(No. 6)Craccum-1986-060-006.Pdf
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Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Timothy Woon - Magician Illusionist AS IS WORKING TITLE THEATRE Tues 15Th April 8Pm
Auckland University Students Association, Incorporated FREE VOL. 60, NO. 8: 14 APRIL 1986 Rebel Tour to S.A. on ! Umtata (Transkei) — Reuter/Craccum. A "rebel" tour to the apartheid-ridden Boer empire in southern Africa by the inappropriately-named A ll Blacks, New Zealand's national rugby team, will take place, and the team departed from N.Z. yesterday, announced the Puppet President of Transkei. The footballers' visit to Africa is expected to provide much-needed legitimation to the minority Boer regime which controls the southern part of the continent by military oppression and a nuclear-armed airforce. The 30-odd players are expected to each receive about NZ$500,000 for their efforts in backing the regime in this way, although a spokesperson for the NZRU in Wellington, Mr Ces Blazey, declined to either confirm or deny this figure. A Quadrilateral Award for Beret Recovered ! The NZRU is expected to face contempt of court charges Buzz - see Page 5. Dieppe, (France), Reuter. as the players who have gone, while they may not wear the — The DGSE while on an official A ll Blacks uniform, are nevertheless substantially the underwater training mission same as the team named for the abortive tour that was off the coast of Honshu has WE CAN MAKE IT ! recovered a suspicious cancelled by the High Court last year. The Inland Revenue beret with a nametag Dept, confirmed it will "closely monitor" the accounts of 'Graham Peter Jules those who travel to Africa. ELEMENTARY ... Watson' inside, announced the ex-Spokesperson for From Zambia, a spokesperson for the African National says WATSON Sabotage, Monsieur Hernu, Congress, which claims the support of the majority of the today. -
Broadcasting Our Reo and Culture
Putanga 08 2008 CELEBRATING MÄORI ACHIEVEMENT Paenga Whäwhä – Haratua Paenga BROADCASTING OUR REO AND CULTURE 28 MÄORI BATTALION WAIKATO MÄORI NETBALL E WHAKANUI ANA I TE MÄORI 10 FROM THE CHIEF EXECUTIVE – LEITH COMER Putanga GOING FORWARD TOGETHER 08 Tënä tätou katoa, Te Puni Kökiri currently has four bills being considered by 2008 Parliament – the Mäori Trustee and Mäori Development Bill, the Stories in Kökiri highlight the exciting and Mäori Purposes Bill (No 2), the Mauao Historic Reserve Vesting Bill inspirational achievement of Mäori throughout and the Waka Umanga (Mäori Corporations) Bill. New Zealand. Kökiri will continue to be a reservoir These bills, along with other Te Puni Kökiri work programmes, Paenga Whäwhä – Haratua Paenga of Mäori achievement across all economic, social highlight Mäori community priorities, including rangatiratanga, and cultural areas. iwi and Mäori identity, and whänau well-being, while The feedback we are getting is very supportive and encompassing government priorities including national identity, positive and it reinforces the continuation of our families – young and old, and economic transformation. Kökiri publication in its current form. We feel sure that the passage of these bills will lead to more Behind the scenes in areas that do not capture much success stories appearing in Kökiri where Mäori have put the public attention is a lot of important and worthwhile legislative changes to good effect in their communities. policy and legislative work that Te Puni Kökiri is intimately involved in. Leith Comer Te Puni Kökiri – Manahautü 2 TE PUNI KÖKIRI | KÖKIRI | PAENGA WHÄWHÄ – HARATUA 2008 NGÄ KAUPAPA 5 16 46 28 Mäori Battalion 5 Waikato 16 Mäori Netball 46 The 28th annual reunion of 28 Mäori In this edition we profi le Aotearoa Mäori Netball celebrated Battalion veterans, whänau and Te Puni Kökiri’s Waikato region – its 21st National Tournament in Te friends was hosted by Te Tairäwhiti’s its people, businesses, successes Taitokerau with a fantastic display of C Company at Gisborne’s Te Poho and achievements. -
Track Listing:
Track Listing: - DISC ONE - POP / DANCE 1 Arrow - "Hot Hot Hot" 2 Communards - "Dont Leave Me This Way" 3 Patrick Hernandez - "Born To Be Alive" 4 The Jacksons - "Blame It On The Boogie" 5 Kool & The Gang - "Celebration" 6 Madonna - "Like A Virgin" 7 New Order - "Blue Monday" 8 Billy Ocean - "Love Really Hurts Without You" 9 Shamen - "Ebeneezer Goode" 10 Soft Cell - "Tainted Love/Where Did Our Love Go" 11 UB40 - "Red Red Wine" 12 Yazz & The Plastic Population - "The Only Way Is Up" DISC TWO - PARTY 1 Bad Manners - "Can Can" 2 Jeff Beck - "Hi Ho Silver Lining" 3 Black Lace - "Megamix 12"" 4 Brendon - "Gimme Some 12"" 5 Contours - "Do You Love Me" 6 Damian - "Timewarp 12"" 7 Charlie Daniels Band - "Devil Went Down To Georgia" 8 Dexy's Midnight Runners - "Come On Eileen" 9 Dooleys - "Wanted" 