scholarly journals Kākahu and gown: The incorporation of kākahu into academical dress in Aotearoa New Zealand with an example of a kākahu worn at a City University of New York graduation ceremony in 2006 - an interview with Sarah Smith

Te Kaharoa ◽  
2019 ◽  
Vol 12 (1) ◽  
Author(s):  
Byron Rangiwai
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
New Zealand ◽  
Political Activism ◽  
Educational Success ◽  
Aotearoa New Zealand ◽  
Educational Initiatives ◽  
History Of ◽  
Newspaper Articles

Evolved from ancient clothing, kākahu or traditional/contemporary Māori garments made from natural or synthetic fibres, or a combination of both, are to Māori, a symbol of honour and prestige. Within the context of academical dress, kākahu may represent to the wearer, ancestry, achievement, and educational success. While the history of academical dress in Aotearoa New Zealand clearly begins, as Noel Cox’s book Academical dress in New Zealand identifies, with the establishment of universities in the nineteenth century, the point at which kākahu were incorporated into academical dress is less clear. The author’s suspicion, based on increased Māori political activism from the 1970s, the explosive growth of Māori-driven educational initiatives in the 1980s, and some newspaper articles commenting on Māori and graduation/academical dress in the 1990s, is that kākahu were incorporated into academical dress in the late 1980s and1990s. This article will discuss the incorporation of kākahu into academical dress in Aotearoa New Zealand. This article will also include an example of a kākahu worn at a City University of New York graduation ceremony in 2006.

Kiwis Against Possums: A Critical Analysis of Anti-Possum Rhetoric in Aotearoa New Zealand

2009 ◽  
Vol 17 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Annie Potts
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Critical Analysis ◽  
Negative Impact ◽  
The Past ◽  
Aotearoa New Zealand ◽  
History Of ◽  
The Subject ◽  
Economic Assets

AbstractThe history of brushtail possums in New Zealand is bleak. The colonists who forcibly transported possums from their native Australia to New Zealand in the nineteenth century valued them as economic assets, quickly establishing a profitable fur industry. Over the past 80 or so years, however, New Zealand has increasingly scapegoated possums for the unanticipated negative impact their presence has had on the native environment and wildlife. Now this marsupial—blamed and despised—suffers the most miserable of reputations and is extensively targeted as the nation's number one pest. This paper examines anti-possum rhetoric in New Zealand, identifying the operation of several distinct—yet related—discourses negatively situating the possum as (a) an unwanted foreign invader and a threat to what makes New Zealand unique; (b) the subject of revenge and punishment (ergo the deserving recipient of exploitation and commodification); and (c) recognizably “cute, but...” merely a pest and therefore unworthy of compassion. This paper argues that the demonization of possums in New Zealand is overdetermined, extreme, and unhelpfully entangled in notions of patriotism and nationalism.

scholarly journals Mana mātātuhi

2021 ◽  
Vol 53 (1) ◽  
Author(s):  
Dr. Johnson Witehira
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Cultural History ◽  
Case Studies ◽  
Visual Communication ◽  
Written Language ◽  
Visual Communication Design ◽  
Communication Design ◽  
Aotearoa New Zealand ◽  
History Of

This article follows the growth of written communication by Aotearoa New Zealand's indigenous Maori. The research focuses on nineteenth century developments, linking four significant areas of Maori writing--tuhi rerehua (calligraphy), tuhi motumotu (printing), tuhi waitohu (lettering), and tatai kupu toi (typography)--into a continuous whakapapa (genealogy) of what might be described as hoahoa whakairoiro Maori. Through a number of fascinating case studies, the research sheds light on the distinctive history of Maori lettering and typography. While some of these subjects have been explored separately within the literature of Maori cultural history, none have connected these practices into a definitive Maori tradition of creating and using letterforms for the purpose of visual communication. Importantly, this work also introduces a number of new kupu Maori relating to Maori visual communication design. For the indigenous Māori of Aotearoa New Zealand, written language remains a relatively new method for communicating and storing information.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Theodore H. Friedgut, Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891, together with Israel Mandelkern, Recollections of a Communist (ed. and annotated Theodore H. Friedgut). Boston: Academic Studies Press, 2014. 199 pp.

