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CMLC Newsletter Feb 2016

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No Stone Unturned News and Views from the CAIRNS MINERAL & LAPIDARY CLUB Inc. A GREEN STONE CLUB Pictured (left) is a Maori mere, a weapon shaped from the legendry New Zealand Green Stone. Greenstone is the name for nephrite jade that comes from the South Island of New Zealand. It is also known as pounamu. Nephrite is principally a calcium magnesium silicate. It is made up of tightly felted crystal fibres which is the reason for its incredible toughness. This unique structure, makes it easy to work and the finished carving has a surface with a smooth glowing lustre and a greasy or wax-like quality. As well as being popular as a medium for jewellery, New Zealand Greenstone has great significance to Above: A Maori mere (war club) carved from New the Maori people. Read Zealand Green Stone. It belongs to Mike Rashleigh. B more about “greenstone” B in this edition of “No Stone The sign says it all ! A “Ninja” DaveUnturned”. finds a new Sauna! FEBRUARY 2016 ISSSUE What Can You Do for the Club in 2016? 1 OTHER PERSONNEL Assistant Secretary Catherine Wilkinson Assistant Treasurer position vacant “NO STONE UNTURNED” Purchasing Officer Bill Hall EDITOR & PUBLISHER Jeanne Mora. Specimen Curators David Croft, Laurel Voigt Ph 40330028 Email: [email protected] Cabochon Instructor Michael Hardcastle [email protected] Silver Instructors Sylvia Rose, Bill Hall For $12:00 per year you can have your copy of “No Faceting Advisors Jim Lidstone , Joe Ferk Stone Unturned” posted to you each month. For Machinery Curators Jim Lidstone, David Croft. NSU to be emailed to you, please ensure the Editor has a record of your current address. Bill Hall CLUB PATRON DESLEY BOYLE Gem Testing Vic Lahtinen GENERAL INFORMATION Specimen Tester David Croft QLACCA Delegates Geoff Robins, Bill Reece CLUB PHONE No: 04 5018 5250 Youth Centre Delegate Bill Reece CLUB EMAIL [email protected] CLUB ROOMS 129 Mulgrave Rd, Librarian David Croft Cairns. Gem Festival Convenor Bill Reece Queensland 4870 Club Auditor GKS Chartered Accountants POSTAL ADDRESS PO Box 389 PURCHASING POLICY Westcourt. Queensland 4870 If you wish to make a purchase for the club, please tell the purchasing officer. MANAGEMENT COMMITTEE CLUB WORK SESSIONS President Bill Reece Sessions cost $4:00 per session and must be paid be- fore you begin work Vice President Michael Hardcastle Monday : (1 session) 4:00 to 9:30pm Secretary Jeanne Mora Wednesday: (2 sessions) 8:30am to 12:30 Treasurer Michael Rashleigh !:00 to 4:00pm Junior Vice-president Cathy Wilkinson Saturday: (2 sessions) 9:00am to 12:00 GENERAL MEETINGS 1:00 to 4:00 pm General Meetings are held at 1:00 on the second Saturday of each month (Unless other- NB: Club is closed on Gazetted public holidays unless otherwise advised. wise advised) following a sausage sizzle. We keep the meetings as short as practical. We wish to thank Federal Member for If you have a matter you wish to raise at the Leichhardt, the Honourable Warren Entsch general meeting, please write a short description for the colour photocopying of this magazine. and a proposed solution in the Agenda Book (On We thank him for supporting the Cairns the front counter) Mineral & Lapidary Club Inc. Members should try to attend at least some of the monthly meetings. The Editor reserves the right to choose and Your attendance at General Meetings, ensures edit all the material featured in this that you can voice your opinions and/or concerns, magazine. Although all care is taken to vote on club matters and meet other club ensure the accuracy of the material herein, members. Members must be financial to vote. the Editor does not accept responsibility for any inaccuracies which may inadvertently occur. FEBRUARY 2016 ISSSUE What Can You Do for the Club in 2016? 2 NEW PRESIDENT, VP & JVP: Around Bill Reece was elected club president at the recent Special General Meeting. The new Vice-president the Club is Michael Hardcastle and the Junior Vice- president is Catherine Wilkinson. The club would like to thank our retiring President Happy New Year to All. Geoff who worked hard to bring into effect many changes to streamline the efficient running of the SOME REMINDERS: club. Thanks Geoff from us all. Membership fees are now due. Only financial Thanks also to Emma our retiring Junior members are insured, can use any of the Vice-president. work areas and vote at General Meetings. ANNUAL RAFFLE All faceting machines are for general use but learners will be given priory access to the Our Annual Monster Raffle is always popular and machines in the main room. Anyone wishing earns a goodly sum of money for the club each to use the two machines housed in