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2012
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This article examines the reception of revivalism inspired by the work of Dwight Moody and Ira Sankey in the Wanganui-Manawatu region of New Zealand in the 1870s and 1880s. The success of Moody and Sankey's 1873–75 British campaign inspired interest in revivalism, and led to rapid and widespread adoption of their distinctive methods. Though it aroused opposition in some quarters, Moody and Sankey style revivalism became established as a significant feature of New Zealand religiosity at that time. Some aspects continued to appeal well into the twentieth century. This article traces the rise and growth in influence of this form of revivalism, and considers reasons for its appeal in late nineteenth-century New Zealand.
Methodist work began in ‘the Southern World’ in 1811 with the preaching ministry of Edward Eagar in the colony of New South Wales and was reinforced in 1815 by the arrival of the first Wesleyan missionary Samuel Leigh. Early attempts to reach the Australian Aborigines by William Walker between 1821 and 1825 met with little success. The Maori people of New Zealand and the Pacific Islanders of Fiji, Tonga and Samoa proved much more open to Methodist missionary work so that a relatively strong Methodist work was established throughout many parts of the Pacific by the late nineteenth century. Wesleyans also established a successful mission to the Chinese people of the Victorian goldfields in the 1850s. This paper will explicitly address Methodist missionary responses to the religious beliefs encountered in ‘the Southern World’ of the nineteenth century. It will seek to discover to what extent these religious beliefs were dismissed as pagan and superstitious and to what extent there was any attempt to understand these beliefs on their own terms. It is hoped that this paper will contribute to the Wesley and Methodist Historical Studies Working Group in its attempt to understand how ‘Methodist missionary enterprises represented and communicated with persons from other religious traditions and other cultures.’ It will also assist the broader project in which I am engaged, along with Professor Hilary Carey of the University of Newcastle (NSW) of publishing a new scholarly history of Methodism in Australia.
2014, Research Memorandum Series
David Hamilton (b. 1955), a prolific composer and music educator is one of New Zealand’s most widely performed composers. His music is increasingly being performed outside New Zealand in such places as Australia, Canada, the United States, England, Ireland and Finland. Hamilton has a particular affinity for choral music, having written over 350 works for chorus. The comprehensive list that follows is organized by arrangements, multi-movement works, sacred and secular pieces. Columns include voicing, accompaniment, text sources, commission details and publication information where applicable. The composer has confirmed or provided all details pertaining to the choral works. This article is a companion to Research Memorandum Series No. 202 Winter 2012/13, “David Hamilton’s Music for Choir and Instrumental Ensemble;” and Research Memorandum Series No. 203 Spring 2013, “David Hamilton’s Music for Unaccompanied Choir.” Any works featured in either of the other articles are omitted here unless noted by an asterisk. Any works written by the composer since the publication of the other articles are included here whether unaccompanied or not.
2013, Research Memorandum Series
David Hamilton (b. 1955), a prolific composer and music educator, is one of New Zealand’s most widely performed composers. His music is increasingly being performed outside New Zealand in such places as Australia, Canada, the United States, England, Ireland and Finland. Hamilton has a particular affinity for choral music, having written over 350 works for chorus. This article is a companion to Research Memorandum Series No. 202 Winter 2012/13, “David Hamilton’s Music for Choir and Instrumental Ensemble;” any works featured in that article are omitted here unless noted by an asterisk. The comprehensive list that follows is organized by arrangements, multi-movement works, sacred and secular pieces. Columns include voicing and accompaniment, text sources, commission details and publication information where applicable. Composer’s notes are designated by “CN” after the year of composition, are hyperlinked, and are listed at the end of the article. Multi-movement works are listed with the movements numbered and in italics under the title. All works are available from the composer.
