Global Noise and Global Englishes
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Nati Link 25
Te Runanga o Ngati Porou NATI LINK Pepuere/Maehe 2003 ISSUE 24 Top Team Tokomaru Pakirikiri Marae is the overall winner of the Ngati Porou Inter-Marae Sports Day 2003. The annual event this year attracted more than 5000 people to Uawa. “We were over the moon when the announcememnt was first made and will be on cloud nine for a long while yet,” said Pakirikiri Marae trustee Tate Pewhairangi, who attributes the success of Pakirikiri to the combined effort of the whanau from all Tokomaru Bay marae which includes Te Aotawarirangi, Waiparapara, Tuatini and Te Ariuru. Pakirikiri Marae secured $3000 worth of prize money which will be used for New year dawn celebration 2003. See photos and story page 7 marae maintenance. “Although the victory was heart warm- Because Te Hono ki Rarotanga Second and third place-getters were ing. I believe the importance is par- weathers the sea conditions, the Hinetamatea and Hiruharama Marae. ticipation for the cause rather than wharenui will also be receiving a paint The Ngati Porou Intermarae for financial gain.” job and restoration work. Sportsday 2004 will be held at Mr Pewhairangi says the long term Next year Tokomaru Bay whanau will Ruatoria. priority for Pakirikiri Marae is to re- unite under the banner of Tuatini new its abulution block. Marae. continued on page 6 Report from the chairman Apirana Mahuika E nga mate o tena whanau, o tena your respective whanau. May that their time with TRONP. whanau, haere! Haere atu ki tua o te blissful period be a symbol of the New Their input in iwi affairs will continue arai ki te wahangutanga o te tangata, Year and the hopes we all have for a especially in their leadership roles ki te huinga o nga tipuna kei te po. -
Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change
The I and the We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change April K Henderson That the Samoan sense of self is relational, based on socio-spatial rela- tionships within larger collectives, is something of a truism—a statement of such obvious apparent truth that it is taken as a given. Tui Atua Tupua Tamasese Taisi Efi, a former prime minister and current head of state of independent Sāmoa as well as an influential intellectual and essayist, has explained this Samoan relational identity: “I am not an individual; I am an integral part of the cosmos. I share divinity with my ancestors, the land, the seas and the skies. I am not an individual, because I share a ‘tofi’ (an inheritance) with my family, my village and my nation. I belong to my family and my family belongs to me. I belong to my village and my village belongs to me. I belong to my nation and my nation belongs to me. This is the essence of my sense of belonging” (Tui Atua 2003, 51). Elaborations of this relational self are consistent across the different political and geographical entities that Samoans currently inhabit. Par- ticipants in an Aotearoa/New Zealand–based project gathering Samoan perspectives on mental health similarly described “the Samoan self . as having meaning only in relationship with other people, not as an individ- ual. This self could not be separated from the ‘va’ or relational space that occurs between an individual and parents, siblings, grandparents, aunts, uncles and other extended family and community members” (Tamasese and others 2005, 303). -
The Health of the Māori Language in the Arts Sector
