#Māori writing influences

[thisisgraeme]

Te Ara TuhiTuhi: Master the Journey from Initial Idea to Polished Composition

Te Ara TuhiTuhi: A System for Learning How to Write Better Welcome to “Te Ara TuhiTuhi,” a comprehensive yet easy-to-understand writing system designed to transform your initial ideas into polished prose.  This system takes you through a cyclical journey, mirroring the natural progression from the birth of an idea to its full realisation in writing. Here’s how you can navigate each…

[dailyanarchistposts]

Histories of colonisation ought to be remembered, including the horrors and atrocities, but also the endurance and empowerment found in trenchant resistance and the fight for sovereignty, writes Radhika Reddy.

India and Aotearoa are both grappling with decolonisation. In this ongoing struggle to wrest free from the legacies of colonialism, each society can learn from the other.

A recent piece published by The Spinoff uncovered some of these lessons, but in my view gave a rather disempowering view of both Māori and Indian experiences. It emphasised tragedy, brutality and suffering, but overlooked trenchant resistance efforts seeking sovereignty, where we might find the most useful stories to exchange.

Common ground

The previous article began with common ground, but only focused on Māori and Hindu ecological values, so let’s broaden the picture with some Indian traditions beyond Hinduism, and decolonising Māori values.

Papatūānuku and Kaitiakitanga: Khalifa, Amana (from Islam)

An “ethos of living in harmony in nature” is found in Islam, India’s second-largest religion. The Quranic approach is based on Khalifa and Amana (trusteeship of nature) in which humans have guardianship over nature, to appreciate and care for it, pass it unspoiled to future generations, and manage sustainably.

Manaakitanga: Seva (from Sikhism)

A spirit of hospitality pointedly appears in the centuries-old Sikh tradition of Guru Ka Langar (communal meal), an act of Seva (selfless service). Langar serves food freely and equally to all-comers, regardless of religion, caste, wealth, gender or age, overcoming divisions exploited by colonialism.

Tino rangatiratanga: Swaraj (from secularism)

Māori notions of self-government and Gandhi’s credo of Swaraj (self-rule) share an essence of seeking self-determination, with social structures and values separate from colonial interference.

Besides principles, there are common experiences and episodes of resistance shared in history:

Parihaka

The events of Parihaka came long before India’s independence movement gained momentum, but the spirit of non-violent resistance echoes across centuries, possibly having influenced Gandhi.

Redcoats

British regiments frequently rotated through India and New Zealand. Waves of veterans, after plundering India or suppressing its rebellions, came to fight the New Zealand Wars, or left to police India. British statues as well as town, street and suburb names across Aotearoa are familiar to students of Indian history — Empress Victoria, Governor-General Auckland, Colonel then Commander-in-Chief Wellesley (later Duke of Wellington), and places like Bombay or Khyber Pass. These are connected histories.

Lessons India has to offer for Māori

Among decolonisation projects, India’s imperfect story of independence still has interesting lessons.

Non-violent resistance works

Māori have led non-violent resistance in Aotearoa for generations, from Parihaka to Ihumātao, and may find the example of India’s liberation a hopeful landmark victory in global history.

The practice of Indian non-violent resistance continues to this day, as protests rage against likely unconstitutional policies such as the Citizenship Amendment Act and the National Register of Citizens, with assemblies, marches, sit-ins, and art, despite state violence.

Coexistence

Although India ejected British occupation and suffers internal divisions, there is still a firm thread running through the ages demonstrating coexistence between different cultures.

Look to chapters in history like the peaceful inclusion of Muslims in South India since the seventh century, the religious tolerance of Akbar in the 16th century, the joint Hindu-Muslim Indian Rebellion of 1857, and the secular Indian constitution. They contrast with divisive ideologies like Hindutva founder V.D Savarkar’s two-nation theory that promoted a dominant Hindu nation. The daily lives of many Indians today embody inter-cultural acceptance, the norm across much of the country, most of the time.

Whereas Aotearoa may not return its settler society for a full refund, multicultural coexistence is possible.

Overcoming divide-and-rule

Whether it was the East India Companies or the British Raj, a small minority of power brokers ran the show — infamously, 35 staff in an East India Company office. They relied on divide-and-rule, recruiting vast numbers of Indian foot soldiers (Sepoys) to do the hard work. But a highly-leveraged organisational arrangement is weak to united resistance (like Kotahitanga). Today it appears in gig economies or the criminal justice industry, which pit marginalised people against each other.

Self-government is not always good government

Today’s India shows how things can get wobbly even 70 years after independence, as a homegrown blood-and-soil movement undermines equality and reproduces colonial hierarchies atop a diverse society.

Take the word “decolonisation”. It probably looks straightforward, but it is a co-opted term in India. In the name of decolonisation, the Hindutva movement promotes discriminatory reforms, such as ending affirmative action for lower-caste people, and passing the exclusionary Citizenship Amendment Act.

There are regions under Indian rule seeking greater autonomy or Azaadi (freedom) today – resisting occupation by a central Indian state, as Assam endures detention centres, and Kashmir a militarised siege.

It takes eternal vigilance to protect hard-won sovereignty from sabotage.

What India can learn from Māori

Colonialism is now

It is tempting to think colonialism must belong only to museums and history books. But settler-colonial societies still persist. In Aotearoa, settlers may have settled but the nation remains unsettled. As Treaty negotiations, claims and protests unfold, Indians can reflect on how the colonial legacy is fed by continuous re-colonisation – a risk India is prone to, not from Britain, but from, say, supremacists within.

Indians in Aotearoa can also respond by allying with Māori in decolonisation efforts.

Overcoming casteism and anti-indigeneity

While there is no comparing two complex societies, there are still parallels between the institutional discrimination that Māori have endured, and the discrimination against Dalit, Other Backward Class, Scheduled Caste, Scheduled Tribe and Adivasi (indigenous) people. As Indians in Aotearoa can find solidarity with Māori in undoing colonial oppression, so too can India find equality for its systematically disadvantaged classes.

Protecting taonga like language

While India is blessed with a diversity of cultures, a tendency to homogenise society with one language and identity sometimes rears its head. Whether under well-meaning secularism, or Hindutva rule, language imposition threatens diversity. South Indian languages like Tamil, Telugu, Malayalam and Kannada are spoken by large minorities but are often in tension with a Hindi regime pushed by central governments. The experience of Te Reo Māori shows the value in preserving languages, and the perils of erasure.

Common struggles

Supremacism

Whether it is white supremacy or Hindu supremacy (sharing traits like Islamophobia), countering dangerous ideologies is vital to fulfill the egalitarian promise of the constitutions of both Aotearoa and India.

