Hana Pera Aoake

Oct 28, 2024 | full-stop.net | Hana Pera Aoake

This essay was guest-edited by Gillian Joseph as part of their Full Stop Editorial Fellowship project, “Reclaiming Horror.” Additional contributions from this series will be published later this week. Editor’s NoteWhen developing the call for submissions to this guest-edited series two years ago, I remember struggling to find the right words.

Nov 19, 2023 | overland.org.au | Samantha Floreani |Hana Pera Aoake |Ben Brooker

If you’ve ever been called a Luddite, it was probably meant as an insult. The Luddite name has been so powerfully besmirched that it is now commonly used as a pejorative to denote technophobia or an irrational aversion to progress. At the heart of Brian Merchant’s Blood in the Machine: The Origins of the Rebellion Against Big Tech is a denouncement of this mischaracterisation. And in dismantling the myth, Merchant revitalises the legend.

Sep 15, 2023 | artlink.com.au | Hana Pera Aoake

Bodies of Water, Made of Land (2023) is the second iteration of a collaboration between artists Harrison Freeth and Benjamin Work. The first, Bodies of Water (2023),was exhibited as part of SHIFT: Urban Art Takeover at the Canterbury Museum in Ōtautahi/Christchurch in January.

Aug 5, 2023 | thespinoff.co.nz | Hana Pera Aoake

When I think of my memories of living in Ōtepoti, I think of this lump of uku. When I try to speak to this place, I stumble. The Sunday Essay is made possible thanks to the support of Creative New Zealand. Illustrations by Huriana Kopeke-Te Aho. This essay mentions topics that might be tu meke for some readers right now, including sexual violence, drug use, eating disorders, death and suicide. Please take care. All through the city there are endless roadworks.

May 4, 2023 | newint.org | Hana Pera Aoake

When visitors first enter a marae, a Māori meeting house, the first thing they hear is a karanga. For Māori people this call, issued only by women, is a sacred expression of welcome that provides the medium by which the living and dead of the visitors may cross the physical space to unite with the living and dead of the people who belong to the marae. The kai-karanga (the woman making the karanga) sounds as though she is wailing or performing a stylized lament.