Download Free Whanau Spiralling Like Book in PDF and EPUB Free Download. You can read online Whanau Spiralling Like and write the review.

Winner, 2010 NZSA Jessie Mackay Award for Best First Book of Poetry The judging panel found Marsh's collection exhilarating: "The poems are sensuous but strong, using lush imagery and clear rhythms and repetitions to power them forward." Touching on the poet's community, ancestry, influences, and history, this debut collection of poetry lives up to the meaning behind the artist's name—&“writer of tales.&” The featured verse is sensuous but strong, using lush imagery, clear rhythms, and repetitions to power it forward. With a unique Pacific lyricism, this compendium is structured in three sections that showcase different strengths, from personal poems and political and historical verse to those already destined to become classics. Fighting against historical injustices and exploring the ideas of identity and story—especially those associated with the afakasi or half-caste experience in a postcolonial world—this compilation will gratify fans of poetry everywhere.
"A stunning atlas of the present and future."—Rebecca Solnit, author of several books including Infinite Cities: A Trilogy of Atlases—San Francisco, New Orleans, New York "An impassioned plea to save what remains of these remarkable island communities."—Booklist, starred review One of the Best Science Books of 2023, New Scientist This immersive portal to islands around the world highlights the impacts of sea level rise and shimmers with hopeful solutions to combat it. Atlases are being redrawn as islands are disappearing. What does an island see when the sea rises? Sea Change: An Atlas of Islands in a Rising Ocean weaves together essays, maps, art, and poetry to show us—and make us see—island nations in a warming world. Low-lying islands are least responsible for global warming, but they are suffering the brunt of it. This transportive atlas reorients our vantage point to place islands at the center of the story, highlighting Indigenous and Black voices and the work of communities taking action for local and global climate justice. At once serious and playful, well-researched and lavishly designed, Sea Change is a stunning exploration of the climate and our world's coastlines. Full of immersive storytelling, scientific expertise, and rallying cries from island populations that shout with hope—"We are not drowning! We are fighting!"—this atlas will galvanize readers in the fight against climate change and the choices we all face.
My dissertation considers how poetry by Indigenous writers across Pacific Oceania can sketch relations between human and nonhuman matter, land and ocean, time and space, and planet and cosmos that are attentive to dynamic material configurations, processes of change and emergence, and diverse communal entanglements. The dissertation prioritizes in its analyses work by self-identified Indigenous artists of Pacific Oceania, including Keri Hulme, Kathy Jetn̄il-Kijiner, Phil Kawana, Selina Tusitala Marsh, Jamaica Heolimeleikalani Osorio, and Craig Santos Perez, whose poetic forms run the gamut from anthologized collections to performance art to virtual reality media projects. In reference to Pacific Oceania, a term understood as referring to the geographical regions of Melanesia, Micronesia, and Polynesia, much has been written on the ways poetic forms contend with concepts which include: Indigenous identity and diaspora; the effects of colonialism; the large and diverse array of positions regarding the integrity and vitality of nonhuman nature; and the impact of climate change on Pacific ecologies. I argue that the multitudinous perceptions, relations, and subjectivities within and across these concepts can be better understood by reading these poems in reference to cosmology. The term accounts for branches of the astrophysical sciences as well as for the world systems circumscribed by the cosmologies of individual Indigenous communities across the Pacific. More, by cosmology, I refer to plural articulations of experience and sensation that encompass both worlds of the very large and the very small, within which the human has come to be situated not as isolated from, but as an integral part of the environment. To this end, this dissertation contributes to the interdisciplinary field of the environmental humanities by focusing on poetry and poetic forms responsive to cosmological mediations, reading from them modes of active engagement with and immersion in the connections that exist between and across human and nonhuman persons and environments, the knowledge embedded in each of these connections, and how this knowledge is valued. In effect, this dissertation adds a cosmological extension to environmental humanities scholarship, as well as to the fields of Indigenous studies, archipelagic studies, and spacetime studies. I draw on cosmology as an animating concept, a thematic throughline, and an illustrative tool. This dissertation becomes a cosmological object even as it studies cosmological poems: using analyses mediated by descriptive practice and astrophotographic interludes, the dissertation sanctions an understanding of multiple cosmological world systems whose frameworks both within themselves and in relation to each other are informed by hybridity. Using experiments in illustration and visualization to produce a research project contoured by art and creative description, this hybrid dissertation will consider how cosmology's plural articulations, as well as their representations in poetic practices and forms, invest agencies, both human and nonhuman, with ways to disclose their sense of place in the universe.
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).
This book draws together many previously published articles and book chapters produced by the author over the past 20 years of work in the field of indigenous education. However, rather than just being a compilation of a series of papers, this book is a record of the development of an indigenous approach towards large-scale, theory-based education reform that is now being implemented, in two different forms, in almost half of the secondary schools in New Zealand. Fundamental to this theorising is the understanding, identified by Paulo Freire over forty years ago, that answers to the conditions oppressed peoples find themselves in is not to be found in the language or understandings of the oppressors. Rather, it is to be found in those of the oppressed. This realisation has been confirmed by the examples in this book. The first is seen where it is identified how researching in Maori contexts needs to be conducted dialogically within the world view and understandings of Maori people. Secondly, dialogue in its widest sense is crucial for developing a means whereby Maori students are able to participate successfully in education. The book details how researching the impact of colonization on his mother’s Maori family enabled the author to develop a means of researching within indigenous, Maori contexts. It then details how the lessons learnt here appealed as being a means by which the marginalization of Maori students in mainstream, public school classrooms could be re-theorised, and how schools and education systems could be reorganised so as to support indigenous students to be successful learners.
