NYC House Party
23rd February 2017
Mika Haka Foundation Studio, Auckland, New Zealand
Review and Photography by Sarah Kidd.
“It is what it is, and it ain’t what it ain’t”
‘Aroha 17 – Festival of Ideas’ is the Mika Haka Foundation annual diversity and social change arts festival. A series of events where you can choose whether you want to observe, participate, interact or immerse yourself in what is on offer. The NYC House Party was being held as a part of the Aroha 17 Festival over two nights at Mika Haka’s studio in Mt Roskill. Upon arriving I was greeted by the lovely reception staff; they kindly ran down the programme of events with me and showed me where to go. As I stepped into the heart of Mika’s studio the charming Jasper Powell (who would later deliver some very powerful poetry) was introducing the first international guest of the night, Andreea Kindryd.
This fascinating woman resonated wisdom and a warmth that could be felt from across the room. Tonight she would be presenting her one woman show ‘From Slavery to Star Trek – A Family’s Story’ a narrative of the extraordinary life that Kindryd has lived. I could record every single detail down here, but I strongly encourage you to look up some of the YouTube recordings of the show that Kindryd has performed at places such as the Adelaide and Edinburgh Fringe Festivals. At 79 she is a self-described “sassy septuagenarian”, emphasis on the sassy! This great-grandmother has met both Malcolm X and Martin Luther King. She was a cast member on the original Star Trek series and she has been subjected to some of the worst racial profiling you can imagine a young African American woman would have to go through living in the US during the time of segregation. Her family came from slavery (her grandmother’s grandmother was a slave in Mississippi), although she admits their story was not as tragic as it could have been, but it is the tragedy that she has suffered in her own life which has led her to where she is today. In 2005 Kindryd’s daughter committed suicide. In the face of such grief she did not know what to do. She lived across the road from a comedy club, and so she started attending; anything to escape from the grief. It was there that she took a comedy course for woman and at the age of 68 she began performing stand–up and the rest as they say, is history.
Since then Kindryd has worked with the NAISDA Dance College and she helped launch Australia’s Bangarra Dance Theatre. Oh and let’s not forget she is also an award winning documentary filmmaker! While she is skilful at comedy, where her real talent lies is in storytelling. No two performances of the show are the same. Kindryd herself admits she just likes to talk to people, a fact that is witnessed throughout the night as she is often seen chatting to both performers and attendees, her smile and laughter a joy to watch. One of the things that really stuck with me from Andreea’s performance was when she said “Slavery still exists – it hasn’t gone away – it has just taken on a new form. The shackles are now mental” It made me realise that we as humanity still have a long way to go in regards to acceptance, not just of race but of people as individuals, people as who they are.
Following a brief Q&A with Kindryd, Jasper directed us outside into the courtyard to listen to the sweet, sweet sounds of DJ Marjories aka ‘Molly’ – do yourself a favour and check her out on Soundcloud!
The courtyard had been set up like an apocalyptic dance hall; there was a mannequin wasteland, a makeshift lounge, a vinyl dance floor and a poet in the corner working away on an old school typewriter. Talented young make-up artist Joshua Ong was providing glamorous looks for the night and Jay Tewake (who features in Mika Haka’s online series ‘Queens of Panguru’) was organising tables of food and drink for the guests and being a downright fabulous co-host. Suddenly, from across the courtyard a man, his face painted black and red, walked towards the centre of the space. In his hands he clasped a large piece of broken statue from which a plastic umbilical cord protruded and wrapped around his body. The other end of the cord was being held by an austere looking Samoan man, dressed in a grey suit, all shiny business shoes and sunglasses. In his other hand he carried a plastic scroll which he waved and gestured with, while grunting at the audience members. The painted man, dressed in a island-style shirt and plain black lava-lava sat in the middle of the courtyard as the suited man stomped around him and gnashed his teeth. He then rose and addressed the audience. Upon finishing he once again picked up the broken statue and walked towards the door of the studio, the suited man following while aggressively herding us inside.
Once inside the painted man placed his heavy burden on the ground and sat down behind it. With a sorrowful look upon his face he reached into a black cloth and began to scatter tiny white shells all around him; one would assume from a broken ‘ula (traditional Samoan necklace) – as if to signal to the audience that he too was now broken. He then rose and left the room. The suited man looked around and then slowly climbed up the podium steps located behind him and began to read from the plastic scroll in his hands. This was the story of a people; a people that had become “plastic Samoans”. They were “stuck between a rock and a hard race”; a young Samoan boy crying for his mother back in the islands “chants in silence”… The name of this performing duo was ‘Ole Kolonaisa Ma Dee Koloniced’, the name itself alluding to the relationship between the two performers. It was a tremendously powerful and moving piece; one that I hope more people get to see, for the story it tells is one of great importance.
During the short interval between acts I took the opportunity to explore the inside of Mika Haka’s studio. Exquisite artefacts are dotted around the place while curved black leather couches encourage people to sit and speak with one another. The atmosphere is one of openness and sincerity. Scott Zhang (who had one of the most striking outfits of the night) sat behind a keyboard and effortlessly filled the air with gentle melodies, as people ebbed and flowed within the room.