the silver year. Please help Bill Reece (our Raffle Manager) room will need to have their own laps and get some great prizes together. Maybe ask your favourite business for a donation. (The major materials. grocery retailers are probably already helping No Stone Unturned reports on any changes many not-for-profit organizations.) The club will to club procedures decided at meetings. You promote any prize donors. We have drafted an can have this magazine mailed to you for official letter for this purpose. Please ask Bill $12:00 a year. If you wish to have the Reece for a copy. magazine emailed to you as a PDF file, please let me (Jeanne) know and make sure GET WELL WISHES you give me a current email address. To all of our members who are feeling under the weather, Members are required to make themselves aware of all designated work areas and the we wish you a speedy Government Workplace Health and Safety recovery. requirements pertaining to their use. Rules HAPPY BIRTHDAY TO: are put into place to protect members and/or JANUARY: machinery. Richard Barham, Stephen Budd, Robert Members read and unanimously voted to Guiliany, Dwayne Hall, Joanne McCulloch, adopt and abide by the present rules at a Devendar Polapolli, Robyn Ridley and Laurel Voigt General Meeting. All members were sent or handed a copy of the rules and asked to FEBRUARY: suggest any amendments they wanted to be Greg Brown, Lesley Collins, Bill Collins, Colin considered. Cruickshank, Damien DeSabbata, Kevin Franklin, New members are required to read and sign Ben Hogendoorn, Stuart Howe, Jan Lidstone, a form to accept and abide by the club rules Michael Rashleigh, Sally Sprague and before they are accepted as club members. Caroline Whittaker. FEBRUARY 2016 ISSSUE What Can You Do for the Club in 2016? 3 DAVE BETTENS …...gone fishin’ It is with great sadness that I wish to inform all club members of the sudden passing of Dave Bettens. Dave passed away on Sunday morning 14th February 2016. We wish to extend our deepest sympathies to his lovely wife Lyn and all of his many friends.. Dave was a valued member of the club’s Manage- ment Committee, the Assistant Treasurer and the club’s Workplace Health & Safety Officer but more than that, he was the good friend of club members, a man of rare good humour and a man always ready to roll up his sleeves and help out wherever needed. He especially loved the Club field trips and readers will remember him for his humorous field trip reports as the “Minister for Bloody Everything”. In “No Stone Unturned”.. Dave out in the field, unearthing nature’s treasures. His other great loves were faceting and fishing. COURSES Dave will be sadly missed by all who knew him. BASIC SILVER WORK Rest in peace Dave A course in basic silver work begins on Saturday, 20th February. Sylvia will begin the ARTICLES FOR “NO STONE UNTURNED” course before she and Allan leave for a 3 month vacation in Europe. (Bon voyage to you both). Members are reminded to hand the Editor any jokes or other articles (preferably of a Lapidary Bill Hall will continue and complete the course when he returns from his trip. nature). LOST WAX CASTING If you have silver work patterns, faceting patterns and photos of your own lapidary work, please The next casting days will be 2nd April. consider submitting them for publication. Members are advised that wax orders need to CHRISTMAS RAFFLE be in by 14th March so that the waxes will be at the club by the first Casting Day. The Christmas Raffle winners were: PRESIDENT’S REPORT Dave Bettens won the silver bracelet donated by Jeanne Mora, Bill Reece won the set of knives and As Bill Reece has only just taken over the reins Vic Cummings won the camp chair donated by of Club President again, he has not written a Brothers. report for this month, however his reports will continue in the next edition of “No Stone Congratulations all. Unturned” FEBRUARY 2016 ISSSUE What Can You Do for the Club in 2016? 4 Let’s Laugh a Lot The morning after the Zoo New Year’s Eve Party! FEBRUARY 2016 ISSSUE What Can You Do for the Club in 2016? 5 Aussie Bush Etiquette is recognized throughout the civilized world; but we all need to be reminded from time to time. In General: 1. Never take an open stubby to a job interview... 2. Always identify people in your paddocks before shooting at them. 3. It's tacky to take an Esky to church. 4. If you have to vacuum the bed, it's time to change the sheets. 5. Even if you're certain you're included in the will, it's rude to take your ute and trailer to the funeral. Eating Out: 1. When decanting wine from the box, tilt the paper cup and pour slowly so as not to bruise the wine.
Recommended publications
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  • Te Tangi a Tauira – the Cry of the People

