History in the making

After a couple of false starts, Tauranga is finally getting its very own museum in 2028. But what will it show and why do we need one?

words Karl Puschmann
photos Katie Cox + supplied

The grand opening of the new Tauranga Museum may still be four years away but director Greg McManus’ excitement has already well and truly arrived.

When UNO calls for a chat to catch up on how the project’s going he’s bubbling with enthusiasm and bursting with ideas for how he sees the museum benefitting and adding value to the community.

His energy towards the long-delayed project is infectious and leaves you wishing it was opening as soon as possible.

But alas, the museum doors won’t open until 2028. With construction on its prime inner-city site having recently started, it proves the adage ‘good things come to those who wait’. Greg is a 30 year veteran of museums around New Zealand, including stints as Director at Rotorua Museum and most recently as CEO of Waitangi Treaty Grounds where he oversaw the development of two new museums, and feels strongly about the importance of museums to communities

“I believe every community needs a museum,” he says. “Museums house our collective memory, they store and interpret the history of an area, not just for visitors from out of town or overseas, but also for ourselves. We need museums to help us better understand the stories of the place we live in, and also the stories of others who share the place with us. Museums encourage an understanding of diversity and the interwoven relationships we have as people living together in the same place and they play a huge role in inspiring children and young people to have an interest in art, culture, science and natural history.”

The future Tauranga Civic Whare, Exhibition Gallery and Museum.

Strengthening the connection between people and place is one of Greg’s big passions and is high on the priority list for the museum.

He says that people get a greater understanding and sense of belonging from knowing the history of where they live. Tauranga and its surrounding region is full of unique stories and significant sites that deserve our attention.

“When people drive down Cameron Road, they drive past the Gate Pā battle site,” he cites as an example.

“I suspect a lot of people don't know or don’t give it a second thought, but that battle was a really important event in the history of Aotearoa New Zealand, not just Tauranga. There are sites like that all through the region.”

He’s also keen to showcase the many innovations that have occurred here, including the first-ever hot water cylinder to be run off public electricity invented right here in Tauranga in 1915 by Lloyd Mandeno and in the museum’s collection.

In total the museum collection houses more than 33,000 objects in total, with most having never been seen publicly because, until now, there’s been nowhere to display them.

“Obviously, we're not going to have 33,000 objects on display in the museum,” he clarifies with a laugh. “But the permanent exhibitions will be rich with objects from our collection and other collections around the country. It will be a real weaving together of stories, objects and images into a broad, rich experience. Because that’s what museums are: places that tell stories.”

Along with the main, permanent exhibitions, there will also be two large galleries for temporary exhibitions. This, Greg says, will open up Tauranga to world-class exhibitions that we’d usually need to travel to places like Auckland or Wellington to see. He talks about partnering with other museums to bring exhibitions from overseas but also about leading the charge and bringing international exhibitions exclusively to Tauranga. This would enrich our cultural exposure and also encourage people from other parts of New Zealand to visit the region.

“There's a huge circuit of exhibitions travelling around the world all the time,” he says excitedly. “We'll be able to tap into that and bring exhibitions to Tauranga. People love coming to the Bay of Plenty year-round and if we have fantastic exhibitions it will encourage them to stay longer and contribute more to the local economy.”

But all that is secondary to his first objective of telling Tauranga’s stories and encouraging locals to feel a connection with their shared history. He wants residents to have free entry to the core museum experience and, to encourage engagement and a sense of ownership, is starting a Friends of the Museum programme. The idea is to keep people informed about what’s happening as well as provide exciting opportunities and benefits to members.

“It really will make people feel a part of the museum as we build it and make that connection so much stronger,” he smiles.

And that’s what the new Tauranga Museum is going to be all about. Greg says he wants people to come to their museum and see themselves reflected in the stories it tells and perhaps learn a little more about the place they call home and the people they share it with. It's all about providing the opportunity for gaining an understanding of the richness of living in a place.”

He pauses for a second and then laughs and says, “Tauranga’s not just about going to the mall or going to the beach. There's a lot more to it than that and our museum will reflect that!”

letstalk.tauranga.govt.nz/projects/tauranga-museum

Making a splash

A popular craft brewery and eatery has just expanded
into Ōmokoroa. Karl Puschmann checks it out.

Photos Jahl Marshall

There’s a new bar and eatery that’s been making quite a splash in the seaside village and holiday hotspot of Ōmokoroa. It may have only opened its doors in December but local craft beer enthusiasts and dumpling connoisseurs have been quick to jump into The Rising Tide.

It’s fair to say its reputation preceded it. Ōmokoroa’s Rising Tide is the first expansion for the incredibly popular Mount Maunganui institution of the same name that’s been brewing and serving award-winning craft beers since 2016. 

But it’s not just the flavourful and distinctive range of its beer brand Mount Brewing Co., the juicy burgers or famous dumplings, the sun-drenched deck that overlooks the Soper Reserve or the relaxed and welcoming atmosphere that’s made it a favourite in the Bay. 

Rather, it’s the combination of all of those things along with a much more intangible quality; character. This is especially important to craft beer bars because craft beer lives or dies on its character. That's its whole thing. 

“It's been a lot of time planning it all out. We wanted to replicate the Mount and have the same atmosphere,” Ellie Kirk, the general manager of both branches of the Rising Tide, tells me. 

We’re sitting out on the bar’s spacious deck in Ōmokoroa, enjoying a couple of their signature Golden Hour hazy’s in the warmth of the midday sun. 

“You can sit more than 150 people here, easy,” she smiles, looking around at the breezy space, before detailing plans for a large, fixed, all-weather marquee that will offer shelter from the elements and allow the Rising Tide’s popular live music programme to kick off in this new location. 

“We wanted to duplicate what we have at the Mount and bring it to Ōmokoroa because it works so well there,” she says. “There's nothing like this around here.”

Getting here has paradoxically been an extremely long journey and also something of a rush. The idea for a new Rising Tide began formulating around three or four years ago, with Pāpāmoa being the chosen location. But then Covid struck, slamming the brakes on those plans. A couple of years later, when the worst of it was over, the Pāpāmoa site that’d been earmarked was no longer available. Undeterred, scouting for a new location began. 

“It was so funny. Last May the owners just turned around to me one day and said, ‘Hey, we’re going to open up in Ōmokoroa. I was like, ‘What? This year?’” Ellie laughs, thinking back. “I said, ‘Okay, let’s go for it’.”

She came out to see the new location for the first time, a mere seven months before the planned opening.  

“It was so different to how it is now,” she says. “I couldn't envision it. In my head, I was like, This isn't The Rising Tide’.” 

The fixtures were all wrong, there was no room for a brewery (something that’d been part of their Pāpāmoa plans) and the vibe just wasn’t there. But the biggest offence was a giant, floor-to-ceiling mirror right behind the bar. Ellie says, that was the first thing that had to go. 

“We wanted the same wall as the Mount. Visually, the taps are a big thing, because we are a craft beer bar,” she says. “It’s huge.”

Once the Rising Tide’s signature white tiles and the long row of beer taps went in, Ellie says the bar began to feel more like home. There are a whopping 30 taps to select from, including taps for Mount Brewing Co.’s special, limited-edition beers and ciders.

“Every limited release we’ll have here. I told them, ‘Don’t leave Ōmokoroa out!’,” she laughs. “Rising Tide in the Mount gets allocated three kegs and we get one keg. So once it’s gone, it's gone. We’re actually tapping on two new beers today.”

Great beer? Check. Cool vibe? Check. But there’s one other thing Rising Tide is known for, its food. Particularly the dumplings from their in-house kitchen, Johney’s Dumpling House. You can go ahead and put a big ol’ check next to that as well.

“There’s a lot of foodie people here,” Ellie says. “The quality of food, the service standards, the presentation are all exactly the same. That's a big thing for us here.”

Then she smiles and says something that will come as a huge relief during the current cost of living crises.

“And the deals are the same! We have the cheap beer, burger and fries deal on a Wednesday, you can come and get dumplings really cheap with a beer every Thursday.”

It’s been a lot of work, and a long time coming, but all the things people love about the original Rising Tide have successfully washed up in Ōmokoroa. 

We’ve been sitting out enjoying the deck for about an hour while people have trickled in, eager to take advantage of the hot sun and a cool lunchtime meal and drink deal, and I can’t help but feel tempted to get another pint myself. 

therisingtidemt.com/omokoroa

Small steps, big impact

Katikati local and waste-free warrior
Kate Meads shares some simple
food waste tips to help us all be
more sustainable

Put simply, food waste is a problem for the environment, but by thinking about some simple changes to how you buy food, store it and then consume it is an easy climate action we can all take. 

Better food storage reduces waste. There are lots of ways we can store our food better and make it last longer. Most of our fresh vegetables like carrots, lettuce and celery will store for a long time in the fridge if they are put in airtight containers. When it comes to things like lettuce leaves, storing them in the bag they come in is the worst way to store them. Take them out of the bag and put them in an airtight container with a paper towel under them - doing this will make them last three times longer. With veggies like broccoli being the flower of a plant, they are best stored like a bunch of flowers - in a glass jar with water in the fridge. 

Using a meal kit delivery service helps Kiwis reduce food waste. Planning what you are going to cook during the week is a really effective way to waste less food. Using a meal kit delivery service can be really beneficial to people who are short on time, not great at planning meals, or who just generally find they waste a lot of food. The idea of having exactly what you need to cook arrive at your doorstep once a week is really helpful. Meal kits are perfectly pre-portioned and the planning is completely removed for you. You can also pause at any time if you are going on holiday, or you can order bigger potions if you are entertaining. 

First in, first out. A lot of people who waste food do so because they lose track of what should be eaten first. My best tip for this begins when you bring home your groceries or receive your meal kit for the week. Start by moving all of the older products in your fridge, pantry and freezer to the front, and place new products to the back. Label things “eat me first” if it has an approaching expiry date, incorporate it into your meal planning, and eat what you have!

Consider food packaging. Being mindful of packaging waste is all part of the journey too. This is where I see brands needing to lead the way in providing packaging that is minimalistic or easily recyclable. Make sure your tins are kerbside recyclable, and wash soft plastics out and drop them off at your local soft plastic collection point. 

When it comes to your recycling, make sure it is clean and dry. One thing to make sure of when you have packaging that you want to recycle is that it must be clean. All containers such as plastic, glass, tin, and aluminum need to be well rinsed. Cardboard and paper need to be clean and not food-contaminated before being put into the recycling bin. Importantly, soft plastics also need to be clean and dry before you drop them to the drop off points. 

Reducing our food waste doesn’t need to be complicated – small changes at home can make a big difference to our impact on the planet. 

The world is your oyster

Stacey Jones savours the local kaimoana
with a side of social enterprise.

Kaimoana is the jewel in the crown of the Bay of Plenty’s food story. A delicious bounty that supported Iwi for centuries, as they gathered kai in the plentiful harbours of Tauranga, Ōhiwa and Makatu over the summer months, preserving for the winter months ahead.

But kaimoana has become a scarce commodity, a result of relentless overfishing. It’s perplexing – our region boasts one of New Zealand’s most extensive coastlines, yet obtaining fresh, local kaimoana is akin to locating a pearl in a sea of oysters. 

So you can’t imagine how big my smile was when I heard the oyster farm in Ōhiwa, newly named Tio Ōhiwa (“tio” means oyster), had been purchased by a collective of Māori tono (bid) for shares in the oyster farms’ development, with an aim to regenerate the oysters in the harbour, along with scallops, mussels, and pipis. Not only that, they’re also planning to offer a culinary tourism experience through a social enterprise, providing work opportunities to rangatahi (young people) who may find the school system challenging, but have potential.

The masterminds behind the project are directors Wini and Simon Geddes, quintessential Kiwis known for their no-nonsense approach to getting sh*t done. In my initial meeting with Wini, I quickly grasped the essence of her character. When I asked about her role, she replied, “I mainly clean the toilets” – which, while true to an extent, belies her role as director of Tio Ōhiwa.

Initially, their plan was to focus on training rangatahi to deliver a qualification in aquaculture, and then move onto the tourism experience at a later stage.

However, they swiftly realised the tourism opportunity could not wait. As Wini aptly puts it, “The tourism part of the project was a five-year plan, but we seem to have done it in five weeks.” 

The newly reopened farm, established in 1968, offers daily tours, fittingly named the “Shuck ’n’ Cruise”. These tours include the chance to wade out to the oyster crates, shuck oysters, ride a boat into the harbour to see the farms firsthand, and savour the delectable kai offered at the onsite takeaway shop. Plans to create a new waterfront restaurant are in the making, with pontoons and a helipad, plus a boardwalk to Tauwhare Pāpa. They will also be offering year-round production so you’ll never have to go a day without oysters and champagne.

