title: Better Must Come: Reggae As A New Social Movement

authors: Frethey, Cameron Blair

subjects: Reggae

abstract: Abstract
This thesis discusses the intertwining relationship between the rise of reggae music on a local and global scale, and the political efforts of both Michael Manley and Edward Seaga to close the gap between the rich and the poor. Central to Manley's success was the wavering support from cultural spokesperson and icon Bob Marley. This thesis will trace how reggae music was co-opted by political parties during the early seventies with the view of securing votes and constituencies. The complexity of the wants of the people, most of whom were poor, marginalised and disempowered, but were fundamental to the grassroots reggae movement will be explored. Manley's politics of change and socialist ideology intended to establish equality and opportunity, however intense pressure from major financial institutions and a global recession made these goals difficult to achieve. These challenges were compounded by the changing values and expectations of the middle class and the shifting direction of reggae music, as the seventies drew to a close.

text: Better Must Come: Reggae As A New Social Movement Abstract
This thesis discusses the intertwining relationship between the rise of reggae music on a local and global scale, and the political efforts of both Michael Manley and Edward Seaga to close the gap between the rich and the poor. Central to Manley's success was the wavering support from cultural spokesperson and icon Bob Marley. This thesis will trace how reggae music was co-opted by political parties during the early seventies with the view of securing votes and constituencies. The complexity of the wants of the people, most of whom were poor, marginalised and disempowered, but were fundamental to the grassroots reggae movement will be explored. Manley's politics of change and socialist ideology intended to establish equality and opportunity, however intense pressure from major financial institutions and a global recession made these goals difficult to achieve. These challenges were compounded by the changing values and expectations of the middle class and the shifting direction of reggae music, as the seventies drew to a close.

year: 2010

title: Coastal evolution of the Rangitāiki Plains, Bay of Plenty, Aotearoa-New Zealand

authors: Rackham, Bailey

subjects: Rangitaiki Plains

abstract: The Rangitāiki Plains is a tectonically active alluvial plain in the Eastern Bay of Plenty, New Zealand. Throughout the mid-late Holocene (8 ka to present), the Rangitāiki Plains have undergone substantial geomorphological change, with the coastline prograding approximately 10 km over the past 6.5 ka, leaving relic shoreline features known as beach ridges. Previous studies of the Rangitāiki Plains have utilised tephrochronology and radiocarbon dating to determine the ages of several palaeoshorelines. These dates provided minimum ages for beach ridges and resulted in aging constraints; furthermore, limited textural and geochemical characterisation of beach ridges has hampered understanding of sediment provenance and reworking changes. Addressing these research gaps is important as this knowledge is especially relevant in coastal management, modern climate change, and increasing anthropogenic impacts on the coastline.  

Optically Stimulated Luminescence (OSL) dating on the Rangitāiki Plains produced older beach ridge ages than those derived via tephrochronology. OSL dating also showed that beach ridge ages coincided with volcanic eruption events. The OSL progradation rates extend to much older time frames than those based on tephrochronology, starting at 7.6 ka rather than 5.5 ka. New data concludes a prominent progradation peak up to 43.03 m yr⁻¹ between 5.202±0.368 ka and 5.187±0.447 ka, around the time of the Whakatāne eruption. By 4 ka, progradation had slowed to only 1.14 m yr⁻¹, suggesting that longshore drift occurred earlier than previously calculated (2 ka), or that progradation slowed before longshore drift commenced. XRF and XRD analysis of sediments from Rangitāiki Plains confirms that beach ridge sediments comprise of intermediate igneous sediments that have been tephra fingerprinted to the Taupō Volcanic Zone.

text: Coastal evolution of the Rangitāiki Plains, Bay of Plenty, Aotearoa-New Zealand The Rangitāiki Plains is a tectonically active alluvial plain in the Eastern Bay of Plenty, New Zealand. Throughout the mid-late Holocene (8 ka to present), the Rangitāiki Plains have undergone substantial geomorphological change, with the coastline prograding approximately 10 km over the past 6.5 ka, leaving relic shoreline features known as beach ridges. Previous studies of the Rangitāiki Plains have utilised tephrochronology and radiocarbon dating to determine the ages of several palaeoshorelines. These dates provided minimum ages for beach ridges and resulted in aging constraints; furthermore, limited textural and geochemical characterisation of beach ridges has hampered understanding of sediment provenance and reworking changes. Addressing these research gaps is important as this knowledge is especially relevant in coastal management, modern climate change, and increasing anthropogenic impacts on the coastline.  

