Puff 540 Tues 12th

PNCC WAITANGI DAY FESTIVAL 2011

SUNDAY 6 FEB 2011: The Square Palmerston North
10.00AM – 5.00PM


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All arts, craft and display sites are 6 x 6 m, and are free.
(Normal rate $75.00)

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If you are fundraising a 3 x 3m site is free.
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Offer available until 1st December 2010
Then normal rates apply.


Contact: Lorene Fitzgerald
Festival Organiser
EMAIL: l.fitzgerald@inspire.net.nz
or M: 0274 188 156

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 puff books and the Campus Press Update follows below.
What else is happening? Get back to us via the Comments section of this Blog!
Peter Cleave at the London

Peter Cleave on guitar and vocals at the London on George Street Palmerston North- Fridays and Saturdays 6- 8.30pm. The London is one of New Zealand's best restaurants. Come and eat. The gig goes into its second month. It started with a show called Peter Cleave aqnd the British Invasion to go with the theme of the London. Beatles, Stones, Van Morrison and the like and it carries on from there.

Tuesday 12th
Te moana me te ngahere

Kaupapa korero mo te raa nei
Rangahau
He koorero moo ngaa tuhinga naa Rachael Selby me Paataka Moore moo te Horowhenua. Kei roto i te pukapuka Kaitiaki teenei. Ko te kaitiakitanga o Ngati Pareraukawa teetahi o nga kaupapa e whaingia nei. E aha a Ngaati Pareraukawa i ngaa waa e tuu mai?

Subject of the day
The sea and the forest

Analysis

A discussion by Rachel Selby and Paataka Moore about the Horowhenua. This is in the book Kaitiaki. The kaitiakitanga of Ngaati Pareraukawa is one of the subjects examined.
http://www.kaitiakitanga.net/stories/origins%20research.htm

Aotearoa: The Collection
The carvers have come up with the idea of a whare to house these ten volumes by Peter Cleave and this will have inlays of pounamu and/or jasper. Aotearoa: The Collection is being ordered as a celebrity gift and is one of a kind in Aotearoa/New Zealand.
ISBN
978-1-877229-45-9

Retail NZD 750.00
From Maori Unpacked
Part One

Unpacking sounds

Stretch.

Take a deep breath.

Say

a
as in ah

e
as in tech

i
as in fee

o
as in took

u
as in moo

Write out a card for each sound and put the cards along a windowsill where you can see them.

Say or sing the sounds each time you look out the window.

Make another set of cards and put across the lintel of the door you use most when leaving the house.

Say or sing the sounds each time you leave the house.

Stand at the gate and revise them all.




2

More sounds to unpack

Make cards for the following;

p

k

t

r

n

m

h

w

and these ones too

ng

wh

Put these together with your vowels in odd spots around the room so that they catch your eye in unexpected ways.

When one of these pairs of cards does catch your eye say or sing it three times.

Put some of these combinations on the walls of your room. Stand in the middle of the room and turn from wall to wall reading them out.






More unpacking

take a consonant like

t

and put it with the vowels as in

ta

te

ti

to

and

to

and then do the same thing with


p k t rn m h w ng and wh

Make more cards with these combinations on them.

Make one card with all the combinations on them.

Say the sounds.

Say them again.

Keep saying them.





And try doubling the vowels

aa

ee

ii

oo

uu

Play with these sounds, don't just unpack them and leave them sitting on their own.

Say the sounds softly.

Say them again loudly.

Keep saying them.

Make them feel wanted.

Say and sing them out loud.

The neighbours will love it!


Play a Magic Trick on yourself by shuffling the sound cards and pulling one out of your sleeve.

and have these sounds ready for further use!









Try combining consonants with these longer vowels as with

taa

tee

tii

too

and

tuu

and then do the same thing with


p k t rn m h w ng and wh


Etahi kupu hou- some new words

kaa- fire

koo- spade

uu- firm

huu- shoes

tuu- stand

raa- sun, day




How about repeating some vowel sounds?
And how about some more vocabulary?

taka- fall

heke- come down, descend

piki- climb

noho- sit

tuku- release, let go

How about combining different vowel sounds?
And how about some more vocabulary?

Starting with a

ao- world

au- I, me

tai- sea, seaside

ae- yes


Starting with e

reo- language

heu- separate

nei- here, near speaker

hea- where




Starting with i

kiekie- a climbing plant

tio- oyster

riu- district

ia- he, she, it


Starting with o

moumou- waste

hoa- friend

koi- sharp

koe- you, singular


Starting with u

hue- gourd

tuohu- bow

tui- bird

ua- rain

Isis: the dancing tramp by Benjamin Drum continues
Part Seven
Returned Goods

Simon and Sam go to lunch at Simon's mother's college. It is a pleasant experience. Sam tries to turn the conversation over to marriage but Simon and Agnes, his mother, keep deflecting her questions.

When they get home Simon and Sam review the case of the tramp. Simon writes notes to pin on the job sheet and Sam talks to him as she prepares a vegan meal.

It turns out from information in the files given to them by the lawyer in London that Edmond, the tramp indeed has an identity. He was a former spy in MI6, captured in Easter Europe, tortured with drug treatments and that accounts for his dance, his memory loss and his condition as a tramp.

