Nambassa

Nambassa

Chinese dragon dance, mainstage Nambassa Festival 1979
Genre Rock music,
Dates January
Location(s) Waihi and Waikino in New Zealand
Years active 1976 - 1981
Attendance 75,000+

Nambassa was a series of hippie-conceived festivals held between 1976 and 1981 on large farms around Waihi and Waikino in New Zealand. They were music, arts and alternatives festivals that focused on peace, love, and an environmentally friendly lifestyle. In addition to popular entertainment, they featured workshops and displays advocating holistic health issues, alternative medicine, clean and sustainable energy, and unadulterated foods.

The New Zealand hippie movement was part of an international phenomenon in the 1960's and 1970's, heralding a new artistic culture of music, freedom and social revolution where millions of young people across the globe were reacting against old world antecedents and embracing a new hippie ethos. Specifically New Zealand's subculture had its foundations in the peace and anti-nuclear activism of the 1960's where hippies were actively trying to stop New Zealand's involvement in the Vietnam war and to prevent the French from testing nuclear weapons at Mururoa atoll in French Polynesia in the Pacific Islands.

The January 1979 three-day music and alternatives festival, held over Auckland anniversary weekend, attracted over 75,000 patrons making it the largest arts, multiple cultural and popular music event of its type in the world.[1]

Nambassa is also the tribal name of a charitable trust that has championed sustainable ideas and demonstrated practical counterculture ideals, a spiritually based alternative lifestyle, environmentalism and green issues from the early 1970's to the present.[1]

Significant events

Nambassa 1979 Main Stage, 'Negative Theatre'

Performers and guests

Nambassa Festival 1978, poster

Some of the hundreds of performers and guests who took part in Nambassa activities included:

Nambassa 1979, The Plague on the Main Stage
Nambassa 1981 Australian Aboriginal dance

Cultural guests

Arts, self-sufficiency and healing arts workshops

Pottery making in Nambassa

The notion for education-based workshops and displays developed out of a philosophical view; that the world was heading towards difficult times and that people needed to learn how to become more self-sufficient so that they would be less reliant on a system unable to provide spiritual and survivalist needs. If one was unable to access healthy food then the logical solution was to learn how to grow one's food. Nambassa was actively promoting widespread Counterculture, Sustainable living, Holistic health and environmentalism, 30 years before Green politics was integrated into mainstream popular culture.[1]

Humanity has become a cold, hard crust upon the face of the earth through which nothing can pass. At the moment we are doing this planet no good.' 'The earth creates us out of herself and of herself. We are the very flower of all her produce and she makes us for a very special purpose. That purpose which we are not fulfilling is to feed back into the earth through ourselves that 'Nectar' from the gods out there.'

'The earth is starving and dying for want of spirit food. Great powers of this food are drawn when all hearts come together in joy, relaxed happiness and nature- like conditions, enhanced by singing, music and above all love.'

'This festival is unique from its very inception.' 'It is willed through godliness. At this special time, on this special place, the Eden of New Zealand, the earth will be momentarily replenished.' 'Miracle conditions will be created so that spirit can, and will, flow threw the hearts of this angelic generation in order to 'Christ' the earth. This is one of the great duties of humankind, what his people are about to do, in the heart centre of 'NAMBASSA' ....New Zealand.....' 1976 Peter Terry.

[31]

The following extracts are taken from the first 1976 "Nambassa Sun" newsletter proposal, in support of their survivalist workshops on self sufficiency and to heal the body and the mind. Written 30 years ago and published throughout New Zealand in 1976-77, the sentiments expressed by these warnings on impending times have in the view of Nambassa aspirants considerable meaning thirty years later, in a world ravaged by environmental degradation (unprecedented pollution and Global warming) and the systems social collapse. (Unprecedented consumer madness, crime, mental illness, cancer epidemics, substance abuse including pharmaceutical and prescription drug dependence, youth suicide, political and economic corruption and Child sexual abuse).[32]

“ There can be no doubt we are living in confusing times. The social pressures alone are enough to start one thinking about living an alternative lifestyle. Already many people are leaving the cities to live on the land, simply because they can no longer afford the costs of urban life.

