title: Henry V in 1972: Learning from Ngaio Marsh.

authors: Houlahan, Mark

abstract: Mark Houlahan University of Waikato Henry the Fifth in 1972: learning from Ngaio Marsh In the evening of October 1, 1972, the James Hay Theatre in the Christchurch Town Hall was officially launched with an impressively mounted production of Shakespeare’s Henry V, directed by Ngaio Marsh, internationally famous as one of the Queens of Crime fiction, and who had directed high quality Shakespeare productions in Ōtautahi/Christchuch since 1943. The production, using over 100 actors and featuring professional actors Marsh had trained who returned from England to perform, was a pinnacle of her production style, and each of the ten performances sold out. Marsh’s meticulously prepared promptbooks for the show, housed in the Turnbull Library, show every cut and move sketched by Marsh in advance. The Marsh archives also document reviewers’ reactions and recollections from the company, and contain a rich array of visual evidence: posters, production stills, and the official programme. In my paper I will use this data to evoke this lavish event. In 2019 the Town Hall re-opened after extensive restoration following the 2011 earthquakes, a process documented in The Christchurch Town Hall 1965-2019: a Dream Renewed (Canterbury UP, 2020); and the venue has begun presenting post-Covid entertainments. It is timely then to pivot back to 1972 and ask what we can learn from this production about the place of Marsh’s theatre in the development of performance culture in Aotearoa; and open out to the wider, ongoing questions as to the place of Shakespeare in our cultural fabric. Mark Houlahan is Associate Professor of English in Te Kura Toi (School of Arts), University of Waikato. He has published widely in Shakespeare Studies with a special focus on the afterlife of Shakespeare’s works in Aotearoa/New Zealand, as seen, for example, in his chapter: “From the Shakespeare Hut to the Pop-up Globe: Shakespeare, memory and New Zealand, 1916-2016”, in G. McMullan, P. Mead, A. G. Ferguson, M. Houlahan, & K. Flaherty (Eds.), Antipodal Shakespeare Remembering and Forgetting in Britain, Australia and New Zealand, 1916 - 2016 (pp. 117-144).

text: Henry V in 1972: Learning from Ngaio Marsh. Mark Houlahan University of Waikato Henry the Fifth in 1972: learning from Ngaio Marsh In the evening of October 1, 1972, the James Hay Theatre in the Christchurch Town Hall was officially launched with an impressively mounted production of Shakespeare’s Henry V, directed by Ngaio Marsh, internationally famous as one of the Queens of Crime fiction, and who had directed high quality Shakespeare productions in Ōtautahi/Christchuch since 1943. The production, using over 100 actors and featuring professional actors Marsh had trained who returned from England to perform, was a pinnacle of her production style, and each of the ten performances sold out. Marsh’s meticulously prepared promptbooks for the show, housed in the Turnbull Library, show every cut and move sketched by Marsh in advance. The Marsh archives also document reviewers’ reactions and recollections from the company, and contain a rich array of visual evidence: posters, production stills, and the official programme. In my paper I will use this data to evoke this lavish event. In 2019 the Town Hall re-opened after extensive restoration following the 2011 earthquakes, a process documented in The Christchurch Town Hall 1965-2019: a Dream Renewed (Canterbury UP, 2020); and the venue has begun presenting post-Covid entertainments. It is timely then to pivot back to 1972 and ask what we can learn from this production about the place of Marsh’s theatre in the development of performance culture in Aotearoa; and open out to the wider, ongoing questions as to the place of Shakespeare in our cultural fabric. Mark Houlahan is Associate Professor of English in Te Kura Toi (School of Arts), University of Waikato. He has published widely in Shakespeare Studies with a special focus on the afterlife of Shakespeare’s works in Aotearoa/New Zealand, as seen, for example, in his chapter: “From the Shakespeare Hut to the Pop-up Globe: Shakespeare, memory and New Zealand, 1916-2016”, in G. McMullan, P. Mead, A. G. Ferguson, M. Houlahan, & K. Flaherty (Eds.), Antipodal Shakespeare Remembering and Forgetting in Britain, Australia and New Zealand, 1916 - 2016 (pp. 117-144).

year: 2021

title: Seen but not heard: Women's experiences of educational leadership in Solomon Islands secondary schools

authors: Akao, Shalom Maiasi

subjects: women

abstract: This study is concerned with the representation of women in leadership positions in Solomon Islands. In particular, it explores the educational leadership experiences of women working in Solomon Islands' secondary schools. While much research to date has been carried out in the developed and developing countries, very little has been undertaken in Melanesian countries. As such, we know very little about women's experiences in educational leadership in Melanesia. 
Research data was gathered using qualitative methods. Specifically, interviews were conducted with eight women, five were deputy principals and three were Heads of Departments. All the participants were teaching in schools in an urban centre. Data gathered were analyzed using the thematic analysis approach. The data gathering was conducted in the Solomon Islands in October 2007.
The key findings revealed a number of issues that impacted on the women's leadership in their respective schools. Findings include lack of self confidence, difficulties in balancing work and family, discriminatory attitudes and the influence of the cultural patriarchal norms on the attitudes towards women in leadership positions. Other key findings related to the nature of the organization, in this case, the school. This included a lack of initial preparatory and on - going professional development programmes and a lack of consultation in the decision making process. This study also found that while the women embraced the collaborative approach to leadership, the structural barriers through the hierarchical organization of the schools meant they could not lead the way they would like to.

text: Seen but not heard: Women's experiences of educational leadership in Solomon Islands secondary schools This study is concerned with the representation of women in leadership positions in Solomon Islands. In particular, it explores the educational leadership experiences of women working in Solomon Islands' secondary schools. While much research to date has been carried out in the developed and developing countries, very little has been undertaken in Melanesian countries. As such, we know very little about women's experiences in educational leadership in Melanesia. 
Research data was gathered using qualitative methods. Specifically, interviews were conducted with eight women, five were deputy principals and three were Heads of Departments. All the participants were teaching in schools in an urban centre. Data gathered were analyzed using the thematic analysis approach. The data gathering was conducted in the Solomon Islands in October 2007.
The key findings revealed a number of issues that impacted on the women's leadership in their respective schools. Findings include lack of self confidence, difficulties in balancing work and family, discriminatory attitudes and the influence of the cultural patriarchal norms on the attitudes towards women in leadership positions. Other key findings related to the nature of the organization, in this case, the school. This included a lack of initial preparatory and on - going professional development programmes and a lack of consultation in the decision making process. This study also found that while the women embraced the collaborative approach to leadership, the structural barriers through the hierarchical organization of the schools meant they could not lead the way they would like to.

year: 2008

title: Mā Te Wai - Ka Piki Ake Te Hauora

authors: Rollo, Te Manaaroha Pirihira

abstract: This paper researched traditional Māori forms of music therapy focusing on waiata¹ and taonga pūoro² . Linking cultures: collaborative partnerships in music therapy and related disciplines is the main objective of this research. In support, this paper examined past and current Māori practices that aim to heal and promote ‘well-being’ amongst people, thus resulting in linking the Māori culture and therapeutic values and practices in contemporary New Zealand

text: Mā Te Wai - Ka Piki Ake Te Hauora This paper researched traditional Māori forms of music therapy focusing on waiata¹ and taonga pūoro² . Linking cultures: collaborative partnerships in music therapy and related disciplines is the main objective of this research. In support, this paper examined past and current Māori practices that aim to heal and promote ‘well-being’ amongst people, thus resulting in linking the Māori culture and therapeutic values and practices in contemporary New Zealand

year: 2013-11-23