Remarkably, theirs could very well be New Zealand’s busiest seafood takeaway, dishing out 2000+ oysters a day during the peak season. This is just the beginning of their ambitious plans, with the owners aiming to reach a staggering five million oysters in annual production.

So this summer, take a trip to Tio Ōhiwa to experience their plentiful kaimoana. Book a Shuck ‘n’ Cruise, bring your friends, and go the extra mile to help this place become a must-visit tourism destination. After all, it’s not every day you get to experience fresh kaimoana right from the source, created by the most get-sh*t-done Kiwis I’ve ever had the pleasure to meet. They are truly making the world our rangatahis’ oyster, while putting the “plenty” back in the Bay’s seafood story. Ka pai! 

ohiwaoysters.com

Fancy footwork

Marlborough’s magnificent whites have so much more to offer than perfumed savs, as UNO wine columnist Jess Easton discovers.

Photos Jamie Troughton/Dscribe Media

There are many ways to become a master winemaker and while Richelle Tyney may have taken a slightly unorthodox route, the result is still going to end up the same.

The Nelson-raised, Blenheim-based wahine – who has strong Bay of Plenty whakapapa (Ngāti Maniapoto/Ngāti Porou) – manages the winemaking programme at Greywacke, working alongside enigmatic founder Kevin Judd.

That’s the same Kevin Judd who helped put Cloudy Bay, Marlborough and New Zealand on the world wine map, forever changing the perception of 'new world' wines and Sauvignon Blanc as a variety.

He started his own label Greywacke in 2009, named for the relatively bland bedrock that underpins most of Aotearoa, and started producing vintages that are anything but bland.

Before joining Greywacke in 2021, meanwhile, Richelle had spent the best part of a decade working with the likes of Mahi’s Brian Bicknell and Spy Valley’s Paul Bourgeois.

Before that, however, she’d studied exercise science in Christchurch, played representative touch rugby and been a handy basketballer.  Two uncles – Jamie Joseph and Terry Mitchell – were All Blacks and she knew far more about sport than wine, apart from that it came in at least three different colours and was good fun at parties.

Her OE changed all that. Landing a nannying job in Switzerland, she was introduced to fine wine by the family she was working for and a lightbulb went off in her head. Before she knew it, she was back home, enrolled in winemaking at Lincoln University.

A very similar lightbulb went off in my head the first time I tried a Greywacke Riesling, building up to Kitchen Takeover’s Ki Tua event earlier this year. 

Smooth and delicious, with layers of honeysuckle, citrus peel and juicy
stone-fruit flavours, subtly emerging and swirling rather than bursting and punching.  And, wait a minute – it’s from Marlborough? A region that is known for being Sauvignon Blanc centric with not much else.

A morning tasting with Richelle dispelled that misconception forever, as she unleashed the full spectrum of Greywacke’s white wine wizardry. Riesling, Pinot Gris, a startlingly good Chardonnay and a Wild Sauvignon that was wildly interesting and jaw-droppingly tasty.

Greywacke is all about hand-picking and hand-crafting. And the thing I love about Richelle is how she’s completely unfazed at working with an industry legend; her own confidence and sense of self are only going to grow the depth and quality of Greywacke’s offerings.

“Kevin’s both highly creative and very detailed at the same time – which is what makes him so talented – and there's a mutual respect where questions are asked and decisions are made,” she explains. “It’s rewarding to work with an industry icon and know that my input is genuinely contributing to the wine style."

And maybe there’s something in her sporty background that helps too; a sure-footedness when the pressure comes on and the weather throws curve balls.

“I love it at harvest, with all the problem-solving and thinking on your feet. That’s the beauty of it – no year is ever going to be the same.  I wouldn’t recommend it but I love it.” 

Jess Easton is a director and owner of Kitchen Takeover, complementing her career as a Tauranga-based lawyer.

Art and soul

Visual artist Shona Moller brings artistic diversity and a unique approach to Mount Maunganui's arts scene.

After more than 20 years of professional practice from her beachfront Kapiti studio gallery, Shona Moller now calls Mount Maunganui home. From her gallery space at 102 Maunganui Road, Shona creates new works within two very different genres that tell stories of heritage and belonging within contemporary artworks, and reflect the unique Bay of Plenty light and energy through lusciously applied oils in representational works of local landscapes and seascapes.

UNO: Tell us about your background. How did you become an artist? 
Shona: Perhaps, to some extent, artists are born into it. I was a curious, explorative child, expressing and recording through artworks from an early age. In some respects, then, art is my first language. 

How would you explain your art approach now?
Similar to that as a child; explorative, intuitive, although now I work within two diverse genres where each allows me to express myself fully in different ways. Through representational works, which is really just a flash word for an artistic representation of what you can see, I explore my surroundings, my environment, intimately. I sketch, photograph and plan larger works on canvas where it is my intention to capture essence, mood, and resonance as opposed to finer details. My more contemporary urban inspired works tell stories of heritage, English and Maori, employing icons like the London Tube map with New Zealand place names. These speak on a national level as well as a |personal one.  

You self represent. Why does this work for you?
I realise how fortunate I am to have my own gallery; I don't take this for granted at all. Self-representation works for me on many levels. First, it frees me to work how I want, at a pace where I can do my best work. I am
not obligated to gallery directors, to create what sells well, to deadlines and timeframes. While I take commissions, I can be selective, and I'm very grateful that my work has commemorated many significant milestones in peoples' lives. Also, being accessible allows for a real connection with those for whom my art resonates. 

What inspires you to create?
Too many things! I'm inspired by East Coast sunrises, full unapologetic new beginnings. I'm inspired by (what someone much more articulate than me coined) the DOGS, the Dead Old Guys; Van Gogh, Monet, Picasso, Vermeer, Rembrandt. I'm inspired by those artists that had the foresight and the genius to simplify forms when others strove for realism, to leave brushstrokes proud where others blended, to use pure colour where others mixed. I'm inspired by narrative, and the circle of energy created between myself as the artist, a completed artwork, and the viewer.

What is your favourite piece and why?
It sounds very PC to say, but it's always the one I'm working on. 

What have been your career highlights?
I have loved every aspect of having my own space. Over and above that, the sell-out London show was an unexpected success. Travel, art tours; I've painted in Renoir's garden, followed Van Gogh's exact footsteps in Arles, sketched where Monet painted his water lilies. I've featured in many media outlets over the years; magazines and Holmes back when that was a thing. Katherine Ryan interviewed me for Radio New Zealand, and most recently 7 Sharp spent a full day with me. The article aired in July, and anyone interested can view it via my website. I think the biggest career highlight though, in all honesty, in no small part because of the amazing support I have received, is that I get to live my art every day.  Oh, and UNO, obviously!

UNO: What do you love about living in the Bay?
Let me count the ways. Sunrises, as mentioned. The sense of coming home, evident in the smells of white sand warmed by a spring sun, sea foam, and rock pools. Mynar birds. Tui song alarm 'clocks'. Coffee at café sharing tables. Dappled sunlight through ancient base track pohutukawas. Port lights reflected in the inky sea. Mauao, her moods, her constant grounded reassuring presence in all weathers. 'God rays' through thunder clouds. Whānau. The people! Bay people are good people. I have been so beautifully welcomed into the community here, and from what people are telling me, they're delighted to once again have an organic, authentically artist-run gallery space at The Mount. So, can I just say thank you to everyone for their generosity of spirit. I feel seen, acknowledged, and home. 

Shonamoller.com

Season’s eatings

Great Kiwi Bakeoff winner Alby Hailes showcases his latest book, Good Vibes, with a selection of delectable, fresh recipes, each offering delicious flavours, perfect for celebrating.

Words Aaron Mclean

Turmeric roast potatoes with crispy kawakawa & brown butter whip

The perfect roast potato recipe, and potatoes this good deserve special treatment – kawakawa leaves, a plant endemic to Aotearoa, bring complexity to the brown butter and crisp up beautifully when fried to garnish. If kawakawa is unavailable, use fresh sage.

Hands-on time 30 mins

Total time 1 hour 10 mins

Serves 6–8 as a side

Ingredients

Brown butter whip

• 150g butter, chopped into small cubes

• 6 kawakawa leaves

  Turmeric roast potatoes

• 100ml canola oil

• 2kg agria potatoes, peeled and cut into 4cm chunks

• 1 tbsp + 1 tsp sea salt

• 1 tbsp finely chopped sage

• 2 tsp ground turmeric

• ½ tsp cracked black pepper

• 2 tbsp olive oil

• 8 kawakawa leaves

Method

First start the brown butter whip. Melt the butter with the kawakawa leaves in a heavy-based saucepan over medium heat. Continue to cook for 3–5 minutes, stirring regularly and swirling the pan, until it starts to foam and the butter turns a deep golden brown (be careful here as it can rapidly go from brown to black). Pour the brown butter (including any flecks that have solidified) into a bowl, and discard the kawakawa leaves. Refrigerate the butter until cooled to the consistency of room temperature butter (this can take up to an hour). Stir a couple of times as it cools to mix up any browned solids with the melted butter.Remove from the fridge and set aside.

Preheat the oven to 190°C fan-forced (or 210°C conventional).

For the turmeric roast potatoes, pour the canola oil into a large roasting dish and place in the oven to heat. Place the potatoes in a large saucepan, cover with cold water and add 2 tbsp salt. Bring to the boil over high heat. Once boiling, parboil the potatoes by cooking for 5–10 minutes, until a knife can go easily through the outer edge of a potato but they are still firm in the centre. Drain then return to low heat and stir for 1 minute to dry out the potatoes a little. Remove from the heat and give the saucepan a decent shake until the edges of the potatoes are fluffed up. Add the sage and turmeric, tossing to coat. Carefully remove the roasting dish from the oven. Add the potatoes and carefully toss to coat with the hot oil. Roast for 35–40 minutes, until golden, crispy and cooked through. Remove from the oven and sprinkle with the pepper and remaining 1 tsp salt, tossing to coat.

To finish the brown butter whip, beat the brown butter with an electric hand mixer for 3 minutes until fluffy and whipped.

For the crispy kawakawa, place the olive oil in a small frying pan over medium-high heat. Once the oil is really hot, add the remaining kawakawa leaves and fry for 20–30 seconds on each side until blistered and crispy, then remove from the oil and place on a paper towel-lined plate to drain.

Serve the potatoes warm, topped with dollops of brown butter whip and the crispy kawakawa leaves

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Lazy-day pulled pork with apple & beetroot slaw

This combination of pork and slaw can be stuffed into bao, tacos and flatbreads, or served with your favourite sides. A healthy swig of rum and grated green apple give the meat incredible flavour. Allowing the slaw to marinate 30 minutes in the fridge lets the cabbage soften just a little.

Hands-on time 15 mins

Total time 5 hours

Serves 6–8

Ingredients

Pulled pork

• 1.5kg pork shoulder or leg, bone-in

• 2 tsp ground sumac

• 1 tsp ground chipotle chilli (or other chilli powder)

• 1 tsp ground ginger

• 1 tsp ground cumin

• ¼ tsp ground cloves

• 2 tbsp soft brown sugar

• 1 tbsp finely grated fresh ginger

• 4 cloves garlic, finely chopped

• 1 large green apple, grated

• 60ml apple cider vinegar

• 60ml golden rum

• 2 tbsp tomato paste

• ½ tsp sea salt

• ½ tsp cracked black pepper

• 2 red onions, thinly sliced

• 400ml can coconut cream

  Apple & beetroot slaw

• ¼ red cabbage, shredded

• 1 large green apple, halved, cored, cut into matchsticks

• 1 small beetroot (about 125g), finely grated

• 70g unsweetened natural yoghurt

• 3 tbsp apple cider vinegar

• freshly squeezed juice of 1 lemon

• 2 tbsp pomegranate molasses

• 2 tbsp chopped mint leaves

• 1 handful coriander leaves

Method

For the pulled pork, trim any excess fat or skin from the pork. Pat the meat dry with paper towel. Using a sharp knife, score the meat diagonally a few times, making cuts just 1cm deep. This lets the marinade penetrate the flesh. Place into a medium–large (about 25cm diameter) Dutch oven or casserole dish with a lid. In a bowl, whisk together the spices, sugar, ginger, garlic, apple, vinegar, rum, tomato paste, salt and pepper until well combined. Pour over the pork and massage into both sides of the meat. Cover with the lid and leave at room temperature for 1 hour to marinate.

Preheat the oven to 140°C fan-forced (or 160°C conventional). Add the onion and coconut cream to the meat and stir through to coat. Cover and cook for about 4 hours, until the meat is very tender and falling apart.

