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The CubaDupa festival inhabits the Cuba Street precinct (Photo: Ollie Crawford).
The CubaDupa festival inhabits the Cuba Street precinct (Photo: Ollie Crawford).

PartnersMarch 14, 2019

The festival that embraces the spirit of Cuba Street

The CubaDupa festival inhabits the Cuba Street precinct (Photo: Ollie Crawford).
The CubaDupa festival inhabits the Cuba Street precinct (Photo: Ollie Crawford).

CubaDupa festival hosts nearly 200 artists across two days in the heart of Wellington to mark the end of summer. 

Trip glitch, Indian jazz fusion, 80s glam, alt dream-pop, contemporary jazz Afrofuturism, German electronic jazz, postpunk dream pop, and psychedelic kraut space rock. These are just a few of the nearly 100 different genres of performance on the official list for CubaDupa festival. It’s an international tribute to the diversity and creativity of Wellington’s most famous street, which the festival takes over for two days on 30 and 31 March.

The festival is an intricately curated two days of chaos that unfolds on the street. In 2016, the festival created a horn war, a good-natured brass-off, when 76 trombonists – half from classical schooling, the other half jazz trained –marched down Cuba St, one group from each end, to challenge each other in the “Battle of the Bones”. When they met in the middle they jammed together on a piece of music composed especially for the festival. The next year was the “Battle of the Saxes”. This year’s fanfare “Blow Your Own Horn” will see a giant group of trumpeters perform a bespoke piece by legendary Wellington trumpeter Mike Taylor.

Cuba Street is a microcosm of the capital’s vibe, and the festival is an amplifier of the street’s culture. For Saturday and Sunday, the festival occupies the entire length of Cuba Street and the surrounding precinct, with performances across seven stages. There’ll be roaming parades, dance workshops, a food festival, and interactive audience experiences. It’s inspired by and a tribute to Cuba Street.

“We invented CubaDupa for the place that it has in the city. It has grown out of Cuba Street and the creativity that has been there for a long time and continues to be there. That individuality and the variety that embodies Cuba St,” said Drew James, the festival’s artistic director.

“It couldn’t be anywhere other than Cuba Street.”

(Photo: Ollie Crawford)

The CubaDupa festival programme is so vast and broad, there are nearly 200 artists and 300 performances. It’s full of food and theatre, not just music. Six new projects have been commissioned especially for the festival. It’s free and family friendly.

Scheduling that amount of activity is an intricate art.

“Everything is timed to within a five-minute bracket, so there are no clashes. And If bands do clash it’s because we’ve done it on purpose and we want them to interact with each other,” said Gerry Paul, the festival’s music producer.

This year New Orleans brass marching band, Cha Wa, with it’s Native American Mardi Gras outfits, has a 10-minute schedule overlap with Australian 10-piece Hot Potato Band. It’s a chance to see their energies combined, and create a special organic collaboration that belongs to the festival.

The festival celebrates this idea of mass music across its programme. During the Hoot! performance on Sunday, the festival turns off its sound systems and more than a dozen bands from New Zealand and around the world gather to jam on the street. For 45 minutes they parade and perform around the precinct – part collaboration, part musical one-upmanship – in a crescendo of chaos. Last years festival saw more than 200 musicians playing together.

New Orlean’s Cha Wa and Australia’s Hot Potato Band (Photo: supplied)

CubaDupa’s format is designed to trick the audience into engaging with as much of the festival as possible, moving them around the site and getting them to bump into something unexpected. Paul wants you to stumble across opera down a side street, or see a dancer in a wheelchair doing a contemporary street performance as you make your way to the next stage. He wants people to engage with the entire Cuba Street precinct.

“I often get asked why the festival doesn’t do genre stages. Because it would get the same people at the same stages. We want people moving through the site. The flow is crucial. Coming up with the schedule and making sure it’s balanced and interweaved is challenging but enjoyable,” said Paul.

The programming and schedule are also designed to put the audience into an interactive environment. They are considered as much a part of the festival as the artists themselves. The audience is encouraged to dress up for the festival. There’s mask making courses, Irish Ceilidh and swing dance workshops, and even a mass-participation interactive exploratory spy game. Sign up to ‘This Text Will Self Destruct’, and throughout the festival, you’ll be sent instructions to complete a secret mission that will give you access “to a secret world amongst the mayhem.”

