Category Archives: Events

Create1World 2018

Create1World 2018

Nau mai, haere mai. Welcome to the Create1World Competition and Conference information pages – Join us to create one world through expressive arts and creativity! Hono atu ki te whakataetae Create1World.  Mahi tahi mo te rangimarie.

Massey University invites high school students in years 9-13 to enter the 2018 Create1World competition, and/or to join us for a fabulous day of creative inspiration including local and international panellists answering your questions, along with performances, workshops and activities.

The competition asks you to produce a creative piece that encourages audiences to join together as a global community and solve some of the big problems we face as a planet.  It could be a video, song, poem, short story, speech or theatre performance – your choice – but it must help us think about ways of working collaboratively for the betterment of all humanity. There are cash prizes!

“We are still raving about it.” (Teacher, Wellington)

The conference days are free to attend, and give you a feast of creative inspiration from other young people and leading artivists (that’s artists who use their creativity to generate change)!  There’s one conference at Massey Wellington, 9am – 3pm on November 15, and one at Massey Auckland, 9am – 3pm on November 22.  We provide morning tea and lunch, a goody bag, and a wealth of information and inspiration about creativity and global citizenship.

If you already know you want to come to a Create1World conference day near you – please register here: https://docs.google.com/forms/d/e/1FAIpQLSeNlSNKwVI01F44LTWZ0uiyuYKP0JsUi1EcbPZo3JH33UCvOw/viewform Registration for the Auckland event has been extended until 5pm on November 8, 2018.

You can attend a conference day without having to enter the competition – but we really hope you’ll do both! It’s great to see what ideas everyone has and share our own Kiwi young people’s creativity alongside our featured local and international artists’ stories about their successful creative journeys.

We are very grateful to New Zealand National Commission for UNESCO for supporting Create1World, including with prizes, and travel support for participants (if your school needs help with travel for students, please contact us on cre8oneworld@gmail.com to discuss – we want to see wide participation at Create1World!).

If you’d still like a bit more of a sense of what it’s like to come to a Create1World Conference before you sign up, check out the Radio New Zealand story here: http://www.radionz.co.nz/national/programmes/standing-room-only/audio/201807707/creative-activism

So get creating and registering, and come join us for Create1World 2018!

“Thank you so much for such an amazing conference today. I had little to no idea what was going to happen and it completely blew my mind how well put together it was. It was so interesting and fascinating to hear different perspectives from not only the panel internationally and domestically, but as well as from teachers/tutors within Massey University. Thank you so much once again❤️” (Student, Auckland)

 

Summer Shakepeare brings ‘The Comedy of Errors’ to the Esplande, Palmerston North

Summer Shakespeare director Peter Hambleton has presented the Bard in Palmerston North before.

In 2009 he directed Summer Shakespeare’s All’s Well That Ends Well on the car park in front of the Esplanade Scenic Railway station, incorporating the miniature trains as part of the action.

For this year’s The Comedy of Errors, which opens in the Esplanade Rose Gardens on Thursday, Hambleton has moved from miniature trains to model boats.

When the audience arrive, they will be greeted by a small flotilla of model boats bobbing on the Esplanade Rose Garden pond.

“The community aspect of the production is really important to me. I’ve done a few Summer Shakespeare productions now and celebrating and involving the community, and making it fun for the audience is all part of the Summer Shakespeare spirit,” Hambleton said.

The models are being provided by Maurice Job, a member of the Palmerston North Aeroneers.

The Comedy of Errors is a story about seafaring and shipwrecks, and Maurice has a wonderful collection of model boats. What we’d like is for people to bring their own models and add them to the fleet on the pond.”

For Sunday’s Esplanade Day 2pm matinee, Hambleton is expecting Job to turn up with a large model of a battleship.

Boats wouldn’t be the only models on show during the hour-and-a-half long play-through production.

“Nic Green has constructed a replica clocktower that will appear in the show. You’ll have to come along that to see why that is.”

As well as the teamwork and collaboration involving “a raft of people from across town”, Hambleton said he had attracted a great cast, including several local theatre award-winners.

“The play is about two sets of twins separated at birth and brought up in different countries. They get together again during one day in the city of Ephesus.”

In a gender-bending twist to the comic tale about double mistaken identity, Hambleton has the lead male characters played by women, and some of the female roles played by men, with the setting a thoroughly contemporary one.

“Shakespeare wrote this play with Palmerston North 2018 in mind. It has taken all this time for this startling piece of information to be revealed,” Hambleton said.

