scholarly journals Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

2021 ◽  
Author(s):  
◽  
Penelope Baines
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Academic Goals ◽  
Art Galleries ◽  
Core Business ◽  
Aotearoa New Zealand ◽  
Wide Range ◽  
University Communities ◽  
The University ◽  
Museum Practice

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities.  This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”.  This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>

scholarly journals Non-Core Business? An examination of university art galleries in New Zealand Aotearoa

2021 ◽  
Author(s):  
◽  
Penelope Baines
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Academic Goals ◽  
Art Galleries ◽  
Core Business ◽  
Aotearoa New Zealand ◽  
Wide Range ◽  
University Communities ◽  
The University ◽  
Museum Practice

<p>University art galleries are the most common form of campus museum in New Zealand and are increasingly viewed as alternative and innovative interdisciplinary teaching tools. Much of the literature concerning university art galleries discusses the potential of these organisations to act as forums, laboratories and portals for the presentation of diverse ideas within institutions of higher education. Yet these organisations are often overlooked by their parent organisation and considered superfluous to the university’s core business. Despite the ubiquity of university art galleries, little research has been undertaken regarding these organisations within the context of Aotearoa New Zealand. This dissertation explores this issue by examining the ways in which university art galleries have integrated themselves into their university communities.  This dissertation provides a general and concise overview of university art galleries in New Zealand and then presents two in-depth case studies, examining first the Gus Fisher Gallery and then the George Fraser Gallery at the University of Auckland. By utilising a wide range of sources including international and local theoretical literature, interviews, and documentation of public programmes and exhibition histories, these two case studies demonstrate that university art galleries contribute to their parent organisation in a variety of ways. These include serving as an important public interface for the university by showcasing academic and creative scholarship undertaken by the institution’s staff, students, and alumni; acting as a vehicle through which the university can achieve strategic and academic goals and objectives, and assisting the university in fulfilling its duty to act as the “critic and conscience of society”.  This dissertation makes a contribution to museum studies and current museum practice by addressing a gap in the New Zealand literature on this topic. It is the first critical academic analysis of university art galleries in this country situated in relation to British and American theory. In particular, it builds upon and refines Janet Marstine’s argument that university art galleries can lead in the development of the Post-Museum and questions whether Marstine’s theories can apply to the New Zealand context.</p>

scholarly journals Plenary: The legacy of museum ethnography for indigenous people today - case studies from Aotearoa/New Zealand

2015 ◽  
Vol 13 (1) ◽  
pp. 107-118 ◽  
Author(s):  
Arapata Hakiwai ◽  
Paul Diamond
Keyword(s):  
New Zealand ◽  
Cultural Heritage ◽  
Case Studies ◽  
Indigenous People ◽  
Special Issue ◽  
Aotearoa New Zealand ◽  
Museum Professionals ◽  
History Of ◽  
Museum Practice ◽  
People Today

The following plenary took place at the seminar ‘Reassembling the material: A research seminar on museums, fieldwork anthropology and indigenous agency’ held in November 2012 at Te Herenga Waka marae, Victoria University of Wellington, Aotearoa New Zealand. In the papers, indigenous scholars and museum professionals presented a mix of past legacies and contemporary initiatives which illustrated the evolving relations between Māori people, and museums and other cultural heritage institutions in New Zealand. Whereas most of the papers at this seminar, and the articles in this special issue, are focused on the history of ethnology, museums, and government, between about 1900 and 1940, this section brings the analysis up to the present day, and considers the legacy of the indigenous engagement with museums and fieldwork anthropology for contemporary museum practice. What do the findings, which show active and extensive indigenous engagements with museums and fieldwork, mean for indigenous museum professionals and communities today?

scholarly journals Developing training for pioneer ministry in the Church of Scotland: Reflections on grounding pedagogy and lessons in practice from abroad

2019 ◽  
Vol 26 (2) ◽  
pp. 7-27
Author(s):  
Alexander Forsyth
Keyword(s):  
New Zealand ◽  
The Netherlands ◽  
Case Studies ◽  
Theological Education ◽  
Church Of Scotland ◽  
Aotearoa New Zealand ◽  
Historical Tradition ◽  
Training And Support ◽  
The Church

This article focusses on the formation and delivery of training and support for pioneer ministry in the Church of Scotland, by (i) reflecting on recent thinking on the place of theological education in enabling missional vocation; and (ii) presenting three case studies of approaches taken by denominations (in the Netherlands, Germany and Aotearoa New Zealand) which share a similar historical tradition with the Church of Scotland and which have seen similar trajectories of decline.

