The discussion covers how New Zealand's trade dependence on Britain is changing. As well as economic and political considerations there are also the 'ties of blood". Is New Zealand developing it's own indigenous culture? Dame Ngaio Marsh, Writer Professor F.L.W Wood, Retired, History, Victoria University. Dr. Conrad Bollinger, Writer.

A documentary on the pre-Raphaelites and painter John Everett Millais.

This conference was to suggest an Arts blueprint for the next decade. The first speaker is Lord Goodman, Chairman of the British Arts Council who summarises his view of the conference and rejects universities serving a function as patrons of Artists. Dr. Coombes, Chancellor, Australian National University, disagrees and commends fellowship in the creative arts, which brings together artists, academics and students. John Prentice from the Canadian Arts Council talks about technology and support service for artists. Ron Bower, a New Zealand talks about making films. There is a panel discussion on "the creative artist in society".

This conference was to suggest an Arts blueprint for the next decade. It also called attention to 'blunders' by the Queen Elizabeth II Arts Council itself especially the disproportion amounts of money allocated to ballet and opera. The remits included whether the centralised structure needs to change. These points are discussed in interviews with Fred Turnovsky, Chairman, Queen Elizabeth II Arts Council and Hamish Keith, President, Auckland Regional Arts Federation

A portrait of the Edwardian novelist who created The Forsyte Saga. Derek Parker discusses Galsworthy's work with Lord Snow.

A portrait of one of the foremost poets of this century whose work broke with tradition and greatly influenced literary criticism and taste. Derek Parker discusses Eliot's importance with Al Alvarez.

A portrait of Somerset Maugham and a discussion with LORD SNOW about whether his work should be considered to be amongst that of the ' great.'

Presenter either Wiremu Kerere or Henare Te Ua. To be confirmed.

New Zealand painter Patrick Hanley talks about his early life and how he started to paint. there is a retrospective of his work on at the Dowse Art Gallery in Wellington. Item ends abruptly

Brett Riley talks about saving an old building, and setting up an Arts Centre, and how the two combine. Setting up in an old building is usually more cost effective, and is usually more flexible than building from scratch.

The Auckland City Art Gallery is holding its first Biennale, New Directions, which includes holograms, and a spacial perception test.

The Art of Frances Hodgkins Centenary exhibition has just finished at the Auckland Art Gallery. A article 'The Art of Frances Hodgkins' published in the catalogue has aroused considerable discussion and criticism and points arising from it are discussed by Anthony Green, Professor of Art History at the University of Auckland and Ian Roberts, Author. Other contributors: David Armitage, Author Gil Docking, Director, Auckland Art Gallery Dr. Eric McCormack, Biographer The article was removed when the exhibition moved to Melbourne, on the grounds of 'only being suitable for New Zealand.

There has been dissatisfaction with the workings of the Queen Elizabeth II Arts Council, established in 1963 to promote the arts. The discussion is on the role of the Arts Council and how it is fulfilling this. Anthony Green, Head, Art History, University of Auckland Neil McGough, Secretary , Auckland Branch, Musician's Union Professor Robert Chapman, Department of Politics, University of Auckland.

WARNING: contains extreme flicker/strobe effects; avoid if you have epilepsy or other similar neural conditions. A stroboscopic train ride along a jungle stream. Asian military men appear with their pith-helmets, keeping the ferns, trees, monkeys, natives in line. The master of the stroboscopic depth illusion changes territory, but applies his familiar strategy: a ghostly, flicking film takes us into a deep and ominous Asian past. Jacobs: 'Bangkok, is it? Spelled in an unfamiliar way.' A black-and-white train ride along a jungle stream shows us military men in their pith helmets, keeping the ferns, trees, monkeys and natives in line. Sparse intertitles trigger further thoughts about the war economy.

WARNING: contains extreme flicker/strobe effects; avoid if you have epilepsy or other similar neural conditions. "The film could have well been called KICKING AND SCREAMING but that only describes me in the process of making it, questioning its taste. Once the message kicked in it overrode all objection. The piece demanded J.G. Thirlwell's music, normally way too overtly expressive for me as most of my stuff comes out of painting and is also to be absorbed in silence. Who will even notice visual innovation now, or what's happening with time? Determining a place between two and three dimensions, pushing time to take on substance, is what I do. SEEKING THE MONKEY KING is a reversion to my mid-twenties and that sense of horror that drove the making of STAR SPANGLED TO DEATH." -- Ken Jacobs Suggestion: Please see 'Another Occupation' before 'Seeking the Monkey King'.

