Theories of Art, Performance and Society in Aotearoa 3

Theories of Art, Performance and Society in Aotearoa 3 In the two earlier discussions in the Theories of Art and Society in Aotearoa series the work of Francis Pound and Martin Blythe, both from the 1990s and both, at least to an extent, out of Auckland were considered. Janinka Greenwood’s Griffith University doctoral thesis is titled Journeys into a Third Space A study of how theatre enables us to interpret the emergent space between cultures. This is a summary of thinking on biculturalism put together with an idea of a third space and, on this basis, an interpretation of dance and dance education in Panguru and elsewhere in Northland. Greenwood’s thesis is a very good review of the arts, the thinking and the mood of the late eighties and early nineties as well as very sound review of the literature. Janinka Greenwood talks of Arnold Wilson and Don Selwyn, of Ranginui Walker and Garfield Johnson (Greenwood 1999: 38-48), educators and polemicists of the ideology known as biculturalism. Writing for an Australia audience she contrasts biculturalism with multiculturalism. At the same time her subject of study, Te Mauri o Pakeaka is an educational arts programme that happened in Panguru and elsewhere in the North, an area where the Treaty of Waitangi is very important and where there is often only two cultures, Maori and Pakeha in the form of white farmers and storekeepers involved. The world Greenwwod describes is very like that of a recent film, The man who lost his head which is set in Northland and has the same clear distinction. Having said that the film features an Englishman rather than a person born and living locally. The clarity of a tight Maori and Pakeha community allows for a clear statement and reading of biculturalism and then a Third Cultural Space, an emergent cultural space, the space between Maori and Pakeha in Janinka Greenwood’s work. Early in the thesis (1999:22) Greenwood talks of a bricolage happening in the third space and this is, of course, reminiscent of Levi Strauss’ use of the term bricoleur although Claude Levi Strauss is not referred to in the thesis.. While Greenwood does not consider Francis Pound’s The Space Between of 1994 or Martin Blythe’s Naming the other- images of the Maori in New Zealand film and television. These are concerned with urban and national communities. A full reading of all three books is recommended along with Rangi Panoho in Headlands in 1992. And the various articles in this area in Illusions by authors like Pound and Blythe not mentioned by her might be read to gather a fuller understanding of writing in this area. At the same time Greenwood brings up local writing, especially that of Sebastian Black and others at Auckland University not mentioned as often as they might be elsewhere. Greenwood is talking about cultural understandings, educational policies and practices and what she sees as new formulations of aesthetic and semiotic frameworks. There is a lot of learning about theatre involved and it is interesting and refreshing to read about ‘process drama’ and ‘playwright theatre’, about ‘crystallization’ applied, inter alia to the arts and arts education in New Zealand schools. Greenwood also talks about ‘frame’ (1999:147). As well as the use of frame in teaching and exploring theatre and drama the thesis is about the frame of biculturalism. As she says in her conclusion; ‘By the time Pakeaka, the arts programme studied by Greenwood, was terminated, biculturalism had become a buzz-word among Pakeha liberals and was being critiqued by Maori activists as a mask for neo-colonialism’. As she considers her subject Greenwood talks variously of a sacred space and of ‘hot spots in the data’, contradictions and dissonances. Her definition of Pakeha is as designating non- Maori New Zealand identity. Greenwood (1999:44 also refers to ‘power culture’ as this term is used by O’Regan (1995) and ‘pale mainstream’ as used by Durie (1995). The thesis is interesting in its historical recollection, of things like Peter Boag’s distinction between ‘brownies‘and ‘pinkies’ (1999:50). Greenwood lays a sound foundation of reading for anyone interested in things on stage; Schechner, Heathcote and others are discussed to god effect (cf 1999:67, 105, 137). At the same time she provides an important and interesting spread of reading with references to anthropologists like Geertz (1988) (Greenwood 1999:43). And Greenwood’s report on a production of the Maui cycle could be read alongside the reflections of Tanemahuta Gray a decade or two later (cf Koowhiti, tekaharoa.com 2012) to give a good understanding of how the myth cycle might be presented and its meanings (1999: 56-7). Greenwood also reflects teaching styles and preferences of the day lining up Freire with the local indigenous theorists of Graham and Linda Smith and writers on the theatre and drama like Boal and his Theatre of the Oppressed of 1979 (1999:145). There is a mild strain of psychodrama in the thesis although Moreno is not heavily featured (cf 1999:69). Having the teacher as co-learner’ and ‘providing the student with the mantle of expert’ are key points of reference. Greenwood speaks of sacred space along with social coinage. The proto-drama of the work as a whole is a dramatic reframing of the existing social order, a rehearsal for change in the social domain. Coinage is also seen as an appropriate metaphor for the West with its emphasis on currency. Greenwood refers to the work of Maori Marsden to the effect that the material and the spiritual exist side by side (1999:109). With these thoughts as well as the business of co-teaching and co-learning in mind Greenwood says; ‘As well as the invitation to enter a sacred space, Pakeaka is a confrontation with what it means in empirical terms for the education system to serve the needs of Maori.’ And again; ‘What is claimed in the Pakeaka proto-drama is mana motuhake, right of control over one’s decision making or, to put it another way, a distinct voice.’ There are also the specifics of teaching in the North, especially the issue of teaching drama with and as an acknowledgement of culture. Greenwood refers to the people from Dargaville with their balalaikas, the Dalmatian influence, along with those from places like Pangaru with their koauau (1999: 48, 55, 75, 111). Greenwood brings us back to biculturalsim with a look at ‘two chair’ work in psychodrama and a series of references to the way Jean Genet sees the other in plays like The Balcony, the way that one sees oneself in the other, the idea of a dramatic mirror (1999:, 111, 135). This is a powerful dramatic tool that creates a split and then the eventual opportunity for healing and Greenwood leans into biculturalism with this idea along the way bringing in Freire and Boal. The splitting of monovision germinates the potency for change in the oppressor. While there is discomfort for the oppressor there might be growth for the oppressed. She refers to Greenwood 1984 for a discussion of this splitting and healing process (cf Greenwood 1999: 111-117). Greenwood makes the point that over ten years of its operation Pakeaka did not have a static form but some premises did remain constant. Things are brought up short by the Hawke Report of 1989 and the fiscal cuts and rationalisations made by the Education Department at that time. Greenwood’s discussion of Pakeaka considers role and self, experiential learning and culture, tradition, identity and borrowing as well as drama, safety, learning and risk. The two ideas of sacred space and social coinage are persevered with. Biculturalism rather than blending is the order preferred by Greenwood and her informants as well as in the writing she follows such as Orange, Durie, Walker and others. The general idea is that Pakeha are looking at Maori as the ‘unexpected stranger’ in their midst (1999: 132, 192-2000. Following Davis (1994) Greenwood notes that femaleness is marked and maleness is not. There is a consideration of Michael King’s writings on being Pakeha. As these readings are presented Greenwood affirms the active and influential power of theatre and notes that it is not simply involuntary and passively reflective. Greenwood talks about Boal, Soyinka and Schechner as she considers ritual, Moreno and Landy with regard to drama therapy, Turner and Handelman regarding social drama and talks about Brecht and others as well. She quotes Schechner (1993:20) to speak of four great spheres of performance; entertainment, healing, education and ritualising. These are ‘at play with one another’. Greenwood says; ‘Western theatre presumes its origins in ritual and non-western theatre is often described in terms of its continuing connection to ritual.’ Ritual can be seen as a balancing of social controls and as an alignment of humans in the cosmic order. Greenwood quotes Soyinka (1976: 38-41) and Turner (1988:25) talking about liminality and limbo as a threshold between secular and sacred (cf Greenwood 1999: 137). Greenwood provides a thorough- going investigation of this literature to see how it applies to biculturalism. She quotes Schechler (1993) to the effect that what will happen is; ‘…either the re-integration of the disturbed social group or the recognition and legitimation of the irreparable schism’ Greenwood also says; ‘The multifaceted, collaborative approach to pedagogy offered by drama has resonances with the issues raised by contemporary Maori educational theorists.’ And goes on to talk about a whanau or whole class approach or a poutama or staircasing. She again makes the connection between Maori theorists of her day and Boal and the theatre of the Oppressed and Freire as she sees theatre as a liberatory process. Greenwood talks of Landy’s taxonomy of roles and suggests that the use of roles has potential for healing through drama. Greenwood talks of frames and quotes Zarilli (1990:46) to say that the Western emphasis on mimesis and persona is not usefully transported to other cultures (cf 1999:246). Greenwood talks of consensus and confrontation. In her discussion of Stuart Devenie Greenwood talks of ‘Pakeha gatekeepers’. Devenie in an interview with her talks about how New Zealand actors are trained to do American- voice and body (1999: 160-164). There is the idea of the cultural space between Maori and Pakeha as being ‘terribly important to the integrity of both parts’. The idea is that this space between offers great joy, pain and danger. Greenwood says; ‘Like many others Don (Selwyn) considers that if we sort out the bicultural nature of our society ‘‘then the multiculturalism will take care of itself’’ ‘. There seems to be a fear of the melting pot; ‘The understanding of biculturalism offered by Pakeaka is categorically not one of cultural blending.’ Regarding the workshops in Panguru ‘it is Maori that is the unmarked norm. It is Pakeha values and practices that are characterised for difference.’ A thought from Greenwood that stays in the mind is; ‘Biculturalism is not a fixed space to which one might arrive. but rather a space for improvisation’. On the face of it Greenwood’s Third Space and Francis Pound’s he Space Between discussed earlier in this series would seem to have a lot in common. Pound is more critical. Martin Blythe, considered in the previous paper in his series has, in some respects, a more sophisticated and more finely tuned model. All of these writers are concerned as were many in the 1990s with the Other. Greenwood’s Bibliography shows her influences. Ranginui Walker has a prominence there. Feminist theory is also important in this mix as is Action Research and the thinking of Boal and Moreno. Greenwood’s is an educationalist’s approach and her references are internationally to Freire and localy to Linda Smith. There is a structure or a system of silences in New Zealand and this is sometimes difficult for outsiders. As noted above Greenwood does not mention Pound or Blyhe and nor do they mention her. It is such a small country that it is sometimes had to see how we avoid one another but it seems that we do… If Biculturalism could be said to have been given a fillip in 1975 with partial recognition by the Labour government of the Treaty of Waitangi and if, by contrast the decision of another Labour government in 2004 to reverse a High Court ruling on the foreshore and seabed and so form a cut-off point in the development of Biculturalism as Maori rights were disallowed then Greenwood work comes at the high point of Biculturalism, at a point when people believed. There may have been an excitement in the air around Greenwood as she researched in the early