“We think the line between the audience and performers is blurred and the audience often becomes a part of the performance,” said James.  

CubaDupa features a diversity of acts (Photo: Ollie Crawford)

When CubaDupa started five years ago, it hoped to fill the gap left by the cancellation of the Cuba Street Carnival in 2010. They wanted to bring a festival back to the street, an event to celebrate the place Cuba Street has in Wellington and what it represents to the city. And it’s about celebrating the community that makes Cuba Street what it is. Presented by boutique supermarket Moore Wilsons, the street food festival with 112 different vendors is an attraction in its own right.

“From the very beginning, we have worked with the community of Cuba Street including hospitality and retailers. We don’t bring in any outside stores. All the restaurants and cafes down Cuba St bring their food out on to the street,” said James.

“From the very beginning, we were really clear that we wanted to build this festival for the community. We encourage everyone to participate,” said James.  

During their research of street festivals in Europe, the festival’s team found there was always something of the place that was inherently at the heart of the festival. The audiences were invited to explore the space and the people that live, work and play in that environment. CubaDupa is a celebration of Cuba Street’s special place at the centre of the city’s culture.

“Wellington is a special place and Cuba St is the heart of its creative spirit. We are trying to create something that is quite different from anywhere else. And there isn’t anywhere quite like Cuba St.”

The author is travelling to CubaDupa festival thanks to Air New Zealand’s Grabaseat. Air New Zealand flys regularly to Wellington from around the country. Get your flights to CubaDupa ASAP and join in a weekend of free entertainment.

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Photo: Getty
Photo: Getty

AucklandMarch 14, 2019

The lifelong trauma of road deaths

Photo: Getty
Photo: Getty

Twenty-one years after Steph Martin’s mother was killed in a road crash, she reflects on what’s been happening on New Zealand’s roads.

Last year, 378 people died in road crashes – more than one life lost per day.

Of those, 53 were under 20, and 16 hadn’t even reached the age of 15 – too young to even get their learner licence.

Steph Martin was 18 when her mother Gaynor died. She shakes her head as she describes the deep heartache associated with those raw statistics.

“For the families involved in that, it’s a lifelong trauma. It’s permanent and it’s intergenerational – my kids are raised with a story of a dead grandmother who was killed by someone,” she says.

Gaynor, Martin’s mother, was with her partner Max Corkill on his motorcycle when the pair were hit and killed by a speeding car that had crossed the centreline outside of New Plymouth on January 20, 1998. Corkill was one half of the much-loved cat and rider duo ‘Max and Rastus’ made famous through Bell Tea television commercials and their advocacy work for animal rights.

For Martin, the memory and impact of that day have informed her decisions around driving, and safer road habits ever since. She’s now watching her 17-year-old daughter learn how to drive, and she’s a strong advocate for measures which can lower the road toll and prevent further harm and trauma caused by road crashes. One of those measures includes reducing the speed limit on dangerous roads – an Auckland Transport proposal currently up for public consultation in the city.

“As far as I can recall, my mum died instantly and Max died within some period of time – I would say less than half an hour,” she says of the crash.

They were heading north from New Plymouth. As they went around a right-hand bend a car coming from the other direction, travelling too fast, crossed the centre line.

“The driver was already disqualified from previous offences. He also had passengers, which he shouldn’t have had. He also had a child in the car, which he definitely shouldn’t have had. He had this massive driving history of harm, he was also under the influence,” Martin recalls.

“They really had no chance.”

Steph and friend Andrew with Max and Gaynor (Photo: Supplied)

Over the years, she’s observed how the trauma from her mother’s death has impacted her in different ways. She didn’t start driving until she was in her mid-20s.

“I didn’t want a licence after my mum died,” Martin says. “I didn’t want the responsibility. I thought it could happen to anyone and you need to know that you’re a good asset on the road, not a bad one.”

“And when I did get it I took it very seriously. I still take it very seriously. I take it as a complete honour that I get to get in behind the wheel of a car and that I’m sharing the road with other humans who are important. You can’t take that lightly.”

Martin, a Pukekohe local who runs the Goodness Grocer with her husband, smiles when she describes how vigilant she is on the roads. With her own daughter, Olivia, she’s particularly “vocal” in her message around driving responsibly.  

“I just don’t want to ever be in a position where somebody has died because I’ve just checked my phone, or that I was in too much of a rush or that I didn’t sleep enough. I consciously don’t want to be that person.”