Climate change

A global challenge like climate change demands a variety of solutions, but most importantly by centering indigenous people in decision-making — something Aotearoa has yet to fully embrace. For all the “harmony with nature” embedded in dominant Indian cultures such as Hinduism, the ruling BJP government has much to answer for when it comes to emissions, environmental degradation and deregulation.

Feminism, LGBT and disability equality

Achieving equality for women, non-binary, LGBT and disabled people in India and Aotearoa is an ongoing struggle. Threats like sexual abuse, domestic violence, inadequate healthcare, colourism, repressive gender roles, limited autonomy, inaccessiblity, and economic inequality, are common concerns.

Patriarchal British norms echo in Indian laws, as with Section 377 that criminalised homosexuality until recently. Despite decriminalisation in 2018, there is not yet recognition of same-sex or gender-diverse marriage, protection against discrimination, or adequate healthcare. Trans Indians are targeted by the new Transgender Persons Act which sanctions second-class treatment — for instance, it provides for lower sentences in cases of violent crimes against trans women. The new Citizenship Amendment Act and National Register of Citizens especially threaten women, non-binary, LGBT and disabled people.

In Aotearoa, amendments to laws like the Birth, Deaths, Marriages, and Relationships Registration Bill, letting trans people more easily update birth certificates, still face transphobic opposition. Abortion decriminalisation remains under consideration. Māori may be worst affected by settler-colonial sexism, homophobia, transphobia and ableism.

These are signs that our societies have a long way to go, to enact systemic reforms, and to lift the veil of everyday shame and silence surrounding marginalised lives in our cultures.

Remembering

Histories of colonisation ought to be remembered, including the horrors and atrocities, but also the endurance and empowerment found in resistance. The previous Spinoff article proposed a museum dedicated to New Zealand colonisation, and praised changes to the curriculum teaching New Zealand history in all schools.

Both of these are laudable goals, but must be conducted with care to avoid the kind of revisionism seen in India under Hindutva rule. Any museum of New Zealand colonisation should seek to share with all New Zealanders the narratives Māori have learned and developed, to centre Māori self-determination and agency, and to emphasise coexistence under a Treaty framework that respects Tino Rangatiratanga.

[local-redhead-bookworm]

I just got back from seeing Avatar: Way of Water and I’m about to make it everyone’s problem.

First off, the movie was absolutely visually stunning. The planet, the locations, the animals, all of it was gorgeous. Some of the most gorgeous shots I’ve ever seen.

I loved the Metkayina designs. They were clearly designed with water life in mind—the wider tails, wider arms to allow for better swimming. I also noticed inspiration drawn from Māori tattoos for their facial markings.

I loved all the kids, but Spider is definitely my favorite. It just makes me so sad that this kid has grown up never fitting in with the humans or the Na’vi and has been barely tolerated by most adults in his life. I have a lot of thoughts on Spider, but that’s a whole separate post. Basically I love him, I want him to be safe, and he’s a kind kid with a big heart and I’ll defend him to my dying day.

Kiri is a close second favorite. I was literally thinking “are there autistic Na’vi?” Before watching this and I kind of got my answer. Yes, i do 100% see Kiri as autistic. Also she’s canonically epileptic, which I thought was interesting. I just want more disabled characters that are interesting and contribute to the story, and she delivers. I also think it’s so cool that they gave her such a close connection with Eywa (no I don’t have religious trauma leave me alone). My only complaint is that Sigourney Weaver’s voice doesn’t…sound like a teenager’s voice to me. She plays the part very well, but her voice throws me off a bit.

I think it’s very interesting what they’ve done with Quaritch’s character. By making him a clone, you basically start over. He’s got all the memories but basically only a year or so of life experience and a lot of that influences how he interacts with the world, especially Pandora since he’s experiencing it from a new angle. He also noticeably softens toward Spider and while it may have started as manipulative, I do think he genuinely cares for Spider by the end. He reminds me a bit of early-show Zuko, and I can see him getting redeemed through his bond with Spider. I really want to see him link with a Spirit Tree, the existential crisis it would cause would make for great writing.

I don’t feel that Jake has been super poorly written, but I feel that we’re seeing him acting in survival mode so I don’t know what his relationship with his kids is usually like. I understand why he would revert to military training in a time of crisis.

I do feel like Jake has forgotten what it was like to be human in some ways, like he’s forgotten that he wasn’t always Na’vi. He does great his boys like they’re soldiers under his command, and I feel like his treatment of Spider shows just how much he’s forgotten what it was like to be human. What it was like to live in a world that wasn’t compatible with his body.

I also feel like Jake doesn’t have a full grasp of Na’vi culture still, and he sometimes overrides Neytiri when he should listen to her experience. Again, I understand the reasoning, it just annoys me.

Neytiri got shoved to the side a bit, in my opinion. She was in character, and I understand all of her responses, but I felt that Jake didn’t always treat her as an equal or value her knowledge enough. I don’t quite have words for how her emotions impact her character, but they’re all very impressed words. Just wow.

The tulkun are so cool to me. It started out as just kind of a whaling story, but you realize that these creatures are sentient, they’re capable of thought, they’re deeply intelligent beings. They’re people, plain and simple. And seeing the whaling analogy paired with the fact that these creatures are people, it made me nearly cry. Seeing them being murdered and their bodies desecrated for a tiny bit of profit had me cringing in my seat and made me so angry.

Random thoughts in no particular order:

Tsireya is so pretty I love her. She reminds me of a fantasy Elf for some reason.

Quaritch attempting the “death by thighs” move was unexpected, but not entirely unwelcome. I’m used to seeing femme fatale characters use that move, and I’m pretty sure I was blushing.

All of the Sully boys have daddy issues now, and Spider also has mommy issues

The “why so blue?” dad joke and Spider getting the one “fuck” of the movie made me laugh

[dgtor-writes]

(I ADORE tumblr because only on here have i had a user dm me to rave about a comment i left on their junker queen post and then after a long exchange on here exchange discords with me so we can rave about her writing)

(I like Twitter because we can have a similar-ish experience, but it stays in the replies and stops after 7+ tweets)

Anyways, STOP SAYING JQ AND MAD MAGGIE ARE THE SAME. They may have similar aesthetics and designs but wildly different arcs.

As previously explained, Mad Maggie is Māori New Zealander, which is super specific to her story and informs her character greatly. Junker Queen is a tan Australian with her skin color having very little influence on her story outside of showing she’s been in the sun a lot. (Personally I head-canon her as a mixed First Nations woman but that’s neither here nor there).

Both characters have their own writing flaws and virtues but that’s more a reflection of the writing team and there’s gold if you know where to look.

Mad Maggie is amazing. I’ve seen fans write her off as “crazy for the sake of crazy”. Which is just… so wrong?

