Isis

The Isis series is a detective series based in North Oxford England by Benjamin Drum, pen name, and published by puff books.

Two books are out so far in the Isis series.
These are, in order of publication;

1 Isis, the days of the voles
In which acrobats are taken from Oxford to Las Vegas.
ISBN 978-0-9582939-9-0

2 Isis, the dancing tramp
In which the Tramp is kidnapped and his background revealed
ISBN 978-0-9582939-1-4

Coming up is;
3 Isis, Giselle plays croquet
In which Giselle nearly loses her trust fund and gets to play croquet.

A set of ten books are planned. As imagined at this stage, the remaining seven are;

4 Isis, swimming with the Dons
In which the Dons swim naked in the Isis and research contracts are abused.

5 Isis, Julio and the fire
In which Julio leaves his private zoo in Bogata and chances the flames of the world outside.

6 Isis, fishing for spies
In which there is a mix up over spies and we find out who the angler is.

7 Isis, paths of time
In which Rob sketches something that Paul, the runner, finds in the Isis.
8 Isis, Juan runs and falls
In which Juan stows away on a freighter and eludes Simon for a while.

9 Isis, dreams and spires
In which a librarian finds a rare book and Simon traces the book's original owners to Piraeus.

10 Isis, High Wire at the May Ball
In which someone wants to sabotage the May Ball and Simon finds the culprit in the Joiner's Arms.


Order these books by email at puffmedia@yahoo.co.nz or from

puff books

27B Dorset Ave

Hokowhitu,

Palmerston North

Books are priced at 57.00 to Campus Press and 7.50 Post and Pack no matter how many books in the order.

Matariki 2010

Matariki began for me with a Hikoi, a properly organized tour of the Rangitaane area with Paul Hortom the guide. We started in Awapuni. There we looked at old Pa sites in the lowland area.

We went to Ashurst. While Paul was telling us about Apiti a kereru came into a nearby tree and observed proceedings. It was a magical time.

We went to the karaka groves near the university. There we saw some kai that would be used in the forthcoming Rangitaane Wildfood Festival.

And then, after a bit of a kotiti, taking in a lot of information from Paul and others who contributed we came back to base, to Awapuni.

That night we all stayed at Tuturu Pumau the meeting house at Rangitaane Pa Awapuni. We practiced waka ama work indoors getting ready for an expedition or an exercise on a waka at Tangimoana the next day.

Then there was the predawn ceremony welcoming in Matariki before the haangi was lifted. And then a round of korero. And then, the haangi lifted, breakfast.

My next matariki experience was the Seven Sisters concert at Te Papa Tongarewa in Wellington. The marae area was packed out for this. There was a range of singers from Lily Tomlin to Ria Hall.

Many of the songs were originals and they were well constructed. Several singers had good backing from the likes of Puawai Cairns on guitar. The concert looked good with Puawai wearing a white tie on a black shirt. She backed Ria Hall in what seemed to be the most popular set.

Kali Kopae impressed with her set backed by James Macgaskill on bass. Bella Kalolo was also impressive with an organist behind her vocal. With Ramon Re Wake and the Compere considered this was a very even display of high quality and the Matariki Seasons at Te Papa that also involve a Seven Brothers Concert are exceptional.

And then it was on to Koowhiti; Matariki Festival of Contemporary Dance. This was on June 24-27/2010 at Te Papa Tongarewa

It was the show of shows. A comprehensive display of dance, Maori dance at Te Papa. It featured a Hakari, a Dinner at Icon the dining complex at Te Papa Tongarewa and this was remarkable for the dignitaries there. Senior politicians, High Court judges, Kerry Prendergast, the Mayor of Wellington, sundry MPs and lawyers.

Brendon Pongia of morning television was the Master of Ceremonies for the meal and he got us all down to earth with a lot of patter about Dancing with the stars. I was proud to put my hand up when Brendon asked who watched Dancing with the stars. This sorted the audience out. Here was an audience of Wellington High Culture. Lowbrows like me were in the distinct minority. But Brendon was the perfect foil, dancer and sportsman, introducing Toni Huata for some powerful waiata and getting everyone ready for the show itself, Koowhiti and the presentation of awards to follow.