Expect some fast-paced action around the Rose Garden fishpond, with entry to the five 7pm and one 2pm performances by koha. There will be no wet weather venue, and any affected performance will be postponed until the next fine evening.

Inmates explore morals in Greek theatre

Inmates performed an abridged version of an Ancient Greek play, using puppets.

Is pride the ultimate crime? It is a big moral question that a group of inmates at Auckland Prison explored when they performed an Ancient Greek play using puppets, in a partnership between the prison and Massey University.

The project involved seven inmates who staged an abridged version of Antigone, by Sophocles (written around 441 BC) last week. The aim was to cultivate the performance skills and confidence of the participants, says Dr Rand Hazou. He is a senior lecturer in theatre, based in the School of English and Media Studies at the Auckland campus. Along with storyteller and theatre-maker Derek Gordon, he led the Theatre Behind Bars project at the prison in Paremoremo through his interest in community theatre and social change.

He says theatre can provide a constructive platform through which prison inmates are able to explore deeper personal, family and social issues, giving them the opportunity to develop creative and communication skills, as well as understandings of human behaviour through storytelling.

The production, Puppet Antigone, by the group called the Unit 9 Theatre Group, built on a series of introductory theatre workshops Dr Hazou organised at the prison in May and June. The latter was facilitated by Canadian theatre director David Diamond, artistic and managing director of the Vancouver based company Theatre for Living. “As a result of these initial engagements, a small theatre group has developed at the prison that is interested in continuing to engage with theatre practice,” Dr Hazou says.

Inmates at Auckland Prison at Paremoremo performing the Greek play, Antigone. (photo/supplied)

Old play but relevant story

He says the show went well, and the response of the 40 audience members – made up of prison staff and invited guests, including some Massey staff, and a large contingent of inmates – was overwhelming.

“This was wicked! I’ve never done anything like this before, and even though it is an old play, we understood the story,” one of the actors said. “I’ve also learned about the power of standing still in one place when acting, but using my arms, voice, and facial expressions, especially my eyes, to communicate with the audience.”

Kellie Paul, Principal Advisor Rehabilitation and Learning at Auckland Prison, says that participating in Antigone was “a powerful and challenging experience for the men involved in the Theatre Behind Bars project.

“They really had to push the boundaries. The actors also had to memorise complex lines in a short period of time, and learn how to manipulate puppets for the first time to add dramatic effect to their performance. Auckland Prison is privileged to have access to the expertise of Rand and Derek to help the prisoners explore their strengths, improve their learning and education, and develop their self-confidence.”

While the utterances and dilemmas of Ancient Greek characters may seem far removed from the realities of New Zealand prison life in the 21st century, Dr Hazou says the play provides “a creative opportunity for inmates to cultivate their emotional, physical and literacy skills by adapting a classic written play into performance.”

After all, the play hinges on a key quote from Tiresias, one of the main characters: “All men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.”

The play tells the story of Antigone, the daughter of Oedipus, who insists on giving her dead brother, Polynices, a form of ritual burial in keeping with divine laws. But her brother has been ruled a traitor by her uncle, King Creon, who has decreed that anyone caught giving burial rites will be executed. The play questions whether Antigone should follow her heart and insist that family responsibilities and religious rites are more important than the city’s law. Or should she bow to her uncle and king and follow the responsibilities expected of a citizen to the state?

“The play raises important questions about ethics, standing up for what is right, and not bowing to authority. But it also raises questions about pride, which is described in the play as ‘the only crime’ that men make,” Dr Hazou says.

Kellie Paul (Principal Advisor Rehabiltation and Learning at Auckland Prison); Derek Gordon and Dr Rand Hazou (Massey Unversity); with Simon Chaplin (Assistant Prison Director, Auckland Prison). (photo/supplied)

Why the play Antigone?

By exploring the primal and universal desire to respect the dead with due rites and the sacred obligation to provide the dead a dignified transition from the land of the living to the world of ancestors, the play holds cultural resonances with Aotearoa, he says.

“Māori tikanga are well-known for rituals and protocols to deal with the dead, and the conflict in Antigone would be immediately recognised by Māori and Pākehā alike. The play also highlights the conflict between men and women in a patriarchal society and demonstrates the harsh and tragic consequences for one woman who decides to stand up to this patriarchal power.”

