500 word summary

This year was full on. Im not totally ok with the idea of having to work with performing artists and creative writers now that everything is finished. Me and debs as visual artists had to pick up most of the slack, it was horrible. It wasn't from lack of trying to communicate, it was just they didn't think it was important. There were people that weren't able to make it because they had class... well, we had class too. One member of my group hadn't shown up to one meeting in the whole term as they were too busy, and when it came to the final performance, it looked like they had been there the whole time. Debs and I had plans to leave the group, and also talked to frances where she said if it wasn't working, to just leave the group. But, as soon as we were to make the move, the group became dependant on us in the fact that the would follow us almost as if we didn't really have a choice. They only talked to debs and I when we had class, and that was very rarely happening. When it came to certain parts, one said that they came up with the idea so they didn't have to do anything else. it was horrible. When there were brief meetings, there were disagreements on almost every idea and there was no compromising. in the end me and deb took matters into our own hands and finished everything. From the editing, to the video documentations, to the printing, everything. I hope that if there is to have a class next year I will be very adamant about who I will not be able to work with. If I had the chance to change my group, including debs, always. I think the classes should have the option of working within their own department ie; visual arts grouping etc. I would've rather work with my own visual arts class mates. I can trust them completely. I can trust that we can bring out the best in eachothers ability. We all have different strengths in visual arts. not all of us know how to paint or draw or edit videos. hopefully next year they will imrove and listen to our complaints

vids and experimenting

I had documented a whole bunch of videos everytime we experimented but because hey were too vig I just went with screen grabs

 

 

vids and experimenting

indigeneity with Kat

Djuki Mala

 

The Yolngu or Yolŋu (IPA: [ˈjoːlŋʊ]) are an Indigenous Australian people inhabiting north-eastern Arnhem Land in the Northern Territory of Australia. Yolngu means "person" in the Yolŋu languages. The term Murngin was formerly used by some anthropologists for the Yolngu., The difference between the Yolngu tribe's classification system and the scientists classification system is that the Yolngu sort their animals into what they look like.

 

 

 

 

 

Dee-licious dance crew

 

ABC's Black Comedy

 

 

These Videos have a comedic approach to indigenous themes

 

Breaking and indigeneity

 

 

Tiny Toones

 

 

 

break dance project Uganda

 

 

Ladysmith Black Mambazo 

 

 

 

Xonophobic Attacks

 

 

 

 

Indigeneity

Today we learned what indigeneity means: born or produced naturally in a land or region.

shane cotton

 

 

 

 

 

 

Shane Cotton, ONZM (born 3 October 1964) is a major New Zealand painter. Born in Lower Hutt with Ngapuhi iwi affiliations, he studied at the Ilam School of Fine Arts in Christchurch, graduating in 1988. He then lectured at Massey University in Palmerston North.
Following this he was the recipient of the Frances Hodgkins Fellowship, and his work is highly sought after that. He has received the Seppelt Contemporary Art Award from Sydney Museum of Contemporary Art, and has been exhibited at many leading galleries in Australia and New Zealand, as well as in Spain and Prague.
Cotton's work evocatively includes both Maori iconography and culture, such as shrunken heads, mokomokai, and native birds such as tui, and European symbols and items. His paintings have explored questions of colonialism, cultural identity, Maori spirituality, and life and death.




Wayne Youle

 

 

 

 

 

Wayne Youle
Wayne Youle (born 1974, Titahi Bay, Porirua) is a New Zealand artist of Ngapuhi, Ngati Whakaeke and Ngati Pakeha descent. His bicultural heritage is reflected in his work, addressing issues of identity, race and the commodification of cultural symbols. He often uses humour to make his point. Youle's work is held in national museums and public galleries. He lives and works in Amberley, New Zealand.

Graham Fletcher

Lisa Reihana

 

Frances Pesamino

 

 

 

project insanity

hannahs script

this is the story we are going to use in our video for our project.

Neat and Tidy

FADE IN:

INT. MODERN HOUSE – LOUNGE AREA – DAY

A shuffling sound followed by a clicking sound is heard.

CUT TO:

INT. MODERN HOUSE – HALLWAY ENTRY – DAY

Marley clutching a glass vase full with flowers enters from the hall. She places the vase down on a coffee table in the lounge, fussing over the flowers. She continues around the area, straightening photo frames and couch cushions.