nineties and then wrote up in the late nineties. Greenwood’s Bibliography is important as a reflection of that excitement and its sources and a fair bit of it is listed below as a resource. These days as Treaty settlements tail off in 2013-14 at the latest and the effects of such settlements seems to be mixed. Like the involvement of Native Americans in casinos this is something of a lottery. As the foreshore and seabed legislation of 2011 comes into effect with its fragmentation of the iwi and a lack of a unified approach to Maori issues that excitement is not here and there is the sense of a mixed bag. It all seems a bit of a dream but Greenwood managed to capture that dream in a very good way, better, in many respects, than others writing at the time and since. Bibliography Anderson, Kathryn & Jack, Dana C. (1991) “Learning to Listen: Interviewing Techniques and Analyses” in Gluck, S & Patai, D. (eds) Women’s Words: The Feminist Practice of Oral History, Routledge, New York, p11-26 Anouilh, Jean (1966) The Collected Plays, Methuen, London Artaud, Antonin (1982) The Theatre and its Double, John Calder Ltd, London Ashton, Elaine (1995) An Introduction to Feminism and Theatre, Routledge, London & New York Aston, Elaine & Savona, George (1991) A Semiotics of Text and Performance, Routledge, London & New York Atkinson, Laurie (1984) “A Brief Chronology of Theatre in New Zealand”, Australasian Drama Studies, Vol 3, No 1, 1984, p5-13 Awatere Huata, Donna (1996) My Journey, Seaview Press, New Zealand Awatere, Donna (1984) Maori Sovereignty, Broadsheet, Auckland, Bakhtin, Mikhail (1986) The Dialogic Imagination, University of Texas Press, Austin Balme, Christopher (1996) “Between Separation and Integration: Intercultural strategies in contemporary Maori theatre,” in Pavis, Patrice (ed) The Intercultural Performance Reader, Routledge, London & New York, p179-187 Balme, Christopher (1990) “New Maori Theatre in New Zealand,” Australasian Drama Studies, No 15/16, 1990, p149-165 Barba, Eugenio (1995) The Paper Canoe, A Guide to Theatre Anthropology, Trans Richard Fowler, Routledge, London & New York Barthes, Roland (1968) Writing Degree Zero, Hill and Wang, New York Beatson, Peter & Beatson, Dianne (1994) The Arts in Aotearoa New Zealand, Massey University, Palmerston North Beckett, Samuel (1958) Endgame, Faber and Faber, London Belich, James (1996) Making Peoples: A History of the New Zealanders, Allen Lane, The Penguin Press, Auckland, New Zealand Bennett, Susan (1990) Theatre Audiences: A theory of production and reception, Routledge, London Benmayor, Rina (1991) “Testimony, Action Research, Empowerment: Puerto Rican Women and Popular Education” in Gluck, Sherna Berger & Patai, Daphne (eds) Women’s Words, Routledge, New York and London, p159-174 Bernstein, Basil (1971) Class, Codes and Control, Vol 1, Routledge and Kegan Paul, London Bhabha, Homi (1994) The Location of Culture, Routledge, London and New York Bhabha, Homi (1993) “Beyond the Pale: Art in the Age of Multicultural Translation” in Sussmann, Elisabeth (ed) 1993 Biennial Exhibition, Whitney Museum of American Art, New York Bhabha, Homi (1990a) “The Third Space” in Rutherford, Jonathan (ed) Identity: Community, Culture, Difference, Lawrence and Wishart, London, p207-221 Bhabha, Homi (ed) (1990b) Nation and Narration, Routledge, London and New York Bhabha, Homi (1994) ‘Of mimicry and man: The ambivalence of colonial discourse’, in The Location of Culture, London: Routledge. Bharucha, Rustom (1996a) "Negotiating the River" in Drama, Culture and Empowerment: The IDEA Dialogues, Idea Publications, Brisbane, p159-166 Bharucha, Rustom (1996b) "Somebody’s Other: Disorientations in the cultural politics of our time" in Pavis, Patrice (ed) The Intercultural Performance Reader, Routledge, London & New York, p196-212 Bharucha, Rustom. (1993) Theatre and the World: Performance and the Politics of Culture, Routledge, London Biggs, Bruce (1989) “Humpty Dumpty and the Treaty of Waitangi” in Kawharu, I.H. (ed) Waitangi : Maori and Pakeha Perspectives of the Treaty, Oxford University Press, Auckland, p300-312 Black, Sebastian (1992) “New Zealand“ in Bruce King (ed) Post-Colonial English Drama, St Martin’s Press, New York Black, Sebastian (1991) Guest editorial, Australasian Drama Studies, No 18, p3 Black, Sebastian (1984) “What kind of society can develop under corrugated iron: glimpses of New Zealand history in New Zealand plays” Australasian Drama Studies, Vol 3, No 1, p31-52 Black, Sebastian (1983) “New Zealand Plays, Playwrights and Theatre First Productions” Journal of New Zealand Literature, No 1, p5 Bly, Mark (1996) The Production Notebooks, Theatre Communications Group, New York Boal, Augusto (1995) The Rainbow of Desire: the Boal Method of Theatre and Therapy, Routledge, London Boal, Augusto (1979) Theatre of the Oppressed, Pluto Press, London Bolton, Gavin (1984) Drama as Education: an argument for placing drama at the centre of the curriculum, Longman, London Bolton, Gavin (1998) Acting in classroom drama: a critical analysis, Trentham, Staffordshire, England Bolton, Gavin (1996) “Afterword: Drama as Research” in Taylor, Philip (ed) Researching Drama and Arts Education, The Falmer Press, London, p187-194 Bourdieu, Pierre (1993) The Field Of Cultural Production, Polity Press, Great Britain Brecht, Berthold (1964) in John Willett (ed) Brecht on Theatre, Hill and Wang, New York Brecht, Berthold (1962) Mother Courage and her Children, Methuen, London Brook, Peter (1988) The Shifting Point: Forty Years of Dramatic Exploration 1946-1987, Methuen Drama, Great Britain Brook, Peter (1972) The Empty Space, Penguin Books, London Brydon, Diana (1998) “The White Inuit Speaks: Contamination as Literary Strategy” in Ashton, B; Griffith, G & Tiffin, H. (eds) The Post-colonial Studies Reader, Routledge, London and New York Burton, Bruce (1997) Rehearsal for Life: dramatising Adolescent Transitions Through Recreational Youth Theatre, unpublished thesis, University of Melbourne Burton, Bruce (1991) The Act of Learning: the Drama-Theatre Continuum in the Classroom, Longman Cheshire, Melbourne Callaghan, Dympna (1995) “The Aesthetics Of marginality: The Theatre of Joan Littlewood and Buzz Goodbody” in Laughlin, Karen & Schuler, Catherine (eds) Theatre and Feminist Aesthetics, Associated University Presses, London