puff 522 Thurs 16th Sep

puff is a daily spin on what is going on. For example the Hotaka says what is happening today on the radio.
puff is sponsored by Campus Press and pyff books and the Campus Press Update follows below.
What else is happening? Get back to us via the Comments section of this Blog!
Thursday 16th

Te Ao Toi

Kaupapa koorero moo te raa nei
Ngaa kupu o Rangitaane

Rangahau
I moohio koe ko te aronga o Kauwhanga he waahi waatea? Hei tauira;
Ka whakatuungia te whakangahau i te kauwhanga o Rakaumaaui Paa ki Papaioeia.
Rau rangatira maa, he kupu Rangitaane teenei! Kauwhanga!

Subject of the day
Rangitaane words

Analysis
Did you know that kauwhanga means an open space, an interval.
The entertainment was put on in the open space of, Rakaumaaui Paa, Palmerston North.
A Rangitaane word! Kauwhanga!

www.zoomin.co.nz/.../palmerston+north/palmerston+north/...square/.../-palmerston+north+central+library/

Education
Recent results from surveys regarding tertiary education at Massey and Ucol in Palmerston North are not encouraging and put us into a John Cleese perspective. What happened and why din't the government, councils local and regional and other bodies snap to the idea that we were drifting into a poorly led, badly organised educational slum?

Aotearoa Waka question of the day
How has Sarkozy of France got as far as he has with the Roma? Why have the EU and, for that matter the UN been so useless in stopping him? puff is running excerpts from Benjamin Drum's 'Isis, the days of the voles' a book about the kidnapping of Roma acrobats.

Hotaka Friday 17th

Te Whare Miere

Kaupapa koorero moo te raa nei
Ngaa Toorangapuu; Ngaa Kaakaariki

Rangahau
He aha te pai o Ngaa Kaakaariki inaianei? Kua tahaengia o raatou whakaaro e eetahi Toorangapuu?

Subject of the day
Political parties; the Greens

Analysis
What is the use of the Greens? Have their policies been stolen by other parties?

www.greens.org.nz/ -


Arts- a good review of an interesting film in yahoo

"Casino Jack" shines light on disgraced Abramoff
September 14, 2010, 4:28 am Janet Guttsman Reuters
TORONTO (Reuters) - There's a political message to "Casino Jack," a nuanced movie portrait of a disgraced Washington superlobbyist, but lead man Kevin Spacey says it's up to the American people to fix a broken system.
Spacey plays real-life lobbyist Jack Abramoff, who is serving a six-year prison term for defrauding American Indian tribes, tax evasion and trading meals and gifts for political favors in a 2006 scandal often described as Washington's biggest since Watergate.

The double Oscar winner plays the role with a certain amount of sympathy, focusing on Abramoff's philanthropy as well as his belief that lobbyists could do no wrong.

"His greed wasn't self interest," Spacey told Reuters in an interview at the Toronto International Film Festival, where "Casino Jack" premiered.

"Is it just that he got caught up in the game of being the best, of making the most money in the culture of the lobbying industry? When you break it down, he wasn't doing anything that everyone else in Washington wasn't doing. He was doing it louder, better and making more money than everyone else."

Spacey said he spent seven hours talking with Abramoff in a U.S. federal prison before deciding how to play the role. He described his meeting and the research as "a journey of discovery."

"He was very helpful, and very generous and very funny and very charming," the actor said of jailed lobbyist.

The drama, full of lavish scenes of glass-walled offices in the K Street corridor where Washington's lobbyists are based, shows influence-peddling going to the very core of the U.S. political establishment.

Abramoff is portrayed as on good terms with then U.S. President George W. Bush, and proud of the way he helped him crush a challenge from Arizona senator John McCain. Other lobbyists work with other politicians, with money oiling the wheels of politics at every turn.

"Casino Jack," directed by George Hickenlooper, is the second movie about Abramoff this year. It opens in U.S. movie theaters in December.

The first was the documentary "Casino Jack and the United States of Money" by Alex Gibney, who also directed the 2010 documentary "Client 9" about the rise and fall of former New York Governor Eliot Spitzer.

Spacey said the Washington lobbying system where "you can buy politicians or get money for people by having a photo session in the White House" should be "cleaned up."

