Dr Aleksandra Lane – Dean’s Award Recipient!

Aleksandra Lane, Poet

The School of English and Media Studies could not be prouder of Aleksandra Lane, who has not only just had confirmed the award of PhD for her thesis titled “Bridging the Gap Between Traditional and Experimental Poetry: Dramatic Monologue and Dramatic Lyric in Contemporary New Zealand Poetry,” but has been nominated by all three examiners for the Dean of Graduate Research School’s ‘List of Exceptional Theses’.   The examiners used such phrases as: “an evocative, sustained and often brilliant exploration of the practices outlined in the critical section,” “polished and virtuosic in its performance,” and “the candidate’s critical acumen and control [are], combined with a naturally profound poetic insight and response”.   Aleksandra was supervised by Dr Jack Ross and Dr Ingrid Horrocks.  Congratulations Dr Lane, this recognition that your thesis is “of exceptional quality in every respect, including research and analytical content, originality, quality of expression, accuracy of presentation and contribution to knowledge in the field” is richly deserved.

 

Research Galore!

Happy New YearNga mihi nui o te tau hou! Best wishes for the New Year!

Whew! We got so busy at the end of 2014 we neglected to post our last quarter English & Media Studies research roundup! We had lots of activity going on, with successes among both staff and postgraduate student researchers, so here are some of the end-of-year research highlights to celebrate our farewell to 2014. We are looking forward to a massive year of more vibrant and diverse research in 2015.

Our interests span the gamut of fiction, nonfiction, media studies, creativity, theatre, poetry, communication and cultural studies (such as work on race, gender, and power). If you are interested in joining us for postgraduate studies, please do make contact – either chat to a staff member whose area of research intrigues you, or get in touch with the postgraduate coordinator Dr Jenny Lawn.

Did you know that in 1991 our own Dr Brian McDonnell came second in New Zealand Mastermind on TV with the specialist subject of ‘The Major Novels of Graham Greene’? Greene was however not only a major novelist, but also a crime-fiction writer, film critic and scriptwriter. For his scriptwriting on the 1949 Carol Reed-directed cinema classic ‘The Third Man’ Greene has been termed one of the founders of European film noir. Brian is currently researching a book on Greene’s relationship with film noir, and in September he presented some early findings in a conference paper titled “Graham Greene and Film Noir” at the international Graham Greene Festival in London, as part of an overseas research trip. Brian is gathering data about Greene at archives in the University of Texas Austin, Boston College, Georgetown University and the British Film Institute.

Associate Professor Angie Farrow won ‘Best Drama Script’ for her new play ‘Leo Rising’ at the Auckland Short and Sweet Festival in September 2014. Directed by James Bell and starring Pippiajna Tui Jane as a grieving jilted bride, Sharleen, the 10-minute monologue follows Sharleen through city streets searching for her AWOL groom and ultimately discovering an unexpected route to revenge. Then in December, Angie launched her book ‘Falling, and other short plays’ at Palmerston North City Library, followed by the launch of a taster season of the plays at the Globe Theatre, Studio 2, Palmerston North. Titled ‘Together All Alone’ and directed by Rachel Lenart and Jaime Dorner, the ‘taster’ showcased the plays: “Goodbye April”, “Leo Rising”, “Happiness”, “The Perfect Life”, “The Real Thing” and “The Body”, works which take a fresh and innovative look at some of life’s quintessential questions and experiences.

Dr Philip Steer won the Massey University emerging researcher medal in December 2014! In November he published an article that broadens our understanding of the conditions that shaped nineteenth-century New Zealand literature. Titled “Antipodal Home Economics: International Debt and Settler Domesticity in Clara Cheeseman’s A Rolling Stone (1886)” Philip’s article appeared in the edited collection Imagining Victorian Settler Homes: Antipodal Domestic Fiction (edited by T. S. Wagner. London: Pickering & Chatto, 2014. 145-160). Philip argued that New Zealand’s credit crisis of the late 1870s and the subsequent severe recession had a profound effect on the stories that colonial writers told. He made the case that Cheeseman’s A Rolling Stone—previously dismissed as a typical (and worthless) example of melodramatic domestic fiction—is actually a very good example of the hidden depths in our colonial literature: it explores ideas of debt and reputation in a range of ways that illuminate the dependence of colonial domestic life on international credit flows. Also in November, Philip gave a presentation titled “A Provisional Survival Guide for the Early Career Researcher,” at the Ka Awatea conference in Palmerston North. Philip shared his experiences successfully navigating the early career labyrinth of publishing, funding, writing and juggling research and teaching, by way of a contribution to building Early Career Researcher capacity in College of Humanities and Social Sciences.

