The Naturalist Book Launch

Friday 15th August saw the launch of a Massey University creative writing senior lecturer Thom Conroy’s novel the Naturalist at Palmerston North City Library, with over 150 people in attendance. The book launch featured a reading from Dr Conroy, and introductions from the Head of the School of English and Media Studies Joe Grixti and well known poet Helen Lehndorf. The book is currently at number two on the New Zealand fiction bestseller list.

The Naturalist tells the tale of Dr Ernst Dieffenbach – a liberal-minded, free-spirited 19th century German physican, geologist and naturalist who studied New Zealand’s wildlife, plants and people, was fluent in Māori and considered all races to be equal – was a man ahead of his time.

His views seem more in line with contemporary thinking on issues such as race relations and democracy, which is partly what fascinated Dr Thom Conroy. The result is his first, just-published novel The Naturalist (Penguin Random House Books).

Dr Conroy says he was struck by what he read about Dieffenbach while researching natural history for another project. He felt the German deserved more attention in light of his colourful personality and experiences at the onset of New Zealand’s colonisation.

Expelled from Germany for supporting a subversive pro-democracy revolutionary student movement and for duelling, Dieffenbach wound up in London and was appointed as naturalist aboard the controversial 1839 expedition of the Tory.

His ship mates included Colonel William and his nephew Jerningham Wakefield of the New Zealand Company, who were off to buy land from Māori for British settlers without the consent of the Crown. Charles Heaphy, artist and draughstman for the New Zealand Company, was aboard too.

Dieffenbach had strong views on colonisation, which clashed with orthodox views at the time and made for heated debate during the gruelling three-month voyage. Also on board was Nahiti, a young Māori returning home from London having left New Zealand on a whaling ship. His friendship with the German naturalist confirmed Dieffenbach’s conviction that humans were equal, whatever their skin colour.

While he may be known to a few historians through his two volume narrative Travels in New Zealand, Dr Conroy says Dieffenbach has been overlooked. “The more I read about him, the more I felt he needed to be rescued from the margins of history.”

He includes a striking quote at the opening of the book from the second volume of Dieffenbach’s Travels in New Zealand: “I am of the opinion that man, in his desires, passions, and intellectual faculties, is the same, whatever be the colour of his skin; that mankind forms a great whole, in which the different races are the radii from a common centre; and that the differences which we observe are due to particular circumstances which have developed certain qualities of body and mind.”

Such views were unusually enlightened for his time, and in contrast to those of the theory of evolution founder Charles Darwin, who makes a cameo appearance in the novel. He believed Māori were of a “lower order”.

The novel focuses on Dieffenbach’s 18-month stay in New Zealand, weaving a compelling narrative around his discoveries, explorations – he was the first European to ascend Mt Taranaki – and encounters with land, nature and people. The story vividly evokes the extraodinary pioneering sea voyage into unknown territory, and spans the Northern and Southern hemispheres to encompass his personal life and love interests in Germany, London and New Zealand.

American-born Pennsylvanian Dr Conroy, who has lived in New Zealand for nine years, drew on extensive historical records and research for the book, inventing scenes and additional minor characters to bring the German’s remarkable personality and story to life.

He hopes his fictional rendition of Dieffenbach’s story will have wide appeal – especially to those intrigued by influential yet marginalised historical figures who provide fresh clues to the tangents and nuances of New Zealand’s colonial history.

Balancing the tension between fact and fiction to produce a compelling and authentic story was one of the main creative challenges of the book, which he completed after more than 30 drafts, he says.

But such literary challenges have a positive spin-off. Discussing them enlivens his creative writing classes and supervision of Master of Creative Writing students. “When I’m sitting in a class or workshop discussing work with students, we’re there as people, as writers. We understand what we each are going through and can learn from each other.”

Dr Conroy’s short fiction has appeared in various journals in the US and New Zealand, including Landfall, Sport, New England Review, Alaska Quarterly Review, and Kenyon Review. He has won the Katherine Anne Porter Prize in Fiction and his writing has been recognised by Best American Short Stories 2012 as well as the Sunday Star-Times Short Fiction Competition.