He added. "If it changes, it's not going to change because the politicians want to change it, it's going to change because the public wants to change it."

(Editing by Jill Serjeant)

'Isis, the days of the voles', continued
2

Along the river
Back on the path by the river Esme and Bella waited for a boy who knew about stencils. They were not far from the boathouse. Sam came out and did Tai Chi to some Rasta music. Esme and Bella rolled their eyes at one another. Esme got out her camera as if to take a photo of Sam but Bella shook her head and the camera went back into Esme's pocket as fast as it had come out.

At fourteen Bella looked older. Sixteen at least. Sometimes she made out she was older for effect but mostly Bella was dead natural. Bela was a class leader wherever she found herself in a class.

Bella was close to her mother. And to her little brother and her chums who included Esme. Bella was loyal and people liked this about her. Bella was around five foot six ahile Esme was a little taller. They were taller than Sam by a long way and were pipping some of the men like the Don.

Bella liked equestrian sports including dressage activities. Her mother had encouraged this. Bella had taken things further by becoming a leader of a group of young people involved with horses.

She liked the sculptor, Henry Moore. Her mother was actually related to the sculptor in a distant kind of a way. Bella liked the comfort of the big, solid shapes. One day she wouldn't mind having a go at sculpture.

Bella liked Vauxhalls. She was a bit of an expert on English cars especially those coming out of Cowley. But there was something solid about Vauxhalls and besides she liked the name itself.

She liked to dress in slacks and scarves. Skirts were not really her thing.
Orange and yellow were Bella's colours. Yellow slacks, black top and an orange scarf, that was Bella.

Of course Bella liked horses but she had become something of an expert on voles. The latter was by way of becoming an expert on anything to do with the river Isis and the life on it. If there was a project to do at school on the river then Bella was for it.

The kinds of television programmes Bella liked were ones like Heartbeat and Emmerdale Farm. Dependable communities with plots she could, at least most of the time, understand and predict.

Bella's moods were always bright. At the same time she could assess the down side of things. Bella knew that the world was not always positive. But her attitude meant that she could face anything.

At school she was good at science. She liked the arts but did not do all that well at them. She like listening to people who knew things about literature and paintings.

Her schoolmates found her an asset in class where she would stand up to the teachers. Bella did not know why she argued with people in authority and her tone was always reasonable but she would have a go.

Esme was fourteen as well and looked about that. She liked people her own age and did not like people who were snobbish about their age like a older brother she could mention.

Esme was close to father and her Mum. Adults lived in a very funny world though. Who would want to grow up? Esme and Bella just loved to hang out on the riverbank and it was such a great summer.

Hockey was Esme's sport although she thought she might have a go at soccer next year. Right Back was her position. Some of her best mates played hockey though.

In art classes Esme liked design. She could make all sorts of interesting amulets and necklaces which she gave to her chums. She liked architecture, not as something she wanted to do but as something she respected and thought she might understand someday.

Esme liked BMWs. She did not like Japanese cars or, for that matter American cars much. She liked the upholstered feel of a a Beemer. She was taking driving lessons but had not yet got to using the clutch in a manual.

Esme dressed like a bit of an EMO. Black T shirt and black slacks but sometimes with red shoes. When she was not in uniform. Esme hated her uniform but wore it in such a way as to make it her own. The collar just upturned, the shoes just buffed...

Her best colours were green and red. It made her a bit of a Robin Hood but it was her and that was that. She liked big belts and boots as well. Unless she was off to Oxford Town. Esme had another set of clothes all together for the Broad.

Esme liked horses and had one for a bit. Its name was Xavier. It had a white splash on a dark coat across the face. Esme liked feeding Xavier and just looking after him. Riding was fun but she genuinely liked caring for an animal.

On television Esme liked the OC. She liked the good looks of the Californians and the intrigues on the show. And the houses. And the swimming pools.

While she was reflective she was outgoing when she thought it was necessary. Esme could always think long and hard about a thing and then proceed to take a cool decision.

At school she was good at driving. And English and Civics. In fact she was good at pretty well anything she cared to try including the bass guitar, hockey, soccer and eating her lunch.

Her schoolmates thought she could be fun. And they respected her. Esme's attitude to school could suffer from the thousand yard stare that she was prone to give things but all in all she thought it was alright.