    Te Tangi a Tauira – the Cry of the People

    Ngāi Tahu ki Murihiku Natural Resource and Environmental Iwi Management Plan 2008 The Cry of the People Te Tangi a Tauira Ka haea te ata Ka hāpara te ata Ka korokī te manu Ka wairori te ngutu Ko te ata nui Ka horahia Ka tangi te umere a ngā tamariki He awatea The daybreak comes forth The birds sing Welcoming the great day Spread before us Joy unfolds Behold a new day Photo credits for artwork (previous page) Main Photo Source: Venture Southland Kererū (wood pigeon, Hemiphaga novaeseelandiae) Source: Venture Southland Faces Sourced through: SXC Imagery The Kererū is a quiet, humble yet noble bird. Kererū eat the berries of the trees and spread the seeds throughout the land. May the message be spread through Te Tangi a Tauira. Mihi He mihi kau ake kia koutou, tātou hoki e noho pai ana kei waenganui te mahanatanga a o tātou whānau huri noa. Me mihi hoki ki a tātou e mahi ana hei tiaki ngā taonga tuku iho, hei oranga mō ngā uri whakatupu. Me hoki mahara ki ngā tini aituā,rātou kua haere ki te tini ki te mano, na reira haere, haere atu Rā. Rātou kia rātou, tātou kia tātou, heoi ano tēnā koutou, tēnā koutou, tēnā mai ano. Acknowledgements to all enjoying life in the warmth and comfort of our families. We must also acknowledge those of like mind working collaboratively to preserve the treasures that have been handed to ensure a place of well-being for all of us including the generations to come. We must also turn our thoughts to our ancestors who have departed this world and pay tribute to the knowledge and gifts they have left.
  • August 2018 Gap Analysis

    August 2018 Gap Analysis

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  • Hei Tiki and Issues of Representation Within Contemporary Māori Arts

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    MAI Review, 2007, 1, Intern Research Report 7 Hei tiki and issues of representation within contemporary Māori arts. Pania Waaka Abstract: This research project explores the field of contemporary Māori arts to ascertain issues of representation of Māori imagery and design. The notion of representation is located in the indigenous iconographic form, the hei tiki. A material interface to a distant past, hei tiki currently rides the eclectic wave of mainstream fashion. Its scope of success can be measured as being an elite object keenly demanded by international collectors of art or as an enduring symbol of pre- European Māori cultural identity, or as a patriotic symbol of nationhood. The participant is Rangi Kipa. He is used in this research project because of a series of work he created titled, ‘This is a tiki’. The legacy of hei tiki has recently propelled a visual conversation between artists and curators, that it can be perceived, that tiki was lost in the visual chatter of the art institution. Strikingly however, amongst the blinding noise, this exceptional body of work is being pursued, relentlessly so from collectors internationally. This series of work can be described as transcultural, modernised reproductions of a traditionally Māori culturally symbolic icon. It can be interpreted as offensive, as Pākehā, as kūpapa, as intellectual, and as distinctly Māori. Powerful interpretations instigated by masterful manipulations of colourful plastic composite materials. It is exactly those subjective charges that relocates the plastic hei tiki from the obscure realm of art to an equally obscure realm of academic discourse. It is these dynamics that has captured the curiosity of the author.
  • The Connected Space of Maori Governance: Towards an Indigenous

    The Connected Space of Maori Governance: Towards an Indigenous

    Lincoln University Digital Thesis Copyright Statement The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). This thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: you will use the copy only for the purposes of research or private study you will recognise the author's right to be identified as the author of the thesis and due acknowledgement will be made to the author where appropriate you will obtain the author's permission before publishing any material from the thesis. The Connected Space of Māori Governance: Towards an Indigenous Conceptual Understanding. __________________________________ A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy at Lincoln University, Te Whare Wānanga ō Aoraki by Steven L Kent _______________________________ Lincoln University 2011 Page 1 of 212 Karakia Whakatimatanga: Beginning Prayer Whakatau mai rā te hihiri tapu ō Io ō Te Raki Tui tui tutuia Tuia te hihiri tapu ō Io ō Te Raki ō te kahu ō te Raki Kōkiritia rā te tapu ō Io ō Te Raki Ki ruka ki te whenua ō Papatūānuku Ki te mauri a Haumietikitiki me Rokomaraeroa e Kakawea te tapu ō Takaroa Ki te whakahoroi atu te mauri tūturu ō te Tiriti ō Waitaki e Mō te ata ka haea Mō te kaupapa ō te kotahitaka me te whanaukataka Ko te kaupapa tino rakatirataka Aua kia mau te ōhākī ō kā mātua tīpuna Tūturu mai kia whakamaua kia tina Haumi e hui e taiki e Page 2 of 212 He Mihi – Acknowledgements A PhD is impossible to complete without significant and considerable support from others.
  • Tangata Whenua and Mount Aspiring National Park