10 Four Seasons - "December '63 (Oh What A Night) (Ben Liebrand Remix)" 11 Gap Band - "Oops Upside Your Head" 12 Kaoma - "Lambada" 13 Little Eva - "Locomotion" 14 Los Lobos - "La Bamba" 15 Lulu & The Luvvers - "Shout" 16 Nolans - "I'm In The Mood For Dancing" 17 Piranhas - "Tom Hark" 18 Pogues & The Dubliners - "Irish Rover" 19 Vic Reeves And The Wonder Stuff - "Dizzy" 20 Toy Dolls - "Nellie The Elephant" 21 Traditional - "Stripper" DISC THREE - ALTERNATIVE 1 Carter U.S.M. - "Sheriff Fatman" 2 Clash - "Should I Stay Or Should I Go" 3 Cult - "She Sells Sanctuary" 4 Cure - "Love Cats" 5 Deacon Blue - "Real Gone Kid" 6 Emf - "Unbelievable" 7 Happy Mondays - "Step On" 8 Billy Idol - "White Wedding" 9 Inxs - "Need You Tonight" 10 Jam - "A Town Called Malice" 11 James - "Sit Down" 12 Lenny Kravitz - "Are You Gonna Go My Way?" 13 Martha & The Muffins - "Echo Beach" 14 Nirvana - "Smells Like Teen Spirit" 15 R.E.M. -
This Online Version of the Thesis Uses Different Fonts from the Printed Version Held in Griffith University Library, and the Pagination Is Slightly Different
NOTE: This online version of the thesis uses different fonts from the printed version held in Griffith University Library, and the pagination is slightly different. The content is otherwise exactly the same. Journeys into a Third Space A study of how theatre enables us to interpret the emergent space between cultures Janinka Greenwood M.A., Dip Ed, Dip Tchg, Dip TESL This thesis is submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 1999 Statement This work has not been previously submitted for a degree or diploma in any university, To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Janinka Greenwood 17 December 1999 Acknowledgments Thanks are due to a number of people who have given me support and encouragement in completing this thesis. Firstly I am very grateful for the sustained encouragement and scholarly challenges given by my principal supervisor Associate Professor John O’Toole and also by my co-supervisor Dr Philip Taylor. I appreciate not only their breadth of knowledge in the field of drama, but also their courageous entry into a territory of cultural differences and their insistence that I make explicit cultural concepts that I had previously taken for granted. I am grateful also to Professor Ranginui Walker who, at a stage of the research when I felt the distance between Australia and New Zealand, consented to “look over my shoulder”. Secondly, my sincere thanks go to all those who shared information, ideas and enthusiasms with me during the interviews that are reported in this thesis and to the student teachers who explored with me the drama project that forms the final stage of the study. -
Seeing Ourselves on Stage
Seeing Ourselves on Stage: Revealing Ideas about Pākehā Cultural Identity through Theatrical Performance Adriann Anne Herron Smith Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Otago 2010 Acknowledgements Thanks to my Kaitiaki Rangimoana Taylor My Supervisors: Henry Johnson, Jerry Jaffe, Erich Kolig (2004-July 2006), Martin Tolich (July 2007 onwards) Thanks to my children Ruth Kathryne Cook and Madeline Anne Hinehauone Cook for supporting me in this work. Thanks also to Hilary Halba and Alison East for their help, encouragement and invigorating discussion; to friend and poet Roma Potiki who offered the title for this thesis and also engaged in spirited discussion about its contents; to Monika Smith, Adrienne Jansen, Geesina Zimmermann, Annie Hay Mackenzie and to all of my friends who have supported this project; Thanks to Louise Kewene, Trevor Deaker, Martyn Roberts and Morag Anne Baillie for technical support during this project. Thanks to all of the artists who have made this work possible: Christopher Blake, Gary Henderson, Lyne Pringle, Kilda Northcott, Andrew London and to Hilary Norris, Hilary Halba, Alison East and Lisa Warrington who contributed their time, experience and passion for the work of Aotearoa/New Zealand to this endeavour. ii Abstract This is the first detailed study of New Zealand theatrical performance that has investigated the concepts of a Pākehā worldview. It thus contributes to the growing body of critical analysis of the theatre Aotearoa/New Zealand, and to an overall picture of Pākehā New Zealander cultural identity. The researcher‘s experience of being Pākehā has formed the lens through which these performance works are viewed. -
1 Giant Leap Dreadlock Holiday -- 10Cc I'm Not in Love
