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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.
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.
Why care about the past? Why teach, research and write history? In this volume, leading and emerging scholars, activists and those working in the public sector, archives and museums bring their expertise to provide timely direction and informed debate about the importance of history. Primarily concerned with Aotearoa (the Māori name for New Zealand), the essays within traverse local, national and global knowledge to offer new approaches that consider the ability and potential for history to ‘make a difference’ in the early twenty-first century. Authors adopt a wide range of methodological approaches, including social, cultural, Māori, oral, race relations, religious, public, political, economic, visual and material history. The chapters engage with work in postcolonial and cultural studies. The volume is divided into three sections that address the themes of challenging power and privilege, the co-production of historical knowledge and public and material histories. Collectively, the potential for dialogue across previous sub-disciplinary and public, private and professional divides is pursued.
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.
From consumer products to architecture to advertising to digital technology, design is an undeniably global phenomenon. Yet despite their professed transnational perspective, historical studies of design have all too often succumbed to a bias toward Western, industrialized nations. This diverse but rigorously curated collection recalibrates our understanding of design history, reassessing regional and national cultures while situating them within an international context. Here, contributors from five continents offer nuanced studies that range from South Africa to the Czech Republic, all the while sensitive to the complexities of local variation and the role of nation-states in identity construction.
This book provides a critical reflection on the ways dance studio teachers recognize, reflect and respond to cultural difference within their dance studio classes, particularly in the rural context in Aotearoa/New Zealand. Through dance teachers’ narratives, it reveals the complexities of multiculturalism within dance studio classes and examines related issues of inclusion and exclusion within dance education. Understanding the dance practices provided by teachers like those in rural communities within Aotearoa/New Zealand is an increasingly urgent concern in an era of growing political, social and cultural tensions, for students and scholars of performing arts, leadership and community development. While previous research and publications have investigated cultural difference and global multicultural arts practices, this book presents a critical lens on performing arts practice and socio-cultural challenges experienced by local dance teachers within rural communities in Aotearoa/New Zealand.