title: Geology of the Maketu Area, Bay of Plenty, North Island, New Zealand. Sheet V14 1:50 000

authors: Briggs, Roger M.

abstract: The area covered in this report on the geology of Sheet V14 Maketu 1 :50 000 includes Motiti Island and a small triangular section of the Bay of Plenty coastal lowlands from the Kaituna River mouth to Pukehina Beach within the Maketu Basin, eastern North Island.
Motiti Island is situated 12 km offshore from the Bay of Plenty coast and is an eroded remnant of a Pliocene (4.3-3.4 Ma) andesitic composite cone. It is a flat-lying island surrounded by cliffs up to 30 m high, and the highest point is 57 m above sea level. The island is constructed on a base of andesitic rocks that have been divided into two new formations, the Motiti Formation consisting of thick massive or platy jointed lava flows and volcanic breccias, and the Orongatea Formation comprising thin lava flows, volcanic breccias, lapilli tuffs, tuffs, and dikes that are considered to be proximal strombolian and phreatomagmatic deposits. The andesitic formations are unconformably overlain by a 20-m thick sequence of middle to late Quaternary volcanogenic sediments (fluviatile sands, silts, and gravels), which in turn are covered by a 6-m thick blanket of late Quaternary tephras including Rotoiti Tephra Formation at the base. Originally the island would have been manifested as an andesitic composite cone and tuff ring complex, but it is now characterised by the strong angular unconformity that truncates the older andesitic rocks, which have been planed flat, presumably by marine erosion. The andesites and basaltic andesites of Motiti Island have ages and geochemical compositions similar to those of the Waihi district and southern Coromandel Volcanic Zone.
The Maketu peninsula (Town Point) forms a 67-m high headland on the Bay of Plenty coast. and is considered to be a horst, bounded by NE (035°)-striking normal faults and downfaulted blocks on both sides. The oldest rocks in the Maketu area are exposed in cliffs around the peninsula and consist of fluvial sands, silts, and gravels, aeolian sediments, and a 25-m thick lahar or lake-breakout flood deposit (Newdicks Formation, new) with a stratigraphic age of c. 0.25 Ma. The source of the lahar/flood deposit is unknown, but it contains clasts up to 7 m across of a densely welded ignimbrite that form a litter of boulders around the Maketu peninsula. The fluvial sediments are similar in rock type and stratigraphic position to those on Motiti Island, and both sequences have been included here in the Matua Subgroup. Intercalated with the sediments of the Matua Subgroup are thin Mid-Pleistocene pumiceous tephra fallout beds of the Huntress Creek and Kukumoa subgroups, and a c. 5-m thick non-welded ignimbrite identified as Mamaku lgnimbrite (c. 0.22 Ma). The uppermost part of the Matua Subgroup is marked by a well-developed, dark paleosol formed in clayey loess, and is Last Interglacial in age (c. 125 ka).
The Maketu peninsula is capped by a 15-m thick sequence of late Quaternary pumiceous and unweathered to weakly weathered tephra beds that include Rotoiti Tephra Formation, four tephras of the Mangaone Subgroup, and numerous younger tephras derived from the volcanic centres of Okataina (ten tephras), Taupo (six tephras), and Tuhua (Mayor Island) (one or more tephras), and minor loess deposits. The youngest of these tephras include the white, pumiceous rhyolitic Kaharoa Tephra erupted from Mt Tarawera in c. 1314 AD, Rotomahana Mud from the 1886 AD eruption of Mt Tarawera, and thin dustings of andesitic ash from the 1995-1996 AD eruptions of Mt Ruapehu.
In the Kaituna and Pongakawa lowlands and around the Maketu and Wai hi estuaries there is a late Pleistocene to Holocene sequence of fluvial terraces, alluvial plains, dune sands, minor loess, estuarine sands and muds, peats, and intercalated tephra layers.

