Relevant bibliographies by topics / Love – New Zealand

Academic literature on the topic 'Love – New Zealand'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Love – New Zealand"

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Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.
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El-Bendary, Mohamed. "REVIEW: Parents’ letters trace story of triumph and tragedy from Egypt to New Zealand." Pacific Journalism Review : Te Koakoa 28, no. 1 & 2 (July 31, 2022): 243–46. http://dx.doi.org/10.24135/pjr.v28i1and2.1228.

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IN HIS newly released Wars Apart: WWII Letters of Love and Anguish From Cairo to Christchurch, retired award-winning New Zealand journalist and academic Alan Samson tells the love story of his parents through the letters and photographs they exchanged while they were stationed in the Middle East during the Second World War. They later migrated to New Zealand and their story continued from Cairo to Christchurch. Cairo was the place in which his parents began their story, which continued as they adapted to the diversity and triumphs of a new life in New Zealand. A journalism lecturer who taught at Wellington’s Massey University for more than a decade and is a former Pacific Journalism Review reviews editor, Samson uses his academic research skills and journalistic expertise in telling this story of love and anguish, hope and despair, of his own mother and father who had distinguished service records with the South African and British armies.
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Carlston, Erin G. "‘An Inverted Eden’: Modernity and Anti-Modernism in D'Arcy Cresswell's The Forest." Modernist Cultures 15, no. 3 (August 2020): 341–53. http://dx.doi.org/10.3366/mod.2020.0300.

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In 1952, D'Arcy Cresswell published a verse play, The Forest, set in New Zealand's forested Southern Alps. In what Cresswell called a ‘tremendous defense of homosexuality’, The Forest depicts a pair of gay male poets pitted against the archangel Lucifer and women, who are in league together to force men to work the land and thereby desacralize it. Cresswell argues that the pressures on Pākehā men to be economically productive and heterosexually reproductive are manifestations of a literally Satanic plot to alienate men from one another and Nature. While many of Cresswell's New Zealand literary contemporaries espoused a Pākehā masculinity involving matey comradeship and a life spent working the land, Cresswell celebrates a New Zealand wilderness he perceives as the last refuge of male love and inspired poetry. Simultaneously queering Milton, inverting Judeo-Christian history by relocating Eden in the Antipodes, and reversing New Zealand history by undoing the modernity that settler colonialism had created, Cresswell counters the terms of his own exclusion from the literary canon by imagining a world upside-down – and inside-out.
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Gilderdale, Peter. "“Messages of Love from Maoriland”: A. D. Willis’s New Zealand Christmas Cards and Booklets 1883-1893." Back Story Journal of New Zealand Art, Media & Design History, no. 7 (December 1, 2019): 25–71. http://dx.doi.org/10.24135/backstory.vi7.49.

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I have previously explored the beginnings of the New Zealand Christmas card prior to 1883, and the ways that the designers of these cards negotiated the colonial experience of a summer Christmas.1 This paper examines the development, over the decade following 1883, of the chromolithographic work of A. D. Willis, whose production not only continued the work of creating a niche for New Zealand Christmas cards, but also tried to compete with the large overseas ‘art publishers’ who were flooding the New Zealand market with northern hemisphere iconography. Willis’s Christmas cards are frequently used to illustrate books looking at the 1880s, but there has been no detailed study done of them. The paper therefore documents the cards, their production and reception, explores how they record Willis’s understanding of the art publishing business and the market he was working into, and situates them in relation to broader print culture. Understanding this overlooked chapter in ‘commercial art’ provides useful evidence of the murky interplay between the local, national and transnational identities that marked New Zealand cultural production when artists and designers sought to capture the public’s Yuletide sentiments. Willis’s work also displays two very distinct conceptions of how to represent what was increasingly known as ‘Maoriland’ to an overseas market – one focused on the land, and the other on Māori. As such, these cards act as a weathervane for what the New Zealand public accepted as New Zealand, artistic and appropriate as a Christmas gift.
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Brewer, Rosemary. "The “perpetual hazard”: Middle New Zealand attitudes to marital infidelity in the agony aunt columns of the New Zealand Woman’s Weekly, 1950 editions." Back Story Journal of New Zealand Art, Media & Design History, no. 7 (December 1, 2019): 95–109. http://dx.doi.org/10.24135/backstory.vi7.51.