Congratulations to Dr Robert Redmond on his PhD completion. His thesis, “The Femme Fatales in Postfeminist Hard-Boiled Fiction: Redundant or Reinventing Herself?” was supervised by Dr Doreen D’Cruz and Dr Jenny Lawn. Robert’s research explored the evolution of the ‘femme fatale’ from the ‘hard-boiled’ version of the late 1920s, who “seduced, shot and poisoned her way through pulp magazines, hard- and paper-backed novels, and films for almost fifty years” to new representations of the dangerous woman in the 1980s, in the form of the tough female detective. To what extent, Robert asked, do the changes subvert masculine hegemony and allow for a new female imaginary, and to what degree are new forms still coloured by the old? If you are interested in reading more, you can download Robert’s full thesis at the Massey online research repository: http://mro.massey.ac.nz/handle/10179/5645

Well done to Associate Professor Lisa Emerson on signing a book contract with Parlor Press for a book on scientists as writers which is due out in 2015. Lisa notes that scientists are, to a large extent, a lost or forgotten tribe of academic writers. Researchers may examine scientific writing or observe and document how scientists write in the lab, but we still know little of how scientists think as writers – about their beliefs, attitudes and experiences of writing. Conventional wisdom suggests that scientists are poor writers, with little interest in, or enjoyment from, writing well. Lisa’s book will tell a different story. She has collected a series of stories, or literacy narratives, from scientists around the globe. These include stories of scientists reaching out to engage the public with science, scientists who moonlight as poets or playwrights, young scientists who are writing in a vast, supportive community of people who share a common passion, lonely scientists who struggle to write unsupported, reluctant writers who argue that words don’t matter, and passionate writers who would choose to write all day. “My aim in collecting these personal stories of scientists as writers is to help us to see scientists in new ways: as wordsmiths who, mostly, love to write, and who, above all, want to discover and communicate something new and exciting,” she said.

Lisa along with co-authors Ken Kilpin and Angela Feekery also had an article published in the journal English in Aotearoa (issue 83, pages 13-19) in November 2014. The article, titled “Information literacy and the transition to tertiary,” is part of a much bigger project about how students transition from Year 13 to tertiary study, and in particular, how they learn to write across this transition. Lisa and her team have been working with teachers from low-decile schools to teach students how to write and learn in ways that will prepare them for study at university or polytechnics. In the paper, Ken, Lisa and Angela suggest ways in which English teachers can teach literature while supporting students’ writing, information literacy, and development as independent learners.

Dr Ian Goodwin co-published multiple items during 2014 from a large multidisciplinary Marsden-funded research project looking at young people’s attitudes towards alcohol consumption, and their self-representations of drinking culture on social media. Some highlights of Ian’s peer-reviewed outputs from throughout 2014 included:
• Niland, P., Lyons, A. C., Goodwin, I. & Hutton, F. (2014/online May). Friendship Work on Facebook: Young Adults’ Understandings and Practices of Friendship. Journal of Community and Applied Social Psychology.
• Niland, P., Lyons, A. C., Goodwin, I. & Hutton, F. (2014). “See it doesn’t look pretty does it?”: Young Adults’ Airbrushed Drinking Practices on Facebook. Psychology and Health 29(8), 877-895.
• Goodwin, I., Lyons, A.C., Griffin, C., & McCreanor, T. (2014). Ending Up Online: Interrogating Mediated Youth Drinking Cultures. In A. Bennnet and B. Robards (Eds.) Mediated Youth Cultures: The Internet, Belonging, and New Cultural Configurations, pp. 59-74. Basingstoke, UK: Palgrave Macmillan.
• Griffin, C., Lyons, A.C., Goodwin, I. McCreanor, T., & Niland, P. (2014). Young Adults, Social Media Alcohol Marketing and the Culture of Intoxication in Aotearoa New Zealand, paper presented to Kettil Bruun Society 40th Annual Alcohol Epidemiology Symposium, Torino, Italy, 9-13 June 2014.
• Moewaka Barnes, H., McCreanor, T., Goodwin, I., Lyons, A.C., Griffin, C., Hutton, F., Niland, P., O’Carroll, A., & Samu, L. (2014). “So Drunk Right Now! Anybody Wanna Join?”: Young People, Alcohol and Social Networking Systems, paper presented to Kettil Bruun Society 40th Annual Alcohol Epidemiology Symposium, Torino, Italy, 9-13 June 2014.
• Goodwin, I., Lyons, A.C., Griffin, C., and McCreanor, T. (2014). Beyond ‘The Profile’: Multiple Methods in Facebook Research, invited presentation to the Australasian Audience Research Symposium (University of New South Wales), Sydney, Australia, 22 April 2014.

Ian also co-published a refereed article on ways in which heterosexual biases and assumptions marked the media coverage of the marriage equality debate in New Zealand: Goodwin, I., Lyons, A. C., & Stephens, C. (2014). Critiquing the Heteronormativity of the Banal Citizen in New Zealand’s Mediated Civil Union Debate. Gender, Place and Culture 21(7), 813-833.