Margarita Kohere’s madness is a duly faceted. She holds real, burning rage at the occupation of her homeland, and the one person who claimed to stand by her who left to seek his own dreams of glory. And her mental state is reflective of the trauma she’s endured from said occupation. She’s had to be tough as nails and even bloodthirsty to secure the autonomy and freedom of her people and do things that are morally dubious. She isn’t deranged for shits and giggles, she’s traumatized and aggressive to achieve what she views as liberation in a system determined to paint her as a villain as they takeover her home and brutalize her people. It’s there for a reason and integral to who she is.

On Junker Queen’s end she’s so cool. But there’s fans who write her off as a “dumb jock muscle mommy” which is also so wrong?! Like where are you people getting these?

(It’s the voice lines, I blame the voice lines)

Odessa Stone is aggressive yes, and her voice lines in game seem somewhat childish, but not even those reflect an unintelligent she-brute. The tough-as-nails attitude, similar to Maggie, is a product of her environment. In the Wastelands, might makes right and keeping your place in that hierarchy relies on having a level of physical superiority that can be enforced. She learned this lesson young being kicked out her home at a very young age and (presumably) losing her entire family to the radiated desert sands. Someone like that grows to understand how valuable power and the numbers to back it up is. Especially in her WL short, she is shown to be intelligent, empathetic, and a team player. The people of Junkertown lover her for a reason. She spared the lives of the former king’s lackeys and even took a hit to the face for one of them. In the art at the end, she’s shown to bring not only order, but stability and prosperity to Junkertown. She doesn’t hold herself apart from the other junkers but exercises her authority when/where its needed. She’s shown to have a great knack and intelligence for battle (as seen in her LoJQ short and the WL short) where she’s taken on a ridiculous amount of rogue omnics and slaughtered them, while utilizing non-lethal force against her human opponents in the reckoning. She’s not even remotely stupid or particularly bloodthirsty and the throwaway line about making widows and not eating her veggies got y’all fucked up.

(Honestly a bigger part of the problem is overwatch not letting their “heroes” kill in their shorts, and she’d been allowed to, she’d have been consistent at the very least from short to game but i digress.)

Overall, they not the same, neither of them suck, and they’d probably be besties if they knew each other irl. PERIOD.

[lohstandfound]

🥝🍔🍊

this got kinda long so

🥝Who are your literary influences, and have they shaped your own writing? I've said it before how M.L. Rio influenced the way I write dialogue. And playwrights and poets in general have had a slight influence on my fiction writing.

It feels easier to list influenced for my poetry. The main one for poetry is probably essa may ranapiri. Their first poetry collection, ransack, was focused on exploring gender through a non binary lens. Their second poetry collection, Echidna, is a mash up of Greek and Māori mythology and Christianity.

Also, in regards to poetry (mostly). My museum studies lecturers placed so much emphasis on being poetic and creative and bring wordsmiths when it came to writing assignments I had to convince myself to not write a 2000 word poem for a material culture study. However, the assignments focused on making museum labels gave me an idea for a poetry collection of writing museum labels for people I know. (Also, everything about my museum studies degree has 100% influenced deities au and I don't think I tried to hide that)

🍔What's a headcanon that hasn't made it into a published fic yet? I think most things find their way into a fic??

I think the only thing I haven't put into a fic is a potential concept for a few character's cultural heritage that is very much me projecting and very self-indulgent. The one I've put the most thought into is Jake and it is. Very much. Me projecting similar circumstances. I made a post about it a total of one time ages ago.

It stemmed from a random thought I had that if bmc was set in new Zealand, Jeremy and Michael would 100% go to Armageddon (which I guess is basically like comic con or any other convention). To which it lead me on a train of thought of what else would it look like if it was set in NZ and one of those concepts involved imagining them as Māori. The only one that really stuck with putting the characters back in, y'know, new jersey was Jake being white passing Māori with a huge disconnect from his whakapapa, knowing next to nothing about it. I have a lot of thoughts on it. But. y'know. Self indulgent projecting headcanons that will never make it into a fic. so ive never properly talked about it

in summary, i dont think there's a headcanon that i haven't managed to put into a fic yet.

🍊What's a story that changed significantly from its initial idea to the final draft? The basis of the poets fic is the same: Michael, Jake, Brooke, and Rich make up a poet quartet, working together to workshop poems and spitball ideas and perform at open mic nights. There's still a few unresolved issues between Jeremy and Michael, and Brooke and Chloe. And the poems are still the same.

The original version was so much more rushed and was resolved by Jake and Christine tricking everyone into a group therapy session.

I figured I could do it better, make it less rushed and actually take the time for mostly Jeremy Michael Brooke and Chloe to work out their feelings. Jeremy and Michael have already started, but I have plans for Brooke and Chloe (and Jake).

(In my mind, Rich and Jake have already worked through everything. Brooke and Jake are super close in this fic and I imagine Jake has written so many poems about Rich as a way of processing (what's this? Jake Dillinger has a healthy coping mechanism?) so by the time Rich approaches the trio to ask for help with his own poems, Jake doesn't hold as much anger and is much more willing to talk things through with Rich).

But now that I've taken it so far from the original plot, I'm not sure where it's going. I have a plan for an argument between Brooke and Chloe, and I want a Jake-centred chapter (but I need to write a Jake poem first)

[scifimagpie]

Queer Anarchist Biopunk Dark Fantasy!

Text:

"So you know how there are so many good books it's hard to get to them all?

No judgement #bookstodon all love to you #AmReading #SFF

But i need you to circle back to The Dawnhounds by Sascha Stronach, who wrote a book that's basically Perdido Street Station except everybody is a gay anarchist who hates the cops

Yeah I knew you'd want to know about that

Adding to this: it's such a fantastic book. It has some phenomenal body horror and wonderful found family moments, too.

Get your mushroom collection, your darkest corner, and your most worn blanket, brew some cheap tea, and curl up with this.

Like the vibes are very "punk kids writing a fantasy that you can read in a runoff rainwater tunnel or by the graffiti'd tunnel at the park."

It has neo-noir vibes! pirates! Nonbinary people! Maori cultural influences! Queer yearning! Horrifying quasi-magical technology!

If you like the game "Numanera" you will absolutely die over this setting, too. I also think it's kind of like Disco Elysium, but with biotechnology?

Anyway, you should grab it. Strong recommendation.

