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Māori aspirations in education have not been served by past national policies. It is hard to extinguish the influence of monoculturalism, whereby schools were used to colonise Māori by enforcing linguistic and cultural assimilation. The history of debate on Innovative Learning Environments (ILE) and Flexible Learning Spaces (FLS) demonstrates the ongoing dominance of this Eurocentric, monocultural approach. Official New Zealand education policy and practice follows international trends in school design, moving away from traditional single-cell classrooms towards more open and inter-connected spaces, despite no real evidence concerning the relative effects on learning of each classroom type. Meanwhile, school marae have been around for several decades, but largely ignored in national ILE and FLS policy and research literature. Our experiences lead us to suggest that Māori identity must be ‘built in’ not ‘added on’ to monocultural ILE frameworks, and for this reason, spatiality is crucial in Māori teaching and learning spaces. This article explores the notion of ‘Māori learning spaces.’

At present, there is limited research on the intersection of sex work, takatāpui/LGBTIQ+ communities, and experiences of homelessness in Aotearoa New Zealand. This paper helps to bridge this gap, exploring how takatāpui/LGBTIQ+ people who had been failed by the welfare state engaged in sex work during periods of homelessness, and expressed agency in difficult circumstances. Specifically, we look at sex and sex work as a means to secure basic needs, and in the context of exploitative relationships; the emotional effects of sex work; and safety and policing. A stronger welfare state is needed to provide sufficient support for people to realise an adequate standard of living and treat them with dignity and respect.

Karen Stevenson’s memories of the Aotearoa New Zealand-based Sāmoan artist Johnny Penisula (1941–2023).

At present, there is limited research on the intersection of sex work, takatāpui/LGBTIQ+ communities, and experiences of homelessness in Aotearoa New Zealand. This paper helps to bridge this gap, exploring how takatāpui/LGBTIQ+ people who had been failed by the welfare state engaged in sex work during periods of homelessness, and expressed agency in difficult circumstances. Specifically, we look at sex and sex work as a means to secure basic needs, and in the context of exploitative relationships; the emotional effects of sex work; and safety and policing. A stronger welfare state is needed to provide sufficient support for people to realise an adequate standard of living and treat them with dignity and respect.

At present, there is limited research on the intersection of sex work, takatāpui/LGBTIQ+ communities, and experiences of homelessness in Aotearoa New Zealand. This paper helps to bridge this gap, exploring how takatāpui/LGBTIQ+ people who had been failed by the welfare state engaged in sex work during periods of homelessness, and expressed agency in difficult circumstances. Specifically, we look at sex and sex work as a means to secure basic needs, and in the context of exploitative relationships; the emotional effects of sex work; and safety and policing. A stronger welfare state is needed to provide sufficient support for people to realise an adequate standard of living and treat them with dignity and respect.

At present, there is limited research on the intersection of sex work, takatāpui/LGBTIQ+ communities, and experiences of homelessness in Aotearoa New Zealand. This paper helps to bridge this gap, exploring how takatāpui/LGBTIQ+ people who had been failed by the welfare state engaged in sex work during periods of homelessness, and expressed agency in difficult circumstances. Specifically, we look at sex and sex work as a means to secure basic needs, and in the context of exploitative relationships; the emotional effects of sex work; and safety and policing. A stronger welfare state is needed to provide sufficient support for people to realise an adequate standard of living and treat them with dignity and respect.

Multiliteracies encapsulates literacy that is understood as deictic and plural. Furthermore, advances in digital technologies and digital spaces are encouraging the emergence of new literacy practices and new texts. This phenomenon presents teachers with the need to develop a repertoire of literacy pedagogical approaches that meets these demands. Against this background, this doctoral study sought to gain insights into the understanding, experiences and practices of teachers in their literacy teaching and learning. Underpinned by the theoretical frameworks of multiliteracies pedagogy and personal practical knowledge, this thesis provides an exploration of five teachers’ knowledge and conceptions of multiliteracies, and how they enact multiliteracies pedagogy in Aotearoa New Zealand intermediate classrooms. The participants varied in their backgrounds and years of teaching – ranging from three to ten years. By engaging a narrative inquiry methodology, qualitative data were collected over a period of six months, using narrative semi-structured interviews, whole-day classroom observations, post-observation conversations, and perusal of teaching artefacts. Participants shared their personal teaching philosophies, past and present literacy learning and teaching experiences, and their literacy teaching practices. Within this, they narrated the mentoring support and professional development they received within their schools, student cultural, linguistic and learning diversity, and the integration of digital technologies. Engaging with narrative inquiry has allowed for in-depth insights into teachers’ lived experiences and uncovered the nuances of their literacy knowledge and teaching practices. Based on data analysis which involved a co-construction of the teachers’ narratives and my researcher interpretation, it can be concluded that teachers understand and practise multiliteracies pedagogy instinctively. This includes having an understanding of the broad nature of liter

The COVID-19 pandemic significantly affected global healthcare access and exacerbated pre-pandemic structural barriers. Literature on disabled people’s experiences accessing healthcare is limited, with even less framing healthcare access as a human rights issue. This study documents and critically analyses Deaf people’s healthcare access experiences in Aotearoa New Zealand during the COVID-19 pandemic. Eleven self-identified Deaf individuals participated in semi-structured videoconferencing interviews. Discourse analysis was applied to participant narratives with discourses juxtaposed against a human rights analysis. Barriers influencing healthcare access included: (1) the inability of healthcare providers to communicate appropriately, including a rigid adherence to face mask use; (2) cultural insensitivity and limited awareness of Deaf people’s unique needs; and (3) the impact of ableist assumptions and healthcare delaying care. Barriers to healthcare access represent consecutive breaches of rights guaranteed under the United Nations Convention on the Rights of Persons with Disabilities (CRPD). Such breaches delay appropriate healthcare access and risk creating future compounding effects. Action is required to address identified breaches: (1) The CRPD should also underpin all health policy and practice development, inclusive of pandemic and disaster management responsiveness. (2) Health professionals and support staff should be trained, and demonstrate competency, in Deaf cultural awareness and sensitivity.