Dumb -- 411 Chocolate -- 1975 My Culture -- 1 Giant Leap Dreadlock Holiday -- 10cc I'm Not In Love -- 10cc Simon Says -- 1910 Fruitgum Company The Sound -- 1975 Wiggle It -- 2 In A Room California Love -- 2 Pac feat. Dr Dre Ghetto Gospel -- 2 Pac feat. Elton John So Confused -- 2 Play feat. Raghav & Jucxi It Can't Be Right -- 2 Play feat. Raghav & Naila Boss Get Ready For This -- 2 Unlimited Here I Go -- 2 Unlimited Let The Beat Control Your Body -- 2 Unlimited Maximum Overdrive -- 2 Unlimited No Limit -- 2 Unlimited The Real Thing -- 2 Unlimited Tribal Dance -- 2 Unlimited Twilight Zone -- 2 Unlimited Short Short Man -- 20 Fingers feat. Gillette I Want The World -- 2Wo Third3 Baby Cakes -- 3 Of A Kind Don't Trust Me -- 3Oh!3 Starstrukk -- 3Oh!3 ft Katy Perry Take It Easy -- 3SL Touch Me, Tease Me -- 3SL feat. Est'elle 24/7 -- 3T What's Up? -- 4 Non Blondes Take Me Away Into The Night -- 4 Strings Dumb -- 411 On My Knees -- 411 feat. Ghostface Killah The 900 Number -- 45 King Don't You Love Me -- 49ers Amnesia -- 5 Seconds Of Summer Don't Stop -- 5 Seconds Of Summer She Looks So Perfect -- 5 Seconds Of Summer She's Kinda Hot -- 5 Seconds Of Summer Stay Out Of My Life -- 5 Star System Addict -- 5 Star In Da Club -- 50 Cent 21 Questions -- 50 Cent feat. Nate Dogg I'm On Fire -- 5000 Volts In Yer Face -- 808 State A Little Bit More -- 911 Don't Make Me Wait -- 911 More Than A Woman -- 911 Party People.. -
Rituals of the New Zealand Maori
New Zealand Māori Marae Rituals applied to Theatre Jane Boston in conversation with Annie Ruth to discuss how the social improvisatory framework of encounters on the marae (Maori meeting place) can teach theatre practitioners a great deal about meeting and connecting with audiences. The combination of structure and improvisation, aligned to clarity around role and purpose, can shift the paradigm of the encounter. This event took place at Central School of Speech & Drama on 25 October 2011. Improvisation and structure Karanga (0.00 – 1.57) Tena koutou, tena koutou, tena koutou katoa Welcome, thrice welcome Kō te ipu kawe korero e poipoi ne May the pitcher of our talk nourish us Te kaupapa o te wā With the processes that we share Haria mai ra ngā kotou kete kōreo Bring out the baskets to fill with our mutual talk. E noho tahi tatou e Tena koutou, tena koutou, tena koutou katoa Again welcome, thrice welcome. Whaikōrero Ka mihi tuatahi kia Papatuanuku e takoto nei I greet the earth mother beneath us raua ko Ranginui ki runga and the sky father above us. Te whare ō Central School of Speech & I greet the house of Central tena koe School of Speech and Drama Annie Ruth - A huge welcome to you and thank you for coming today, I want to acknowledge you in the words that I said before. I acknowledged our ancestors yours and mine, I acknowledged the earth mother and the sky father and this place in which we are now gathered. I started with a Karanga with words that were particularly given to me to use in these kinds of occasions, Because this is not when you normally do a Karanga, but I wanted to do something of that sort to give you a visceral feel of what some elements of the Pōwhiri are like so you know a little of what I’m talking about as we go forward. -
Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives
Law Text Culture Volume 14 Law's Theatrical Presence Article 13 2010 ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Mamari Stephens Victoria University, New Zealand Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Stephens, Mamari, ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives, Law Text Culture, 14, 2010, 220-246. Available at:https://ro.uow.edu.au/ltc/vol14/iss1/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Abstract As the 21st century advances, the Māori language (te reo Māori) has remained the primary language of the marae ātea, the bounded space usually positioned in front of the meeting house of a marae complex (Te Puni Kōkiri 2008: 31). Important language components of the rituals of encounter carried out on the marae ātea are also used for similar ritualistic purposes in the Parliamentary debating chamber. These shared language components have been able to survive, in Parliament, throughout 142 years of Māori representation. In fact it appears that the language used in both types of spaces has enabled the formation of an important linguistic and performative framework that has fostered the survival of Māori collective memory as well as Māori political participation. This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol14/iss1/13 ‘Tame Kākā’ Still? Māori Members and the Use of Māori Language in the New Zealand Houses of Representatives Māmari Stephens1 1 Introduction As the 21st century advances, the Māori language (te reo Māori) has remained the primary language of the marae ātea, the bounded space usually positioned in front of the meeting house of a marae complex (Te Puni Kōkiri 2008: 31). -
Verbatim and Māori Theatre Techniques