text: Geology of the Maketu Area, Bay of Plenty, North Island, New Zealand. Sheet V14 1:50 000 The area covered in this report on the geology of Sheet V14 Maketu 1 :50 000 includes Motiti Island and a small triangular section of the Bay of Plenty coastal lowlands from the Kaituna River mouth to Pukehina Beach within the Maketu Basin, eastern North Island.
Motiti Island is situated 12 km offshore from the Bay of Plenty coast and is an eroded remnant of a Pliocene (4.3-3.4 Ma) andesitic composite cone. It is a flat-lying island surrounded by cliffs up to 30 m high, and the highest point is 57 m above sea level. The island is constructed on a base of andesitic rocks that have been divided into two new formations, the Motiti Formation consisting of thick massive or platy jointed lava flows and volcanic breccias, and the Orongatea Formation comprising thin lava flows, volcanic breccias, lapilli tuffs, tuffs, and dikes that are considered to be proximal strombolian and phreatomagmatic deposits. The andesitic formations are unconformably overlain by a 20-m thick sequence of middle to late Quaternary volcanogenic sediments (fluviatile sands, silts, and gravels), which in turn are covered by a 6-m thick blanket of late Quaternary tephras including Rotoiti Tephra Formation at the base. Originally the island would have been manifested as an andesitic composite cone and tuff ring complex, but it is now characterised by the strong angular unconformity that truncates the older andesitic rocks, which have been planed flat, presumably by marine erosion. The andesites and basaltic andesites of Motiti Island have ages and geochemical compositions similar to those of the Waihi district and southern Coromandel Volcanic Zone.
The Maketu peninsula (Town Point) forms a 67-m high headland on the Bay of Plenty coast. and is considered to be a horst, bounded by NE (035°)-striking normal faults and downfaulted blocks on both sides. The oldest rocks in the Maketu area are exposed in cliffs around the peninsula and consist of fluvial sands, silts, and gravels, aeolian sediments, and a 25-m thick lahar or lake-breakout flood deposit (Newdicks Formation, new) with a stratigraphic age of c. 0.25 Ma. The source of the lahar/flood deposit is unknown, but it contains clasts up to 7 m across of a densely welded ignimbrite that form a litter of boulders around the Maketu peninsula. The fluvial sediments are similar in rock type and stratigraphic position to those on Motiti Island, and both sequences have been included here in the Matua Subgroup. Intercalated with the sediments of the Matua Subgroup are thin Mid-Pleistocene pumiceous tephra fallout beds of the Huntress Creek and Kukumoa subgroups, and a c. 5-m thick non-welded ignimbrite identified as Mamaku lgnimbrite (c. 0.22 Ma). The uppermost part of the Matua Subgroup is marked by a well-developed, dark paleosol formed in clayey loess, and is Last Interglacial in age (c. 125 ka).
The Maketu peninsula is capped by a 15-m thick sequence of late Quaternary pumiceous and unweathered to weakly weathered tephra beds that include Rotoiti Tephra Formation, four tephras of the Mangaone Subgroup, and numerous younger tephras derived from the volcanic centres of Okataina (ten tephras), Taupo (six tephras), and Tuhua (Mayor Island) (one or more tephras), and minor loess deposits. The youngest of these tephras include the white, pumiceous rhyolitic Kaharoa Tephra erupted from Mt Tarawera in c. 1314 AD, Rotomahana Mud from the 1886 AD eruption of Mt Tarawera, and thin dustings of andesitic ash from the 1995-1996 AD eruptions of Mt Ruapehu.
In the Kaituna and Pongakawa lowlands and around the Maketu and Wai hi estuaries there is a late Pleistocene to Holocene sequence of fluvial terraces, alluvial plains, dune sands, minor loess, estuarine sands and muds, peats, and intercalated tephra layers.

year: 2006

title: An investigation into early childhood art education in two Shanghai kindergartens

authors: Huang, Wanying

subjects: early childhood art education

abstract: Historically, art practice in Chinese preschools was dominated by giving children a skill-based sense of achievement which was roundly criticized by Western art educators for stifling children`s personal expression and creativity. Chinese policy makers promoted a renewed early childhood art curriculum which draws heavily on conceptual and practical model of art education from abroad while still valuing aspects of past traditions. The objectives outlined in the revised early childhood art curriculum speak not only to an older Chinese emphasis on children`s early acquisition of art skills and the quality of work of art, but also to an overriding new emphasis on creative self-expression, co-constructing art learning, and art appreciation. 
Changes in the principles of early childhood art education have taken place since 2001, so what has changed in implementation? Using a qualitative, case study methodology, this study set out to address the following research questions: What are common rituals of practice that are typical of art education praxis in two contemporary Shanghai kindergartens? What do teachers reveal as their rationale for their approach to teaching art? How do children`s actions, artworks and speech represent their art learning? In what ways do teachers and children`s responses reflect the way that art education has been represented in current kindergarten policy guidelines and historical reforms?
Examining what teacher and children did and said about art revealed commonly shared experiences. It appeared that a predetermined, teacher-directed style of teaching still dominated many preschool art sessions. Influenced by cultural factors, there was a widely shared commitment to the significance of teacher authority in ‘regulating’ children`s art experience, and the idea of skill progression drives the emergence of creative expression. The teaching of practical skills via modeling dominated even though policy shifts indicated to the value of emotional enjoyment. Teachers tried to adjust their tight control over children`s art-making, as evident in their endeavor to develop alternative rituals of practice to enhance children`s engagement with work of art. Nevertheless, changes in ideas, particularly the corresponding practice presented a challenge to teachers who had never seen these multiple perspectives demonstrated in a pragmatic manner. Teachers perhaps were not equipped with sufficient knowledge to effectively combine these opposing messages into effective practice. Constraints such as tight schedules, large class sizes, parents` expectations for observable outcomes of children`s learning, and more importantly, the lack of effective professional development further contributed to the perpetuation of a teacher-directed art practice. 
Indicated by this study, there were themes warranting further investigation: the tension between Chinese tradition and contrasting Western views of creativity and expressiveness; the constraints in practice that reinforce teacher-directed pedagogy; and effective interventions that support teachers to make significant changes in their own art pedagogical practice in kindergarten art.