He and his School of English and Media Studies colleague Dr Tina Dahlberg, who publishes under the name of Tina Makereti and also teaches creative writing papers at Massey’s Manawatū campus, are two of only only three new literary fiction writers in New Zealand to be published by Penguin Random House Books this year. Dr Dahlberg’s novel Where the Rekohu Bone Sings, was published in March. </P.

Dr. Jack Ross reading as part of ‘Poetry Central’ for National Poetry Day.

Jack Ross (2002)

 

 

 

 

 

 

 

 

For ‘National Poetry Day this Friday – Dr. Jack Ross will be reading some poetry at the Central Library as part of ‘Poetry Central’. The readings are free and start at 6pm.

When: Friday 22 August, 6pm
Where: Central City Library, Waitemata room, Level 3
Cost: Free

Auckland Libraries and the nzepc (the New Zealand Electronic Poetry Centre) invite you to celebrate National Poetry Day with an evening of readings.

This event will be accompanied by birthday festivities for nzepc and fabulous poetry posters from Phantom Billstickers.

There will be readings by Michele Leggott, Makyla Curtis, Murray Edmond, Ya-Wen Ho, Selina Tusitala Marsh, Alice Miller, John Newton, Jack Ross and Robert Sullivan.

Join us for a welcome glass of wine at 5.30pm before the readings begin at 6pm.

To reserve your place for this event, please phone 09 377 0209 or email Ana Worner

For more information visit: http://www.aucklandlibraries.govt.nz/EN/Events/Events/Pages/poetrycentral2014.aspx

Theatre to help firms deal with workplace bullying

In the red corner

 

‘In the Red Corner’ is a play about workplace bullying written by Dr Margot Edwards.

Feelings and emotions are often marginalised in the rational world of business, but Massey University’s expressive arts and business programmes hope to change all that with the development of a play about workplace bullying. Dr Margot Edwards, a senior lecturer with the School of Management, wanted to create an effective intervention for dealing with bullying at work. Instead of producing the usual seminar, she decided to write a play. “I wanted to actually create something interactive to get people thinking in a different way about how bullying makes people feel and what the reasons behind it might be,” Dr Edwards says.

“A play allows people to have a discussion about the characters and their behaviour, without accusing a colleague. It also allows you to reflect on your own experiences and how they made you feel. We all remember those scenes in our head when the boss came in and shouted at us, for example, and we think ‘I wished I’d said this’ – you can use those experiences to effect change.” Now Dr Edwards is teaming up with the university’s theatre studies programme to get her play, titled ‘In the Red Corner’, ready for performance. Students from the Massey University Theatre Society will workshop it through an open reading in the Albany campus’ state-of-the-art Theatre Lab tomorrow.

School of English and Media Studies lecturer Dr Rand Hazou says the project is a great opportunity for the business and expressive arts programmes to collaborate. “The reading will be part of the students’ creative development and we’ll hopefully bring some clarity to Margot’s ideas and what she’s trying to achieve,” he says. “Plays always sound different when they are read out loud so we will help Margot to see and hear how her words come alive and give insights into how it can be redrafted and improved.” Dr Hazou says the play fits well within the tradition of applied theatre, which he has a particular interest in. “We introduced a new Applied Theatre paper here at Massey last semester – it looks at theatre applied outside conventional performance spaces as a way of bringing about social change. “When Margot told me she had written a play about bullying and she wanted to develop it so it could be presented in workplaces to spark discussion, I thought, ‘Great, this is exactly what I’m interested in – theatre with a real-life application that tries to bring about change in the way we see things.’”

‘In the Red Corner’ is set in the fictional Blackrock General Hospital and shows the interaction between a bullying director of nursing and a nurse union representative. The content is inspired by the research findings of one of Dr Edwards’ PhD students whose thesis looks at workplace bullying in nursing. “The researcher, Kate Blackwood, interviewed both nurses and management in hospitals and they are all really desperate for research that can lead to effective interventions,” Dr Edwards says. “Hospitals are high pressure workplaces so the impact of bullying on a person’s mental state in that environment can lead to serious mistakes.”