Let us take a look at city life, the frantic rush and bustle on the streets, all that traffic and factories with all their pollution, noise and waste, and cynical exploitation by big business. And where are you? In the midst of the frenzied grime, paying high rent or struggling to cope with mortgage payments. Food and heating costs have rocketed, and we know they can only go up. You are working as many hours as you can to pay for city life, with little time for leisure, even less time to get to know your children, or to spend a few days with friends. Altogether it's a vicious circle, a struggle for survival, with no time to think and be oneself. No wonder that crime is on the increase and mental institutions are overcrowded. If you haven't fallen victim to one of these social ills, then you could be facing a coronary in your efforts to maintain the pace.

We are using up our natural resources at an ever increasing rate and they are not going to last for ever. In fact we are abusing our planet woefully. Mother earth will not tolerate this continued rape, and is groaning under the burden of unenlightened man. Consider this and ask yourself, "Is this a natural way of life, is this how we were meant to live?" In all truth we have entered a depression, and are fast reaching a stage, not only of economic collapse, but a point where our very survival is threatened. Now, more than ever before, there is a need and a growing desire for people to learn to live outside the collapsing economic and social system, with its greed and avarice, and it's denial of individuality. Peter Terry.[33]

 ”

The Nambassa festivals were not only music and entertainment events but included educational components which sought to instruct people on lifestyle aids it felt important enough to promote within the then conservative society of New Zealand's 1970s. Many of those involved in Nambassa aspired to the notion that throughout the evolution of western civilisation, many valuable ancient survival, healing and spiritual techniques, had been lost over 1700 years of a philosophically and culturally dominating Roman Christianity.[34] Nambassa advocates that many past civilisations supporting religious and political institutions, have historically sought to alienate, and too often violently eliminate, many worthwhile belief systems which did not conform to its then strict conservative doctrines on culture and religion.[35] Adherents of Nambassa promote the ideology which suggests that, to deny what was once integral to survival in ancient history, is essentially to deny ones personal spiritual development. Through its wide variety of workshop subjects, the festivals attempted to nurture a better understanding of culture and spirituality with the goal of fostering a more tolerant and better informed society.[36]

A health workshop at Nambassa 1978

The idea of integrating education based workshop demonstrations with popular mainstream entertainment, set the Nambassa festivals aside from other festivals coming before it. It was during the social revolution of the early 1960's and 1970's [37] that Nambassa pioneered the concept, and was a world leader, in what was to evolve as a new format of presentation for the all encompassing major cultural, creative arts and music festivals. Most large open-air entertainment gatherings, prior to Nambassa, were essentially pop concerts. This new format demonstrated the merits of combining, in a complementary way, multiple and diverse entertainment and cultural modules, within the one grand celebratory event. During the 1970's, the Nambassa Trust developed this concept of large scale multidimensional events, which the rest of the world only began adopting some 20 years later.[38]

While the 1960's and 1970's hippy movements were, and continue to be, unfairly derided [39] for their infatuation with rediscovering ancient religion and culture, many of these re-birthing systems are now part of mainstream ideology.[40] Although the subject matter of the workshops at Nambassa was controversial for the time, these once-alternative ideas are now accepted by many as integral components of a freethinking modern society. The biggest complaint against the festival organisers from festival patrons, was that there were never enough hours in the day to attend their desired programme.


1981 10,000 Nambassadors join for world peace
Nambassa 1981, a wood gas producer at the Alternative Energy Centre.