And then, with a bit of a hurry-up from MC Pongia over the dessert, we all moved from the banquet room to a theatre at Te Papa for the show.

Koowhiti means to pull out or to select. It can be used to say something like, ‘the kumara were pulled out of the garden’. It also has the secondary meaning of the appearance of a new moon and there is an interesting usage with a replication of whiti in koowhitiwhiti which refers to a leaping or dancing of water.
But Koowhiti, for those who attended will always mean the performance or a set of dance performances at Te Papa Tongarewa during Te Matariki. Some of these were excerpts from earlier shows and others were new shows. There were strong similarities amongst the shows and there were differences as well. Koowhiti then was a set of shows shifting in shape like dancing water in a fountain.

Stage management was well done without fuss or fanfare by Cathy Knowsley and her crew. Lisa Maule provided very effective lighting. It all ran like clockwork and like the food at the hakari it was both elegant and sustaining as background for the performances.

Cat Ruka stood out. Dance met theatre at Koowhiti; every dance-picture told a story and hers were the best in many respects even though she did not dance much. Bare breasted, her solo dance involved props from the world of the Maori woman cigarette trapped, gang trapped, tourist trapped by toy plastic dolls, flag trapped and wrapped in a hold from which she was seriously hurt, from a warriorhood that came with the territory like a curse.

But there was much else in the show. One or two of the dancers were older but a lot were younger and they came with an open freshness, taking the lead of Tanemahuta and Merenia on stage with very clear understanding. The young ones came mainly from the Judith Fuge Dance Studio and the Commercial Dance course at the Whitireia Performing Arts Centre.

The work of Taupuhi Toki and New Native Dance was seen to effect in Paa Kingdom. And the choreography of Cathy Livermore and the Atamira Dance Company in Don’t feed the man fish took message and performance to new heights and asked new questions about things like global warming from the point of view of indigenous people.

The New Zealand School of Dance supported Merenia Gray and the Merenia Gray Dance Company in Black Rain. As well as superb dance this show had an excellent use of music and poetry ranging from the work of Hirini Melbourne and Richard Nunns to that of Hone Tuwhare.

Tanemahuta Gray used the music of Tiki Taane in his Past/Present/Future and in Tangaroa and Now this is it, keeping things current. The contemporary feel was reinforced by Future Fame appearing courtesy of Mad Fame Creative Specialists in The Inner Cosmos. This featured the music of Mr Flash and The Dorian Concept.

Merenia Gray also used poetry in Entangled, this time taking Octavio Paz’s The Sacred Fig Tree as an inspiration. Merenia cross referenced to a lot of things without losing the thread. A subtlety to be wondered at.

Some of the work went back a fair way. He Taura Whakapapa with choreography by Charles Koroneho and Te Toki Haruru came from a production by the Taiao Dance Theatre in 1990. With a theme concerning the fragility of unity the work, like all other pieces on the night posed questions that lingered.
Some of the collaboration worked extremely well, taking all kinds of risks. The support of Kid Genius Klik for Cat Ruka’s Playing Savage made for a magic combination. Playing Savage also employed the music of Chopin and Notorious BIG. The presentation carried the musical contrasts.

The way Koowhiti worked was that key performances from the past were selected with an eye on the message so that the experience of Maori over time was reflected. In Moonlight Sonata and Memoirs of Active Service dating from 2006, the Year of the Veteran, looked back to the long experience of Maori, especially Maori from remote areas in the New Zealand war machine.

Te Whenua with choreography by Moss Paterson and the Atamira Dance Company came from Whakairo of 2007. This gave Koowhiti a spiritual and mystic dimension and so connected the deep past of the Maori to Te Papa Tongarewa during Te Matariki of 2010.

Some of the work went back as it projected forward. He Taonga with choreography from Taane Mete and Taiaroa Royal and the Okareka Dance Company came from a Graduation ceremony for the New Zealand School of Dance season in 2009. This interesting work is being extended for a production in 2011.

And this was the way of the show. It looked forward as well as to the past with no holds barred, no prisoners taken and no boundaries to hem people in. And Koowhiti was made for the present. It worked in the here and now, each dance show tugging at the audience with its own immediacy.

