title: What Effect Does Relevant Policy Have on Pacific Peoples’ Experiences of Housing in Aotearoa New Zealand?

authors: Brown, Georgia

subjects: housing

abstract: Every New Zealander has the right to a warm, safe, and secure home. However, many people in Aotearoa experience housing that lacks these fundamental aspects. The size, quality, and affordability of Aotearoa New Zealand’s housing within both the state and private rental markets are not meeting the health or well-being needs of the nation’s people. This is particularly notable for specific sectors of the population, including those with low socio-economic status, and Māori and Pacific peoples. This thesis aims to understand and examine Pacific peoples’ housing experiences in Kirikiriroa Hamilton, Aotearoa New Zealand. Specifically, this work seeks to understand the context of housing policy in Aotearoa New Zealand and how that links to the experiences of Pacific home occupants. It will uncover severe issues related to housing deprivation, housing over-crowding, housing affordability, housing quality, and the relationship between health and housing for Pacific peoples in Aotearoa New Zealand. In understanding these factors of peoples’ experiences with housing, relevant housing policy is examined. Policies that are included are The Resident Tenancies Act 1986 (including the Amendment Act 2020), the Housing Improvement Regulation 1947, the Health Act 1956, the Building Act 2004, the Healthy Home Guarantees Act and the Residential Tenancies (Healthy Homes Standards) Regulations 2019. Understanding how these policies function, are enforced, and are implemented by national and local governments allows insight into their effectiveness in ensuring that all of New Zealand’s population are able to access adequate and affordable housing. Assessing Kāinga Ora, New Zealand’s largest landlord, will also allow for an understanding of the housing experiences of many of the most vulnerable populations in Aotearoa. Through talanoa methodology, driven by a Pacific research team, an understanding of housing experiences is shaped around the narratives provided by seven Pacific families living in severe housing deprivation within Kirikiriroa Hamilton, Aotearoa New Zealand. Little qualitative research has been conducted on the experiences of Pacific peoples living in Aotearoa New Zealand. This thesis hopes to improve understandings of housing for Pacific peoples, their position in society and the impacts of relevant policy. Identifying existing issues will hopefully allow for a recognition of housing issues that will work towards being effectively improved by stakeholders essential to uplifting New Zealand’s housing space.

text: What Effect Does Relevant Policy Have on Pacific Peoples’ Experiences of Housing in Aotearoa New Zealand? Every New Zealander has the right to a warm, safe, and secure home. However, many people in Aotearoa experience housing that lacks these fundamental aspects. The size, quality, and affordability of Aotearoa New Zealand’s housing within both the state and private rental markets are not meeting the health or well-being needs of the nation’s people. This is particularly notable for specific sectors of the population, including those with low socio-economic status, and Māori and Pacific peoples. This thesis aims to understand and examine Pacific peoples’ housing experiences in Kirikiriroa Hamilton, Aotearoa New Zealand. Specifically, this work seeks to understand the context of housing policy in Aotearoa New Zealand and how that links to the experiences of Pacific home occupants. It will uncover severe issues related to housing deprivation, housing over-crowding, housing affordability, housing quality, and the relationship between health and housing for Pacific peoples in Aotearoa New Zealand. In understanding these factors of peoples’ experiences with housing, relevant housing policy is examined. Policies that are included are The Resident Tenancies Act 1986 (including the Amendment Act 2020), the Housing Improvement Regulation 1947, the Health Act 1956, the Building Act 2004, the Healthy Home Guarantees Act and the Residential Tenancies (Healthy Homes Standards) Regulations 2019. Understanding how these policies function, are enforced, and are implemented by national and local governments allows insight into their effectiveness in ensuring that all of New Zealand’s population are able to access adequate and affordable housing. Assessing Kāinga Ora, New Zealand’s largest landlord, will also allow for an understanding of the housing experiences of many of the most vulnerable populations in Aotearoa. Through talanoa methodology, driven by a Pacific research team, an understanding of housing experiences is shaped around the narratives provided by seven Pacific families living in severe housing deprivation within Kirikiriroa Hamilton, Aotearoa New Zealand. Little qualitative research has been conducted on the experiences of Pacific peoples living in Aotearoa New Zealand. This thesis hopes to improve understandings of housing for Pacific peoples, their position in society and the impacts of relevant policy. Identifying existing issues will hopefully allow for a recognition of housing issues that will work towards being effectively improved by stakeholders essential to uplifting New Zealand’s housing space.