We build a rationale for a nuanced approach to raising public awareness of ecological threats through interweaving art, science, and Mātauranga Māori (Indigenous Māori knowledge). The thinking we present emerges from the first phase of a transdisciplinary project, Toi Taiao Whakatairanga, which explores the ways the arts can raise public awareness of two pathogens that are ravaging native trees in Aotearoa New Zealand: Phytopthora agathidicida (kauri dieback) and Austropuccinia psidii (myrtle rust). One of our first steps in the project was to explore understandings of "public” and “awareness” and their relevance to Aotearoa’s ecological, cultural, and political context. This collective task was about developing theory to guide the second phase of the project, in which we would commission nine Māori artists to create new works about kauri dieback and/or myrtle rust. One of the key outcomes of our collective inquiry was a realization of the limits of certain conceptions of public awareness in the settler–colonial contexts. For example, conceptions based on an unproblematized definition of “public” fail to respond adequately to the rights of Indigenous Māori tribes and subtribes to sovereignty over their lands and taonga species. We identify the need for alternatives to transactional conception of public awareness-raising. This includes alternatives that align with te ao Māori (Māori worldviews) and allow for a lack of consensus about the nature of an ecological threat or the required response. We propose that mātauranga Māori and arts practices can be combined with colonial science knowledge to promote different awarenesses in ways that are responsive to difference audiences, acknowledge different knowledge systems, hold space for contested/provisional knowledge, and support the mana motuhake of iwi/hāpū and the ngahere.

We build a rationale for a nuanced approach to raising public awareness of ecological threats through interweaving art, science, and Mātauranga Māori (Indigenous Māori knowledge). The thinking we present emerges from the first phase of a transdisciplinary project, Toi Taiao Whakatairanga, which explores the ways the arts can raise public awareness of two pathogens that are ravaging native trees in Aotearoa New Zealand: Phytopthora agathidicida (kauri dieback) and Austropuccinia psidii (myrtle rust). One of our first steps in the project was to explore understandings of "public” and “awareness” and their relevance to Aotearoa’s ecological, cultural, and political context. This collective task was about developing theory to guide the second phase of the project, in which we would commission nine Māori artists to create new works about kauri dieback and/or myrtle rust. One of the key outcomes of our collective inquiry was a realization of the limits of certain conceptions of public awareness in the settler–colonial contexts. For example, conceptions based on an unproblematized definition of “public” fail to respond adequately to the rights of Indigenous Māori tribes and subtribes to sovereignty over their lands and taonga species. We identify the need for alternatives to transactional conception of public awareness-raising. This includes alternatives that align with te ao Māori (Māori worldviews) and allow for a lack of consensus about the nature of an ecological threat or the required response. We propose that mātauranga Māori and arts practices can be combined with colonial science knowledge to promote different awarenesses in ways that are responsive to difference audiences, acknowledge different knowledge systems, hold space for contested/provisional knowledge, and support the mana motuhake of iwi/hāpū and the ngahere.

This essay seeks to broaden and diversify discussions of the transpacific itineraries that weave throughout Oceania by exploring artistic transactions among Māori, Pasifika, and Chinese peoples that are routed through Aotearoa New Zealand. I consider how New Zealand-based performance artists move beyond US-dominated categories and priorities to expose new relationships between islands and continents, and between Indigenous, diasporic, and immigrant identities and ways of being. I chart this terrain by examining three collaborative, intercultural performance works. The multilayered, photographic series Red Coats + Indians: The Games We Play (2019–20), created by New Zealand-born Sāmoan artist Greg Semu in collaboration with Indigenous Formosans in Taiwan, uses the iconic figure of Captain James Cook as an allegory for Chinese colonialism. Renee Liang’s opera The Bone Feeder (2017) and choreographer Moss Te Ururangi Patterson’s choral and dance ensemble piece Awa: When Two Rivers Collide (2017) trace geographical and spiritual connections between Aotearoa and China, but do so in ways that weave Aotearoa into wider Pacific circuits and crossings. The essay demonstrates the important role of the visual and performing arts in imagining mobilities, dispositioning, place-making, and identities in Oceania, and in highlighting alternative Pacific and Asian linkages and modes of knowledge production.

This essay seeks to broaden and diversify discussions of the transpacific itineraries that weave throughout Oceania by exploring artistic transactions among Māori, Pasifika, and Chinese peoples that are routed through Aotearoa New Zealand. I consider how New Zealand-based performance artists move beyond US-dominated categories and priorities to expose new relationships between islands and continents, and between Indigenous, diasporic, and immigrant identities and ways of being. I chart this terrain by examining three collaborative, intercultural performance works. The multilayered, photographic series Red Coats + Indians: The Games We Play (2019–20), created by New Zealand-born Sāmoan artist Greg Semu in collaboration with Indigenous Formosans in Taiwan, uses the iconic figure of Captain James Cook as an allegory for Chinese colonialism. Renee Liang’s opera The Bone Feeder (2017) and choreographer Moss Te Ururangi Patterson’s choral and dance ensemble piece Awa: When Two Rivers Collide (2017) trace geographical and spiritual connections between Aotearoa and China, but do so in ways that weave Aotearoa into wider Pacific circuits and crossings. The essay demonstrates the important role of the visual and performing arts in imagining mobilities, dispositioning, place-making, and identities in Oceania, and in highlighting alternative Pacific and Asian linkages and modes of knowledge production.