2019, The Journal of the Polynesian Society
The papers in this issue trace a particular set of Māori interventions in anthropology, arts, museums and heritage in the early twentieth century and consider their implications for iwi ‘tribal communities’, development and environmental management today. They follow Apirana Ngata, Te Rangihīroa (Peter Buck) and some of their Māori and Pākehā (European New Zealander) allies at the Polynesian Society through the Dominion Museum expeditions, on Te Poari Whakapapa (the Board of Maori Ethnological Research) and in a variety of community research initiatives. The authors explore how engagement with ancestral tikanga ‘practices’ and with western technologies and institutions allowed these scholars and leaders to imagine te ao hou ‘a new world’ in Aotearoa New Zealand. Through the analysis of surviving photographs, films, artefacts, collections and displays, as well as the extensive written archives that were produced through their efforts, the articles in this issue explore how relational concepts and practices including whakapapa ‘kin networks’ and tuku ‘exchange of treasures (taonga)’ were mobilised as practical ontologies, that is, as methods for bringing new things (artefacts, systems, concepts) into being. The lasting effects of these collaborative projects on museums, scholarship, government administration and tribal cultural heritage are investigated, showing the enduring relevance of this work in the present.
2012, PhD Thesis
In the second half of the twentieth century, New Zealand witnessed a period of significant change, a period that resulted in dramatic demographic shifts. As a result of economic diversification, the New Zealand government looked to the Pacific (and to the at the time predominantly rural Māori population) to fill increasing labour shortages. Pacific Peoples began to migrate to New Zealand in large numbers from the mid-1960s and continued to do so until the mid-1970s, by which time changing economic conditions had impacted the country’s migration needs. At around this time, in 1976, the first major moment of the festivalisation of Pacific cultures occurred. As the communities continued to grow and become entrenched, more festivals were initiated across the country. By 2010, with Pacific peoples making up approximately 7% of the population, there were twenty-five annual festivals held from the northernmost towns to the bottom of the South Island. By comparing the history of Pacific festivals and peoples in New Zealand, I argue that festivals reflect how Pacific communities have been transformed from small communities of migrants to large communities of largely New Zealand-born Pacific peoples. Uncovering the meanings of festivals and the musical performances presented within festival spaces, I show how notions of place, culture and identity have been changed in the process. Conceiving of the Pacific as a vast interconnected ‘Sea of Islands’ kinship network (Hau’ofa 1994), where people, trade, arts and customs have circulated across millennia, I propose that Pacific festivals represent the most highly visible public manifestations of this network operating within New Zealand, and of New Zealand’s place within it. Pacific festivals are spaces through which a range of Pacific identities are (re)affirmed, and through which connections to belonging elsewhere, or to other cultural realities, are asserted and communicated. Concurrently, and through a process of territorialisation (Duffy 1999a, 2000), Pacific festivals also recode and alter the places in which they take place, situating New Zealand as a Pacific nation and allowing Pacific peoples to stake a claim and assert a belonging to the New Zealand nation. Finally, these processes are interrelated, creating ‘mooring posts’ around which dynamic, fluid and evolving urban diasporic Pacific identities can be created, negotiated and celebrated. These displays of ‘polycultural capital’ (Mila-Schaaf 2010) are critical in the process of creating diasporic identities, often conceived of as belonging to neither here nor there. Through the Pacific festival space, these identities are stabilised, representing and asserting a belonging to both here and there.
2007
xi, 321 leaves :col. port., map ; 30 cm. Includes bibliographical references. University of Otago department: History.
2018, Into the Unknown: New Zealand Musicological Society Annual Meeting
You sign-in to your new account and are prompted to create an avatar from a limited choice of factionalised humanoid ‘races’ and the associated genders, fighting classes, visual features, and name options. Through your personalised avatar you are then thrust into the world of Azeroth, just one of several ‘worlds’ in the Massively Multiplayer Online Role Playing Game, World of Warcraft (WOW). Here, you quickly become aware of the plight of your chosen people – Orcs. Despite their historic displacement and continued marginalisation, you are empowered and compelled to resist and mobilise with the other ‘heroes’ of your faction’s races to collectively avoid subjugation and ultimately conquer this immersive, dynamic and brutal world. Vital to the success of any virtual world (game or not) is an immersive experience for the user. Here musical soundscape plays an integral role - referencing ‘real world’ precedent, and informing ‘authentic’ fantasy experience. World of Warcraft (WOW) is the most successful virtual world to date. Though the current number of users (the population) is just over 5 million, the number of former users exceeds 100 million. Drawing on insider experience and secondary source material, this paper examines nostalgia for WOW’s soundtrack through the concepts of immersive engagement and diaspora. Though the primacy of violence within WOW and the persistence of essentialising and othering music practices (including fetishism) is troubling, the Diaspora’s consumption of nostalgic music media also implies the beneficial potential of game design immersivity models.
