing and moving. Here’s their YouTube version of Ring of Fire: https://youtu.be/kOSDynBCiXw The final act was House of Shem. Before they began, Carl Perkins said:

now is the time – we need to stand – against the TPPA.

The House of Shem set was very worthy of the headline status. Here’s the House of Shem & Big Mountain “Hard Road” official video: https://youtu.be/41iw3DY_7b4 An excellent community, family-friendly day, honouring and celebrating the day, respecting the place, and remembering struggles past, present and future.]]>

Review: New Zealand Opera Defines Tosca The Beguiling Tragedy

Selwyn Manning — Mon, 21 Sep 2015 05:04:30 +0000

Review by Selwyn Manning. There’s so much to ponder in New Zealand Opera’s telling of the classic Puccini opera Tosca. There’s the passion, the love, the loyalty, the power and oppression set within the politics of post World War II Italy. The political turmoil of the period provides a backstory perfectly in tune with Puccini’s story. In 1946, Italy abandoned its monarchy and established a republic. But its political makeup was divided, the population poised on a knife’s edge. Fascist-styled oppression was still a characteristic of the power elite, and, by 1948, the Communist Party had been expelled from the Parliament and (with the help of the Vatican, NATO, and the Mafia) the Christian Democrats began an enduring hold over all estates of Italian society. Submerged beneath the flamboyance of Italian politics, its people strove in earnest to reestablish lives long lost. Rome was a frontline, a construct of a burgeoning Cold War, where spies lurked, espionage was rife, as was intimidation and murder, where people became instruments of oppression. Secrets, fear, idealism, loyalty and love were manipulated, used by the black-gloved hand of a power-elite to destroy opposing forces, ideologies, people. Positioned upon this backstory is New Zealand Opera’s interpretation of Puccini’s Tosca. [caption id="attachment_7268" align="alignleft" width="200"] Ireland’s brilliant Orla Boylan was the beguiling Floria Tosca.[/caption] Tosca, the Diva, is in love with Mario Cavaradossi. Her passion is her virtue, her jealousy is her vulnerability, the latter offers her as a pawn to be played by Baron Scarpia the chief of police. The production team created something special here. The set, the costume, the choreography, the score were in accord perfect to the period. The cast includes:

Ireland’s brilliant Orla Boylan was the beguiling Floria Tosca. And Boylan was a delight. Her international concert appearances include: War Requiem (Perth International Arts Festival, APO); Mahler’s Eighth Symphony (Gürzenich-Orchester Köln); scenes from Wozzeck (Royal Liverpool Philharmonic Orchestra); Vier letzte Lieder (Sinfonieorchester St. Gallen, Hallé Orchestra, West Australian Symphony Orchestra); Capriccio final scene (Orchestre National de France). Boylan’s interpretation drew into the classical characterisations of Puccini’s original Romanian diva while portraying the idiosyncrasies necessary for our post WWII Tosca. Her performance was real and perfectly raw. Boylan is supported by an almost complete New Zealand born cast. And this, is rather special as it provides us an opportunity to celebrate this nation’s operatic stars. [caption id="attachment_7276" align="alignright" width="200"] Ashburton-born Simon O’Neill brought to life Mario Cavaradossi, the focus of Tosca’s love.[/caption] Ashburton-born Simon O’Neill brought to life Mario Cavaradossi, the focus of Tosca’s love. O’Neill is an internationally acclaimed world class performer. His credentials include: principal artist with the Metropolitan Opera, the Royal Opera House, Teatro alla Scala and the Bayreuth and Salzburg Festivals. An alumnus of the University of Otago, Victoria University of Wellington, the Manhattan School of Music and the Juilliard Opera Center. He is a Fulbright Scholar and was awarded the 2005 Arts Laureate of New Zealand.

His repertoire is extensive displaying an A-List performance-record noting his achievements on-stage at top opera houses from all over the world.

[caption id="attachment_7275" align="alignleft" width="200"] Tosca’s passion was counterbalanced by her inability to escape the grip of Scarpia’s leathered black hand.[/caption] This was all in evidence as he performed Cavaradossi. It was so easy to become lost within his song, his character, his merit. But one was soon lured back to centre-stage by Tosca’s passion counterbalanced by her inability to escape the grip of Scarpia’s leathered black hand, played by Hastings-born Phillip Rhodes.