Still Waving Climate Change Creative Writing Competition: Read the Winning Entries

We are delighted to have the authors’ permission to publish all the Still Waving Climate Change Creative Writing Competition shortlisted and winning entries. Congratulations to everyone who entered: the standard was uniformly high, and we were sorry we only had three prizes to award. Selecting just three was a challenge as there were so many fantastic pieces, and we have to say a huge thank you to our principal judge Dr Ingrid Horrocks, and to Dr Jack Ross, editor of Poetry NZ, who also assisted with the final results to make sure our judging was really thorough! Click on the titles below to read each item.

Winning climate change creative writing

We are delighted to bring you the winning short story in our Still Waving Climate Action Creative Writing competition.  From a very strong field, this is the piece chosen by our judges, creative writing lecturers Dr Ingrid Horrocks and Dr Jack Ross, as the outstanding item.  To read others of the top items, click here.

Image of green grass in closeup

Grass Still Grows

By Sharron McKenzie

Marianne pulled the cover over the printing press, and packed the last of the slim volumes in the bags on the floor. The nagging ache in her gut gave a sharp twinge as she bent down. Indigestion, she told herself, but she knew it wasn’t. Knowing did no good, anyway. No more chemo, no more wonder drugs. There hadn’t been a shipment of any drugs from overseas in years. These days, if you couldn’t make it locally, you went without.

She slung a bag over each shoulder and shuffled down the hallway, smiling at Mrs Niroshan, who was tiredly walking back and forth trying to quiet the baby. Behind the closed door of the second bedroom she could hear raised voices. At least the authorities were only sending her one refugee family at a time these days, while they waited for their place on the inland convoys. There had been times when she’d packed up to eighteen people into her three bedroom house.

Melba greeted Marianne with a loud “Meeeehhhh!” from her stall in the garage. The goat shifted impatiently as Marianne attached the carrier bags to her harness.

“Dude,” she said to the goat, as they walked out to the street. “Where’s my driver-less car?”

Melba knew the answer to that one. “Meee!”

“Goats go where goats want to go. I don’t think that counts as driver-less!”

She could feel warmth in the wind from the east, bringing a swampy stench with it. And barely spring yet, Marianne thought. The mosquitoes would be hatching in the brackish marsh that covered the remains of eastern Christchurch.

She could hear high pitched giggles as two little boys played in the water-filled pothole that spanned half the street, conducting a naval closeup of goatbattle with tiny ships made from flax stems. Dot’s granddaughter was hanging out washing in her front yard as Marianne passed, singing in a pure high soprano.

Rain still falls and the grass still grows,

Boy sees girl, you know how it goes.

Dot was leaning on the gate watching the kids, and Marianne stopped, yanking at Melba’s rope when she tried to sample a roadside patch of cabbages.

“Here,” Dot said. “I saved some carrot tops. Did you hear about the latest reading? 10.73 metres! I always wanted a seaside property.” She never seemed to tire of that joke.

“Better get that bikini ready,” Marianne countered, as she always did, and Dot cackled happily. The truth was there were no more beaches. There was no edge to the ocean any more. It had gulped down half the city, and vomited back a swamp of stinking mud and twisted wreckage.

The last ten years had been a frantic race against the tide to render down buildings and infrastructure to their constituent parts. Everything of possible use, including topsoil and trees was removed by the Locust Army, to be loaded onto the electric trucks travelling inland, to the new cities. Fairlie, Ranfurly, and even sleepy Naseby, had been transformed as the coastal refugees fled to higher ground.

Melba plodded around the corner, a carrot top dangling from her lips. Marianne let the goat pull her along, thinking back over the years. When was it? Was there one particular day? That day we finally realised things were never going to get better?

There were those pictures on the news, back when they still got television broadcasts. That shaky video shot with a phone from the last plane to leave Kiribati. The crowds pressing against the chain link fence at the airport. The wave of brown water churned up by the plane’s wheels as it moved down the runway. The view of that young woman below, waist deep in the swirling water, holding up her baby over her head, mouth open in a silent O as the plane lifted away. Was it then, when the first nation drowned? Or had they still thought something could be done?

Was it the summer the farmers built pyres of black and white carcasses, sending columns of stinking smoke rising up from the plains, after the ships stopped coming and the dairy industry collapsed?

Was it the winter that the flood waters covered south Dunedin, the Hutt Valley and Greymouth, and never receded?

Or that summer the meteorologists added new colours to their temperature maps, and half of Australia went up in flames? Or the autumn that the first F6 hurricane hit the Caribbean joined up?

