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Madeleine Chapman reflects on the week it was.
This week, I saw myself surrounded by collective action in all its forms. I watched Auckland Philharmonia playing Hans Zimmer’s biggest hits in a packed art of the score center last weekend. It was amazing and rare to see such a big and diverse crowd face a miserable night to the orchestra.
Film composers like Hans Zimmer proved to be a medicine for classical music. It is the sense of security that we all knew what we were getting and already had emotional connections with the music. The fact that it was performed live, with an orchestra – every individual who provides something unique to the sound wall – was an impressive cherry at the top.
There were times when we applauded soloists in different instruments, and technically Zimmer creates most of their scores on a computer, but what everyone wanted was the full and collective effort.
With love for the orchestra, I went home and watched an Oscar -winning documentary at Orin O’Brien, the first member of the New York Philharmonic Full -time female who recently retired after more than 50 years as a double bassist. At one point in the movie, O’Brien was frustrated with his niece’s persistent comments about his legacy. “You’re trying to become more important than me,” she said, before explaining that what she loved to be on the orchestra was the fact that she was able to do what was best, and just a small part of a huge project.
On Thursday, the entire Parliament One Party contributed their individual votes to an overwhelming majority, deciding that the Bill of Treaty Principles had come to an end. David Seymour spoke first, arguing that the project was still legitimate, despite 90% of more than 300,000 public submissions to oppose it.
Seymour is a loud voice in Parliament and in this country, and proved to do very purely of his own conviction. But in this case, there was no opponent for him to debate or challenge, it was a collective voice. And rarely the lonely wolf triumph over collective action.
Now, while I type this on a Friday morning, I’m a little nervous because our Auckland office is about to perform a Haka Ngahau to friends and whiques, introducing the Waiata ā-Ringa we are learning in recent months.
To be clear, we are not good. This is not a tale of triumph against all probabilities. But it is why We are not naturally good at Kapa Haka that we all earn a lot when learning together. In a group you can forget the words and stop singing for a while and no one will notice. In a group, you can fight a movement and look at the person by your side for help. In a group you can be released from the spotlight and loaded in the chain of all others.
Technically, I could have learned the words for Waiata looking on on -line and memorizing the letters. I could have watched YouTube clips to clumsy the movements. I could even force some people to watch me, like a child, putting a lounge production. But it would not have been so satisfactory or impactful as trying to perform a Hans Zimmer suite with just one flute. Because there are some things – in art, politics, in life – that require you to retreat and join the crowd.
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This week behind the story
Why are the big shows shorter in New Zealand?
Alex Casey is a writer and specialist in pop culture and also an incredible investigative journalist. This week, she combined the two to investigate why the popular global shows in New Zealand are slightly shorter than the outdoor in ‘mystery of the missing minutes: Why are TV shows shorter in New Zealand?’ And what happens when the answer to a question is a little boring, but do you still want to write about it? Also, there is a wild conversation about Lord’s new album, teaser and why this suggests that their biggest work is about to leave.
https://www.youtube.com/watch?v=vf51xj8ne3a
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