[indizombie]

Back in 1840, the treaty was drafted and translated in two languages: Te Reo Māori and English and discussed with a large crowd of Māori chiefs, settlers, traders, and missionaries. Many chiefs couldn't speak English, read, or write but they were there to assert their sovereignty over the land — echoing the same message of the chiefs who signed a statement five years earlier called the Declaration of Independence of the United Tribes of New Zealand. For hours the agreement was debated, with many Māori chiefs raising concerns over their land and sceptical of how authority, land ownership and trade dealings would work. After much consideration and the influence of a few prominent Māori chiefs, the treaty was signed on February 6, 1840. Not everyone supported the agreement or had the opportunity to sign — and despite this, three months later Captain William Hobson, New Zealand's first governor, declared sovereignty over Aotearoa. Since that historic day, the origins and understanding of article one in the treaty remains a pain point for many New Zealanders today.

Tahnee Jash, ‘The ink hadn't dried on New Zealand's treaty before the government reneged. Here's the Māori message to Australia’, ABC

[hetagrammy]

i'm grateful that you listened to the feedback about the problems with that nyo!england fic. the racism in it, especially after the fic moved into the victorian era, and became a very white feminist understanding of the british empire, also bothered me a lot as a woc. one example is how OP described Maia/NZ as a 'little monkey' in chapter 13 (here: archive(dot)ph/pwuuv#selection-18037.204-18037.239) and depicts her as small and bizarrely childlike, even though OP herself said Maia is supposed to be a 20 y/o college-educated Māori woman by then. there was no warning for racism in that chapter unlike how she warned for anti-irish stereotypes in another one, and Maia's weirdly childlike demeanor remains in those scenes not from Evelyn's biased perspective, so it came off as unexamined racism against indigenous people that OP doesn't even think or realize is a problem. she's actually received feedback from poc about problems in her fic already so...idk what to make of the fact that she still hasn't fixed that. i just know i'm not comfortable.

additionally, the fact that she clearly took the concept of Maia from other people in fandom who did a lot of work and research to flesh out a complex female Māori NZ, infantilizing and simplifying NZ and calling her a monkey felt even more disrespectful. i think it's fine to be inspired by other people in fandom (i've seen your own fun take on regency NZ), but not like that.

Response under the cut, apologies for the length

I want to go ahead and say, while I appreciate being notified about this, I don't want my blog to become a forum for dogpiling on the author or making accusations. The critiques presented here are very valid, I just don't want to cause any more trouble than me making that fic recommendation already did.

That being said, the only chapters I had read from that fic were ones that happened to come across my dashboard, and they were centered around Cromwell and the English Civil War, which is an interesting period to me. Knowing these details about later events in the fic now, I can definitely see how that would cause a lot of discomfort. The "monkey" metaphor makes me very uncomfortable, because it is a very loaded term. Though I doubt the author's intention was to offend, it's definitely a term to avoid when writing a non-white character. It's a poor word choice, and it is an odd character choice considering most interpretations I see of Zee tend to have her as very independent and self-assured. Granted, it's not my place to tell people how to do their own characterization, but in this case it is a characterization that sticks out and can carry some unsavory connotations.

I've adhered to the interpretation of Zee as a biracial woman, mostly because from what little I know of New Zealand's history, the Treaty of Waitangi gave the Maori a little more influence and leeway to negotiate with the British crown. That is obviously not to say they were treated well, the treaty was breached numerous times and they were still subjected to heavy discrimination. However, I think that the Maori's position throughout New Zealand's history makes it fitting that its personification would share that heritage. That being said, I don't know nearly enough about the history of New Zealand to meaningfully write a piece examining Zee's relationship with colonialism. There's plenty of people in this fanbase who could do that miles better than I could any day anyway. In my Regency AU I'm still unsure of how much I would examine that, especially because she is a young child in that. It's a complex topic, and definitely not one to half-ass when writing out.

Long story short, writing historical content with any of these characters is something that should be handled with care, but I think that is especially true when it comes to non-white characters.

[newmusickarl]

Top 50 Albums of 2022

5. angel in realtime. by Gang of Youths

One of the personal highlights of this year has been getting to write reviews and features for Gigwise. Since joining the team in January, I've been introduced to some great new artists and projects throughout the year that may well have slipped my radar otherwise. Back in February in one of my first reviews for the publication, I was introduced to an Australian indie rock outfit on their third album who had somehow escaped me till then.

The more I researched for the review and delved into the story behind the album, the more I became intrigued by it. Then when I eventually hit play on the record itself, I was simply blown away with what I heard – that album was angel in realtime by Gang of Youths, one of my Top 5 Albums of 2022.

Although angel in realtime is ultimately a personal story centred on frontman David Le’aupepe’s late father, the themes and emotions that course through the record are those with which anyone can relate. Not only does angel in realtime succeed in being a poignant and emotional tribute to Le’aupepe’s own family heritage, but it also delivers a richly composed, beautifully orchestrated indie rock record that flourishes in its examination of the complete human experience. Here's what I said in my review back in February:

“In the five years since their highly-acclaimed sophomore album Go Farther In Lightness, there’s been a lot of change for Australian alt-rock group Gang of Youths. In late 2019 founding member Joji Malani left the band, before being replaced shortly after by multi-instrumentalist (and Noah and The Whale alumnus) Tom Hobden. More importantly though: in 2018, frontman Dave Le’aupepe lost his father, whose life and legacy serves as the primary inspiration for their sensational new album, angel in realtime.

Sonically it is dazzling, with Gang of Youths remaining a rock band at their core but bringing in elements of classical, dance and folk music, helping this collection of songs to really soar. There are also more than a few nods to Le’aupepe’s heritage found within the eclectic sounds on display too, with contributions from Pasifika and Māori vocalists, as well as samples of composer David Fanshawe’s recordings of indigenous music from the Polynesian Islands and wider South Pacific region.

All of this is evident almost immediately too, as 'You In Everything' is a spellbinding, hugely orchestral opener where Le’aupepe intricately describes the final moments with his father. It is the perfect scene-setter, with widescreen instrumentation as Le’aupepe goes through each sense on the heartbreaking refrain of “I will (need/see/hear/feel) you in everything.” It’s an emotional hook that pulls you into the record, with 'In the Wake of Your Leave' continuing the story, as backing harmonies are provided courtesy of the Auckland Gospel Choir and percussion by several drummers from the Cook Islands. Lead single 'Angel of 8th Ave.' is then where you can really start to hear Tom Hobden’s influence coming into the fold—a hugely anthemic love song set in London, buoyed by strings, synths and a big singalong refrain of “there’s heaven in you now.”

Oddly, despite the wealth of instrumental splendour, it is probably the album’s most stripped-back song that offers the finest moment. Le’aupepe never knew the full extent of his father’s life and ancestry until after he had passed away, which is where he also learned he had two older half-brothers. After tracking them down and meeting them for the first time, he wrote 'Brothers', a raw piano ballad that pays tribute to his father’s legacy whilst outlining the highs and lows of the relationships he has with his siblings. It is exquisitely written and makes for a devastatingly stunning piece of songwriting.