It is to be hoped that this trio, Tanemahuta and Merenia Gray and Jenny Stevenson work together again. They are good enough as individuals; Tanemahuta pushing the envelope, Merenia creatively organizing as she reaches out to art and literature and Jenny advising and teaching. Put together they appeal immensely.

And they carry weight.

Tanemahuta and Merenia bring the whanau and what a whanau it is. There are dance connections stretching out into the world and back to the Kapiti coast. Tanemahuata had recently returned from his involvement with the New Zealand Expo in China. He and Merenia had managed with Jenny to get many dancers of different types together but the show hummed rather than grated- you weren’t sure what kind of dance you would see next but that was of no bother, it was the way of the koowhitiwhiti, the way the fountain played.

And Jenny Stevenson brought her husband Jim to Koowhiti. Jim is mentioned in the Koowhiti Programme, he is a quiet mentor, a restrained consigliere of the arts, especially dance in Wellington, a patron who knows how to make things happen and walk softly.

Each piece was an exploration with Tanemahuta Gray himself pulling out the stops, pulling back from working with Jackie Chan at the Shanghai Expo and down from aerial stuff for the night, mentoring, talking up things with his body. And that was the way of the night; all performers used their bodies to say something. It was the most open expression I’ve seen for a while, anywhere in the world. Merenia was there throughout, smoothing out the wrinkles and in every corner there was Jenny Stevenson, a mind of dance.

And then it was on to the presentation of awards. These were for contributions over a lifetime to Maori contemporary dance. And here the lifetimes were shown. Gaylene Sciascia, Tama Huata, Stephen Bradshaw, figures of a lifetime in dance. The awards were presented by the dignitaries; the Mayor of Wellington and Gregory Fortuin of the Whitireia Council and ex Race Relations Conciliator. All introduced by the indefatigably fresh Brendon Pongia, himself one of a formidable range of Maori dignitaries in attendance.

In 1977 at Rongomaraeroa marae at Porangahau Gaylene Sciascia was part of a hui for Maori dancers. In Gaylene’s lifetime of contribution dance courses have been started at places like Whitireia Polytechnic, a production called Moko was choreographed by her and then taken to China with the New Zealand Ballet Company and she is presently taking a dance group on a tour of Croatia, Slovenia and Germany.

From 1983 Tama Huata has contributed in many ways to Maori Contemporary dance and with his role as Chairman of Te Matatini, New Zealand’s largest performing arts festival, there is an important connection to kapa haka and traditional Maori dance. He is the founder and CEO of Kahurangi Maori Dance Theatre. This has 24 full-time dancers in three troupes that tour internationally. He has taken Maori dance to the world especially to North America.

The third contributor, Stephen Bradshaw has moved and shaken the world of contemporary Maori Dance since 1984. His journey has taken him from Department of Labour employment schemes involving dance in 1984 to the formation of Taiao in 1988 to the convening of a summit on contemporary Maori Dance in 2009. This summit ushered in the planning process for Koowhiti Matariki Festival of Māori Contemporary Dance in 2010.

The awards themselves came with interesting stories. Charles Koroneho had carved keys and locks and these were displayed as part of the presentations. This was yet another twist to Koowhiti, another way of entertaining and holding the attention right up there. The design concept of Toki Poutangata; lock and key was paid for by Creative New Zealand and brought sculpture to Koowhiti as Koroneho’s idea of keys to unlock the carvings were explored and shown on stage. This is all described in the handouts as;

Embodying the mana of the awards is the Toki; symbolically representing a body, a form of technical potential and precision, an expression of the highest commitment to knowledge, culture and artistic excellence. The Toki is therefore a material depiction of Maori Dance; the history, creative aspirations and cultural foundation that practitioners are collectively
working to unlock.

The concept of Poutangata is metaphorically represented by the Awards Recipient, an individual celebrated for their pursuit of excellence and unlocking the full potential of Maori Dance and Performance. Their contribution and lifelong commitment is literally cut from the body of the adze and transformed into a symbolic key, an anthropomorphic manifestation.

Dance. Lifetimes. Design Concepts. When Jenny Stevenson and Tanemahuta and Merenia Gray throw a party look at what happens as well as who turns up!