Two Ravens is an Opata tattoo artist based in East Los Angeles. As an activist, he was injured at Standing Rock while defending land rights in North Dakota. He continues to use his art to unite and help Indigenous Americans in L.A. and across the U.S. reclaim their origins.

Simon Schama explores the fate of art in our machine-driven and profit-driven world, looking at the rise of art as a tradeable commodity.

Jordan Bennett is an artist of Mi’kmaq descent whose work blends pop culture and traditional teachings into work that connects the past, the present and the future. Drawing on Mi’kmaq and Beothuk symbols and designs, he is playing an active role in the reemergence of Indigenous culture on the East Coast and across Canada. His tattooing methods include the skin stitch technique using needle and thread, and the hand poke using a single hand-wielded needle. For him, these techniques are tools for bringing to light that which was kept in the dark for too long, allowing Indigenous people to express their pride by uniting their bodies with their culture in a powerful affirmation.

If Keone Nunes had never picked up the tools and answered the call to master of kakau, there would likely be no traditional tattooing in Hawaii today. Reviving this ancient art form was Keone’s life project, and today he is reaping the rewards of his tremendous effort in cultural renewal. Hawaiian tattoo has become a key part of a great Polynesian awakening that, over the last few decades, has revitalized the Hawaiian islands’ Indigenous community. Going far beyond aesthetics, kakau heals, protects, and preserves. It upholds the spirit of aloha, a philosophy that continues to guide Hawaiians in modern times.

From a remote mountain village in the Northern Philippines, Wang Od Oggay carries on the tattooing tradition of her ancestors, offering those who come to her the sacred markings that were once reserved for the women and warriors of the Kalinga people. Although the Kalinga no longer practice the headhunting for which they were once known, Whang Od’s art stands as a tangible reminder of the way things were and a potent force through which the past survives in a new guise. Now approaching one hundred years of age, Whang Od has been training her great-niece and others in the art of tattoo, in hopes that it will live on for generations to come.

Historian Simon Schama shows that art is an essential part of civilisation, both in general and specific terms.

Professor Mary Beard investigates images of the human body in ancient art. In doing so, she explores how the way we are portrayed can influence our ideas about what is civilised.

The Haudenosaunee Confederacy is a matrilineal society consisting of five founding Nations who later adopted a sixth nation to join their family. Kanen'tó:kon Hemlock is a traditional Bear clan representative from the Mohawk Nation at Kahnawà:ke, a small community located outside Montreal. Their traditional territory is divided between present-day Quebec, Ontario and New York State. From a young age, Kanen'tó:kon was fascinated by his culture. He began the art of tattooing to revitalize the lost tradition and ancient protocols. In this episode, he invites us to witness the first tattooing in a longhouse in roughly 300 years.

Born in Honolulu, Hawaii, Stephanie Big Eagle grew up astray from her identity. She reconnected with her culture when she rekindled relationships in her home community, the Yankton Sioux Reservation in South Dakota. She immersed herself in the fight for aboriginal rights and became a prominent figure in the Dakota pipeline protests, where her thunder hawk hand poke design became a symbol of the standoff. Stephanie found her calling as an environmental and Indigenous activist and full-time hand poke tattoo artist. She sees the revitalization of hand poke as a gift to be offered with love, gratitude, and respect, particularly for the ancestors.

Mo Naga is a traditional tattoo artist from Manipur, in the lush North East Region of India on the Myanmar border. While studying fashion design in his early 20s, Mo Naga stumbled across some interesting Naga textile designs and quickly realized their cultural importance. He gradually started researching, archiving and preserving them. His creativity and love for tattoos led him to create a neo-Naga style of design. Mo Naga now works diligently from his New Delhi tattoo studio reviving the traditional Naga tattoo culture of his people and the whole North East Region of India.

The Paiwan people are one of about 20 Indigenous minorities who make up roughly 3% of the population of Taiwan. When Cudjuy Patjidres discovered that his Paiwanese ancestors had a tattoo culture, he was surprised and amazed. Having developed his artistic skills from watching his grandfather weave and carve wood, he is now dedicated to preserving the ancient symbols and designs that were once common on the island.

Métis artist Audie Murray sees tattooing as a way for people to connect with their culture and communities when they are away from home. Audie’s art and tattoo practice draw from the duality in her life, especially her experience growing up in Regina and Lebret, and then moving to Vancouver to pursue her art career. She finds inspiration for her work in Métis beaded designs. When Audie returns home to Regina and Lebret, her work is centered around creating and learning from family.