Campbell, Alistair (1994) “Re-Inventing the Wheel: Break-out Theatre in Education” in Schutzman, Mady & Cohen-Cruz, Jan (eds) Playing Boal: Theatre, therapy, activism, Routledge, London & New York, p 53- 63 Carnegie, David,(1991) Review of Land of the Moa, Australasian Drama Studies, No 18, p217-219 Carnegie, David (1985), “Recent New Drama” Journal of New Zealand Literature, No 3, p7ff Chalmers, A.F. (1982) What is this thing called Science?, University of Queensland Press, Queensland Childers, Mary and Hooks, Bell (1990) “A conversation about race and class” in Hirsch, Marianne & Keller, Evelyn Fox (eds) Conflicts in Feminism, Routledge London and New York, p60-81 Chow, Rey (2006) ‘Sacrifice, mimesis and the theorizing of victimhood (A speculative essay)’, Representations 94: 131–49. Cixous, Hélène (1991) “The Laugh of Medusa” in Warhol, Robyn & Herndl, Diane (eds) Feminisms, Rutgers University Press, New Brunswick, p334-349 Clandinin, D. Jean & Conelly, F. Michael (1994) "Personal Experience Methods in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p413- 427 Colenso, William (1890) The Authentic and Genuine History of the Signing of the Treaty of Waitangi, Wellington (Capper reprint, 1974) Comans, Christine & O’Toole, John (eds) (1999) Selected Papers IDEA ‘98, NADIE Journal Vol 23 No 1/ IDEA Journal Vol1 No1 Conquergood, Dwight (1995) ‘Of caravans and carnivals: Performance Studies in motion’, TDR 39(4): 137–41. Cormack, Ian (1997) "Creating an Effective Learning Environment for Maori Students”, in Te Whaiti, Pania, McCarthy, Marie and Durie, Arohia (eds) Mai i Rangiatea: Maori Wellbeing and Development, Auckland University Press with Bridget Williams Books, Auckland, p163-169 Czikszentmihaly, Mihail (1993) The Evolving Self: A Psychology for the Third Millenium, Harper Collins, New York Dale, Judith (1991) “Women’s Theatre and Why” Australasian Drama Studies, No 18, p159-181 Davies, Bronwyn (1994) Poststructuralist theory and classroom practice, Deakin University Press, Geelong Davis, David (ed) (1997) Interactive Research in Drama in Education, Trentham Books, Staffordshire, England DeCharms (1971) “from Pawns to Origins: Towards Self- Motivation” In Lesser, G. S. (ed) Psychology and Educational Practice, Scott Foresman & Co Derrida, Jacques (1982) The Margins of Philosophy, Chicago University Press, Chicago Derrida, Jacques (1978) Writing and Difference, Routledge and Kegan Paul, London Dewes, Te Kapunga (1975) “The Case for Oral Arts” in King, Michael (ed) Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand, p55-85 Dhar, T.N. (1996) “History, Myth and the Post-colonial: The Indian Context” in Trivedi, Harish & Mukherjee, Meenakshi (eds) Interrogating Post-colonialism, Indian Institute of Advanced Study, Rashtrapati Nivas, Shimla, p141-152 Dolan, Jill (1993) Presence and Desire, The University of Michigan Press, Michigan Dolan, Jill (1991) The Feminist Spectator as Critic, University of Michigan Press, Michigan Donn, Mary & Schick, Ruth (1995) Promoting Positive Race Relations in New Zealand Schools: Me Mahi Tahi Tatou, Ministry of Education, Wellington Durie, Mason H. (1989) “The Treaty of Waitangi- Perspectives on Social Policy” in Kawharu, I.H. (ed) Waitangi : Maori and Pakeha Perspectives of the Treaty, Oxford University Press, Auckland, p380-299 Durie, Mason H. (1998) Te Mana Te Kawanatanga The Politics of Maori Self- Determination, Oxford University Press, Auckland Edmonds, Murray (1991) “Lighting out for paradise: New Zealand theatre and the ‘other’ tradition” in Australasian Drama Studies, No 18, p183-206 Eisner, Elliot W. (1991) The Enlightened Eye: Qualitative Inquiry and the Enhancement of Educational Practice, Macmillan Publishing Company, New York Elam, Keir (1980) The Semiotics of Theatre and Drama, Methuen, London Ely, Margot, Ruth Vinz, Maryann Downing, Margaret Anzul (1997) On Writing Qualitative research: Living by Words, The Falmer Press, London & Washington DC p167-186 Enoch, Wesley (1992) “Sharing the Dance: A respectful offering” Qadie Says Vol 16; No 2, p23 Estes, Clarissa, Pinkola (1992) Women Who Run With the Wolves, Rider, London Feldhendler, Daniel (1996) Augusto Boal and Jacob L. Moreno: Theatre and therapy” in Schutzman, Mady & Cohen-Cruz, Jan (eds) Playing Boal: Theatre, therapy, activism, Routledge, London & New York, p87- 109 Fine, M. (1994) "Working the Hyphens: Reinventing Self and Other in Qualitative Research" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p70- 82 Fisher, Berenice (1994) “Feminist Acts: Women, pedagogy and Theatre of the Oppressed” in Schutzman, Mady & Cohen-Cruz, Jan (eds) Playing Boal: Theatre, therapy, activism, Routledge, London & New York, p 185- 197 Fitzclarence, Lindsay, Green, Bill & Bigum, Chris (1995) : ‘Stories In and Out of Class: Knowledge, Identity and Schooling’ in Smith, Richard & Wexler, Philip (eds) After Postmodernism: Education, Politics and Identity. The Falmer Press, London & elsewhere, p21-35 Fitzgerald, Thomas K (1977) Education and Identity: A Study of the New Zealand Maori Graduate, New Zealand Council for Educational Research, Wellington Fontana, Andrea & Frey, James H.: (1994) "Interviewing the Art of Science" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p361-376 Ford, John Bevan (1984) “Introduction” to Mataira, Katerina: Maori Artists of the South Pacific, Nga Puna Waihanga New Zealand Maori Artists and Writers Society, New Zealand, p9 Foucault, Michel in McHoul and Grace (1993) The Foucault Primer: Discourse, Power and the Subject, Melbourne University Press, Victoria Friere, Paulo (1972a) Cultural Action for Freedom, Penguin, Harmondsworth Freire, Paulo (1972b) Pedagogy of the Oppressed, Penguin Books, Harmondsworth Garrett, Simon (1991a) “First Production of Stage Plays by Maori Playwrights,” in Playmarket’s He Reo Hou: 5 plays by Maori playwrights, Playmarket, New Zealand Garrett, Simon (1991b) “Recent New Zealand Theatre” Australasian Drama Studies, No 18, p 30-46 Gee, James Paul (1992) The Social Mind: Language, Ideology and Social Practice, Bergin and Garvey, New York Geertz, Clifford (1988) Works and Lives: The Anthropologist as Author, Stanford University Press, California Geertz, Clifford (1975) The Interpretation of Cultures, Hutchinson, London Genet, Jean (1966) The Balcony, Faber and Faber, London Genet, Jean (1964) The Thief’s Journal, Trans Bernard Frechtman, Bantam Books, New York Gilbert, Helen (1998) Sightlines: Race, Gender, and Nation in Contemporary Australian Theatre, The University Of Michigan Press, Michigan Gilbert, Helen & Tompkins, Joanne (1996) Post-colonial Drama: theory, practice, politics, Routledge, London & New York Giroux, Henry A. (1997a) Channel Surfing: Race Talk and the Destruction of Today's Youth. St Martin's Press, New York Giroux, Henry A. (1997b) Pedagogy and the Politics of Hope. Westview Press, Colorado Giroux, Henry A. (1988) Teachers as Intellectuals: Towards a Critical Pedagogy of Learning, Bergin & Garvey , Massachusetts Gluck, Sherna Berger & Patai, Daphne (eds) (1991) Women’s Words, Routledge, New York and London Goffman, Irving (1974) Frame Analysis, Harper and Row, New York Goldie, Terry (1986) “Indigenous Stages, the indigene in Canadian New Zealand and Australian drama”, Australasian Drama Studies, No 9, p5ff Grace, Patricia & Ihimaera, Witi (1978) “ The Maori in Literature” in King, Michael (ed) Tihe Maori Ora: Aspects of Maoritanga, Methuen, New Zealand, p80-85 Greenwood, Janinka (1999) “Box of Memories”, in NADIE Jounal, Vol 23, no 1, p7- 15 Greenwood, Janinka (1997) “The Festival of the Dreaming”, review in NADIE Jounal, Vol 21, no 2, p88-91 Greenwood, Janinka (1997) “Theatre in our Sacred Spaces”, Paper given at ASPACAE Conference, Melbourne Greenwood, Janinka (1992) Broadwood: Na Wai te Reo, Script Services, Playmarket, Wellington Greenwood, Janinka (1984) A Description of the Puriri Tree: A study of drama as a learning medium for cultural exploration, unpublished research paper for DipTESL Victoria University, Wellington Griffith, Gareth (1996) “The Post-colonial Project: Critical Approaches and Problems” in King, Bruce (ed) New National and Post-colonial Literatures, Clarendon Press, Oxford, p164-177 Grotowski, Jerzy (1995) “From Theatre Company to Art as Vehicle” in Richards Thomas At Work with Grotowski on Physical Actions, Routledge, London & New York, p115- 135 Grotowski, Jerzy (1968) Towards A Poor Theatre, Methuen, London Gunew, Sneja & Rizvi, Fazal (eds), (1994) Culture, Difference and the Arts, Allen & Unwin, NSW Haas, Anthony; Webber, Allison &Brown, Pam (1982) People Like Us: Celebrating Cultural Diversity, Asia Pacific Books and the New Zealand Government Printer Handelman, Don (1990) Models and mirrors: towards an anthropology of public events, Cambridge University Press, Cambridge Handelman, Don (1977) “Play and Ritual: Complementary Frames of Communication” in Chapman A.J. & Foot, H.C. (eds) It’s a Funny Thing, Humour; International Conference on Humour and Laughter, Pergamon Press, Oxford, p185-209 Hapipi, Rore (Rolley Habib) (1991) “Death of the Land” in Playmarket (ed) He Reo Hou, New Zealand, p15-51 Harcourt, Peter (1978) A Dramatic Appearance: New Zealand Theatre 1920-1970, Methuen, Wellington Harper, Douglas (1994) "On the Authority of the Image: Visual Methods at the Crossroads" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p403-412 Head, Lindsay (1991) "Culture on the Fault Line” in King, Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, New Zealand, p23-34 Heathcote, Dorothy and Bolton, Gavin (1995) Drama for Learning: Dorothy Heathcote’s Mantle of the Expert Approach to Education, Heinemann, Portsmouth, NH. Heilpern, John (1978) Conference of the Birds, The Bobbs-Merrill Company, New York Henderson. Carol (1998) A Blaze of Colour: Gordon Tovey Artist Educator, Hazard Press, New Zealand Highwater, Jameke (1981) The Primal Mind, Harper & Row, New York Hodder, Ian (1994) "The Interpretation of Documents and Material Culture" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p393-402 Hohepa, Pat (1978) “Maori and Pakeha: The One-People Myth” in King, Michael (ed) Tihe Maori Ora: Aspects of Maoritanga, Methuen, New Zealand, p98-111 Holt, John (1964) How Children Fail, Penguin, Hardmondsworth hooks, bell (1995) Killing Rage: Ending Racism, Henry Holt, New York hooks, bell (1994) Teaching to Transgress: Education as the Practice of Freedom, Routledge, New York hooks, bell (1984) From Margin to Centre, Beacon Press, Boston Hutchinson, Vivian (1991) "The Planetary Pakeha" in King, Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, p129-145 Ibsen, Henrik (1971) Plays, Oxford University Press, New York Illich, Ivan (1976) Deschooling Society, Penguin, Harmondsworth Ionesco, Eugene (1962) Rhinoceros, The Chairs, The Lesson, Penguin, Harmondsworth Johnson, Liz & O’Neill, Cecily (ed) (1984) Dorothy Heathcote: Collected writings on education and drama, Hutchinson, London Kao, Shin-Mei and O’Neill, Cecily (1998) Words Into Worlds: Learning a Second Language Through Process Drama, Ablex Publishing Corporation, Stamford, Connecticut Karetu, Sam (1975) “Language and Protocol of the Marae” in King, Michael (ed) Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand p35-54 Kawharu, I.H. (ed) (1989) Waitangi : Maori and Pakeha Perspectives of the Treaty Oxford University Press, Auckland Kawharu. F.V. (1984) “Expression of Taha Maori through Art” paper presented at Maori Education Development Conference, Turangawaewae King, Bruce (ed) (1992) Postcolonial English Drama, St Martin’s Press, New York King, Bruce (ed) (1996) New National and Post-colonial Literatures, Clarendon Press, Oxford King, Michael (ed) (1991) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland King, Michael (1985) Being Pakeha, Hodder & Stoughton, New Zealand King, Michael (ed) (1978) Tihe Maori Ora: Aspects of Maoritanga, Methuen, NewZealand King, Michael (1977) Te Puea, Hodder & Stoughton, New Zealand King, Michael (1975), Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand Knox, Chris (1991) "Soft and White" in King, Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, p187-197 Kristeva, Julia (1980) “Word Dialogue and the Novel” in Desire in Language: a semiotic approach to literature and art, Columbia University Press, New York Kruger, Loren (1995) “the Dis-play’s the Thing: Gender and Public Sphere in Contemporary British Drama” in Laughlin, Karen & Schuler, Catherine (eds) Theatre and Feminist Aesthetics, Associated University Presses, London Lakoff, George (1987) Women, Fire , and Dangerous Things: What Categories Reveal about the Mind, University of Chicago Press, Chicago and London