For the apple & beetroot slaw, combine all ingredients in a bowl and toss together. Refrigerate for 30 minutes.

To serve, transfer the pork to a chopping board. Using two forks, pull the meat into shreds. Return the pork to the casserole dish and mix through the sauce to absorb all the moisture and flavour. Serve warm with the apple & beetroot slaw, either on their own or stuffed into tacos, buns or flatbreads.

Note: Alternatively, cook the pork in a slow cooker on LOW for 8–10 hours or HIGH for 6 hours, until tender and falling apart. Ensure you still marinate the pork first for maximum flavour

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Black sesame, rose & cardamom cake with honey mascarpone icing

If there is a quintessentially me cake, this is it. This cake has fed hungry hospital nurses, been cut by a married couple, and even featured as the base for one of my showstoppers on The Great Kiwi Bake Off. I love how visually striking the grey tones of the crumb are against the whipped cloud-like mascarpone. The combination of black sesame, rose, cardamom and black pepper is an unusual one, and it’s sure to become a favourite.

Hands-on time 20 mins

Total time 1 hour 30 mins

Serves 12

Ingredients

Cake batter

• 100g butter, softened to room temperature

• 200g caster sugar

• 2 eggs

• 125ml canola oil

• 2 tbsp rose water

• 2 tsp vanilla extract

• 75g black tahini

• 125ml coconut cream

• 150g plain flour

• 110g ground almonds

• 2 tsp baking powder

• 1 tsp ground cardamom

• ¼ tsp sea salt

• ¼ tsp ground black pepper

  To decorate

• 1 tbsp white sesame seeds

• 1 tbsp black sesame seeds

• 200g mascarpone

• 1 ½ tbsp honey, plus extra to drizzle

• 2 tsp rose water

Method

Preheat the oven to 160°C fan-forced (or 180°C conventional). Grease a 20cm round cake tin and line with baking paper.

To make the cake, beat the butter and sugar in a large bowl, using an electric hand or stand mixer with the paddle attachment, for 3 minutes or until pale and fluffy. Add the eggs and beat for 1 minute, until well combined. Pour in the oil, rose water and vanilla. Beat for 1 minute, until smooth. Add the black tahini and coconut cream and beat for an additional minute, until smooth. In a separate bowl, whisk together the flour, ground almonds, baking powder, cardamom, salt and pepper. Fold the dry ingredients into the wet until smooth and just combined. There should be no remaining specks of flour left in the cake batter. Pour into the cake tin and bake for 45–50 minutes, or until a skewer inserted into the centre of the cake comes out clean. Leave to cool in the tin for 15 minutes before turning onto a wire rack to cool completely.

To decorate, toast the sesame seeds in a small frying pan over medium heat for a few minutes, until starting to brown and pop. Transfer to a small bowl to cool. In a separate bowl, whisk together the mascarpone, honey and rose water until smooth. Pipe or spread the honey mascarpone evenly over the top of the cooled cake, then sprinkle with the toasted seeds and drizzle with extra honey.

Serve on the day of baking, or refrigerate in an airtight container for up to 4 days. Bring to room temperature before serving.

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Matcha & pistachio amaretti

In the style of Italian amaretti, these biscuits are wonderfully chewy due to a base of egg whites and ground nuts. Matcha and pistachio are buddies in green and a dangerously moreish combination, so if ingredients are on hand, this recipe is always worth doubling.

Hands-on time 15 mins

Total time 1 hour 10 mins

Serves 15 small cookies

Ingredients

• 100g pistachio kernels

• 110g ground almonds

• 200g caster sugar

• 1 tbsp matcha powder

• pinch of sea salt

• 65g egg whites (about 2)

• 1 tsp vanilla bean paste

• 75g icing sugar

Method

Place the pistachios in a food processor and blitz until finely ground. Transfer to a large bowl, add the ground almonds, caster sugar, matcha and salt, whisking to combine. In a separate bowl, use an electric hand mixer to beat the egg whites until soft peaks form. Add the egg whites and vanilla to the dry ingredients. Use a spatula to gently fold together to make a soft, slightly sticky paste. Cover the bowl and refrigerate for 40 minutes, so that the mixture can be rolled into balls without sticking to your hands.

Preheat the oven to 150°C fan-forced (or 170°C conventional). Line 2 oven trays with baking paper. Sift the icing sugar into a shallow bowl. Roll the chilled dough into small balls (about 30g each). Roll the balls in the icing sugar to coat generously. Place on the oven trays spaced at least 4cm apart, as they may spread a little as they bake.

Bake for 15–20 minutes, until cracked, fragrant and just starting to turn lightly golden brown at the edges. Leave to cool on the trays for 10 minutes, before carefully moving to a wire rack to cool completely. Store in an airtight container for up to 3 days.

Love conquers all

He’s one of Aotearoa’s biggest music stars and she’s working hard to make a difference in our community. Together Rachel Axis Taane Tinorau and Tiki Taane are one of the Bay’s most recognisable couples. Here they talk about their unusual love story, overcoming addiction and ghosts.

Words Karl Puschmann | Photos Graeme Murray + Supplied
Styling Nicky Adams | Hair Sam Henry | Make up Desiree Osterman

Moving up to the Bay from Christchurch had been a dream come true for Rachel. But the dream turned into a living nightmare when a ghost showed up. “I had a rough time when I first moved here. There was a weird energy and a spirit,” she tells UNO over a piping hot cup of cinnamon tea. “We nicknamed him Spirit Fingers.”

We’re sitting in the comfy lounge of the Pāpāmoa Beach home she shares with her husband, musician Tiki Taane. It may be a gloriously sunny afternoon but her haunting story and the spirit’s creepy nickname cause a shudder. 

It’s fair to say that Spirit Fingers put something of a spooky damper on the excitement the couple had been feeling. They’d spent two years making their long-distance relationship work. Rachel’s move up in 2015 marked the beginning of not just their life together but, as they each had a child, also the beginning of their life as a blended family. The couple couldn’t have been happier. 

Until…“I’d wake up with someone standing next to the bed or at the bedroom door,” Rachel continues. “When Tiki was away, walking down the hallway would freak me out. It was creepy. I could feel there was always someone there. It was full-on.”

Tiki, who has planted himself in a huge, comfy beanbag, nods and says, “Where we are there’s a lot of spiritual energy. And a lot of spiritual history as well.”

He explains that the area was used as battlegrounds and that there are urupā (burial sites) underneath the nearby boardwalks that stretch along the beachfront. “That’s why it’s up high,” Tiki explains. “There’s a lot of bones in that area.”

There was something strange in their neighbourhood, but both being spiritual people, they weren’t about to call Ghostbusters. Instead, they wanted to show respect and understanding. They had a karakia (a traditional Māori prayer to invoke spiritual goodwill) written, which they then recited in their home. “It was basically to say to them, ‘You're welcome to be here’,” Rachel says. She laughs, then adds, “But just please don’t interfere with my sleep.”

Looking back now, she thinks it was curiosity, rather than a terrifying Hollywood-style haunting, that was the spirit’s motive.

“Tiki’s been settled here for a while so they were probably like, ‘Who’s this bitch?’” she grins. “They were just sussing me out. Since the karakia, it’s been sweet. There’s definitely still an energy, but not a bad one.”

“This whole area of Pāpāmoa has an energy that I really enjoy,” Tiki says. “I love it here.”

His connection to the area runs deep. He moved here back in 2010 but first visited in 1996, when his former band, the award-winning group Salmonella Dub, played in the Mount. 

“The first time I came it blew me away. Then I just loved coming back here,” he says. “It’s always been good vibes.”

When Tiki first laid eyes on Rachel, she wasn’t even there. He was in Auckland getting a tattoo when he saw a photo of his tattooist and her friend. “I was like, ‘Who’s that hottie?’ and she was like, “Oh, my God! I’ll hook you up!’” he laughs. 

Rachel of course knew of Tiki, but even with their mutual friend putting in the good word, she wasn’t prepared to rush a meeting with a stranger.

“Rachel was like, ‘This is a red flag’,” Tiki laughs. “She didn't give me her number. She gave me her email. So I started emailing. Then emails led to texting and texting led to phone calls. We'd call each other every night.”

In that regard, it was quite an old-fashioned courtship, with Tiki really trying to impress her. “Yeah. Hard,” he grins.

When Tiki appeared somewhat out of the blue, Rachel was concentrating on being a solo mum to her toddler and not at all about relationships. “I hadn't had very good experiences with men, so I had my boundaries up,” Rachel says. “I was quite weary. But Tiki was really respectful. He wasn't creepy. So when I had trust through the emails, I was like, ‘Okay, here's my number’.”

While the pair hadn’t committed to each other, they were becoming bigger parts of each other’s lives. But they hadn’t yet met and were still, in the words of Rachel, “doing our own thing.”

About six months on from their virtual meeting Rachel entered a radio competition to win a trip to Rarotonga. It was a typical shock-jock style of radio competition, which saw five married men going to the island with five single women and their friends.

“It’s so wrong and looking back now I’d be so anti it,” Rachel admits. “But I entered as one of the single chicks and won. I told Tiki and it turned out the dates I was there he was actually going to be there as well.”

In what can only be described as serendipity – a word Tiki would also use when he wrote a love song to Rachel before proposing on camera during the making of its music video – he was going to be there with the drum ’n’ bass group Shapeshifter.

The pair arranged to meet the night she arrived and he zipped over to her hotel on a scooter. After their six-month courtship, the couple finally met, and embraced, for the first time.

“Then she got on the back of my scooter and that was it,” Tiki beams.

“I pretty much spent the whole time with Tiki,” Rachel smiles. “It was a great first date.”

After the fairytale romance in Rarotonga, the real world hit hard when they returned home. Rachel’s friends were worried she’d get too attached and her mum was concerned her old habits might return.

“My mum was absolutely horrified. I'd been through such an intense time with addiction that she was really scared about the rock-and-roll, party lifestyle. Tiki was not like that at all. But there was an assumption, a stereotype, that the music industry
is all about getting slaughtered and taking drugs all the time. It may be in some groups, but not ours.”

Having finally met Rachel, Tiki wasn’t about to let her go. He already knew she was the one. He emailed her tickets to fly to Auckland that weekend so they could go to a dance party. 

“You told me that you loved me and I was like, ‘Ooof. This is a red flag’, because it had only been a week of physically knowing each other. But you asked me that weekend to be your partner. I was like, ‘Yeah!’ and here we are!”

“We both had the same mindset and just really connected, big time,” Tiki says. “We were talking for months and months and months before we actually met in person. So we built our connection that way.”

“Yeah, we had the same values and passions, like advocacy. We both had a kid, they’re only two years apart,” Rachel adds, referring to her daughter Karcia (12) and Tiki’s son Charlie (14). “And a similar life story in a way. Both of us have been through addiction and both came out the other side of that. We're both of a similar vibe.”

Because Rachel’s mentioned it a couple of times, I ask about her addiction. 

“I was a meth addict for four or five years, from age 14 to 19,” she replies. “I'd done my work well prior to Tiki coming along. I went to rehab when I was 19.”

Rachel escaped into addiction due to trauma. Her parents separated when she was two years old and Rachel's relationship with her father has had its challenges ever since. She moved schools a lot due to bullying and at just 14 years old she was sexually assaulted in a park after a party. The culmination of all this trauma at such a young age led her to meth. 

“I still struggle with PTSD,” she says. “I hate the word addiction. I look at it more as escapism. When people use a lot that's usually because they're trying to numb or hide from something that's either happened or that's going on. But me and Tiki have a really good relationship where if there’s something going on, we both talk about it. We don't need to get wasted to numb anything.”

Those dark days are well and truly behind her. Having turned her own life around, she’s now determined to help others do the same. She does public speaking at events where she shares her journey through trauma, addiction and recovery and is also a qualified social worker who previously worked at Women’s Refuge and now goes into the Bay’s secondary schools to deliver consent education and healthy relationship education.

“As someone who has had sexual trauma, I wish that I’d had this education when I was younger,” she says.

Depending on the situations she encounters and the people she helps, it can sometimes be hard for her to switch off at the end of the day. But she knows Tiki is always ready to support her.

“I listen and I wait till she’s got it all off her mind,” he says. “It’s been a huge education for me as well and made me really become more talkative about sexual harm in the music industry. When you start delving into the subject, this kaupapa, you've got to look at yourself, what you've done and start questioning the behaviours that you've done in the past. Some of it might not be nice. I can't sit here and go ‘this, this, this and this’, I have to look at what I've done and think about that and go, ‘How come that happened?’ or ‘Why does this happen?’. It's a really vulnerable opening you've got to do, and I think a lot of people are scared to do that. For me, I've learned loads from Rachel. Untold amounts of stuff.”

