title: Social deprivation in New Zealand

authors: Harcourt, Brian James

subjects: Deprivation

abstract: The purpose of the thesis was to better understand the phenomenon of social deprivation, world-wide and in particular in New Zealand. Social deprivation has been defined in many ways with multiple surrogates used to ‘measure’ its prevalence. The aim of this research was to provide examples of the lived experiences of social deprivation.

Social constructivist and interpretive lenses were used to portray the voices of those living in deprivation, as well as those people tasked to assist them. A narrative case study approach was employed with participants from Whānau Ora. This social and health initiative offered a holistic approach to assistance in contrast to the usual State agencies operating in a silo fashion, with separate agencies providing for different aspects of social deprivation such as housing, employment, mental health and other services. The approach of Whānau Ora is to support clients’ needs holistically and encourage people to develop their own plans for self- improvement. Navigators help people develop their plans and assist in their interactions with the various State agencies whose services they require. This approach allowed a better understanding of ways to overcome people’s feelings of powerlessness and desperation.

The findings from the study lead to suggestions for the application of evidence-based, complementary, integrated assistance programmes rather than having segregated public service agencies acting independently. The recommendations are simple yet require profound changes in public service operations when attempting to ameliorate or prevent social deprivation among citizens.

text: Social deprivation in New Zealand The purpose of the thesis was to better understand the phenomenon of social deprivation, world-wide and in particular in New Zealand. Social deprivation has been defined in many ways with multiple surrogates used to ‘measure’ its prevalence. The aim of this research was to provide examples of the lived experiences of social deprivation.

Social constructivist and interpretive lenses were used to portray the voices of those living in deprivation, as well as those people tasked to assist them. A narrative case study approach was employed with participants from Whānau Ora. This social and health initiative offered a holistic approach to assistance in contrast to the usual State agencies operating in a silo fashion, with separate agencies providing for different aspects of social deprivation such as housing, employment, mental health and other services. The approach of Whānau Ora is to support clients’ needs holistically and encourage people to develop their own plans for self- improvement. Navigators help people develop their plans and assist in their interactions with the various State agencies whose services they require. This approach allowed a better understanding of ways to overcome people’s feelings of powerlessness and desperation.

The findings from the study lead to suggestions for the application of evidence-based, complementary, integrated assistance programmes rather than having segregated public service agencies acting independently. The recommendations are simple yet require profound changes in public service operations when attempting to ameliorate or prevent social deprivation among citizens.

year: 2019

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016

title: "Does it mean anything?" and other insults: Dreadlocks, tattoos and feminism.

authors: Barbour, Karen

subjects: feminism

abstract: Drawing on feminist theorizing, phenomenological investigation of lived experience, and
embodied ways of knowing, I interrogate my own creative and political acts moving in the world.  As a dancer, my understandings of movement as epistemologically significant provide the basis for my re-creations of self, and for my play with the markings of gender, identity and culture.  While dance performances provide a means for personal embodied theatrical engagement in issues of gender, culture and identity, my everyday encounters with others are also a rich context for interpretation, re-creation and play, In particular, my manner of dress, dreadlocks and tattoos provide markings of gender, culture and identity that seemingly confront others' stereotypes and generate encounters that can be either positive or negative. This presentation, utilizing personal experience narratives or autoethnographies, provides a context for personal reflection, interrogation and interpretation, moving towards more politicized embodied understandings.

text: "Does it mean anything?" and other insults: Dreadlocks, tattoos and feminism. Drawing on feminist theorizing, phenomenological investigation of lived experience, and
embodied ways of knowing, I interrogate my own creative and political acts moving in the world.  As a dancer, my understandings of movement as epistemologically significant provide the basis for my re-creations of self, and for my play with the markings of gender, identity and culture.  While dance performances provide a means for personal embodied theatrical engagement in issues of gender, culture and identity, my everyday encounters with others are also a rich context for interpretation, re-creation and play, In particular, my manner of dress, dreadlocks and tattoos provide markings of gender, culture and identity that seemingly confront others' stereotypes and generate encounters that can be either positive or negative. This presentation, utilizing personal experience narratives or autoethnographies, provides a context for personal reflection, interrogation and interpretation, moving towards more politicized embodied understandings.

year: 2007