Lakoff, G. & Johnson, M. (1980) Metaphors We Live By, The University of Chicago Press, Chicago and London Laidlaw, Chris (1991) "Stepping out from Shadow” in King, Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, p157-170 Landry, Donna & MacLean, Gerald (eds) (1996) The Spivak Reader, Routledge New York Landy, Robert J. (1993) Persona and Performance: The Meaning of Role in Drama, Therapy, and Everyday Life, Jessica Kingsley Publishers, London Leek, Robert, (1988) “New Zealand Drama ‘86-87: Various Shades of Laughter” Journal of New Zealand Literature, No 6, p3ff Levert, Loukie & Opiyo Mumma (ed) Drama and Theatre: Community and Development, Kenya Drama/Theatre and Education Association, Nairobi Mahuika, Api (1975) “Leadership: Inherited and Achieved” in King, Michael (ed) Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand, p86-112 Mangham, Iain & Overington, Michael (1983) “Dramatism and the Theatrical Metaphor” in Gareth Morgan (ed) Beyond Method; Strategies for Social Research, Sage Publications, Newbury Park, p219-233 Manley, Anita and O’Neill, Cecily (1997) Dreamseekers: Creative Approaches to the African American Heritage, Heinemann, Portsmouth, NH Manning, Peter K. & Cullum-Swan, Betsy (1994) "Narrative, Content , and Semiotic Analysis" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p463-477 Marks, Maiki (1984) “The Frustrations of Being a Maori language Teacher”, paper presented at Maori Education Development Conference, Turangawaewae Marsden, Maori (1984) “A Philosophy of Education”, paper presented at Maori Education Development Conference, Turangawaewae Marsden, Maori (1975) “God, Man and Universe: A Maori View”, in King, Michael (ed): Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand, p191-219 Mataira, Katerina (1984) Maori Artists of the South Pacific, Nga Puna Waihanga New Zealand Maori Artists and Writers Society, New Zealand Max, Lesley (1991) "Having it all: the Kibbutznik and the Powhiri" in King, Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, New Zealand, p79-91 McCloy, Peter (1995) The Survival Dreaming: Enduring Values from Australia’s Aboriginal Culture, Management Interface Pty Ltd, Australia McLean, Judith (1996) An Aesthetic Framework in Drama: Issues and Implications, NADIE Research Monograph Series, Brisbane McNaughton, H. (1991) “Drama” in Terry Sturm (ed) Oxford History of New Zealand Literature in English, Oxford University Press, p271ff McWilliam, Erica (1997) “Performing between the posts: authority, posture and contemporary feminist scholarship” in Tierney, William and Lincoln, Yvonna (eds) Representation and the Text, State University of New York, Albany McWilliam, Erica (1996) “Admitting impediments: or things to do with bodies in classrooms” in Cambridge Journal of Education, Special Edition: The Emotions of Teaching, Vol 26, No 3, p367-378 Mead, Hirini (1984) Te Maori, Heinemann, New Zealand Melbourne, Hineani (1995) Maori Sovereignty: The Maori Perspective, Hodder Moa Beckett, Auckland Metge, S. (1980) “Cultural Diversity Models and Their Implications” paper presented The Multi-Cultural School, North Shore Teacher’s College Moore-Gilbert, Bart (1997): Postcolonial Theory: Contexts, Practices, Politics, Verso, London & New York Moreno, J.L. (1946) Psychodrama, Beacon, New York Morgan, Norah & Juliana Saxton (1987) Teaching Drama: A Mind of Many Wonders, Hutchinson, London Morgan, Wendy & McWilliam, Erica: (1995) ‘Keeping an Untidy House: A Disjointed Paper About Academic Space, Work and Bodies’ in Smith, Richard & Wexler, Philip (eds) After Postmodernism: Education, Politics and Identity. The Falmer Press, London Neelands, Jonothan (1996) “Towards an Interactive Research Paradigm” in Taylor, Philip (ed) Researching Drama and Arts Education, The Falmer Press, London, p156-166 Neelands, Jonothan (1992) Learning through Imagined Experience, Hodder and Stoughton, London Neelands, Jonothan (1990) Structuring Drama Work: A handbook of available forms in theatre and drama, Cambridge University Press, Cambridge Neitch, R. (1986) “A Veil of Orthodoxy: Rotorua Ngati Tarawhai Woodcarving in a Changing Context” in Art and Artists of Oceania, Dunmore Press, New Zealand Ng, Roxana, Staton Pat, & Scan Joyce (1995) Anti-Racism, Feminism and Critical Approaches to Education, Berrigan & Gravy, Westpoint, Connecticut & London Ngata, Apirana (1928) Nga Moteatea, Polynesian Society, A.H & A. W. Reed, Wellington Nichols, Darcy, et al (1986) Seven Maori Artists, Government Printer, New Zealand Nicholson, Helen (1995) “Performative Acts: Drama, Education and Gender” in NADIE Journal, Vol 19, No 1, Australia, p15-24 Norman, Wairete (1989) ”The Muriwhenua Claim” in Kawharu, I.H. (ed) Waitangi: Maori and Pakeha Perspectives of the Treaty of Waitangi, Oxford University Press, Auckland, p180- 210 O’Brien, Angela (1996) “Restoring our Dramatic Past” in Taylor, Philip (ed) Researching Drama and Arts Education, The Falmer Press, London, p105-113 O’Neill, Cecily & Lambert, Alan, (1982) Drama Structures. Heinemann, Portsmouth, NH. O’Neill, Cecily (1995a) Drama Worlds: A Framework for Process Drama, Heinemann, New Hampshire O’Neill, Cecily (1995b) “Preface” to Heathcote, Dorothy and Bolton, Gavin Drama for Learning: Dorothy Heathcote’s Mantle of the Expert Approach to Education, Heinemann, Portsmouth, NH. O’Regan, Tipene (1989) “The Ngai Tahu Claim” in Kawharu, I.H. (ed) Waitangi : Maori and Pakeha Perspectives of the Treaty, Oxford University Press, Auckland, p234-262 O'Toole, John (1992), The Process of Drama: Negotiating Arts and Meaning, Routledge, London & New York O'Toole, John & Donelan, Kate (eds) (1996) Drama, Culture and Empowerment: The IDEA Dialogues, IDEA Publications, Brisbane Ogolla Lenin (1997) Towards Behaviour Change: Participatory Theatre in Education and Development, PETAD International, Nairobi Okombo, Okoth & Nandwa, Jane (eds) (1992) Reflections on Theories and Methods in Oral Literature, Kenyan Oral Literature Association, Kenya Olein, Virginia (1994) "Feminism and Models of Qualitative Research" in Denizen, N.K. & Lincoln Y.S. (ed) Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p158-174 Olssen, Erik (1991) "Sharing a Laugh" in King , Michael (ed) Pakeha: The Quest for Identity in New Zealand, Penguin Books, Auckland, New Zealand, p117-128 Orange, Claudia (1987) The Treaty of Waitangi, Allen & Unwin, New Zealand Osinski, Zbigniew (1986) Grotowski and His Laboratory, PAJ Publications, New York Pavis, Patrice (ed) (1996)The Intercultural Performance Reader, Routledge, London & New York Pavis, Patrice (1992) Theatre at the Crossroads of Culture, Routledge, London & New York. Pavis, Patrice (1985) “Theatre analysis: Some Questions and a Questionnaire”, New Theatre Quarterly, Vol 1(2), p208-212 Pavis, Patrice (1981) “Semiology and the Vocabulary of Theatre”, Theatre Quarterly, Vol40, p74-78 Playmarket (ed) (1991) He Reo Hou, Playmarket, Wellington Postman, Neil and Weingartner, Charles (1971) Teaching as a Subversive Activity, Penguin, Harmondsworth. Poole, Fiona Farell (1987) “Nineteenth century New Zealand Drama; ’Kainga of the Ladye Birds “Journal of New Zealand Literature, No 5. p6ff Potiki, Roma (1996) “It Is Political if it Can be Passed On” in Pavis, Patrice (ed) The Intercultural Performance Reader, Routledge, London & New York Potiki, Roma (1991a) Introduction to Playmarket’s He Reo Hou, New Zealand, p9-13 Potiki, Roma (1991b) “A Maori point of view: the journey from anxiety to confidence”, Australasian Drama Studies, No 18, p57-63 Prebble, Richard (1996) I’ve Been Thinking, Seascape Press, New Zealand Rangihau, John (1975) “Being Maori” in King, Michael (ed) Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand, p221- 233 Reason, Peter (1993) “Sacred Experience and Sacred Science”, Journal of Management Inquiry, Vol2, p10-27 Reinharz, Shulamit (1992) Feminist Methods in Social Research, Oxford University Press, New York, Oxford, 1992 Richardson, Elwyn (1964) In the Early World, New Zealand Council for Educational Research, Wellington Richardson, Laurel (1994) "Writing, a Method of Inquiry" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks, California, p516-529 Ryan, P.M. (1983) The Revised Dictionary of Modern Maori, Heinemann, New Zealand Said, Edward (1993) Culture and Imperialism, Vintage, London Said, Edward (1985) ”Orientalism Reconsidered” in Barker et al: Europe and Its Others, vol 1 Said, Edward (1978) Orientalism, Vintage Books, New York Salmond, Anne (1976) Hui, Reed Methuen, Auckland Savona, Jeannelle Laillou (1995) “Problematics of a Feminist Theatre: The case of A ma mère, à ma mère, à ma mère, à ma voisine”, in Laughlin, Karen & Schuler, Catherine (eds) Theatre and Feminist Aesthetics, Associated University Presses, London Schechner, Richard (1993) The Future of Ritual, Routledge, London & New York Schechner, Richard (1990) “Magnitudes of Performance” in By Means of Performance, Cambridge University Press, Cambridge, p19-49 Schechner, Richard (1988) Performance Theory, Routledge, London & New York Schechner, Richard (1985) Between Theatre and Anthropology, University of Pennsylvania Press, Philedelphia Schutzman, Mady & Cohen-Cruz, Jan (eds) (1994) Playing Boal: Theatre, therapy, activism, Routledge, London & New York Schweitzer, Pam (1994) “Many Happy Retirements” in Schutzman, Mady & Cohen-Cruz, Jan (eds) Playing Boal: Theatre, therapy, activism, Routledge, London & New York, p 64- 80 Scott, Stewart C. (1995) The Travesty of Waitangi: Towards Anarchy, Capbell Press, Dunedin Shaw, Bernard (1960) Major Barbara, Penguin, Harmondsworth Shaw, Carolyn Martin (1995) Colonial Inscriptions : Race, Sex, and Class in Kenya, University of Minnesota Press, Minneapolis & London Shepherd, L. (1993) Lifting the veil: The feminine face of science, Shambhala, Boston Shoemaker, Adam (1996) “Paper Tracks” in King , Bruce (ed) New National and Post-Colonial Literatures, Clarendon Press, Oxford Sherman & Webb (1988) Qualitative Research in Education: Focus and Methods, The Falmer Press, London Shulamit, Reinharz (1992) Feminist Methods in Social Research, Oxford University Press, New York Simon, Judith (1986) Ideology in Schooling of Maori Children, Delta research Monograph No 7, Massey University, Palmerston North, New Zealand Simon, Judith (1984) “The Ideological Rationale for the Denial of Maoritanga”, paper presented at Maori Education Development Conference, Turangawaewae, New Zealand Singh, Parlo (1995) “Voicing The ‘Other’, Speaking for the ‘Self’, Disrupting the Metanarratives of Educational Theorising with Poststructural Feminisms” in Smith, Richard and Wexler, Philip (eds) After Postmodernism: Education, Politics and Identity, The Falmer Press, London, p182-206 Slemon, Stephen (1996) “Post-colonial Critical Theories” in King, Bruce (ed) New National and Post-colonial Literatures, Clarendon Press, Oxford, p178-197 Slemon, Stephen (1995) “The Scramble for Post-colonialism” in Aschroft, Bill; Griffiths, Gareth & Tiffin, Helen (eds) The Post-colonial Studies Reader Routledge, London & New York, p45-56 Smith, Graham Hingangaroa (1992) “Tane-nui-a-rangi’s Legacy - Propping up the Sky: Kaupapa Maori as Resistance and Intervention”, Paper presented at NZARE/ AARE Joint Conference, Deakin University, Australia Smith, Graham Hingangaroa (1990) “Research Issues Related to Maori Education”, Paper presented at NZARE Special Interest Conference, Massey University, New Zealand. Smith, Linda Tuhiwai (1999) Decolonizing Methodologies: Research and Indigenous Peoples, University of Otago Press, Dunedin Sorrenson, M.P.K. (1989) “Towards a Radical Reinterpretation of New Zealand History: the role of the Waitangi Tribunal” in Kawharu, I.H. (ed) Waitangi : Maori and Pakeha Perspectives of the Treaty, Oxford University Press, Auckland, p158-178 Soyinka, Wole (1976) Myth, Literature and the African World, Cambridge University Press, Cambridge Spivak, Gayatri (1996a) “Explanation and Culture; Marginalia” in Landry and MacLean (eds) The Spivak Reader, Routledge New York, p29ff Spivak, Gayatri (1996b) “Translator’s Preface and Afterword to Mahaweta Devi, Imaginary Maps” in Landry and MacLean (eds) The Spivak Reader, Routledge New York, p167ff Spivak, Gayatri (1996c) “Bonding in Difference: Interview with Alfred Arteaga” in Landry and MacLean (eds) The Spivak Reader, Routledge, New York, p14ff Spivak, Gayatri (1996d) “How to teach a Culturally Different Book” in The Spivak Reader, Routledge, New York, p237ff Spivak, Gayatri (1996e) “Subaltern talk: Interview with the Editors” in The Spivak Reader, Routledge, New York, p287ff Spivak, Gayatri (1993) Outside in the Teaching Machine, Routledge, New York Spivak, Gayatri (1990) The