A Saturated Time: Three Festivals in Poland, 2007

2008 ◽  
Vol 24 (4) ◽  
pp. 307-321
Author(s):  
Murray Edmond
Keyword(s):  
New Zealand ◽  
Associate Professor ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Aotearoa New Zealand ◽  
Theatre Company ◽  
Street Performance ◽  
The University ◽  
Special Time

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

scholarly journals University Leadership for Sustainability: an Active Dendritic Framework for Enabling Connection and Collaboration

2021 ◽  
Author(s):  
◽  
Pamela Margaret Williams
Keyword(s):  
New Zealand ◽  
Education For Sustainability ◽  
University Leadership ◽  
Aotearoa New Zealand ◽  
Sustainability Learning ◽  
Research Findings ◽  
Need For Support ◽  
Sustainability Initiatives ◽  
The University ◽  
Depth Interviews

<p>In a world with increasing environmental and social problems, education is widely accepted as being critical for meeting current and predicted sustainable development issues. This thesis explores possible reasons for the relatively low levels of education-for-sustainability programmes in universities in Aotearoa New Zealand, compared to selected international universities with coherent inter-disciplinary sustainability programmes of learning. The research involved qualitative in-depth interviews with two sub-sets of academic participants teaching in universities, twenty from selected international universities and ten from universities in Aotearoa New Zealand. A grounded theory methodology approach was chosen to analyse the extensive range of qualitative data. Analysis revealed generic essential themes underlying the experiences of the two sets of participants. Key themes included the importance of building connections between distributed sustainability leaders and the need for support from hierarchical university leadership for developing substantive sustainability learning initiatives. A theoretical model is proposed: an active dendritic framework for university leadership for sustainability, for improving collaborative learning within and across disciplinary areas, and building capacity for university-wide learning, leading to establishing coherent sustainability initiatives. Recommendations are offered for improving the uptake of education-forsustainability in universities in Aotearoa New Zealand, based on the research findings and the potential for using the dendritic framework for assisting connection and collaboration between transformational sustainability leaders within the university.</p>

scholarly journals Natural monuments: rethinking arboreal heritage for twenty-first-century Aotearoa New Zealand

2021 ◽  
Author(s):  
◽  
Susette Goldsmith
Keyword(s):  
New Zealand ◽  
Case Studies ◽  
Evaluation Methods ◽  
First Century ◽  
Local Authorities ◽  
Aotearoa New Zealand ◽  
Twenty First Century ◽  
Critical Heritage ◽  
Heritage Discourse ◽  
New Zealanders