Dr Edwards says she first began to think about writing plays after using role play when teaching leadership skills.“Role-playing can bring an idea alive – it might put students on the spot and make them feel awkward, but that’s what life is like. We’re always looking for ways to flip the classroom – I mean, who wants their lecturer to put up a slide that says here’s five things you should know about leadership?” Dr Hazou agrees: “The expressive arts afford different ways of knowing. If you stage something like a play, it opens up different types of spaces in which people can engage and discuss, which is what you need if you want to bring about cultural change.”

There are already plans to perform ‘In the Red Corner’ at a harassment workshop later in the year and Dr Edwards hopes customised versions of the play will be taken into workplaces where bullying is known to occur. She says her hope is that workers “walk out of the room as different people to when they walked in.” Down the track, both Dr Edwards and Dr Hazou would like to see Massey offer the services of an acting troupe to businesses, with theatre students being paid to perform thought-provoking plays in workplaces around the country. “If there’s a gap there and Massey can play a role in filling it, fantastic,” Dr Hazou says.

New creative activism paper launching 2015

Creative ProcessesMassey University’s School of English & Media Studies will lead the way in Aotearoa/New Zealand arts education by launching a new paper in creative activism in 2015.
Launching simultaneously at Wellington and Auckland campuses in first semester 2015, 139.333 Creativity in the Community will immerse teams of students in the art and science of creative communication for social change, with guidance from experienced Expressive Arts educators. Students will be able to make a film or documentary, stage a collaborative community theatre event, use creative writing, or combine all of these, to work with a community group on a real issue.
Wellington course coordinator Associate Professor Elspeth Tilley said “communication activism pedagogy is an emerging trend internationally. It involves teaching students to apply their creative communication knowledge and skills to work with community partners to promote social justice.”
“We are seeing increasing application by social justice groups in Aotearoa of the power of the arts to drive change – for example Women’s Refuge is working on a giant statue of Kate Sheppard made up of the voices of people who want to stop domestic violence, and Greenpeace has been staging performance art all over the country with a lifesize polar bear. Not to mention the amazing work that theatre practitioners, such as the group Te Rakau Hua o Te Wao Tapu Trust to name just one, have been doing for a long time because of the recognition of the power of theatre to change lives.”
The Creativity in the Community course will equip students to plan, implement and evaluate these kinds of applied arts projects, giving them hands on experience in delivering creative activism but also requiring them to understand the ethical and managerial dimensions.
“Our Expressive Arts students already have a strong foundation in devising projects that use creative writing, theatre and multimedia by the time they reach third-year (see for example at left a student multimedia/theatre performance addressing issues of identity and binge drinking, from Wellington Creative Processes students 2014).  This paper enables them to capstone that training by taking it to the next level, working with a community partner.”
Dr Tilley said there was a strong research and scholarship base behind creative activism that students will connect with in ‘Creativity in the Community’ to understand how to make their arts interventions effective and compelling.
“Internationally, students have worked on issues such as gender inequality and violence, ethnic and racial prejudice and discrimination, and health disparities and issues affecting those who live in poverty. Our students will research their communities and team up with local NGOs to choose projects that respond to genuine need. We know that this benefits the students as well as the communities, as service learning has been proven to develop skills in teamwork, project management, risk assessment, communication, professionalism and a host of other competencies that will ensure our students hit the ground running when they enter the workforce. A big plus of creative activism pedagogy is that it also develops students as engaged citizens who feel empowered to use their voice effectively to create a better world.”
Dr Tilley will coordinate Creativity in the Community at Wellington, while at Albany campus it will be led by Dr Rand Hazou, a specialist in applied and documentary theatre who has international research links with social justice theatre projects, as well as strong connections with theatre-for-social change groups in the Auckland region.
“We are really looking forward to launching this project and seeing the students’ learning come to life in real social change,” Dr Tilley said.