MÄTAURANGA / KNOWLEDGE Te Oranga o te Reo Mäori i te Rängai ngä Toi 2006 The Health of the Mäori Language in the Arts Sector 2006 Ko töku reo, töku ohooho; töku reo, töku mapihi maurea; töku reo, töku whakakai marihi. My language is my inspiration, my special gift, my precious treasure. Te Puni Kökiri, Te Puni Kökiri House 143 Lambton Quay, PO Box 3943, Wellington, New Zealand PHN Waea + 64 4 922 6000 FAX Whakaahua + 64 4 922 6299 WEB Paetukutuku www.tpk.govt.nz REALISING M Ä ORI POTENTIAL Mätauranga – Building of knowledge and skills. This area acknowledges the importance of knowledge to building confidence and identity, growing skills and talents and generating 1 innovation and creativity. Knowledge and skills are considered as LIFE QUALITY a key enabler of Mäori potential as they underpin choice and the KNOWLEDGE + INFLUENCE + = power to act to improve life quality. RESOURCES TAURANGA Whakamana – Strengthening of leadership and decision-making. Ä 2 M WHAKAMANA RAWA TE IRA TANGATA 3 Rawa – Development and use of resources. 1 2 3 4 4 Te Ira Tangata – The quality of life to realise potential. The framework above identifies three key DISCLAIMER The information contained in this publication is for general enablers that are fundamental to Mäori information only. While every effort has been made to ensure the accuracy of the information, because the information is generalised, its accuracy achieving Te Ira Tangata (improved life cannot be guaranteed. Readers are advised to seek independent advice quality) and realising their potential. on particular matters and not rely on this publication. -
Annual Report 2008-2009 PDF 5.9 MB
NZ On Air Annual Report For the year ended 30 June 2009 Proudly supporting local content for 20 years 1989-2009 Annual Report For the year ended 30 June 2009 Table of contents Table of contents Part 1 Our year 1 Highlights 1 Who we are 2 Mission statement and values 2 Chair’s introduction 3 Key achievements 4 Television funding 4 Maori broadcasting 10 Radio funding 11 Digital funding 13 NZ Music funding 14 Archiving funding 16 Research 17 Consultation 18 Operations 18 Main performance measures 20 Part 2 Accountability statements 21 Statement of responsibility 21 Audit report 22 Statement of financial performance 23 Statement of financial position 24 Statement of changes in equity 25 Statement of cash flows 26 Notes to the financial statements 27 Statement of service performance 42 Appendices 1. Television funding 51 2. Radio funding 55 3. NZ Music funding 56 4. Music promotion 58 5. Digital and Archiving funding 58 6. Maori broadcasting 59 Directory 60 Download the companion PDF document to see: 20 years of NZ On Air NZ On Air Annual Report to 30 June 2009 1 Part 1: Our Year Highlights • The website NZ On Screen was launched, showcasing historic New Our investments helped create some Zealand television and film online and outstanding success stories this year: winning a Qantas Media Award in its first year • The Top 10 funded television • Our Ethnic Diversity Forum brought programmes had some of our highest all relevant broadcasters together viewing numbers ever around a subject of increasing importance • New Zealand drama successfully -
Recorded Music Nz Direct-To-Recording Artist Scheme Nz Recording Artists
RECORDED MUSIC NZ DIRECT-TO-RECORDING ARTIST SCHEME NZ RECORDING ARTISTS As at JULY 2017 @peace Alibis, The Ash / Grey [Shift] Alien Pop Band Ash Graham 2 A.M Orchestra Allen, Sam Ashcon 1814 Alien Weaponry Ashei 2ps Allen, Paul S Ashton, Aiden 3 The Hard way Alloy Aske 3D's, The All My Brothers Aspire Worship 4Sayken All The Colours Astro Children 4 Corners Alpha Beta Gamma Asutra 4 Manbob Alpha Cast Atlas 4eulogi Alpha State At Night 4th Element Alphadogg ATP, Fortafy, Jah Boy 4th Realm Alphamax August Fields 5star Fallout Alphrisk Augustino 6Emblance Alsjay Aum a Beautiful Chaos Amba Holly Aunties, The a Bit Nigel Ambedo Austin, Jennifer a Cat Called Africa Amber Claire Autozamm a Thought That Came To Mind Ameto, Martin Autumn Splendour a10 feat Carl Perkins Ammp AVA Aaradhna Amour Fantastique Avalanche City Aaria An Emerald City Avec Spirale Aaron Carpenter & The Revelators An Hero Avengers, The Abbie Andre, Renee Average Rap Band Abby Lee Andrew Mockler Aviyah Abel, Steve Andrews, Inge Avotor Abernethy, Ness Andrews, Martin Awa Able Tasmans Andy Blue & The Rock Toys Azure About The Deadlines Angel Hammer Babel Accelerants, The Angelo King & Jono Das Baby Giant, The Adeaze Anika, Boh & Hollie Babylon Riddim Adison, David Anika Moa & Opshop Bad Energy Ado Anita Bad State Adore, 1996 Anna Kaye Bads, The Adrenalin Annee 2CU Blues Band Bailter Space Aerial Annie Grace Baker, Kathryn Aesili, Isaac Anonymouz Bakers Eddy Affsid & Jeff Prema Antagonist A.D Balance Affsid Kidjhagiffy Antiform Balfe, Joseph After ‘Ours Antix Balu Brigada Afternoon -