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Social norms about the conduct of married life change over time. This paper examines New Zealand norms about marital infidelity as represented in the agony aunt columns of the New Zealand Woman’s Weekly in 1950. It concludes that sexual adventures outside of marriage constituted a significant challenge to contemporary beliefs about trust and romantic love within it, and that women facing this dilemma were given the task of saving the marriage. However, advice on how to do this was contradictory, from withholding sex while enduring the situation with dignity, to Freudian psychologists’ instruction to provide the straying husband with more and better sex.
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Austin, Graeme W. "Essay: Family Law and Civil Union Partnerships - Status, Contract and Access to Symbols." Victoria University of Wellington Law Review 37, no. 2 (July 1, 2006): 183. http://dx.doi.org/10.26686/vuwlr.v37i2.5565.

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This essay locates New Zealand's civil union legislation within the dynamic between "status" and "contract" that animates modern family law. "Status" concerns who we are; "contract" concerns the transactions we can enter. Because family law is concerned with affective relationships, it cannot apprehend people only as the atomised individuals anticipated by the modernist emphasis on contractual relations. Family law acknowledges the relevance to legal issues of "messy" issues of personality. Among the most complex and powerful aspects of personality with which the law concerns itself is love. Love affects who we are and law affects what love can be. Law provides and constrains the symbolic repertoire that helps organise the way we think about our affective relationships. The enactment of civil union legislation was an enormously positive step. However, by continuing to deny homosexuals the ability to marry, the New Zealand state persists in denying homosexuals a key part of the symbolic repertoire that is relevant to the way people in love can conceptualise their relationships. The transactions the state permits us to enter, particularly transactions that are expressions of love, affect the construction of our identities, illustrating once again the deep links that exist between who we are and the contracts we can enter.
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Bennett, Stephen J. "LOVE OVER GOLD: THE SONG OF SONGS FOR AOTEAROA-NEW ZEALAND." International Review of Mission 91, no. 360 (January 2002): 31–40. http://dx.doi.org/10.1111/j.1758-6631.2002.tb00326.x.

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Walker, Shayne. "New wine from old wineskins, a fresh look at Freire." Aotearoa New Zealand Social Work 27, no. 4 (November 8, 2017): 47–56. http://dx.doi.org/10.11157/anzswj-vol27iss4id437.

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Recently, I re-read Freire’s (1972) Pedagogy of the oppressed and found his emphasis on love inspiring. I was left wondering why this is not often quoted regarding Freire. As an educator (University of Otago), regulator (SWRB), whānau worker and supervisor (NGO staff), I believe my work here in Aotearoa New Zealand is about creating contexts within which it is easier to love. I view love broadly as a set of attitudes, actions and thoughts. It produces a professional set of skills that is a personal journey of completion. I am not patient, tolerant or fair all the time, but I should at least try to be. Perhaps love in the context of professional relationships within the social work process is at the heart of a 21st century emancipation and liberation of Māori and other oppressed groups in Aotearoa. Freire understood that treating people as ‘fully human’ in the social work process was in itself an act of love, otherwise it would be dehumanising.In this article I will be discussing:conscientisation, colonisation, dehumanisation, historical trauma and intergenerational trauma;Freire’s (1972) notion of a ‘culture of silence’;identity;transformative relationships;love in social work;Freire’s virtues and qualities for social workers; andfully human practice.
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Vriesekoop, Frank, Carolyn Russell, Athina Tziboula-Clarke, Céline Jan, Marine Bois, Stephanie Farley, and Allison McNamara. "The Iconisation of Yeast Spreads—Love Them or Hate Them." Beverages 8, no. 1 (March 7, 2022): 16. http://dx.doi.org/10.3390/beverages8010016.