    Tangata Whenua and Mount Aspiring National Park

    Lincoln University Digital Thesis Copyright Statement The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). This thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: you will use the copy only for the purposes of research or private study you will recognise the author's right to be identified as the author of the thesis and due acknowledgement will be made to the author where appropriate you will obtain the author's permission before publishing any material from the thesis. Indigenous People and Natural Protected Areas: Tangata Whenua and Mount Aspiring National Park By Mike Quinn A thesis submitted in partial fulfilment of the requirements for the degree of Master of Parks, Recreation and Tourist Management at Lincoln University. Lincoln University Canterbury, New Zealand. 2003 Ka Mauka Whakarakaraka Tu honohono mai koutou Ka tipuna tu tonu Ki te taha uru 0 te waka tapu Hei toka ahuru Hei toka marino Whakakapua mai e koutou o koutou korowai huka Hetio He huka He hauhu Tehei Maori ora I There, silent And united Stand our ancestral mountains To the west of the sacred canoe As sentinels As protectors from the wind Clothed in their fleecy cloud garments And snow mantles The piercing cold A touch of frost And a sharp breeze I sneeze 'tis the breath of life Karakia denoting the sacred nature of mountains in the tribal cultures of the South Island of New Zealand, the Kai Tahu and Waitaha peoples. (Reproduced from Rev.
  • Foreshore & Seabed Act: What's Next for Coastal IWI?

    Foreshore & Seabed Act: What's Next for Coastal IWI?

    aBOUt NGÄI TAHU. aBOUt NeW ZEALaND RAUMATI/SUMMER 2009 $5.95 45 FORESHORE & SEABeD aCt: WHAT’S NeXt FOr COaSTAL IWI? tHe NeW eMISSIONS TRADING SCHeMe HOLLYFORD TRACK KERI HULMe GET ON YOUr YIKe BIKe SUMMER HARVESTING BIrD WATCHING ON ULVa’S ISLaND te KaraKa RAUMATI 2009 1 2 te KaraKa RAUMATI 2009 FrOM tHe CHIeF eXeCUtIVe OFFICer, te rÜNaNGa O NGÄI taHU, aNaKe GOODaLL Climate change is not only inevitable, it is already here with an urgency that Editorial Team demands honest and earnest responsibility be taken for the last two centuries Phil Tumataroa Managing Editor of human activity so that future generations do not inherit environmental Faumuinä F. M. Tafuna’i Editor Sandi Hinerangi Barr Assistant Editor collapse. This is no light ask and the stakes have never been higher as environ- Stan Darling Sub Editor mental disasters ravage communities and entire nations face being covered by Adrienne Rewi Sub Editor rising seas. For rich nations, climate change is not easy to see or feel. Floods, droughts Contributors Karen Arnold Tremane Barr and storms are literally a world away, concentrated, with a sense of geographi- Tom Bennion Greg Comfort cal double jeopardy, in developing nations portrayed by remote satellite footage Donald Couch Jason Dell that can never convey the depth and extent of human tragedy. For us, climate Shar Devine Adrian Heke change is the subtle, unobservable phantom that over time will creep up Keri Hulme Craig Pauling on us. We cannot escape. The mahinga kai values that have defined Ngäi Tahu Satriani Reihana Adrienne Rewi over generations could face their greatest threat in a landscape so altered that we Irene Schroder Jane Seatter Geoff Shaw Ramonda Te Maiharoa cannot do what we have always done.
  • A Waharoa (Gateway)

    A Waharoa (Gateway)