Associate Professor Bryan Walpert had a creative non-fiction essay, “The Lazy Gardener,” published in the U.S. literary journal Rock & Sling in November. That is also, incidentally, the title of Bryan’s blog about life in New Zealand, which you can read at http://nzlazygardener.wordpress.com/

Dr Erin Mercer gave a fascinating seminar in the WH Oliver Humanities Academy series, recuperating the work of mid-20th-Century New Zealand writer Sylvia Ashton-Warner. While Ashton-Warner’s work sold extremely well overseas and received good reviews internationally, it was slated at home – Erin argues because of a lack of fit with a dominant tradition of masculinist nationalism in New Zealand literature. Here’s a link to Erin’s talk, titled “The Strange Cadences of Sylvia Ashton-Warner”: http://webcast.massey.ac.nz/Mediasite/Play/89300489315e4c8f9f4420bc12af384c1d

Also in the WH Oliver Humanities Academy series, Dr Ian Huffer gave an absorbing talk on ‘Film Consumption and New Zealand Society’. Drawing on data from the New Zealand Film Commission and NZ On Air, Ian mapped changes in consumption due to online access to movies, critically examining popular claims that open access ‘democratises’ the circulation and consumption of film. Online access differed by gender, income, age and other factors, Ian found, meaning consumption was not necessarily more democratic – watch his full talk at http://webcast.massey.ac.nz/Mediasite/Play/9bf1d98de33c41cabb7dc1b7c636d5f01d

Associate Professor Elspeth Tilley presented at the Ka Awatea conference at Palmerston North in November, discussing the participatory ‘citizen science’ project, ‘It’s My Life’. Entitled “It’s My Life Youth Smokefree Research Project: A tale of four colleges, 15 academics and 269 Massey students (plus some lives saved and a lot of lessons learned),” her talk covered both the processes of large team research and the outcomes of the 15-month by-youth, for-youth campaign.  Survey research showed that the lifespan of the campaign coincided with changes in young people’s attitudes including increases in both their desire to quit and their anger at the tobacco industry. The Smokefree It’s My Life project also launched its world-first by-youth for-youth DVD documentary in November. The DVD was created by Bachelor of Communication Honours Summer Scholarship students Janaya Soma and Catherine Moreau-Hammond with technical support from Mark Steelsmith under the supervision of Dr Radha O’Meara and A/P Elspeth Tilley. (Readers who work with young people are welcome to request a free copy of the DVD by emailing teamsmokefree@gmail.com and one will be posted out to you. You can also download individual chapters from the It’s My Life website at www.smokefree-itsmylife.org.nz ).

In November, Dr Tyron Love, Associate Dean Māori, Department of Management, Marketing and Entrepreneurship, School of Business and Economics, Whare Wānanga o Waitaha University of Canterbury and Associate Professor Elspeth Tilley, School of English & Media Studies, College of Humanities & Social Sciences, Te Kunenga Ki Pūrehuroa Massey University Te Whanganui-a-Tara Wellington co-presented on “Temporal discourse and the news media representation of Indigenous- non-Indigenous relations in Aotearoa” to the WH Oliver Humanities Research Series. Their talk analysed examples of media coverage of important Te Tiriti o Waitangi negotiations and showed how non-Indigenous cultural assumptions moulded the debate in particular ways. You can view the talk at: http://webcast.massey.ac.nz/Mediasite/Play/d7271aea37764aec851f6884602d9a5e1d

Massey Master of Creative Writing graduate Carol Markwell launched her latest play ‘Alice, what have you done!’, published by Steele Roberts, in December. A gripping local murder-mystery set in Napier in 1915, the play chronicles the trial of Alice May Parkinson, who fatally shot her lover. Her trial and its aftermath cause controversy throughout New Zealand. Is she a feminist heroine or a callous killer … or simply a desperate woman who ran out of choices? See more at http://steeleroberts.co.nz/books/isbn/978-1-927242-60-5

EMS Senior Tutors Tim Upperton and Joy Green, together with Spanish lecturer Leonel Alvarado, read from their “Kete Series” poetry collections at public readings throughout November. The Kete Series is the brainchild of Palmerston North-based boutique publishers HauNui Press, which specialises in alternative, ingenious ways to produce and market local books. The three poets’ books were bundled together in a traditional woven harakeke bag or ‘kete’. Tim’s collection, titled ‘The Night We Ate the Baby’, was his second book of poetry. His first, titled ‘A House on Fire’, was published in 2009, and his poems have been published widely in New Zealand and international magazines and anthologies. He won the Bronwyn Tate Memorial International Poetry Competition in 2011, and the Caselburg Trust International Poetry Competition in 2012 and 2013. Joy’s collection was her first published book of poems. Titled ‘Surface Tension’, she has performed many of the poems in festivals and literary events, and has published her work in a number of anthologies in New Zealand, Australia, the United States and Europe. See more about the three poets and their work at http://www.massey.ac.nz/massey/about-massey/news/article.cfm?mnarticle_uuid=cd91f2ec-9d4e-c4a4-2584-6a4840966c7b

Congratulations to Master of Creative Writing graduate Janet Newman, whose poetry collection beach.river.always–written during her MCW–was runner up for the 2014 Kathleen Grattan Prize in December. Janet also won the Journal of New Zealand Literature Prize for NZ literary studies in October. Her winning essay, on the poetry of Michelle Leggot, was adapted from her Honours Research Report. Eight of nine judges placed Janet’s essay first (out of three short-listed entries).

Our Senior Tutor in Theatre, Rachel Lenart, was nominated for ‘Festival Director of the Year’ at the Chapman Tripp Theatre Awards in December. Her production called ‘Constellations’ was also nominated for ‘Production of the Year’, best musical composition and two nominations for best acting. The Dorothy McKegg Actress of the Year award was taken out by Erin Banks for her work in Constellations.