<p>The twenty-first century is imposing significant challenges on nature in general with the arrival of climate change, and on arboreal heritage in particular through pressures for building expansion. This thesis examines the notion of tree heritage in Aotearoa New Zealand at this current point in time and questions what it is, how it comes about, and what values, meanings and understandings and human and non-human forces are at its heart. While the acknowledgement of arboreal heritage can be regarded as the duty of all New Zealanders, its maintenance and protection are most often perceived to be the responsibility of local authorities and heritage practitioners. This study questions the validity of the evaluation methods currently employed in the tree heritage listing process, tree listing itself, and the efficacy of tree protection provisions. The thesis presents a multiple case study of discrete sites of arboreal heritage that are all associated with a single native tree species—karaka (Corynocarpus laevigatus). The focus of the case studies is not on the trees themselves, however, but on the ways in which the tree sites fill the heritage roles required of them entailing an examination of the complicated networks of trees, people, events, organisations, policies and politics situated within the case studies, and within arboreal heritage itself. Accordingly, the thesis adopts a critical theoretical perspective, informed by various interpretations of Actor Network Theory and Assemblage Theory, and takes a ‘counter-’approach to the authorised heritage discourse introducing a new notion of an ‘unauthorised arboreal heritage discourse’. The thesis introduces alternative examples of arboreal heritage to the contemporary heritage canon paving the way for other forms of heritage that may remain mired in the expectations of the twentieth century’s authorised heritage discourse. In doing so it elevates arboreal heritage as a valid part of physical heritage and a worthy topic for further critical heritage study. The research findings show that in contemporary Aotearoa New Zealand trees have been active in forging links between the past, the present and the future in new and powerful ways transcending the received evaluation methods and establishing a new rhetoric of arboreal indigeneity. Through the lens of tree registers, the research contributes to a better understanding of both natural heritage and heritage in general and, while firmly placed in the New Zealand context, provides a basis for critical heritage studies of related subjects elsewhere. 2 Little has been written about arboreal heritage in Aotearoa New Zealand. As the first academic study of the topic, the thesis fills gaps in academic and professional knowledge of the tree heritage process. It introduces interdisciplinary ideas, from both the sciences and the humanities, and draws attention to tree heritage as a significant historical, social, economic, cultural and environmental contributor to the well-being of New Zealanders. The case studies demonstrate that effective, contemporary stewardship requires a revised ‘tree sense’ that acknowledges that arboreal heritage is founded on complex and various values, meanings and understandings, and is manifest in many different forms. Drawing on the archival, documentary and empirical research undertaken, the thesis proposes a democratisation of arboreal heritage decision-making, and contributes a set of principles to facilitate the negotiation of arboreal heritage acknowledgement and protection by communities, local authorities and heritage practitioners.</p>

scholarly journals External providers and their impact on Primary Physical Education in Aotearoa/New Zealand.

2020 ◽  
Author(s):  
B Dyson ◽  
Barrie Gordon ◽  
J Cowan ◽  
A McKenzie
Keyword(s):  
Mixed Methods ◽  
New Zealand ◽  
Physical Education ◽  
San Francisco ◽  
Primary Schools ◽  
Qualitative Evaluation ◽  
Classroom Teachers ◽  
Intermediate Schools ◽  
Aotearoa New Zealand ◽  
Wide Range

© 2016 Australian Council for Health, Physical Education and Recreation. Within Aotearoa/New Zealand primary schools, External Providers (EPs) have steadily increased their influence on physical education. The purpose of this study was to explore and interpret classroom teachers’ perspectives of EPs in their primary school. The research team obtained questionnaire responses from 487 classroom teachers from 133 different primary and intermediate schools in six regions across Aotearoa/New Zealand. In addition, 33 classroom teachers, selected from the six regions as a purposive sample [Patton, M. Q. (2002). Qualitative evaluation and research methods (3rd ed.). Newbury, CA: Sage], were interviewed. The research utilised a case-study design [Stake, R. E. (2005). Qualitative case studies. In N. Denzin & Y. Lincoln (Eds.), The sage handbook of qualitative research (3rd ed.). Thousand Oaks, CA: Sage] and incorporated a mixed-methods approach [Greene, J. C. (2007). Mixed methods in social inquiry. San Francisco, CA: Jossey-Bass]. Our findings support the belief that EPs are established as major providers of physical education and sport in the primary schools space. Teachers identified a large number of EPs (n = 638) active in their schools. A number of categories were drawn from the interviews: Prevalence of EPs, Expertise and professional development (PD), Valued programs, Evaluation and assessment of EP provided programs and Pedagogical limitations. The teachers valued the EPs for their expertise, PD and the opportunities for students to experience a wide range of sports. However, schools conducted little assessment or evaluation of the programs. Teachers expressed some criticisms around the pedagogical approaches used and the EPs’ lack of knowledge of the curriculum. As a profession it is our responsibility to ensure that all students experience quality physical education programs and that EPs are working in ways that maximise the benefits for our students.

scholarly journals Performing Arts Festivals, Festivalization and Global Public Sphere: Locating DNT Performances of India and the Māori Performances of Aotearoa/New Zealand in Post-colonial Asia-Pacific