This is the second volume of memoir by this remarkable Maori writer and of the living myths that inspired him at the beginning of his career. Look at him, the young man on the cover. The year is 1972, he is 28, his first book is about to be published, and he has every reason to kick up his heels. But behind that joyful smile, and the image of a writer footing it in the Pakeha world, there is another narrative, one that Witi has not told before. The story of a native son, struggling to find a place, a voice and an identity, and to put a secret past to rest. This sequel to his award-winning memoir picks up where Maori Boy stopped, following Witi through his triumphs and failures at school and university, to experimenting sexually, searching for love and purpose and to becoming our first Maori novelist. It continues in the same vein as the first volume, which was described by a reviewer as ‘a rich, powerful, multi-layered and totally unique story . . . something every New Zealander should read’.
As soon as she saw it, Miro Mananui knew what it was. An owl, its cryptic colours flaring with the dawn. Who has the owl come for? Whose name has it cried out to Miro Mananui the Matua of the village of Waituhi? In Whanau II, many lives and many stories intersect. The passionate Mattie Jones bears a horrifying secret; Tama Mananui makes the most of an arranged marriage with a woman twenty years older; Nani Paora holds the key to the past and a history filled with bloodshed; and his grandson Pene may well be the key to the future. Pita Mahana's attempts to reinstate the past set in train events that lead to the return of the owl for its victim. At the heart of the novel is Miro Mananuit herself, the Matua, holder of the power of life and death. Whanau II represents an unprecedented return by a contemporary novelist to the characters he first wrote about thirty years ago. Fuelled by passion, politics, psychic power and the search for truth, it reveals a mature writer at the height of his powers.
This open access book crosses disciplinary boundaries to connect theories of environmental justice with Indigenous people's experiences of freshwater management and governance. It traces the history of one freshwater crisis - the degradation of Aotearoa New Zealand's Waipā River- to the settler-colonial acts of ecological dispossession resulting in intergenerational injustices for Indigenous Māori iwi (tribes). The authors draw on a rich empirical base to document the negative consequences of imposing Western knowledge, worldviews, laws, governance and management approaches onto Māori and their ancestral landscapes and waterscapes. Importantly, this book demonstrates how degraded freshwater systems can and are being addressed by Māori seeking to reassert their knowledge, authority, and practices of kaitiakitanga (environmental guardianship). Co-governance and co-management agreements between iwi and the New Zealand Government, over the Waipā River, highlight how Māori are envisioning and enacting more sustainable freshwater management and governance, thus seeking to achieve Indigenous environmental justice (IEJ). The book provides an accessible way for readers coming from a diversity of different backgrounds, be they academics, students, practitioners or decision-makers, to develop an understanding of IEJ and its applicability to freshwater management and governance in the context of changing socio-economic, political, and environmental conditions that characterise the Anthropocene. Meg Parsons is senior lecturer at the University of Auckland, New Zealand who specialises in historical geography and Indigenous peoples' experiences of environmental changes. Of Indigenous and non-Indigenous heritage (Ngāpuhi, Pākehā, Lebanese), Parsons is a contributing author to IPCC's Sixth Assessment of Working Group II report and the author of 34 publications. Karen Fisher (Ngāti Maniapoto, Waikato-Tainui, Pākehā) is an associate professor in the School Environment, University of Auckland, New Zealand. Aotearoa New Zealand. She is a human geographer with research interests in environmental governance and the politics of resource use in freshwater and marine environments. Roa Petra Crease (Ngāti Maniapoto, Filipino, Pākehā) is an early career researcher who employs theorising from feminist political ecology to examine climate change adaptation for Indigenous and marginalised peoples. Recent publications explore the intersections of gender justice and climate justice in the Philippines, and mātuaranga Māori (knowledge) of flooding.--
Patricia Grace's popular first collection – sensitive stories of Maori life which explore Maori spirituality and values and pursue relationships between people, family and races. Also available as an eBook
From the emergence of the chapel and the wharenui in the nineteenth century to the rejuvenation of carving by Apirana Ngata in the 1920s, Maori carving went through a rapid evolution from 1830 to 1930. Focusing on thirty meeting houses, Ngarino Ellis tells the story of Ngati Porou carving and a profound transformation in Maori art. Beginning around 1830, three previously dominant art traditions – waka taua (war canoes), pataka (decorated storehouses) and whare rangatira (chief's houses) – declined and were replaced by whare karakia (churches), whare whakairo (decorated meeting houses) and wharekai (dining halls). Ellis examines how and why that fundamental transformation took place by exploring the Iwirakau School of carving, based in the Waiapu Valley on the East Coast of the North Island. An ancestor who lived around the year 1700, Iwirakau is credited for reinvigorating the art of carving in the Waiapu region. The six major carvers of his school went on to create more than thirty important meeting houses and other structures. During this transformational period, carvers and patrons re-negotiated key concepts such as tikanga (tradition), tapu (sacredness) and mana (power, authority) – embedding them within the new architectural forms whilst preserving rituals surrounding the creation and use of buildings. A Whakapapa of Tradition tells us much about the art forms themselves but also analyzes the environment that made carving and building possible: the patrons who were the enablers and transmitters of culture; the carvers who engaged with modern tools and ideas; and the communities as a whole who created the new forms of art and architecture. This book is both a major study of Ngati Porou carving and an attempt to make sense of Maori art history. What makes a tradition in Maori art? Ellis asks. How do traditions begin? Who decides this? Conversely, how and why do traditions cease? And what forces are at play which make some buildings acceptable and others not? Beautifully illustrated with new photography by Natalie Robertson, and drawing on the work of key scholars to make a new synthetic whole, this book will be a landmark volume in the history of writing about Maori art.