EMS PhD student Angie Enoka presented her research on a media analysis of the Pacific Temporary Workers Scheme coverage to the Pasifika @Massey Annual Research Conference in November. Angie also participated as a ‘Volunteer Service Abroad’ contributor, providing pro bono media communication strategy, in Samoa at the United Nations Conference on Small Island Developing States, in September 2014, and was successfully confirmed in her PhD candidature in October.

EMS staff and students from the creative writing program worked very hard to successfully host ‘Minding the Gap: Writing Across Thresholds and Fault Lines’, the Australasian Association of Writing Programmes (AAWP) 19th Annual Conference 2014, 30 November- 2 December at Massey University in Wellington, with keynote speakers Hone Kouka, Emily Perkins, and Martin Edmond. Conference Organising Committee members from Massey were Dr Ingrid Horrocks and Dr Thom Conroy, with conference assistance from Nick Allen, Dr Hannah Gerrard, Shazrah Salam, Thomas Aitken and Lena Fransham (all Massey University). The AAWP was established in 1996, and is now the most important forum in Australia for discussing all aspects of teaching creative and professional writing as well as for debating current theories on creativity and writing. ‘Minding The Gap’ is only the second AAWP conference to be held in New Zealand. The new Poetry New Zealand journal (edited by Massey’s Dr Jack Ross) was also launched at the conference.

Following on from the conference, Dr Ingrid Horrocks co-convened, with Cherie Lacey, the ‘Placing the Personal Essay’ Colloquium. Supported by the W.H. Oliver Humanities Research Academy at Massey University, the Centre for Research on Colonial Culture at the University of Otago, and the Stout Research Centre for New Zealand Studies at Victoria University, the colloquium brought together writers, historians, literary critics, cultural theorists and interested others for a discussion about new ways of writing about place in contemporary New Zealand. It featured Martin Edmond, Tina Makereti, Ian Wedde, Lydia Wevers, Alex Calder, Tony Ballantyne, Alice Te Punga Somerville and others. See more detail at: http://placingthepersonalessay.weebly.com/

In December the Visiting Artist scheme announced that Jaime Dorner has been appointed to direct the 2015 Summer Shakespeare offering of King Lear. We look forward to a fabulous season of this most powerful work!

Associate Professor Elspeth Tilley published a team-authored article about immunisation communication in November in the journal Media International Australia: Tilley, E., Murray, N., Watson, B., & Comrie, M. (2014) New views on a ‘stuck’ issue: Communicating about childhood immunisation in Aotearoa New Zealand. MIA Issue 152 (2014). The article explores the value of qualitative and participatory research methods in shedding new light on the issue of declining immunisation rates.

Research into the Bachelor of Communication graduate outcomes found that employment data from all graduates of the Bachelor of Communication since its inception as a degree, shows a 96% employment rate. The research was conducted by Associate Professor Elspeth Tilley, Malcolm Rees, Judith Naylor, Professor Frank Sligo, and Dr Raquel Harper, as part of a SIF project led by Dr Jenny Lawn. Further analysis of the data is ongoing and more results will be released during 2015. In general they show very positive employment results for Bachelor of Communication graduates, and for many a fast track to more senior positions in the years after graduation.

Janet Newman – 2014 Kathleen Grattan Prize Runner Up

Congratulations to Masters of Creative Writing (MCW) student Janet Newman, whose poetry collection beach.river.always – written during her Massey MCW – was just listed as the runner up for the 2014 Kathleen Grattan Prize for a Sequence of Poems:  http://www.iww.co.nz/KathleenGrattanPrize2014%20PressRelease.pdf.

Australasian Association of Writing Programmes (AAWP) Conference

From 30 November to 2 December 2014 Massey University hosted the 19th Annual Australasian Association of Writing Programmes (AAWP) Conference at the Massey Wellington campus (http://www.aawp.org.au/19th_annual_conference).  The conference featured three New Zealand keynote speakers: playwright and screen-writer Hone Kouka, novelist Emily Perkins, and creative non-fiction writer Martin Edmond.  Other major events at the conference included the Wellington launch of Poetry New Zealand, now edited by Jack Ross at Massey University, as well as the launch of the Aotearoa Creative Writing Research Network (ACWRN).  Martin Edmond’s keynote talk also dovetailed with the opening of the Placing the Personal Essay Colloquium (http://placingthepersonalessay.weebly.com), co-organised by Ingrid Horrocks of Massey University and Cherie Lacey of Victoria University.

This is only the second time that the Australasian Association of Writing Programmes conference has been hosted in New Zealand, and conference co-organiser Thom Conroy said, “This event marks an important development for collaborations and conversations between creative writers in New Zealand and Australia”.  Other conference organisers included Gail Pittiway from Wintec as well as Ingrid Horrocks and Hannah Gerard of Massey, Wellington.  Nick Allen, a Massey PhD student in literature at the Palmerston North campus, served as executive conference coordinator

NUTS NZ #4

Editorial

Welcome to the fourth edition of NUTS NZ – the Newsletter for University Theatre Studies New Zealand. The purpose of the newsletter is to help us communicate more effectively as a community of scholars interested in Theatre and Performance.