Was it the neo-dengue fever epidemic of 2037, or Black Tuesday when the banks went down for good?

Or that one terrible night when a dirty bomb rendered Sydney uninhabitable. And then likewise Chicago, Los Angeles, Tel Aviv, Manchester and Marseilles? Or the vicious twelve day war that turned both North and South Korea into radioactive wastelands, and the last frantic flailing ‘accidental’ missile strikes that took out Japan and half the coastal cities of China?

Marianne shook her head. Maybe it was a different day for everyone who’d lived through the last twenty five years. She tied Melba to a post outside the old supermarket, now filled with a combination farmer’s market and traveling garage sale. A hand painted sign in the window of the old pharmacy offered “Books, Drugs and News for Sale. Gossip for Free.”

Marianne stuck her head in the door. “Hey, Sam,” she said. “Got a fresh batch for you.”

“Marianne, lovely to see you,” Sam said, stepping outside to help her carry the bags inside. He laid the slim volumes on the counter, one hand absently scratching the lumpy melanoma on his left ear.

“Diphtheria, symptoms and treatment,” he read slowly. ”What else have we got here? Goat husbandry, compost toilet construction, Ross River virus, radio operation and repair. Excellent. Riveting reading as always, Marianne.”

“At least I achieved my life’s ambition,” she said, with mock hauteur. “I am a published author, with sales in the hundreds.”

“We should have a book launch party.”

“Oh yes, with wine, and those little canapes on silver trays!”

Sam laughed. “I really don’t know where I’d get the smoked salmon and crackers.” He took out a small notepad and added up some figures.

“With what you brought me today, here’s what you have to spend. What can I get for you?”

She was looking out the window at the hills. “Something from the back room. I need 200 mg of morphine, Sam.”

“Oh, my dear,” he said. “So soon?”

She avoided his eyes. “Not yet. But I’d like to be ready. I don’t know how much longer I’ll be mobile.”

He looked at her for a moment longer, then turned and unlocked the door behind the counter. He returned with a small plastic container.

“Send word when it’s time,” he said, coming with her to the door. “I’ll come around.”

“I will,” she promised. “I’ve put some books aside for you.”Springtime grassy hillside

Outside, Melba had finished the carrot tops and was chewing on her lead rope, a thoughtful expression on her face.

“Come on, you silly goat,” Marianne said. “Let’s go to the park and you can have grass for lunch.”

“Meh,” Melba said, agreeably.

Marianne looked up at the green hills as they walked. Rain still falls and the grass still grows, she thought. Maybe I have not had that one particular day yet.

Climate Change Creative Writing – Third Place Winner

“Recycling Worlds: A Collation of Works”

By Melanie Ferguson

Author’s note: “This piece deliberately enacts a recycling, by reusing and repurposing fragments of older works, that are fully referenced in footnotes. The words used are from four countries and three centuries, connecting ideas across time and space. All borrowings of material in this essay are limited to brief passages used for critical purposes, and are fully acknowledged in the references. I apologise in advance for any inadvertent infringements of copyright, which I will be happy to rectify as soon as they are brought to my attention.”

I stood in my garden pulling loquats off the tree and eating them to be full of spring[1]; a tree that may have spent further time as a house or classroom, or a bridge or pier. Or further time could be spent floating on the sea or river, or sucked into a swamp, or stopping a bank, or sprawled on a beach bleaching among the sand, stones and sun[2].

The train went on up the track out of sight, around one of the hills of burnt timber[3]. And further west on the upper reaches the place of the monstrous town was still marked ominously on the sky, a brooding gloom in sunshine, a lurid glare under the stars[4]. I said his heaven would be only half alive; and he said mine would be drunk; I said I should fall asleep in his; and he said he could not breathe in mine[5]. A ray peers into the room of your eye . . . . Why is our art so introverted? It doesn’t mean a thing – to the seagull or sun – the clouds don’t understand – a word – their language is silence[6]. His mouth opens. From inside him comes a slow stream, without breath, without interruption. It flows up through his body and out upon me… washing the cliffs and shores of the island, it runs northward and southward to the ends of the earth. Soft and cold, dark and unending, it beats against my eyelids, against the skin on my face[7]. And if several people talk at once an overlapping howling noise begins, echoes generate echoes[8]; our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps – perhaps[9]; the tree, after a lifetime of fruiting, has, after its first death, a further fruiting at the hands of a master. This does not mean that the man is the master of the tree… He is master only of the skills that bring forward what was already waiting in the womb of the tree[10].The new things born there console or constellate they measure space they keep time. But who wrote this story? And before writing who told it to us that we tell it over and over? [11] With what ineffable pleasure have I not gazed – and gazed again, losing my breath through my eyes – my very soul diffused itself in the scene[12]; You are of me and I of you, I cannot tell – Where you leave off and I begin[13].

