ORDINARY COUNCIL PUBLIC MINUTES WEDNESDAY 26 APRIL 2017 AT 1.05PM Council Members >> The Mayor, Councillor Jenny Hill Councillor Russ Cook Councillor Verena Coombe Councillor Colleen Doyle Councillor Ann-Maree Greaney Councillor Paul Jacob Councillor Mark Molachino Councillor Kurt Rehbein Councillor Margie Ryder Councillor Maurie Soars Councillor Les Walker At this meeting contributions made by members of the public may be recorded by way of audio recording which will be used for the purpose of developing minutes of the meeting and decision making of council. Townsville City Council is bound by the Information Privacy Act 2009 to protect the privacy of personal information. Under Local Law 1 Section 35(3) a person must not make an audio or video recording of a local government meeting, a standing committee meeting, a special committee meeting or an advisory committee meeting unless the chairperson at the meeting gives consent in writing to the recording of the meeting. Further information may be found on council's website at www.townsville.qld.gov.au. TOWNSVILLE CITY COUNCIL ORDINARY COUNCIL WEDNESDAY 26 APRIL 2017 Goals and Strategies of Townsville City Council >> Corporate Plan >> Goal 1: Economic Sustainability - A strong diverse economy which provides opportunities for business and investment with an integrated approach to long term planning where the city’s assets meet the community needs. 1.1 Create economic opportunities for Townsville to drive economic and community prosperity. 1.2 Maximise opportunities through engagement and partnership with stakeholder achieve a strong resilient economy. 1.3 Utilise the City Plan to inform the development of current and future infrastructure needs of Townsville.
Policy Grants Pass Department of Public Safety 4XX Fire Policy Manual Fire Performance Art Permit 4XX.1 PURPOSE AND SCOPE The purpose of this policy is to provide guidelines to advise fire performance venues and artists of safety considerations and practices consistent with fire and life safety codes and public assembly safety concerns. 4XX.2 POLICY This policy applies to all acts of fire performance art occurring within all areas in which Grants Pass Department of Public Safety has authority. Fire art refers to performances or demonstrations such as fire breathing, fire juggling, fire dancing, etc. Not included: pyrotechnics and flame effects (these are addressed in a different policy and require a separate permit). The business owner, event coordinator and the fire performer are responsible for all aspects of fire and life safety. Failure to possess a current permit and follow the minimum requirements set forth in this document may result in revocation of permit, future permits and/or issuing of citation(s). Fire performance artists shall: 1. Be at least 18 years of age. a. EXCEPTION: Performers age 16 to 18 may be allowed at the discretion of the Fire Marshal’s Office with written consent from a parent or legal guardian. They must be under the direct supervision of an adult fire performance troupe leader or instructor. 2. Have valid, state issued identification and Fire Performance Permit readily accessible at each performance. 3. Audience: It should be recognized that audiences, especially youthful ones, may not fully understand the dangers associated with fire performance art. Every effort should be made to emphasize the safety precautions and dangers of such activity.
Culture and the Place of Haka in Commemoration at Gallipoli
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2015 Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Hemopereki Simon University of Wollongong, hhes200@uowmail.edu.au Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Simon, Hemopereki, "Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli" (2015). Faculty of Law, Humanities and the Arts - Papers. 2971. https://ro.uow.edu.au/lhapapers/2971 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: research-pubs@uow.edu.au Me Haka I te Haka a Tānerore?: Māori 'Post-War' Culture and the Place of Haka in Commemoration at Gallipoli Abstract This article is an extensive discussion from a Maori perspective into issues around the use of Maori cultural terms, in particular haka, to commemorate the fallen in WWI. Embedded in the article are key theories of cultural memory, 'war culture' and 'post-war culture'. The research outlines the differences between European and Indigenous war and post war cultural practices focusing on Maori. It seeks to understand the reluctance of Turkish officials to see haka being performed when it was apparently banned from ceremonies in 2005. It outlines the media reporting on the issue and the subsequent reintroduction of haka in August 2015 at the centenary of the Chunuk Bair battle.