At Nambassa, one could attend and participate in free workshop demonstrations, symposium and discussion groups on diverse subjects such as: leather-work, hand crafted jewelry, spinning (textiles), pottery, indigenous Australians didgeridoo, boomerang throwing, creative art, musical instruments, puppeteering, bonsai trees, batiking, screen printing, basket weaving, Māori woodcarving, furniture and woodturning, natural cosmetics, custom made Sandal (footwear), clay therapy, aboriginal emu egg carving, silk screening, crochet and embroidery, macramé, ceramics, bone carving, candle making, stained glass, paper making, journalism and printing, glass blowing, enamelling, Māori art and jewelry, wood carving, the art of throwing pottery, weaving on inkle and back strap looms, wood-adzing, moccasin making, airbrushing, organic gardening, tie-dye, Māori kit making, mulching and composting, growing and using soya beans, herb gardening, hydroponics, small orcharding, natural child birth, breast feeding, child care, alternative education, animal husbandry, raku pottery, fencing, small dams and irrigation, solar heating, methane gas plants, wind pumps and generators, solar power, solar cooker, waterwheels, goat farming, sheep milking, rammed earth walls, soil-cement adobe, stone-masonry, hydraulic power, wind power, low cost housing and renovation, furniture making, moulds and mud houses, bamboo and its uses, alternative lifestyles and communities, Rudolf Steiner Schools, permaculture, ecology and mining, native forests, saving the whales, food preparation and storage, dried fruit, bread making, self-sufficiency, wine making, beekeeping, butter and cheese making, soap making, food cooperatives, healthy eating, civil liberties, New Zealand's nuclear-free zone, world peace and disarmament, music, puppetry, origami, theatre, dance and costumes, mask making, conservation and pesticides, clean water, mobile homes construction, bush craft, legal aspects of alternative land development, horse ploughing, family planning, vegetarianism, animal rights, martial arts, Third World poverty, civil and human rights, work cooperatives, craft cooperatives, wood gas producers, solar panels, development of electric cars and bikes, women's issues, amateur radio, wood stoves and wetbacks, kite making, the environment (Greenpeace and Friends of the Earth), alternative education, Pacific cultural exchange (Pacific Islander), Māori land rights, community development, Māori marae, Māori hangi, substance abuse, new age and green politics, alternative media, meditation, yoga, sufi dancing, I Ching, tarot cards, alchemy, massage, sweat lodge, nutrition, alternative medicine, astrology, prayer and chanting, clairvoyance, meditation, spiritual healing, naturopathy, acupuncture, t'ai chi, herbalism, natural remedies, reflexology, iridology and osteopathy.[1]

People of Nambassa 1978

At all festivals there was a smorgasbord of spiritual and religious learning. Here the public could venture to various Healing Arts areas and attend either a bible study course, or chant spiritual names with the Buddhists and Hare Krishna's, or sing and pray with Christians, or attend Sunday mass with the Catholics or learn how to meditate with Ananda Marga or find out the meaning of Karma from the Hindus. The policy of the Nambassa Trust was to attempt to create an ambiance which would dispel all religious factionalism, so that philosophical labels could dissipate enabling people of all religious persuasion to share in their most common fundamental of traits, their humanity. In maintaining Nambassa's nonsectarian and open door policy on religious philosophy, workshops were conducted on: Hinduism, Hare Krishna, Bible scholarship and born again Christianity, Roman Catholic Church, Judaism, Ananda Marga, Buddhism, Taoism, Islam, Krishna-Haribol, Sufism, Esoteric Christianity, shamanism, Wicca, and Zen.[1]

Village market

Nambassa 1981 Village Marketplace.

At the centre of all Nambassa festivals lay the village marketplaces. These consisted of dozens of hand craft outlets and health food eateries. Here the hustle and bustle, the exuberant colour and relaxed atmosphere, prevalent at the various Nambassa village marketplaces, was a feature. These centers of community are where one found the main information centre or where folks simply culminated just to absorb the diverse quirky celebratory ambiance. Over the various festivals the marketplaces evolved and became major attractions in themselves. Not only a space for the enjoyment of bartering for the various eclective products and oddities, but they were a place of fun and entertainment, spontaneous or otherwise. The idea of a marketplace servicing the local population, as a method of doing business, buying, selling and exchanging products, is as old as civilization itself.

The 1981 festival village was designed around a central rotunda with a maypole, where spontaneously, poets, buskers and ravers alike featured. Nambassa vigorously promoted handcrafts, not only because of their therapeutic qualities, but because they had the potential to be a source of revenue to lifestyle proponents looking towards self-sufficiency and economic independence. From the festival village one could attend any number of craft workshops, pick up a copy of the daily Nambassa Waves newspaper, go buy fresh bread cooked in the wood-fired oven bakery constructed in a converted hay shed, go do some shopping, check out Radio Nambassaland, pick up some information from the mother centre, or just simply chill out and absorb the atmosphere.