The cockatoos ran loose in the private zoo in Bogata. The owner strolled aimlessly making sounds to the cockatoos and throwing a litle corn around. The waiting was not getting to him. There were plenty of distractions in his surroundings.

Coming back to work on The Present Case Simon and Samantha decided to have lunch.

Samantha does not cook Simon made them both lunch. On the other hand Sam knows lots about food and kept up a commmentary on salads. What frauds restaurant salads were and on.

Then it was the Job Sheet.Half the job really Simon always told himself. He'd invented a way of doing this which was a to suspent a sheet, as in a bed sheet hung from the half landing with bits of paper stuck on to it with pins. Sam grizzled about how tedious and time consuming this all was but it got Simon's juices going and nothing suited him more that a sheeet covered in notes receipts, bus tickets or whatever he could find to pin on it.

This time he had questions on yellow paper asking:
Who approached the twins in Oxford?
Or was it their idea to go?
How will they be found? Clothes? Hair? Behaviour? What sticks out?
And so on.

Making friends with twins is usually a stretch.

If they are sort of pretending to be twins its harder.

If you are as foreign as an American in Oxford then its even harder still. People watch you.

The hunters had decided to aproach the twins in a club.

The path was wet and greasy. Esme and Bella took photos with Esme's new camera. As they came out of the river walk and onto the Abingdon road they saw two men wearing sunglasses and black tee shirts. Passing them they caught an American accent. 'Get Shorty!' said Bella and Esme, ducking behind her so that she could not be seen took two instant polaroids of the men.

Samantha loved to watch Simon list things about the Case. It gave the essential facts on which she might embroider. And she did just that. A spray of words. She was the Plotmaster, she figured out the big pictures while Simon grappled with the detail. Simon heard bits of it, used it, fed off it even.

So the afternoon went. Summer afternoons in North Oxford are delicious things. And they last until the late early evening by which time Simon's brain was racing and Sam was getting hoarse.

By five in fact, with the Job Sheet well and truly started they were both more than ready for a pint. One last look at the Sheet from about ten feet away to get the big picture, a bit of a tidy up and out the door.

Almost out the door in fact. Simon was stepping out and about to close the door when he went back and wrote question on a yellow slip: how far back does this story go? Pinning this on the Job Sheet he joined Sam outside and they walked to the pub.

Maori Unpackked continued
4
But what about te and ngaa?
We can't just leave them sitting on their own!

Te is the singular definite article and nga is the plural definite article. Note that ngaa is said long and usually written short as in nga. Let's write it long for the time being.

the person
te tangata

the persons
ngaa taangata

Careful as you unpack the plural .The sounds are delicate!
Note that the first vowel of the plural doubles. Tangata goes to taangata when you put ngaa in front of it. This happens with some nouns but not others.

te tai
the beach

ngaa tai
the beaches

Some things change, some stay the same!

The word tamaiti changes to tamariki as it goes from singular to plural.

te tamaiti
the child

ngaa tamariki
the children

Sometimes te is used to refer to more than one person.

te hoariri
the enemy

te tangata whenua
the locals

There we go! We've unpacked singular and plural markers of definite things!
These definite things are, of course, NOUNS and we can take the singular and plural definite articles, put them in boxes of their own and clip them onto the Noun Box.


Or put them in a little house beside the Noun Family.

Or make a space in a Mind Map for Definite Articles and connect this to the Noun Space. Each space could be like a cloud with lines between the clouds or like suns, moons- its up to you, the Amazing Unpacker!

te kapua
the cloud

ngaa raa
the suns

te whetuu
the star

te maarama
the moon

If we were making a mobile of the Definite Articles we might put this by the door as you can't really go anywhere without them!