2021 ◽  
Author(s):  
◽  
Swatibahen Bhatt
Keyword(s):  
New Zealand ◽  
Public Sphere ◽  
Case Studies ◽  
Performing Arts ◽  
Indigenous Communities ◽  
Theoretical Models ◽  
Post Colonial ◽  
Aotearoa New Zealand ◽  
Arts Festivals ◽  
Arts Festival

<p>The project aims at theorising the idea of ‘festivalization’ of the local and global public sphere generated by performing arts festivals. The thesis challenges the concept of ‘festival’ in its popular framework of a celebratory event that is well-planned, culture specific and entertaining. I provide three different study models to accommodate my theoretical conceptualization and discuss the theory in detail in context of selected case studies.  The research also seeks to investigate the politics around (re)presentation of indigeneity through the medium of theatre within various socio-political contexts through case studies from several Indigenous theatre groups located in Oceania and beyond. The project offers detailed discussion of the first two theoretical models developed by me in context of case studies from India and Aotearoa/New Zealand followed by an exploration of the artistic festivals and their implications within and beyond Oceania in context of my third and final study model.  The theoretical models study theatre performances in the contexts of their representation, reception and efficacy within the festival generated space as well as the initiatives of Indigenous communities across the globe to create artistic festivals to celebrate their Indigeneity and authority over Indigenous arts. These two focuses together will locate the reception, representation and (re)production of Indigeneity through the medium of theatre within the festivalized space locally and globally. The third study model finally locates the festival itself within both local and global space to explore its political implications within the socio-political context.  I also aim to investigate the politics behind provisions of ‘space’ and ‘funds’ for the international display of indigeneity through international performing arts festivals; and juxtapose the tourist centred performing arts festival against the festival created by the Indigenous communities through funding generated though ‘donations’ made by local communities. The discussions on this segment is focused on the politics of (mis)presentation of indigeneity through hybrid performances alongside exotic traditional indigenous performances on international stages.  As an Indian citizen, crossing multiple boundaries between the so-called third world, indigenous world and metropolitan culture, I am aware about, respect and acknowledge the Indigenous intellectual and cultural property rights. Being a non-Indigenous researcher working with Indigenous communities, I followed the principles of ‘decolonising methodologies’ (Smith, 1999). I am aware and adhered to the matters including self-determination, cultural aspiration, socio-economic mediation, culturally preferred pedagogy, collective philosophy, extended family structures, respect to Treaty of Waitangi and growing respectful relationships as essential aspects of conducting this research. I have applied collectively chosen pedagogy and philosophy when I conducted the interviews within Indigenous communities and when wrote about them in my thesis.  Indigenous theatre within the context of performing arts festival is a rarely explored area of post-colonial studies which makes the present project significant in itself. The project will document original ideas directly from indigenous theatre practitioners and their experiences of participation in international performing arts festivals. And finally, I believe this study could contribute to a better understanding of the politics of international performing arts festivals in (re) producing indigeneity, distinct from their conventional reception as an exotic 'other' culture.</p>

scholarly journals Paradigms on Indigenous Language Revitalisation: the Case of Te Reo Maori in Aotearoa New Zealand and Mapudungun in Chile

2021 ◽  
Author(s):  
◽  
Carina Gallegos
Keyword(s):  
New Zealand ◽  
Indigenous Knowledge ◽  
Case Studies ◽  
Secondary Data ◽  
Indigenous Languages ◽  
Indigenous Language ◽  
Direct Observations ◽  
Aotearoa New Zealand ◽  
Historical Processes ◽  
Language Revitalisation

<p>The existence of systems of indigenous knowledge depend greatly on the existence of indigenous languages. Processes of language revitalisation seek to uphold indigenous knowledge by restoring endangered indigenous languages. Historical processes of colonisation and globalisation in Chile and Aotearoa New Zealand have impacted and threatened each country's indigenous language. This dissertation describes language revitalisation processes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile in order to further understand the implications of language on effectively revitalising indigenous culture and knowledge. The research and analysis presented implements comparative methodology through the use of case studies, direct observations, primary and secondary data sources. In an effort to evaluate and compare outcomes of indigenous language revitalisation schemes of te reo Maori in Aotearoa New Zealand and Mapudungun in Chile, this thesis focuses on case studies in the context of how education programmes in each country approach indigenous language revitalisation.</p>

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