text: An investigation into early childhood art education in two Shanghai kindergartens Historically, art practice in Chinese preschools was dominated by giving children a skill-based sense of achievement which was roundly criticized by Western art educators for stifling children`s personal expression and creativity. Chinese policy makers promoted a renewed early childhood art curriculum which draws heavily on conceptual and practical model of art education from abroad while still valuing aspects of past traditions. The objectives outlined in the revised early childhood art curriculum speak not only to an older Chinese emphasis on children`s early acquisition of art skills and the quality of work of art, but also to an overriding new emphasis on creative self-expression, co-constructing art learning, and art appreciation. 
Changes in the principles of early childhood art education have taken place since 2001, so what has changed in implementation? Using a qualitative, case study methodology, this study set out to address the following research questions: What are common rituals of practice that are typical of art education praxis in two contemporary Shanghai kindergartens? What do teachers reveal as their rationale for their approach to teaching art? How do children`s actions, artworks and speech represent their art learning? In what ways do teachers and children`s responses reflect the way that art education has been represented in current kindergarten policy guidelines and historical reforms?
Examining what teacher and children did and said about art revealed commonly shared experiences. It appeared that a predetermined, teacher-directed style of teaching still dominated many preschool art sessions. Influenced by cultural factors, there was a widely shared commitment to the significance of teacher authority in ‘regulating’ children`s art experience, and the idea of skill progression drives the emergence of creative expression. The teaching of practical skills via modeling dominated even though policy shifts indicated to the value of emotional enjoyment. Teachers tried to adjust their tight control over children`s art-making, as evident in their endeavor to develop alternative rituals of practice to enhance children`s engagement with work of art. Nevertheless, changes in ideas, particularly the corresponding practice presented a challenge to teachers who had never seen these multiple perspectives demonstrated in a pragmatic manner. Teachers perhaps were not equipped with sufficient knowledge to effectively combine these opposing messages into effective practice. Constraints such as tight schedules, large class sizes, parents` expectations for observable outcomes of children`s learning, and more importantly, the lack of effective professional development further contributed to the perpetuation of a teacher-directed art practice. 
Indicated by this study, there were themes warranting further investigation: the tension between Chinese tradition and contrasting Western views of creativity and expressiveness; the constraints in practice that reinforce teacher-directed pedagogy; and effective interventions that support teachers to make significant changes in their own art pedagogical practice in kindergarten art.

year: 2013

title: Ma hea – which way? Mo te aha – what for?

authors: Te Awekotuku, Ngahuia

subjects: prejudice

abstract: Keynote address to the annual conference of the
NZ Psychological Society, 28 August 2004
E rau rangatira ma, tena ra koutou….
This presentation will be in four sections.
The first section will introduce two major issues, mana motuhake, and
manatangata, then we will consider some proposed legislation, the Seabed
& Foreshore Bill and the Civil Union Bill.
We will then consider strategic Maori response to political pressure over the
last three decades, and then note two recent and dramatic examples. They
are the Hikoi Takutai Moana, April 2004, and the Enough is Enough Rally,
August 2004
In the final section, we will consider the implications for psychologies and
psychologists working today in Aotearoa.

text: Ma hea – which way? Mo te aha – what for? Keynote address to the annual conference of the
NZ Psychological Society, 28 August 2004
E rau rangatira ma, tena ra koutou….
This presentation will be in four sections.
The first section will introduce two major issues, mana motuhake, and
manatangata, then we will consider some proposed legislation, the Seabed
& Foreshore Bill and the Civil Union Bill.
We will then consider strategic Maori response to political pressure over the
last three decades, and then note two recent and dramatic examples. They
are the Hikoi Takutai Moana, April 2004, and the Enough is Enough Rally,
August 2004
In the final section, we will consider the implications for psychologies and
psychologists working today in Aotearoa.

year: 2003-08