Links:
139.333 Paper Information for 2015: http://www.massey.ac.nz//massey/learning/programme-course-paper/paper.cfm?paper_code=139333
Bring back Kate campaign: http://www.3news.co.nz/Kate-Sheppard-statue-nears-completion/tabid/423/articleID/354173/Default.aspx
Theatre as a tool to transform: http://artsaccess.org.nz/theatre-as-a-tool-to-transform

Cinephile: Simon Sigley

transnat_film_culture

Transnational Film Culture in New Zealand is a niche publication, written because its author loves film.  Film was the most important medium of the 20th century, Simon Sigley says, “a protean cultural phenomenon with huge industrial and aesthetic ramifications”, and he is fascinated by its changing cultural status in his native New Zealand, the more so because for around a decade he lived in a country where film has always been given its intellectual due: France.  A film viewed in the cinema, the environment for which it was crafted – is special. Nothing, says Sigley, compares with that visceral, embodied experience of cinema, that moment when lights dim, the chatter stops, the sound swells and the movie begins.

See more at: http://definingnz.com/cinephile/#sthash.JavN9hOg.dpuf

 

Loops + Splices Symposium: Changing Media Technologies, August 1st

LoopsSplices Programme Final

All scholars and practitioners interested in film and media are welcome to attend the Loops and Splices symposium on changing media technologies on Friday 1 August at Victoria University of Wellington.

The symposium has been organised by Media Studies lecturers Radha O’Meara and Alex Bevan with colleagues from Victoria University.  It will feature a keynote presentation by Professor Ian Christie from University of London’s Birkbeck College on the history of 3D in photography and film, as well as presentations by Massey Media Studies lecturers Kevin Glynn, Sy Taffel and Allen Meek.

http://www.victoria.ac.nz/fhss/about/events/symposium-loops-and-splices-changing-media-technologies

Attendance is free, but attendees should register by emailing Kathleen Kuehn before the end of July:
Kathleen.Kuehn@vuw.ac.nz

Symposium Programme 

Schedule: 1 August 2014 Hunter Council Chamber, Hunter Building, Victoria University of  Wellington

9.30-10.30am       OpeningPlenary

Chair:MiriamRoss

ProfessorIanChristie(BirkbeckCollege)

“Denying depth: uncovering the hidden history of 3D in photography and film”

10.45-12.15          PanelOne:Archaeologies,Bodies,NewTechnologies

Chair:KathleenKuehn

AllanCameron(Auckland),“Facing the Glitch: Abstraction, Abjection,and the DigitalFace”

JulieCupples(Edinburgh)andKevinGlynn(Massey),“Technologies of Indigeneity: Māori Television and Convergence Culture”

MaxSchleser(Massey),“A Decade of Mobile Moving-Image Practice”

SyTaffel(Massey),“Arch/Ecologies of E-Waste”

1.30-3.00pm         PanelTwo:AmateurPracticesandEverydayLife

Chair:RadhaO’Meara

RosinaHickman(Victoria),“A pastora lparadise?: Landscap eand early amateur filmmaking in New Zealand”

O. RipekaMercier(Victoria),“Screen(ed) Culture in the 48 Hour Film Competition”

MinetteHillyer(Victoria),“Formulas for the Interior: Homemovies, television and the practice of real life in public”

DamionSturm(Waikato),“Smashing and bashing as affective commodity-spectacle? Televisual technologies in the Australian T20 Cricket Big Bash League”

3.15-4.45pm         PanelThree:MediaLoops,AestheticHistories

Chair:MichelleMenzies

AllenMeek(Massey),“Testimony and the chronophotographic gesture”

MichaelDaubs(Victoria),“What’s New is Past: Flash Animation and Cartoon History”

KirstenMoanaThompson(Victoria),“’Now Isn’t Simply Now’: A Single Man and the Color Image”

LeonGurevitch(Victoria),“Cinema Designed: Visual Effects Software and the Emergence of Design”

4.45D5.15pm         ClosingPlenaryPanel

Chair:KirstenThompson

Ian Christie and OrganizingCommittee

The symposium committee would like to thank

Adam Art Gallery, New Zealand Film Archive, School of English, Film, Theatre and Media Studies at Victoria University of Wellington, Faculty of Humanities and Social Sciences at Victoria University of Wellington, School of English and Media Studies at Massey University, and the Visual Culture Group of Victoria for generously supporting the Loops+Splices symposium.