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The production of beer yields a number of by-product streams, with spent brewers’ yeast being the second most abundant in volume. The high nutritional value of spent yeast has seen a large proportion of spent brewers’ yeast being used for both food and feed purposes. One of the uses of spent brewers’ yeast for human consumption has been the production of yeast spreads, which came onto the market in the early 20th century, first in the United Kingdom and shortly thereafter in the commonwealth dominions, especially Australia and New Zealand. In this research we investigated the national status of yeast spreads in the UK, Australia and New Zealand. We show that a brewery by-product such as spent brewers’ yeast is more than a mere novel utilisation of a waste stream but have become inherently associated with national identities of these countries to such an extent that some brands have become iconicised. Furthermore, some yeast spread brands have become a symbol of (inter)national polarisation, purely based on its initial sensorial characterisation.
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Gladkikh, Vladislav, Robert Tenzer, and Paul Denys. "Crustal Deformation due to Atmospheric Pressure Loading in New Zealand." Journal of Geodetic Science 1, no. 3 (September 1, 2011): 271–79. http://dx.doi.org/10.2478/v10156-011-0005-z.

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Crustal Deformation due to Atmospheric Pressure Loading in New ZealandWe investigate atmospheric pressure loading displacements in New Zealand using global and regional air-pressure data collected over a period of 50 years (1960-2009). The elastic response of the Earth to atmospheric loading is calculated by adopting mass loading Love numbers based on the parameters of the Preliminary Reference Earth Model (PREM). The ocean response to atmospheric loading is computed utilising a modified inverted barometer theory. The results reveal that the atmospheric loading vertical displacements are typically smallest along coastal regions, while gradually increasing inland with the maximum peak-to-peak displacement of 13.1 mm for this study period. In contrast, the largest horizontal displacements are found along coastal regions, where the maximum peak-to-peak displacement reaches 2.7 mm. The vertical displacements have a high spatial correlation, whereas the spatial correlation of the horizontal displacement components is much smaller. A spectral decomposition of the atmospheric loading time series shows that the signal is a broad band with most energy between 1 week and annual periods, and with a couple of peaks corresponding to approximately annual forcing and its overtones. The largest amplitudes in the atmospheric loading time series have an annual and semi-annual period.
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Dissertations / Theses on the topic "Love – New Zealand"

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Marsh, Maureen Margaret. "Love on the line the social dynamics involved with meeting other people using New Zealand online dating sites /." The University of Waikato, 2007. http://hdl.handle.net/10289/2326.

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The intention of this thesis is to explore whether New Zealand trends in online dating parallel those identified by overseas studies, or whether patterns are emerging that are unique to New Zealand society. The Internet Windows Messenger instant messenger service (MSN) was used to interview 32 subjects about their experiences with online dating, covering areas such as motivation for using online dating; types of relationships sought; barriers to online dating; online rapport and offline chemistry; online infidelity; and managing 'difference'. Drawing on these responses, this thesis presents findings pertaining to a diverse group of New Zealanders' attitudes towards and uses of online dating. Some of the key findings show that online rapport does not guarantee offline chemistry; that there are gender differences in attitudes towards appearance, age, and receiving sexually explicit material online; and that sexual experimentation and infidelity are being facilitated through online dating. The issue of 'difference' as it relates to online dating has been largely neglected by overseas researchers, and for this reason was extensively included in this research. Key findings relating to 'difference' show that there is a clear split between those interviewees whose 'difference' impacted positively on their online dating experience (those with sexual 'difference' falling into this category), and those whose 'difference' impacted negatively (those with physical or mental 'difference'). In addition, those interviewees with a sexual 'difference' have been able to connect with other like-minded people through online dating, contributing to the 'normalization' of previously considered deviant behaviours. Based on the research presented in this thesis, it appears that New Zealand online dating activities are consistent with overseas trends, although there are indications that some behaviour may be more specific to New Zealand society, such as gender differences in relation to bisexuality, and covert same-sex encounters involving men who are either married or who state in their profiles that they are 'straight' or heterosexual.
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Ferguson, Naomi Joy. "Literary Alchemy - Turning Fact into Fiction, Songs My Mother Taught Me, Songs My Mother Taught Me - Revised Edition, In Defence of Love." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5062.

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My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these. Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed. In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.
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Kelley, Samuel E. "10Be Surface-Exposure Chronology of the Left-Lateral Moraines of the Former Pukaki Glacier Lobe in the Mackenzie Region, South Island, New Zealand." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/KelleySE2009.pdf.

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Vuong, Xuan Tung. "An investigation into 5-lobe lung modelling a thesis submitted in partial fulfilment of the degree of Master of Engineering, Auckland University of Technology, Auckland, New Zealand, June 2005." Full thesis. Abstract, 2005.