[1] Michele Leggott, “a woman, a rose, and what has it to do with her and they with one another?”, as far as I can see. Auckland: Auckland University Press, 1999.

[2] Patricia Grace, p. 7, Potiki. 1986. Auckland: Penguin, 2010.

[3] Ernest Hemingway, p. 133, “Big Two Hearted River: Part I.” In Out Time. 1925. New York: Macmillan, 2003.

[4] Joseph Conrad, p.5, Heart of Darkness. 1899. London: Penguin, 2007.

[5] Emily Bronte, p. 180, Wuthering Heights. 1847. Great Britain: Wordsworth Editions, 2000,

[6] Graham Lindsay, from “Cloud Silence” The Subject. 1994. Retrieved from NZEPC Oct. 5th, 2017.

[7] J.M. Coetzee, p. 157, Foe. 1986. London: Penguin, 2010.

[8] E.M. Forster, p. 137, A Passage to India. 1924. London: Penguin, 2010.

[9] Virginia Woolf, p. 129-30, Mrs Dalloway. 1925. Oxford: Oxford University Press, 2009.

[10] Patricia Grace, p. 7, Potiki. 1986. Auckland: Penguin, 2010.

[11] Michele Leggott, from the back cover of DIA. Auckland: Auckland University Press, 1994.

[12] Mary Wollstonecraft, p.72, Letters Written during a Short Residence in Sweden, Norway, and Denmark. 1796. Canada: Broadview Press, 2013.

[13] Susan Howe, Articulation of Sound Forms in Time. Windsor, VT: Awede, 1987.

Climate Change Creative Writing – Shortlisted

A Mother’s Fury

By Eden Shearer

Mother will not stop yelling

She is casting cyclones

That are destroying precious lives

 

She has become a home-wrecker

Sowing the seeds

Of volcanic eruptions

 

She is angry

Causing innocent feet

To flee from their homes

To run far away

 

We are too scared to look her in the eye

So we keep running

Hoping for grass that is greener on the other side

Only to find that there is nothing left

 

When will we learn

To stop arguing with our Mother

And to start implementing change?

 

It is about time we cleaned up our mess

And as they always say, Mother knows best

 

It is too late to diffuse her temper completely

But we can still use our actions

To decelerate her intensity

 

Let’s turn mindlessness

Into mindfulness

 

Oh Mother Earth, we can hear you.

 

Climate Change Creative Writing – Shortlisted

 Always

By Janet Newman

 

The river always

finds a way

down from the ranges

through the plain

to the sea

 

although sometimes it takes

a circuitous route

around corrals of cliffs,

through macrocarpa roots,

sometimes cross country,

clear across old stones

 

because the river has a way

of folding back

on its way forward,

lengthening and stretching out long and wide

as it takes its time

 

as it longs to find its way

by longing for the sea

 

and in longing reveals

the length of its persistence

 

which is something to long for

however slow

 

the way any life

sometimes doubles back,

folding and looping

 

because the river

always finds the sea

by following

a doubtless course

 

sometimes doubling back

but always moving

eventually

forward.

Climate Change Creative Writing – Second Place Winner

Flood

By Janet Newman*

When the floodwaters rose up

covering the plain with mirrors and veils

 

our backyards looked like other people’s

and the roads we drove failed under rivers

 

that seemed to have been there longer than we had.

Belongings stacked on pool tables sagged.

 

Sixteen sand bags might as well have been a cache of illegal toheroas

for all the good they could muster

 

against the weight of water

spilling over the stopbanks.

 

When the floodwaters rose up

we sank down

 

into our steamed-up cars if we could find them,

our fire-warmed lounges if we could reach them,

 

watching the rain gauge, the tide times,

the insurance claim, the surge line.

 

We wrote everything down in the record books

but the numbers didn’t look like much

 

because we’d stopped feeling

like we were the ones who counted.

 

When the floodwaters rose up

we sank back down to the bush

 

with the weka

and the powelliphanta snails

 

and the katipo

clinging to waterlogged webs

 

and peketua, paddling,

holding up their heads.

