What have Maori been protesting about? What has been achieved? This book provides an overview of the contemporary Maori protest 'movement', a summary of the rationale behind the actions, and a wonderful collection of photographs of the action u the protests, the marches and the toil behind the scenes. And it provides a glimpse of the fruits of that protest u the Waitangi Tribunal and the opportunity to prepare, present and negotiate Treaty settlements; Maori language made an official language; Maori-medium education; Maori health providers; iwi radio and, in 2004, Maori television.

¿I¿m writing this by lamplight. That¿s right. Like Swiss Family Robinson or something. We¿re up here with no electricity or running water, while just across from us and down the road is the real world.¿ Erica Tito had the perfect summer holiday planned. Then her father decided the whole family would pack up and join the protestors at Bastion Point in Auckland. No way! Instead of spending dreamy summer days training Silver, her first-ever horse, Erica and her family have to camp in tents, without basics like running water and electricity. At first, everyone thinks the protest will be over quickly, but as weeks turn into months, it becomes clear that Erica will not be going home and, worse, may never see Silver again. Through Erica's heartfelt diary entries we learn about the daily lives of the protestors, listen in on grand speeches and fiery confrontations between the protestors, Nga ̄ti Wha ̄tua elders, police and politicians. And we witness the distressing eviction of the occupiers ¿ all seen through the eyes of a Maori girl previously unaware of race and land issues. My New Zealand Story is a series of vividly imagined accounts of life in the past ... making history come alive.

A comprehensive, engaging and timely Bakhtinian examination of the ways in which the music and lyrics of Pacific reggae, aspects of performance, a record album cover and the social and political context construct social commentary, resistance and protest. Framed predominantly by the theory and philosophy of Russian literary theorist Mikhail Bakhtin, this innovative investigation of the discourse of Pacific reggae in New Zealand produces a multi-faceted analysis of the dialogic relationships that create meaning in this genre of popular music. It focuses on the award-winning EP What’s Be Happen? by the band Herbs, which has been recognised for its ground-breaking music and social commentary in the early 1980s. Herbs’ songs address the racism and ideology of the apartheid regime in South Africa and the relationship between sport and politics, as well as universally relevant conflicts over race relations, the experiences of migrants, and the historic and ongoing loss of indigenous people’s lands. The book demonstrates the striking compatibility between Bakhtin’s theorisation of utterances as ethical acts and reggae music, along with the Rastafari philosophy that underpins it, which speaks of resistance to social injustice, of ethical values and the kind of society people seek to achieve. It will appeal to a cross-disciplinary audience of scholars in Bakhtin studies; discourse analysis; popular cultural studies; the literary analysis of popular music and lyrics, and those with an interest in the culture and politics of Aotearoa New Zealand and the Pacific region. Chapter 1 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

The most thorough study on the filmmakers who have defined New Zealand cinema from its origins to its current successes.

In Aboriginal and Māori literature, the circle and the spiral are the symbolic metaphors for a never-ending journey of discovery and rediscovery. The journey itself, with its indigenous perspectives and sense of orientation, is the most significant act of cultural recuperation. The present study outlines the fields of indigenous writing in Australia and New Zealand in the crucial period between the mid-1980s and the early 1990s - particularly eventful years in which postcolonial theory attempted to 'centre the margins' and indigenous writers were keen to escape the particular centering offered in search of other positions more in tune with their creative sensibilities. Indigenous writing relinquished its narrative preference for social realism in favour of traversing old territory in new spiritual ways; roots converted into routes. Standard postcolonial readings of indigenous texts often overwrite the 'difference' they seek to locate because critical orthodoxy predetermines what 'difference' can be. Critical evaluations still tend to eclipse the ontological grounds of Aboriginal and Māori traditions and specific ways of moving through and behaving in cultural landscapes and social contexts. Hence the corrective applied in Circles and Spirals - to look for locally and culturally specific tracks and traces that lead in other directions than those catalogued by postcolonial convention. This agenda is pursued by means of searching enquiries into the historical, anthropological, political and cultural determinants of the present state of Aboriginal and Māori writing (principally fiction). Independent yet interrelated exemplary analyses of works by Keri Hulme and Patricia Grace and Mudrooroo and Sam Watson (Australia) provided the 'thick description' that illuminates the author's central theses, with comparative side-glances at Witi Ihimaera, Heretaunga Pat Baker and Alan Duff (New Zealand) and Archie Weller and Sally Morgan (Australia).