Enhancing Mātauranga Māori and Global Indigenous Knowledge 1
Enhancing Mātauranga Māori and Global Indigenous Knowledge 1 Enhancing Mātauranga Māori and Global Indigenous Knowledge 2 Enhancing Mātauranga Māori and Global Indigenous Knowledge Me Mihi ka Tika Ko te kaupapa matua o tēnei pukapuka, ko te tūhono mai i ngā kāinga kōrero o te ao mātauranga Māori o te hinengaro tata, hinengaro tawhiti, ka whakakākahu atu ai i ngā mātauranga o te iwi taketake o te ao whānui. E anga whakamua ai ngā papa kāinga kōrero mātauranga Māori me te mātauranga o ngā iwi taketake, ka tika kia hao atu aua kāinga kōrero ki runga i tēnei manu rangatira o te ao rere tawhiti, o te ao rere pāmamao, te toroa. Ko te toroa e aniu atu rā hai kawe i te kupu kōrero o te hinengaro mātauranga Māori me ngā reo whakaū o ngā tāngata taketake o ngā tai e whā o Ranginui e tū atu nei, o Papatūānuku e takoto iho nei. Ko te ātaahua ia, ka noho tahi mai te toroa me Te Waka Mātauranga hai ariā matua, hai hēteri momotu i ngā kāinga kōrero ki ngā tai timu, tai pari o ngā tai e whā o te ao whānui. He mea whakatipu tātau e tō tātau Kaiwhakaora, kia whānui noa atu ngā kokonga kāinga o te mātauranga, engari nā runga i te whānui noa atu o aua kokonga kāinga ka mōhio ake tātau ki a tātau ake. He mea nui tēnei. Ko te whakangungu rākau, ko te pourewa taketake ko te whakaaro nui, ko te māramatanga o ō tātau piringa ka pai kē atu. Ka huaina i te ao, i te pō ka tipu, ka tipu te pātaka kōrero.
MATTERS OF LIFE AND DEATH: A COMPARATIVE ANALYSIS OF CONTENT IN MAORI TRADITIONAL AND CONTEMPORARY ART AND DANCE AS A REFLECTION OF FUNDAMENTAL MAORI CULTURAL ISSUES AND THE FORMATION AND PERPETUATION OF MAORI AND NON-MAORI CULTURAL IDENTITY IN NEW ZEALAND by Cynthia Louise Zaitz A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida August 2009 Copyright by Cynthia Louise Zaitz 2009 ii CURRICULUM VITA In 1992 Cynthia Louise Zaitz graduated magna cum laude with a Bachelor of Arts in Drama from the University of California, where she wrote and directed one original play and two musicals. In 1999 she graduated with a Masters in Consciousness Studies from John F. Kennedy University. Since 2003 she has been teaching Music, Theatre and Dance in both elementary schools and, for the last two years, at Florida Atlantic University. She continues to work as a composer, poet and writer, painter, and professional musician. Her original painting, Alcheme 1 was chosen for the cover of Volume 10 of the Florida Atlantic Comparative Studies Journal listed as FACS in Amazon.com. Last year she composed the original music and created the choreography for Of Moon and Madness, a spoken word canon for nine dancers, three drummers, an upright bass and a Native American flute. Of Moon and Madness was performed in December of 2008 at Florida Atlantic University (FAU) and was selected to represent FAU on iTunesU. In April 2009 she presented her original music composition and choreography at FAU in a piece entitled, Six Butts on a Two-Butt Bench, a tongue-in- cheek look at overpopulation for ten actors and seventy dancers.
OFFERINGS in 2021 Duo Lyra (Aerial Hoop) Aerial Feature Acts are between 4 - 6 minutes long and are remunerated at $1550+gst per performer Duo Trapeze Rigging sits between $650+gst and $1450+gst per aerial point. This depends on whether it is a moving or static point. Aerial Cube Aerial Pole Duo Straps Aerial Umbrella Solo Lyra Aerial Fabric (Silks) Aerial Triangle Birdcage Aerial Sprial Solo Straps Corde Lisse (Aerial Rope) AerialAerial Chair Chair Lyra Mobile Aerial Ladder Cloudswing Spanish Web FIRE PERFORMANCE Fire Fans Fire Staf Fire Poi Fire Wands Contact Fire Feature Fire Acts are $950+gst per performer Roving, Ambient or Installation $750+gst per performer per hour Fire Breathing $1500+gst per performer per act or 115 minute slot Fire requires an additional safety ofcer at $80+gst per hour onsite Ground Based Feature Acts Juggling - $650+gst per performer Hula Hoops - $850+gst per performer Skilled Stilt Performance $850+gst per performer Contortion, Handbalace, Chair Stacking, Cyr Wheel - $1350+gst per performer Adagio - $2200+gst per couple Trio Dynamique or Trio Adagio - $2700+gst for a trio act Chair Stacking Contortion Cyr Wheel Hula Hoops Adagio (Hand to Hand) or (Partner Balance) Juggling Handbalance Trio Dynamique Toss the Girl (Toss the Girl) Toss the Girl Trio Adagio Roving, Ambient or Installation Contortion Chair Stacking Adagio Trio Adagio Handbalance Skilled Stilt Walking $950+gst per performer for a 20 minute spot Hula Hoops Juggling $650+gst per performer per hour Stilt Walking $350+gst per performer per hour .