Personnel

1978 Peter Terry, Nambassa founder and events coordinator.

The multiple festival format which combined Creative Arts, popular music and multiculturalism that shaped the Nambassa festivals,[41] was conceived by Peter Terry while living in the Waikino craft village during early 1976. January 1977 heralded the Waikino music festival, a prelude to Nambassa, which experimented with the concept of amalgamating into a singular festive event, controversial alternative culture with popular music. By February 1977 Lorraine Ward and Bernard Woods in an old restored farmhouse atop of rural Bulltown Rd in Waihi, assisted Terry to edit a blueprint for the Nambassa Trust and the first festival. The first Nambassa newsletter proposal was printed, ten thousand copies of a free 13-page manuscript outlining the model and need for a Nambassa event, were circulated among the music, arts and alternative communities throughout the nation, inviting the wider community to participate. The first Mother Centre was opened on a farm in Willow Road at Waihi early November 1977, where the initial Nambassa support base and volunteers assembled to construct the festival facilities to accommodate a small city for the planned three-day music, crafts and alternative lifestyle event which was to be held at the end of January 1978 on two farms at the end of Landlyst Waihi.

The Nambassa administration involved hundreds, to the extent that the 1981 five-day celebration gave out 1500 complimentary tickets to people and groups involved in the event in some official capacity. Those mainly responsible were: Peter Terry (Nambassa trustee, founder and events coordinator 1976-2005), Lorraine Ward (Nambassa secretary and trustee 1977-2005), Neil Wernham (art and graphics 1977-1981), Doug Rogers (music and staging technical adviser, 1976–1979), Fred Alder (Nambassa sun coordinator 1979, 1978 construction team, and former trustee 1978 and 1979), Bryce Lelievre (1981 festival secretary), Mike Taylor (communications and site coordinator 1978 and 1979), Jonathon Acorn (1981 Woozlebub coordinator), Trevor Kotlowski (1981 goffa), Mike Colonna (children's facility coordinator 1978 and 1979), Colin Broadley (programing, Nambassa book coordinator and open-air theatre 1979-1981) and Barry Lowther, (Mother Centre father, 1978 and 1979).

1981 Māori culture group.

The organising of the festivals and supporting events were themselves practical workshops in every sense. The Nambassa spectacles were organised on a purely voluntary basis by energetic and visionary young unemployed hippies (at a time when New Zealand's unemployment rate was at an unprecedented high), coordinated into a cohesive working force by Terry. Three months out of each festival its supporters would assemble at a farm community called the "Mother Centre", living in house trucks, vans, cars and tents. Nambassa's open door policy encouraged anyone of whatever race, creed or economic circumstance to join in, providing one met the basic rules of the Mother Centre camp. The guidelines were no alcohol or hard drugs, and vegetarian diet was supplied by the Trust. Participants were required to work each day towards the collective goal of preparing the festival in time for opening day. In exchange they were fed and had immediate needs catered for. Over the years thousands of people, young and old, carved out permanent careers from the inspiration learnt, just from being involved with or going to a Nambassa event.

Nambassa is administered not by private enterprise but through a registered charitable trust whose articles list provisions and aims allowing it to organise public events to raise funds to meet objectives. Consequently, the organisation is nurtured by and for the people, as opposed to being driven by corporate interests looking to maximise profit. This effectively enabled the events organisers to set minimal entry fees, based upon projected profits, so that festivals were affordable to lower income people. For example, the 1979 festival entrance was $18 (pre-paid) for a three-day adult pass. The trustees have several times declined offers of corporate sponsorship because the products offered have not met the Trust's philosophical aims and objects. In the 1970's the Nambassa Trust donated $29,698 to other organisations which meet its criteria. All Nambassa events made a profit with the exception of Celebration 1981.[1]

Sound and lighting

1981 'Limbs Dance' on Redhat.

Nambassa significantly expanded the concept of multiple open air staging, all running simultaneously at the one event. Out of the first 1978 three-day festival, the requirement of a second stage grew from the need to expand the entertainment program because of the resounding feedback from local performers and artists wanting to play at Nambassa. This became the "Aerial Railway", a second fully operational stage with sound, lighting and management. Aerial Railway absorbed the overflow of performers from the Main Stage, and also acted as a venue for spontaneous performances or raves. This second option was integral to the Nambassa philosophy of promoting local music and arts. Although the Miami Pop Festival in December 1968 featured two simultaneous 'main' stages, most of the early U.S. and European rock festivals, including Woodstock festival, Monterey Pop Festival and Isle of Wight Festival were predominantly single stage productions. The Nambassa 1978 festival had three stages; 1979 saw this expanded to four (including workshop stages), and the 1981 5-day celebration heralded five separate sound and lighting venues, all running at the same time. In 1981, "Aerial Railway" was replaced with the "Open Air Theatre" and "Woozlebub" for children. The multiple staging concepts seem to be finally making a comeback in the 21st century as seen at the recent Big Day Out and Glastonbury festivals.

