Suchergebnisse

Introduction -- War and conflict -- Whakamaumahara ma te wareware: Remembering and forgetting the Taranaki War -- He tino pakanga nui no niu tireni: The 'Great War for New Zealand' in memory and history -- The Whanganui experience resistance and collaboration are valid forms of survival -- Pukehinahina (Gate pā) -- A Ngāti Awa experience -- Te riri a te kooti maumahara -- Remembrance, denial and the New Zealand wars: the road to rā maumahara -- Te kapehu o Tumatauenga way finding as a means of remembering the past.

My research is concerned with the formation of artists as creative subjects in an increasingly neoliberalised art world. This study examines to what extent does the artist-run space offer alternatives to current neoliberal orthodoxy in the art world. There has been little research to understand the lived experiences of emerging visual artists within neoliberalism. The thesis is located in museum studies but stretches beyond this field in an interdisciplinary approach to explore the complexity of what it means to both make art and self-organise. The thesis presents multiple case-study research into three New Zealand artist-run spaces; RM, Enjoy Contemporary Art Space and Meanwhile. Qualitative research brings the experiences of artist-run space participants to the fore through interviews, examining how they understand and articulate their involvement, negotiate tensions over power, and position themselves in an art world that seeks to enfold them in its own narratives. I analyse and discuss the findings through a series of connecting theoretical frameworks—assemblage theory, creative labour and governmentality—which together map the distinct practices that shape, and reshape, the artist-run space. My research contributes to literature on creative workers within neoliberalism, providing new knowledge about tactics and strategies deployed by emerging visual artists to carve space for their activities on their own terms. The thesis argues that while artist-run spaces are embedded in the mainstream through both networks of strategic reciprocity and funding imperatives, the nuances which define an individual artist-run space are both broader and messier than their increasingly formal structure suggests. The identity formation of the artists and creative workers whose hard work and passion keep artist-run spaces going is similarly compromised, confounding simplistic readings. I propose that the notion of 'alternative' is too binary an understanding to describe artist-run spaces within a time of neoliberalism, instead, this thesis seeks to complicate and problematise the term.

"Te Mātāpunenga sets out the terms and concepts of Māori customary law as they are recorded in traditional Māori accounts and historical records, along with modern interpretations of the terms and concepts, the contexts for their cited uses, etymological information, regional differences, and the manner in which customary concepts have been recognised or modified by the legislative and judicial branches of the New Zealand government since 1840. It provides an authoritative point of reference for those wishing to engage in the ongoing public discourse on the future shape of the legal system of our country"--Publisher information

"The Waitangi Tribunal has declared that in the Treaty of Waitangi, Māori agreed to a dual-sovereignty partnership in New Zealand. The chiefs understood that the Governor would have authority over Europeans, whilst Māori would retain full sovereignty over themselves. But is this true? What does the Treaty actually say? And what do the records show of Māori understanding at the time the Treaty was debated? The history of Crown/ Māori conflict in our nation is also now being reinterpreted through the partnership prism. The new view is that the conflict reflected Māori pursuit of the dual-sovereignty partnership allegedly promised in the Treaty. But is this true? What were the conflicts really about? And what were Māori leaders saying about Crown sovereignty during these conflicts? ONE SUN IN THE SKY presents an evidence-based perspective on the question of sovereignty and the Treaty of Waitangi. Whilst a supporter of the Treaty settlements process, Ewen McQueen raises serious questions about the new paradigm of Treaty interpretation. In this book he reviews the historical evidence for how the Treaty was understood by Māori and Pakeha both at the time it was signed in 1840, and for the century which followed. The story he uncovers is rarely heard today. But it is a story which needs telling. Thoroughly researched and fully referenced, this book is a must-read for all New Zealanders. Not just because truth telling about our history is crucial to the future of race relations in our nation - but because our journey together has been a remarkable story"--Back story