Before looking again at who showed up it was interesting who was not there. There was an uneven media presence with myself from Kia Ora FM, Palmerston North and a photographer from the Dominion-Post. I did not see anyone else from any other radio stations including National Radio or from other media like, say, The New Zealand Listener or Maori Television, TV One or Three and this is remarkable given the sheer quality of the visual and aural work and its national significance.

Fortuin was the most loquacious speaker of the night and this was, I think, because he grasped the nettle of national significance in Koowhiti. A Maori speaking South African, as well as grasping it he really articulated the shared pride in the dance from all quarters rather than knowing what we all mean as per the rest of the Kiwi Digs.

Gregory Fortuin talking about Koowhiti reminded me of Bernard Levin in the Times of London writing about Kiri Te Kanawa, the gusher helping to push the star to shining point. A pity Gregory does not have a column in the Dompost or the NBR! These curiosities and speculations aside there is no question that it was a show wanted on high, wanted by the parliamentarians, the High Court Judges and the Mayor and her Deputy, wanted as a point in Matariki, wanted for a shared celebration. The murmur of a national holiday to celebrate Te Matariki came to ear and mind.

With a quality performance and a sold out attendance the question of publicity and promotion might be put alongside another question about the lack of a substantial sponsor. Kiri Te Kanawa had Mobil Oil, Benson and Hedges and a mix of Covent Garden, Norman Kirk and, of all people HRH Prince Charles behind her. And forty or fifty years ago the world of entertainment and art was a smaller place without the internet so these things were more easily patronized and sponsored. Where is the support from corporate and government for a show like Koowhiti? It is simply not enough to have Jim Stevenson and the events people from Te Papa rallying the troops in support with Jenny, Tanemahuta and Merenia and all networking furiously to make things happen.

Aside from the quality and power of the performance the whole event including those who bought tickets to the dinner and showed up to watch poses some pretty big questions. There is something of a brow problem as in high or low brow, or something of a block problem as in a mental block with all of this. Dancing with the stars is at one end of a spectrum while the work of the New Zealand Ballet Company is at another. Kapa Haka is in one corner and works like Te Koowhiti are in another.

This difference of brows, this blockage, does not seem to apply to the people deeply involved in dance such as Tanemahuta, Merenia or Jenny or any of their dancers, But it might apply to those watching. Or not watching. The kind of turnout of Digs, Maori and Pakeha Dignitaries, at Koowhiti is not seen, at least in my experience, at Kapa Haka festivals. Nor, again in my experience at least, is the range of people attending Kowhiti seen at New Zealand Ballet performances.

There is, of course the question; what exactly is this? Modern Maori Dance? Kapa Haka? Maori Ballet? Maori Burlesque? Anything goes and to great effect as in the case of Cat Ruka. Koowhiti may not have been what Sir Apirana Ngata had in mind after the First World War when he encouraged people to join concert parties as part of an attempt to foster Maori performance that itself encouraged people to speak and sing Maori. Nor is it something greatly written about and one goes back to Jennifer Shennan’s good book, The Maori Action Song published by the NZCER in 1984 for a steer on the subject.

But whatever Koowhiti, the play of light in dance, is, it is ours, it is here and it is exciting. There is innocence about it all for us to experience like the country Aotearoa/New Zealand itself.

Coming back to the patchy media coverage of something held at the national museum a block for work like Koowhiti does seem to exist in the media. It is as though Koowhiti is a secret, something for the cognoscenti with blocks for others in the silliest of places; media and sponsorship…

But looking at it from a national or even a nationalistic basis there was a significant and telling presence, a social and political representation of who we are at Koowhiti. People like Fortuin and Prendergast, people who eventually lead opinion are exceedingly comfortable with the work as presented at Koowhiti. The question of shared national experience of the arts arises; has Koowhiti offered us something that we can all share in an unabashed way? Something fresh and clear like, to refer to her once again, Kiri Te Kanawa at the Mobil Song Quests in the sixties. The impression given by the Prendergasts and Fortuins was that Koowhiti was something that might be shared and valued by all of us. I agree.

Peter Cleave
Palmerston North
July 2010

Papers on Social Work Fourth Edition

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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