For Dave Le’aupepe and Gang of Youths, the goal for this new record was clear: “I hope the record stands as a monument to the man my father was and remains long after I’m gone myself. He deserved it.” Whilst time will tell whether they have ultimately met their target, one thing for now is certain—this is a beautiful and moving tribute that extends beyond Le’aupepe’s own experiences and allows the listener to connect with the human stories they find at the heart. With gorgeous writing, an emotional resonance, as well as magnificent, diverse compositions throughout, you can’t help but get completely swept away.”

Best tracks: brothers, the angel of 8th ave., in the wake of your leave

Read my full review for Gigwise here

Listen here

[ardn716-haydenmiddleton]

WEEK 11 BLURB REFINING

I ended up talking a lot with my mum about her own memories of Pākuranga plaza and it inspired a lot of my blurb writing. I asked her about some key places and dates she remembers about Pākuranga Plaza from her youth. While talking with her I worked through refining my 2nd blurb which was the obituary style blurb.

Then I asked her for her feedback and what she thought. She mentioned that I could write the blurb in the perspective of Pākuranga Plaza mall which I thought was really cool and immediately began writing.

I was really liking how this blurb was coming along but it does move away from the obituary idea unfortunately which I also thought was really cool. But I think I am more inspired to write this from the point of view of the mall. I’ll get some more feedback on readability and grammar on this over the weekend.

If the name wasn’t going to be based around Pakuranga Plaza’s funeral I took some time to give it some more thought. While I was researching Pakuranga’s history more, inspired by my mum, I found out that Pakuranga in Māori means “Battle of the suns rays” which is actually so awesome but is also really kind of humorous considering how quiet and sleepy the plaza is now being named after this seemingly epic battle. I thought maybe I should just call the photo book “The battle of the suns rays”. Especially since it seems like Pakuranga Plaza is currently fighting for its life right now. But maybe then I should also mention the reason behind the name in the book, this could be a seperate note not included in the blurb perhaps.

This is the source behind finding out the names meaning, it’s also really quite cool cause this goes into how the current logo was made for the shopping centre.

https://www.unsworthshepherd.com/pakuranga-plaza#:~:text=Known%20locally%20as%20'The%20Plaza,influenced%20by%20the%201960's%20era.

[quuuuu1]

What is your topic from the past 6 weeks that you find most interesting?

AI and ART

Write 5 keywords that relate to the topic you have chosen

Influence

Useful? Or Dangerous

Reclaim

Misinformation

Representation

Define those 5 key words, in relation to your chosen topic, (50 words per definition)

Influence - To have an effect on a certain subject. It is a change in behaviour from other subjects. AI art has a direct influence in the industry as a whole. It has cut off budget from animation studios and other creative industries because it is just so easy and cheap to use AI. However, it has negatively impacted the art community because of how it’s cheaper to make AI art then to commission a small artist

Useful or Dangerous - Can AI be useful or dangerous? AI is a multipurpose code that can be broad to what it does. However, that is the problem. It can do almost anything but think like a human. Which is why it can be dangerous

Reclaim - To get back. Will Art reclaim Art again against AI? The code of AI is mainly human. Art is created by humans and will always be human no matter where it comes from. From caveman paintings, to creating the laws of maths and many more. Art can be applied to anything. AI takes away the human in art.

Misinformation - AI can create and shape a lot of things with the media. THIS includes false or inaccurate information. Which is intended to deceive. This goes with how people use AI in the media and how they represent news with AI. (Example : People in facebook are being tricked by AI art)

Representation - AI art can be a representation of how FAR AI is advancing. It could replace us humans from many jobs. It isn’t just artists or creative makers. It can soon replace IT workers, helping tool, applications and more.

Write a paragraph reflecting on what you have learnt about your topic and how it changes your understanding of engaging in art and design in Aotearoa.

In my topic, I’ve learnt the topic of AI through sources in the media such as articles, Twitter (opinions) and etc. AI engages with art more often these days because of the people who use them. I personally am on the side of “BAN AI” because of how dangerous it can get, like spreading misinformation, creating deepfakes and hurting people. In Aotearoa, it can affect the traditional art of Māori media. It can try to recreate the soulful art Māori people have left behind for the world to see and try to put out a soulless version of it or rather disrespect it. At the end of the day, it is how people use AI to its credit. They can choose to take advantage of it or use it to move forward in Aotearoa and globally. To a lot of artists, it threatens their jobs and life forms. Because AI is NOT original, it takes pixels and images from existing art in the media and recreates them into “pictures.” It only creates the results. There is no technique that is normally done creatively.

[desn512shams]

The English Typeface Experiments:

Typefaces explored & rejected:

Olicana: garamond, playful, elegant, handwritten and decorative. I hated it, because it lacked impact and didn't go with the rest of the poster. It resembled the ink from a fountain pen, and looked too basic compared to the rest.

Timberline: also a script based type, a bit more on humorous side, with some strength and personality, but again it didn't match the mood that I was going for.

Millesime: Bold, rustic, beautiful, slightly distressed, from long ago, a bit vintagey, which seemed great initially, but then I realised that it looked more like 'French' vintage, and didn't work with the traditional/cultural feel original to Aotearoa that I was looking to keep. So I didnt work with it further.

Stanyan Bold by P22 Foundry: Rustic ,distressed, bold. It didn't have the impact or personality that I was looking for to match the rest of the poster.

Sirennia: friendly, rounded corners, calligraphic influences, decorative. This is where I realised that maybe scripted and calligraphic writing for the English just wasn't cutting it. Instead of creating a sweet juxtaposition and some interest in comparison to the earthy Māori text, it just lacked the boldness I was looking for.

Terracotta, followed by Eaglefeather, both by Frank Lloyd Wright:

I really enjoyed discovering both these typefaces. Frank Lloyd Wright was a famous renowned architect back around the 50's. He created his very own typefaces to match his architectural drawings, and they're stunning, full of rhythm, beautiful flow and texture. They lean towards looking long, tall, confident and scripted. For example Terracotta is delicate, and is stylised after natural plant forms based on his drawings for The Haye Beautiful. However when testing it out for my poster, it proved too frail and didn't hold up, which is a shame. So I tested out Eaglefeather instead which was better than Terracotta, and kind of worked if I had the English text in all caps.

Sadly, as beautiful as they were on their own, I had to toss it out, because it felt too 'architectural', and almost too perfect. Also the history of the type is based on a famous architect in America, and that history doesn't resonate with the pieces that I'm trying to create.

The typeface that I picked:

Moonglow by Michael Harvey:

Michael Harvey also does carpentry and this typeface is based on the letters that he draws for the inscriptions that he carves into wood or stone. It also works with lightness and darkness. The type resonated with me because it suits the ancestral themes and traditional carving from our history. Testing it out, it worked with Engraved, and definitely matched the best out of all the fonts that I had tested prior.