He kupu hou- some new words

te- the, singular

ngaa/nga- the, plural

tai- coast

tangata- person

taangata- persons

tamaiti- child

tamariki- children

hoariri- enemy

whenua- landt

kapua- cloud

raa- sun

whetuu- star

maarama- moon

whare- house

whare paku- toilet

ipu- bowl

naihi- knife

Eetahi kupu hou- some more new words

kuaha- door

matapihi- window

map- mahere

mahere hinengaro- mind map

teepu- table

turu- chairs

pene- pene

taha- walls

Unpack this list by putting labels on things in your house

waka- car

karaka- clock

pukapuka- book

pene- pen

hoe- paddle

kaupapa- floor

papa- flat area


5

The aforementioned.

te mea
the thing

taua mea
the aforementioned thing

ngaa mea
the things, plural

aua mea,
the aforementioned things

So mention something and then come back to it!

te pene- the pen

taua pene- the pen

ngaa pene- the pens

aua pene- the pens


Hang a mobile with te or ngaa on it at the front door
make a phrase like

te mea
the aforementioned thing

or

aua mea
the aforementioned things


And then make mobiles at the back door with taua and aua on them

and make a phrase like

taua mea
the aforementioned thing

or

aua mea
the aforementioned things

or

taua tangata
that person

or

aua taangata
those people

as you go out

and as you walk along

look at things like houses,

te whare
the house

taua whare
that house, the aforementioned house

ngaa whare
the houses

aua whare
those houses, the aforementioned houses

te tangata

the person

teehea tangata?
which person

taua tangata
that person, the aforementioned

ngaa tangata
the people

eehea taangata?
which people

aua taangata
those people, the aforementioned

Practice this sequence of the, te or ngaa, which, teehea or eehea, that, taua or aua, the aforementioned with the vocabulary that you have so far

as in;

te tuna
the eel

teehea tuna?
which eel?

taua tuna
the aforementioned eel


Go on, have a go wih some other words!


He kupu hou- some new words

teehea- which, singular

eehea- which, plural

rapite- rabbit

ika- fish

tuna- eel

taara- dollar

heneti- cents

puutea- money, funds

utu- cost

wai- who

maa- white

pango- black

manu- bird

teenei- this

nui- big

rawa- intensifier

atu- intensifier

Campus Press Update
Papers on Social Work 4th Edition by Peter Cleave has been released by Campus Press, There is a discussion of Whanau Ora the New Zealand government's strategy for social work announced in April-May 2010. There is a revisiting of the theme of restorative justice. All this and the classic, prize winning essays on social work education and value systems that have made Papers on Social Work one of the best selling books in the Campus Press set, internationally and locally.


Papers on Social Work, Fourth Edition has the ISBN
978-1-877229-47-3

NZD 60.00 including tax plus 7.50 Post and Pack no matter how big the order.

Payment COD into nominated account.

Delivery within a month.

Order through comment or email to puffmedia@yahoo.co.nz using the Order Form at the bottom of this email.

About the author.
It is said that Peter Cleave has more books in New Zealand Libraries than any other author. Beginning as a collaborator on The Oxford Picture Dictionary of Maori in 1979 there has been a consistent pattern of a book published, an article in a referred journal and then a radio commentary repeated over a long period. With this pattern of published work have come the prizes; the First Class Masterate from Auckland University and a Commonwealth scholarship to the University of Oxford, the Phillip Bagby Scholarship and Rhodes Foundation funds while doing the Oxford Doctorate, the chair of the college common room and on from these to taking the prizes for best paper at conferences like the International Federation of Social Workers in Montreal in 2000.

Peter Cleave is without peer at the meeting place of language, culture and criticism, locally and internationally and this is seen in the sale of his books to libraries in New Zealand and Australia and around the world.

At the same time Peter Cleave, a former captain of the Manurewa High School First Fifteen in South Auckland, works on community radio and touches base with working people. He left school to work on the MV Tofua, a Banana Boat and began to learn about the Pacific, something he is still doing.

About Campus Press
Campus Press is the biggest academic press outside the universities in New Zealand. It was established in 1992 and for the last twelve years has been based in Palmerston North. Campus Press mostly supplies libraries.

Papers on Social Work, 4th Edition follows other releases in 2010 like Takutai: the Foreshore and Seabed, New Zealand’s most topical book with implications for US, European and other coastlines. ISBN 978-1-877229-46-6 See the attachment for the cover.



Takutai, the foreshore and seabed by Peter Cleave gives an historical background and then an analysis of the 2004 Foreshore and Seabed Act and the 2009 Ministerial Review. There is a wide range of examples of co-governance and co-management by iwi and councils of the foreshore and seabed from around Aotearoa/New Zealand. International case studies are also given. The Conclusion sets the scene for the Repeal of the Act and the introduction of new legislation in 2010.

