Taking as a starting point the work of Aotearoa New Zealand to provide an education system that includes curriculum, pedagogy, and language from indigenous Maori culture, this book investigates the ensuing practices, policies, and dilemmas that have arisen and provides a wealth of data on how truly culturally inclusive education might look.
From the signing of the Treaty of Waitangi between Indigenous and settler cultures to the emergence of the first-ever state-funded Māori television network, New Zealand has been a hotbed of Indigenous concerns. Given its history of colonization, coping with biculturalism is central to New Zealand life. Much of this “bicultural drama” plays out in the media and is molded by an anxiety surrounding the ongoing struggle over citizenship rights that is seated within the politics of recognition. The Fourth Eye brings together Indigenous and non-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and Māori culture. Examining the Indigenous mediascape, The Fourth Eye shows how Māori filmmakers, actors, and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people. From nineteenth-century Māori-language newspapers to contemporary Māori film and television, the contributors explore a variety of media forms including magazine cover stories, print advertisements, commercial images, and current Māori-language newspapers to illustrate the construction, expression, and production of indigeneity through media. Focusing on New Zealand as a case study, the authors address the broader question: what is Indigenous media? While engaging with distinct themes such as the misrepresentation of Māori people in the media, access of Indigenous communities to media technologies, and the use of media for activism, the essays in this much-needed new collection articulate an Indigenous media landscape that converses with issues that reach far beyond New Zealand. Contributors: Sue Abel, U of Auckland; Joost de Bruin, Victoria U of Wellington; Suzanne Duncan, U of Otago; Kevin Fisher, U of Otago; Allen Meek, Massey U; Lachy Paterson, U of Otago; Chris Prentice, U of Otago; Jay Scherer, U of Alberta; Jo Smith, Victoria U of Wellington; April Strickland; Stephen Turner, U of Auckland.
A group of New Zealand's leading cultural studies scholars provide their perspectives on the politics of display in this thought-provoking collection of essays. Philip Armstrong, Roger Blackley, Kyla McFarlane, Annie Potts, and Paul Williams, among others, showcase their thinking about cultural activities--looking and showing, viewing and arranging--that are deeply embedded in ideology. From the antique plaster casts held by Auckland Museum to the wild foods on New Zealand's West Coast, the essays pursue a variety of trajectories on how New Zealanders display themselves and what they profess and contest in their collective representations.
This second edition presents a range of theoretical and practice-based perspectives adopted by experienced educators active in cultural safety education.
Physical cultural studies (PCS) is a dynamic and rapidly developing field of study. This handbook offers the first definitive account of the state of the art in PCS, showcasing the latest research and methodological approaches. It examines the boundaries, preoccupations, theories and politics of PCS, drawing on transdisciplinary expertise from areas as diverse as sport studies, sociology, history, cultural studies, performance studies and anthropology. Featuring chapters written by world-leading scholars, this handbook examines the most important themes and issues within PCS, exploring the active body through the lens of class, age, gender, sexuality, race, ethnicity, (dis)ability, medicine, religion, space and culture. Each chapter provides an overview of the state of knowledge in a particular subject area, while also considering possibilities for developing future research. Representing a landmark contribution to physical cultural studies and allied fields, the Routledge Handbook of Physical Cultural Studies is an essential text for any undergraduate or postgraduate course on physical culture, sports studies, leisure studies, the sociology of sport, the body, or sport and social theory.
Aotearoa New Zealand in the Global Theatre Marketplace offers a case study of how the theatre of Aotearoa has toured, represented and marketed itself on the global stage. How has New Zealand work attempted to stand out, differentiate itself, and get seen by audiences internationally? This book examines the journeys of a dynamic range of culturally and theatrically innovative works created by Aotearoa New Zealand theatre makers that have toured and been performed across time, place and theatrical space: from Moana Oceania to the Edinburgh Festival Fringe, from a Māori Shakespeare adaptation to an immersive zombie theatre experience. Drawing on postcolonialism, transnationalism, cosmopolitanism and globality to understand how Aotearoa New Zealand has imagined and conceived of itself through drama, the author investigates how these representations might be read and received by audiences around the world, variously reinforcing and complicating conceptions of New Zealand national identity. Developing concepts of theatrical mobility, portability and the market, this study engages with the whole theatrical enterprise as a play travels from concept and scripting through to funding, marketing, performance and the critical response by reviewers and commentators. This book will be of global interest to academics, producers and theatre artists as a significant resource for the theory and practice of theatre touring and cross-cultural performance and reception.
Made in Australia and Aotearoa/New Zealand: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century popular music of Australia and Aotearoa/New Zealand. The volume consists of chapters by leading scholars of Australian and Aotearoan/New Zealand music, and covers the major figures, styles, and social contexts of pop music in Australia and Aotearoa/New Zealand. Each chapter provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Australian or Aotearoan/New Zealand popular music. The book first presents a general description of the history and background of popular music in these countries, followed by chapters that are organized into thematic sections: Place-Making and Music-Making; Rethinking the Musical Event; Musical Transformations: Decline and Renewal; and Global Sounds, Local Identity.
A major new history of craft that spans three centuries of making and thinking in Aotearoa New Zealand and the wider Moana (Pacific). Paying attention to Pakeha (European New Zealanders) , Maori, and island nations of the wider Moana, and old and new migrant makers and their works, this book is a history of craft understood as an idea that shifts and changes over time. At the heart of this book lie the relationships between Pakeha, Maori and wider Moana artistic practices that, at different times and for different reasons, have been described by the term craft. It tells the previously untold story of craft in Aotearoa New Zealand, so that the connections, as well as the differences and tensions, can be identified and explored. This book proposes a new idea of craft--one that acknowledges Pakeha, Maori and wider Moana histories of making, as well as diverse community perspectives towards objects and their uses and meanings.