Rhodes, like O’Neill, is a celebrated world-class act. His bio details how he graduated with a Diploma in Performing Arts (Voice) from the Eastern Institute of Technology. Was a 2011/12 PwC Dame Malvina Major Young Artist, a joint recipient of the Circle100 scholarship in 2007 and a PwC Dame Malvina Major Emerging Artist in 2004. He won the Lockwood Aria in 2005 and Lexus Song Quest in 2007; attended the Cardiff International Academy of Voice; won second prize in the Montserrat Caballé International Singing Competition in Spain in 2010; was a recipient of a Kiri Te Kanawa Foundation (UK) Cover Award for the 2015/16 season at the Royal Opera House Covent Garden for Enrico (cover) Lucia di Lammermoor. [caption id="attachment_7271" align="aligncenter" width="640"] The sinister Scarpia performed by Hastings-born Phillip Rhodes.[/caption] The supporting artists were superb: Australia’s James Clayton played the sinister but loyal Cesare Angelotti, New Zealanders Barry Mora played A Sacristan, James Benjamin played Spoletta, and Wade Kernot played Sciarrone. [caption id="attachment_7270" align="alignleft" width="210"] Tosca provides us an opportunity to ponder the frailties of our humanity, made vulnerable by the times and powers we all live in.[/caption] And of course, the Freemasons New Zealand Opera Chorus was exceptional, and the opera’s score was powerfully performed in Auckland by the fabulous Auckland Philharmonia Orchestra, conducted by Sweden’s Tobias Ringborg.

Tosca is a tragedy with a plot perfectly applied to post-World War II Italy. It bridges almost a half-way point in time from Puccini’s opening night in Rome on January 14, 1900.

It provides us an opportunity to ponder the frailties of our humanity, made vulnerable by the times and powers we all live in. The tragedy that marks Tosca’s end is perhaps a challenge to us all to realise how unnecessary such an end is, to realise that by succumbing to petty jealousies we can set in train the demise of ourselves and those we love.

Bravo New Zealand Opera, your performance of Tosca was for me simply the best. There is still time to see Tosca in Auckland in September and Wellington in October.

AUCKLAND:

ASB Theatre, Aotea Centre, Accompanied by the Auckland Philharmonia Orchestra – Wednesday September 23 and 25 at 7.30pm and September 27 at 2.30pm.

WELLINGTON:

St James Theatre, Accompanied by the New Zealand Symphony Orchestra – October 10, 15, 17 at 7.30pm and October 13 at 6pm.

For more, see www.NZOpera.com

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A little bit of ‘Whim Wham’ for National Poetry Day

Selwyn Manning — Thu, 27 Aug 2015 22:55:27 +0000

NewsroomPlus.com Wellington-based online news agency NewsRoom_Plus has chipped into National Poetry Day by recording a reading of two satirical and whimsical newspaper verses from the days of ‘Whim Wham’. “What better way to celebrate the joy of the written and spoken word – the real essence of poetry – than by recalling the marathon efforts of Allen Curnow to marry the poetic form with every day news events,” says NewsRoom_Plus journalist Stephen Olsen. “Our team decided we would record two poems from a collection of his newspaper work edited by Auckland professor Terry Sturm in 2005 and put them up on Soundcloud at https://soundcloud.com/newsroom_monitor/newsroom-on-national-poetry “As detailed in the foreword to that collection of 200 pieces – simply called Whim Wham’s New Zealand – Curnow’s astonishing output mounted up to more than 2000 verses spanning five decades. Apparently the first verse was written as a gently mocking account of an all-night sitting of Parliament, and was only intended as a space-filler when Curnow was working at the Christchurch Press. As noted by Professor Sturm, Curnow’s work under the pseudonym of Whim Wham went on to be a mix of ‘light’ pieces on commonplace topics and ‘serious’ poetic pieces designed to challenge readers. Olsen said he was struck by how lively and topical the verse remains, and left the last word to Professor Sturm, who sadly passed away in 2009:

Terry Sturm – “The personnel might have changed, the spin merchants might go under different names and use different languages of deception … but the issues remain the same”.

