Artisan knife maker in his prime
Aaron Jay (AJ) Prime was born in Kawakawa and grew up in Kāretu. Knives were part of the rural environment and he got his first one when he was 8.
He moved to Hamilton at 18 and happened to pick up a magazine
Aaron Jay (AJ) Prime was born in Kawakawa and grew up in Kāretu. Knives were part of the rural environment and he got his first one when he was 8.
He moved to Hamilton at 18 and happened to pick up a magazine called Blade, which, funnily enough, was about knives and it drew his interest. A few years later he discovered knife-making content on YouTube and, having sold two guitars and an Xbox, bought some simple tools and made his first knife in the garage.
He went to the Waikato Institute of Technology and made his first forge and sold the mag wheels off his ute to get more tools. He then had a moment of remorse when he sold his Nissan Skyline to buy a grinder to speed up the knife-making process.
“I regret that now,” he said. “They are worth quite a lot.”
He was making superior-quality knives, but it was still a hobby; and then along came Covid. He went to Cable Bay to have a pūhoro etched into his skin. It is a tattoo that represents the paddles of a waka hitting the waves and leaving a spiral design in its wake.
He and his wife wanted their two boys to go to a small school so they decided to move north and make Cable Bay home. He has since established himself as one of the most reputable knife makers in the country and is one of the few fulltime bladesmiths.
His passion is all encompassing and the process is the foundation of his craft. He often uses reclaimed materials and historic techniques. From hand forging the blades to sculpting and carving the handles, he uses a wide range of knowledge to create masterpieces.
There are two parts to what he does: the first, making artisan knives, is universal, and the second is toi Māori, which of course is unique to Aotearoa. He sells through social media platforms and isn’t quite making a living, more a “surviving”, but he says behind every knife maker is a woman who works fulltime.
The Bay of Islands Vintage Railway community is mourning the loss of volunteer Trevor Bedggood who died two weeks ago. About 220 people attended his funeral in Kerikeri, including volunteers and staff from the vintage railway organisation.
Bedggood was already qualified to drive the steam traction engines when he volunteered at the Kawakawa station, and his skills were quickly extended to the diesel locomotives. He achieved a qualification to drive the railway’s flagship steam engine, Gabriel, and as more diesel engines were added to the fleet over the years, he’d be found driving any and all of them.
He was highly regarded as one of the vintage railway’s senior engine drivers and, as such, trained new drivers with his trademark care and patience. He became the lead certifying officer, authorising new recruits on to the diesel drivers team.
In the last few years, Bedggood played an integral part in the work to restore the track from beyond Long Bridge heading towards Ōpua. As the driver of the work train, he was a key member of the track crew.
Bay of Islands Vintage Railway Trust chairwoman Sue Hamnett said in her eulogy that Bedggood was quietly diligent.
“He maintained vintage equipment, he kept the track clear of encroaching vegetation and weeds and fixed things that needed fixing in order to keep the trains running.”
A condolence book is at the Kawakawa station until the end of month for comments and photos.
In April, the vintage railway will run a special train from Kawakawa, down State Highway 1, east to the station at Te Akeake in remembrance. On board will be his son David (also a railway volunteer), his wider family and other volunteers.
Harnett said everyone would always be grateful to Bedgood for his selfless contribution to the success of the vintage railway and they all feel his sudden loss deeply.
There has been a collective push by Bay of Islands businesses exhorting Aucklanders to still travel north, but the closure of the Brynderwyns has had an impact on businesses in the area.
SH1 closed between Brynderwyn and Waipū in both directions from February 25 and will reopen for Easter from March 27. The route will close again at midnight on April 2 until May 12.
According to the Business Paihia newsletter, there has been positive feedback about the alternative route through Waipū Cove. Some travellers — but not all — are relishing the chance to drive the scenic route to get to the Bay of Islands and beyond.
Riki Kinnaird, co-owner of the iconic Duke of Marlborough Hotel in Kororāreka-Russell, said the road closure had certainly affected his business.
“You can see the effect to normal trade with a reduction in tourists and the impact is being felt in March. But the bigger impact is coming in April-May.”
Fiona Mohr, curator-manager of the Russell Museum Te Whare Taonga Kororāreka, said while there had been a drop in visitors from Auckland, conversely there had been a beneficial influx of tourists from the cruise ships that will continue into April.
Craig Johnston, of Dive Paihia, said it hadn’t been affected by the closure because most of its market is with international tourists.
“An extra 20-minute drive isn’t really an issue and the amazing weather we have had this summer has had much greater impact than detouring.”
In Kerikeri, Barfoot & Thompson sales agent Lara Robus said Auckland buyers were coming up north, meaning some are happy to take the detour.
“However, I would say there are less-than-usual people around because of the closure. Last year I was extremely busy at open homes, so on Easter Saturday this year it will be interesting to compare the two.”
John Davies is an author and a performer and he is bringing his solo play, Te Tupa — The Goblin, to the Turner Centre in Kerikeri on May 2. It is a carefully crafted performance delivered by a veteran of the New Zealand stage.
He is celebrating 50 years in theatre starting with Toi Whakaari New Zealand Drama School. He joined Red Mole Theatre and travelled with them for 10 years. He trained in traditional acting technique, Greek chorus and poetic writing, noh theatre and capoeira.
He speaks te reo Māori and is an amateur historian, particularly concentrating on the history of Aotearoa. Ancient Greek drama and Japanese noh theatre inspire his work.
The early part of the 19th century in New Zealand was a dynamic time, other races were coming from the north and Māori were aware they were no longer alone. The play is drawn from those histories and the central character is a combination of the experiences of some of those who lived here at the time.
“When I go out into that space, the stage, I feel connected to all the ancient storytellers, to the people who imitate, embody, project and summon their life force to engage their audience, that is me, I am one of those,” he said.
In Te Tupa — The Goblin he inhabits nine characters and tells the tale of a disenfranchised child, a shipwrecked sailor, a slave and a tattooed freak, with the clever use of a mask that conjures up spirits from the past.
Davies believes drama is an ancient device that draws an audience into a common experience and then unites and informs. This play is performed with only three props and “a whole heap of energy”. It’s like being with a traditional storyteller from the days of the communal fire.
The Turner Centre is offering two free tickets to the show on May 2. First in wins. Email: mywordmedia@yahoo.com
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