He could have been tortured and shot but instead he was altered and sent back to the United Kingdom. It was a message. The point was that they could do this to people now. Torture was sometimes something of a mind game anyway but this time it was mind altering.

The Stasi had found the Isis on him so to speak. It was in his memory and so theirs to play with. They had placed even more sentiment on top of the childhood bonding that he already had.

So no wonder he liked the Isis in North Oxford. Born and bred there he had gone to the Dragon School and spent most of his life there except for a stint at Cambridge.

The Isis was a childhood memory for him. When he changed the signs Esme and Bella left for one another by way of stencils or whatever he was playing as though he was a child again. It was also that, although he could not remember it, he was used to messages, drops, dead message drops and that kind of thing from his training as a spy.

The message was also to the effect that if you mess in what the Tramp was messing in expect this kind of treatment. He had of, course, forgotten entirely what it was that he had been messing in, he'd lost all track of messages and their meaning.

The drugs they had used on him came from labs in Kurdistan. Expertise in the use of these kinds of drugs had become the preserve of the South American ex Stasi. They had become acknowledged experts in this area as they had been in certain areas of the cocaine trade where they assisted Colombian cartels.

After the breakup of communism in Eastern Europe a number of Stasi people had gone to South America, the torturer among them. They shared files with the brethren in Germany who had gone underground to begin with but had resurfaced in key government positions in Germany and the EU.

These two groups competed, sometimes sharing information sometimes not. There had been a major fallout recently over cocaine. The South American faction could not get out of the trade and the European set had to for political reasons. They were too far into the hierarchies of the common market, the EU or whatever Europe was being called to maintain those kinds of links. There was pressure from al the European as well as the American intelligence agencies to get out of cocaine. The split had been bloody and vicious and was now being taken to new heights.

Edmond, the tramp had been born in 1950. He grew up with an idea of the iron curtain. He believed in it and that right lay on the European side. For a bright man, like others before him, he was easily lead in this respect. Unlikely as it seemed on thinking about it, one or two of his uncles had joined the communist party at Cambridge in the thirties and perhaps it was the same thing in reverse or, at least, in a different direction with him.

In Bogota it was early morning. Juan aka Do-the-math got up and started stretching. He went through his routine of press-ups and did some work with bar bells. The phone went. It was an instruction to take a instruction from a new client. This was a referral.

Control had retired to the Algave. His wife had gone with him but his grown up children had stayed in England. He stayed in touch in various ways but he never missed Six.

He liked caviar. Control liked many of the finer things in life but he could do without as well. He had it all in one sense, a pleasant wife, a healthy pension and an excellent climate.

He liked grouse. But he never got himself into a place where he could hunt. He settled for pheasant on the Algave. Control and wife were warm weather people.

He likes the best brandy. He tried a lot of continental tipples when he left England but none worked as well as brandy for him. Kir was alright from time to time.

He keeps fit. Not a easy task when all around there is indolence. He had got by without a personal trainer and he was proud of that. He liked being away from people similar to himself.

He has whippets. They were dogs with some class he thought. He missed the horses they had kept in England. Sometimes he missed farms and the life in the south of England.

The tramp had been a biological scientist. He had been on the lookout for secrets of biological warfare when he was captured. He had walked in on the wrong thing at the wrong time.

Rob's mum Joan likes Desperate Housewives. Wysteria Lane has nothing on her section of the Isis though. Or so she would tell Rob. Or rather she could tell him a thing or two. It was only, thought Rob, that she never got around to the telling of it.

Joan likes roasts. None of your fancy diets for her she reckoned. She would tease Bella about her diets. That was where Rob got his legendary appetite thought Bella.

She has a leather lounge suite. Real leather. None of your fake stuff from China or wherever. Joan was a bit competitive in some ways. She knew what she wanted and went for the best of it.

She puts her hair up occasionally. Very occasionally as Joan rarely went out. But when she did it was a occasion. Now that Steve was in the frame she would do herself up and get out more. This suited Rob who could get on and work on his sculptures without interruption.

Joan has a bit of a thing for Tom Cruise. How on earth did he manage to be so cute? And Leonardo...and Brad Pitt. All the details were kept in big piles of magazines which she read again and again.

Juan arrived in Jamaica from Bogota. Photos of the mark were waiting for him. He settled in a modest Bed and Breakfast and began to prepare. He counted telegraph poles.
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 65.00 including tax plus 12.50 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 65.00NZD from Campus Press with a 12.50 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


Campus Press


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Please send us a copy or copies of

1 Aotearoa, Papers of Contest, Third Edition, Peter
Cleave x....

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3 Papers on Social Work, Fourth Edition, Peter
Cleave x....

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Cleave x…

5 Papers on Language, Third Edition, Peter Cleave x...

6 What do we know about the mark on the wall? Third Edition, Peter Cleave x...

7 Iwi Station, a discussion of print, radio and television in Aotearoa/New Zealand, Peter Cleave x

8 Maori Unpacked, Peter Cleave x...

9 Starting Points, a discussion of contemporary Maori culture and society, Peter Cleave x...

10 Rangahau pae iti kahurangi, research in a small world of light and shade,
Peter Cleave x...

11 Takutai; the foreshore and seabed x...

12 Ten Volumes, a Collection by Peter Cleave x.....


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