Kaihaukai is a term that describes the sharing and exchanging of traditional foods, an important customary practice for Māori. The Kaihaukai Art Collective centres on the mahika kai (food gathering/processing) of the Ngāi Tahu (Indigenous peoples of Southern New Zealand), which relates to working with traditional foods in their place of origin and includes preparation, gathering, eating, and sharing. Mahika kai assists in the transfer of knowledge and continuation of cultural practices, some of which are at risk of being lost. This paper discusses Kaihauka Art Collective’s contribution to the Tamatea: He Tūtakinga Tuku Iho/Legacies of Encounter exhibition, shown at Te Papa Tongarewa, the Museum of New Zealand from November 2019 to July 2020. The exhibition centred around the acquisition of a painting by William Hodges, which depicts a hulled Māori canoe beside a waterfall in Tamatea (Dusky Sound). The painting was shown with works by renowned New Zealand artists that responded to it. Kaihaukai Art Collective’s response to the exhibition culminated in an installation that included a feast that took place within the gallery. The feast was a narrative that participants consumed in four parts—Ko Te Tai Ao, Ahi Kaa, Disturbed Earth, and Vermin. Through doing this, they became complicit in the resulting legacy of their own encounter with Tamatea. The meal’s remaining detritus—the shells, bones, and other waste—was collected in the form of a midden, a tangible reminder of impact and disruption. This discussion of the installation is contextualised by an exploration of the Māori term mana whenua (relationship to place) and its relationship to mana i te whenua (authority from land).

Book review: Anne Maxwell, Women Photographers of the Pacific World, 1857–1930, New York : Routledge, 2020 . ISBN: 9781032174655, 334 pages, black and white illustrations. S oftcover $USD 48.95.

This is a study of the Sixth Labour Government's policy mandating the teaching of New Zealand histories in all schools and kura by 2022, for all levels of the compulsory curriculum (school years 1-10). This research explores the origins of the policy and asks the question why a policy approach was taken, rather than other approaches available to the Government, or the Ministry of Education, to achieve the policy outcomes. Looking at this through the theoretical frameworks of policy anthropology and applying the non-linear thinking of an assemblage methodology, I explore my own perceptions of this policy. I track the way this policy evolved through the documentation, the public consultation on the curriculum changes, and eventual release of the new curriculum and supporting resources. I argue that various human and non-human actors and influences, which I term components, were arranged in such ways that they created an environment, or zeitgeist, which manifested the policy. In taking this approach I sought to avoid accepting explanations that linear chains of causality led to the policy’s development. Instead, I sought to perceive the components in the environment as actors in a drama choreographed not by discreet forces, but by their own movements causing their interactions, proximities, and intensities to shape the environment from which the policy emerged. This research does not focus on humans and non-human actors but more on the interactions of forces which were generated as they negotiated the paths and shaped the environment in which they themselves exist.

Natalie Robertson is a Māori photographic and moving image artist who currently lives and works in Auckland, Aotearoa New Zealand. Robertson, who is originally from Kawerau in the Bay of Plenty, belongs to the Ngāti Porou tribe. She has very strong ties to the land and to her iwi and as a tribe member shares responsibility for the life force of the Waiapu river. Her work explores Māori knowledge, practices and cultural landscapes, and also engages with conflicting settler and Indigenous relationships to land and place. Customary and contemporary mythologies of the land and space are the framework of Robertson’s work, which also draws on paradoxes of economic development and environmental destruction and the effects that these have had not only on the environment, but also on its inhabitants. This paper examines her art practice, in particular, Uncle Tasman: The Trembling Current that Scars the Earth, a three-screen video installation recorded at geothermal sites in the Eastern Bay of Plenty, and her photographic work The Slow Catastrophe of the Waiapu River, which was exhibited for the first time in Le Havre, France, in 2015 for the exhibition Pacifique(S) Contemporain, curated by Caroline Vercoe and Jacqueline Charles-Rault.

Plotting the evolution and experience of social marketing in Aotearoa New Zealand, this thesis charts a creative landscape of productive future research directions in the field. Starting with the question, “What can the social marketing discipline learn from the unique experience of social marketers in Aotearoa New Zealand?”, the research draws from appreciative inquiry interviews with 20 experienced social marketers and reviews of relevant government documents and published commentaries. Analysis of the findings sparked three substantive papers included in this thesis by publication: two of these have already been published, and one is currently being revised for resubmission. Presented in chapters four to six, the three papers analyse the growth and decline of social marketing in Aotearoa New Zealand; the overlapping functions of social marketing and public relations; and the incorporation of indigenous communities’ values into social marketing. 1. The growth and decline of social marketing In an original developmental framework for social marketing in Aotearoa New Zealand, the first of the three papers tracks four phases through four different governments as follows: (1) Foundation (1984-1990); (2) Establishment (1990-1999); (3) Growth (1999-2008); and (4) Decline (2008-2017). The research found that political support is key to enabling ongoing social marketing contributions to social change and argues for the development of an evidence base for effective communication to political decision-makers to attract such support. 2. Public relations, reputation and social marketing In identifying the strong interdisciplinary nature of social marketing in Aotearoa New Zealand, the second paper focuses on the intersections of public relations, marketing, advertising and health promotion. It illustrates how local definitions of, and practices within, social marketing draw from different disciplines. Social marketing has also been shaped by the nation’s founding document, Te

Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my research place, expanding objective modes of landscape and place representation. I trace a timeline from early landscape photography practice particularly during the British colonisation in New Zealand juxtaposing my photography practice as a counter approach to Eurocentric modes of place representation. This is informed by local Waikato Māori cosmologies and more contemporary readings on place. As a result I conceptualised a theoretical framework around the notion of place imaginaries as a creative platform for the development of expanded photographic modalities., A prática fotográfica contemporânea evoluiu para um amplo campo de possibilidades, um fluxo de modos representacionais que representam emoções, experiências e sentimentos. Paralelamente, a profundidade e as camadas dos lugares oferecem um desafio estimulante para pesquisadores e artistas que desejam explorar criativamente as nuances da terra e da natureza, bem como a “realidade” multissensorial e espacial dos lugares. O Rio Waikato é meu local de pesquisa, localizado na região central da Ilha Norte de Aotearoa, Nova Zelândia. Eu me baseio na prática e na teoria da fotografia contemporânea para desenvolver abordagens multimodais para o meu local de pesquisa, expandindo modos objetivos de fotografia de paisagem e representação de lugar. Eu traço uma linha do tempo a partir da prática inicial da fotografia de paisagem, particularmente durante a colonização britânica na Nova Zelândia, justapondo minha prática fotográfica como uma contra-abordagem aos modos eurocêntricos de representação do lugar. Isso é informado por cosmologias locais Waikato Māori e leituras mais contemporâneas sobre teoria de lugar. Como resultado, conceitualizei um referencial teórico em torno da noção de imaginários de lugar como uma plataforma criativa para o desenvolvimento de modalidades fotográficas expandidas.

Natalie Robertson is a Māori photographic and moving image artist who currently lives and works in Auckland, Aotearoa New Zealand. Robertson, who is originally from Kawerau in the Bay of Plenty, belongs to the Ngāti Porou tribe. She has very strong ties to the land and to her iwi and as a tribe member shares responsibility for the life force of the Waiapu river. Her work explores Māori knowledge, practices and cultural landscapes, and also engages with conflicting settler and Indigenous relationships to land and place. Customary and contemporary mythologies of the land and space are the framework of Robertson’s work, which also draws on paradoxes of economic development and environmental destruction and the effects that these have had not only on the environment, but also on its inhabitants. This paper examines her art practice, in particular, Uncle Tasman: The Trembling Current that Scars the Earth, a three-screen video installation recorded at geothermal sites in the Eastern Bay of Plenty, and her photographic work The Slow Catastrophe of the Waiapu River, which was exhibited for the first time in Le Havre, France, in 2015 for the exhibition Pacifique(S) Contemporain, curated by Caroline Vercoe and Jacqueline Charles-Rault.

Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my research place, expanding objective modes of landscape and place representation. I trace a timeline from early landscape photography practice particularly during the British colonisation in New Zealand juxtaposing my photography practice as a counter approach to Eurocentric modes of place representation. This is informed by local Waikato Māori cosmologies and more contemporary readings on place. As a result I conceptualised a theoretical framework around the notion of place imaginaries as a creative platform for the development of expanded photographic modalities., A prática fotográfica contemporânea evoluiu para um amplo campo de possibilidades, um fluxo de modos representacionais que representam emoções, experiências e sentimentos. Paralelamente, a profundidade e as camadas dos lugares oferecem um desafio estimulante para pesquisadores e artistas que desejam explorar criativamente as nuances da terra e da natureza, bem como a “realidade” multissensorial e espacial dos lugares. O Rio Waikato é meu local de pesquisa, localizado na região central da Ilha Norte de Aotearoa, Nova Zelândia. Eu me baseio na prática e na teoria da fotografia contemporânea para desenvolver abordagens multimodais para o meu local de pesquisa, expandindo modos objetivos de fotografia de paisagem e representação de lugar. Eu traço uma linha do tempo a partir da prática inicial da fotografia de paisagem, particularmente durante a colonização britânica na Nova Zelândia, justapondo minha prática fotográfica como uma contra-abordagem aos modos eurocêntricos de representação do lugar. Isso é informado por cosmologias locais Waikato Māori e leituras mais contemporâneas sobre teoria de lugar. Como resultado, conceitualizei um referencial teórico em torno da noção de imaginários de lugar como uma plataforma criativa para o desenvolvimento de modalidades fotográficas expandidas.

Plotting the evolution and experience of social marketing in Aotearoa New Zealand, this thesis charts a creative landscape of productive future research directions in the field. Starting with the question, “What can the social marketing discipline learn from the unique experience of social marketers in Aotearoa New Zealand?”, the research draws from appreciative inquiry interviews with 20 experienced social marketers and reviews of relevant government documents and published commentaries. Analysis of the findings sparked three substantive papers included in this thesis by publication: two of these have already been published, and one is currently being revised for resubmission. Presented in chapters four to six, the three papers analyse the growth and decline of social marketing in Aotearoa New Zealand; the overlapping functions of social marketing and public relations; and the incorporation of indigenous communities’ values into social marketing. 1. The growth and decline of social marketing In an original developmental framework for social marketing in Aotearoa New Zealand, the first of the three papers tracks four phases through four different governments as follows: (1) Foundation (1984-1990); (2) Establishment (1990-1999); (3) Growth (1999-2008); and (4) Decline (2008-2017). The research found that political support is key to enabling ongoing social marketing contributions to social change and argues for the development of an evidence base for effective communication to political decision-makers to attract such support. 2. Public relations, reputation and social marketing In identifying the strong interdisciplinary nature of social marketing in Aotearoa New Zealand, the second paper focuses on the intersections of public relations, marketing, advertising and health promotion. It illustrates how local definitions of, and practices within, social marketing draw from different disciplines. Social marketing has also been shaped by the nation’s founding document, Te

Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my research place, expanding objective modes of landscape and place representation. I trace a timeline from early landscape photography practice particularly during the British colonisation in New Zealand juxtaposing my photography practice as a counter approach to Eurocentric modes of place representation. This is informed by local Waikato Māori cosmologies and more contemporary readings on place. As a result I conceptualised a theoretical framework around the notion of place imaginaries as a creative platform for the development of expanded photographic modalities., A prática fotográfica contemporânea evoluiu para um amplo campo de possibilidades, um fluxo de modos representacionais que representam emoções, experiências e sentimentos. Paralelamente, a profundidade e as camadas dos lugares oferecem um desafio estimulante para pesquisadores e artistas que desejam explorar criativamente as nuances da terra e da natureza, bem como a “realidade” multissensorial e espacial dos lugares. O Rio Waikato é meu local de pesquisa, localizado na região central da Ilha Norte de Aotearoa, Nova Zelândia. Eu me baseio na prática e na teoria da fotografia contemporânea para desenvolver abordagens multimodais para o meu local de pesquisa, expandindo modos objetivos de fotografia de paisagem e representação de lugar. Eu traço uma linha do tempo a partir da prática inicial da fotografia de paisagem, particularmente durante a colonização britânica na Nova Zelândia, justapondo minha prática fotográfica como uma contra-abordagem aos modos eurocêntricos de representação do lugar. Isso é informado por cosmologias locais Waikato Māori e leituras mais contemporâneas sobre teoria de lugar. Como resultado, conceitualizei um referencial teórico em torno da noção de imaginários de lugar como uma plataforma criativa para o desenvolvimento de modalidades fotográficas expandidas.

At Te Papa Atawhai/Department of Conservation in Aotearoa New Zealand, ‘cultural dif-ferences’ account for some of the difficulties that department staff experience in their interaction with Indigenous Māori in conservation work. To meet the need for better ‘cultural awareness’ of Māori conservation principles, the department has facilitated the development of Te Pūkenga Atawhai, which is an introductory course to Māori views of conservation offered to all department staff. For Māori, the course is also a part of a broader revitalisation process for Māori culture and society and a recognition of their bicultural Treaty partnership with the Crown. The paper investigates how the Te Pūkenga Atawhai course addresses the perceived difficulties with cultural differences between DOC and Māori in conservation work, and how Pou Kura Taiao and participants perceive its usefulness for teaching staff about Māori views of conservation. Some department staff argue that the course has contributed to a better understanding of Māori culture and conservation principles; others that it is too politicised and engages in cultural ‘tokenism’ of little relevance for conservation work.

The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices

Purpose The profession of social work has a long-standing commitment to addressing issues of equity and disadvantage. Giving effect to democratising and decolonising practices in social work education has nevertheless presented challenges for the discipline. An integrated three-part qualitative study was undertaken to consider how social work education in Aotearoa New Zealand operationalises its commitment to an equity agenda particularly through democratising and decolonising practices across three influencing domains: policies, programmes and practices. Methods Three mixed-method, qualitative waves of research were undertaken. A document analysis of the global, Aotearoa and Australian sets of social work education standards formed the first wave. This analysis raised questions about how the equity-based agenda, conceptualised in the twin themes of democratising and decolonising practices, was being operationalised in programmes and in teaching. In the second wave of research, interviews were undertaken with social work education leaders to examine how these two themes were being operationalised across programmes of social work education in Aotearoa. In the third wave of research, focus groups and interviews were undertaken with social work educators more broadly to examine how the equity themes were being operationalised in teaching practices in tertiary institutions in Aotearoa. Findings The findings from the first wave of research identified a number of equity themes, in particular: service user and student participation, student representativeness, indigenous rights and political action, gender and cultural equity, and equitable access for students. The findings from the document analysis specifically relating to democratising and decolonising practices informed Waves 2 and 3 of the research. In Wave 2, leaders identified opportunities for advancing democratising and decolonising practices across three spheres: first, by supporting students, including engaging

Decisions on land utilisation and management have socio-economic and environmental implications. In this study, I use a mixed-methods approach to explore how Māori land governance structures influence decisions on land utilisation and hence greenhouse gas (GHG) emissions associated with rural activities on Māori freehold land. General land and Māori freehold land are the main land statuses in Aotearoa New Zealand. General land, under private ownership, is not subject to the distinct statutory regime of Māori freehold land and can be owned by any New Zealander. Māori freehold, under collective ‘ownership’, is regulated by the Te Ture Whenua Māori Act 1993 (TTWM) and its ‘ownership’ is based on a customary regime and ancestral connections. The TTWM provides a range of legal entities, including the two Māori land governance structures examined in this thesis – Māori incorporations and Ahu Whenua trusts – to facilitate decision-making and to administer land and assets on behalf of the ‘owners’. First, I explore how Māori land governance structures influence decisions on land utilisation and management. I discuss three case studies of Māori farms administered by different governance structures involved in agribusiness. Their decision-making process structure can be separated into two levels: the governance of the land and the operation of the enterprise. Maori land governance structures help to make ‘successful’ decisions, by balancing landowners’ interests with optimal operation and performance of the agribusiness. This success not only depends on the legal constitution of the governance structure, but also on processes that are highly variable due to cultural and social values, and the capability of the board members to reach decisions. Second, I explore decision-making processes concerning carbon farming, an opportunity to receive carbon credits from reforestation or afforestation. Face-to-face semi-structured interviews with a small group of Māori landowners revealed