However , it still wasn't quite perfect, I couldn't tell what was off. Perhaps it wasn't looking 'carved' enough, and I think the borders around the lettering felt too 'heavy'?

So after modifying it and changing the colour to white, it had the personality, boldness, and earthy hand-made quality that I was looking for, and I stuck with it for my final posters. (See the following post for the final look).

[bambastil32]

Why is the future not where we think?

When talking about the future, we most likely see it in front of us; But do all the people of the world think like this?

Advertising

Imagine the future. Where is the image for you? Do you see yourself stepping into the future? Maybe the future is behind you. Maybe even above your head. What do you think about the past?

How to answer the above questions depends on your identity and geographical location . How we imagine the future is influenced by the culture we grow up in and the language we speak.

For many people in Britain, the United States and much of Europe, the future is in front of them and the past is behind them. People in these cultures usually think of time as linear. They continuously move towards the future; Because they cannot go back to the past.

The indigenous Aymara imagine the future behind them

However, in some cultures, the past and future positions are reversed. The Aymara, a South American indigenous group living in the Andes, see the future behind them and the past ahead of them. By studying Aymara people's body gestures while discussing topics such as ancestors and traditions, scientists discovered this attitude. They noticed that when Aymara people talk about their ancestors, they use gestures and body language in front of them, as if the past is right in front of them. However, when talking about a future event, they point behind themselves.

Looking ahead

Analyzing how people write, speak, and body postures about time shows that the Aymara people are not alone. Speakers of Darij, a dialect of Moroccan Arabic, imagine the past in front of them and the future in front of them. This attitude is also true for Vietnamese speakers.

In the United Kingdom and the United States, people usually see themselves as stepping forward and into the future. When moving forward, the Maori people of New Zealand do not look to the future, but to the past. The Māori proverb Kia tsaktomuri te haere te haere is translated as: "I move backwards into the future by looking at the past."

For Maori people, what lies ahead is determined by what can be seen or seen. Maori people consider the past and the present as known and seen concepts; Because they have already happened. That is why the past is imagined in front of them or where they can see.

However, the future is unknown because it hasn't happened yet; So it's behind you because you can't see it. Māori find themselves stepping backwards into the future because their actions in the future are influenced by the lessons they learn from the past. By facing the past, they can apply those lessons in the future.

Different approaches

Scientists still do not know why people in different parts of the world interpret the past, present and future in different ways. According to one hypothesis, our perspective is influenced by the way we read and write. For example, people who write from left to right consider the direction of time from past to future from left to right, which is a reflection of their reading and writing patterns.

However, some people such as Arabic speakers and Persian speakers who write from right to left often interpret the time course of events from the past on the right and the future on the left. On the other hand, based on the reading direction, it is not possible to understand why some people who read from left to right imagine the future behind them.

According to another theory, cultural values ​​can also influence our orientation towards the future. Cultures differ in terms of traditions. According to researchers, your spatial perception of the future may be determined by your culture's emphasis on past traditions or focus on the future.

In cultures such as the United Kingdom and the United States, which emphasize the importance of progress, change, and modernization, the future usually lies ahead. However, in cultures such as Moroccan culture or indigenous Maori groups that place great value on traditions and ancestral history, the past is the focus and therefore the future.

Cultural differences can provide a basis for overcoming global challenges. If the future is not always ahead, then Western hymns about moving forward or moving on and letting go of the past can be meaningless to many people. Perhaps if we can learn from the representation of time in different cultures, then we can rethink the understanding of many global problems.

[cindyhangrad604]

Review/Essay Plan

Title Cultural objects that are taken for granted. Recognising overlooked objects???

Introduction My journey as a creative - elaborate on the title and its significance on who you are as a creative. Purpose of the report - Evolution of designers who want to make a difference in the world and to connect with others who share similar experiences - e.g. Third Culture Kid, Advocacy for Cultural Social Changes. Intro to the Cs (Creative, Creation, Creative Communities) - My work (up-to-date), designers I look up to (e.g. Barbara Kruger, Emory Douglas, Guerrilla Girls, Graham Tipene), communities (AUT postgraduates, activist groups.

The Creative The Key Values - Showcasing the importance of culture, the influence of design, and its impact on social changes. Ideas that underpin your practice, exploration of cultural heritage that discovered its significance in my practice. Conventions, media, and processes I gravitate to - Typography, Mixed Medium Collages, Photography, and Illustrations. Methods + tools for research/ideas/contexts etc - Personal Interest, historical and socio-cultural influences, contextual research, writing out keynotes/words. P.O.V - Why the arts are under appreciated. The importance of design & its impact on culture. Design guides people's understanding and knowledge. Design can navigate how people think and learn. Designs should have a purpose and a positive impact in the world.

Contextual Review - include images + captions State of knowledge in the field, best practice. Communities 'crave' a sense of belonging and like to advocate in what they believe in. *Additional sources i've came across that I could potentially use in my essay. 1) Guerrilla Girls Anonymous are a group of feminists, and female artists, who are devoted to fighting sexism and racism within the art world.  Bringing awareness to gender and racial inequality.

Significance (me & the community) First exhibition I've ever seen in the Auckland art gallery and has left a long-lasting impression. They protest by making posters, stickers, billboards, books, and photographs, and giving talks at art exhibitions. They use humour and graphic images in vibrant colours to capture the attention of the audience, all in the hope of opening the eyes of the corrupt. Discussing how women are portrayed in museum (ART AGAINST ART) "The community continued to grow and also expanded on labour issues in a piece “Dear Art Collector Billionaire”—a billboard that called out the poor wages for workers at art institutions despite the exorbitant price tags for artwork."

How the guerrilla girls changed the conversation around art and activism. (2023, July 15). A WOMEN’S THING. https://awomensthing.org/blog/guerrilla-girls/

2) Barbara Kruger is an American creative. She is well-known for her iconic text-based works that examine the consequences of social issues (e.g. Consumerism, Bodily Autonomy, Capitalism & Mass Media)

Significance: An artist I look up to, sharing similar visual aesthetics. She takes images from the mass media (Hight Contrast B&W photographs) and pastes words over them, big, bold extracts of text—aphorisms, questions, slogans.

These elements combined allow Kruger to address very simply such complex subjects as identity, consumerism, and feminism. This was especially important in the 1980s as postmodern ideas incorporated themselves into feminist thought: ideologies were changing, and Kruger’s work was at the forefront in showcasing this transformation.

