This is a beautifully presented book featuring some stunning images and concise accounts of the concepts and values of traditional and contemporary Maori weaving. Featuring some of New Zealand's foremost Maori expert weavers, The Eternal Thread: The Art of Maori Weaving celebrates innovation and development of weaving and plaiting as art forms in modern times while acknowledging the technology developed by weavers through the past centuries.

This highly illustrated book gives step-by-step instructions on how to make your own piupiu, the traditional Maori flax skirt. Experienced Rotorua weaver Leilani Rickard covers everything you need to know - from customary uses of harakeke or flax, to the simple tools you will need to finish the garment. Colour photographs record every phase of the craft process; from selecting the right flax frond to cutting and preparing it; to dyeing the flax through to binding and strengthening the waistband; pattern making; storage of the finished garment and more. The craft advice is accompanied by a gallery of flax skirt creations in both traditional and modern styles.

We Still Here maps the edges of hip-hop culture and makes sense of the rich and diverse ways people create and engage with hip-hop music within Canadian borders. Contributors to the collection explore the power of institutions, mainstream hegemonies, and the processes of historical formation in the evolution of hip-hop culture. Throughout, the volume foregrounds the generative issues of gender, identity, and power, in particular in relation to the Black diaspora and Indigenous cultures. The contributions of artists in the scene are front and centre in this collection, exposing the distinct inner mechanics of Canadian hip hop from a variety of perspectives. By amplifying rarely heard voices within hip-hop culture, We Still Here argues for its power to disrupt national formations and highlights the people and communities who make hip hop happen.

This book tells the story of HMS New Zealand, a battlecruiser paid for by the government of New Zealand at the height of its pro-Imperial ‘jingo’ era in 1909, when Britain’s ally Japan was perceived as a threat in Australasia and the Pacific. Born of the collision between New Zealand’s patriotic dreams and European politics, the tale of HMS New Zealand is further wrapped in the turbulent power-plays at the Admiralty in the years leading up to the First World War. The ship went on to have a distinguished First World War career, when she was present in all three major naval battles – Heligoland, Dogger Bank and Jutland – in the North Sea. The book ‘busts’ many of the myths associated with the ship and her construction, including the intent of the gift, New Zealand’s ability to pay, deployment, and the story behind the piupiu (skirt) and tiki (pendant) that, the crew believed, bestowed special protection upon the vessel. All is inter-woven with the human and social context to create a ‘biography’ of the ship as an expression of human endeavour, in significantly more detail than any of the summaries available in prior accounts. Extensively illustrated, this is a book with appeal to a wide audience, from naval enthusiasts and historians to the general reader with a wider interest in the story of Empire. The use of archival material available only in New Zealand, including the Ship’s Book, adds a dimension and novelty not previously included in histories of this great battlecruiser.

First edition published 1952 as an instructional booklet with title Taniko weaving how to make Maori belts and other useful articles.

I Have Loved Me a Man takes readers inside the social revolution that has moved New Zealand from the 1960s to the present day through the story of the queer Maori performance artist: Mika. Adopted into a white family, Mika learnt Maori culture from the back of a cereal box. He discovered disco in the 1970s, worked with Carmen, Dalvanius Prime, and others to develop outrageous stage shows, and came out on screen with Harvey Keitel, playing a takatapui role in the film The Piano. Mika has never been in the closet: his life has been an ongoing production of both the fabulous and the revolutionary. This highly visual book interweaves research with images hand-picked from Mika's extensive archive to reveal the life and times of a queer brown boy from Aotearoa who took on the big white world.

Ang Lee came to the fore in the 1990s as one of the ‘second wave’ of Taiwanese directors. After studying at New York University, Lee returned to Taiwan where over the next three consecutive years he directed three comedy-dramas focusing on aspects of the East vs. West culture and its impact on the family – Pushing Hands, The Wedding Banquet, Eat Drink Man Woman. Considering Lee’s background it is surprising that he should be approached to direct the most British of novels, Jane Austen’s Sense And Sensibility. It was a tremendous critical and commercial success. Since then Lee’s projects have been both eclectic and striking – he took on the American suburbs of the 1970s and the war-torn American South of the 1860s in The Ice Storm and Ride With The Devil. But it was his triumphant return to the East with Crouching Tiger, Hidden Dragon which has transformed him into an internationally successful director. He followed this with his somewhat flawed foray into the Marvel Universe with Hulk. His heartbreaking adaptation of Annie Proulx’s short story Brokeback Mountain brought him international critical and commercial success. But forever the genre and language-hopping director, Lee’s next films were much smaller in scale and reach – Lust, Caution (a Chinese erotic espionage thriller) and Taking Woodstock (American comedy-drama). His most recent film was an adaptation of Yann Martel’s The Life of Pi pushed the boundaries of CGI animation and showed how a director with great visual flair could enhance a film with 3D. His continual desire for embracing new technology divided critics and audiences for Billy Lynn’s Long Halftime Walk, an adaptation of Ben Fountain’s 2012 Iraq-war set novel, and The Gemini Man with Will Smith. ABOUT THE AUTHOR Ellen Cheshire has a BA (Hons) in Film and English and a MA in Gothic Studies and has taught Film at Undergraduate and A Level. She has published books on Bio-Pics, Audrey Hepburn and The Coen Brothers and contributed chapters to books on James Bond, Charlie Chaplin, Global Film-making, Film Form, Fantasy Films and War Movies. She is also one of a team of four writers for the new A Level WJEC Film Text Book published in 2018. For us, she has written In the Scene: Jane Campion and In the Scene: Ang Lee, and contributed to Silent Women: Pioneers of Cinema eds. Melody Bridges and Cheryl Robson (voted best book on Silent Film 2016) and Counterculture UK: a celebration eds. Rebecca Gillieron and Cheryl Robson. With a foreword by Professor James Wicks James Wicks, Ph.D. writes about pop culture. He is the author of two books. Transnational Representations: The State of Taiwan Cinema in the 1960s and 1970s (Hong Kong University Press, 2014), and An Annotated Bibliography of Taiwan Film Studies (Columbia University Press, 2016) with Jim Cheng and Sachie Noguchi. He grew up in Taiwan, completed his dissertation on Chinese Cinema at the University of California, San Diego in 2010, and is currently a Professor of Literature and Film Studies at Point Loma Nazarene University in San Diego, California where he teaches World Cinema and Postcolonialism courses.

Textiles explores the cultural meaning and exquisite workmanship found in the Museum of International Folk Art's vast collection that spans centuries and includes pieces from seventy countries around the world. Handcrafted work in beautiful, vivid colors typifies the clothing, hats, robes, bedding, and shoes that represent the lives and passions of the people who created and used them. --publisher's description.

In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.