 

Symposium Organising Committee

ProfessorKirstenThompson:Kirsten.Thompson@vuw.ac.nz DrMiriamRoss:Miriam.Ross@vuw.ac.nz

DrKathleenKuehn:Kathleen.Kuehn@vuw.ac.nz DrAlexBevan:A.L.Bevan@massey.ac.nz

DrRadhaO’Meara:R.OMeara@massey.ac.nz MichelleMenzies:michelle.menzies@gmail.com

Ian Christie (Birkbeck College,University of London)

Denying depth:uncovering the hidden history of 3D in photography and film

If stereoscopy has been a more significant and continuous presence in modern imaging media than is conventionally recognised, why has it been consistently marginalised by photographic and film historians? After its huge popularity in the second half of the 19th century, there were expectations that stereo moving pictures would follow. Yet even after practical display systems emerged in the 1930s, resistance has continued,often fuelled by a mixture of economic and psycho-aesthetic justification.What’s the problem?

Ian Christie is Anniversary Professor of Film and Media History at Birkbeck College, University of London, and a curator and broadcaster. He wrote and co-produced a BBC TV series The Last Machine, presented by Terry Gilliam, in 1994; and  the  exhibitions  he  has   worked   on   include Eisenstein:   His   Life   and Art (1988), Spellbound:ArtandFilm (1996) and Modernism:Designing a New World (2006). A Fellow of the British Academy and Slade Professor of Fine Art at Cambridge University in 2006, with a lecture series entitled ‘Cinema Has Not yet Been Invented’, he is especially interested in mediaecology and archaeology, and in audiences-the subject of his most recent book.

Symposium Web Page

Twitter #vicloops

Naomi Richards accepted for PhD in Creative Writing, Lancaster University

Naomiphoto

Naomi Richards, former creative writing student at Massey, has been accepted for her PhD in Creative Writing at Lancaster University.  “I really enjoyed studying  creative writing at Massey University. Now I’m very excited about starting a PhD in Creative Writing at Lancaster University, in England in October 2014.”

 

June 2014: New Zealand stage director, Dione Joseph, heads to NYC for the Lincoln Centre’s directorslab!