Decisions on land utilisation and management have socio-economic and environmental implications. In this study, I use a mixed-methods approach to explore how Māori land governance structures influence decisions on land utilisation and hence greenhouse gas (GHG) emissions associated with rural activities on Māori freehold land. General land and Māori freehold land are the main land statuses in Aotearoa New Zealand. General land, under private ownership, is not subject to the distinct statutory regime of Māori freehold land and can be owned by any New Zealander. Māori freehold, under collective ‘ownership’, is regulated by the Te Ture Whenua Māori Act 1993 (TTWM) and its ‘ownership’ is based on a customary regime and ancestral connections. The TTWM provides a range of legal entities, including the two Māori land governance structures examined in this thesis – Māori incorporations and Ahu Whenua trusts – to facilitate decision-making and to administer land and assets on behalf of the ‘owners’. First, I explore how Māori land governance structures influence decisions on land utilisation and management. I discuss three case studies of Māori farms administered by different governance structures involved in agribusiness. Their decision-making process structure can be separated into two levels: the governance of the land and the operation of the enterprise. Maori land governance structures help to make ‘successful’ decisions, by balancing landowners’ interests with optimal operation and performance of the agribusiness. This success not only depends on the legal constitution of the governance structure, but also on processes that are highly variable due to cultural and social values, and the capability of the board members to reach decisions. Second, I explore decision-making processes concerning carbon farming, an opportunity to receive carbon credits from reforestation or afforestation. Face-to-face semi-structured interviews with a small group of Māori landowners revealed

Decisions on land utilisation and management have socio-economic and environmental implications. In this study, I use a mixed-methods approach to explore how Māori land governance structures influence decisions on land utilisation and hence greenhouse gas (GHG) emissions associated with rural activities on Māori freehold land. General land and Māori freehold land are the main land statuses in Aotearoa New Zealand. General land, under private ownership, is not subject to the distinct statutory regime of Māori freehold land and can be owned by any New Zealander. Māori freehold, under collective ‘ownership’, is regulated by the Te Ture Whenua Māori Act 1993 (TTWM) and its ‘ownership’ is based on a customary regime and ancestral connections. The TTWM provides a range of legal entities, including the two Māori land governance structures examined in this thesis – Māori incorporations and Ahu Whenua trusts – to facilitate decision-making and to administer land and assets on behalf of the ‘owners’. First, I explore how Māori land governance structures influence decisions on land utilisation and management. I discuss three case studies of Māori farms administered by different governance structures involved in agribusiness. Their decision-making process structure can be separated into two levels: the governance of the land and the operation of the enterprise. Maori land governance structures help to make ‘successful’ decisions, by balancing landowners’ interests with optimal operation and performance of the agribusiness. This success not only depends on the legal constitution of the governance structure, but also on processes that are highly variable due to cultural and social values, and the capability of the board members to reach decisions. Second, I explore decision-making processes concerning carbon farming, an opportunity to receive carbon credits from reforestation or afforestation. Face-to-face semi-structured interviews with a small group of Māori landowners revealed

Decisions on land utilisation and management have socio-economic and environmental implications. In this study, I use a mixed-methods approach to explore how Māori land governance structures influence decisions on land utilisation and hence greenhouse gas (GHG) emissions associated with rural activities on Māori freehold land. General land and Māori freehold land are the main land statuses in Aotearoa New Zealand. General land, under private ownership, is not subject to the distinct statutory regime of Māori freehold land and can be owned by any New Zealander. Māori freehold, under collective ‘ownership’, is regulated by the Te Ture Whenua Māori Act 1993 (TTWM) and its ‘ownership’ is based on a customary regime and ancestral connections. The TTWM provides a range of legal entities, including the two Māori land governance structures examined in this thesis – Māori incorporations and Ahu Whenua trusts – to facilitate decision-making and to administer land and assets on behalf of the ‘owners’. First, I explore how Māori land governance structures influence decisions on land utilisation and management. I discuss three case studies of Māori farms administered by different governance structures involved in agribusiness. Their decision-making process structure can be separated into two levels: the governance of the land and the operation of the enterprise. Maori land governance structures help to make ‘successful’ decisions, by balancing landowners’ interests with optimal operation and performance of the agribusiness. This success not only depends on the legal constitution of the governance structure, but also on processes that are highly variable due to cultural and social values, and the capability of the board members to reach decisions. Second, I explore decision-making processes concerning carbon farming, an opportunity to receive carbon credits from reforestation or afforestation. Face-to-face semi-structured interviews with a small group of Māori landowners revealed

Kinship norms in Aotearoa New Zealand are inherently heteronormative, constructed out of the settler colonial ideal that a heterosexual couple with children in a nuclear family are the ultimate social unit. This thesis outlines queer experiences of motherhood given this context, highlighting the ways queer people engage with family narratives that implicitly exclude them. By drawing on the stories of six queer individuals, I trace these engagements through the adoption and foster system, usage of assisted reproductive technologies, and finding a sense of belonging and community. In each of these contexts, my participants subvert, reject, and reproduce, heteronormative understandings of family. These accounts primarily draw from in-depth interviews, as well as one instance of participant observation. I analyse the actions of my participants in relationship to LGBTQ+ political stances, examining whether they represent positive progress, or assimilation into heteronormativity. I argue that regardless of political intent, the engagements my participants make with family norms prove the malleability of kinship ideology. Through relating this to the construction of family narratives in Aotearoa New Zealand by settler colonial action, I emphasise that kinship norms are not static nor universal. This thesis posits that if kinship ideology is not naturally arising, or permanent, it has the potential to be remade more inclusively in the future.