Isaac Murdoch and Christi Belcourt founded the Onaman Collective, which represents a group of multidisciplinary artists who focus on land-based decolonization. They established a new traditional community called Nimkii Aazhibikong in Northern Ontario. Under the guidance of elders, they studied ancient markings from the past and are carrying them forward by tattooing individuals from various nations to unify the Indigenous peoples of the land.

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In the 15th and 16th centuries, many distant and disparate cultures met, often for the first time. David Olusoga shows how art was always on the frontline, and often left a mark on both sides.

An artist whose life was as bold and startling as her work, Frida Kahlo battled physical infirmity and a male-dominated art establishment to become one of the most acclaimed and influential painters of her generation. Kahlo also had a passionate interest in politics with her leftist views informed by the Mexican Revolution; she was an outspoken advocate of Communism and a powerful symbol of the progressive movement throughout her life. The Life and Times of Frida Kahlo is a documentary which tells Kahlo's story as a woman, as an artist, and as a symbol of women's rights and Latin progress.

The Mentawai people inhabit a group of islands west of Sumatra, in Indonesia. For centuries, they have practiced a form of shamanism in which the art of tattoo plays an integral role. Tattoo designs pack immense spiritual power in the Mentawai belief system, connecting the body and soul with the spirits that reside in the plants and animals of the rain forest. By drawing on the power of their tattoos and in order collaborate with the spirits, the Mentawai shamans can heal, protect and instruct their people. It is in part thanks to the tattooed shamans that this Indigenous culture has been able to withstand the onslaught of colonization over the decades. In this episode, a shaman named Aman Jepri gives an apprentice the markings that will complete his initiation into Mentawai shamanism.

Western Samoa is one of the few places on the planet where traditional tattooing continued unimpeded through the colonial era. Sua Peter Sulu’ape is a contemporary master of the craft. With his father and brothers, he works out of a cultural village in the heart of Apia, the Samoan capital. The Sulu’apes are one of only two Samoan families who are authorized by tradition to create tattoos in accordance with ancient custom. Embracing their role, they carry on a sacred practice whose origins lie in legend, and which continues to shape the character of Samoa today.

Dion Kaszas is an artist and scholar of mixed heritage who feels a strong connection to his Interior Salish roots. In recent years he has devoted countless hours to the study and practice of the traditional tattooing arts that were nearly lost to colonization. His work of retrieval has connected with him with Indigenous tattoo artists around the world. For Dion, tattoo is an indispensable part of Indigenous culture, a full-fledged language for expressing identity and cultural belonging. He sees his work as an integral part of a broader cultural revival through which First Nations are reaffirming their presence in Canada and on the world stage. Join us as Dion creates new pieces on members of his community using traditional methods.

In the twentieth century, the Maori of New Zealand all but lost their tattooing tradition. Only the women who continued to sport the traditional chin design ensured that the art did not disappear completely. Today, a tattoo renaissance is underway, and artist Gordon Toi plays a key role in the process. Using modern machines to weave ancient patterns reflecting the powers of the natural world, Gordon has made it his life’s quest to ensure that the art of ta moko can continue to flourish in the twenty-first century and beyond. His studio House of Natives is more than a tattoo shop—it is a cultural institution and a place where one feels the presence of the sacred.

Seattle-born artist Nahaan sees tattoo, like many other forms of artistic expression, as a political act and a form of resistance. This artist of mixed First Nations heritage draws on traditional teachings to create new work using modern and traditional methods alike. Born and raised in an urban environment, Nahaan uses the city as a platform for upholding and revivifying cultural practices that colonization once threatened to wipe out. Drawing on the symbology and aesthetics of the Indigenous West Coast, his tattoo work becomes “permanent regalia” on the bodies he works on, expressing through image and symbol the deepest beliefs of his ancestors and the forces that give life to his people and the land.

Mana Moana Vol. 1 is a collection of five audio-visual works presented on a water screen at Whairepo Lagoon in Wellington as part of Matariki celebrations in 2019.

Métis artist Amy Malbeuf’s insatiable appetite for new creative outlets has led her to work in many artistic fields, including traditional Indigenous tattooing. Indigenous teachings and traditions are, for Amy, a foundation from which she can follow her boundless inspiration and innovation. When it comes to tattooing, however, Amy feels the need to practice the traditional methods developed by her ancestors, specifically the skin stitch technique of using a needle and thread to weave designs into the skin. Whereas Amy sees her work in the visual arts as deeply personal, she considers her work as a tattoo artist a “service to others,” and a direct contribution to the preservation of lived Indigenous culture in the contemporary world.

