scholarly journals Opening a Discourse on Race Relations in New Zealand: The Fern and the Tiki Revisited

2002 ◽  
Author(s):  
Harry A. Kersey
Keyword(s):  
New Zealand ◽  
Civil Rights ◽  
Race Relations ◽  
Seminal Work ◽  
Aotearoa New Zealand ◽  
1960S And 1970S ◽  
The 1960S ◽  
Intellectual Legacy ◽  
New Zealanders

This article discusses the intellectual legacy of David P. Ausubel in Aotearoa-New Zealand. Some forty years after the American academic's provocative work The Fern and the Tiki first appeared in print it still evokes strong and mixed reactions from Pakeha and Maori alike. It certainly had a searing impact among a generation of New Zealanders who were in universities during the tumultuous civil rights dominated era of the 1960s and 1970s. Even those who have never read the book recognize the title, can name its author, and generally accord it some deference as a seminal work that should be read or reread.

New Zealand School Journals, 1960s-70s

2018 ◽  
pp. 41-47
Author(s):  
Tina White
Keyword(s):  
New Zealand ◽  
Cultural Consciousness ◽  
The World ◽  
School Journal ◽  
1960S And 1970S ◽  
Serial Publication ◽  
The 1960S ◽  
New Zealanders

In this commentary, Tina White draws on her collection of the New Zealand School Journal to illustrate how by the 1960s and 1970s the Journal commissioned content from some of the country’s best writers, illustrators and photographers. Founded in 1907 with the high-minded aim to develop among New Zealand schoolchildren an “appreciation of the higher literature”, it is believed to be the longest running serial publication for children in the world with around 750,000 copies published annually in four parts. Athol McCredie, who writes on the New Zealand photobook in this issue, once described the New Zealand School Journal as an element of New Zealanders’ cultural consciousness – “remembered as evocatively as the smell of stale school milk, the feel of chalk and finger paint, and the steamy atmosphere of a classroom of wet bodies on a rainy day”.

Editorial

2017 ◽  
pp. 2-3
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
New Technologies ◽  
Editorial Team ◽  
Local Market ◽  
Design History ◽  
Recorded Sound ◽  
The Arts ◽  
The World ◽  
1960S And 1970S ◽  
New Zealanders

Kia ora and welcome to the second issue of BackStory. The members of the Backstory Editorial Team were gratified by the encouraging response to the first issue of the journal. We hope that our currentreaders enjoy our new issue and that it will bring others to share our interest in and enjoyment of the surprisingly varied backstories of New Zealand’s art, media, and design history. This issue takes in a wide variety of topics. Imogen Van Pierce explores the controversy around the Hundertwasser Art Centre and Wairau Māori Art Gallery to be developed in Whangarei. This project has generated debate about the role of the arts and civic architecture at both the local and national levels. This is about how much New Zealanders are prepared to invest in the arts. The value of the artist in New Zealand is also examined by Mark Stocker in his article about the sculptor Margaret Butler and the local reception of her work during the late 1930s. The cultural cringe has a long genealogy. New Zealand has been photographed since the 1840s. Alan Cocker analyses the many roles that photography played in the development of local tourism during the nineteenth century. These images challenged notions of the ‘real’ and the ‘artificial’ and how new technologies mediated the world of lived experience. Recorded sound was another such technology that changed how humans experienced the world. The rise of recorded sound from the 1890s affected lives in many ways and Lewis Tennant’s contribution captures a significant tipping point in this medium’s history in New Zealand as the transition from analogue to digital sound transformed social, commercial and acoustic worlds. The New Zealand Woman’s Weekly celebrates its 85th anniversary this year but when it was launched in 1932 it seemed tohave very little chance of success. Its rival, the Mirror, had dominated the local market since its launch in 1922. Gavin Ellis investigates the Depression-era context of the Woman’s Weekly and how its founders identified a gap in the market that the Mirror was failing to fill. The work of the photographer Marti Friedlander (1908-2016) is familiar to most New Zealanders. Friedlander’s 50 year career and huge range of subjects defy easy summary. She captured New Zealanders, their lives, and their surroundings across all social and cultural borders. In the journal’s profile commentary Linda Yang celebrates Freidlander’s remarkable life and work. Linda also discusses some recent images by Friedlander and connects these with themes present in the photographer’s work from the 1960s and 1970s. The Backstory editors hope that our readers enjoy this stimulating and varied collection of work that illuminate some not so well known aspects of New Zealand’s art, media, and design history. There are many such stories yet to be told and we look forward to bringing them to you.