You are not yourself: Barbara Kruger’s influence on feminist art. (2022, November 26). TheCollector. https://www.thecollector.com/you-are-not-yourself-barbara-kruger/

Rosenbaum, R. (n.d.). Barbara Kruger's artwork speaks truth to power. Smithsonian Magazine. https://www.smithsonianmag.com/arts-culture/barbara-krugers-artwork-speaks-truth-to-power-137717540/

3) Graham Tipene is a creative who ensures Te ao Māori is incorporated into New Zealand's urban landscape. 

Significance: Tipene wants a future where the Maori community can see the influence of their culture within their environment. Tipene always takes a holistic approach to ensure Maori voices and values support his work. What underlined was something that I valued as well is to ensure that a topic is represented well.

“With most artwork, you stand in front of it. But I wanted to think differently with this one, so you prepare your senses to look, feel and listen,” Tipene explains. Auckland Art Gallery Toi o Tāmaki. (2020, October 27). Cultured Conversations with Graham Tipene [Video]. YouTube. https://www.youtube.com/watch?v=8usJsY_63Hw

4) Emory Douglas & the Black Panther Community.

Significance: During high school, I enjoyed learning about the civil rights movement. I was aware of his name and have taken this paper as an opportunity to investigate who he is as a creative.

Communities of Interest AUT students, graduates. Felt like a lot more realistic approach. Knowing little about graphic design. The Best Design Awards was the first design-based community I was introduced to. For students who are in a similar situation, I felt comfort knowing that I wasn’t alone and shared a similar journey.

Learnings from investigating communities Discoveries - Emory Douglas & Dorothy Zeller - Looked behind his influences and the people he worked with.

Guerrilla Girls and their anonymous names to remember those who have a huge impact on the art industry and those who successfully served its purpose?

What entities or specific initiatives did you identify and examine? What drew you to these?

Did you survey or investigate specific organisations, structures, or publishing entities? Aspirations - I enjoy collaboration, connecting and getting to connect with people – ideally agencies and in-house design studios.

Reflections on Poster Introduce, analyse & reflect.

Why was the system used - a reflection of my own creative process, How does the system connect to objects - all physical objects & their significance. How some of these objects transcended over decades into new generations. Recognising how overlooked objects and their significance - modern vs. handmade. What does the poster say about sensibility as a designer - awareness of culture appropriation/ensuring what elements I use is represented appropriately. Ideation/planning/making and learning mistakes/experimenting is very important to the design process. 2X elements that challenged my thinking (reflect) - some objects hard to explain the significance to me - more of a natural connection/sentimental for reasons that I can’t fully identify. Some of these object don't have a significant impact on my creativity???

Categorisations - myself as a creative vs myself personally. Tools and inspiration. A new connection was discovered after completing a poster - What are my beliefs and values and how does internal and external influence impact the way I approach a design

Conclusion - Key findings + takeaway - Critical reflections that have shaped the outcome - connecting my poster to how I work/my process?

[rubybirdgrad604]

Week Nine - Review Planning

Title

Where I am Situated in the Creative World, My little corner of the design world

The Creative: Reflections of Creations and Communities

Behind the Scenes: Connecting the Creative, Creations, and Communities

Introduction

My journey as a creative - childhood/environment that fostered creativity, always creating + been fascinated with visuals

Purpose of report - to draw connections + explore myself as a creative in the context of my own work and creative communities

Intro to the Cs (Creative, Creation, Creative Communities) - My work, inspirational designers (Kris Sowersby/Klim Type, Johnson Witehira, Seachange, Lily Paris West), community - (collaborative projects eg Māori Typeface, Sentimental Journey, type design, music industry

The Creative

Values and ideas - purpose of design is to have a positive impact (otherwise what is the point + ethics - design has the power to manipulate people’s decision making) ideas in my own work - idea of place/belonging/home, celebration of analogue making and digital, heroing typography + typefaces (fascination with how these seemingly simple forms can communicate and tell people things, in a range of forms - alphabets)

Conventions, media, processes I gravitate to - combination of digital and analogue/process guided by the analogue (printmaking, drawing, etc) typography + bespoke typefaces, clean and simple design

Methods + tools for research/ideas/contexts etc - pen and paper, writing out key notes/words, drawing key visuals, recording research. Very visual - look into best practices of similarly situated projects, test out a range of media for ideation (ink, paint, pen, pencil etc) - drawing + sketching quick way to get ideas out of my head and to test their success

Role + importance of design - super important, guides people’s understanding + knowledge + access to this. Manipulates how people think and learn. This view connects to my love of type - one of the clearest and most effective communication methods, especially visually. Wasteful to use visual skills + power (manipulation) for projects/causes that don’t create a positive contribution to the world. (NZ herald article - design changing from following society to leading it - reinforcing values)

Contextual Review - include images!!! + captions

State of knowledge in the field, best practice. Value of design in New Zealand - NZ Herald article, sense of place and belonging (NZ centric values and culture in design) - strength of the field in NZ. Communication through art ingrained deep in NZ culture eg Haka, Tā moko, tuku tuku)

Best practice + connection to collaboration

1 - Seachange (We Compost)

Themes - environment, social good (NZ connection between environment and place - intrinsic connection, protection + growth)

Significance (me and community) - as a design project probably the first time I realised how important type is, how it can be captivating and playful in a way that deepens understanding - influenced my love of type. Challenged the seriousness of design. Encouragement of social good- something that appeals to audience

2 - Kris Sowersby (Family Typeface, Māori Typeface - Johnson Witehira

Themes  - modernisation (of a historical style of type)

Significance - Sowersby’s passion for type is something that I appreciate and admire. So much love and care goes into the typefaces- respect for the forms. Family is designed to be accessible and everyday, bringing beautiful serif type out of the pretentious and historical contexts it so often inhabits. - significant both in and out of the design community, for everyone.

Māori Typeface collaborative project (Witehira) - significance - personal - collaboration and this work in NZ design community very exciting, so much talent and camaraderie. AGI + Ockham - the care and thought into the work and extensive research behind it really inspiring, attention to detail and the love behind the work evident. Very NZ centric, an homage to the strong sense of place and feeling in NZ design. 3? Or Communities

3 - Lily Paris West (The Beths ‘Expert in a Dying Field) + other work in music industry

Themes - collage/analogue working methods/organic shapes - feels very human, embraces imperfections of human hand.

Significance - to me, bringing back the sense of fun and unseriousness into art and design. Area of design I want to work in one day - connecting two things I love (design and music). Significant to wider NZ creative community (music) - design that is so enticing and fun encourages interaction, celebrating NZ creatives more broadly. 

