title: The physical health and premature mortality of Indigenous Māori following first-episode psychosis diagnosis: A 15-year follow-up study

authors: Monk, Nathan

subjects: First-episode psychosis, New Zealand, Māori, indigenous health, health equity, physical health, cardiometabolic health, premature mortality, cohort study

abstract: Background:
People experiencing psychosis are at greater risk of physical health conditions and premature mortality. It is likely that Indigenous Māori youth, who experience additional systemic inequities caused by settler-colonisation, face even greater physical health and mortality risks following a diagnosis of first-episode psychosis.
Objective:
Compare Māori and non-Māori for risk of hospitalisation and mortality for up to 15 years following first-episode psychosis diagnosis.
Methods:
A cohort (N = 14,122) of young people (16–24 years) with first-episode psychosis diagnosis between 2001 and 2019 were identified. Using crude Kaplan–Meier and adjusted Cox proportional hazards models, Māori (n = 5211) and non-Māori (n = 8911) were compared on hospitalisation and mortality outcomes for up to 15 years.
Results:
In the 15 years following first-episode psychosis diagnosis, Māori had higher adjusted risk of all-cause mortality (hazard ratio = 1.21, 95% confidence interval = [1.01, 1.45]), hospitalisation with diabetes (hazard ratio = 1.44, 95% confidence interval = [1.15, 1.79]), injury/poisoning (hazard ratio = 1.11, 95% confidence interval = [1.05, 1.16]), general physical health conditions (hazard ratio = 1.07, 95% confidence interval = [1.02, 1.13]) and also appeared to be at greater risk of cardiovascular hospitalisations (hazard ratio = 1.34, 95% confidence interval = [0.97, 1.86]). Kaplan–Meier plots show hospitalisation and mortality inequities emerging approximately 4–7 years following first-episode psychosis diagnosis.
Conclusions:
Māori are at greater risk for hospitalisation and premature mortality outcomes following first-episode psychosis. Early screening and intervention, facilitated by culturally safe health service delivery, is needed to target these inequities early.

text: The physical health and premature mortality of Indigenous Māori following first-episode psychosis diagnosis: A 15-year follow-up study Background:
People experiencing psychosis are at greater risk of physical health conditions and premature mortality. It is likely that Indigenous Māori youth, who experience additional systemic inequities caused by settler-colonisation, face even greater physical health and mortality risks following a diagnosis of first-episode psychosis.
Objective:
Compare Māori and non-Māori for risk of hospitalisation and mortality for up to 15 years following first-episode psychosis diagnosis.
Methods:
A cohort (N = 14,122) of young people (16–24 years) with first-episode psychosis diagnosis between 2001 and 2019 were identified. Using crude Kaplan–Meier and adjusted Cox proportional hazards models, Māori (n = 5211) and non-Māori (n = 8911) were compared on hospitalisation and mortality outcomes for up to 15 years.
Results:
In the 15 years following first-episode psychosis diagnosis, Māori had higher adjusted risk of all-cause mortality (hazard ratio = 1.21, 95% confidence interval = [1.01, 1.45]), hospitalisation with diabetes (hazard ratio = 1.44, 95% confidence interval = [1.15, 1.79]), injury/poisoning (hazard ratio = 1.11, 95% confidence interval = [1.05, 1.16]), general physical health conditions (hazard ratio = 1.07, 95% confidence interval = [1.02, 1.13]) and also appeared to be at greater risk of cardiovascular hospitalisations (hazard ratio = 1.34, 95% confidence interval = [0.97, 1.86]). Kaplan–Meier plots show hospitalisation and mortality inequities emerging approximately 4–7 years following first-episode psychosis diagnosis.
Conclusions:
Māori are at greater risk for hospitalisation and premature mortality outcomes following first-episode psychosis. Early screening and intervention, facilitated by culturally safe health service delivery, is needed to target these inequities early.