Tiki, in turn, has also been sharing his knowledge with Rachel. Over lockdown, he taught her how to DJ and now she often plays support slots for him at his shows. Because he’s away playing his own shows so much he doesn’t often get to interact with the local music scene here that much. 

“This is my home. This is where I live. When I think of doing gigs and stuff, I think outwards. I don't think about playing locally. It’s quite interesting. I don't know why that is.”

As well as touring, Tiki produces artists and bands in his purpose-built home studio and recently released his first feature film, the award-winning concert-documentary Tiki Taane in Session with CSO, which he produced, directed and performed himself. Following rave reviews at the New Zealand International Film Festival, it has since been accepted into numerous festivals around the world and continues to clock up awards.

“It's doing really awesome. It's been a wicked buzz,” Tiki says of the project which took him three years to complete. “I'm so stoked that I rolled the dice on it.”

Spend some time with Rachel and Tiki and it’s easy to see why they work so well together. They’ve both overcome demons and found each other, and then overcame their initial physical distance to connect in a deeper, spiritual way. Their personalities complement each other with Rachel outgoing and Tiki more laid back. And with Spirit Fingers no longer haunting the hallways, their home has a chill vibe and a welcoming atmosphere. 

“We definitely made the deal, the commitment,” Tiki says of their relationship. “I knew from the beginning that I’m in this for the long run.”

Then, smiling warmly, he says, “It's been incredible.” 

Tiki Taane in Session with CSO is available to rent
at Tiki’s website tikidub.com

The art of ink

UNO talks to local experts about the transformation of the Bay’s tattoo industry and the healing power of this often misunderstood art form.

Words Karen Clarkson

In 2012, when celebrated tā moko artist Julie Paama-Pengelly (Ngāi Te Rangi) set up shop in Mount Maunganui, there were four tattoo studios in the area. Today, the local body-art industry has expanded to nearly 100 artists, operating from Waihi to Te Puke. 

“Only a decade ago, the perception of the tattoo industry wasn’t positive. It sat within a genre which was not understood or recognised as mainstream. Aotearoa is now considered in the top five in the world as a destination for body art, and the scene here in the Bay of Plenty is as vibrant as ever,” says Julie, owner of Art + Body Creative Studio, which embraces a range of experienced artists offering contemporary tattoo alongside traditional tā moko and custom Māori design.

Overall, New Zealanders are becoming more discerning, respecting the honoured tradition and its therapeutic benefits, and selecting artists who value authenticity and originality. “For a while there it became a copying profession and people were wanting the same as a friend, or choosing a design straight from the wall. Tattoo is like any fine art form, where originality is what drives and defines what we do, and there is more appreciation for that now,” says Julie, who features in World Atlas of Tattoos, a book showcasing 100 notable artists from around the globe.

Tattoo as therapy

Tattoo artist Veronica de Oliveira, of Black Orchid Collective Studio, moved to New Zealand 20 years ago from Brazil and agrees the perception has changed radically. “When I first got my neck tattoo and walked around, people just stared. There is a renewed appreciation and respect for this form of self-expression, including its transformative power,” she says.

“Tattooing alters your state of consciousness,” she explains. “The chemicals your body produces to manage the discomfort changes the energetic field and transforms your body into a different state. When you alter the vibration, you can heal the cells, make new cellular memories, and create a new state of mind. It's a special, sacred process that can heal people,” Veronica says.

Julie agrees. “In the tā moko space, it is very much a therapy-based practice. Yes, there is execution, care and aesthetics that goes into the marking. But you’re also confronting pain, past trauma, covering scars or claiming a new path, which opens a healing, spiritual and cultural journey for people.”

The COVID-19 pandemic presented an interesting phenomenon for the local tattoo industry, with a huge spike in demand after lockdowns and studios booked out months ahead. 

“People were confronted with mortality, loneliness, and disconnection from the world. They had time to research a meaningful piece of art that reflects their story, where they have come from and where they are going. For some, it was a way to mark a critical time in their life or to set a future goal,” Julie explains. 

TRENDS

International artists sharing their work online and connecting with people globally have challenged stigmas, resulting in a range of ages and stages getting inked – from Gen-Z first-timers or groups of millenials wanting to memorialise something, to an 80-year-old ticking off their bucket list. 

“Larger, colourful pieces seen on heavily tattooed people in Europe or America are gaining momentum here alongside full sleeves, legs, necks and heads. I recently did a project with an older lady, maybe in her 70s, who wanted to fully cover her back. It was a beautiful, vulnerable experience,” says Veronica. 

Cover ups or redos are on the rise, too, with Kiwis wanting to reink old tattoos, or cover “regret” and “party” tattoos. “Some people go for years hiding a tattoo that reflects a bad memory or experience in their life. We can take something shameful and create something beautiful together,” says Veronica. 

MODERN TECHNOLOGIES

From hand-tattooing to machine-produced designs, new technologies are constantly evolving and opening the doors to a range of clients desiring thinner, more stylised lines, shading, florals, and delicate work.

“The rise of portraiture and realism in the Bay of Plenty mirrors the growth internationally. Micro-tattooing allows portraits across smaller
areas using finer needles, different machines and ink,” says Veronica. 

Julie credits the Māori art revival as playing an important role in the changing psyche of New Zealanders and popularity of tattoo. “We are highly regarded for tā moko and the work of Aotearoa tattoo artists is honoured around the world. Indigenous cultures that have embraced this sacred art form have created a pathway for tattoo in general,” she says.

“Tā moko and tattoos are one of the most powerful forms of communication. There's authentic connection and cultural function that is created through this historical practice. When you get a tattoo, you embody that art form, its power and healing, and share that everywhere you go.”

Read on to discover the many tattoo artists around the Bay.

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Sacred honour

Veronica de Oliveira brings art and healing together through her collective of creatives.

While the Western world may have adopted tattooing in recent decades, ancient cultures around the world have performed this sacred art form for millennia. One local tattoo artist has set up a creative studio combining body art with holistic healing, products and services, all honouring a theme of healing, transformation and community.

Black Orchid Creative Studio in downtown Mount Maunganui is a collective of artists offering tattoos, hair and barber services, piercing, massage, coffee and healing reiki. Owned by Veronica de Oliveira, tattoo artist and mum of three, she is determined to transform the male-dominated industry, reclaiming its feminine history. 

“Ancient cultures used body markings to acknowledge the energy of the divine feminine, and some of the earliest recorded tattoos were found on female Egyptian mummies. Considered gods of birth, Egyptian women were tattooed on the abdomen and upper thighs, to celebrate creation and provide protection over the birth,” she says. 

Veronica studied Reiki and is passionate about increasing understanding about the transformative power of tattoos by offering a large range of healing modalities alongside body art. “Tattooing is a historic blood ritual that transforms energy through art to someone's skin. There's an opportunity for more people to be educated on this sacred experience for its ability to heal trauma, overcome shame, provide empowerment and increase body positivity,” says Veronica.

Inspired by her own journey to becoming a body art professional, Veronica believes with the accessibility of Youtube tutorials, and machines easily purchased online, it's important to create opportunities for the next generation to learn all the elements needed to become a professional tattoo artist. 

“My goal is to create an educational platform and offer workshops, education and guest speakers so up-and-coming artists can not just hone their artistic talent, but learn about the history of tattoo, its healing powers, how to honour the client, as well as the ins and outs of running your own business,” she says.

Quick questions with Veronica de Oliveira

UNO: How long have you been in the industry?

Veronica: About seven years.

How did you become a tattoo artist?

I’ve always been an artist; I believe you are born like that. I am a self-taught person, and when something interests me, I can’t stop until I master it. Before tattooing, I was working as an interior and events designer and as a florist. I tried a friend’s tattoo machine once and never went back! I was quite good on it to start, which made me buy my own equipment. I’ve offered free tattoos for family and friends until I worked as a volunteer in the Tattoo & Art Extravaganza and met my mentor, Pepa, who gave me my first opportunity to work in a shop. By that time, I had two small children on my own. It was my return to work life, and I knew I was supposed to do something big with my life. 

What do you love most about your job? 

My job empowers me. Through art, I can transcend reality and bring happiness to people. My studio is my temple, my dream. I love to come to work, meet people, share energy and heal. 

Do you have a favourite piece of work? 

At the moment I’m working on a collection of star sign goddesses. I’m in love with it! I create large pieces with my clients’ astrology characteristics in a black and grey neo-traditional style. 

Who and/or what inspires you?  

I could name so many artists that  inspire me, but my real inspiration comes from my family and my devotion to women, the Divine Feminine. I think we are so resilient, so powerful and beautiful. Most of my clients are women, and we learn so much from each other. 

What do you think makes a good tattoo artist? 

Drawing skills, creativity, drive, humility, compassion, cleanliness, good customer service, ethical professional mentality, good communication and understanding, intuitive people reading. Good common and aesthetic sense. Hunger for learning.

What do you think has changed positively in the tattoo industry in the last 10 years? 

The increase of women in the industry and the technology. We now can rely on amazing equipment and material. Social media became a great marketing tool for artists to show their work. There is also less discrimination against tattooed people and artists. I also love that we see young and older people getting tattooed in the same room. Tattoo art has also evolved significantly – these days, artists are doing the most incredible art on peoples bodies. 

What do you want to see in the future for the tattooing industry? 

I would like to see more recognition
of the profession from governmental institutions through more regulations and more educational incentives to apprentices and mentors. At the moment, I’m in the planning phase of an introductory tattoo course and workshops, to be released next winter. I believe that so many people out there are trying to learn on their own and wanting some guidance, support
and the opportunity to succeed
in the profession. 

 Ladydragontattoos

 Blackorchidcollectivestudio

Blackorchidcollective.co.nz

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Making her mark

Characterised by openness and support,
this tattoo studio balances the mana of its artists with deep respect for its clients.

Step into Art + Body Creative Studio in Mount Maunganui, and embrace a vibrant, collaborative, light-filled space buzzing with a large team of artists including tā moko and contemporary tattoo artists working alongside eager apprentices. The open-plan workshop, complete with
bus-theming throughout signifying the shared journey between artist and client, is the antithesis of the closed-off, traditional tattoo shop stereotype; a deliberate design by owner Julie Paama-Pengelly. 

“When I opened ‘Body’, I wanted to reject the conventional male-led tattoo paradigm; expose the mainstream to the often hidden nature of the industry, while also demystifying tā moko. As a result, we have created an environment where the powerful, intimate and transformational practice of tattoos is shared and celebrated,” explains Julie.

Considered one of New Zealand’s leading tā moko artists, Julie (Ngāi Te Rangi), has played a key role in the revival of Māori arts since the 1980s. With a background as a university lecturer, arts faculty leader and renowned arts advisor, it was natural to combine her experience in education space with her commercial studio, evolving a pathway for apprentices since 2015.

“As client demand for experienced moko artists took off, I knew I had a role to play to support the succession of artists. More female practitioners were also coming to me asking, ‘How do we get access to more knowledge, more learning, more mentors?’, and I was passionate about supporting the rise of Māori women practising tā moko,” she explains.

In the last nine years Julie has trained over 20 artists, with one to two per year graduating to full-time employment at  Art + Body Creative Studio or starting their own successful business. 

“Our apprentices learn technical skills and hone their artistic niche, but at the forefront of our kaupapa is creating an environment to support the clients' physical, emotional and spiritual transformation. This includes learning protocols, tikanga, health and safety, and coordinating an open and supportive client dialogue - which is less about the purchase and more on creating an honourable, respectful exchange,” she explains. 

Julie’s education work also extends beyond the studio, into orchestrating festivals, exchanges and exhibitions working to strengthen and enrich Māori arts and indigenous tattoo around the world. Toi Kiri, the world indigenous arts festival, developed by Julie and the team from Te Tuhi Māreikura Trust, was held in Tauranga last month. The fourth world indigenous tattoo event is held annually in October over 10 days, featuring a symposium, exhibition and public event showcasing 45 tattoo artists and 200 cultural performers from 16 different nations around the world.

“We have worked hard to create a healthy and vibrant tā moko and tattoo community in Tauranga, and as a result of the vision here, New Zealand is at the forefront of an international movement supporting the revitalisation and exhibition of indigenous arts around the world,” says Julie.

Tā moko on display

Julie Paama-Pengelly is one of eight cultural tattoo practitioners selected to take part in a world-first exhibition at the Museum of Vancouver in 2024. Internationally-acclaimed tattoo artist Dion Kaszas is curating “True Tribal: Contemporary Expressions of Ancestral Tattoo Practices”, an exhibition featuring podcasts, documentary, live performances, living portraits and a photographic exhibition; all celebrating the work of contemporary indigenous tattoo artists around the world. 