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Hot Topic: The Age Of Resilience starts tonight

Selwyn Manning — Wed, 26 Aug 2015 00:52:26 +0000

Hot-Topic.co.nz A quick heads up that the Royal Society of New Zealand’s panel discussion series on the theme of The Age Of Resilience starts tonight at the Auckland Museum at 6pm. French and NZ experts will consider the “economic conundrum” of transitioning to a low-carbon economy and at the same time deliver a “high and sustainable level of human well-being”. On the panel are Pierre Ducret (see the NZ Herald today), Dr Suzi Kerr, Professor Catherine Larrère and Fraser Whinerary. Kim Hill will be in the chair, and the evening is being recorded by Radio New Zealand for broadcast next month. More details at the RSNZ web site, and you can download a flyer here. Two further sessions are being held in Wellington and Christchurch: in Wellington tomorrow night on Climate in-justice? and Christchurch next Tuesday on The Anthropocene Challenge. Details and flyers from the RSNZ here. An interesting series — and if you can’t make the live recordings, all three will be on Radio NZ National in September and October as part of the Talking Heads strand.

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PERRIAM impresses at New Zealand Fashion Week 2015

Selwyn Manning — Wed, 26 Aug 2015 00:36:49 +0000

Source: Info ScopeMedia.co.nz.

[caption id="attachment_6736" align="alignleft" width="187"] Model wears the PERRIAM Woman 16 Lindis Cable Polo Jersey, the Roaming Jacket (with merino leather sleeve inserts) and the Classic Snow white pant_photo by Neil Gussey.[/caption]

Luxury merino fashion brand PERRIAM has impressed national and international media during its debut at New Zealand Fashion Week (NZFW) in Auckland yesterday.

PERRIAM Woman Winter 16 was unveiled on the catwalk as part of NZFW’s Choose Wool show, held at the ANZ Viaduct Events Centre in front of a capacity audience.

Curated by top Kiwi stylist Anna Caselberg, Choose Wool showcased some of New Zealand’s leading designers. PERRIAM featured alongside Sabatini, twenty-seven names, Tanya Carlson, Hailwood, Liz Mitchell, French83 and Wynn Hamlyn.

Titled “Untamed”, PERRIAM Woman Winter 16 is a collection of elegant, effortless wardrobe essentials with a contemporary, sport-luxe vibe. Inspired by the rugged beauty and natural environment of Central Otago, the collection features New Zealand merino wool with touches of rabbit fur, merino leather and other textiles.

Untamed teams luxurious cable knitwear with flattering silhouettes for a modern, relaxed style and features splashes of animal print and flashes of signature gold trims. Blacks, soft taupes and grey marl feature in the colour palette.

Wanaka-based designer Christina Perriam drew on her high country merino farming background for the PERRIAM Woman Winter 16 range. Christina hails from Bendigo Station, near Tarras, and is firmly entrenched in the wool industry through her upbringing and 15 years as a designer working with merino wool.

“To be selected for Choose Wool at NZFW has been an absolute honour, as PERRIAM truly represents what the show is celebrating – wool in NZ fashion. The NZ wool industry is repsected internationally and fashion plays an important role within the industry. PERRIAM garments are designed to last with timeless elegance and style and we’re proudly NZ-made, using NZ-produced merino,” she says.

[caption id="attachment_6737" align="alignleft" width="204"] Model wears PERRIAM Woman 16 Dunstan Polo Dress and the Avalanche Pant_photo by Neil Gussey.[/caption]

The Choose Wool show was supported by an elaborate host of influential international media and fashion delegates, including ASOS, Marie Claire, global fashion and entertainment channel Fashion One, Glamour magazine and Vogue UK.

About PERRIAM:

PERRIAM is a New Zealand-made merino clothing brand that embodies the comforting luxury inherent in the spirit of the high country. The heart of PERRIAM is Christina’s family and their farm, Bendigo Station in Central Otago – a place of rich history, pioneering spirit, enduring natural beauty and the home of the famous Shrek the Sheep. PERRIAM is about slow fashion, not fast fashion, but it is fashion-forward. PERRIAM celebrates the beauty amongst the busy-ness of life. A relatively new brand, PERRIAM Woman was launched in October 2014, along with a flagship retail store in Tarras and online store www.perriam.co.nz. PERRIAM Woman Winter 16 will be wholesaled throughout New Zealand for the first time. Little PERRIAM, the brand’s babies and children’s label, was launched in February 2015. Designer Christina Perriam also has her eyes on a growth plan that includes PERRIAM retail stores and intends on eventually launching PERRIAM Man, PERRIAM Sleep and PERRIAM Home.