Racism and silencing in the media in Aotearoa New Zealand

2021 ◽  
pp. 117718012110154
Author(s):  
Liana MacDonald ◽  
Adreanne Ormond
Keyword(s):  
New Zealand ◽  
Indigenous Peoples ◽  
Media Industry ◽  
Racial Discourse ◽  
European Descent ◽  
Aotearoa New Zealand ◽  
The Media ◽  
The Subject ◽  
New Zealanders

Racism in the Aotearoa New Zealand media is the subject of scholarly debate that examines how Māori (Indigenous Peoples of New Zealand) are broadcast in a negative and demeaning light. Literature demonstrates evolving understandings of how the industry places Pākehā (New Zealanders primarily of European descent) interests at the heart of broadcasting. We offer new insights by arguing that the media industry propagates a racial discourse of silencing that sustains widespread ignorance of the ways that Pākehā sensibilities mediate society. We draw attention to a silencing discourse through one televised story in 2018. On-screen interactions reproduce and safeguard a harmonious narrative of settler–Indigenous relations that support ignorance and denial of the structuring force of colonisation, and the Television Code of Broadcasting Practice upholds colour-blind perceptions of discrimination and injustice through liberal rhetoric. These processes ensure that the media industry is complicit in racism and the ongoing oppression of Indigenous peoples.

Margaret A. Simons, Rebel at Heart

2021 ◽  
Vol 31 (2) ◽  
pp. 317-335
Author(s):  
Margaret A. Simons ◽  
Erika Ruonakoski
Keyword(s):  
Civil Rights ◽  
Political Activism ◽  
Simone De Beauvoir ◽  
Women’S Liberation ◽  
Male Dominated ◽  
Liberation Movements ◽  
The 1950S ◽  
1960S And 1970S ◽  
The 1960S ◽  
Radical Ideas

Abstract In this interview, Margaret A. Simons describes her path to philosophy and existentialism, her struggles in the male-dominated field in the 1960s and 1970s, and her political activism in the civil rights and women’s liberation movements. She also discusses her encounters with Simone de Beauvoir and Beauvoir’s refusal to own her philosophical originality, suggesting that Beauvoir may have adopted a more conventional narrative of a female intellectual to circumvent the public’s resistance to her radical ideas in the 1950s.

The Antielitist Elite

2016 ◽  
Author(s):  
Clifton Hood
Keyword(s):  
Eighteenth Century ◽  
Civil Rights ◽  
Lower Class ◽  
Class Groups ◽  
Victorian Culture ◽  
Cultural Transformations ◽  
Corporate Elites ◽  
1960S And 1970S ◽  
The 1960S ◽  
New Yorkers

The cultural transformations of the 1960s and 1970s created problems and opportunities for elites. In these decades the upper- and middle classes went from being seen as the wellspring of social virtue in Victorian culture to being perceived as repressed, stuffy, and out of touch; after all, they were the prime beneficiaries of a status quo that was now found wanting. From lording it over commoners in the eighteenth century, to loathing the dangerous classes in the nineteenth century, many elite New Yorkers came around to romanticizing African-Americans and other lower-class groups as exemplars of human spirit and social justice. These actions were in many cases genuine, yet in espousing civil rights causes and tackling discrimination and poverty, in exposing the falseness and superficiality of genteel society, upper-class New Yorkers also established their own heightened sensitivity as anti-elitists and their own legitimacy. Corporate elites thus championed achievement and diversity as the foundation of a more democratic, anti-elitist elite.

Prison autobiographical narratives: Making sense of personal and social (racial) transformation

2019 ◽  
pp. 174165901988011 ◽  
Author(s):  
Vanessa Lynn
Keyword(s):  
Civil Rights ◽  
White Supremacy ◽  
The United States ◽  
Civil Rights Era ◽  
Making Sense ◽  
Racial Solidarity ◽  
Autobiographical Accounts ◽  
1960S And 1970S ◽  
Mainstream Society ◽  
The 1960S

This article investigates autobiographical public narratives of people who are, and were, incarcerated during different regimes of injustices in the United States—from the civil rights era to the current era of mass incarceration. People make sense of their experiences with race and racism through time, from a present standpoint of incarceration or freedom, in retrospect via proximate and distant memories of injustices, and toward a vision of the future. I juxtapose mainstream autobiographies from Malcolm X to Shaka Senghor with public blog posts from individuals incarcerated who provide autobiographical accounts to the world. I find that generations of incarcerated people who came of age during the height of the War on Drugs of the 1980s and 1990s project a narrative of a neoliberal subject who has a more individualistic and de-racialized idea of transforming their moral self and community. This contradicts with the way they portray prison as being a conduit for creating communities of racial solidarity and racial consciousness. Highly influenced and inspired by other narratives of radical prisoners of conscience of the 1960s and 1970s who were prone to view their liberation, and of the Black community, through vanquishing White supremacy, the new generation speaks to the color-blind narratives that pervade mainstream society and possible in narrative interventions correctional program.