Quick questions with Julie Paama-Pengelly

UNO: What's your background? How did you become a tattoo artist?

Julie: I have a background in design and did an undergraduate degree in anthropology, which gave me a cultural context to Māori ethnography, world view, and also the importance of our historical art objects. This led to an interest in Māori and Pacific Island development and a Masters of Third World Development. I then did a Bachelor and a Masters in Māori Visual Arts and went on to teach at Massey University School of Design, doing tā moko on the weekends. Tā moko is a cultural signifier of identity and pride; in the early days, it was a community practice that happened on marae and in whanau contexts, as part of the ongoing reclamation of health and wellbeing for Māori.

How long have you been in the industry?

I have been applying tā moko for more than 30 years, at times around my other roles as teacher, writer, exhibiting artist, and parent to two children. When I moved to Tauranga to be closer to my tribal base (I’m from Matakana and Matapihi), I saw the contrast between an affluent Western community and the relative position that Māori now occupied in Tauranga after suffering loss of land and capacity during colonisation. In 2011, I decided to open a studio to locate tā moko within other tattoo practices, to clarify the relative differences between tā moko and tattoo, and to engender further acceptance of tā moko – particularly facial markings which had historically faced discrimination in Western tattoo history.

How would you describe your style?

I am a tā moko specialist and since I have been practicing for an extended length of time, this practice has developed quite a bit. I understand that the principles of tā moko design are underpinned by an inherited language vocabulary (Māori didn't have a written language so our arts served a powerful role), and once you know this, its up to the tā moko artist to expand on this and to reflect the changing nature of Māori experiences and society. When non-Māori copy tā moko, they fail to understand the language system, the design meaning as a personalised engagement between the wearer, their community and Māori ancestors, connecting us with our ancestors throughout time.

Do you have a specialty or area of expertise and if so what?

Within tā moko, I now focus most of my attention to doing moko kauae (the chin area) and moko peha (the lower back, buttocks and down the legs) on women. My body doesn't hold up like it used to, so my focus is now on what I can contribute to the ongoing practice of tā moko. As one of the few female practitioners, it is important for me to consider what unique voice I bring and how I can help keep the art form current into the future.  

What do you love most about your job?

Tā moko is all about the people, and while this requires energy, it is the most rewarding part of the job. Particularly the therapy that we each share on the journey, what their story is, their hurdles and celebrations, and being able to collaborate to bring forth something that holds the meaning of generations of Māori. With bigger pieces where clients return time after time, they become family and we all feel connected, and this affects our studio too. Some clients will seek out our other artists to get pieces that reflect their specialties, which makes for a really nice working environment.

Tell us about your most memorable experience with a client.

This is a difficult one, but I have had affirmation of the healing power that tā moko can have. One client who received a significant piece (some
60 hours of work) as a moko peha had a significant history of understanding that she couldn't conceive. She went on to have a child four years later, and more recently reflected that the moko peha might have contributed to this.

Do you have a favourite piece of work?

I treasure my large projects the most, as they allow me to build a significant design relationship between the elements as well as a bond with the receiver. My original first full moko peha piece on Jeanette Rata in 2004 still resonates with me, because the work flowed quite spontaneously from session to session, and the image has been widely viewed so I have had plenty of time to be critical of the work. My current moko peha piece on Erena Mikaere represents how my practice has developed over a 20-year period.

What inspires you?

The work of my ancestors, particularly when I see photos and marvel at the expertise of what they executed with tools fashioned from nature. They remind me of why it’s important to continue this practice, not necessarily to replicate their work, but to look at how they responded to the world. If only we had more primary material from artists back then! I am also inspired by everyone that takes on the commitment to wear tā moko. It’s a mark of bravery and a commitment to wear their identity, experiences and journey forever. They are the ultimate muse, creative influence and legacy for our tā moko traditions.

Artbody.co.nz

artbodycreative

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Art with heart

Pepa Heller of Bohemian Tattoo Arts in Tauranga strives to provide a friendly, relaxed atmosphere in his well-established, legendary parlour, with plenty of talent to choose from.

UNO: How long has Bohemian Tattoo Arts been open?

Pepa: We opened the studio in 2002, so we've been established for more than 20 years now.

Did you have a big party to celebrate the anniversary?

Not quite a party but we wanted to do something special that would also support the wider community, especially those in need of help. We also wanted to express gratitude to our clients and supporters, so we decided to run a mental health awareness fundraising project for I AM HOPE. It took us more than a year in preparation and about four months to execute. 

What was the project about? 

One of our team members, Jeffrey Robinson, had the idea of coming up with an animation in support of mental health. It consisted of 100 sketches of John Dory fish in support of men's mental health. The storyline is that the fish was absorbing a lot of darkness and negativity and became sad, only to realise that it could speak 'bubble' to become a happy fish once again. This was to represent mental health struggles. Everyone was really excited about this, so we decided to go ahead with it. The task was to tattoo 101 animation frames on 101 people. All profits were donated to I AM HOPE. Tattooing that many people takes a lot of time, so we called for more tattoo aficionados, mostly the ex-Bohemian crew to help us out. By the time we finished, it had taken us four months to complete all 101 tattoos. We are very happy to have fundraised over $15,000 for a great cause.

That's amazing. How many artists worked on the project and how many do you have in the studio?

Fifteen artists took part in completing the John Dory frames. We have eight amazing tattoo artists at the studio at the moment.

Could you elaborate on your artists and their styles?

Our team, from four different continents, consists of incredible talent and covers a broad spectrum of tattoo art styles. I cover large-scale realism/freehand kirituhi, while Julie of Reconnectink has her own unique style that is strongly connected to nature and good energy. We are both from Czech Republic. Grace of Ink_trek (NZ) is a master of fine lines, mandala art and stipple shading. Paul Collier (NZ) is amazing with large-scale colour and black and white realism. Bryn of spookeestuff.tattoo (UK/NZ) specialises in traditional tattoo style with solid lines and fine shading. Matias of Eme_Ese from Argentina is a solid artist on the rise. Sanjay of Swostiktattoo (Nepal) holds a Masters degree in Arts and focuses on oriental style and realism. Last but not least, Aidan Holland (NZ) covers most styles. Just as cherished and important is our shop manager, Aja, along with professional piercer Olive, both hailing from Bohemia, Czech Republic. 

What do you think makes a great tattoo?

I believe there must be a great deal of understanding and good communication between the artist and the client. The client needs to be tattooed by an artist whose style aligns with what the client wants. We are very fortunate to be able to cover most styles of tattooing at Bohemian Tattoo Arts. A great tattoo must strike a balance between scale, proportion, and flow while meeting the client's goal.

How do you work with clients to create a custom design?

First, we arrange for a free, no-obligation consultation, during that time we discuss the client's ideas and offer our own professional input. For the best possible result, it is important to come to a mutual understanding regarding the concept. Once we strike that balance, an appointment is determined and we start designing.

What's the most interesting tattoo you've ever done?

My awesome client Brent gave me his full back to do whatever I wanted, so naturally, I reached for a portrait of a majestic horse. During the first session, to my surprise, Brent was keen to make the commitment and come along with me to the Las Vegas Tattoo Convention in only four weeks. At that point, it sounded impossible to finish such a large-scale tattoo, but in the end, that’s exactly what we did. There were a lot of hours squeezed into a short time, but it was well worth it.

What do you love most about your job?

I am the luckiest man in the world to have the job that I do. It is creative and intimate; I get to know my clients very well and I feel privileged to be part of their life and journey. In the end, they will never be the same after they leave my chair. 

Do you have a favourite piece of work?

The personality of my client and the project itself go hand in hand to determine my favourite projects, and there are a lot of these. So, if you’re reading this, and have a tattoo in mind, don’t hesitate to get in touch!

Bohemiantattooarts.com

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Body of work

With almost 20 years of history, this tattoo studio is a multi-generational hub of creativity, where originality and custom designs take centre stage.

Originally established in Dunedin in 2004, Visual Intelligence is a boutique-style tattoo studio, which recently moved to Pāpāmoa from the Mount. With three tattoo artists – Aaron, Emily and Kyah – the studio has a combined experience of almost 50 years. Macaela, who paints canvases for the studio gallery, is the manager and what the staff call the “organiser of everyone’s lives”. The studio specialises in all styles of tattooing and offers a friendly, professional and personalised service, together with high-quality artwork, in a comfortable and relaxed environment. 

Here UNO asks the team a few burning questions.

UNO: How long have you been in the industry?

Aaron: Visual Intelligence has just celebrated its 19th birthday! I’ve been tattooing for 26 years, Emily for 20 years, and Kyah for two years.  

How would you describe your style?

Aaron: We don't box ourselves into one particular style. We specialise in all styles of tattooing, from realism/portraits, to Tā Moko and Polynesian, full-colour, black and grey, illustrative, neo-trad, fineline, and everything in-between. We also custom design almost all of our work because, first and foremost, we are artists.  

What is your favourite style of tattooing?

Aaron: I prefer big, bold custom work in black and grey or colour – tattoos that are built to last and will stand the test of time. I also have a large portfolio of Tā Moko/Māori, Polynesian and Japanese-style work.  

Emily: I love illustrative and neo-traditional art, but am happy to do all styles of tattooing.  

Kyah: I’m Aaron's apprentice and son, so I’m following in Dad's footsteps. I have a passion for tā moko/Māori, Polynesian and Japanese art.

What do you think makes a great tattoo?

Macaela: A customised design which has been skilfully executed, aesthetically pleasing to the eye, and one that both the artist is happy with and the client is proud to wear. It's also important to note that even a perfectly executed tattoo needs to be followed up with a perfectly well-healed tattoo. We provide personalised aftercare advice which is the responsibility of the client. This would include keeping the fresh tattoo clean at all times and out of the sun, sand and surf, using an aftercare product specifically for tattoos, and even once healed, using sunscreen whenever exposed to the outdoors.

How do you work with clients to create a custom design?

Macaela: The client would come to us with an idea or reference images and we then go through a consultation process, with the artist talking through their ideas, what will and won't work, size and placement and whether they're wanting colour or black and grey. Consulting with the client eliminates the need for multiple designs to be done, as a solid tattoo plan is discussed prior to any designing. There also needs to be an element of trust between client and artist. At the end of the day, the client has come to us through either a recommendation or because they've loved the work they've seen, and are happy to wait months in advance for a booking. Some clients like to see a design prior to their booking; however, most trust our process and only see their design on the day of their booking.

What inspired you to become a tattoo artist? What is your background? How did you become a tattoo artist?

Aaron: I’ve been drawing since I could hold a pencil and I’ve been an artist my whole life.  Drawing and design led me to becoming a self-taught tattoo artist and eventually Macaela and I opened Visual Intelligence in Dunedin in 2004. I also enjoy digital art and painting in oils and acrylics, and as well as being a tattoo artist, I was an aerosol artist for many years in Dunedin, painting large-scale murals. More recently I’ve been busy with commissions for custom-carved skate decks, inspired by my love for music, art, culture, skating and tattooing. 

Emily: I was brought up in West London and, as a teenager, was into the punk scene and also enjoyed designing tattoos for friends to get tattooed by other tattoo artists. I was always stoked to see my own designs as tattoos on my friends and one of them suggested I should look for an apprenticeship. I approached one of the best tattoo studios in West London for an apprenticeship, and that's where it all started! I have since tattooed in London, Perth and Sydney, and then joined the
Visual Intelligence team in 2018. I also enjoy painting in oils, acrylics and watercolours.

Kyah: My parents are Aaron and Macaela and I’ve basically been brought up in a tattoo studio my whole life. I’ve always been surrounded by their art and seeing what my dad could do in the tattoo studio inspired me to focus on my art at college. In my final year, I received the Mana Toi Tāne Award, which is awarded to "the male student who represents their culture through visual arts with perserverance, commitment and pride." I also completed a Certificate in Art & Design at Toi Ohomai and started my tattoo journey in 2021.

What makes your studio unique?

Macaela: Our studio not only produces high-quality, custom work, but also provides our clients with an experience.  We have a beautiful new studio in Pāpāmoa and our environment is a professional hub of creativity, artistic flair, with a personalised service created for each individual client. Our clients feel welcomed, listened to and looked after throughout their tattoo journey.  The majority of our clients are also repeat customers and are always thinking ahead and discussing with us the next project they wish us to help them undertake, whether that be on skin, canvas or a wall! 

Visualintelligence.net.nz

At the water’s edge

Down on the harbour you’ll find this elegant, light-filled eatery, where the food is just as appealing as the view.