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Substituting Balls and Boots for Bullets

Selwyn Manning — Tue, 25 Aug 2015 21:55:11 +0000

NewsroomPlus.com – Contributed by Rupeni Vatubuli, NewsRoom_Plus The just-opened Balls, Bullets and Boots exhibition in Palmerston North is all about telling the stories of fifteen individuals with rugby connections who served in the First World War. For that you need someone in the role of a story teller. Preferably, if possible, an All Black – but who?

Anton Oliver in his playing days

Stepping up to the mark is London-based Anton Oliver who, when asked, didn’t hesitate to lend his voice to the interactive multimedia aspect to the exhibition as its ‘virtual guide’. Oliver, a former All Blacks captain as was his father Frank, has a track record as a guest narrator, having toured with the New Zealand Symphony Orchestra to narrate the classic tale ‘Peter and the Wolf’ in 2013. When NewsRoom_Plus spoke with Anton it didn’t take long to sense his motivation for taking part in a project that opens up another angle on memories and stories attached to the WW100 commemoration. As for so many All Blacks before and since his own time in the jersey, Anton holds Dave Gallaher, captain of the 1905 ‘Originals’ rugby team, in special regard. Not being one for hiding his emotions, you can hear the lump in Anton’s throat when he mentions Gallaher. An Irish-born New Zealander, Gallaher enlisted for service in the First World War after a younger brother was killed in action. He was 43 when he was shot in the face during the attack on Gravenstafel Spur, Belgium on 4 October 1917 and died later that day – one of the 966 fatalities in the New Zealand Expeditionary Force in that one month alone. Family connections to that era include the loss of a great Uncle who died at the battle of the Somme, and that both of his grandfathers enlisted for service. In a Crowd Goes Wild interview about the exhibition with another All Black, Josh Kronfeld, Anton said he has found himself “bawling my eyes out” when visiting battle sites such as Passchendaele. In another promotional appearance for the exhibition, this time on TVNZ’s Breakfast, Anton reflected on the “huge amount of power in telling people’s stories”. “The overarching war machine has a different rhetoric (but these men) came back damaged and changed”. Oliver – who turns 40 on 9 September – survived and thrived in the All Black jersey for 13 years. Looking back on that lengthy rugby playing career – from his early days about which he still jokingly refers to himself as “an uncultured, monoysllabic, Shrek hobbit” – he reckons it took him a 3 full years to feel at ease. That recollection of lengthy service in the cause of sport, and the fact that the Balls, Bullets and Boots exhibition will be going on tour for at least three years after closing in Palmerston North on Armistice Day this year, 11 November 2015, are other points of resonance for Anton’s involvement. History is something he told NewsRoom_Plus is important to everyone, also sharing the view that history should remain compulsory in the school curriculum in order to give all students a sense of identity. Pictured above at the exhibition opening at Palmerston North’s Te Manawa cultural centre are Manawatu Mayor Margaret Kouvelis, Palmerston North Mayor Grant Smith and that doyen of sports historians and commentators Keith Quinn. Links:

Go to www.ww1rugby.nz for more information on the exhibition, where you get to ‘meet’ a woman coach, three pre-war All Blacks and three post-war All Blacks, a schoolboy rugby player-cum-soldier and a rugby-mad military defaulter, rugby players who served in the Royal Navy, Royal Air Force and NZ Tunnelling Company, three NZ Maori players and a highly decorated VC winner who had a stellar pre-war provincial rugby career. .
Like the Rugby Museum Facebook page here: NewZealandRugbyMuseum

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Events: World Renowned Liam Scarlett to Choreograph brand new ballet for Royal New Zealand Ballet

Selwyn Manning — Thu, 23 Jul 2015 03:10:40 +0000

Source: Royal New Zealand Ballet

A magical world premiere from the RNZB – The Vodafone Season of A Midsummer Night’s Dream

In an unprecedented artistic coup the Royal New Zealand Ballet has commissioned one of the world’s most sought after choreographers working today – Liam Scarlett – to create a brand new ballet for the company.

The Vodafone Season of A Midsummer Night’s Dream, will have its world premiere on 20 August in Wellington ahead of a five centre New Zealand tour.

“We are incredibly excited to showcase this sensational new ballet created for the RNZB by the talented Liam Scarlett. This magical tale will cast its spell on audiences of all ages. And as with all the best stories, true love and friendship triumph in the end.” says RNZB Artistic Director Francesco Ventriglia.

Liam Scarlett is renowned for his witty and sophisticated choreography and this spectacular new ballet will be no exception.

