Over a thousand years ago, the wind, sea currents and stars brought people to the islands that became known as Aotearoa, the land of the long white cloud. Navigate your way through this sumptuously illustrated story of New Zealand. Explore the defining moments of our history, captured by celebrated children's book creator Gavin Bishop, from the Big Bang right through to what might happen tomorrow. Discover Maori legends, layers of meaning and lesser-known facts. A truly special book, Aotearoa- The New Zealand Story deserves a space on every bookshelf, to be taken off and pored over, thumbed and treasured, time and again. Margaret Mahy Book of the Year, New Zealand Book Awards for Children and Young Adults 2018 Elsie Locke Award for Non-fiction, New Zealand Book Awards for Children and Young Adults 2018 Storylines Notable Non-Fiction Award 2018 Best Children's Book, PANZ Book Design Awards 2018 NZ Listener 50 Best Books for Kids 2017 The Sapling Best Books List 2017

Girl of New Zealand presents a nuanced insight into the way violence and colonial attitudes shaped the representation of Māori women and girls. Michelle Erai examines more than thirty images of Māori women alongside the records of early missionaries and settlers in Aotearoa, as well as comments by archivists and librarians, to shed light on how race, gender, and sexuality have been ascribed to particular bodies. Viewed through Māori, feminist, queer, and film theories, Erai shows how images such as Girl of New Zealand (1793) and later images, cartoons, and travel advertising created and deployed a colonial optic. Girl of New Zealand reveals how the phantasm of the Māori woman has shown up in historical images, how such images shape our imagination, and how impossible it has become to maintain the delusion of the “innocent eye.” Erai argues that the process of ascribing race, gender, sexuality, and class to imagined bodies can itself be a kind of violence. In the wake of the Me Too movement and other feminist projects, Erai’s timely analysis speaks to the historical foundations of negative attitudes toward Indigenous Māori women in the eyes of colonial “others”—outsiders from elsewhere who reflected their own desires and fears in their representations of the Indigenous inhabitants of Aotearoa, New Zealand. Erai resurrects Māori women from objectification and locates them firmly within Māori whānau and communities.

The New Zealand Wars were a series of conflicts that profoundly shaped the course and direction of our nation’s history. Fought between the Crown and various groups of Māori between 1845 and 1872, the wars touched many aspects of life in nineteenth century New Zealand, even in those regions spared actual fighting. Physical remnants or reminders from these conflicts and their aftermath can be found all over the country, whether in central Auckland, Wellington, Dunedin, or in more rural locations such as Te Pōrere or Te Awamutu. The wars are an integral part of the New Zealand story but we have not always cared to remember or acknowledge them. Today, however, interest in the wars is resurgent. Public figures are calling for the wars to be taught in all schools and a national day of commemoration was recently established. Following on from the best-selling The Great War for New Zealand, Vincent O'Malley's new book provides a highly accessible introduction to the causes, events and consequences of the New Zealand Wars. The text is supported by extensive full-colour illustrations as well as timelines, graphs and summary tables.

From the point of view of a renowned anthropologist, this invaluable volume narrates the history of a multicultural New Zealand in which both Maori and non-Maori individuals cohabitate. Arguing that the Treaty of Waitangi of 1840—signed by the indigenous Maori and the British—established a foundation from which New Zealanders could grow and prosper, this account demonstrates how two cultures met, disputed, and dealt with diversity. In addition, this unique record analyzes the country's languages and myths and explores how they have influenced New Zealand society. Moving and engaging, this record covers six decades of enlightening field work.

New Zealand history like never before!“ … Look for New Zealand on the map. There is the North Island like some long-necked creature leaping up and away, trying to escape from the South Island and Stewart Island, anxious to have a few adventures on its own. But the South Island, sternly oblong, holds it back and Stewart Island finally anchors it down. ‘You’re not having any adventures without me,’ it mutters. “Don’t think you can leave me behind just because I’m smaller than you two!’“For New Zealand is certainly an adventurous country … we have forests and rocky beaches. We have earthquakes and volcanoes, and pools of boiling mud and these days we also have the All Blacks—a world famous rugby football team. Earthquakes, boiling mud and rugby players! Who could wish for more?“And New Zealand seems to be one of those countries that has crumbs in its bed and needs to wriggle around in order to be comfortable. It buries bits of itself and then pushes other pieces up. It is not one of those countries that lies around peacefully yawning from time to time and having a bit of a snooze …”The famous children’s writer joins forces with her country’s top political cartoonist in this hilarious and irreverent history of Aotearoa—or New Zealand, to use its other name.

"The principle guide to the political context, institutions and processesz of government in New Zealand. It provides readers with a clear and comprehensive introduction to the history, theory and knowledge required to understand the New Zealand political system."--Publisher's description.

From the signing of the Treaty of Waitangi between Indigenous and settler cultures to the emergence of the first-ever state-funded Māori television network, New Zealand has been a hotbed of Indigenous concerns. Given its history of colonization, coping with biculturalism is central to New Zealand life. Much of this “bicultural drama” plays out in the media and is molded by an anxiety surrounding the ongoing struggle over citizenship rights that is seated within the politics of recognition. The Fourth Eye brings together Indigenous and non-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and Māori culture. Examining the Indigenous mediascape, The Fourth Eye shows how Māori filmmakers, actors, and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people. From nineteenth-century Māori-language newspapers to contemporary Māori film and television, the contributors explore a variety of media forms including magazine cover stories, print advertisements, commercial images, and current Māori-language newspapers to illustrate the construction, expression, and production of indigeneity through media. Focusing on New Zealand as a case study, the authors address the broader question: what is Indigenous media? While engaging with distinct themes such as the misrepresentation of Māori people in the media, access of Indigenous communities to media technologies, and the use of media for activism, the essays in this much-needed new collection articulate an Indigenous media landscape that converses with issues that reach far beyond New Zealand. Contributors: Sue Abel, U of Auckland; Joost de Bruin, Victoria U of Wellington; Suzanne Duncan, U of Otago; Kevin Fisher, U of Otago; Allen Meek, Massey U; Lachy Paterson, U of Otago; Chris Prentice, U of Otago; Jay Scherer, U of Alberta; Jo Smith, Victoria U of Wellington; April Strickland; Stephen Turner, U of Auckland.

Spanning nearly two centuries from first contact through to settlement and apology, ​this major work focuses on the human impact of the war in the Waikato, its origins and aftermath.

"In the aftermath of the Christchurch terrorist attacks of 15 March 2019, Prime Minister Jacinda Ardern declared: 'We are all New Zealanders.' These words resonated, an instant meme that asserted our national diversity and inclusiveness and, at the same time, issued a rebuke to hatred and divisiveness. Ko Aotearoa Tātou | We Are New Zealand is bursting with new works of fiction, nonfiction, poetry and visual art created in response to the editors' questions: What is New Zealand now, in all its rich variety and contradiction, darkness and light? Who are New Zealanders? The works flowed in from well-known names and new voices, from writers and artists from Kerikeri to Bluff. Some are teenagers still at school; some are in their eighties. Māori, Pākehā, Pasifika, Asian, new migrants, young voices, queer writers, social warriors ... Aotearoa's many faces are represented in this unique and important compendium. In a society where the arts, especially marginalised arts, are under threat, this anthology shows that creative work can explore, document, interrogate, re-imagine - and celebrate - who we are as citizens of this diverse country, in a diverse world"--Cover flap.