What the critics had to say about the advance article;

one of the most well-conceived discussions of the present state of the Act that exists in print anywhere. …an extremely useful contribution not only to academic discourse, but to issues affecting the national life of the country.

Professor Paul Moon

Takutai costs 57.00NZD from Campus Press with a 7.50 NZD freight charge no matter how big the order.

Order by return email using the Order Form at the bottom of this email if you like.

　

Full Review of Peter Cleave’s Ten Volume Set

By Paul Moon

July 2009

The very nature of academic publishing is that it serves a niche market, and in a country as small as New Zealand, that niche can be so narrow that some books probably never see the light of day because they are simply uneconomic to produce. So when a ten-volume set of books is released, written by Professor Peter Cleave – one of New Zealand’s respected academics – attention is bound to be aroused by the scale of the venture, and by the promise of a substantial body of content.

The work’s opening volume comprises a collection of articles, some of which are new, and some of which are revised versions of existing articles that Cleave has written or presented. The relevancy of the work is underscored by the first paper, which contains suggested options for dealing with the vexed issue of the Foreshore and Seabed Act 2004. The Government has indicated that it will reach some conclusions on this matter within the next two months, but regardless of what is decided, it will be interesting to see the extent to which Cleave’s recommendations are reflected in Government policy, and for academics to debate some of the themes raised long after any settlement has been made at a political level. This article stands out as being the most detailed in this volume, and certainly one of the most well-conceived discussions of the present state of the Act that exists in print anywhere. For this piece alone, the first volume in this collection makes an extremely useful contribution not only to academic discourse, but to issues affecting the national life of the country.

Other articles in this volume focus on issues surrounding Maori language – its survival, its transition from an oral to a written language, and its re-emergence as an oral and written language. To this is added a highly original and possibly even provocative piece on conceptual interpretations of pa; a reflection on issues associated with the 1981 Springbok rugby tour to New Zealand, and concludes with a series of brief but brilliant articles which tackle a variety of culturally-charged concepts, and which, among much else, challenge the reader’s understanding of meanings associated with them.

From a collection of articles, Cleave then provides in the second volume of this collection a book. Starting points? A discussion of contemporary Maori society and culture, is primarily about New Zealand historiography, into which is injected a broad range of arguments and perspectives relating to issues such as culture, identity, tradition and modernity, and the media. One of the great strengths of this volume is the extent to which Cleave is able to draw on international material and examples to illuminate his arguments, without the reader ever getting the sense that he is being overwhelmed by comparative examples from other countries. It is a difficult balance to establish, but when handled as masterfully as in Starting Points? The benefits are immediately apparent. The theme of literacy raised in the first volume reappears briefly in this one, but in a substantially different context, with a strong connection with the way in which history works in cultures that had/have strong oral components. In the central sections of this volume is a series of analyses of the works of other writers, in which Cleave adopts the format of quoting passages from articles, and then providing a commentary on them. This is an approach to criticism that is too seldom utilised. In the case of this volume, it has enabled Cleave to deconstruct and then reconstruct ideas and themes, using these sources as interchangeable building blocks – able to be assembled in a variety of forms according to the writer’s perspectives.

Following on from Starting Points? is the third edition of one of Cleave’s seminal works: Rangahau pae iti kahurangi: Research in a small world of light and shade. This work, on themes and approaches to research in a broadly Maori context, has become a recommended text book for many tertiary course around the country, and draws heavily on traditional concepts of learning and understanding as part of the basis for one of the frameworks of research. The traditional is not closed off from critique, however, and Cleave’s great strength in this area is his ability to combine an in-depth cultural knowledge with recent scholarship on research, producing insightful and useful conclusions for anyone engaged in this area of study.

Another third edition in this collection is Papers on Social Work. His volume is made up of seven papers dealing with subjects from the more standard ones, such as ethics, to the some unlikely choices, such as the city space and social work, and the thematically-related article on places of inquiry. Yet, whether predictable or otherwise, Cleave brings new insights and challenging perspectives to the reader. Even the most experienced social work practitioner would be bound to have the perceptions of their profession augmented as a result of reading this book and absorbing some of its ideas.