2018 ◽  
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Life Experience ◽  
Late Nineteenth Century ◽  
Foster Mother ◽  
History Of ◽  
Late Nineteenth ◽  
Identity Transitions ◽  
Israeli Kibbutz

This chapter reviews the book Stepmother Russia, Foster Mother America: Identity Transitions in the New Odessa Jewish Commune, Odessa, Oregon, New York, 1881–1891 (2014), by Theodore H. Friedgut, together with Israel Mandelkern, Recollections of a Communist (edited and annotated by Theodore H. Friedgut). Stepmother Russia, Foster Mother America is a two-in-one volume that explores an obscure episode in the history of the Jews in the late nineteenth century while at the same time connecting much of its content to the author’s own life experience as a son of western Canada’s Jewish farming colonies and, later, as an ideologically driven halutz on an Israeli kibbutz. Stepmother Russia, Foster Mother America retells one branch of the mostly forgotten history of the Am Olam agricultural movement and brings a new layer into the discussion of global Jewish agrarianism, while Recollections of a Communist offers an edited and annotated version of a memoir written by Mandelkern.

scholarly journals Rethinking nineteenth-century literary culture: British worlds, southern latitudes and hemispheric methods

2021 ◽  
pp. 002198942098201
Author(s):  
Sarah Comyn ◽  
Porscha Fermanis
Keyword(s):  
South Africa ◽  
Nineteenth Century ◽  
New Zealand ◽  
Literary Culture ◽  
Settler Colonialism ◽  
Indigenous Studies ◽  
Literary Cultures ◽  
History Of ◽  
Literary Canons ◽  
Methodological Position

Drawing on hemispheric, oceanic, and southern theory approaches, this article argues for the value of considering the nineteenth-century literary cultures of the southern settler colonies of Australia, New Zealand, and South Africa from within an interconnected frame of analysis. First, because of their distinctive historical and structural conditions; second, because of the density of their interregional networks and relations across intersecting oceanic spaces; and third, because of the long history of racialized imperialist imaginaries of the south. This methodological position rethinks current approaches to “British world” studies in two important ways: first, by decoupling the southern settler colonies from studies of settler colonialism in North America; and second, by rebalancing its metropolitan and northern locus by considering south-south networks and relations across a complex of southern islands, oceans, and continents. Without suggesting either that imperial intercultural exchanges with Britain are unimportant or that there is a culturally homogenous body of pan-southern writing, we argue that nineteenth-century literary culture from colonial Australia, New Zealand, and South Africa — what we call a “southern archive” — can provide a counterbalance to northern biases and provide new purchase on nation-centred literary paradigms — one that reveals not just south-south transnational exchanges and structural homologies between southern genres, themes, and forms, but also allows us to acknowledge the important challenges to foundational accounts of national literary canons initiated by southern theory and Indigenous studies scholars.

Ka mura ka muri: understandings of organ donation and transplantation in Aotearoa New Zealand

2021 ◽  
pp. medhum-2020-012038
Author(s):  
Rhonda Shaw ◽  
Robert Webb
Keyword(s):  
New Zealand ◽  
Organ Donation ◽  
Well Being ◽  
The Body ◽  
Cultural Meanings ◽  
Aotearoa New Zealand ◽  
Values And Beliefs ◽  
History Of ◽  
Research Findings ◽  
Interview Studies

In this article, we refer to the separation of solid organs from the body as bio-objects. We suggest that the transfer of these bio-objects is connected to emotions and affects that carry a range of different social and cultural meanings specific to the context of Aotearoa New Zealand. The discussion draws on research findings from a series of qualitative indepth interview studies conducted from 2008 to 2013 with Māori (the Indigenous people of Aotearoa New Zealand) and Pākehā (European settler New Zealanders) concerning their views on organ donation and transplantation. Our findings show both differences and similarities between Māori and Pākehā understandings of transplantation. Nevertheless, while many Māori draw on traditional principles, values and beliefs to reflect on their experiences in relation to embodiment, gift-giving, identity and well-being, Pākehā tend to subscribe to more Western understandings of identity in terms of health and well-being, in line with international literature on the topic. Rather than reflecting individualistic notions of the body and transplantation as the endpoint of healthcare as do Pākehā, Māori views are linked to wider conceptions of family, ancestry and belonging, demonstrating how different rationalities and ontologies affect practices and understandings surrounding organ transfer technology. In the article, we focus predominantly on Māori perspectives of organ transfer, contextualising the accounts and experiences of our research participants against the backdrop of a long history of settler colonialism and health inequalities in Aotearoa New Zealand.

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