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Infanti, Jennifer Jean. "Telling lives : children's stories of hope, loss, love, and violence in Aotearoa/New Zealand : a thesis presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Social Anthropology at Massey University, Palmerston North, New Zealand." 2008. http://hdl.handle.net/10179/708.

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This is a descriptive, exploratory study of children’s experiences and understandings of domestic violence in the Manawatu region of Aotearoa/New Zealand. It responds to the historical absence of children in anthropological research and in studies of domestic violence. The research is based on data gathered through group activities and discussions with children, five to twelve years old, in a domestic violence education and support group. A series of life history interviews was also undertaken. The study uncovers a myriad of ways that children make sense of domestic violence; incorporate their experiences of domestic violence into their identities; and manipulate, adapt, disrupt, or reproduce cultural knowledge about domestic violence in their own lives and relationships. Special focus is given to the role of helping or compassionate social relationships in children’s lives, not only for the physical safety of children but also for their ability to cope with domestic violence and bounce back from other hardships in life. The children’s narratives shared in this study have practical implications for domestic violence service delivery in New Zealand, as well as applied research with children more generally. The study also highlights children’s capacities for powerful observations, insights, and critical analysis. The thesis itself incorporates many different modes of data (re-)presentation, including poetry, drama, vignettes, and experiments with narrative voice and researcher reflexivity. The use of these literary forms helps to weave multiple perspectives into the thesis, allowing participants to speak for themselves. It also assists in producing an engaging and accessible account of children’s lives, which shows or represents lived experience, an alternative to the large number of statistical analyses that exist in the literature on domestic violence.
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Taylor, Diane J. "Jean Baptiste Francois Pompallier-- loved and lamented through the generations in New Zealand : an overview and appraisal of Bishop Pompallier's mission to Maori, its continuation and the return of his body to New Zealand : a thesis presented in partial fulfilment of the requirements for the degree in Master of Philosophy in History." 2009. http://hdl.handle.net/10179/1275.

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Kelley, Samuel E. "¹°Be surface-exposure chronology of the left-lateral moraines of the former Pukaki glacier lobe in the Mackenzie Region, South Island, New Zealand /." 2009. http://www.library.umaine.edu/theses/theses.asp?highlight=1&Cmd=abstract&ID=QUT2009-002.

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Books on the topic "Love – New Zealand"

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Sophie, Jerram, ed. Posted love: New Zealand love letters. Auckland, N.Z: Penguin Books (NZ), 1999.

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Dorothy, Edmond Lauris, ed. New Zealand love poems: An Oxford anthology. Auckland, N.Z: Oxford University Press, 2000.

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1940-, Kidman Fiona, ed. New Zealand love stories: An Oxford anthology. Auckland, N.Z: Oxford University Press, 1999.

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Tessa, Duder, ed. Falling in love. Auckland, N.Z: Puffin Books, 1995.

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Murdoch, Riley, ed. Māori love legends: --and true stories. Paraparaumu, N.Z: Viking Sevenseas N.Z., 2003.

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Jamie, Boynton, ed. Traditional Māori love stories: Mate tau. Auckland, N.Z: Harper Collins, 1997.

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Grace, Patricia. Ned & Katina: A true love story. North Shore, N.Z: Penguin Books, 2009.

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Quigley, Sarah. Loveinabookstoreoryourmoneyback. Auckland, N.Z: Auckland University Press, 2003.

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Grant, Dyson, ed. New Zealand surfers: 25 profiles of Kiwis who love to surf. Auckland, N.Z: Penguin, 2002.

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McLachlan, Ilma. My dear Chick: A New Zealand love story, 1911-1948. Masterton [N.Z.]: Fraser Books, 2008.

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Book chapters on the topic "Love – New Zealand"

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Jellyman, Don. "Freshwater Eels and People in New Zealand: A Love/Hate Relationship." In Eels and Humans, 143–53. Tokyo: Springer Japan, 2013. http://dx.doi.org/10.1007/978-4-431-54529-3_10.

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Galikowski, Maria. "Kiwi Dragons in Love: The Chinese Diaspora and New Zealand Interracial Screen Romance." In Migrant and Diasporic Film and Filmmaking in New Zealand, 51–69. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1379-0_3.