The 1981 Nambassa 5-day event introduced "Radio Nambassaland". This broadcast live feeds from all the 5 stages and workshops, into the surrounding community.

Interesting occurrences from the Nambassa festivals

The Nambassa Winter Show with Mahana

Space Angels in the 'Return of the Ancients', 1978 Nambassa Winter Show.

The Nambassa Winter Show with Mahana was a musical theatrical production of 60 entertainers and crew who toured the North Island of New Zealand in a convoy of Mobile homes, buses and vans, performing at major centres and theatres throughout September and October 1978. While initially 4 main shows were scheduled for this collective theatre company, repeat and spontaneous performances around the nation saw this number of live performances increased to over 10. This theatrical extravaganza was organised by the Nambassa Trust as part of its national promotion of the arts and towards promoting its 1979 3 day music, crafts and Alternative lifestyle festival which was held in Waihi attracting 70,000 people.

New Zealand's Housetruckers of the 1970s

New Zealand's Housetruckers of the 1970s . Housetruckers are individuals, families and groups who convert old trucks and school buses into mobile-homes and live in them, preferring an unattached and transient gypsy lifestyle to more conventional housing. These unique vehicles began appearing around New Zealand during the mid-1970s and even though there are fewer today they continue to adorn NZ roads.[1]

Sources

Nambassa is a registered Trademark

Film

Nambassa Festival, a two-hour musical film documentary which had five crews working on it, New Zealand, 1980 The New Zealand Film Archive / Ngā Kaitiaki O Ngā Taonga Whitiāhua The film (50 minute version) was part of the New Zealand Film Commissions entry to the 1980 Cannes Film Festival. Director/editor, Philip Howe. Production company: Nambassa Trust, Peter Terry and Dale Farnsworth.

Radio

"Enzology" Frenzy (1978–1979). Episode 5 of Radio New Zealand National's story of Split Enz. Frenzy (duration: 49′55″).[45]

Insight 79 - Nambassa Sound Archives/Nga Taonga Korero is New Zealand's foremost radio archive. This documentary is about the alternative lifestyles festival at Nambassa in January 1979. 70,000 people attended workshops covering such topics as religion, medicine, food, music, education, low cost housing, ham radio, wind energy, pottery etc. 29'00".[46]

Record/CD

A double album made up of music, raves and comedy was recorded live from the main stage of the 1979 event and released throughout New Zealand -LP Stetson 2SLRP12, "Festival Music", 1979 This vinyl release featured Split Enz, Living Force, Flight 77, Chapman and White, Mahana, John Hore, Steve Tulloch, Plague, Chris Thompson, Schtung, Rick Steel, Tribrations, Nevil Purvis, Satchidananda, Gary McCormick, Andy Anderson. Produced by Peter Terry. Re-recorded and mixed by Peter MacInnes and Dave Hurley at Mandrill Studios, Auckland NZ.