Kinship norms in Aotearoa New Zealand are inherently heteronormative, constructed out of the settler colonial ideal that a heterosexual couple with children in a nuclear family are the ultimate social unit. This thesis outlines queer experiences of motherhood given this context, highlighting the ways queer people engage with family narratives that implicitly exclude them. By drawing on the stories of six queer individuals, I trace these engagements through the adoption and foster system, usage of assisted reproductive technologies, and finding a sense of belonging and community. In each of these contexts, my participants subvert, reject, and reproduce, heteronormative understandings of family. These accounts primarily draw from in-depth interviews, as well as one instance of participant observation. I analyse the actions of my participants in relationship to LGBTQ+ political stances, examining whether they represent positive progress, or assimilation into heteronormativity. I argue that regardless of political intent, the engagements my participants make with family norms prove the malleability of kinship ideology. Through relating this to the construction of family narratives in Aotearoa New Zealand by settler colonial action, I emphasise that kinship norms are not static nor universal. This thesis posits that if kinship ideology is not naturally arising, or permanent, it has the potential to be remade more inclusively in the future.

Kinship norms in Aotearoa New Zealand are inherently heteronormative, constructed out of the settler colonial ideal that a heterosexual couple with children in a nuclear family are the ultimate social unit. This thesis outlines queer experiences of motherhood given this context, highlighting the ways queer people engage with family narratives that implicitly exclude them. By drawing on the stories of six queer individuals, I trace these engagements through the adoption and foster system, usage of assisted reproductive technologies, and finding a sense of belonging and community. In each of these contexts, my participants subvert, reject, and reproduce, heteronormative understandings of family. These accounts primarily draw from in-depth interviews, as well as one instance of participant observation. I analyse the actions of my participants in relationship to LGBTQ+ political stances, examining whether they represent positive progress, or assimilation into heteronormativity. I argue that regardless of political intent, the engagements my participants make with family norms prove the malleability of kinship ideology. Through relating this to the construction of family narratives in Aotearoa New Zealand by settler colonial action, I emphasise that kinship norms are not static nor universal. This thesis posits that if kinship ideology is not naturally arising, or permanent, it has the potential to be remade more inclusively in the future.

Kinship norms in Aotearoa New Zealand are inherently heteronormative, constructed out of the settler colonial ideal that a heterosexual couple with children in a nuclear family are the ultimate social unit. This thesis outlines queer experiences of motherhood given this context, highlighting the ways queer people engage with family narratives that implicitly exclude them. By drawing on the stories of six queer individuals, I trace these engagements through the adoption and foster system, usage of assisted reproductive technologies, and finding a sense of belonging and community. In each of these contexts, my participants subvert, reject, and reproduce, heteronormative understandings of family. These accounts primarily draw from in-depth interviews, as well as one instance of participant observation. I analyse the actions of my participants in relationship to LGBTQ+ political stances, examining whether they represent positive progress, or assimilation into heteronormativity. I argue that regardless of political intent, the engagements my participants make with family norms prove the malleability of kinship ideology. Through relating this to the construction of family narratives in Aotearoa New Zealand by settler colonial action, I emphasise that kinship norms are not static nor universal. This thesis posits that if kinship ideology is not naturally arising, or permanent, it has the potential to be remade more inclusively in the future.

Kinship norms in Aotearoa New Zealand are inherently heteronormative, constructed out of the settler colonial ideal that a heterosexual couple with children in a nuclear family are the ultimate social unit. This thesis outlines queer experiences of motherhood given this context, highlighting the ways queer people engage with family narratives that implicitly exclude them. By drawing on the stories of six queer individuals, I trace these engagements through the adoption and foster system, usage of assisted reproductive technologies, and finding a sense of belonging and community. In each of these contexts, my participants subvert, reject, and reproduce, heteronormative understandings of family. These accounts primarily draw from in-depth interviews, as well as one instance of participant observation. I analyse the actions of my participants in relationship to LGBTQ+ political stances, examining whether they represent positive progress, or assimilation into heteronormativity. I argue that regardless of political intent, the engagements my participants make with family norms prove the malleability of kinship ideology. Through relating this to the construction of family narratives in Aotearoa New Zealand by settler colonial action, I emphasise that kinship norms are not static nor universal. This thesis posits that if kinship ideology is not naturally arising, or permanent, it has the potential to be remade more inclusively in the future.

INTRODUCTION: Social work and occupational therapy mental health practitioners face a range of tensions in relation to statutory obligations in the context of maintaining a focus on the ideals of social or occupational justice.APPROACH: The aim of this article is to highlight some of the complexities for social work and occupational therapy practitioners in an environment dominated by a medico-legal worldview. Those complexities include creating and maintaining a therapeutic relationship, adhering to legal obligations; and staying focused on professional values and beliefs. We have explored notions of social justice and occupational justice and undertaken a descriptive chronological review of Aotearoa New Zealand mental health legislation.IMPLICATIONS: We have provided an insight in to some of the key factors that have influenced the development of mental health legislation in this country in relation to social and occupational justice. We have considered how the medico-legal worldview influences staying true to the notions of social and occupational justice and have made suggestions for change relative to practice and the legislation