National Defense Authorization Act for Fiscal Year 2018
1 115TH CONGRESS " ! REPORT 1st Session HOUSE OF REPRESENTATIVES 115–200 NATIONAL DEFENSE AUTHORIZATION ACT FOR FISCAL YEAR 2018 R E P O R T OF THE COMMITTEE ON ARMED SERVICES HOUSE OF REPRESENTATIVES ON H.R. 2810 together with ADDITIONAL VIEWS [Including cost estimate of the Congressional Budget Office] JULY 6, 2017.—Committed to the Committee of the Whole House on the State of the Union and ordered to be printed VerDate Sep 11 2014 10:45 Jul 07, 2017 Jkt 026108 PO 00000 Frm 00001 Fmt 6012 Sfmt 6012 E:\HR\OC\HR200.XXX HR200 congress.#13 NATIONAL DEFENSE AUTHORIZATION ACT FOR FISCAL YEAR 2018 VerDate Sep 11 2014 10:45 Jul 07, 2017 Jkt 026108 PO 00000 Frm 00002 Fmt 6019 Sfmt 6019 E:\HR\OC\HR200.XXX HR200 1 115TH CONGRESS " ! REPORT 1st Session HOUSE OF REPRESENTATIVES 115–200 NATIONAL DEFENSE AUTHORIZATION ACT FOR FISCAL YEAR 2018 R E P O R T OF THE COMMITTEE ON ARMED SERVICES HOUSE OF REPRESENTATIVES ON H.R. 2810 together with ADDITIONAL VIEWS [Including cost estimate of the Congressional Budget Office] JULY 6, 2017.—Committed to the Committee of the Whole House on the State of the Union and ordered to be printed U.S. GOVERNMENT PUBLISHING OFFICE 26–108 WASHINGTON : 2017 VerDate Sep 11 2014 10:45 Jul 07, 2017 Jkt 026108 PO 00000 Frm 00003 Fmt 4012 Sfmt 4012 E:\HR\OC\HR200.XXX HR200 congress.#13 COMMITTEE ON ARMED SERVICES ONE HUNDRED FIFTEENTH CONGRESS WILLIAM M. ‘‘MAC’’ THORNBERRY, Texas, Chairman WALTER B. JONES, North Carolina ADAM SMITH, Washington JOE WILSON, South Carolina ROBERT A.
School of Physical Education, Sport and Exercise Sciences
Ngā tapuwae o te haka – Māori perspectives on haka in sport Nicole Timu School of Physical Education, Sport and Exercise Sciences Te Kura Para-Whakawai Division of Sciences Te Rohe a Ahikaroa University of Otago Te Whare Wānanga o Otago PO Box 56, DUNEDIN NEW ZEALAND Ngā tapuwae o te haka – Māori perspectives on haka in sport Nicole Timu Supervisors Professor Steve Jackson and Dr Anne-Marie Jackson A thesis submitted for the degree of Master of Physical Education at the University of Otago, Dunedin New Zealand 30 July 2018 ii Abstract The most prominent element of tikanga Māori which is consistently integrated, adopted and adapted into the sporting realm is haka. Haka has a multitude of meanings, as a ritual of encounter, as an expression of identity and a form of entertainment (Karetu, 1993; Armstrong, 2005). It is by far the most visible indigenous ritual and is often used alongside rugby to signify Aotearoa (New Zealand’s) national identity. Performances of haka have evolved over the years, predominantly due to associations of the haka ‘Ka Mate’ with the New Zealand All Blacks. Arguably, on a global stage haka is what makes New Zealanders instantly identifiable. But who benefits? Do the Kiwis who benefit? Is it the global spectator? The game of rugby? The commercial giants? Māori? Who? Moreover, at what expense are others benefiting from haka? A major source of contention surrounds the impact of globalisation. Issues such as misuse, commodification, appropriation, ownership, tokenism and a general lack of understanding about the customary practice, continues to surface both nationally and internationally.