Words Karl Puschmann

You’d be hard-pressed to find somewhere to eat with a more spectacular view than The Restaurant at Trinity Wharf. Perched on three piers that stretch out and over the glistening waters of Tauranga’s harbour, the only way to get any closer to the water would be to jump in.

It’s a view that would improve any meal. But Trinity Wharf’s executive chef Rob Forsman, doesn’t want the food to simply match the gorgeous views, he wants it to exceed them. Rob’s been working in restaurants for close to 25 years. During this time he’s worked as head chef for Aotearoa’s restaurant royalty like Simon Gault, Al Brown and the Bay’s Kitchen Takeover team before moving to Trinity Wharf 18 months ago.

It’s a long way from his humble beginnings. “I started as a kitchen hand,” he says. “It was out of necessity. I didn’t grow up dreaming of being a chef. That would be a really cool story to tell but it’s not the case. I’ve always enjoyed cooking, but it didn’t occur to me as a job until I started washing dishes.”

He spent well over a year in the “dish pit,” picking up knowledge around the kitchen and getting trained in the basics. Soon enough his days of scrubbing pans were over and his passion had been ignited. Not just for the work, but for kitchen culture itself.

“To be in a team of hardworking people who are all single-minded in their vision and all working toward the same goal is an amazing feeling. It epitomises kitchen work.”

He worked his way up the chain of command until he attracted the attention of Simon Gault, who offered him the head chef role at Ponsonby’s acclaimed Jervois Steak House. He was there for three years before accepting the head chef role with Al Brown at the trendy Federal Delicatessen beside Sky City.

“I loved working in these places. AI’s whole vision was to treat customers like friends and treat staff like family. It’s inspirational.”

That’s the mindset he’s instilling in his staff at Trinity Wharf. He wants to inspire and feel that inspiration himself. If the kitchen’s cooking, so to speak, then he reasons the food will take care of itself.

To that end, his first priority was to refresh the menu.

“We now use New Zealand ingredients and try to source as much as we can locally. There’s a lot of great produce and fruit in this part of the country and we want to support local business as well.”

While adapting from the single-focused restaurant business to the multi-faceted role at Trinity Wharf, with its multitude of menus for various occasions, events and the day-to-day, has been a challenge, it’s one he’s embraced.

Looking out over the glistening sea which is right outside the window, he reveals his hopes for The Restaurant at Trinity Wharf.

“We’d love to become a destination for the local population.” He smiles. “We’d absolutely love that.” 

ASK THE CHEF

Rob Forsman takes on UNO’s quickfire questions.

What’s the best meal you’ve ever had?

The street food in Southeast Asia. It’s not a polished, plated meal but the flavours are insane. It’s so humble but the love has been put into it. I recently went to Indonesia and ate my way around. I didn’t eat any Western food at all.

What’s your earliest food memory?

Baking bread with my grandmother. I was really little and the process was like magic to me – kneading the dough and seeing how it rises. Her secret was to pop it under the bed to proof.

How can you make everyone’s most disliked vegetable, Brussels sprouts, tasty?

Blanch them in a little bit of salt and sugar to take the bitterness off. Get some bacon nice and crispy, some caramelised onions, some chilli if it takes your fancy, and then toss them all together in the frying pan with some butter until you get a little colour on the Brussels sprouts. Colour is king.

What’s the next big trend in food?

I think people are going to start consuming a lot less meat. It’s become too expensive, and there’s a lot more awareness around the environmental impact. I think meat is on its way out. Slowly. We’ll never get rid of it. It’ll just become more opulent. More special. 

Trinitywharf.co.nz

Breaking the brunch rules

Pāpāmoa influencer Makaia Carr is taking on the big business of beverages headfirst.

Words Catherine Sylvester  |  Photos Erin Cave

Known to some as one of the first social media influencers in Aotearoa, and to others as the founder of the charity Kura Kai, Makaia has her sights set on bringing the humble mimosa out of the brunch-only routine and into our lunches, picnics, BBQs and beyond.

“I’m solely responsible for my life now,” the 44-year-old says, referring to her newly single status. “I knew this was the year to create something that will be exciting, enduring, and allow me to leave something for my kids.”

Brainstorming with friends in early January, the genesis of her new venture, Henlee, was born. 

“I realised the drinks industry would be a good option,” explains Makaia. “I thought that having a mimosa in a can would be fun, convenient and would reduce wastage.”

By February, meetings with a local bottling plant were underway, and by March the designers were at work. By late August, Henlee went to market and has been gathering momentum since.

“It’s such a strong New Zealand product,” she says. “We use Hawke’s Bay sparkling wine and Gisborne orange juice. It’s low sugar and low calorie and you’re guaranteed the same great blend every time.

Having made Pāpāmoa home since moving from Auckland a few years ago, Makaia was conscious of working and engaging with people and businesses in the region. She worked locally to create the perfect mimosa formula, with it being bottled in and distributed from the Mount. For brand design and packaging, she worked with the
Woods Agency, a local mainstay.

Makaia credits her 20 years of retail experience with giving her the skills necessary to successfully run a business.

“Those were my ‘university’ years,” she says, smiling. “I learned so much from old-school retailers about marketing plans, budgets, managing and leading teams. I was able to firstly apply that to my career in social media, and now to Henlee
and the beverage industry.”

With demand from Australia for the new mimosa in a can, and bars and retailers around the country stocking Henlee, it’s only a matter of time until an international market comes calling.

Makaia acknowledges that New Zealand wine has such great renown overseas but is happy to take things one considered step at a time. 

“I’m not going to rush things,” she adds. “For now, it’s all about focusing on making our mark. When people think mimosa, they’ll think Henlee.”

And if her track record and current momentum is anything to go by, it will play out exactly the way she has planned. 

Henlee.co.nz

On a roll

The Mount’s favourite sushi fusion restaurant and bar, Satori Lounge, has moved across the bridge to bigger, better and far more modern premises on The Strand.

Words Hayley Barnett

Lisa Wilson never pictured herself in hospitality, let alone owning and running one of the most popular sushi restaurants in the Bay. She didn’t even like raw fish. But, 13 years ago, that’s exactly what happened, and now she can’t imagine doing anything else.

“It was an accident, really,” says Lisa, gesturing towards her expansive, modern eatery on The Strand in Tauranga, which is right now heaving with the inner-city weekday lunch crowd.

“My ex is Chilean and sushi is huge in South America, so he talked me into giving him some of my savings to start a sushi restaurant in the Mount. Of course, he kept needing more and more money until eventually I didn’t have any savings left. And then we broke up!”

Lisa found herself having to quickly take the reins, all while working her day job in banking to stay afloat. 

After one too many reviews stating that the food was great but the service needed some work, Lisa realised she’d have to quit her day job and take on the restaurant full-time – and to stop responding to those reviews with “If you want quick service, head to McDonald’s.”

“It took me a while to learn that the customer is always right,” laughs Lisa.

Today is Tuesday – gluten-free day – at her new premises. It’s always been popular, but now that Satori Lounge has moved across the bridge, every day is popular.

It could be the new office crowds that she’s catering for, but I suggest it might be the fact that Satori Lounge has such a great reputation for fresh (and fast) sushi with a difference.

All the best dishes are still on the menu, like my personal favourites, the Citrus Sushi Roll and the Ceviche Sushi Roll,as well as the Honey Chicken Sushi Roll and, well, everything else.

“I don’t like to change the menu,” explains Lisa. “Chefs have tried but people know our menu and they like it, so why change it?”

It was the Citrus Sushi Roll that was responsible for Lisa’s about-turn on the raw fish front. She added more raw salmon little by little until her tastebuds agreed, and now it’s one of her favourite foods.

Though a change in menu won’t be on the cards, it seems the change in scenery is working to the restaurant’s advantage. Lisa even has plans to landscape the back into a garden area for diners with the help of Blair, her landscaping partner and father to her twin boys. 

So, whether you’re a hardcore sushi fan, or just keen to try the Honey Chicken Roll (the most popular dish), you’ll definitely find something to love about Satori Lounge. And say hi to Lisa if you see her fumbling around the bar area.

“I wasn’t cut out for hospitality,” she assures me. “I love talking to people too much!” Which is, funnily enough, what makes a restaurant so hospitable. That could be part of the reason this not-so-new eatery is really hitting the spot.  

satorilounge.co.nz

Whittaker’s Honey, Nougat & Almond Cheesecake

Servings: 12

Difficulty: Medium 

Prep time: 1 hour + setting time

Cook time: 10 minutes 

Ingredients

For the base:

300g Chocolate biscuits

50g (1/3 cup) Flaked almonds

110g Butter, melted

For the cheesecake filling:

500g Cream cheese

250g Sour cream

¼ Cup Brown sugar or honey

250g Whittaker’s Honey, Nougat & Almond Chocolate, chopped

1 tsp Gelatine powder

For the honey almonds:

50g (1/3 Cup) Flaked almonds

1 Tbsp Honey

Pinch of sea salt

To serve (Optional):

2 Tbsp Melted chocolate

Method

Grease and line the base and sides of a 20cm springform cake tin. Blitz the chocolate biscuits and almonds in a food processor until you have fine crumbs. Add the melted butter and continue to blitz until combined. Firmly and evenly press the crumb mixture into the base and up the sides of the prepared tin. Place in the fridge to set for at least 20 minutes.

In a large bowl, beat the cream cheese, sour cream and brown sugar or honey with a hand mixer until smooth and creamy.

Place ¾ of the Whittaker’s Honey Nougat & Almond block in a heatproof bowl. Melt in the microwave, stirring every 30 seconds until smooth.

Place the gelatine in a small bowl with 1 tablespoon of cold water and mix until dissolved.

Add the melted chocolate & gelatine mixture to the cream cheese mixture and beat until completely combined.

Finely chop the remaining chocolate and fold it through the cream cheese mixture. Pour the creamy filling into the biscuit base and use a spatula to smooth out the top. Cover and leave to set in the fridge for at least 4 hours.

Before serving, place the almonds on a lined baking tray. Drizzle over the honey and toss to coat. Bake in the oven at 160°C for 10 minutes, until golden brown. Remove from the oven and sprinkle with sea salt.

When ready to serve, carefully remove the cheesecake from the springform pan. Transfer to a serving plate and drizzle with melted chocolate & sprinkle over the honey almonds.

whittakers.co.nz

Baker Gatherer

Hamiltonian Dane McGregor, otherwise known as the Baker Gatherer, started his baking journey with a love of food, childhood nostalgia, curiosity, and a willingness to experiment and create. Constantly learning and trialling new recipes and techniques, Dane has kindly shared some of his successes with UNO.

Beer and Pretzel Cupcake

A beer and chocolate-flavoured cupcake, topped with cream cheese buttercream and pretzels.

Prep time: 40 minutes

Cook time: 20 minutes

Makes 12

Cupcake

130ml beer

120g butter

40g cocoa powder

200g caster sugar

1 large egg

70g sour cream

1 tsp vanilla extract
120g plain flour
1¼ tsp baking soda

For the Top

80g butter, room temperature

150g cream cheese, room temperature

420g icing sugar

1 tbsp milk

Pretzels

METHOD

Preheat the oven to 170°C bake and line a cupcake tray with 12 cupcake cases. Set aside.

In a medium-sized saucepan, add in the beer and first measure of butter. Stir on a low heat until melted and combined. Do not boil.

Remove the saucepan from the heat, then whisk in the cocoa powder and sugar until dissolved. Allow to cool slightly.

Using a freestanding mixer or handheld beater, beat together the egg, sour cream and vanilla in a separate bowl until combined.

Slowly pour the beer and butter mixture in with the egg mixture, while still beating on a low speed. When combined, add in the flour and baking soda and continue to beat until smooth.

Transfer mixture to a small jug and pour into prepared cupcake cases, filling to about ⅔ full.

Bake for around 16-20 minutes or until a toothpick comes out clean and cupcakes spring back when touched. Remove from the oven and allow to cool.

For the buttercream, add the butter and cream cheese to the bowl of a freestanding mixer or using a handheld beater, and beat for about 2-3 minutes until well combined.

Add the icing sugar in two stages, beating for another 3 minutes between each addition. If the buttercream is still quite firm, beat in small amounts of milk until desired consistency is reached.

Pipe blobs of buttercream on top of cooled cupcakes and decorate with pretzels. You can either roll the top of the cupcake in a saucer of broken pretzel pieces or spend some time arranging pretzels on top by hand. Enjoy!

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Banana, Peanut Butter and Bacon Cupcake

A soft banana cupcake, topped with peanut butter buttercream and crispy bacon.