The NZ Universities Committee for Theatre/Performance Research was held at Victoria University on 10 November 2014. One of the issues that was discussed was the PBRF (Performance-Based Research Fund) exercise and the challenges we face as a community in how performance research is evaluated. As Sharon Mazer reported in her minutes from the meeting, the PBRF privileges ‘international’ research, whilst theatre and performance research projects are intrinsically local. According to Sharon, one way to position theatre work internationally is to invite colleagues from other universities to review and/or to incorporate critical analyses of performances for publication in scholarly journals. NUTS NZ is here to help coordinate and publicise any collaborative initiatives in relation to the PBRF, so please let us know how we can help.

We have an interesting selection of stories and news items for you in this final issue of NUTS NZ for 2014. We will back next year and we hope you will send us information on any upcoming events or initiatives that you think our wider theatre and academic community should be informed about. Please refer to the important dates below. We plan to circulate our fifth issue in mid-March 2015, and we will need items of news by 27 February. As always, submissions should be sent to the NUTS NZ editor Jane Marshall:  j.g.marshall@massey.ac.nz

Newsletter Issue

Information Required by

Date of Circulation

Issue 5

27 February 2015

13 March 2015

Issue 6

1 May 2015

15 May 2015

Issue 7

31 July 2015

14 August 2015

 Issue 8

30 October 2015

13 November 2015

 

We have enjoyed curating NUTS NZ this year and look forward to catching up with you all in 2015. Until then, have a great christmas and a very happy and relaxing new year.

Kind regards,

NUTS NZ editors: Jane Marshall and Rand Hazou.

 

NUTS People

In each edition of NUTS NZ we profile an academic and a postgraduate student to show case “our people” and their current research/interests. It is our pleasure to be profiling Senior Lecturer James McKinnon and postgraduate student Moira Fortin from Victoria University.  NUTS NZ asked each of them to answer the following questions:

  • What is your research about?
  • What theatre/performances have you seen recently?
  • What have you been reading lately?

James McKinnon, Senior Lecturer & Theatre Programme Director, School of English, Film, Theatre, and Media Studies

 

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Research: My doctoral research focused on how Canadian playwrights adapt and appropriate Shakespeare and Chekhov, and how their audiences respond. Since Canadian Chekhov adaptation does not align especially well with the strategic priorities of Victoria University, my interests have changed over the last few years to reflect my new context. My current research still deals with adaptation, but more as a fundamental skill combining creative and critical processes, than a special form of playwriting, but as a general form of creativity. If adaptation – i.e., putting familiar materials to new uses to solve new problems – is not a form of “uncreative” copying but an essential aspect of all creativity, this has big implications for how we teach theatre and literature: instead of stressing Shakespeare’s “originality,” for example, what we should be focusing on is how Shakespeare adapted existing materials to make his plays. Why? Because if we teach people that Shakespeare’s genius was his originality, it sends the message that creativity is a mysterious, innate gift that only a few geniuses are born with; but if we look at Hamlet not as a uniquely original work of art, but as a clever adaptation of an Old Norse epic poem, then we can use it to learn how to become creative.

Theatre: Binge Culture Collective’s Break Up (We Need to Talk) stands out in my mind as a unique and powerful performance experience. As a six hour, improvised durational performance, it puts huge demands on the performers, but the company was careful to make the experience “fun” for spectators by encouraging us to Tweet during the play, or come and go as we pleased, or follow the performance on a live stream. As a result, I was able to appreciate how much the actors were working without having to “work” myself – if I got bored, I could check the Twitter feed for a witty comment or go out for a beer, and when I came back I could jump right back in, my appreciation for the actors growing as I became aware how the performance had affected them in my absence. It transformed the theatre experience from aesthetic appreciation into something more like the excitement of athletic competition, with all of its risks and unpredictability.

Reading: I haven’t been reading anything lately except policy documents, dissertation chapters, and term papers. But I look forward to How Theatre Means, by Ric Knowles.

Moira Fortin – PhD Candidate, Victoria University.

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Research: Theatre on Rapa Nui / Easter Island is an activity that began its development in 1975, with the work of a theatre group called Mata Tu’u Hotu Iti. This group performed old Rapa Nui stories in different natural settings on the island; usually they represented the arrival of ariki Hotu Matu’a which was enacted in the same place where the king, according to oral tradition, arrived. In the history of Rapa Nui performing arts it is possible to draw a line before and after Mata Tu’u Hotu Iti. This group, without intending it, set the framework for future performances. I was fortunate to see the last performances of Mata Tu’u Hotu Iti in 1999. From my experience of living and performing in Rapa Nui for twelve years, I can say that there have been few but significant changes in the way theatre is practised on Rapa Nui. In the beginning the theatre performances were very slow relying only in the character of the storyteller who was telling everybody what they had to do, whereas now they are choreographing battle and travelling sequences, giving more dynamism and rhythm to the performance. However, Rapa Nui, people like to perform legends and oral traditions in the same way they have done for years, and this preference often excludes other forms of creative expression.

I am about to start my third, and hopefully final year of PhD research, where I am looking at how tradition may influence the creation of contemporary theatre in Rapa Nui. The experience of Māori and Pacific Theatre practitioners here in New Zealand are of great interest to my research question; specifically in the “how” they have integrated different elements of their “traditional” performing arts with western actor techniques in their work; and how this experience, from Māori and Pacific Theatre practitioners here in New Zealand, could influence, inspire, and / or collaborate in the further development of Rapa Nui Theatre.