Recorded Music NZ Annual Report 2013
ANNUAL REPORT 2018 PAST PRESENT FUTURE Cover image: Dolf de Datsun. © Muse Creative. SIDE A STEREO . d M e t i A m D i L E I d N n a N l a E e W Z Z w E e A N LA c WE LOVE MUSIC si N u D (R.Music) 3:30 M © ed Re rd co co rde Re d M . P usic ited New Zealand Lim © 2019 Recorded Music New Zealand Limited. This Annual Report contains proprietary information and is provided for informational purposes only. Please do not use any information contained in it unless expressly authorised to do so by Recorded Music New Zealand Limited. ‘Recorded Music NZ’; ‘NZ Music Awards’; the Tui device; ‘The Official NZ Music Charts’; ‘ProMusic’; and ‘NZ Music Hall of Fame’ are registered trademarks. Designed by Mark Roach. Annual Report 2018 RECORDED MUSIC NEW ZEALAND LIMITED Annual Report for the year ended 31 December 2018 CONTENTS 5 Approval of Annual Report 6 Chairman’s Report 8 Chief Executive’s Report 14 Revenue Summary 2018 15 MusicHelps 16 The Official NZ Music Charts 17 2018 Top 10 Albums and Singles 18 New Zealand Music Awards 20 The Artist’s Tui 22 Artisan Awards 24 Tui Music Series Financial Statements: 26 Directory 27 Statement of profit and loss 28 Statement of financial position 29 Statement of cash flows 30 Notes to the financial statements 32 Auditor’s Report 4 APPROVAL OF ANNUAL REPORT In the opinion of the Directors of Recorded Music New Zealand Limited (‘the Company’) the financial statements and notes, on pages 26 to 31: • comply with New Zealand generally accepted accounting practice and present fairly the financial position of the Company as at 31 December 2018 and the results of operations for the year ended on that date; • have been prepared using the appropriate accounting policies, which have been consistently applied and supported by reasonable judgements and estimates. -
MC Trey: the 'Feline Force' of Australian Hip Hop Tony Mitchell
ARTIST PROFILE MC Trey: The ‘Feline Force’ of Australian Hip Hop Tony Mitchell A Hip Hop Role Model Fijian-Australian MC Trey, aka Thelma Thomas, is arguably Australia’s leading female MC, who has begun to receive prominent mainstream media coverage for her Pacific Islander style, dynamic live performances, distinctively street-wise and musically diverse recordings, and her hip hop workshops. Described by Andrew Drever in the Sydney Morning Herald as ‘one of Australian hip hop’s true role models,’1 to date she has released two acclaimed mini-albums, the ten-track Daily Affirmations (2000)—described as a ‘landmark for the Australian hip hop scene’ and album of the week in Sydney street mag Revolver2—and the eight-track Tapastry Tunes (2003), described by George Palathingal in the Sydney Morning Herald’s ‘Metro’ as ‘[d]emonstrating potentially the biggest leap forward for Australian hip hop.’3 Trey (initially an anagram for ‘The Rhymin’ Edifying Young’un’) has also contributed tracks to numerous Australian hip hop compilations, most notably the all-woman First Words (2000), released on Sydney-based label Mother Tongues, described by label founder Heidi Pasqual as ‘the first label in the world dedicated to the development of Women in Hip Hop Music.’ On the US release Best of International Hip Hop (Hip-O Universal, 2000) she represents Australia with her ‘melodic, realistic, personal, political, positive’ MC style, alongside a host of non-Anglophone male MCs and crews from Argentina, Algeria, Switzerland, Israel, Romania, Greece, Austria, Greenland, Croatia, France, South Africa and Portugal. Trey’s track on the international hip hop compilation, ‘Feline Forces,’ is about the African- American and Australian women in hip hop who have influenced her, from Roxanne Shante to MC Lyte, Baby Love, MC Que and local graffiti artist and MC Charlene aka Spice, who ‘in ’88 dropped the first Aussie female tune’ (on the Virgin compilation of Australian hip hop 1 Andrew Drever, ‘Trey bien,’ Sydney Morning Herald 27 June 2003: ‘Metro’ 10. -
