title: How does voluntary ethics improve research? Introducing a community research development initiative

authors: Flanagan, Paul G.

abstract: Until recently, community organisations in Aotearoa New Zealand (NZ) have not had any avenue	for ethical review of research involving human participants unless they were connected to researchers involved with health and disability research (narrowly-defined), or tertiary education institutions. The New Zealand Ethics Committee (NZEC), a recent community	research development initiative, has invited organisations to submit their proposals for voluntary ethics review and provides research methodology support where sought. This paper introduces this initiative, describing both its make-up and	processes. It also explores the relationship between reviewer-applicant	in  the NZEC as	 distinctive to  the relationship of reviewer-applicant in traditional ethical review settings, explaining this difference of power relations and philosophy. Those	in the community see research ethics review	as something to be learned along with research methodology/practice.

text: How does voluntary ethics improve research? Introducing a community research development initiative Until recently, community organisations in Aotearoa New Zealand (NZ) have not had any avenue	for ethical review of research involving human participants unless they were connected to researchers involved with health and disability research (narrowly-defined), or tertiary education institutions. The New Zealand Ethics Committee (NZEC), a recent community	research development initiative, has invited organisations to submit their proposals for voluntary ethics review and provides research methodology support where sought. This paper introduces this initiative, describing both its make-up and	processes. It also explores the relationship between reviewer-applicant	in  the NZEC as	 distinctive to  the relationship of reviewer-applicant in traditional ethical review settings, explaining this difference of power relations and philosophy. Those	in the community see research ethics review	as something to be learned along with research methodology/practice.

year: 2015

title: Every Breath is a Wave: In what ways can contemporary dance making express an ecofeminist perspective

authors: Baker, Gabriel Anne

subjects: ecofeminism

abstract: Arising from the growing interest in ecological concerns that intersected with second wave feminism in the 1970s, ecological feminism is a theoretical perspective which argues that the oppression of women is parallel to and mutually reinforcing to that of the natural environment. Interested in the holistic nature of ecofeminist analysis I seek to understand how the processes of contemporary dance making can intersect with the theory and praxis of ecofeminism. Within ecofeminism the body is often used as a reference point for expression and understanding. Contemporary dance making therefore is of relevance for the exploration of ecofeminism as it offers a way of knowing that is of and from the body. The overall research question of this thesis and creative research project is ‘In what ways can contemporary dance making express an ecofeminist perspective?’
In order to investigate how contemporary dance making may express an ecofeminist perspective, creative practice as research formed an appropriate methodology for this project. Creative practice as research is a methodology which proposes that creating artworks not only expresses research, but the artwork becomes the research in itself. The specific creative practice research methods used in this thesis were improvisation, choreography and journaling.
The methods used in the creation of this solo allowed investigation into how contemporary dance making fosters my relationship with the environment. Moved by the severe consequences of a nuclear disaster, the experiences of the women of Greenham common and the anti-nuclear movement in Aotearoa, my solo dance is an ecofeminist representation of visceral responses to the environment and the threat of nuclear technology. The solo dance is titled ‘Daughter, there will be no home’ and is a representation of my relationship to the environment of this earth and an expression of my ecofeminist sense of care for the earth.

text: Every Breath is a Wave: In what ways can contemporary dance making express an ecofeminist perspective Arising from the growing interest in ecological concerns that intersected with second wave feminism in the 1970s, ecological feminism is a theoretical perspective which argues that the oppression of women is parallel to and mutually reinforcing to that of the natural environment. Interested in the holistic nature of ecofeminist analysis I seek to understand how the processes of contemporary dance making can intersect with the theory and praxis of ecofeminism. Within ecofeminism the body is often used as a reference point for expression and understanding. Contemporary dance making therefore is of relevance for the exploration of ecofeminism as it offers a way of knowing that is of and from the body. The overall research question of this thesis and creative research project is ‘In what ways can contemporary dance making express an ecofeminist perspective?’
In order to investigate how contemporary dance making may express an ecofeminist perspective, creative practice as research formed an appropriate methodology for this project. Creative practice as research is a methodology which proposes that creating artworks not only expresses research, but the artwork becomes the research in itself. The specific creative practice research methods used in this thesis were improvisation, choreography and journaling.
The methods used in the creation of this solo allowed investigation into how contemporary dance making fosters my relationship with the environment. Moved by the severe consequences of a nuclear disaster, the experiences of the women of Greenham common and the anti-nuclear movement in Aotearoa, my solo dance is an ecofeminist representation of visceral responses to the environment and the threat of nuclear technology. The solo dance is titled ‘Daughter, there will be no home’ and is a representation of my relationship to the environment of this earth and an expression of my ecofeminist sense of care for the earth.

year: 2017

title: !!!FR33D0M 0FF SP33CH!!!

authors: Smith, Hugh Lyal

subjects: Poetry

abstract: My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

text: !!!FR33D0M 0FF SP33CH!!! My title is “FR33D0M 0FF SP33CH”, a play on the saying “freedom of speech”. I write with the intent of voicing tough subjects that others haven’t or don’t, and often exposing things that I wouldn’t tell or share personally. “FR33D0M 0FF SP33CH” consists of 37 poems, 2 hooks and a chorus in this complete album. My earliest piece can date back to 2020 with the latest pieces being written in 2021. They express different visions of day-to-day life through points of view and alternating voices and perspectives. The topics range from anything like seeing a face in the smudge on a wall, to things like love, street styles and why I can’t sleep at night. They are to be read left to right, top to bottom -- but feel free to read them as you see fit, because it’s art after all and what you see is what you see. Those labelled “Mirrored” have been turned upside down to allow reading from either end and show the extent of form and variety my pieces can take. Some things may be explicit or hard to read, but I assure you that they are just certain views from different angles that I believe need to be shared. There is a strong political/cultural component to my mahi, a tough vocal attack on elements of society I believe are flawed and unjust, and an exposure of the addictions and abuses that colonial history and racial inequality lead to – but there’s also an intense celebration of the power of the Māori voice that remains, its beat and pride and resilience and ancestry, joined by a rich musical joy in the songs of the street I grew up in, their rhythms and rap, energy and power. It has taken me a long time to reach this level of writing in terms of technique, rhythm and content. I want the reader to see things through my shades and feel what it feels like to be me with an understanding of why I am and where I come from. To understand that, No, I don’t know everything, and I don’t expect anyone else to. But, Yes, this is what I saw, felt and how I interpreted it. So there it is and this is me, the bro Hugh. A lit ūrikā descendant of Ngāti Kuri, Ngāti Rēhia, Te Rārawa, Te Aupōuri and Ngāpuhi. Bred in the streets I-roam and made home. A dreamer of the future. Last but not least, your son, your brother, your bro and he who wrote the killer book that you are about to read. Churrr!!!

year: 2021