Publications

See also

References

  1. 1 2 3 4 5 6 7 Nambassa: A New Direction, edited by Colin Broadley and Judith Jones, A. H. & A. W. Reed, 1979. ISBN 0-589-01216-9.
  2. ↑ Nambassa Newsletter "Waves (1980-1981)" Volume 1 & 2. Referenced: National Library of New Zealand, Te Puna Matauranga O Aotearoa, Alexander Turnbull Library collections.
  3. ↑ Skyhooks
  4. ↑ Acorn Productions
  5. ↑ Alan Clay
  6. ↑ Living Force
  7. ↑ Rick Steele
  8. ↑ Dallas Four
  9. ↑ REBEL MUSIC: Home of the Underground 2003
  10. ↑ "notlame.com".
  11. ↑ schtung music
  12. ↑ Dave Maybee
  13. ↑ Rough Justice
  14. ↑ Golden Harvest
  15. ↑ "myspace.com".
  16. ↑ Neighbours band history
  17. ↑ Home | :: Welcome to the official Andrew White website :: Acclaimed singer-songwriter and fingerstyle guitarist
  18. ↑ DEXTER MOORE - Acoustic Music has a new name - Dexter Moore - Dynamic and Engaging Artist - dexter moore - 21st Century Troubadour
  19. ↑
  20. ↑ http://www.expdev.net/htownwiki/index.php/Chris_Thompson
  21. ↑ "myspace.com". Grenville Bell
  22. ↑ "myspace.com".
  23. ↑ MySpace.com - Z.A.C. - 54 - Garçon - Sydney, AU - www.myspace.com/dazacisback
  24. ↑ BunnySwan.com
  25. ↑ John Hore
  26. ↑ great music downunder
  27. ↑ Home | Rodger Fox | New Zealand Jazz
  28. ↑ Amazing Chicane professional magician and illusionist, corporate entertainer, magic lecturer, speaker
  29. ↑ http://fraktali.849pm.com/text/lyons/oren1.html
  30. ↑ Mrs Eva Rickard 1925 - 1997
  31. ↑ Nambassa Newsletter (1976-1977)Volume 1, Issue 1. Referenced: National Library of New Zealand, Te Puna Matauranga O Aotearoa, Alexander Turnbull Library collections.
  32. ↑ Nambassa Festival Newsletter 1 edited by Peter Terry, Lorraine Ward and Bernard Woods. Published in 1976, 1977 and printed by Goldfields Press Ltd, Paeroa. Referenced: National Library of New Zealand, Te Puna Matauranga O Aotearoa, Alexander Turnbull Library collections.
  33. ↑ Nambassa Newsletter (1976-1977)Volume 1, Issue 1.Referenced: National Library of New Zealand, Te Puna Matauranga O Aotearoa, Alexander Turnbull Library collections.
  34. ↑ Amazon.com: The Dark Side of Christian History: Books: Helen Ellerbe
  35. ↑ Amazon.com: A History of the Inquisition of the Middle Ages Volume 1: Books: Henry, Charles Lea
  36. ↑ "flickr.com".
  37. ↑ The 1960s Cultural Revolution — www.greenwood.com
  38. ↑ Nambassa book online poster sur Flickr: partage de photos !
  39. ↑ News | www.kentucky.com
  40. ↑ The Hippies 1968-2007
  41. ↑ The Aotearoa Digital Arts Reader, published by Aotearoa Digital Arts and Clouds ISBN 978-0-9582789-9-7
  42. ↑ Nambassa: A New Direction, edited by Colin Broadley and Judith Jones, A. H. & A. W. Reed, 1979.ISBN 0-589-01216-9
  43. 1 2 Nambassa Festival, a two-hour musical film documentary which had five crews working on it, New Zealand, 1980 The New Zealand Film Archive / Ngā Kaitiaki O Ngā Taonga Whitiāhua
  44. ↑ Jeremy Ansell. "Enzology - Radio New Zealand's story of Split Enz". Radio New Zealand National. Radio New Zealand. Retrieved November 8, 2016.
  45. ↑ http://www.radionz.co.nz/national/documentaries/enzology/ep05
  46. ↑ http://www.soundarchives.co.n/search_databases? sq_content_src=%2BdXJsPWh0dHAlM0ElMkYlMkZzZ WFyY2guc291bmRhcmNoaXZlcy5jby5ueiUyRnJlbW90 ZS1yZXN1bHRzLmFzcCZhbGw9MQ%3D%3D
  47. ↑ http://www.clouds.co.nz/012/
  48. ↑ http://www.wongwaytomarry.com/
  49. ↑ http://www.art-newzealand.com/Issues11to20/road.htm
  50. ↑ http://www.greenwood.com/catalog/GR9913.aspx
  51. ↑ http://www.boloji.com/bookreviews/071.htm
  52. ↑ http://en.wikisource.org/wiki/A_History_of_the_Inquisition_of_the_Middle_Ages_Vol._I
Wikimedia Commons has media related to Nambassa.
This article is issued from Wikipedia - version of the 11/30/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.