*Flood was first published in Atlanta Review (New Zealand) Spring/Summer 2017 and is republished here with kind permission of the editor.

 

Penguins on stage and street in climate change action – Massey University

Donning Catherine Bagnall's costumes for the 'Becoming Penguin' walk are fourth year fashion students Jacob Coutie, Jordie Agnew and Hannah Tate.

Donning Catherine Bagnall’s costumes for the ‘Becoming Penguin’ walk are fourth year fashion students Jacob Coutie, Jordie Agnew and Hannah Tate.

Using theatre to turn people into penguins is a symbolic way to highlight some of the planet’s most vulnerable species in this year’s global Still Waving: Climate Change Theatre Action events in Wellington.

Co-organiser Massey University’s Associate Professor Elspeth Tilley says a number of Massey staff and students will become “human penguins” on stage and in the streets of Wellington this Labour Weekend. They are showcasing how artists and performers can respond to environmental and social issues – in this case, the serious threat of global warming to the existence of Antarctica’s penguin populations.

Her new play, The Penguins, is being performed in 14 locations worldwide from Paris to Shanghai and the United States, as well as at Massey’s Wellington campus on Labour Day (October 23). It is one of nine short plays on climate change featured at this year’s Still Waving: Climate Change Theatre Action event at Massey – part of a six-week global movement to highlight climate change issues through performance.

In a thematic prelude, participants will take to the streets of central Wellington in the “Becoming Penguin” performance walk, starting at the Cenotaph at Parliament at 1pm and heading to Massey University. Participants (everyone welcome) are invited to join the walk wearing whatever black and white items they have in their wardrobe that lend a penguin “look”.

Creator of “Becoming Penguin”, Massey lecturer in the School of Design | Ngā Pae Māhutonga, Catherine Bagnall, is an artist whose work focuses on the edges of fashion studies and its intersection with performance practices.

“In the context of questions about humanity’s relationship to the planetary ecosystem and how we categorise ‘other’ species, ‘Becoming Penguin’ explores ideas about the end of the Anthropocene and the beginning of the post-human world,” Ms Bagnall says.

The walk, she says, is to “symbolise support for all the communities taking personal responsibility for climate action at a local level, when governments won’t.”

World premieres staged

Following the “Becoming Penguin” walk, a cast of 23 – including well-known Wellington professional actors alongside Massey students and staff – will stage nine climate action plays by writers of Jamaican, Portuguese, Native American, Australian, New Zealand, Samoan, Canadian and US descent at the campus Theatre Laboratory from 2pm.

“The programme includes two world premieres – a short play by Samoan writer/director Ian Lesā about Pacific Island climate change issues, and one by Kat Laveaux, a playwright from the Lakota tribe in the United States, who visited Massey University earlier this year as part of the National Expedition and Internship Programme, and became keen to participate in Climate Change Theatre Action,” says Dr Tilley.

Also featuring is work by another School of English and Media Studies playwright, Philip Braithwaite, whose short play “Swing Among the Stars”, about colonising Mars, is scheduled for nine Climate Change Theatre Action performances globally.

In her play, Dr Tilley explores human behaviour and attitudes from another species’ perspective (one in which the males ‘stay home’ and look after the young) to provide an innovative and often hilarious framework into which serious ideas can be woven.

“It’s also a way of giving people hope. Penguins have been around for 60 million years, whereas humans have been on the planet for about two million years,” she says. “I think it’s important not to hit people in the face with a message.”

Art and creativity on social issues

Dr Tilley, a lecturer in theatre studies in the School of English and Media Studies – including the Creativity in the Community paper (in which students apply skills in theatre, performance, film-making, creative writing, media practice or mixed media to developing a creative response to a social issue or community need) – is the author of several award-winning plays on climate change and social issues, and producer of the biennial Aotearoa Climate Change Theatre Action events, launched in 2015.

She says the process of creating and performing theatre about a difficult and daunting topic can be empowering for participants and audiences.

“People get bombarded with information about climate change and the doom-filled scenarios – the result is that people become complacent and switch off,” she says. “The performances in Still Waving will entertain, console and confront you with works that are humorous and intense, problem-illuminating and solution-focused, powerful, sometimes funny, sometimes catastrophic, often moving and inspirational.”

All proceeds from the Still Waving event go to youth-led climate action group Generation Zero, which is campaigning for a zero carbon New Zealand economy.

For more information, check out the Still Waving: Climate Change Theatre Action Facebook page.

Source: Penguins on stage and street in climate change action – Massey University