Post-Colonial Critic, Routledge New York & London Spivak, Gayatri (1988) “Subaltern Studies” in In Other Words, Routledge, New York and London Stake, Robert E. (1994) "Case Studies" in Denzin, N.K. & Lincoln Y.S. (ed): Handbook of Qualitative Research, Sage Publications, Thousand Oaks,California, p236-247 Stanislavski, Constatin (1936) An Actor Prepares, Theatre Arts, New York Stanley, Liz & Wise, Sue (1993) Breaking Out Again; Feminist Ontology and Epistemology, Routledge, London and New York Susman, Gerald, I. (1983) “Action Research: A Sociotechnical Perspective” in Gareth Morgan (ed) Beyond Method; Strategies for Social Research, Sage Publications, Newbury Park, p95-113 Swortzell, Lowell (1996) “History as Drama/Drama as History: The case for Historical Reconstruction as Research Paradigm” in Taylor, Philip (ed) Researching Drama and Arts Education, The Falmer Press, London, p 97-104 Tangaere, Aperera Royal (1997) "Maori Human Development Theory", in Te Whaiti, Pania, McCarthy, Marie & Durie, Arohia (eds) Mai i Rangiatea: Maori Wellbeing and Development, Auckland University Press with Bridget Williams Books, Auckland, p46-59 Taylor, Philip (1998) Redcoats and Patriots: Reflective Practice in Drama and Social Studies, Heinemann, Portsmouth, NH. Taylor, Philip (ed) (1996) Researching Drama and Arts Education, Falmer Press, London Taylor, Philip (1995) Pre-text & Storydrama: The Artistry of Cecily O’Neill & David Booth, NADIE Research Monograph Series, Brisbane Taylor, Philip & Hoepper, Christine (eds) (1995) Selected Readings in Drama and Theatre Education: IDEA’95 Papers, NADIE Publications, Brisbane, Australia Te Whaiti, Pania, McCarthy, Marie and Durie, Arohia (eds) (1997) Mai i Rangiatea: Maori Wellbeing and Development, Auckland University Press with Bridget Williams Books, Auckland Thomson, John (1984) New Zealand Drama: 1930-1980, An Illustrated History, Oxford University Press, Auckland Tiffin, Helen (1996) “Plato’s Cave: Educational and Critical Practices” in King, Bruce (ed) New National and Post-colonial Literatures, Clarendon Press, Oxford, p143-163 Tomlins Jahnke, Huia (1997) “Maori Women and education: Historical and Contemporary Perspectives” in Te Whaiti, Pania, McCarthy, Marie and Durie, Arohia (eds) (1997) Mai i Rangiatea: Maori Wellbeing and Development, Auckland University Press with Bridget Williams Books, Auckland Turner, Frederick (1986) “Dewey, Dilthey and Drama: An Essay in the Anthropology of Experience” in Victor Turner and Edward Bruner (eds) The Anthropology of Experience, University of Illinois Press, Urbana and Chicago, p73-94 Turner, Victor (1988) The Anthropology of Performance, PAJ Publications, New York Tuwhare, Hone (1991) “In the Wilderness Without a Hat”, in Playmarket (ed) He Reo Hou, New Zealand, p 53- 123 van Manen, Max (1990) Researching Lived Experience: Human Science for and Action Sensitive Pedagogy, The Althouse Press, Ontario, Canada Wagner, Betty (1976) Dorothy Heathcote: Drama as a Learning Medium, Hutchinson, London Walker, Ranginui (1996) Nga Pepa a Ranginui: The Walker Papers, Penguin, Auckland Walker, Ranginui (1990) Ka Whawhai Tonu Matou: Struggle Without End, Penguin, Auckland Walker, Ranginui (1989a) “The Treaty of Waitangi: as the focus of Maori protest” in Kawharu, I.H. (ed) Waitangi : Maori and Pakeha Perspectives of the Treaty, Oxford University Press, Auckland, p263-279 Walker, Ranginui (1989b) “Colonisation and Development of Maori People” in Howard, Michael C. (ed) Ethnicity and Nation-building in the Pacific, The United Nations University, Tokyo, p152-168 Walker, Ranginui (1984) “The Maori Response to Education”, paper presented at Maori Education Development Conference, Turangawaewae Walker, Ranginui (1975) “Marae: A Place to Stand” in King, Michael (ed) Te Ao Hurihuri, Hicks Smith and Sons Ltd, New Zealand, p21-34 Walker, Ranginui (1973) “Biculturalism and Education” in Bray, D.H. and Hill C.G.N. (eds) Polynesian and Pakeha in New Zealand Education Vol I The Sharing of Cultures, Heinemann, Auckland Warrington, Lisa (1991) “A Life Long Affair: Renee’s Writing for the Theatre; Commentary/Interview” Australasian Drama Studies, Vol 3, No 1, p70-90 Watson White, Helen (1990) New Zealand Drama 1988-89- An Expanding Field”, Journal of New Zealand Literature, No 7, p3 Watson, Ian (1993) Towards a Third Theatre: Eugenio Barba and the Odin Teatret, Routledge, London Wilhelm, Jeffrey D. & Edmiston, Brian (1998) Imagining to Learn: Inquiry, Ethics, and Integration Through Drama, Heinemann, Portsmouth, NH. Willis P (1990) Common Culture: Symbolic Work at play in the everyday cultures of the young, Oxford University Press, Boulder Wright David ( 1997) ”Constructivism and Creativity”, paper presented at NADIE Conference, Sydney. Zarrilli, Phillip (ed) (1995) Acting (Re)Considered, Routledge, London and New York Zarrilli, Phillip (1990) “What does it mean to ‘become the character’ : power, presence and transcendence in Asian in-body disciplines of practice” in By Means of Performance, Cambridge University Press, Cambridge, p19-49 Reports Hunn Report (1960) Maori Education, Government Printer, Wellington New Zealand Educational Institute (1967) Report and Recommendations On Maori Education, Wellington Department of Education (1978) Arts in Schools: The New Zealand Experience, Government Printer , Wellington The Hawke Report 1989, Tomorrow’s Schools, Ministry of Education Johnson, Garfield (chairman) (1977) Growing, Sharing, Learning: The Report of the Committee on Health and Social Education (the Johnson Report), Department of Education Government Printer, Wellington McCombs Report (1976) Secondary Education, Government Printer, Wellington Ministry of Education (1999) The Arts in the New Zealand Curriculum: Draft, Learning Media Limited, Wellington Ministry of Education (1998) Nga Haeata Matauranga Direction for 1999, www.minedu.govt.nz Ministry of Education (1993) Te Whariki, Learning Media, New Zealand Ministry of Education (1993) Science in the New Zealand Curriculum, Learning Media, New Zealand Race Relations Office (1983) Race Against Time, Government Printer, Wellington Race Relations Office (1982) Racial Harmony in New Zealand, Government Printer, Wellington Waitangi Tribunal (1986) Report of the Waitangi Tribunal on the Te Reo Maori Claim, Government Printer, Wellington, New Zealand