Fleeting moments that stick

For this story, we asked the Creative Waikato team to share about one of the creative experiences that has stuck with them.

A tough wero, because there have been many creative works, performances, experiences and moments that have moved and inspired us (indeed, some of the team snuck in extras!)

Adrienne:
My father was a full-time practicing artist and his artforms over the years were wide and varied. Before coming to live in New Zealand he had made a number of films that were held on what I assume are 8mm metal spools. I know that I was very young and there would have been a projector and probably a screen made out of a sheet. The film was set on a houseboat and I don’t remember a lot about the plot but I do remember that there was a ghost on the houseboat and the protagonist walked through the ghost. My young mind was blown! How did my father make this happen? And I remember that he wouldn’t tell us how. That would undo the mystery.

Des:
There are certain experiences that have influenced my creative journey.  Lots of singing and dancing at family gatherings, going regularly to the library with my Mum as a child.  However, one specific experience was during a visit to Te Papa Museum. I remember being mesmerised by the art.  It was intoxicating looking deep into the images.  I had been working in a different profession at that point and experiencing the art in that Museum, I felt I had come back to myself.  It was then that I knew I would work in an artistic field one day.  

However, the exhibition that cemented it for me was Leafa Wilson’s ‘Dolly mix [w]rapper: contemporary art by women of Samoan descent’.  I instantly connected with the art and realised that art could be an expression of my inner world, thoughts and memories.  I think these are important moments for who I am becoming as an artist.

Aimee:
A key moment for me was in my first year of university, heading along to a spoken word poetry night at the Hamilton Central Library. I was 18, had moved away from my family in Hawkes Bay, was trying to find my feet in a new city, and I was super duper homesick. I remember getting to see local poet Michael Moore perform and my jaw just dropping. I did not know that poetry could be like that: strong and tender and so connected in community, all of us holding our breath as he performed. Suddenly, Kirikiriroa felt like a city I could belong in. From there on, I sought out more creative experiences like that, and that ultimately led to me signing up for a writing paper at uni, being a part of my first ever poetry group, and building friendships that have become a precious found-family still, over 10 years later. 

Jeremy:
Things that stick with me are often fleeting moments. The experience of watching ‘From Ear to Ear’ by Tainui Tukiwaho, a short piece about five perfect smiles. Hearing Richard Nunns for the first time as a student at Waikato University and going on a process of really learning how to listen. Seeing the first initial sketches of ‘Sorry for your Loss’ by Cian Parker as it was in development, the swift shifts between humour and sadness. Experiencing a karetao performance for the first time, performed by James Webster and Hinemoa Jones in a workshop. Seeing my son perform for the first time. All things that had a special resonance. 

Alexis:
Musical theatre gives you something new every time. Every show is different. Everything you feel is different depending on your mood. It’s something that I love about it! And sometimes, when you see a show that you know well, you have done and you have seen a couple of times, sometimes you crave a different take. Directed by Michael Hurst and choreographed by Shona McCullagh, that is exactly what the 2025 run of Chicago gave me. I remember sitting there not only in awe of the performers, but in awe of the drastic new take that I did not expect but absolutely loved. It gave me a whole new perspective on storytelling and how musicals don’t need to be safe all the time. Sometimes they can push boundaries and leave you thinking, wondering and inspired.

Scott:
I remember going to The Mercury Theatre in Auckland to see Michael Hurst’s production of The Merchant of Venice. It was as part of a school trip and the culmination of studying the play in text form.

The experience was intoxicating for a young person attending a first Shakespeare play (on a school night!), seeing the words come to life, the actors willing the tension and emotion to spill off the stage and into the audience.

That specific event didn’t induce any immediate creative reaction or output but it certainly framed an appreciation for performance. And I would imagine that my move into writing for screen and stage at a later stage can be attributed to special moments such as that night.

Evelyn:
I love the moments when you go to a show, gig or festival and you come across something you didn’t expect or something that takes you by surprise and you’re completely blindsided with awe. That moment when you look around at the people who are standing beside you in the moment and you go “you’re seeing and hearing this too right?” A rare feeling.

I had that moment when I was at a circus festival in Dunedin probably about five years ago. We just went along to the music set that was before the renegade show (basically an open stage for all the participants at the festival to try the stage with their circus props). We were just trying to get a nice seat with a good view for the show after. It was cold and damp as Dunedin often is and I was wrapped up in a blanket standing in front of my partner. I did not expect the music set to become the highlight of my whole festival and have such a longstanding impact! The artist’s name was Calla of Ursa, and it was an unexpected genre for me of operatic folk electronica. I can’t say I have much understanding of opera but her voice, live mixing talents while playing keyboard and violin and singing operatically left tears in my eyes. I can’t even describe why I started crying. I think that’s why it stuck out to me… it tapped into something that couldn’t be described with words. It was so beautiful to witness and I felt so privileged to be there on that damp cold night outside, watching an extremely talented artist share their craft with a whole bunch of carnies and flow enthusiasts. Everyone was quietly feeling the same sense of awe as I was. 

Following her path on Instagram, it looks like she’s now smashing it at the Guildhall School in London. I look back on that moment as really special because I had no expectations and I came out a fan with my perspective of opera completely shifted too.

Hannah:
There is one moment that I think back on so fondly, 10 year old Hannah watching her first ever Summer Shakespeare performance of Midsummer night’s dream… at 5am… Yes you read that correctly! For those of you that are lucky enough to have experienced a dawn performance at the Hamilton Gardens, you will understand how magical, whimsical and albeit freezing of an experience it can be. I can vividly remember wandering through the gardens at 5am. Rugged up in a blanket, hot chocolate in hand, feeling like a magical adventure was about to unfold at the end of the path.  

Can I remember the exact details of which garden it was held in? No. Can I say that I understood every Shakespearean term that was delivered crystal clearly? Again, no. Did shy young Hannah think at the time she would one day ever be up performing in a Shakespeare performance herself? Absolutely not! However, 20 years on having now performed in countless musicals & plays including Summer Shakespeares, I can definitely remember the joy and awe I felt coming away from this 1st dawn performance making me want to chase the thrill again… 

What I didn’t realise at the time was the inspiring ripple effects that performance would have on my own performing journey and excitement for theatre storytelling of all kinds. It gave me the insight that theatre can be anywhere and anything! Storytelling can be in any shape or form and the creativity you use to tell a story, no matter how classic or original it may be, has no bounds or rules. 

Kereama:
In 2022, I was invited to attend the first Hine Pū Te Hue Graduation held by Hinewirangi Kohu-Morgan. It was a 3 year program she had developed after her long years studying this art form. 

This free wānanga was aimed at wahine Māori around traditional use of hue. From seed planting to harvesting. With all the tikanga, karakia and protocols in place to ensure a good crop of hue. The wānanga consisted of having 10 noho marae style wānanga during the year where participants were guided through techniques and traditions of hue.

Graduation day.

Graduation day started with a mihi whakatau (an informal welcome) and then went straight into each participant showcasing their taonga. They explained what it meant to them and the trials and tribulations they had experienced while being at this wānanga. For a couple of them, the transformation was absolutely amazing. They were so used to giving and doing things for others, that they themselves got lost in life. This wānanga opened so many doors of emotions for them and you could see their excitement of their mahi and being so proud that it was their mahi for them and no other.

Hinewirangi has a knack of bringing the best out of people while walking with them through their trials and tribulations, which leads to better growth and self esteem!

Hinewirangi, we speak your name often. You to me will always have this positive effect on me and my life….Kia au to moe my friend.

Written by: The Creative Waikato Team