Theatre: The Pitmen Painters by Lee Hall at Circa Theatre. Great performances and use of technology showing the audience the different paintings the pitmen were creating. It was a nice mixture of theatre play and art exhibition. Now I’m looking forward to seeing The Kitchen at the End of the World by William Connor at Circa which is a story of marionettes who are aware that they are limited by their strings.

Readings: Pedagogy of the Oppressed by Paulo Freire.  The author postulates a new type of education, one which creates a partnership between the teacher and the student, entering into a dialogue between both parties where both are teacher and student at the same time.

“Shakespeare in the Bush” by Laura Bohannan. To me, this essay is the perfect example that literature is open to many interpretations.

The Ignorant Teacher by Jacques Rancière. The author proposes a new perspective in the practice of Education.

The Innocent Anthropologist. Notes from a Mud Hut by Nigel Barley. The author documents his experience during his field work, investigating the customs and beliefs of the Dowayo people without taking into account the nature of the Dowayo society.

Filosofía del Teatro by Jorge Dubatti. The author reflects on the concept of “convivio” which could be translated in English as a meeting/ gathering / sharing that should occur during a theatre performance. Is a more profound experience than the relationship between actors and audience that a performance should create. However, according to Dubatti, this concept is eluding more and more the experience the audience has when going to a contemporary theatre performance.

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A Kiwi Perspective: What it means to be at the Lincoln Centre’s directorslab in 2014

Dione Joseph left New Zealand to participate in the Lincoln Centre’s directors lab in New York. NUTS NZ asked Dione to report on her experience as a kiwi artist and cultural ambassador.

The Lincoln Centre for the Performing Arts (or more colloquially known just as the Lincoln Centre) doesn’t really ring any bells here in New Zealand. Occasionally a peal here and there but certainly not in any clarion tones.So what if Elia Kazan and Robert Whitehead found a home in the Vivian Beaumont for The Repertory Theatre in 1965? Or that Herbert Blau directed the inaugural production of George Buchner’s Danton’s Death? Or even that Arthur Miller was playwright-in-residence and had the opportunity to premiere his new play After the Fall here with company members Jason Robards and Barbara Loden? Maybe it just doesn’t really matter. Especially not to a small semi-colon nation located at the end of the world whose people are typically associated with small brown flightless birds.

But then again…

I arrived at 150W 65th Street this July for a three-week directors intensive with some trepidation and a flutter of proverbial butterflies.  After an extremely long application process, I had been one of the fortunate international directors to receive a place at the prestigious directorslab. But, in all honesty, while acquainted with many of the names, and more than a few of the productions, I certainly wasn’t connecting the dots to realize that the institution itself was home to a series of esteemed artists who had made their debut here or indeed that there were eleven resident organizations one of which was the Lincoln Centre Theatre. This was a site of performance history and equally, if not more importantly, since the founding of Lincoln center’s directorslab, a site of generating an active forum of discussion and dialogue for directors in America and beyond.

The Lincoln Center’s directorslab was the brainchild of Anne Cattaneo, current head of the lab and dramaturg of Lincoln Center Theatre. A program for professional directors in early and mid-stages of their career to gain an opportunity to interact, engage and indulge in an intensive creative session of discussions, workshops; shows while building networks to be part of an international theatre community. Best part: it’s completely free! There are no expectations of formal training or grades but an in-depth application process that challenges and questions not just how we direct but what sculpts the choices we make during the creative process.

That mandate inspired me. And when I found out on the first day of the lab as I sat between a director from Tokyo and another from Minneapolis I had this incredible feeling; I’m here. Aotearoa/New Zealand is here. In this room, with 35 other international directors and 35 locals from across the length of America, we are here. This year made twenty years since the inaugural lab in 1995 and one of the main reasons I chose to apply at this particular moment in time was because the theme appealed to me immensely: Audience. As a stage director who is increasingly finding myself regularly involved as a dramaturg and expanding upon five years’ worth of stage criticism, it made sense that the theatre community, and let’s be explicit, the international theatre community, is focusing on the intrinsic pact between artist and audience more than ever before.

As the only New Zealander, and indeed, the very first to be offered a space at the directorslab, I was both humbled and honoured at the chance to be able to listen, learn and share. Those three weeks were akin to being at a festival. The hours were easy to remember (10am-10pm) and we had a host of different guests, companies and artists visit during the day and regular shows in the evening. We had Terry Teachout from the Wall Street Journal come and share his insights on stage criticism, Nilaja Sun perform excerpts from her one-woman show No Child, a brilliant session with designer Ricardo Hernandez and compelling performances such as Heisei Nakumura-za and Fuerza Bruta.And we weren’t let off lightly either. All participants were divided into groups of six and seven and asked to tackle different questions that dealt with the overall theme. I gained a far more comprehensive notion of the differences between immersive and interactive theatre; the force of popular-audience driven successes especially in America; the consequences of political momentum in shaping theatre and history; the different models and systems to engage audience and community and how these vary internationally and a very valuable appreciation of music and its role in drama, musicals and operas.