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Taylor, Nik, and Heather Fraser. "Doing Feminist, Multispecies Research About Love and Abuse Within the Neoliberalised Academy in Aotearoa New Zealand and Australia." In Researchers at Risk, 179–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-53857-6_12.

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Holomuzki, Joseph R., and Barry J. F. Biggs. "Food limitation affects algivory and grazer performance for New Zealand stream macroinvertebrates." In Advances in Algal Biology: A Commemoration of the Work of Rex Lowe, 83–94. Dordrecht: Springer Netherlands, 2006. http://dx.doi.org/10.1007/1-4020-5070-4_6.

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Harris, Max. "The politics of love." In The Interregnum: Rethinking New Zealand, 141–53. Bridget Williams Books, 2016. http://dx.doi.org/10.7810/9780947492649_10.

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Harris, Max. "The Politics of Love – and the Changing World of Work." In The New Zealand Project. Bridget Williams Books, 2017. http://dx.doi.org/10.7810/9780947492588_8.

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Taylor, Richard. "For the Love of Making — Reflections of a New Zealand Creative." In Perspectives of Two Island Nations, 263–71. WORLD SCIENTIFIC, 2024. http://dx.doi.org/10.1142/9789811287541_0021.

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Beaumont, David. "Psychological Health— Te Taha Hinengaro." In Positive Medicine, 121–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845184.003.0010.

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The Māori model of health and the importance of thoughts and feelings for Māori. Maslow and the need to feel safe. The significance of adverse childhood experiences and the roots of mental ill health in adults. The Dalai Lama on love and compassion. The New Zealand Government’s 2018 Inquiry into Mental Health and Addiction and New Zealand’s suicide epidemic. The New Zealand government’s first ‘Wellbeing Budget’ (2019). The role of meditation in pain management (and the author’s personal experience thereof). Maladaptive thinking, rumination, and catastrophizing. The author’s personal experience of depression. Antidepressants, or ‘the drug, doctor’? Author’s experience of acceptance and commitment therapy (accept, choose a valued direction, and take action). Mindfulness and the daily practice of meditation. Another look at work and health, especially the notion of good work. The author’s development of a plan for ‘whole life health’ in his practice, and a patient’s testimony.
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Wilson, Janet. "The ‘Burden’ of the Feminine: Frank Sargeson’s Encounter with Katherine Mansfield." In Katherine Mansfield and Literary Influence. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694419.003.0015.

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This chapter examines Katherine Mansfield’s legacy for the development of a New Zealand national literature, as reflected in the social realist short stories of Frank Sargeson. It contests the conventional view that Mansfield’s metropolitan impressionism was ‘inimical’ to Sargeson’s ‘ambitions for a cultural nationalism’, arguing that Mansfield’s legacy is not only a burden to be overcome but an ‘intertextual presence’, as the two writers share a critique of colonial culture and its normative gender constructions and key techniques of literary modernism. Focusing on ‘The Canary’ (1923) and ‘A Man and his Wife’ (1939), Wilson argues that Sargeson adapted Mansfield’s ‘techniques of impressionism and impersonation’ to render masculine homosexual vulnerability and unrequited love in a homophobic society. Mansfield’s influence on Sargeson, then, suggests ‘continuity across the decades of New Zealand’s cultural nationalism’.
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Freeder, Daphne, Shankar Sankaran, and Stewart Clegg. "The Museum of New Zealand Te Papa Tongarewa: a labour of love and learning." In Megaproject Leaders, 139–49. Edward Elgar Publishing, 2021. http://dx.doi.org/10.4337/9781789902976.00019.

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Conference papers on the topic "Love – New Zealand"

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Hill, Rodrigo, and Tom Roa. "Place-making: Wānanga based photographic approaches." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.

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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.
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Vladimirov, Igor G., Matthew R. James, and Ian R. Petersen. "A Karhunen-Loeve Expansion for One-mode Open Quantum Harmonic Oscillators Using the Eigenbasis of the Two-point Commutator Kernel." In 2019 Australian & New Zealand Control Conference (ANZCC). IEEE, 2019. http://dx.doi.org/10.1109/anzcc47194.2019.8945608.

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Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.

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In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.
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