Prep time: 40 minutes

Cook time: 20 minutes

Makes 12

Cupcake

100g caster sugar

20g brown sugar

140g self-raising flour

½ tsp baking soda

2 large eggs

125g butter, softened

½ ripe banana (approx 70g)

1 tbsp milk

For the top

4-5 slices of streaky bacon
150g butter, softened
60g smooth peanut butter
270g icing sugar
1 tbsp milk

Peanut crumb

30g smooth peanut butter

30g icing sugar

METHOD

To start, flick oven on to 180°C bake and fill cupcake tray with cases. Set aside.

For the cupcakes, whisk together the sugars in a freestanding mixer.

Sift in the remaining dry ingredients and then add the eggs, butter and mashed banana. Beat for about 60 seconds.

Lower the speed and slowly add the milk before turning mixer back up for about another 30 seconds.

Fill paper cases about ⅔ full and bake for 16-20 minutes or until cupcakes spring back when touched. Allow to cool completely.

While the cupcakes are cooling, flick oven on to grill and grill slices of bacon on a sheet of greaseproof paper until cooked and crispy (or follow directions on pack). Allow to cool while you make the buttercream.

For the buttercream, beat butter and peanut butter in freestanding mixer
for 5 minutes, scraping sides down occasionally.

Sift icing sugar and add to the butter mixture in two stages, beating for another 3 minutes between additions.

On a slower speed, add the milk, then turn mixer speed back up and beat for another few minutes.

To make the peanut crumb, mix peanut butter and icing sugar together until it forms an even crumb and set aside.

Once the cupcakes and bacon are cool, pipe a blob of buttercream, cram full of crispy bacon, and sprinkle with the peanut crumb. This will have you all shook up!

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Sconut

A fusion of a scone and donut, covered in cinnamon sugar and filled with jam and cream.

Prep time: 40 minutes

Cook time: 15 minutes

Makes 16-20

Sconut

510g plain flour

5 tsp baking powder

Pinch of salt

1 tbsp sugar

2 tsp cinnamon

1 tsp nutmeg

60g butter

¾ cup milk
1 tsp vanilla extract

Cinnamon sugar

80g butter, melted

200g sugar

1 tbsp cinnamon

Filling

4 tsp water (optional)

1 tsp gelatin (optional)

200ml cream

80g icing sugar

1 tsp vanilla extract

Strawberry jam

METHOD

To start, flick oven on to 180°C bake and line an oven tray with baking paper.

Using a large bowl, add all of the dry ingredients and mix thoroughly.

Add the butter and rub in to dry ingredients until it resembles a fine crumb.

Finally, pour in milk and vanilla, and mix through with a knife until dough comes together (add a little more milk or flour to get the right consistency).

Turn dough out onto a floured bench and knead for about a minute before rolling dough out to approximately 1cm thickness.

Using a circular cookie cutter or upside- down drinking glass, cut out circles of dough and arrange them on a prepared baking tray. Bake for 15 minutes or until risen and cooked through.

While baking, start prepping the cinnamon sugar. Melt butter in a bowl and set-aside. Also mix together the sugar and cinnamon in another
bowl too.

When the scones come out of the oven, immediately coat them in melted butter and cover with cinnamon sugar one at a time. Set aside to cool completely.

Once cooled, it’s time to fill with whipped cream. I like to use gelatin to stabilise the whipped cream, which then holds nicely inside the sconuts.

To start, add the water to a ramekin, then sprinkle over gelatin. Allow to sit for roughly 5 minutes.

Either using a freestanding mixer or a handheld beater, beat the cream,
icing sugar and vanilla for a minute to combine.

When the gelatin is set, place in the microwave for 10 seconds to melt back into a liquid before pouring into the cream mixture while beating on a high speed. Continue to beat until whipped.

To assemble your sconuts, slice in half, pipe with whipped cream and add a dollop of strawberry jam. Perfect to enjoy with a hot cup of tea!

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Spiced Rose Shortbread 

A smooth and warmly spiced shortbread, topped with sweet and fluffy rose-flavoured marshmallow.

Prep time: 30 minutes

Cook time: 15 minutes

Chill time: 30 minutes

Makes 12

Shortbread

180g butter, room temperature

70g icing sugar

225g plain flour

1 tsp cardamom

1 tsp cinnamon

1 tsp ginger

1/2 tsp salt

Marshmallow

60ml boiling water

1 tsp gelatin

100g caster sugar

1 tsp rose water

Pink food colouring

Dried rose petals (optional)

METHOD

Using a handheld beater, cream together the butter and icing sugar
until pale and fluffy. Add flour, spices and salt and mix through until a firm dough is formed.

Roll out dough until 1.5cm thick and slice into rectangles. Place on a tray lined with baking paper and chill in the fridge for 30 minutes.

Preheat oven to 180°C fan bake. 

When dough has chilled, bake for approximately 15 minutes or until golden. Remove from oven and allow to cool completely.

For the marshmallow, add boiling water and gelatin to a large bowl, stirring to dissolve. Add sugar, rose water and colouring, and beat with a handheld beater on high for 10 minutes until thick, fluffy and sugar has dissolved.

Pipe on top of cooled shortbread and sprinkle with dried rose petals. 

Change of art

Tauranga Arts Festival is renowned for bringing the world to the city’s doorstep but for this year’s October 19-29 extravaganza, the new team at the festival’s helm are embracing the moment.

Words Sandra Simpson

The Up-Doos - He’s a Rebel

Taking on the mammoth project that is the Tauranga Arts Festival is beyond exciting for the new festival organisers.

“In building this year's programme, we're reflecting a need to provoke joy and belonging for our audiences – as well as undertaking necessary conversations with the vital voices of Aotearoa,” says artistic director Shane Bosher. “We'll be staging some out-of-the-box experiences, including an interactive work for families, which we are super excited about.”

The superb travelling venue, the Carrus Crystal Palace, will be at the southern end of The Strand waterfront for music, a night of comedy and all the fun of a poetry slam, with other performances and events unrolling throughout the city.

Our place on the planet is Oceania, borderless and vast, ranging from the fiery volcanoes of O'ahu to the wild tides of Rakiura. It’s a place rich with story that UPU brings to roaring theatrical life with an all-star line-up of Māori and Pasifika performers who will invigorate the words of Oceanic icons as well as writers transforming Aotearoa today, including Maualaivao Albert Wendt, Briar Grace-Smith, Apirana Taylor, Tayi Tibble,
Selina Tusitala Marsh and Hone Tūwhare. 

UPU

Tusiata Avia, whose work features in UPU and is the author of a previous festival hit, Wild Dogs Under My Skirt, is the first female Pasifika poet to win the Ockham Award for poetry. The festival is delighted to feature the ferocious stage adaptation of that award-winning 2021 collection, The Savage Coloniser. Avia’s unapologetic examination of race and racism is full of bold humour and lacerating truths. “This is a red-hot festival ticket that audiences should fear missing out on,” Shane says.

The Haka Party Incident brings the events of a more-recent history – the “last New Zealand war” in 1979 – to the stage in an award-winning production. Resurrected is the eventful day when a group of Auckland University engineering students rehearsing their annual tradition of a mock haka are confronted by the activist group, He Taua. Provocative, resonant and unforgettable, this is a not-to-be-missed theatre event from writer and director Katie Wolfe.

The Haka Party

Laughter is an important component of any Tauranga Arts Festival and, thanks to an evening exploring questionable dating choices and romantic misadventures with Mr Wrong, the Carrus Crystal Palace will be a rollicking place to be. He’s a Rebel is a playful cabaret performed by The Up-Doos, actress-singers Liv Tennet, Esther Stephens and Aria Jones, who feature the music of Dionne Warwick, Shangri-Las and The Chiffons, among others. 

Meanwhile, in her new solo show Mean Mums, actress Morgana O’Reilly wants to tell you Stories about my Body, some not-so-funny, but some definitely funny, and with the healthy reminder to be more gentle and kinder to ourselves. Warning: There will be nudity (and you will love it!).

Do you love to sing, but only when no one’s listening? Two of Aotearoa’s musical heavyweights – award-winning musical director Jason Te Mete
and Rutene Spooner, a member of the Modern Māori Quartet – will tempt out your inner star and let you enjoy the thrill of a collective performance. In Battle Chorus, the maestros divvy up their audience and fight it out in a social singalong. With a complimentary drink to loosen the vocal cords, audience members will learn harmonies to great Kiwi hits, then join forces in a fun sing-off.

Tusiata Avia

A rising star with a voice born in the rushing mountain streams and placid green bush of Te Wai Pounamu is singer-songwriter Jenny Mitchell, who blends folk, alt-country and Americana into her own captivating style. Just as her songs speak to the family ties that bind, so too does her backing band that includes her identical twin sisters, Maegan and Nicola, accomplished performers in their own right.

Festivals encourage innovative art and Kiwi singer/songwriter Finn Andrews, lead singer of the rock band The Veils, does just that by joining forces with the luscious sounds of violin, cello and piano of NZTrio’s contemporary classical musicians Amalia Hall, Ashley Brown and Somi Kim to perform songs from One Piece at a Time, Andrews' first solo album and previously unreleased material.

Finn Andrews, Amalia Hall, Ashley Brown and Somi Kim

As well as top home-grown talent, the festival is thrilled to welcome Gráda, a five-piece Irish folk band (albeit one with a Kiwi member) that has reunited in 2023 especially for a New Zealand tour. Said to be to its genre what Arcade Fire are to indie (a big compliment), Gráda has appeared multiple times in Ireland’s top 10 music charts. 

Thought-provoking conversations are guaranteed with a Speaker Programme that includes novelist Emily Perkins, Jared Savage (Gangland), writer and director Katie Wolfe, comedian and writer Michele A’Court, children’s author Dame Lynley Dodd, and while playwright Nathan Joe, who also performs his Scenes from a Yellow Peril as a spoken-word event.

Another high-impact performer sharing stories from a life that straddles two cultures is Sameena Zehra, an award-winning performer, writer, director and blues singer-songwriter. Before moving to Aotearoa, Sameena lived in Britain where she performed at the National Theatre and toured internationally with the Royal Shakespeare Company. Her show, Tea with the Terrorists, confronts everything, whether sombre or silly, with a light and insightful touch. 

Jenny Mitchell

A Seat at the Table is one of the visual art installations in the central city during the festival. Attempting to rebalance the voices at the table of contemporary fine art, this intriguing work asks spectators to move around a large dinner table, with each place occupied by work from a diverse point of view. Pull up a seat and taste a more balanced contemporary art diet. Like the festival itself, everyone’s invited to this party!  

Tickets from ticketek.co.nz or the Baycourt box office in Tauranga. See the full Tauranga Arts Festival programme at taurangafestival.co.nz

Fresh flavours

Stacey Jones introduces us to Tauranga's newest – and supremely talented – chefs.

You know you're having a food moment when, 13 years later, you close your eyes and you can still taste it. That happened when I first stepped into the French Café in Auckland and was treated to a deconstructed lemon meringue pie, perfectly executed by Simon Wright. So imagine my delight when I learned that the very same chef behind the infamous citrus dessert was venturing to Tauranga to head up Clarence Bistro. 

Simon Wright of Clarence Bistro

The arrival of new chefs in the Tauranga region is cause for celebration. With the culinary landscape constantly evolving, these talented chefs bring a big dollop of energy, flavours and new ideas.

Simon and his family previously settled in Whangamata after selling the French Café in 2018. A few years down the line, after setting up the renowned Gather & Roam, they felt ready for a new challenge.

Simon explains, “We loved being by the beach, so Tauranga was a lovely, natural transition. It has such a great balance of beach with a cosmopolitan twist.”

“We’re six months in and still finding our feet. We’ve launched a French du jour-style menu in a two- and three-course format to really capture the essence of a bistro. My food philosophy is to use the best of everything. Fish is line-caught, meat is organic or naturally raised, and vegetables are from a collective in Katikati, who are spray-free.”

But it’s not only the CBD that is being treated to some culinary creativity. I was delighted to discover that another passionate chef, Italian Simone Saglia, has taken over the reins of The Trading Post in Paengaroa, together with wife Kylie, who runs the front of the house.

Kylie and Simone Saglia of The Trading Post

“I started cooking and experimenting with food from a very young age,” Simone says. “I would visit my aunt’s house after school, and she would teach me how to cook. Hearing her talk about food, and then tasting how good it was, definitely sparked my interest.”

His journey led him to study at the culinary art school IIS Giolitti Bellisario in Mondovi, honing his skills at Michelin-starred restaurants. Venturing to London, Simone expanded his horizons before an exciting opportunity arose. “One night when working at Harry’s Bar, Neil Perry came into the kitchen and asked if any chefs would like to move to Australia and help him open Rosetta in Melbourne.”