But these weren’t simply information heavy sessions. We saw Peter Brook’s direction of Carmen in the library as well as the very first production of Venus in Furs. The environment while taking place in the basement of the Lincoln Centre was always cognizant of numerous shows constantly taking place. The lawn in front where we would eat lunch was full of actors, musos and other working directors, all affable and friendly towards this bunch of people whose ages ranged from people in their mid-twenties to those who had returned to the theatre after another career and were in their early sixties. Here was a community, and it did genuinely feel that as varied and disparate as our experiences and knowledges; easily compatible and wildly awkward personalities; cultural, linguistic and religious affiliations – here we all were together as stage directors. Not hobbyists or drama students but seventy individuals who had committed to this ridiculously creative life and lifestyle.

And we need more of us. As Anne reminded us on our first day: “Theatre is created by peers- the peer to peer relationship is key – that’s how all theatre is created. A group of friends – a director, a writer, a designer, and some actors – see the world in the same way and stay up all night in a bar and decide to open a theatre.” She was right. Not once did I ever get to bed before 2am and, although I probably suffered sleep deprivation and liver damage, the conversations that I had with my colleagues (and I call them that with affection and respect) were some of the best that I have had the opportunity to share within this industry. It wasn’t just what was being ‘taught’, it was the unofficial learning, sharing, exchange of information that is fundamental to growing a new generation of artists and audiences, equally engaged and respected in making collaborative work.

All the international artists were invited to share work from their country and those sessions, where I had the chance to learn and engage with the latest performances from Uruguay in the morning, South Africa in the afternoon, Uzbekistan in the evening and so many more, were hugely revitalizing.  It reminded me that despite our enormous geographical distances so many of our colleague are engaged in similar conversations: how to challenge institutionalized models which program only a particular ‘type’ of work, broadening gender representation, increasing youth amongst our audiences; debating whether subscription or membership models are more appropriate, how to create better touring opportunities; creating work for children that reflects their present needs, desires and is worthy of their imaginations. There was so much that we have in common but, then again, there were constant reminders that – in places such as Lebanon or in Argentina – the conversations are different. Work is developed in different ways. Process is valued and interrogated and audiences have varying levels of participation and this is different in Australia as it is in Uganda. Even across the United States, regional towns and big city centres have different responses and each are valuable, legitimate and part of the conversation.

In my session I spoke of the work being made by New Zealanders, including Briar Grace Smith, Victor Rodger and Arthur Meek; the various different approaches to audience and community development that were in use at Q, the Basement and Massive (informed through conversations with Angela Green, Elise Sterback and Rochelle Bright) and also the various approaches that we have to performance from kapa haka to The Factory and Generation of Z. The response was overwhelmingly positive; not only because the majority knew that New Zealand was more than a rugby-loving-more-sheep-than-people-nation but were genuinely interested in learning about how we make performance and where potential future collaborations could lead.

Having recently returned from The Edinburgh International and Edinburgh Fringe Festivals, I am more convinced than ever before that New Zealand is a key player on the international stage – not only with other Anglophone nations but with audiences in India, China, Brazil, Greece, Mexico, Serbia, Russia, Rwanda – why should there be any barriers to what could be?

I am so inspired to be back on home soil. To return to New Zealand after six years of living overseas and having had the opportunities and privilege to be a NZ ambassador as an artist. I left Auckland in 2005 to go to Massey University in Palmerston North. I thought at the time my future career was fairly obvious: I would be a vet. Six months later I found you need more than a love of James Herriot to stomach dissecting dead animals in a biology lab. And that’s when I turned back to the Arts. Almost ten years later, I’m back in the city I call home. As Anne said, “Theatre is empathy, theatre is community, theatre is understanding, theatre is holy- it is the transcendent way of life.  It crosses borders and represents the way we, as citizens of the world, will relate in the 21st Century.” And Auckland, right now, well there is nowhere else I’d rather be.

 

Te Ara –  The Encyclopedia of New Zealand

Te Ara – The Encyclopedia of New Zealand is launching its latest theme ‘Creative and Intellectual Life’ on 22 October. As part of this, Murray Edmond has written an entry on plays and playwrights. ‘Te ara’ in Maori means ‘the pathway’. Te Ara – The Encyclopedia of New Zealand offers many pathways to understanding New Zealand. It is a comprehensive guide to the country’s peoples, natural environment, history, culture, economy, institutions and society. Te Ara consists of a series of themes, appearing progressively between 2005 and 2014.

More information about Te Ara is available here: http://www.teara.govt.nz/en/about-this-site

 

Publications

Then It Was Now Again: Selected Critical Writing by Murray Edmond

THENITWASNOWThis book, published by the Atuanui imprint of Titus Books, consists of a selection of essays, reviews, statements, interviews, and letters published between 1972 and 2014, all of which have a focus on poetry, drama and theatre and wider related questions of culture in Aotearoa/New Zealand. The book was launched on Thursday 9th October at the Shakespeare pub on Albert St, Auckland. For more information, or to order a copy for your library, please contact Atuanui Press: editor@atuanuipress.co.nz

 

Minding the Gap: Writing Across Thresholds and Fault Lines

AAWP Conference Posters V6AAWP 19th Annual Conference 2014
30 November- 2 December
Massey University
Wellington

The Australasian Association of Writing Programmes (AAWP) was established in 1996, and it is now the most important forum in Australia for discussing all aspects of teaching creative and professional writing as well as for debating current theories on creativity and writing.
‘Minding The Gap’ is only the second AAWP conference to be held in New Zealand.