year: 2024

title: Kāinga tahi, kāinga rua: A kaupapa Māori response of Te Puea Memorial Marae.

authors: Lee-Morgan, Jenny Bol Jun

abstract: In the winter of 2016, Te Puea Memorial Marae (TPMM) initiated a kaupapa Māori marae-led response, opening their doors to vulnerable whānau seeking emergency housing. Following in the legacy of Te Puea Herangi,¹ the marae answered the call of homeless whānau in Auckland and in doing so disrupted the dominant Auckland housing narrative where the government had until that time refused to acknowledge homelessness as a serious issue. In the full view of the media, TPMM not only made the reality of homelessness visible by caring for 181 people (of all ethnicities and cultural backgrounds), but named the housing situation in Auckland as a ‘crisis’. ²

text: Kāinga tahi, kāinga rua: A kaupapa Māori response of Te Puea Memorial Marae. In the winter of 2016, Te Puea Memorial Marae (TPMM) initiated a kaupapa Māori marae-led response, opening their doors to vulnerable whānau seeking emergency housing. Following in the legacy of Te Puea Herangi,¹ the marae answered the call of homeless whānau in Auckland and in doing so disrupted the dominant Auckland housing narrative where the government had until that time refused to acknowledge homelessness as a serious issue. In the full view of the media, TPMM not only made the reality of homelessness visible by caring for 181 people (of all ethnicities and cultural backgrounds), but named the housing situation in Auckland as a ‘crisis’. ²

year: 2017

title: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar

authors: Houlahan, Mark

abstract: Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

text: Shakespeare/Nation/NZ - Paper for: SAA 2021: Henry V Seminar Theatre/Nation/NZ Mark Houlahan University of Waikato SAA 2021: Henry V Seminar Since its first performances at the Globe in Southwark in 1559, audiences have been drawn to Henry V’s irresistible use of tropes of theatre and nation. Those tropes have been used at times not just as generic meta-theatre but also to celebrate the specific theatre in which the play was staged. That was clearly the case in 1599. In 1997, when Shakespeare’s Globe premiered with its own, much discussed version of Henry V, those tropes came to life again. Again this was London come to life on stage. Again the stage was shiny with wood, from the Thane of Cawdor’s estate. Yet, as the play travels the Globe (as when for example Propeller Theatre took their all-male Henry V around the globe nearly ten year ago) what sense can we make of these English theatre/nation tropes? Can the play speak as far from London as Aotearoa/New Zealand? The prime objective of my paper is to answer this question by describing a specific production in 1972, which launched the James Hay Theatre in the Christchurch Town Hall a noted postmodern, world class performance venue. This was directed by Ngaio Marsh, famous as one of the Queens of Crime fiction and who in New Zealand directed high quality Shakespeares for several decades. The production, using 60 actors and featuring professional actors Marsh had trained who returned from England to perform , was a pinnacle of her production style . Marsh’s meticulously prepared promptbooks, housed in the National Library of New Zealand, show every cut and in some scenes, every move sketched by Marsh in advance. The Marsh archives also document reviewers reactions and recollections from the company. None of these have been digitised, though Marsh’s script for her 1943 modern dress Hamlet (the first such performance in New Zealand) has recently been published. My paper will show how useful these materials might be to calibrate the resonance of theatre and nation in the play. Reading List: Agee, James. “Laurence Olivier’s Henry V.” Shakespeare in America: An Anthology from the Revolution to Now, edited by James Shapiro, Library of America, 2014, pp. 459-474. [wonderful analysis of the film, and really attentive to culture/nation contexts.] Flaherty, Kate. “Lest We Remember: Henry V and the Play of Commemorative Rhetoric on the Australian Stage.” Antipodal Shakespeare:Remembering and Forgetting in Britain, Australia and New Zealand, 1916-2016, edited by Gordon McMullan and Philip Mead, Bloomsbury, 2018, pp. 145–73.

year: 2021-04-02