CUT TO:

INT. MODERN HOUSE – KITCHEN– DAY

Marley, wiping down the kitchen bench. She steps back to assess her work, then frowning, continues to clean.

CUT TO:

INT. MODERN HOUSE – DINING ROOM – DAY

Marley walks in.

She straightens the placemats. Pushes the chairs in. Lines up the venetian blinds. Moves the table a slight bit. Re–pushes the chairs in.

Marley walks out.

CUT TO:

INT. MODERN HOUSE – KITCHEN – DAY

Marley walks back in and up to the fridge.

She aligns all the fridge magnets by size and shape. And aligns the papers up so they are in a perfect strait formation of squares.

Marley walks over and crouches next to a glass cabinet. With an eye roll she stands again, reaching for a box of tissues. Crouching back down, she begins wiping the glass front down. Next opening the cabinet and starting to pull all the glasses out to clean them also.

Ryder enters. His eyes widen as he takes in the sight.

RYDER:
(Sighing)
Really?

Marley turns quick to face him, guilt showing on her face.

RYDER:
Let’s put them all away now, come on.

Ryder crouches next to her, picking up a glass and putting it back in the cabinet.

Marley snatches it back off the shelf.

MARLEY:
(Angrily, through clenched teeth)
I hadn’t cleaned it yet.

RYDER:
Marley, they’re clean.
You cleaned them this morning,
 and we haven’t even used them.
They are clean.

Ryder takes the glass back off her, and puts it in the cupboard. And starts to pick up more.

MARLEY:
(Shouts)
No!.

Marley pulls at Ryder’s arms.

Ryder turns away, moving himself between her and the cabinet, continuing to put the glasses away.

Marley starts pulling on the collar of his shirt

Ryder tips slightly but regains his balance.

Marley thumps on his back.

RYDER:
(Shouts)
Cut it out Marley!

MARLEY:
No give them back! They’re mine!
They’re dirty and they’re mine!
Give them back!

Marley shoves him forward.

Ryder reaches up to balance himself on the counter. Drops a glass in his haste to keep his balance.

Marley jumps back, covering her mouth.

 

 

RYDER:
Now would you look at that.
Broken, that’s worse isn’t it?
That’s worse for you?

Ryder turns a little to look over his shoulder at Marley, smirking.

RYDER:
How about I break another one, sounds fun to me.

MARLEY:
(Screams)
No! … No, no, no!

Ryder nods, picking up another glass.

RYDER:
Just think about the little shards
that are going to be everywhere,
and I’m not going to do anything about them,
just leave them, lying here.

Marley shakes her head wide eyed.

MARLEY:
Please don’t. You can’t, you wouldn’t, you know…

Ryder cut her off, standing up and turning to face her.

RYDER:
(Runs a hand through his hair)
No, you know what, I’m calling the lady,
 what was it, Kitty? Yep, I’m calling her,
 we don’t want a baby, well I don’t want one,
and you won’t be able to handle one, babies are mess Marley,
this (Gesturing around the kitchen) thing you do,
will not cut it. You will not be able to handle it,
 kinda like how I can’t handle you. So I’m calling
 her then I’m leaving. I just, I just can’t anymore,
you can find someone else to deal with all this,
cause I can’t anymore.

Marley continues to stare at him, showing no emotion.

MARLEY:
Fine.

Marley shrugs. Crawling forward and picking up her tissues then moving carefully to pick up the broken pieces of glass.

Ryder shakes his head and storms out of the room.

MARLEY:
(Quietly to herself)
I was going to see Jake later anyway.
He knows how to make me feel better.

Marley smiles to herself.

CUT TO:

INT. MODERN HOUSE – DINING ROOM – NIGHT

Marley is sat at the dining room table with cutlery laid out all over the table, a fork in her hand that she was cleaning.

CUT TO:

EXT. MODERN HOUSE – FRONT DOOR – NIGHT

Ryder exits the house with a few bags, keeping his gaze forward as he walks down the driveway.

CUT TO:

INT. MODERN HOUSE – DINING ROOM – NIGHT

Marley smiles to herself as the front door slams shut.