This is a referenced version of the book jointly published in 2014 by the Anglican and Wesleyan Historical Societies, from which the references were dropped in error. It surveys the development and changes in churches as a contextual study in community development.
2022, The Routledge Handbook of Women's Work in Music
"... following the discovery of an award-winning Piano Trio by French composer Jeanne Barbillion (1895–1992) in a ‘help-yourself’ cardboard box of old scores, Eva M. Maschke (chapter 13) painstakingly pieces together information about this little-known composer, laying the foundations for a much-needed reassessment of Barbillion’s contribution to French musical life." (Rhiannon Mathias, Editor’s introduction, p.3). Abstract: In his 2001 monograph about French cello sonatas, Stephen Sensbach recommended Jeanne Barbillion’s cello sonata for its modern idiom and its effective cello part. With the exception of Sensbach’s appraisal, Barbillion’s oeuvre is among the numerous neglected oeuvres of female composers and almost entirely forgotten today. She spent her whole musical life in Paris and was active at the Schola cantorum, where she studied both piano and violin and also obtained a degree in composition with Vincent d’ Indy. Later she was a teacher at the same institution. While focusing on chamber music, Barbillion also wrote some orchestral pieces and a Chorale et pastorale en rondeau for ondes martenot, organ and strings. Apart from bringing the life’s work of a composer, performer and academic teacher back to memory, this chapter draws special attention to one particular work, Barbillion’s Piano Trio of 1926, for which she was awarded the Prix Marmontel from the Société des Compositeurs.
1999
328 leaves ; 30 cm. Includes bibliographical references. University of Otago department: Theology and Religious Studies
10 August 2015 marks the bicentenary of the arrival to Australasia, at the age of twenty-nine, of the first Wesleyan Methodist missionary, the Rev. Samuel Leigh (1785-1852). Australian and New Zealand Methodism are linked by Leigh as he was the first Wesleyan missionary to arrive in both places. He visited Samuel Marsden’s mission at the Bay of Islands in 1819 and then, in 1822 established the first Wesleyan mission, Wesleydale in Whangaroa, among the Maori accused of the Boyd massacre in December 1809. Leigh belonged to a period when Methodism had close ties to the Church of England, and the fact that he was ‘not radically a Dissenter’ was one cause of conflict with his fellow missionaries. The wave of the future for nineteenth-century Methodism would be as a strong, independent, body of Dissenters. This lecture will examine Leigh’s relationships with his co-workers and argue that, as a man who belonged more naturally to an earlier period of Methodist development, he may be remembered as a pioneer, but not as a builder, of Methodism in Australia and New Zealand.
Published Version: Peters, G. (2007). Lives of their own: Films by Merata Mita. In I. Conrich, & S. Murray (Eds.), New Zealand filmmakers (pp. 103-120). Detroit: Wayne State University Press.
