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The perfect guide to the birds of Melanesia - New Caledonia, the Solomons, the Bismarcks and Vanuatu. Written by leading ornithologist Guy Dutson, this Helm Field Guide covers the species-rich Melanesia region of the south-west Pacific, from New Caledonia and the Solomons through the Bismarcks to Vanuatu. This is an increasingly popular destination for tours and travellers, and one that has never before had complete field-guide coverage. For anyone travelling to this Pacific region, this book is an indispensable birdwatching guide. Species accounts include 650 superb illustrations allied with concise written information to aid quick and accurate identification. The cover star is the Kagu, the region's most iconic bird species and a highly sought-after endemic of New Caledonia.
The mission of higher education in the 21st century must address the reconciliation of student learning and experiences through the lens of indigenous education and frameworks. Higher learning institutions throughout the oceanic countries have established frameworks for addressing indigeneity through the infusion of an indigenous perspectives curriculum. The incorporation of island indigenous frameworks into their respective curriculums, colleges, and universities in the oceanic countries has seen positive impact results on student learning, leading to the creation of authentic experiences in higher education landscapes. Learning and Reconciliation Through Indigenous Education in Oceania discusses ways of promoting active student learning and unique experiences through indigenous scholarship and studies among contemporary college students. It seeks to provide an understanding of the essential link between practices for incorporating island indigenous curriculum, strategies for effective student learning, and course designs which are aligned with frameworks that address indigeneity, and that place college teachers in the role of leaders for lifelong learning through indigenous scholarship and studies in Oceania. It is ideal for professors, practitioners, researchers, scholars, academicians, students, administrators, curriculum developers, and classroom designers.
Hundreds of thousands of works of art and artefacts from many parts of the Pacific are dispersed across European museums. They range from seemingly quotidian things such as fish-hooks and baskets to great sculptures of divinities, architectural forms and canoes. These collections constitute a remarkable resource for understanding history and society across Oceania, cross-cultural encounters since the voyages of Captain Cook, and the colonial transformations that have taken place since. They are also collections of profound importance for Islanders today, who have varied responses to their disp.
"Part 1 of the book...deals with the geography of the region and with the biological, linguistic, and archaeological evidence concerning the origins of the Oceanians and their movements into and within the region. Part 2 describes the tools and techniques by which the recent (but not yet markedly Westernized) Oceanians satisfied their basic, pan-human needs, as qualified by their many different, culturally defined, perceptions of those needs...Finally, Part 3 focuses on the varieties of social structures within which those 'technical' activities took place." -from the Prologue
Community Music in Oceania: Many Voices, One Horizon makes a distinctive contribution to the field of community music through the experiences of its editors and contributors in music education, ethnomusicology, music therapy, and music performance. Covering a wide range of perspectives from Australia, Timor-Leste, New Zealand, Japan, Fiji, China, Taiwan, Malaysia, Singapore, and Korea, the essays raise common themes in terms of the pedagogies and practices used, pointing collectively toward one horizon of approach. Yet, contrasts emerge in the specifics of how community musicians fit within the musical ecosystems of their cultural contexts. Book chapters discuss the maintenance and recontextualization of music traditions, the lingering impact of colonization, the growing demands for professionalization of community music, the implications of government policies, tensions between various ethnic groups within countries, and the role of institutions such as universities across the region. One of the aims of this volume is to produce an intricate and illuminating picture that highlights the diversity of practices, pedagogies, and research currently shaping community music in the Asia Pacific.
This interdisciplinary book explores the science and spirituality nexus in the Pacific Islands Region and as such makes a critical contribution to sustainable climate change adaptation in Oceania. In addition to presenting case studies, literary analyses, field projects, and empirical research, the book describes faith-engaged approaches through the prism of: • Context: past, present, and future prospects• Theory: concepts, narratives, and theoretical frameworks• Practice: empirical research and praxis-informed case examples• Doctrine: scriptural contributions and perspectives• Engagement: enlisting religious stakeholders and constituencies Comprising peer-reviewed works by scholars, professionals, and practitioners from across Oceania, the book closes a critical gap in the literature and represents a groundbreaking contribution to holistic climate change adaptation in the Pacific Islands Region that is scientifically sound, spiritually attuned, locally meaningful, and contextually compelling.
Includes the sections "Reviews" and "Bibliographical notes."
An Ocean of Wonder: The Fantastic in the Pacific brings together fifty writers and artists from across Moananuiākea working in myriad genres across media, ranging from oral narratives and traditional wonder tales to creative writing as well as visual artwork and scholarly essays. Collectively, this anthology features the fantastic as present-day Indigenous Pacific world-building that looks to the past in creating alternative futures, and in so doing reimagines relationships between peoples, environments, deities, nonhuman relatives, history, dreams, and storytelling. Wonder is activated by curiosity, humility in the face of mystery, and engagement with possibilities. We see wonder and the fantastic as general modes of expression that are not confined to realism. As such, the fantastic encompasses fantasy, science fiction, magic realism, fabulation, horror, fairy tale, utopia, dystopia, and speculative fiction. We include Black, feminist, and queer futurisms, Indigenous wonderworks, Hawaiian moʻolelo kamahaʻo and moʻolelo āiwaiwa, Sāmoan fāgogo, and other non-mimetic genres from specific cultures, because we recognize that their refusal to adopt restrictive Euro-American definitions of reality is what inspires and enables the fantastic to flourish. As artistic, intellectual, and culturally based expressions that encode and embody Indigenous knowledge, the multimodal moʻolelo in this collection upend monolithic, often exoticizing, and demeaning stereotypes of the Pacific and situate themselves in conversation with critical understandings of the global fantastic, Indigenous futurities, social justice, and decolonial and activist storytelling. In this collection, Oceanic ideas and images surround and connect to Hawaiʻi, which is for the three coeditors, a piko (center); at the same time, navigating both juxtaposition and association, the collection seeks to articulate pilina (relationships) across genres, locations, time, and media and to celebrate the multiplicity and relationality of the fantastic in Oceania.