Papers on Social Work is followed by the 244-page volume Papers on Language. Made up of thirteen articles, this work has Cleave again drawing on a useful quantity of international scholarship, and revealing why he is so highly-regarded in the academic community. There are too few writers in this country capable of combining material from so many different disciplines and in a way that produces such a wide variety of perspectives. Again, there is some material here that appears elsewhere, but its precise employment this volume avoids any sense of repetition. A few of the shorter articles in this volume would be suited mainly for teachers of te reo, but otherwise, the tenor of the works as a whole is well-suited to the general academic reader.

The next book in this collection is the 197-page What do we know about the mark on the wall? Images, rules and prior knowledge. As for its subject, Cleave opens with the teasing line: ‘As the author I still have difficulty saying what his book is about’. But rather than answer with a pithy summary, Cleave allows the ideas contained in this work to speak for themselves – no more, no less. Themes about the meaning of ideas, place, and memory compete with topics on historiography, sociolinguistics, and social geography, among many others. This is probably the most challenging book in the collection. Cleave moves, sometimes with great speed, from one topic to another, often leaving just hints of whole new areas of potential exploration. The reader might feel settled with an idea, and then in the next paragraph, Cleave might challenge that idea from several angles, before hauling the topic elsewhere, with a series of careful thematic links. There is no stated topic for this book, and nor ought there to be. It is like a rhapsody, with different motifs surfacing at various points, connected by very little at times, yet, at the conclusion, it all seems to have a link of sorts to the idea of knowledge. This is possibly one of the most satisfying yet challenging works in the collection.

Te Pu Tapere- the impulse to perform, formerly known as Depot Takirua, is the third edition of this work, and focuses mainly on the electronic media. At 204 pages, it is as substantial a work as any of its companion volumes in this collection, and for those studying film and television in New Zealand, it would be indispensible. This most certainly ought to be a prescribed text for all media students. The portrayal of Maori in film and television comes in for close scrutiny here, and Cleave seizes on several deficiencies and stereotypes in the way culture is presented in popular culture. The chapter on Jane Campion’s The Piano is one of the outstanding portions of this book, and as all the other chapters, offers insights that hitherto have not been available to readers interested in these areas of study. Some of the essays in this work date back to the 1990s, but have been revised where appropriate to maintain their currency.

Iwi Station: A Discussion of Print, Radio, Television, and the Internet in Aotearoa/ New Zealand also has a string media focus, as the title suggests. However, in keeping with the general approach of the other volumes in this collection, Cleave has added elements of history, sociology, and anthropology into the mix. And instead of merely being descriptive about the topics he has chosen, Cleave continually probes and questions to elicit deeper meanings behind them. This is most certainly a text that should be compulsory reading for every journalist and person involved in the media in New Zealand. In particular, it lifts the lid on the sorts of conceptual developments in thought that have led to the status the media currently has in New Zealand.

This collection, coming out as a single set, is unique in New Zealand academic writing. But the format and quantity side, the lasting value of these works is in the ideas they express and the changes in perception that they will bring about for the reader. Cleave deserves full praise for the contribution he has made in these works to the intellectual conversation about New Zealandness.

Paul Moon is Professor of History at Te Ara Poutama, the faculty of Maori Development at AUT University.

There are ten books in the basic Campus Press set. All of these are 200 pages or more in length. Terms of Trade are that the books are available from Campus Press for 57.00 NZD as individual titles or for 400.00 NZD for the Collection.

An Order Form is copied below. To order simply copy the send it by return to this email.

Terms of trade are $57.00 to Campus Press. There is a $7.50 Post and Package cost no matter how big the order is.

Titles and ISBN numbers are below;

978-1-877229-35-0 Aotearoa, papers of contest, Third Edition

978-1-877229-32-9 Maori Unpacked Second Edition

978-1-877229-37-4 Iwi Station Second Edition

978-1-877229-39-8 Papers on Language Third Edition

978-1-877229-42-8 Papers on Social Work Third Edition

978-1-877229-43-5 Rangahau pae iti kahurangi Third Edition

978-1-877229-44-2 What do we know about the mark on the wall Third Edition

978-1-877229-43-5 Te Pu Tapere- the Impulse to perform, formerly titled, From the Depot Takirua, Third Edition

978-1-877229-41-1 Papers to conference Fourth Edition

978-1-877229-38-1 Starting Points


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