Historically through to the present day, early childhood education has been the focus of myriad and potent investments; a persistent, if variously inflected, feature is its reforming and progressive impulse. This thesis offers a history of the kindergarten child in Aotearoa New Zealand in which themes of subjectivity, knowledge, temporality, truth, and freedom are central. The history, a form of genealogy (Foucault 1984), examines two moments of significant early education reform in New Zealand. Analysis of these reforms is anchored by, and extends from, the landmark policy statements of Pre-School Education: Report of the Consultative Committee on Pre-School Educational Services (DOE 1947) and Education to be More: Report of the Early Childhood Care and Education Working Group (DOE 1988). Working with diverse historical sources – textual, visual, socio-spatial, expert, professional, and practice oriented – the thesis develops a historical account of these reforms and their respective elaboration as self-consciously new and leading-edge practices. It explores the kindergarten child as the subject of changing progressive discourses through analysis of epistemological and affective investments and close examination of practices within what I conceptualize as free-play, developmental pedagogies of freedom (late 1940s and 1950s), and sociocultural learning pedagogies of empowerment (late 1990s and 2000s). The identified pedagogies and their respective conditions of reform are situated in juxtaposed rather than linear temporal relations. That is, I conceptualize them as two differently liberating “timespaces” (Baker 2001, 24), each animated by fervently held understandings of the nature of young children, and what their good education should entail. Engaging a non-binary and practical understanding of processes of subject formation, I understand the pedagogies, spaces, concepts, materials, and practices under examination as technologies of government and subjectivity, an

This thesis explores some of the seductions and dangers of participatory video for research (PVR) involving Indigenous Māori and Pākehā research partners. The project within which PVR was used focused on exploring relationships between place, identity and social cohesion within ‘remote’ rural communities. It involved about 15 members of the Potaka whānau of Te Iwi o Ngāti Hauiti in the central Rangitīkei district of the North Island, Aotearoa New Zealand. A small group of iwi members, myself and an audiovisual specialist and trainer negotiated the project’s focus, process and ethics during 1998. A different group of iwi members were then trained in video production and community research methods later that year and supported to produce their own productions, and carry out video research interviews with other iwi members. The entire process of negotiation, training and collaborative research was filmed for archival and research purposes with everyone’s consent, and several collaborative publications and presentations have been produced since 1999. The discursive space opened up by Ngāti Hauiti’s engagement with, and use of, video provides an opportunity to attend to the ‘cultural mediations’ that occurred throughout the research partnership and to inquire into the possible ‘empire building effects’ of visual technologies within participatory research more generally. The focus on PVR within a Māori context also prompts questions about the visual’s transformative potential within geographic research, and the implications of working through the use of a visual medium for rethinking disciplinary practices and knowledges, particularly when working cross-culturally. In the thesis, I first review the evolution and attendant challenges associated with both the use of participation and video within research contexts. I trace their similar origins in modernist attempts to ‘know’ and ‘empower’ marginalised others, and highlight the ongoing marginalisation of Indigenous perspect

This thesis explores some of the seductions and dangers of participatory video for research (PVR) involving Indigenous Māori and Pākehā research partners. The project within which PVR was used focused on exploring relationships between place, identity and social cohesion within ‘remote’ rural communities. It involved about 15 members of the Potaka whānau of Te Iwi o Ngāti Hauiti in the central Rangitīkei district of the North Island, Aotearoa New Zealand. A small group of iwi members, myself and an audiovisual specialist and trainer negotiated the project’s focus, process and ethics during 1998. A different group of iwi members were then trained in video production and community research methods later that year and supported to produce their own productions, and carry out video research interviews with other iwi members. The entire process of negotiation, training and collaborative research was filmed for archival and research purposes with everyone’s consent, and several collaborative publications and presentations have been produced since 1999. The discursive space opened up by Ngāti Hauiti’s engagement with, and use of, video provides an opportunity to attend to the ‘cultural mediations’ that occurred throughout the research partnership and to inquire into the possible ‘empire building effects’ of visual technologies within participatory research more generally. The focus on PVR within a Māori context also prompts questions about the visual’s transformative potential within geographic research, and the implications of working through the use of a visual medium for rethinking disciplinary practices and knowledges, particularly when working cross-culturally. In the thesis, I first review the evolution and attendant challenges associated with both the use of participation and video within research contexts. I trace their similar origins in modernist attempts to ‘know’ and ‘empower’ marginalised others, and highlight the ongoing marginalisation of Indigenous perspect

This thesis explores some of the seductions and dangers of participatory video for research (PVR) involving Indigenous Māori and Pākehā research partners. The project within which PVR was used focused on exploring relationships between place, identity and social cohesion within ‘remote’ rural communities. It involved about 15 members of the Potaka whānau of Te Iwi o Ngāti Hauiti in the central Rangitīkei district of the North Island, Aotearoa New Zealand. A small group of iwi members, myself and an audiovisual specialist and trainer negotiated the project’s focus, process and ethics during 1998. A different group of iwi members were then trained in video production and community research methods later that year and supported to produce their own productions, and carry out video research interviews with other iwi members. The entire process of negotiation, training and collaborative research was filmed for archival and research purposes with everyone’s consent, and several collaborative publications and presentations have been produced since 1999. The discursive space opened up by Ngāti Hauiti’s engagement with, and use of, video provides an opportunity to attend to the ‘cultural mediations’ that occurred throughout the research partnership and to inquire into the possible ‘empire building effects’ of visual technologies within participatory research more generally. The focus on PVR within a Māori context also prompts questions about the visual’s transformative potential within geographic research, and the implications of working through the use of a visual medium for rethinking disciplinary practices and knowledges, particularly when working cross-culturally. In the thesis, I first review the evolution and attendant challenges associated with both the use of participation and video within research contexts. I trace their similar origins in modernist attempts to ‘know’ and ‘empower’ marginalised others, and highlight the ongoing marginalisation of Indigenous perspect