4 - ?? Johnson Witehira/Tyrone Ohia/Alistair McCready (monolith - place thematic very strong)

Communities of Interest

Learnings from investigating communities - interconnectedness of the industry in NZ

Discoveries

Specific entities/initiatives looked at - Māori Typeface (collaboration, thought +care), Objectspace (TDC, AGI, Ockham Lectures - Witehira. Creative hub/community in itself (Auckland- a local one for me) Sentimental Journey (Kris Sowersby + Sarah Maxey)

Aspirations - drawn more to studios/agencies/in-house design studios - collaboration + connections between people. A good way to learn and feel supported + inspired in the industry. Music industry interesting sphere to work within. Typography/type design - something I want to learn more about.

Reflections on Poster

Introduce, analyse, reflect

Why was system used - reflection of my own creative process, analogue workbook + workspace surface style arrangement

How does system connect to objects - all physical objects + physicality of them important (more connection to analogue) Lots of objects are either creative tools or inspiration taken from my room (workspace, connect to the random/ physical arrangement and scaling)

What does poster say about sensibility as a designer - appreciation of analogue/physical making/paper, appreciation of the process - ideation/planning/making mistakes/experimenting very important to design process

Systems used to write about elements - breakdown of significance of object to myself personally as well as myself as a creative - almost two sides. Displayed on paper - connection to analogue

2X elements that challenged my thinking (reflect) - some objects hard to explain the significance to me - more of a natural connection/sentimental for reasons that I can’t fully identify. Paint swatch - connection to my childhood and how I created then.

Categorisations - myself as a creative vs myself personally. Tools and inspiration vs family + place + home + interests - crossovers

New connection discovered after completing poster

New idea/influence gained from reading/viewing a peer’s poster

Conclusion

Key findings + takeaways that will propel my practice into third year

What key findings/tools shaped my approach to research/writing - analogue brainstorming/notes

Critical reflections that have shaped the outcome - connecting my poster to how I work/my process?

Research  tools from best practice - Māori typeface - depth and breadth of research + PASSION for the project guides/indicators to outcome

Challenging - self reflection and talking about my own work something I struggle with - especially because I am only just starting my creative journey (imposter syndrome)

How has approach to third year changed - encouragement/permission in a way to put more of myself into my work (passion so important)

[grad604kaede]

Week 1 UPDATED

- A short reflection on Jordan Tane and Kyani Utia’s presentation.

Starting with a survey was a good way to get some insight into how others within the same society felt about their cultural backgrounds. I think having paragraph responses was also helpful as it gave them a more specific and detailed feeling of how each person felt about defining themselves as “plastic”.

Their design method included the participants, giving them freedom and no restrictions.

I think letting individual people write out their thoughts and feelings on how they felt about being “plastic” also shows their individuality. The freedom to do any drawings on top of their photos allowed them to have their say.

- What has this got to do with you?

How might you engage your curiosity?

Research things that interest me and start a journal of things I find? Learning new things and finding and starting new creative hobbies.

Surround myself with different people with different worldviews and aesthetics. For example, a friend of mine is a nature girl, she likes to keep small pinecones, collect flowers and create dry flowers, keeps bouquet of flowers, and helps bees.

Who is the creator behind an anonymous poster, artwork, or public design work?

Graham Tipene - he is an artist from Aotearoa, and his work brings Māori kaupapa into the city. He is involved as a consultant and has worked on many projects led by the council through Tāmaki Makaurau Auckland.

What are the values that they bring forward into the work?

The work is inspired by water and acknowledges how it integrates into all life. The cycle of water from sky, lake, river. Inspiration from water and acknowledging how it integrals to all life. The cycle of life of water - Sky -> lake -> river -> sea -> sky

Represents the treasure passed down from ancestors

What and who are the design communities emerging and being forged at any given moment?

Design thinking and UI, UX designers has been in demand recently.

What excites you?

Seeing something that is unique or something I’ve never seen before

Philipp Igumnov

Russian artist

collage, photography, illustrations

dark humour

Inspired by vintage collages

speaks about political issues

Which creative communities do you want to be a part of?

Street art?  -> Winter lights

Different design aspect styles ->Music, fashion, makeup

Local music communities, design studios around the world and travel.

The Creative

Who is doing the creative practice and underpinning research?

People I surround myself with as everyone has different aesthetics. It makes me curious and wants to know how they approach things.

Who am I as a designer? 

I am wary of how other people might feel when they look at design work. Being more aware of other communities’ values and understanding cultural values. Inclusive of others and show respect for others.

What are the influences on me as a designer and where do they come from? 

Other creative designers from different design aspects, such as fashion design.

Looking at different fashion styles and aesthetics, such as patterns, layering, and colours.

How you can embrace the natural beauty of certain things

Makeup - Different techniques for different facial features

Music - Creating different rhythms. Different tempos of how the sound or music flows. The mood it gives off. The nostalgic feeling certain notes of sound can give.

How can I unpack the personal design ideologies that cultural shifts, ethics, and responsibility that impact my decision-making? 

Including cultural design aspects, beliefs and values, respecting different races, and looking into historical events.

How might I expand my visual vocabulary by understanding the environmental, social, cultural, political contexts of my design influences? 

Research other design techniques and processes to create and challenge myself using those elements.

Where do I stand in relation to my practice and what do I value?

I try to respect the culture as it is something I try to be careful around. I value how designs can have a positive impact or response from the audience. Be wary of different perspectives of how people see things and what they value. Making people feel valued in certain parts of their life aspect.

What do you value as a creative?

As a creative, I value respect for others and make sure everyone feels involved in my creation.

The Creation

What is the nature of my Communication Design practice and research?

Always look for ways to improve my skills and unpack new ideas and opportunities I come across.

How do my environmental, social, cultural, sub-cultural, political contexts and influences show up in my work?

I tend to focus a lot on social, cultural and sub-cultural contexts as it is something I try to be careful around. I have respect for all human beings so I do not like to offend the audience through my work.

What key themes, ideas and conversations are speaking in or through my work?

uniqueness

What specialist subject knowledge do I want my work to convey?

Equality, Fairness, freedom

Are there specific techniques and crafts I want to hone within my practice?

Trying out different styles, aesthetics, and colour palettes.

The creative communities:

Who are the local and global creatives, designers, illustrators, photographers that you want to connect with?

Local - Maui Studios

Global - Abi Connick, Maria Tokar, Philip Igumnov

What are the influences on them and what engages you in their work?

Maria Tokar and Philip Igumnov's work are collage works, and I like how they cut out photos to create a whole new image that tells a different story from where the images originally came from. The collage work speaks for itself.

In what (if any) ways as they collaborative and engaging communities?

They have social media platforms to communicate with their audience and post artwork. Abi Connick is a graphic design teacher who has lessons on design.

What impacts, concepts, thematics, and organising principles are at play in the creative practice?

Philip Igumnov creates works that visually speak about worldwide problems such as greenhouse gas, inequality and climate change.