Suchergebnisse

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This article sets out to examine the ways in which Indigenous trauma texts employ storytelling as discursive practice and convention to narrate the complex forces of collective and transgenerational traumata. This will be established through an analysis of Tina Makereti's debut novel Where the Rēkohu Bone Sings (2014). Examining trauma narratives within the limited analytic framework of traditional trauma theory remains unsatisfactory with regard to Indigenous texts that deal with the multiple-layered forms of collective and transgenerational trauma. Thus, while informed by literary trauma theory as well as postcolonial studies, my theoretical approach is first and foremost based on Indigenous theories and knowledges, which are crucial to better comprehend the representation and articulation of trauma in Indigenous narratives. Focus will be on examining the Indigenous tradition of storytelling as a narrative mode and convention for Indigenous trauma fiction.
Irene Visser persuasively argues that '[t]he nuanced exploration and conceptualization of the function of indigenous belief systems in the engagement with trauma would constitute a further necessary development in the project of achieving a fully decolonized trauma theory' (Visser 2015: 263). By engaging with Indigenous epistemologies with regard to storytelling in the analysis of Indigenous trauma narratives, this article aims to contribute to the discussion.

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The Cook Islands is an archipelago of fifteen tiny islands scattered across an area of the Pacific that is equivalent in size to Western Europe but with only 13,500 inhabitants. This article describes and discusses the first research on domestic violence to have been conducted throughout the whole of the Cook Islands. Qualitative interviews were conducted on every inhabited island in the country. The participants were Cook Islands women who had been, or who still were, victims of domestic violence. The research aimed to discover whether there was domestic violence throughout the Cook Islands and to hear from the victims about their experiences. The research also had an overarching goal of ensuring that the victims' voices were paramount, in order that they could be heard. In this article, the women tell their compelling stories and, despite the fact that the women come from several different generations and are on isolated islands, the results show that there are remarkable similarities in their stories. These similarities include the methods and types of abuse they experienced and their resultant psychosocial problems. Lastly, the results show that when the similarities in the women's stories are synthesized and compared to existing, worldwide research, this leads to the theory of the Timeline of Abuse, which is published here for the first time.

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This article examines ways in which the concept of resistance – in a postcolonial sense – has been articulated in Maori theatre, and in particular by Maori playwright, actor and poet Apirana Taylor during a period that might be loosely termed the 'Maori renaissance'. Specifically, the article focuses upon how resistance plays out theatrically in Kilimogo Productions' presentation of Taylor's play Whaea Kairau: Mother Hundred-Eater, performed in Otepoti/Dunedin in 1999. Taylor's and Kilimogo's contributions to Maori theatre's function as a theatre of resistance are duly examined. Alongside a postcolonial critical stance, the article evaluates how the Brechtian elements of Verfremdungseffekt, Gestus and historicization can be applied to Maori theatre in a way that complements rather than colonizes. Theatrical strategies found in Taylor's play and Kilimogo's production provide the spectator with the Brechtian experience of Verfremdungseffekt, but simultaneously accommodate the undergirding principles of Kaupapa Maori and Maori tikanga (Maori topics, policies, agendas or initiatives, and customary cultural practices). These theatrical strategies allow for a dialectical engagement between cultural signifiers and texts, and for the possibility of contradiction in the theatrical image. A sense of complex undecidability is consequently evident in Kilimogo's production of Whaea Kairau. Whilst acknowledging Bertolt Brecht's legacy and influence, the article also recognizes his complex status as a canonized theatre-maker in this particular postcolonial context, and therefore looks at ways in which Kilimogo's production both utilizes and interrogates Brecht's tenets.

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Niue, an island country in the South Pacific Ocean, is commonly referred to as the 'rock of Polynesia'. The oval-shaped island is one of the world's largest coral islands and supports a population of 1,460 residents. During focus group discussions with community members from three coastal villages in October 2012, it was evident that the country faces significant contemporary sociocultural changes that present numerous challenges for Niue's long-term future. The core challenges and concerns expressed by participants revolved around outmigration trends, a shift away from traditional subsistence living and increasing dependency on imported food, a decline in traditional practices, and the potential negative effects of a growing tourism industry. While these trends are largely well-known and well-documented for Niue, less attention has been given to how best to reconcile these concerns and the subsequent disjuncture between the 'problem' and 'solution'. This article therefore seeks to document these concerns, and importantly present a way forward for managing them in a way that will see a reversal or slowing of these currently perceived negative trends to ensure the long-term sustainability of Niue and its people.

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