Keynote speakers: Hone Kouka, Emily Perkins, Martin Edmond.

The new Poetry New Zealand journal will also be launched from 6.00pm-7.30 pm on December 1 at Meow Café, 9 Edwards St, Te Aro, Wellington.

New Short ‘Snooze Time’ by Matt Harris is Going Off

The new Short Film ‘Snooze Time‘ by English and Media Studies Tutor Matt Harris is ‘going off’ and causing a bit of a stir. The short, which can be accessed via Vimeo,  has already been seen 140,000 times and received 1,920 ‘likes’.

The buzz seems to have been partly due to a short review of the the 7 minute film by Jeanette Bonds, a writer and independent animator living in Los Angeles and Co-Founder/CEO of GLAS Animation. Jeanett’s review was recently posted on the website ‘Short of the Week‘ which gave the short a 4.5/5 star rating. Snooze Time is written by Matthew (Matt) Harris and directed by Ivan Barge.

Dr. Matt Harris teaches and tutors in the School of English and Media Studies at the University’s Albany campus, where he was nominated for Lecturer of the Year in 2010. His writing has been published widely, from academic articles in Landfall to creative writing in Poetry New Zealand, Trout, Southern Ocean Review, Kokako, and many others.  His previous nine-minute film, entitled 43,000 Feet, premiered at last year’s Tribeca Film Festival in New York.

Congratulations Leleiga for scholarship win!

Leleiga

Leleiga Taito reads her work at a recent Creative Writing Student Writers Read event at Massey Wellington campus.

Congratulations to Expressive Arts student Leleiga Taito who has just been announced as the winner of a $5000 scholarship to research safety communication on Mt Ruapehu in 2015.

Leleiga is currently finishing her final year of the Bachelor of Communication (Public Relations and Expressive Arts), and will start postgraduate studies (BC Honours) in 2015. Her Honours research project (supervised by the School of English & Media Studies and co-funded by GNS and Massey University through the Joint Centre for Disaster Research) will be a real-world life-saving project that looks at how to improve safety awareness for mountain users, particularly about the risks of lahars and avalanches.

Leleiga will have the opportunity not only to investigate practical safety communication challenges in depth, but also to develop creative multi-media solutions to the communication challenge. She has past experience of similar projects during her Bachelor of Communication (BC) studies, and will now extend these skills in-depth with her Honours research.

Leleiga’s prior study achievements include creative writing, digital media production, media releases, strategic communication plans, and service learning for community organisations.  For example, she created an awareness campaign for the New Zealand Breast Cancer Foundation in her second year of the BC. She says “Through my research I discovered that breast cancer education and prevention messages were not reaching Samoan women. I conducted a mixture of qualitative and quantitative research methods to establish why women in this culture were not receiving these messages. After compiling the information that was gathered I then made suggestions on what appropriate communication strategies could be put in place. I also implemented tactics, where I created four pieces of collateral to encourage Samoan women to have mammograms. One of the communication materials was a web video with Winnie Laban sharing her experiences with breast cancer.”  You can see Leleiga’s excellent breast cancer awareness video assignment, with compelling personal interview testimony from Winnie Laban, at http://www.youtube.com/watch?v=MzoX3Nd97so&feature=youtu.be

During her Honours year Leleiga will, under the supervision of her research report supervisor (Associate Professor Elspeth Tilley from the School of English and Media Studies) prepare a comprehensive qualitative investigation of mountain user culture and the communication norms and needs that exist around safety issues. She will have the opportunity to research in the field, living at Mt Ruapehu to gather data during the ski season. Part of her reporting for the research project may also take the form of a creative output (such as a short documentary film) that could in itself provide a useful way to respond to the research challenge by building awareness of relevant safety issues and responses.

Associate Professor Tilley said Leleiga’s success was indicative of the value of the public relations/expressive arts combination in a communication degree. “Most real-world research problems or workplace communication challenges are multi-faceted, and need both a scientific and a creative response to generate understanding and solutions. I think we are really seeing, with the success of our Bachelor of Communication students who all have both a business and a humanities preparation, just how valuable this is for the next steps after a three-year degree, whether that step is further study or the workplace.”

Associate Professor Tilley said study of Expressive Arts (which can include diverse combinations of different digital media production, creative writing and theatre papers) was proving particularly useful for students. “We live in a multi-modal world. Seldom is any public communication these days just a written brochure or poster. Inevitably there are multi-media and social media dimensions. And the work that students do in learning scripting, dialogue, filming, directing, lighting, editing and a whole range of production, post-production and performance-related skills in Expressive Arts sets them up really well for this kind of work after graduation.”

Leleiga’s scholarship includes $5000 for fees and stipend, plus additional coverage of direct costs of her research including accommodation and other research expenses covered at Mt Ruapehu. Other BC students have also been involved in the wider research project – click here for a previous story about the project and click here for a link to a Radio New Zealand story about the project.