Before long we were once again invited outside to witness the incredible six time NZ beatboxing champion Te Ariki Toki (aka King Homeboy) and Auckland dancers ‘Projekt Team’ [there is a division in Wellington too!] King Homeboy has been likened to a human drum machine. This gentle giant was born deaf but thanks to pioneering surgery heard his first words at age 7. He cuts an impressive figure towering over most and when he picks up the microphone the sounds that he emits are absolutely unreal. One by one, the members of Projekt Team began to strut their stuff; there is no discrimination here, the team of dancers are both a mix of races and sexes, each displaying their own unique style of breakdancing, each routine, better than the last. As they push each other further and further, the cheers and exclamations of amazement pour forth from the audience members; while in the background King Homeboy never misses a beat. A battle soon breaks out: dancer on dancer the laughter and enjoyment derived from their art form obvious to all around them.
By now darkness has fallen, coloured fairy lights illuminate the DJ booth and a single spotlight shines down upon the blank concrete. The poet who has been working away on the typewriter in the corner, steps forward, arms resting by his sides. When he begins to speak, it seems the world itself quiets to hear him. 19 year old Liam Jacobson with his background in theatre has been performing poetry for just over a year now. He effortlessly manipulates words, weaving them into pictures that play out in front of him. I turn slightly and look at those around me; all eyes are on Liam as they listen to his tales. Even Kindryd herself sits, head cocked to the side, her eyes glistening in wonder at this gifted wordsmith before her.
There were so many talented artists tonight that unfortunately I cannot cover them all – but before moving onto the main acts of the night I must make mention of a young fashion designer by the name of Ryan Turner. Examples of his Maori/Gothic/Punk looks are displayed on several mannequins in the front foyer of the studio. I stood and listened to this young man discuss his thought processes; his love of raw edges and how they “had essence” and I was completely taken aback by his composure as he discussed his “want to develop my sense of self”. When asked to sum himself up in one sentence, he replied: “Ryan Turner is simplicity”. I have no doubt that we will be seeing a lot more of Mr Turner in the future.
The main act of the night, the one we had all been waiting for was about to perform. GypjaQ (pronounced Jip-Jack) is the self-proclaimed ‘Gypsy King of aNvKai’ (pronounced a-new-kai). And what is that you may ask? Well aNvKai is a movement, it promotes acceptance and growth; it asks the world to “live in the idea that we are all important to one another and who we are is enough”. GypjaQ has been present the entire evening, watching the preceding acts and mingling with audience members. As the music begins to play – GypjaQ transforms, a fierce writhing and carnal creature emerges and fixes you in its stare. The movements are deliberate and are designed to complement the words that he regales us with. This Harlem born artist travelled the globe with his mother as a child, his travels being something he attributes to his “unique perspective” on life. Music became his realm and he even took up the violin while studying at the Harlem School of Arts. ‘Pussy Bounce’ sees GypjaQ, twirl and twerk, consumed by the rhythm of the beat. The song and its lyrics remind me of Peaches and later I would discuss with GypjaQ, the merits of an artist called Black Cracker who also recently played here in NZ and just so happens to be Peaches partner.
But I digress – the main focus of the night, the jewel in the crown was the exclusive premiere of GypJaQ’s new music video ‘sInnIstIr’ (which you can also view below). Played in large format against the blank wall of the courtyard we watched in awe of the Chris Herde directed piece which embraces elements of West African (Yoruba) rituals and present-day movement. GypjaQ is extremely proud of this piece of work and he has every right to be, it is quite exceptional. GypjaQ has worked with Azalia Banks (‘Blown Away’) and is admired by many for his unique approach to his craft. His belief in the ability of music to heal and that the melody of a song can say just as much as the lyrics, is something that truly speaks to the many here tonight.
Mika Haka is many things, a fashion icon, a performer, an actor, a legend. As he said to us tonight – “I was writing gay pop songs when Elton John was getting married and George Michael was still pretending to be straight!” But one of the most important roles that Mika plays is that of mentor to young people trying to build their careers in the field of the arts. Especially Rainbow Youth, something that I personally have admired about Mika for many years. Mika has an intensity about him, as if he knows what you are about to say before you say it. His skin is flawless and even though I know how old he is he looks nowhere near his age, not even in the slightest. Even though he is the official host of the evening (it is his studio after all) he has quietly stayed in the background, unassuming yet hospitable, striking in a simple black outfit. But now the performers are turning to him, requests for a performance spring boarding from their lips. Mika politely declines – gesturing that the night is about all of the other performers and especially GypjaQ. But the requests continue, and with a sly smile, Mika bows his head and disappears inside. He returns moments later in a black & gold sequined pant suit partnered with a flowing chiffon animal print coat (it’s all about the clothes don’t you know?). We are treated to one song before unfortunate technical difficulties bring us to a halt, Mika taking it in his stride laughs it off and invites everyone back inside for what would be relaxed conversation, a meeting of minds and soothing of the soul.
I was raised with manners so before leaving I went to thank both GypjaQ and Mika for their time and allowing me to document the night. Both hugged me with genuine warmth, Mika especially as he took my hand and thanked me for coming. It did not matter my background, my sexuality, the colour of my skin. I was there sharing in the experience, accepting others for who they were as they accepted me.
A rare occurrence in this day and age, where the world will judge you based on face value alone. How wonderful to see this collection of performers working to change that, one day at a time.
For more information on the Mika Haka Foundation you can visit their website here. For more information on Rainbow Youth, you can visit their website here, or follow them on Facebook.