ibolt_gg241206_4058951_resized

Seven years ago budding theatre director and third year Massey University student Dione Joseph left New Zealand to go on a six month exchange to study theatre and film at one (if not the most) iconic college destinations in the world, University of California, Los Angeles. It was an experience that would change this young kiwi’s path forever.
This year, after directing over thirty productions since that exchange she returns to the USA to represent New Zealand at one of the most prestigious centres for performance: as an invited participant in the 2014 Lincoln Centre’s DirectorsLab.
Having directed continuously since her early 20’s (both at home and internationally) this invitation comes at an opportune moment in Ms. Joseph’s career.
“I didn’t plan to be a theatre director,” says Ms. Joseph, “In fact I went to Massey, Palmerston North to become a vet. Unfortunately, I soon found that my love for James Herriot’s writing didn’t quite translate to the dissection lab; and after a few incidents with half-frozen rats and the potential of carving up puppies – I decided a career change might be in order.”
Her love for literature made the decision to switch to the arts obvious. But it was in the drama department that she found her real passion. Under the tutelage of Dr. Angie Farrow she directed her first production in 2006, “The Land of Heart’s Desire”, an obscure Irish play by W.B Yeats about love, faeries, and of course being whisked away on your wedding night.
“It was a bizarre choice for a first attempt as a young director and I am so grateful to my cast for trusting me to direct such a work,” says Ms. Joseph, “At the time I had been studying post colonial literature and was increasingly drawn to the stories and voices from Ireland, South Africa and the Caribbean. They offered a perspective of the world that I felt increasingly connected to, an awareness of New Zealand’s past and history within multiple contexts; a changing landscape where I felt that my voice and my story has a place in our country’s unique and complex cultural matrix.”
Since then Ms. Joseph has directed a range of diverse productions, including being invited to direct Neil Simon’s Fools at UCLA during her exchange; a work in Fuyang, China with local women; numerous productions in Melbourne, Australia and also an opportunity to be Assistant Director to Scott Rankin from Big hART on the company’s latest production of Hipbone Sticking Out.
She will be the only New Zealander amongst fifty of the world’s top international directors who will be spending three weeks at this year’s directorslab. “I applied two years ago to the lab but I didn’t get in, “says Ms. Joseph. This year not only is the theme of the lab focused on audience (ideal for my community based work) but I’ve also been able to clarify a lot of the reasons as to how and why I want to create large scale community based performances.” Ms. Joseph who graduated as a Massey Scholar with a BA in English has also received a first class honours in theatre studies from the University of Melbourne and an Artist scholarship to complete her MA in Community and Cultural Development from the VCA (Victorian College of the Arts). In addition, she is the recipient of numerous artistic and academic accolades and is honoured to be representing New Zealand in New York. “It’s not just about me, it’s about our whanua, the communities I work with, the creatives who trust me, the audiences who come to these productions with the understanding that story is medicine, and that theatre is a space to grow, engage, share and be transformed.” She adds, “I strongly believe a diversity of voices and perspectives from Aotearoa need to be heard and that people across the globe are witness to the fact that New Zealanders are individuals who work tirelessly to fulfil a vision that will serve not themselves, but their community; that is engineered not for self advancement but based upon the unswerving commitment to our people and our stories. That is certainly one of the most rewarding reasons to be in attendance at this year’s lab: to participate in however small a way, to ensure that our distinct voice is heard in an international context.”

May 2014: Kiwi artist joins The Clipperton Project to journey down the mighty Usumacinta River in Tabasco, Mexico

 

Artists have always been an eccentric bunch. We expect them to take new risks, venture into the unknown and essentially take the proverbial bull by the horns when it comes to their art. New Zealand writer and director Dione Joseph is doing just that. Well, not literally wrangling with el toro but she is in Mexico and has just finished a month long expedition down the Usumacinta river, a project organized by the internationally renowned Scottish company The Clipperton Project.
“This is an expedition like no other,” says Ms. Joseph via Skype from Jonuta, Mexico where the group are currently staying for the night. “We are an international group of filmmakers, sculptors, visual artists, teachers, academics (our very own expedition doctor is a remarkable ornithologist and proficient sailor) and most importantly we are all here as a community to listen to the voices of this magnificent river and all the various land and sea dwellers of her waters.”
Ms. Joseph met expedition leader Jon Bonfiglio in Melbourne in 2013 and their conversation about The Clipperton Project and it’s remarkable emphasis that “anyone can be an explorer” led to ongoing conversations as they opportunities for potential collaborations.
With a strong emphasis on engaging with local communities, the invitation a few months later to join this intrepid expedition as it journeyed from Palizada (three hours away from Villahermosa, Tabasco) along the mighty Usumacinta to Frontera was met with great enthusiasm.
The fours fundamentals of The Clipperton Project are to Explore, Engage, Energise and Empower and it is these principles that made both Bonfiglio and Joseph recognise that there was much scope for creative collaborations especially with Ms. Joseph’s growing body of work in Indigenous performance in an international context.
“This journey has been an incredibly challenging but also a rewarding experience,” says Ms. Joseph. We’ve been rowing in canoes that we’ve fibre-glassed ourselves with oars also personally planed and sanded; sleeping in a hammocks, regularly waging war with mosquitoes, cooking some fantastic meals with mangos, coconut and other local produce and to top it off doing 20-30kms every second day in the sweltering heat! This is definitely not my typical day in the rehearsal room but then it’s a good thing I’ve never believed in maintains the ‘typical'”. But what’s has been particularly resonant for this kiwi adventuress has been the opportunity to connect with people and culture.
“We have been so warmly welcomed by everyone we’ve met, both the townsfolk and the people living by the river have shared meals with us, taken us to visit various Mayan mounds (sacred sites), local fishermen have offered personalised bird watching trips and we’ve been able to listen, share our own stories, do workshops with children and literally let the river take us where she pleases.” But it hasn’t all been plain sailing, the group have faced unseasonal downpours on two occasions, were thought to be illegal immigrants but nevertheless welcomed and given asylum by locals, and also mistakenly accused of stealing a local canoe!
Needless to say the journey is full of unexpected twists and turns much like the river which has rarely seen such a group navigating its waters.