year: 2023

title: “O, she’s warm!”: The taking of hands … and bears … and time’s … in The Winter’s Tale

authors: Forbes, Malcolm Alexander

subjects: Shakespeare

abstract: Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. But plays are more than words. Plays have characters, movement, costumes and props. Words inhabit and animate, give rhyme and reason to an actor being on a stage, performing for an audience. But between the words, the play still exists. This thesis is an exploration of those ‘moments’ that are played out in silence and are watched rather than heard. To tell the story of The Winter’s Tale, Shakespeare was faced with some specific problems. There are essentially two tales to be told in the space of one play. The first requires for an all consuming jealousy to be played out. He solved this with a simple and understandable wordless action. Then to conclude this first tragic section, the story demanded that a helpless baby be abandoned - lost. Here he used an old trick in a new and surprising way, to be played quickly and, with his unerring sense of staging, for a laugh. The second tale then had to begin, and the baby had to become a woman. For this he used a convention - unconventionally. Finally, at the end of the play, he decided to change the story. To conclude his tale, the tale he was telling, with an image of redemption, reconciliation and hope. Of all the moments, this is the one that is the quietest, slowest and most beautifully painted. This thesis is an exploration of those moments. A discussion about how Shakespeare, who has probably added more words into the lexicon that any other person, was also essentially a visual artist. That he ‘drew and painted and sculpted’ - creating stage pictures.

text: “O, she’s warm!”: The taking of hands … and bears … and time’s … in The Winter’s Tale Shakespeare wrote words and plays. Words might well be considered to be the ‘life blood’ of a play. But plays are more than words. Plays have characters, movement, costumes and props. Words inhabit and animate, give rhyme and reason to an actor being on a stage, performing for an audience. But between the words, the play still exists. This thesis is an exploration of those ‘moments’ that are played out in silence and are watched rather than heard. To tell the story of The Winter’s Tale, Shakespeare was faced with some specific problems. There are essentially two tales to be told in the space of one play. The first requires for an all consuming jealousy to be played out. He solved this with a simple and understandable wordless action. Then to conclude this first tragic section, the story demanded that a helpless baby be abandoned - lost. Here he used an old trick in a new and surprising way, to be played quickly and, with his unerring sense of staging, for a laugh. The second tale then had to begin, and the baby had to become a woman. For this he used a convention - unconventionally. Finally, at the end of the play, he decided to change the story. To conclude his tale, the tale he was telling, with an image of redemption, reconciliation and hope. Of all the moments, this is the one that is the quietest, slowest and most beautifully painted. This thesis is an exploration of those moments. A discussion about how Shakespeare, who has probably added more words into the lexicon that any other person, was also essentially a visual artist. That he ‘drew and painted and sculpted’ - creating stage pictures.

year: 2011

title: A Portfolio of Compositions

authors: Dobson, Elizabeth Jane

subjects: music

abstract: The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

text: A Portfolio of Compositions The pieces in this portfolio cover a wide range of methods and styles - from work for a single vocalising percussionist, to singing bowl and electronics and a work for full orchestra. The aim of this portfolio is to demonstrate my technical and musical proficiency as well as to give an overview of my personal composing philosophy and style.
The portfolio opens with a work for orchestra, A Study in Scarlet. It differs from my previous orchestral works and is based on a musical code of Sir Arthur Conan Doyle's book, titled A Study in Scarlet. This was read in the 2009 Todd/ NSZO Young Composer Readings. The second work is .manatu.. It features tinkly piano, wind chimes and ethnic instrumentalists in a chamber ensemble to create a musical sound world. This was written for and premiered at Bang on a Can's summer music festival in Massachusetts 2009. The piano work .ātanga. is an adaptation of .manatu. for solo pianist and was written for the Dame Malvina Major Foundations Showcase Concert in New Plymouth. This adaptation proved to be a worthwhile exercise in efficient use of music material. Wrong Number is a Janet Frame poem set for soprano and real-time effect processing of audio. Confessions - Part I and II, for solo violin and string orchestra is based on the Fibonacci series and explores my love for string sonorities. Sand Song was written for a friend who asked me to set a poem she wrote. Here I demonstrate my love for setting text and voice to say something beautiful and precise. This song now stands as a eulogy for her Father. Parihaka, for vocalising percussionist, is a setting of Apirana Taylor's poem Parihaka and was written for Australian performer Louise Devenish. I explore further in the realm of live acoustic and electroacoustic music with Orison a piece I wrote for myself to perform live with singing bowl and Ableton Live. Finally The Headlines Today for five improvising musicians explores the music of shouting and the vernacular of place.

year: 2010