    museum of new zealand te papa tongarewa ANNUaL REPORT 2007/08 and cultural heritage … a forum in which to heritage … a forum and cultural identity… and reflect on our national explore …a waharoa (gateway) to New Zealand’s natural natural to New Zealand’s (gateway) …a waharoa Directory Te RäRangi ingoa MuseuM of new ZealanD Te PaPa TongaRewa Cable Street PO Box 467 Wellington 6140 New Zealand ToRy StreeT ReseaRch anD collecTion StoRage faciliTy 169 Tory Street Wellington 6011 Telephone + 64 4 381 7000 Facsimile + 64 4 381 7070 Email [email protected] Website http://www.tepapa.govt.nz Auditors Audit New Zealand, Wellington, on behalf of the Auditor-General Bankers Westpac Banking Corporation Photography by Te Papa staff photographers, unless otherwise credited ISSN: 1179 – 0024 1 Museum of New Zealand Te Papa Tongarewa of new museum Annual Report 2007/08 Te Pürongo ä-Tau 2007/08 In accordance with section 44 of the Public Finance Act 1989, this annual report of the Museum zealand te papa tongarewa te papa zealand of New Zealand Te Papa Tongarewa for 2007/08 is presented to the House of Representatives. Contents Ngä Ihirangi ANNUAL REPORT 2007/08 REPORT ANNUAL Part one Overview Statements Ngä Tauäki Tirohanga Whänui 3 From the Chairman 4 From the Chief Executive 6 From the Kaihautü 7 Performance at a glance 8 Highlights 10 Part two Operating Framework Te Anga Whakahaere 13 Concept 14 Corporate Principles 14 Functions and Alignment with Government Priorities 14 Functions 14 Part three Governance, Accountability, and Management Te Käwanatanga,
  • Theatre of Wonders : the Emergence of the Southland Museum, 1869-1945

    Theatre of Wonders : the Emergence of the Southland Museum, 1869-1945

    Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. 'Theatre of Wonders': The Emergence of the Southland Museum 1869-1945 A thesis presented in fulfilment of the requirements for the degree of Master of Philosophy \ In Museum Studies at Massey University, Turitea, Palmerston North, New Zealand. Johannah Carmel Massey 2000 ABSTRACT During the last two decades of the twentieth century, international scholarship in museology began to focus on the development of museums in the colonial context, with particular emphasis on the nineteenth century. While a tradition of institutional histories has developed in North America and Australia there have been few detailed histories written of New Zealand Museums. Institutional histories provide an insight into the motivations and practice of early museology and the role museums took in the colonisation process and the subsequent development of provincial centres. This thesis provides the first detailed historical account of the early development of Southland Museum and Art Gallery. Four periods of development have been identified. Andrew McKenzie operated a museum in his commercial premises from 1872 until 1875 when the Invercargill Athenaeum purchased his collection. The Athenaeurn maintained a museum collection until the early twentieth century when it was transferred to the Southland Technical College where it was opened to the public in 1912. Intensive political lobbying and fund-raising from 1936 led to the opening of a purpose built public museum in Invercargill in 1942.
  • Maori Greenstone Pendants in the Australian Museum, Sydney

    Maori Greenstone Pendants in the Australian Museum, Sydney

    AUSTRALIAN MUSEUM SCIENTIFIC PUBLICATIONS Orchiston, D. W., 1972. Maori greenstone pendants in the Australian Museum, Sydney. Records of the Australian Museum 28(10): 161–213, plates 22–24. [10 December 1972]. doi:10.3853/j.0067-1975.28.1972.412 ISSN 0067-1975 Published by the Australian Museum, Sydney naturenature cultureculture discover discover AustralianAustralian Museum Museum science science is is freely freely accessible accessible online online at at www.australianmuseum.net.au/publications/www.australianmuseum.net.au/publications/ 66 CollegeCollege Street,Street, SydneySydney NSWNSW 2010,2010, AustraliaAustralia MAORI GREENSTONE PENDANTS IN THE AUSTRALIAN MUSEUM, SYDNEY By D. WAYNE ORCHISTON Department of Anthropology, University of Sydney* Plates 22-24. Figs 1-33. Manuscript received 19th November, 1970. SUMMARY This paper exammes a collection of 93 Maori greens tone pendants in the Australian Museum. Only straight kuru are abundant enough for quantitative analysis, but this is first preceded by an examination of the spatial-chronological distribution of the population of this type, changes in it numerically through time, and the characteristics of a random sample. The randomness of the Australian Museum sample of 58 pendants is questioned. A random sample of 70 straight kuru in the Auckland Institute and Museum is employed for comparative purposes, and an investigation made of the nature of and interrelationships between various pendant parameters, for the two samples. Other pendant types considered, in addition to straight kuru and anomalous forms, are the kuru kapeu (5 examples), hei matau (I), koropepe (4), pekapeka (4), poria (2), rei puta (I), and Triangular Pendant (6). Since none of these types is abundantly represented quantitative studies are impossible, and the spatial-chronological attributes of each are merely examined, and the Australian Museum specimens compared and contrasted with those in other museums.
  • Pounamu, Notes on New Zealand Greenstone

    Pounamu, Notes on New Zealand Greenstone

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