Reclaiming the Past, Building a Future: Māori Identity in the Plays of Hone Kouka

2001 ◽  
Vol 26 (1) ◽  
pp. 15-24 ◽  
Author(s):  
William Peterson
Keyword(s):  
Twentieth Century ◽  
New Zealand ◽  
World War I ◽  
The Other ◽  
World War ◽  
The Past ◽  
Aotearoa New Zealand ◽  
Rural And Urban ◽  
The Future ◽  
The 1960S

Hone Kouka's historical plays Nga Tangata Toa and Waiora, created and produced in Aotearoa/New Zealand, one set in the immediate aftermath of World War I, and the other during the great Māori urban migrations of the 1960s, provide fresh insights into the way in which individual Māori responded to the tremendous social disruptions they experienced during the twentieth century. Much like the Māori orator who prefaces his formal interactions with a statement of his whakapapa (genealogy), Kouka reassembles the bones of both his ancestors, and those of other Māori, by demonstrating how the present is constructed by the past, offering a view of contemporary Māori identity that is traditional and modern, rural and urban, respectful of the past and open to the future.

5. Absurdism, protest, and commitment

2016 ◽  
Author(s):  
Kirsten E. Shepherd-Barr
Keyword(s):  
Civil Rights ◽  
Vietnam War ◽  
Civil Rights Movement ◽  
Gay Rights ◽  
Modern Drama ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Many Sources ◽  
The Cold War

The decades 1960–80 witnessed a seismic shift in modern drama. The rage that came to define, and fuel, much of the drama in the 1960s and 1970s is directed at the audience. ‘Absurdism, protest, and commitment’ shows it is a post-war rage stemming from many sources: the Vietnam War, the Cold War, a feeling of betrayal by government and politicians, the Civil Rights Movement, Black Power, gay rights, feminism, the growing gap between rich and poor, and ethnic oppression. It is all about denying the audience what it expects of a play, provoking it out of real or perceived complacency, startling, and offending it. The plays of Pinter, Shepard, Beckett, Stoppard, Friel, and Fugard are discussed.

“Alone in a Sea of Rib-Tips”: Alvenia Fulton, Natural Health, and the Politics of Soul Food1

2019 ◽  
Vol 74 (3) ◽  
pp. 292-315 ◽  
Author(s):  
Travis A Weisse
Keyword(s):  
Civil Rights ◽  
Civil Rights Movement ◽  
Black Americans ◽  
Black Communities ◽  
Natural Food ◽  
Health Food ◽  
Star Power ◽  
1960S And 1970S ◽  
The 1960S ◽  
Food Movement

Abstract While the intersection between alternative medicine and the natural food movement in radical white communities of the 1960s and 1970s is well known, the connection between these traditions and the simultaneous revolution in the black foodscape has not received adequate attention. This paper addresses this gap by exploring how an alternative healer and minister from the rural South, Alvenia Fulton, rose to prominence in Chicago during the 1960s and 1970s as one of the major figures in the transformation of the black diet by harnessing the star power of her celebrity clients. Fulton hybridized her apprenticeship in slave herbalism with concepts from white Protestant health food lectures into a corrective nutrition program to bring health and renewal to black communities that were struggling under the burden of structural and medical racism. When, in the 1960s, coronary heart disease peaked for black Americans, soul food became the iconic diet of the civil rights movement. To help her community while respecting their culture, Fulton struck a careful bargain to encourage more black Americans to eat raw, natural, vegetarian food by subtly reimagining the historical contents of the slave diet.

Education in the Eighties

1980 ◽  
Vol 50 (2) ◽  
pp. 149-153 ◽  
Author(s):  
Francis Keppel
Keyword(s):  
Civil Rights ◽  
Federal Government ◽  
State Government ◽  
Minority Groups ◽  
State Governments ◽  
Federal Programs ◽  
State And Local ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Right

In the 1980s individual states will probably continue to have the major responsibility for education in this country. While the federal government may increase the percentage it contributes to the total costs of education, it will continue to be the junior partner in the enterprise, though one with increasing influence. This junior partner today places more demands on state government than its financial contribution seems to warrant. Conventional wisdom acquired in the 1960s and 1970s suggests that the federal government has set the right agenda on such issues as civil rights, poverty, and policies for minority groups and the handicapped—issues which state governments have generally neglected. But, under the Constitution, the federal government has not had the power to carry out its wishes for education without state and local cooperation. In fact, we often forget that a state's willingness to administer programs effectively is the key to the success of federal programs.

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