Optically Stimulated Luminescence (OSL) dating on the Rangitāiki Plains produced older beach ridge ages than those derived via tephrochronology. OSL dating also showed that beach ridge ages coincided with volcanic eruption events. The OSL progradation rates extend to much older time frames than those based on tephrochronology, starting at 7.6 ka rather than 5.5 ka. New data concludes a prominent progradation peak up to 43.03 m yr⁻¹ between 5.202±0.368 ka and 5.187±0.447 ka, around the time of the Whakatāne eruption. By 4 ka, progradation had slowed to only 1.14 m yr⁻¹, suggesting that longshore drift occurred earlier than previously calculated (2 ka), or that progradation slowed before longshore drift commenced. XRF and XRD analysis of sediments from Rangitāiki Plains confirms that beach ridge sediments comprise of intermediate igneous sediments that have been tephra fingerprinted to the Taupō Volcanic Zone.

year: 2025

title: Activating belonging: Towards a critcial ensemble pedagogy

authors: Brown, Gaenor

abstract: Contemporary research shows school belonging as a key determinant of learner health and wellbeing. Teachers, and teaching practices, are pivotal in developing safe, supportive communities in which students can learn and thrive, where they can belong. In this thesis the high school drama education ensemble in Aotearoa New Zealand is presented as a site for the exploration and activation of belonging. Framed through a self-study of teacher education practice, using (S-STEP) methodology, the research reimagines ensemble pedagogy for dramatic inquiry process through a lens of critical belonging. The research opens with a contextual review of contemporary scholarship and evolving theories about school belonging and ensemble pedagogy, mapping how both fields are relationally, spatially and temporally situated. The contextual review highlights the importance of drama education and school belonging practices and pedagogies in the generation of transdisciplinary knowledge.

Six principles of practice for drama educators have been developed to support the activation of belonging, relating to Identity, Process, Provocation, Space and Place, Performativity and Reflexivity. These principles are informed by semi-structured interviews with participants experienced in ensemble-based teaching and learning, and by autoethnographic reflective responses prompted by interview dialogues. In this research autoethnography is identified as a form of wayfinding, a traditional Pacific concept, drawing on the mātauranga Māori concepts and values of manaakitanga and whanaungatanga, to weave affective, political and socio-ecological belonging into a critical perspective of ensemble practice.

The six principles of practice have been trialled in dramatic inquiry workshops, with pre- service drama educators, in a design incorporating process drama, image theatre and forum theatre. Drama conventions as boundary objects, bridging the fields of drama education and belonging, provide structure to the workshops, further informing development of the principles of practice. Through an ongoing dialogic cycle of workshop enactment, participant feedback and drama educator reflection, the principles are reassessed, redefined and refined.

This research argues for a critical ensemble pedagogy that makes space for the ensemble as both site and practice. The study advocates for a pedagogy which honours indigenous ways of knowing in drama education, catalyses creative expression and activates critical belonging.

text: Activating belonging: Towards a critcial ensemble pedagogy Contemporary research shows school belonging as a key determinant of learner health and wellbeing. Teachers, and teaching practices, are pivotal in developing safe, supportive communities in which students can learn and thrive, where they can belong. In this thesis the high school drama education ensemble in Aotearoa New Zealand is presented as a site for the exploration and activation of belonging. Framed through a self-study of teacher education practice, using (S-STEP) methodology, the research reimagines ensemble pedagogy for dramatic inquiry process through a lens of critical belonging. The research opens with a contextual review of contemporary scholarship and evolving theories about school belonging and ensemble pedagogy, mapping how both fields are relationally, spatially and temporally situated. The contextual review highlights the importance of drama education and school belonging practices and pedagogies in the generation of transdisciplinary knowledge.

Six principles of practice for drama educators have been developed to support the activation of belonging, relating to Identity, Process, Provocation, Space and Place, Performativity and Reflexivity. These principles are informed by semi-structured interviews with participants experienced in ensemble-based teaching and learning, and by autoethnographic reflective responses prompted by interview dialogues. In this research autoethnography is identified as a form of wayfinding, a traditional Pacific concept, drawing on the mātauranga Māori concepts and values of manaakitanga and whanaungatanga, to weave affective, political and socio-ecological belonging into a critical perspective of ensemble practice.

The six principles of practice have been trialled in dramatic inquiry workshops, with pre- service drama educators, in a design incorporating process drama, image theatre and forum theatre. Drama conventions as boundary objects, bridging the fields of drama education and belonging, provide structure to the workshops, further informing development of the principles of practice. Through an ongoing dialogic cycle of workshop enactment, participant feedback and drama educator reflection, the principles are reassessed, redefined and refined.

This research argues for a critical ensemble pedagogy that makes space for the ensemble as both site and practice. The study advocates for a pedagogy which honours indigenous ways of knowing in drama education, catalyses creative expression and activates critical belonging.

year: 2025