David Olusoga looks at the artistic reaction to imperialism in the 19th century. David also demonstrates how one artist in New Zealand used his skills to record Maori culture.

Alex Tuaoi a New Zealand born Samoan was born and raised in Wainuiomata, Wellington NZ and has been passionate about art since he was a young boy. Alex is a self-taught artist who enjoys painting with acrylics painting wildlife especially lions, abstract, contemporary art & portraiture. Inspired by having the freedom to express himself through art. Alex remembers his teacher Mrs Clarke at Glendale Primary had asked him to draw pictures for their class storybook when he was about 9 years old, it was then that Alex discovered he wanted to pursue his passion for art and creativity. Alex has exhibited with the Art Krew in a few galleries in Wellington in 1999 – 2000 Step Up Gallery, Petone, Dowse Art Museum, Lower Hutt & Pataka Art + Museum, Porirua. Alex & wife Fayth relocated to Australia in 2005, Alex exhibited at a charity fundraiser for Equippers Church, Sydney in 2005 also in a couple of group exhibitions at the Circle Gallery, West End titled ‘People’ in 2011 and an Art Gallery Fundraiser held at Art Precinct in West End for his nephew who was heading to France in 2014 titled ‘Strength & Courage’. In 2017 & 2018 Alex has donated masterpieces to the Lighthouse Care Annual Fundraising Dinner event, a not-for-profit organisation which assists families in need with affordable weekly groceries. A lioness painting titled ‘Strong Powerful Woman’ ($600 sold via auction) and a lion painting titled ‘Dawn Beauty’ ($2,000 sold via auction).

Simon Schama starts his meditation on colour and civilisation with the great Gothic cathedrals of Amiens and Chartres. He then moves onto 16th-century Venice.

Jay Soule is a multidisciplinary artist known as “Chippewar” in the Indigenous community. His internationally-recognized work expresses much of the angst of today’s Indigenous population in Canada. Adopted at five years of age, Jay was taken from his birth mother and grew up outside his home community. He is considered part of the “Sixties Scoop,” a period in which Indigenous children were removed from their families and assimilated into non-Indigenous households. As a teenager, Jay left his home and opted for a life on the street. For a few years, he lived among the street kids of Toronto, eventually finding refuge in one of the city’s Indigenous shelters.

The ancient city of Palenque was once a hub of Mayan civilization. For centuries after its decline, it lay hidden under layers of tropical vegetation, until modern archaeologists peeled back the jungle to reveal it to the world in the last century. Today, Palenque is both an cultural centre and a sacred site. It was here that Indigenous artist Samuel Olman chose to set up his traditional Mayan tattoo practice. Living in the heart of the jungle near the ancient ruins, Samuel heads up the Olman Project, which aims to revive the art, knowledge and wisdom of Mesoamerican tattooing, while adapting it to the modern world.

Simon Schama explores the depiction of nature. Simon discovers that landscape painting is seldom a straightforward description of observed nature, but rather a projection of dreams and idylls.

Marjorie Tahbone, an Alaskan artist of Inupiaq heritage, was first among the living women of her family to get her traditional chin tattoo. Because no one was practicing the tattooing art at the time, she had to get her markings from a non-Indigenous artist in Fairbanks. Significant as the experience was, it ignited in Marjorie a desire to revive the practice for her community. Following this desire, she took up the tools and the old methods and became a full-fledged traditional tattooist working in the Inupiaq tradition. Thanks to Marjorie and other culture bearers across the North, the tradition of inking women’s skin to mark major life events and to symbolize spiritual beliefs is once again a part of Indigenous life in the region.

Nakkita Trimble is the only tattoo artist from the Nisga’a Nation. Along with elders from her community, she hopes to revive the traditional process of tattooing known as gihlee’e. Ts’iksna'aḵs—the tattoos—were usually composed of crests, known as ayukws, and of adaawaḵs, which are stories, legends and history. She plans to teach someone else the art of the Nisga’a tattoing so that more people can reconnect with this ancient practice.

Final episode in a best-of series which replays two of Angela D'Audney's favourite segments.

Simon Schama investigates how connections and rivalries between the east and west influenced art and traditions in the years that followed the Renaissances.

Professor Mary Beard broaches the controversial - and sometimes dangerous - topic of religion and art. How, and at what cost, do different religions make the unseen visible?

Film of an installation/performance project at Te Henga, near Auckland, on May 12, 1985.