Still Life Press
Still Life Best Short Film - Montreal World Film Festival 2001 Telleride Film Festival 2001 Sundance Film Festival 2002 PresskitPresskit TEL: 64 4 382 7680 FAX: 64 4 384 9719 PO BOX 11 546 WELLINGTON __________________________________________________________________ LEVEL 2 THE FILM CENTRE 119 JERVOIS QUAY WELLINGTON NEW ZEALAND www.nzfilm.co.nz [email protected] Production Notes Writer: Sima Urale Director: Sima Urlae Producer: Anna Rasmussen Production Company: Niu Movies Ltd Colour 11 minutes 35 mm 1:1:85 Dolby Digital Log Line Director’s True love never dies. Notes “I love seeing elderly people on screen, Synopsis whether its commercials, soaps, or movies. Everything is so youth-orientated today, Still Life explores how love overcomes romantic movies are always about the physical pain. An elderly couple, who young and the beautiful, so I wanted to decide to throw away life to re-unite in make a short film about real and lasting death, fnd that great love defies all. love. In a way, if they had lived to see it, Still Life is about Romeo and Juliet fifty years on”. Still Life Director’s Biography Sima Urale Sima Urale was born in Savaii, Samoa. Sima has been directing commercials in New Her family immigrated to New Zealand Zealand as well as abroad. She is currently in 1974. She is a graduate of the New writing her first feature film. Zealand Drama School (1989). After two years of stage acting in various productions throughout New Zealand, she was accepted into the Victorian College of the Arts Film and Television School, where she studied film-making for three years. -
PROMOTING DIVERSITY of CULTURAL EXPRESSION in ARTS in AUSTRALIA a Case Study Report
PROMOTING DIVERSITY OF CULTURAL EXPRESSION IN ARTS IN AUSTRALIA A case study report Dr Phillip Mar Institute for Culture and Society, Western Sydney University Distinguished Professor Ien Ang Institute for Culture and Society, Institute for Culture Western Sydney University and Society DIVERSITY OF CULTURAL EXPRESSIONS Published under Creative Commons Attribution-Noncommercial-NonDerivative Works 2.5 License Any distribution must include the following attribution: P.Mar & I.Ang (2015) Promoting Diversity of Cultural Expressions in Arts in Australia, Sydney, Australia Council for the Arts. ABOUT THE AUTHORS Dr Phillip Mar Phillip Mar is an anthropologist by training, with research interests in migration, political emotions, contemporary art and cultural policy. Since 2008, Phillip Mar has been a researcher at the Centre for Cultural Research / Institute for Culture and Society, Western Sydney University. Distinguished Professor Ien Ang Ien Ang is a Distinguished Professor of Cultural Studies at the Institute for Culture and Society (ICS) at Western Sydney University. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences, focusing broadly on the processes and impacts of cultural flow and exchange in the globalised world. Her books, including Watching Dallas, Desperately Seeking the Audience and On Not Speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean and Spanish. Her most recent book, co-edited with E. Lally and K. Anderson, is The Art of Engagement: Culture, Collaboration, Innovation (2011). She is also the co-author (with Y. -
Party Warehouse Karaoke & Jukebox Song List
Party Warehouse Karaoke & Jukebox Song List Please note that this is a sample song list from one Karaoke & Jukebox Machine which may vary from the one you hire You can view a sample song list for digital jukebox (which comes with the karaoke machine) below. Song# ARTIST TRACK NAME 1 10CC IM NOT IN LOVE Karaoke 2 10CC DREADLOCK HOLIDAY Karaoke 3 2 PAC CALIFORNIA LOVE Karaoke 4 4 NON BLONDES WHATS UP Karaoke 5 50 CENT IN DA CLUB Karaoke 6 A HA TAKE ON ME Karaoke 7 A HA THE SUN ALWAYS SHINES ON TV Karaoke 8 A1 CAUGHT IN THE MIDDLE Karaoke 9 AALIYAH I DONT WANNA Karaoke 10 ABBA DANCING QUEEN Karaoke 11 ABBA WATERLOO Karaoke 12 ABBA THANK YOU FOR THE MUSIC Karaoke 13 