Verbatim and Māori Theatre Techniques: Documenting People’s Experiences of Hauora Francis Kewene An thesis submitted for a Masters in Arts at the University of Otago, Dunedin New Zealand June 2016 i Karakia Whakataka te hau ki te uru, Whakataka te hau ki te tonga. Kia mākinakina ki uta, Kia mātaratara ki tai. E hī ake ana te atakura He tio, he huka, he hauhū. Haumi e! Hui e! Tāiki e!1 Get ready for the westerly, And prepare for the southerly. It will be icy cold inland, And icy cold on the shore. May the dawn rise red-tipped on ice, And snow, on frost. Join! Gather! Intertwine! 1 Karakia was first published in Māori Mementos, by Charles Davis in 1855. Retrieved 29th April from http://folksong.org.nz/whakataka_te_hau/ ii Abstract The theatrical review group Maranga Mai, emerging out of the political unrest of the 1970s, used drama to challenge New Zealand’s ideology of one people and dispel the myth that Māori and Pākehā2 (a person of predominantly European descent) lived in racial utopia. Maranga Mai used agit-prop theatre to dramatise Māori grievances and struggles against Pākehā hegemony, which were seen as a direct threat to Pākehā definitions of reality (Potiki “Whatungarongaro” 62). Despite the amateur nature of these early Māori theatre groups, it was the power of these Māori-centred stories being told by Maranga Mai that caused social disruption at the time (Walker 226). Looking to Māori activism, through theatre, in the 1970s, and the development of Marae theatre in the 1980s and 90s has been pivotal in considering how I might use theatre to address the current health inequities that exist between Māori and non- Māori in Aotearoa New Zealand. -
Reverse Chameleon in the Kiwi Jungle
Reverse chameleon in the Kiwi jungle: Identity construction of Pasifika theatre makers Thesis submitted in partial fulfilment for the requirements for the Degree Doctor of Philosophy University of Canterbury Kata Fülöp 2012 Word count: 98,765 1 Contents Contents ........................................................................................................................................ 2 1. Chapter 1: Introduction ...................................................................................................... 11 1.1 Thesis structure........................................................................................................... 13 1.2 Methods ...................................................................................................................... 15 1.3 Positioning .................................................................................................................. 15 1.4 Style ............................................................................................................................ 16 2. Chapter 2: Conceptual framework ..................................................................................... 17 2.1 Pacific migration to New Zealand ............................................................................... 17 2.2 Biculturalism and multiculturalism in New Zealand ................................................... 19 2.2.1 Biculturalism ........................................................................................................... 19 2.2.2 -
Tensions and Possibilities the Interplay Of
Tensions and Possibilities The Interplay of ‘Traditional’ Cultural Elements and the Creation of ‘Contemporary’ Rapanui, Māori and Samoan diasporic Theatre He Moto, He Koa Te Hakapiri o te Haka Ara e te Api ki te Aŋa o te A‘amu Api ki Rapanui, Māori e ko Sāmoa Tensiones y Posibilidades La Integración de Elementos Culturales ‘Tradicionales’ en la Creación ‘Contemporánea’ de Teatro Rapanui, Māori y diasporico Samoano Moira Sofia Fortin Cornejo A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Abstract This thesis focuses on notions of ‘traditional’ and ‘contemporary’ theatre in two Pacific Island contexts, Aotearoa and Rapa Nui. It explores how notions of ‘tradition’ are imagined, recreated, and performed through the ‘contemporary’ creative arts, with a particular focus on theatre. It offers insight about culturally-situated understandings of ‘tradition’, and seeks to acknowledge diverse meanings and perceptions of theatre that exist across diverse Pacific Island cultures, languages, and epistemologies. Ideas about what constitutes ‘tradition’ have been significantly impacted by colonial histories, and that these culturally and historically situated ideas have wide-ranging implications for creative possibilities in the ‘contemporary’ performing arts. ‘Traditional’ performances are often seen as acceptable and relevant to Indigenous communities in Aotearoa and Rapa Nui, contributing to processes of cultural reclaiming and revitalisation. Although cultural continuity is a significant theme in Indigenous theatre in Aotearoa and Rapa Nui, the different emphasis placed upon notions of ‘tradition’ across these comparative contexts has led to very different artistic possibilities being available.