2021, Cidades, Comunidades e Territórios
Popular songs play an important role in mobilising political campaigns by creating platforms for voices of protest and dissent in the discussion of significant issues that questions those in power. This research considers the role songs of protest and political dissent have played over the past 60 years of Aotearoa New Zealand’s postcolonial history. Political messages have been embedded in musical texts reflecting the region’s unique historical and cultural development, especially the positioning of its Pacific peoples (indigenous Māori and immigrants from other Pacific Islands) in issues and processes of political protest. In the 1960s and 1970s, when global human rights movements were gaining traction, in Aotearoa intense feelings over inequities and injustices manifested themselves in song. Māori land rights, sporting relations with the apartheid regime in South Africa and the programme of nuclear testing pursued by the French in the Pacific were all issues of major concern, provoking marches, occupations and boycotts. The social reforms and domestic processes experienced in the separation from Britain (1947) included a ‘coming out’ of difference and dissent and a ‘coming in’ of new cultural influences into the music industry by new waves of migration and the birth of the local recording industry (1960–1986). This case study features 17 representative recordings that cover a range of themes (racism, land rights, nuclear tests, climate change and political discontent) that attracted media attention and public debate. The results presented show how protest songs in Aotearoa continue to play an important role in mobilising political campaigns in the Pacific.
There’s too much talk of decolonising the stage, as if the theatre were not itself a colonial artefact, a hangover from the settlers’ desire to appear civilised in what they saw as a savage land. Here we reject the notion of ‘syncretic’ or ‘hybridic’ theatre, because when European and Māori performance practices meet and mingle under the proscenium arch waters that should be troubled are smoothed beyond recognition. We want to see the stage broken open, its fragments exposed to a critical gaze that recalls rather than transcends social history, that seeks not to console but to confront and catapult us, if not into direct action, then into a conversation that does more than keep us contained within the frame of the dominant culture. This paper is written as two sides of an ongoing debate about the relationship between the theatrical and the social in not-quite-post colonial Aotearoa New Zealand. We look at Te Matatini – the biannual national Kapa Haka Festival, most recently held in Christchurch in March 2015 – and at Footprints/Tapuwae – a bicultural opera first produced in 2001 and revived in June 2015 by the Free Theatre Christchurch – to find powerful cultural performances and contrary theatricalities in 21st century Aotearoa New Zealand.
2007, MEDIANZ: Media Studies Journal of Aotearoa New Zealand
Phoasavadi, P. & Hebert, D. G. (2006). “Celebrating Maori and Thai Music Magic: Implications of World Music Collaboration,” Research in New Zealand Performing Arts, Vol.1. [http://drama.org.nz - Note: David Hebert is the 2nd author; An imperfect screen capture of this article is posted here because the ejournal was unfortunately taken offline]. Abstract: This photographic essay documents the first Thai-Maori Musical Exchange Project, which was implemented in June 2005, as a collaboration between the Graduate Program in Music at Chulalongkorn University (Bangkok, Thailand) and the School of Performing Arts at Te Wananga O Aotearoa, New Zealand. The article concludes with theoretical discussion of the myriad ways such endeavors may contribute to intercultural understanding, and proposes new directions for research on international arts exchanges.
2006, Annual Bulletin of Historical Literature
1998, Annual Bulletin of Historical Literature
2000, Annual Bulletin of Historical Literature
This article examines differences of emphasis in Australia and New Zealand in the rituals of Anzac Day, the anniversary of the Gallipoli landings on 25 April 1915. Whereas Anzac Day in New Zealand is solemn, with a focus on the laying of wreaths and services at war memorials and churches, in Australia the day is distinguished more by marches of returned servicemen, cheered by large crowds. By exploring the emphasis on different components of what are shared rituals, on the march of the veterans and the laying of wreaths, the article aims to outline and explain how and why Anzac Day is more funereal in New Zealand. It proceeds to highlight the ‘NZ’ in Anzac through a study of myth, ritual, memorialisation, heroes, and reinvention, and finds that, contrary to accepted views, the conscription debate in Australia is insufficient to account for this divergence of emphasis in Anzac formalities from 1916. Rather the article suggests that the coincidence of the South African War and Australian Federation at the dawn of the twentieth century, different nationalisms, and political, social, and cultural disparities between the dominions provided the context for divergent scripts of remembrance and meaning enacted in Anzac Day rituals since the First World War.