As part of reinforcing positive driving behaviour, Martin teamed up with local police over the summer to reward people driving well when they passed through roadside alcohol stops. To facilitate the summer stops, she contacted suppliers of her store asking whether they would want to contribute products towards a project which rewarded positive driving habits, like zero alcohol consumption and wearing safety belts.

“Every single company I asked said yes, and almost every single company wrote back with a personal story that they had actually suffered from a car crash or that [someone they knew] died, which is just so sad.

“I had the idea of writing a thank you note to good drivers, about how grateful I was they were taking their responsibility seriously… and we gave out all these free gifts. We handed out stuff out to about 500 people – it was great.”

For Martin, her attitude to road safety is clear: “It’s the idea that if everybody is going a little bit slower – even if it doesn’t bring the crash rate down – it brings the severity and deaths down, [and] that’s a win.”

In her mother’s death, speed was one of the factors, and perhaps if the driver hadn’t been going so fast, things may have been different.

“It’s a powerful thing to kill a person. You can’t take a life and then walk away from that. If the road toll can be lower by people driving a little bit less fast, and I could have my mother, of course, I would take that.”

Gaynor Martin and Max Corkill (Photo: Supplied)

Alanna Howard, service coordinator at Victim’s Support Counties Manukau, has more than 10 years experience dealing with families whose loved ones have been killed in road crashes. Like Martin, she sees many of them repeatedly question the circumstances that led to the death of their loved one.

“The ‘what ifs’ are huge,” she says. “They’ll go through questions like, what if we’d left half an hour earlier, what if we hadn’t gone that way – it’s just a multitude of what ifs.”

After dealing with 140 mainly rural fatal crashes, Howard believes a lower speed limit on rural roads would be especially useful. She notes that while there are often multiple factors involved (including driver intoxication), any change that could lessen the “hundreds dead” at the end of the year would be welcome.

She’s seen the devastating long term consequences of our road toll and the effects it has on survivors beyond emotional trauma. In addition to dealing with grief and trauma, she’s observed many people suddenly having to make arrangements to manage the loss of an income from their household and the ongoing psychological support required.

“Often, after the funeral, it’s usually at that point when family members start going back home, that support is needed quite intensely. That may involve facilitating grief counselling, or dealing with ACC.”

Left: Bruce Jarvis counts himself lucky with only a busted right hand (Photo: Supplied) / Right: Alanna Howard at her Pukekohe office (Photo: Teuila Fuatai)

Further north in Auckland, cyclist Bruce Jarvis has a slightly different story to tell and explains why he is currently in a cast.

Jarvis was hit by a car coming off the north-western motorway on Great North Rd in Grey Lynn on January 28. At the time, he was about four minutes into a morning ride with his partner. The pair were heading towards the north-western cycleway from their home.

Footage from a street camera shows a white station wagon failing to stop at a give way sign. Jarvis is then knocked off his bike as the car passes him. His right-hand takes most of the impact and he’s lucky to get off without major injury.

“Luckily, I was going a certain speed and they were going a certain speed so the actual speed of collision wasn’t that high. If the car had been doing 50 km/h, we wouldn’t be having this conversation – it would have been ugly,” he says.

As a result of the crash, Jarvis’s right hand has a 3 cm screw holding the broken bones in place. While he’s expected to make a full recovery and return to his bike eventually, Jarvis says the crash highlights the importance of a 30 km/h speed limit at places like Great North Road.

“I had hand surgery and I’ve got a cast and I was back to work relatively quickly. I’m not complaining because I’m very, very lucky – it’s more annoying than anything. But, the whole view I’m putting forward is that we should be making the road safe for everyone, and everyone is safer at lower speeds.”

Jarvis, a group manager at Callaghan Innovation, believes some drivers need a more updated outlook on road safety.

“We’ve kind of got this mentality now that unless you’re in full flashing lights and dressed up like a gladiator, then you shouldn’t be on the road. But that’s the wrong mindset. The whole view I’m putting forward is that safety should be paramount for all road users. Unfortunately, there’s still a segment who think the road is for them only and they feel entitled to go as fast as they can.”

Ideally, all roads would be have dedicated cycle lanes and automated vehicles, removing human error, Jarvis says dryly.

“But that’s 10, 15 years away. Lowering the speed limit is one tool, but it can be done now, and it’s a relatively easy fix.”