ABBA SUPER TROUPER Karaoke 14 ABBA SOS Karaoke 15 ABBA ROCK ME Karaoke 16 ABBA MONEY MONEY MONEY Karaoke 17 ABBA MAMMA MIA Karaoke 18 ABBA KNOWING ME KNOWING YOU Karaoke 19 ABBA FERNANDO Karaoke 20 ABBA CHIQUITITA Karaoke 21 ABBA I DO I DO I DO I DO I DO Karaoke 22 ABC POISON ARROW Karaoke 23 ABC THE LOOK OF LOVE Karaoke 24 ACDC STIFF UPPER LIP Karaoke 25 ACE OF BASE ALL THAT SHE WANTS Karaoke 26 ACE OF BASE DONT TURN AROUND Karaoke 27 ACE OF BASE THE SIGN Karaoke 28 ADAM ANT ANT MUSIC Karaoke 29 AEROSMITH CRAZY Karaoke 30 AEROSMITH I DONT WANT TO MISS A THING Karaoke 31 AEROSMITH LOVE IN AN ELEVATOR Karaoke 32 AFROMAN BECAUSE I GOT HIGH Karaoke 33 AIR SUPPLY ALL OUT OF LOVE Karaoke 34 ALANIS MORISSETTE YOU OUGHTA KNOW Karaoke 35 ALANIS MORISSETTE THANK U Karaoke 36 ALANIS MORISSETTE ALL I REALLY WANT Karaoke 37 ALANIS MORISSETTE IRONIC Karaoke 38 ALANNAH MYLES BLACK VELVET Karaoke -
View Sample Pages of Tangata O Le Moana
Edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa First published in New Zealand in 2012 by Te Papa Press, P O Box 467, Wellington, New Zealand Text © Museum of New Zealand Te Papa Tongarewa and the contributors Images © Museum of New Zealand Te Papa Tongarewa or as credited This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism, or review, as permitted under the Copyright Act, no part of this book may be reproduced by any process, stored in a retrieval system, or transmitted in any form, without the prior permission of the Museum of New Zealand Te Papa Tongarewa. TE PAPA® is the trademark of the Museum of New Zealand Te Papa Tongarewa Te Papa Press is an imprint of the Museum of New Zealand Te Papa Tongarewa Tangata o le moana : New Zealand and the people of the Pacific / edited by Sean Mallon, Kolokesa Māhina-Tuai and Damon Salesa. Includes bibliographical references and index. ISBN 978-1-877385-72-8 [1. Pacific Islanders—New Zealand. 2. Pacific Islanders—New Zealand—History.] I. Mallon, Sean. II. Māhina-Tuai, Kolokesa Uafā. III. Salesa, Damon Ieremia, 1972- IV. Title. 305.8995093—dc 22 Design by Spencer Levine Digital imaging by Jeremy Glyde Printed by Everbest Printing Co, China Cover: All images are selected from the pages of Tangata o le Moana. Back cover: Tokelauans leaving for New Zealand, 1966. Opposite: Melanesian missionary scholars and cricket players from Norfolk Island with the Bishop of Melanesia, Cecil Wilson, at the home of the Bishop of Christchurch, 1895. -
A Rhythmic Analysis of Rap - What Can We Learn from ‘Flow’?
A Rhythmic Analysis of Rap - What can we learn from ‘flow’? A thesis submitted in partial fulfilment of the requirements for the degree of Masters of Linguistics in the University of Canterbury by Iskandar Rhys Davis March 2017 Contents Chapter I: Introduction ........................................................................................................... 1 1.1 Purpose and goals of investigating rap rhythm ........................................................... 1 1.2 Hip-Hop roots .............................................................................................................. 2 1.2.1 MCs and DJs ........................................................................................................ 2 1.2.2 Where rap began .................................................................................................. 3 1.2.3 Progression of rap content ................................................................................... 4 1.2.4 The use of sampling ............................................................................................. 6 1.3 An introduction to flow ............................................................................................... 7 1.4 Rap arenas and their influence on rap style............................................................... 10 1.4.1 Different rap forms ............................................................................................ 11 1.4.2 The mainstream vs. underground debate ..........................................................