2007, Annual Bulletin of Historical Literature
Since the early 1980s, Māori who are whakawāhine, tangata ira tāne, lesbian, gay, bisexual, trans, intersex or queer have increasingly adopted the identity of ‘takatāpui’ - a traditional Māori term meaning ‘intimate companion of the same sex.’ As the first study on takatāpui identity and well-being, this is fashioned as a Whāriki Takatāpui; a woven mat which lays the foundation for future research and advocacy. Kaupapa Māori research provides the tools for this task while Kaupapa Māori theory ensures the harvest of Māori narratives is underpinned by te reo, tikanga and mātauranga - Māori language, culture and knowledges. The preparation of weaving materials is represented by Mana Wāhine; which considers whakapapa (genealogy), intersectional colonial oppression with an artistic approach to analysing whakataukī (historical metaphor). Mana Motuhake represents the design of the Whāriki; the colours and patterns emanating from the subjective experiences of six leaders who have embraced a...
2014, Australia and New Zealand Journal of Art
2000, Museum International
2006
Thesis now published as a book refer to Puckey, Adrienne, Trading Cultures: A History of the Far North, ISBN 978-1-86969-454-8, published by Huia, 2011. Call Number: 995.12 P97
Susan Ballard, Julian Priest, Melanie Swalwell, Lissa Mitchell, Caroline McCaw, Brit Bunkley, Danny Butt, Sean Cubitt, Trudy Lane
Drawing on four years of online discussion and four face-to-face conferences hosted by the ADA Network, The Aotearoa Digital Arts Reader presents key texts on new media art to a broad audience. Co-edited by Su Ballard and Stella Brennan, and with contributions by major artists and writers from New Zealand and further afield, the Aotearoa Digital Arts Reader remains a critical text documenting digital and media arts in New Zealand. It was published by Clouds Publishing, Auckland in 2008.
A study of Maori who own screen production companies, and their careers journeys and entrepreneurial intentions. The study identified common themes that engendered their entrepreneurship, founded on Maori culture, identity and aspirations for self-determination.
2008
A comprehensive anthology, The Aotearoa Digital Arts Reader provides a snapshot of digital art practice in Aotearoa New Zealand. Editors Stella Brennan and Su Ballard present essays, artists’ pageworks and personal accounts that explore the production and reception of digital art. Ranging from research into the preservation of digital artworks to the environmental impact of electronic culture, from discussions of lo-tech aesthetics to home gaming, and from sophisticated data mapping to pre-histories of new media, this book presents a screen grab of digital art in Aotearoa New Zealand. Edited by Stella Brennan and Su Ballard, designed by Jonty Valentine. Texts by Adam Hyde, Andrew Clifford, Caroline McCaw, Danny Butt, Douglas Bagnall, Eu Jin Chua, Helen Varley Jameison, Jacquie Clarke, Janine Randerson, Julian Oliver, Julian Priest, Karl D.D. Willis, Kurt Adams, Lissa Mitchell, Maree Mills, Melanie Swalwell, Morgan Oliver, Sally Jane Norman, Sean Cubitt & Bevin Yeatman, Stella Brennan, Stephen Cleland, Su Ballard, Trudy Lane & Ian Clothier, Vicki Smith & Adam Hyde, Zita Joyce 240 pages, full colour.
2007, Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology
2006
By developing a body of information about Hone Heke Pokai, the renowned Ngapuhi chief famed for 'chopping down the flagstaff at Kororareka', the objective of this dissertation is to examine his pictorial representations, thus identifying how they have contributed to New Zealand's ...
This is an edited volume. Part 1, comprising six articles, addresses dimensions of contemporary public health approaches to TB, Part 2, comprising five articles, analyses historical policies that contributed to disproportionately high levels of TB among indigenous people in both nations, and Part 3, five articles, presents experiencenear accounts of individuals, families and communities coping with TB in daily life. The individual studies speak to the power of ethnography and ethnohistory in analysing infectious disease and the societies in which it exists. Multiplying and Dividing brings together the work of two multi-disciplinary research groups located in Canada and New Zealand who discovered that they were working along similar lines in their research on historical and contemporary tuberculosis in their respective countries. The volume, the outcome of a joint workshop in Canada in 2006, shows the multiple realities that make up the experience of TB for nations, communities, and ...