“Shakespeare’s tale of wit, love, petty quarrels and mistaken identities has captured the hearts of audiences young and old for centuries and has secured its place in history as one of the greatest stories ever told. It is with great pleasure and responsibility that I have the opportunity to transform this magical piece of work into a ballet. Being able to create this for the RNZB is a joy, and the end result will be a testament to their talent and enthusiasm and all that this wonderful company has to offer.” says choreographer Liam Scarlett.

“In a smart business move we are partnering with Queensland Ballet to bring this tremendous production to the stage. It is a great opportunity to collaborate on a significant new dance work that will certainly form part a central part of our repertoire.” says RNZB Managing Director Amanda Skoog.

“We’re thrilled to continue our support of the RNZB with this year’s Vodafone Season of A Midsummer Night’s Dream. Vodafone customers and staff up and down the country can look forward to the production in their town as the show makes its way around New Zealand. 2 for 1 tickets are available as part of our Fantastic Fridays offer,” says Matt Williams, Vodafone Consumer Director.

Liam Scarlett, has been lauded as the future of UK ballet and called “Dance’s hottest property” by the UK press. At only 29 years of age he regularly choreographs for leading international companies and was awarded UK Dance Critics Circle National Dance Award for his Asphodel Meadows. He was appointed first Artist in Residence at The Royal Ballet Covent Garden in 2012, a position created especially for him when he retired from dancing with the company. He continues to attract acclaim from audiences and critics alike with his work. Recent collaborations include New York City Ballet, English National Ballet, San Francisco Ballet and American Ballet Theatre. A Midsummer Night’s Dream will be his third full length ballet.

Distinguished costume and set designer Tracy Grant Lord has been behind many of the company’s successful productions, most notably Cinderella. Her designs for A Midsummer Night’s Dream will create a glorious new vision of thousands of lights, glitter and butterflies. She is working closely with M.A.C. cosmetics to create a unique and compelling look for each of the main characters. Tracy is a Winston Churchill Fellow, has a Bachelor of Spatial Design from Auckland University of Technology and her work is frequently chosen to represent performance design in New Zealand, at the Prague Quadrennial (Czech Republic).

The set for this production is the biggest the RNZB has ever created. It will also feature over 4000 LED lights and over 2,000 metres of fibre optics cable and be illuminated by Kendall Smith (Giselle).

Mendelssohn’s wonderful and highly recognisable music will be performed by the New Zealand Symphony Orchestra in Wellington, the Christchurch Symphony Orchestra in Wellington and the Auckland Philharmonia Orchestra in Auckland, conducted by RNZB Music Director Nigel Gaynor.

A Midsummer Night’s Dream is a Co-Production between the Royal New Zealand Ballet and Queensland Ballet.

A Midsummer Night’s Dream: 20 August – 20 September

Wellington St James Theatre: Thur 20 August 7.30pm, Fri 21 August 7.30pm (Pre-performance Music talk 6.30pm), Sat 22 August 1.30pm & 7.30pm (Post-matinee Q&A; Warm Up, Curtain Up 6.20pm), Sunday 23 August 6.30pm

Christchurch Isaac Theatre Royal: Thur 27 August 7.30pm, Fri 28 August 7.30pm (Pre-performance Music talk 6.30pm), Sat 29 August 1.30pm & 7.30pm (Post-matinee Q&A; Warm Up, Curtain Up 6.20pm)

Auckland ASB Theatre: Wed 2 – Fri 4 Sept 7.30pm (Warm Up, Curtain Up 6.20pm; Thur 3 Sep Pre-performance Music talk 6.30pm), Sat 5 Sept 1.30pm & 7.30pm (Post-matinee Q&A), Sun 6 Sept 6.30pm

Rotorua Civic Theatre: Thur 10 Sept 7.30pm (Warm Up, Curtain Up 6.20pm)

Palmerston North Regent on Broadway: Wed 16 Sept 7.30pm (Warm Up, Curtain Up 6.20pm)

Napier Napier Municipal Theatre: Sat 19 Sept 7.30pm (Warm Up, Curtain Up 6.20pm), Sun 20 Sept 1.30pm

Next season:

Visit our website to read about our forthcoming International Tour visiting UK and Italy from Oct 2015. The programme will feature our recent world premieres Passchendaele and Dear Horizon together with the RNZB’s acclaimed production of Giselle.

The Royal New Zealand Ballet – www.rnzb.org.nz

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