DioneAJoseph

Dione Joseph

The expedition will conclude at the end of the month and the team will return to Palizada before continuing on their own journeys. “This is a landscape where the voices of the howler monkeys animate a twilight littered with fireflies beneath velvety pink and purple sunsets, where mosquitoes and fire ants. But let’s not get too romantic, fire ants are named appropriately and navigating the obstacle course of tarps and twine with a head torch on the way to an outdoor toilet isn’t always as glamorous as it sounds, but certainly makes me appreciate hot showers and a real bed – when I eventually do get them!”  The expedition is expected to officially end on the 29th of May, 2014 with the group having covered almost 250kms along the Usumacinta River.

Full house for compelling performance

Violeta show 4   The audience for Violeta Luna filled the Massey University Wellington Museum Building theatrette to capacity on Friday for her mesmerising performance of NK603.
Members of the public joined Australasian Drama Studies Association conference delegates to watch open-mouthed as Luna transformed in front of their eyes from a traditionally-dressed Aztec woman planting seeds by hand to a blood-spitting, tape-bound embodiment of the toxicity she sees wrought on her people and the environment by monocropping and genetic modification.

Fixing the audience with her stare and moving among the seating to get up close and personal with attendees, Luna issued a wordless yet wholly eloquent challenge to all present.  Using visual images, music and physical theatre, despite not having a single word of dialogue, she effectively called into question the environmental, social and political consequences of the globalisation of agriculture.  Her show charted a trajectory from indigenous Mexican traditions of small-cropping and organic companion planting to foreign-owned mass crops, automation, wholesale use of pesticides, fungicides, and the alteration of seeds that renders them non-renewable.

Violeta show 1

“It is important for me to work with audience interactivity, with direct contact, where the public becomes co-creator of the work,” Luna said. “The experience of immediacy, of the shared instant and the accident, gains new meaning in these actions.”  Audience members at NK603 were in the firing line as corn was thrown, and some were handed bright blue balls of pastry representing over-processed, artificially coloured and genetically altered foods.

Violeta show 2

The following day Luna presented an equally powerful keynote address to the ADSA conference, charting the territory of her many theatre projects, both solo and collaborative, that address issues of social justice.   “My work is the result of a dialogue between the language of theatre and the language of performance art,” she told delegates. “I create a multi-dimensional space where different elements (music, dance, ritual, behaviors, etc.) converge to create new narratives and alternative realities.”Violeta show 3

Luna spoke about her collaborative works with Guillermo Gomez Peña,  Secos & Mojados, and Pocha Nostra, which have included a live acupuncture work where audience members placed needles with flags into Luna’s body to signify colonisation  “In performance art, the artist’s body is considered as the main platform for the work. The body is like a conceptual map where the artist creates her personal cartographies, a metaphorical space- a body that is in itself subject and object- and the signified and signifier of the creative work.”

Her repertoire has included a number of works collaborating with community groups, particularly immigrant women dealing with culture shock and marginalisation, who find rituals of healing become available to them through being able to participate in performative re-creations of their experiences.  “In performance art, the female body transforms into a ‘liberated zone’ for creativity, and also for the reinvention of gender within inclusive contexts, where ‘the feminine’ is not generalized through pre-fabricated concepts. Instead, it is particularised, presented, through a specific, self determined woman, with her differences, her own biography.”

Luna was brought to New Zealand by the Expressive Arts program in the Massey University School of English & Media Studies, as part of Massey’s co-hosting (with Victoria University of Wellington) of the ADSA 2014 conference.