The Pantograph Punch publishes urgent and vital cultural commentary by the most exciting new voices in Aotearoa.

Pantograph Punch

 April
Capitol Cinema, Balmoral, Auckland
Tickets $25 + BF from 

Here at the Punch we’re proud of the high quality writing we get to publish each week. A big part of this is our belief in paying our writers. We’re lucky enough to receive generous support from Creative NZ and NZ on Air, but we’d like to be able to publish more - and work towards paying our writers more too. That means raising more money!

 April you can help support the Pantograph Punch and watch Taika Waititi’s excellent new film while doing so.

If you’re not in Auckland you can still help us out by 

There will be a bar on the night with huge thanks to 

We’ve also got a bulging raffle, currently including:

Raffle tickets will be $2 on the night, or double your chances with 10 tickets for $10.

If you can't make the event, please consider making a monthly donation to help us do what we do!

Or by direct debit to our New Zealand bank account: 

The Pantograph Punch Trust Board
12-3427-0317051-00

The Pantograph Punch is a non-profit charitable trust. All proceeds will go towards funding our writers, ongoing operating costs,
and the continued existence of The Pantograph Punch.

The Pantograph Punch team reflect on 14 years of continuous publishing as a stalwart arts media journal (are we allowed to say this about ourselves?), and our choice to go on hiatus.

Long Live Pantograph Punch, Forever

Mya Morrison-Middleton

Te Rā, the only remaining Māori sail, has temporarily returned home. Mya Morrison-Middleton visits Te Rā, asking questions of its origins and future, while highlighting the work of those who are actively reviving Māori sails.

Opening Portals with Our Hands: On Te Rā, the Māori Sail

Matariki Williams

What if Pākehā were subjected to the same colonisation as Māori? Matariki Williams travels into the sci-fi world of 'Turncoat' - where an all-too-familiar narrative of colonisation plays out amongst aliens and humans.

A State of Disconnection: The Human Alien Relationship of Turncoat

Tunmise Picture.JPG

Tunmise Adebowale

Tunmise Adebowale finds warmth and unexpected connections between wooden carvings of twins from her Yoruba whakapapa, and Ōtepoti-artist Kate Fitzharris’ works at Dunedin Public Art Gallery.

Looking at Things as a Whole

Stacey Kokaua 

Pip Laufiso was born and raised in Ōtepoti and her contributions to Māori and Pacific arts in this city have spanned decades. Stacey Kokaua reflects on how Pip influences a community of creatives in a city not often recognised for a brown arts culture.

Pip Laufiso: Living and Breathing Pacific Arts in the Deep South 

From the Springbok Tour, to the Vietnam War, to the occupation of Palestine, Matariki Williams delves into how the arts have been, and can be, used to express solidarity and protest.

Art is a Salve

Mya Morrison-Middleton reflects on the career of renowned Māori artist Robyn Kahukiwa, and her latest exhibition 'Tangata Whenua', which showed at Season Aotearoa in Auckland and Christchurch's Centre of Contemporary Art.

He Toka Tū Moana a Robyn Kahukiwa

Gabriella Brayne

Litia Tuiburelevu

Gabriella Brayne and Litia Tuiburelevu publish this essay, taken from a wider research project on Pacific Peoples and the Criminal Justice system in Aotearoa New Zealand, written with Liz Lotoa, Isabella Ieremia and Hugo Wagner-Hiliau. Their research calls for abolition and an ending to carceral capitalism, envisioning emancipatory past futures for Tangata o le Moana and the globe.

What Shall We Build on the Ashes of a Nightmare?

Tom Denize

Is cruising a form of time travel, a doorway into a pocket of Queer time, or something else entirely? Tom Denize unpacks the heat and magnetism of cruising spots.

Waterlilies Sucking Mud

Briar Pomana

Briar Pomana (Ngāti Kahungunu, Rongomaiwahine, Ngāti Rakaipaaka) falls down the enticing crochet rabbit hole of artists Lissy Robinson Cole and Rudi Robinson, reflecting on the role ringatoi Māori play in our current realities and beyond.

Wharenui Harikoa is what dreams are made of

Emele Ugavule

Is the demand for intimacy co-ordinators, choreographers and directors just colonialism rebranding itself to undermine our sense of collective morale and personhood? In asking for collective responsibility in storytelling, Emele Ugavule pulls forward Indigenous conceptualisations of body sovereignty from an iTaukei worldview. 

THE PANTOGRAPH PUNCH

THE PANTOGRAPH PUNCH

Hunt for the Wilderpeople: A Pantograph Punch Fundraiser

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