With a culinary style that marries tradition with a modern twist, Simone lets the flavours take centre stage. His standout dishes include must-try lasagna, mouthwatering beef and chamomile ravioli, and exquisite agnolotti del plin with three cheeses.

While we’re on the subject of Italian cooking, meet Stefano Raimondi,
owner of Autentico, another chef who is bringing the essence of Italy to the Bay. He hits the nail on the head when he says, “Italian cooking classes, with a real Italian chef − how could you say no, right?"

Stefano Raimondi of Authentico

Embodying the Mediterranean spirit, his cooking style is a celebration of simplicity and tradition. He explains, “When I'm doing a menu, I usually find a good seasonal product, and my mind starts thinking about possible matching flavours and the best way of treating it. Remembering and mixing dishes learned in almost 20 years of cooking.”

Currently collaborating with Basilico pizzeria making fresh pasta and sauce, owning a food truck called Fritto, and planning pop-up dinners, Stefano has some delicious plans ahead. His classes run most Sunday afternoons and will feature favourites such as mushroom risotto and tiramisu. 

Stefano’s Italian cooking classes

All aboard

A dedicated rum bar in the Mount is making waves with its refined mixology and sophisticated eats.

Words Hayley Barnett

It’s official: The rum revival is real. While 2023 is being hailed as the year rum makes its comeback, there’s one new bar and eatery getting fully on board with the trend.

The dynamic duo behind Mount Maunganui’s Brew Co and Hide Thirst and Hunger recently set sail with another gem, Sailor Galley and Rum Bar. Also located along the Mount Main Street, where the now-closed Fish Face eatery was situated, this new project is a labour of love.

When the space came up for sale Matt and Kimberley Hayward jumped at the chance to secure it, with the aim of expanding its back garden terrace for the summer crowds, to take full advantage of the sun-laden deck.

The original plan was to set up a sophisticated wine bar, after the couple recognised a need for bars and eateries targeted at their more mature clientele. But, mulling over the idea, they decided it would be much more fun to do something a little bit different – and more relevant to their sunny seaside surroundings. And so they ran with the idea of a rum bar.

Matt and Kimberley have held true to their promise of sophistication – this isn’t some grubby old sailor’s quarters. The restaurant gives off more of a super yacht vibe. The modern fit-out feels very much like a wine bar, but offers premium rum and delicious cocktails, from local labels like Armada Spirits in Pāpāmoa, to rums further afield like Flor De Caña from Nicaragua.

The menu is suitably sumptuous with dishes like Smoked Bone Marrow on Sourdough and Burnt Butter Crumpet with Blue Swimmer Crab. 

Despite the name, the menu isn't too heavy on seafood. Executive chef Perrin Yates, former chef of Picnicka and Clarence Bistro, has designed a travel-inspired culinary journey offering up a good mix of refined and favourite go-tos – some of which are blended to create something delightfully gourmet yet casual. 

On the snack menu is the popular Boston Crayfish Roll as well as the Parmesan Churros with fire roasted capsicum sauce, both equally tasty.

Regardless of whether you're a sun lover, a rum drinker, or just a fan of good food, Sailor will hit the spot. 

Sailormount.nz

The A to Z of Dire Straits

Everything you didn’t know you needed to know about the legendary English rock band, playing at A Summer's Day Live in Tauranga on December 30.

Words Karl Puschmann

A Summer’s Day Live 

This annual concert has become a must-do Summer event. This year Dire Straits Legacy headline, supported by Nazareth and Hello Sailor. They play Tauranga’s Wharepai Domain on December 30. Other dates include Napier, Matakana and New Plymouth.

Banned

Canadian radio banned Money for Nothing due to a problematic slur in the song’s lyrics. The ban was overturned in 2011, a mere nine months after being instigated. 

Compact Disc

Dire Strait’s 1985 Brothers in Arms was the first album in history to sell a million copies on the then brand-new Compact Disc format. 

Dire Straits Legacy

Former Dire Straits members keyboardist Alan Clark, guitarist Phil Palmer, percussionist Danny Cummings and saxophonist Mel Collins started this band. They enlisted the legendary Trevor Horn on bass and keys supremo Primiano Di Biase. Marco Caviglia, the world’s authority on original frontman Mark Knopfler’s distinctive guitar-playing style, leads the band. 

English teacher

Before Dire Straits took off Mark Knopfler was an English teacher at a college in Essex.

Football

Mark Knopfler famously supports football team Newcastle United. The
club plays his soaring instrumental, 1983’s “Going Home (Theme Of The Local Hero)” before every home game.

Grammy Awards

Dire Straits won four Grammys, including Best Rock Performance and Best Music Video, and was nominated for seven others including Album of the Year and Best New Artist.

Headbands

Dire Straits wasn’t the most fashionable band around, but Mark Knopfler’s dedication to sporting a headband during the 1980s has since become iconic. 

Infidels

Mark Knopfler produced Bob Dylan’s 1983 album Infidels. Dire Straits Legacy keyboardist Alan Clark also played on the record. 

Jack Sonni 

Guitarist Jack Sonni played with Dire Straits from 1984 to 1988. He was in Dire Straits Legacy until passing away aged 68 in September. The upcoming shows at A Summer’s Day Live are dedicated to him.

Knopfler, Mark

The founder, frontman and flipping amazing lead guitarist of Dire Straits. Classic Rock described him as “a virtuoso” and Rolling Stone ranked him 27th on their 100 Greatest Guitarists of All Time. 

Lawyers 

After asking Sting to sing backing vocals on “Money For Nothing” Mark Knopfler got a call from The Police’s lawyers. Because Sting accidentally sang “I want my MTV” with the same melody as The Police’s hit “Don’t Stand So Close To Me” the lawyers demanded – and got – Sting a song co-writing credit.

Money for Nothing 

This pop-rock classic belittling the rock stars on TV was written verbatim from an actual conversation Knopfler overheard in a hardware store. The song reached No.4 here, spending 27 weeks in the charts.

New Zealand

Dire Straits regularly toured here throughout the 80s. Their first gig was at Western Springs Stadium in 1981. Their final was at Mt Smart Stadium a decade later in 1991. 

On Every Street

The 1991 follow-up album to Brothers in Arms couldn’t match its predecessor's success. With morale at an all-time low, the band called it quits after the accompanying tour.

Private Dancer 

Tina Turner’s darkly seductive comeback hit was written by Mark Knopfler for Dire Straits. He shelved it after deciding the lyrics were unsuitable for a male singer. 

Q Magazine

Popular UK music mag Q ranked Brothers in Arms number 51 in their 100 Greatest British Albums Ever list.

Romeo and Juliet 

Alongside its Shakespearian influence, this early Dire Straits hit from 1981 takes oblique inspiration from one of Knopfler’s real-life failed romances.

Sultans of Swing

Undisputedly Dire Straits’ greatest song. This sublime, melancholic rocker from their self-titled 1978 debut album is a sophisticated fusing of rock, blues and jazz and details the (mis)fortunes of a pub band. The 10-minute performance on 1984’s live album Alchemy will rock your socks off.

Twisting by the Pool

The band’s only No.1 single here was this rock n’ roll throwback from 1983’s ExtendedancEPlay EP. It spent four weeks at No.1 and was in the charts for 15 weeks. 

Uli Edel

In 1989 the director tapped Mark Knopfler to write the soundtrack for his grim drama Last Exit to Brooklyn. Edel followed up this film with Madonna’s 1992 erotic thriller Body of Evidence.

Vertigo 

The British label that signed Dire Straits in 1977 after a London radio DJ played a demo of “Sultans of Swing” on his show.

Walk of Life 

This cheery ditty off Brothers in Arms spent 14 weeks in our charts, peaking at No.3. The album’s producer wanted to leave it off the record but he was outvoted by the band. 

Xylophone 

The xylophone appears on “Love Over Gold”, the title track from the 1982
album that went straight to No.1 in our fair country. 

Yes 

The influential English prog rock band was formerly home to current Dire Straits Legacy bassist Trevor Horn. 

Zaragoza

This Spanish city was the literal end of the line for Dire Straits. The band played their final ever concert there at the Estadio La Romareda on
October 9, 1992. 

For tickets to A Summer’s Day Live, visit trademark.flicket.co.nz

Pouring their hearts out

UNO’s wine columnist Jess Easton heads to Hawke’s Bay to discover a resilient label which is perfectly balanced in more ways than one.

Words Jess Easton  |   Photos Jamie Troughton/Dscribe Media

Woven into grapes on the Saorsa wine label is a heart so vivid and intricate, it almost pulses.

Everything they do, they do with heart. And while their recent viticultural journeys have involved a degree of heartbreak, they've also been pretty heart-warming too.

When we drop in to see them at their Haumoana home, a steady drizzle occasionally erupts into rain outside. A traumatic Cyclone Gabrielle-plagued summer has given way to a miserable winter and Alex has been busy digging boxes and boxes of their delicious wine out of the silt.

Saorsa is Gaelic, with rough translations of freedom, salvation, redemption and liberty. The label lived up to its name; despite the vineyard being in the heart of the Esk Valley, it came through the cyclone relatively unscathed. Unfortunately they had stored most of their stock at neighbouring Linden Estate and much of it was left buried beneath metres of flood-strewn material, however.

But this is where the heart comes in. As soon as he could after the unprecedented devastation, Alex was back helping clear the vineyards, pulling the drowned stock of neighbours out from beneath the wires, doing his bit to help resurrect an ailing industry.

Wife Hana, meanwhile, was ignoring the floodwaters lapping at their own home and spending days and nights on duty with the local volunteer fire department.

With Haumoana's fire station under water, their home became the
designated base, and remained that way for months afterwards.

Selfless and community driven, it's worth remembering the couple have
three children of their own, while Hana – a qualified stainless steel
engineer – has a full-time job as operations manager in the waste industry.

The pair are perfect foils for each other; Hana is a 100km/h live-wire, bristling with energy and zest, while Alex is all earthy calm. And somehow, impossibly, they've infused all this personality into their wines.

The Saorsa Syrah 2021 is luxuriously earthy and smoky, with hints of rose, yet retaining a freshness and liveliness.

And their Viognier 2021 is decadent and silky, with bold notes of peach and apricot mingling with toasted spices.

Saorsa's grapes are handpicked and treated with the utmost care. There are no shortcuts during winemaking and the whole process is an affectionate nod to tradition, mixed with modern sensibilities and style.

This is the dream Alex and Hana have created – making wine they love with the ones they love – all of which is infused with heart. 

Playing for keeps

Esteemed pianist Somi Kim is set to join Opus Orchestra
for a captivating soloist performance.

Words Casey Vassallo 

Photo Jen Raoult

One of sought-after pianist Somi Kim’s earliest memories is attending keyboard classes with her mum in South Korea. “I just remember loving how interactive it was… And that we could collectively experience and share the enjoyment together,” Somi shares. “I guess that's what I love about music and going to concerts – you're in that moment that will never be the same again.”

At eight years old, Somi moved to New Zealand, and despite her commitment to music she says she coasted on the back of her natural talent. That was right up until the end of her Master of Music degree at the University of Auckland. “I realised music was my saviour, and thought I’m going to give it a really good go,” she says. “Once I started putting in the effort, doors started to open.” 

Somi went on to win the Royal Over-Seas League Pettman scholarship with her Estrella Quartet chamber group in 2012, and complete two more degrees in collaborative piano at the Royal Academy of Music in the UK. The stack of accolades she’s achieved since are nothing short of outstanding.

Today, Somi has her dream job as the official pianist for Auckland’s NZTrio, and regularly plays with the Auckland Philharmonia and Christchurch Symphony Orchestra. “Being in Europe helped me find my musical voice and with experience comes confidence… Which opens a lot more doors for you,” she says. “Coming back home and being able to give back to the musical community – the home that helped shape me into the musician I am – feels extra special.”

Her upcoming performance with Opus Orchestra is her first with the group. Conducted by Peter Walls, the Somi Kim: Mozart and More concert is coming to Hamilton, Tauranga and Rotorua this October, which includes music from Prokofiev and Hamilton’s own composer Martin Lodge. “I get to play a Mozart concerto, which is every pianist's dream,” she says of the dark and stormy piece she’ll be playing in D minor, alongside his operatic Overture to Don Giovanni. 

“Without orchestras like Opus, it would be difficult to get classical music out to places like Tauranga, Hamilton and Rotorua that just don’t get enough exposure like the main cities,” Somi says. “Music is an integral part of life. It gives us all a chance to sit back and take some time for yourself and be present with your emotions.” 

Somi Kim: Mozart and More will be heading to Hamilton on Friday, October 13, Tauranga on Saturday, October 14, and Rotorua on Sunday, October 15. 

Opusorchestra.co.nz