title: Black Americans and Te Aroha mining

authors: Hart, Philip

abstract: Although no black Americans lived in the Te Aroha district, several, including some miners, lived in Hauraki and elsewhere in New Zealand. In general, blacks were stereotyped as figures of fun (as were the Irish often), but those who were known personally were treated differently. Visiting black American singers were admired for their vocal skills, and some settled in the colony, notably Robert Bradford Williams, who became mayor of the Wellington borough of Onslow.
This paper focuses on three very different men peripherally involved in mining in the Te Aroha district. About the first, Alexander Jackson, a carter, little is known apart from his marital problems. The second, William La Grenade Mitchell, was an Auckland accountant and land agent and was well respected, being a prominent Mason. He quickly lost this respect when forced to flee to Australia, whereupon his complicated financial and marital circumstances became public knowledge. About the third man, Edward Ralph Martin (who claimed an exotic ethnic background), a great deal is known because of his incessant efforts to raise money, including from the government, for his enthusiastic but incompetent prospecting. Calling himself a ‘professor’ of music, in his efforts to make money he was involved in several frauds, although there may have been an element of self-delusion about the prospecting skills claimed. His private life was also complicated.
One feature of this sample was that all three married white women, two of them also having white mistresses at a time when such liaisons, regular or irregular, were most certainly not socially acceptable.

text: Black Americans and Te Aroha mining Although no black Americans lived in the Te Aroha district, several, including some miners, lived in Hauraki and elsewhere in New Zealand. In general, blacks were stereotyped as figures of fun (as were the Irish often), but those who were known personally were treated differently. Visiting black American singers were admired for their vocal skills, and some settled in the colony, notably Robert Bradford Williams, who became mayor of the Wellington borough of Onslow.
This paper focuses on three very different men peripherally involved in mining in the Te Aroha district. About the first, Alexander Jackson, a carter, little is known apart from his marital problems. The second, William La Grenade Mitchell, was an Auckland accountant and land agent and was well respected, being a prominent Mason. He quickly lost this respect when forced to flee to Australia, whereupon his complicated financial and marital circumstances became public knowledge. About the third man, Edward Ralph Martin (who claimed an exotic ethnic background), a great deal is known because of his incessant efforts to raise money, including from the government, for his enthusiastic but incompetent prospecting. Calling himself a ‘professor’ of music, in his efforts to make money he was involved in several frauds, although there may have been an element of self-delusion about the prospecting skills claimed. His private life was also complicated.
One feature of this sample was that all three married white women, two of them also having white mistresses at a time when such liaisons, regular or irregular, were most certainly not socially acceptable.

year: 2016

title: Tuned in and hands on: Sound designers beyond technical expertise

authors: Delmotte, Isabelle A.

abstract: The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director’s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.

text: Tuned in and hands on: Sound designers beyond technical expertise The term sound designer is a relatively new addition to the professional roles in a film sound crew. Its use can be traced to the 1970s when the dismantlement of some major Hollywood studios gave space for more experimental approaches to film making. A study on acoustic ecologies and cinema sound allowed for creative and altruistic collaborations with some Australian cinema professionals. Subsequent face-to-face interviews and correspondence with the participants to the study pointed to the humanity and concerns at play behind the screen. It is apparent that the capacity of sound designer cannot be pigeonholed: it oscillates according to the demands of a film production and depends on its director’s and financial backers' sonic awareness. Amongst professional sound makers themselves exists a lack of consensus on the role and importance of the position of sound designer. The author proposes a way to lessen professional ambiguity and increase public recognition of atmospheric cinema sound. Invoking atmospheric sound at the inception of an audio-visual narrative could reward its makers and audiences in unsuspected ways. To acknowledge sound designers as architects of sensations and, by the same token, include viscerality and affect as creative elements of film production, could lead to a different appreciation of our lives in sound.

year: 2014

title: Popoia te reo kia penapena: Nurture the language

authors: Berryman, Mere

subjects: Maori language

abstract: Research to develop a Māori language screening tool (Specialist Education Services, 2001), identified that students entering Māori Medium at five, could be classified into one of four Māori language competency, groups. Concurrently, teachers raised their need to identify the Māori language proficiency of five year olds entering Māori Medium so that more appropriate teaching strategies could be incorporated in preparation for literacy.
Accordingly, three Māori oral-language assessment tools, to help identify the Māori language competency of students entering Māori Medium settings at five years of age and provide formative information, were developed in response to this need. This paper details the development and trial of these tools.

text: Popoia te reo kia penapena: Nurture the language Research to develop a Māori language screening tool (Specialist Education Services, 2001), identified that students entering Māori Medium at five, could be classified into one of four Māori language competency, groups. Concurrently, teachers raised their need to identify the Māori language proficiency of five year olds entering Māori Medium so that more appropriate teaching strategies could be incorporated in preparation for literacy.
Accordingly, three Māori oral-language assessment tools, to help identify the Māori language competency of students entering Māori Medium settings at five years of age and provide formative information, were developed in response to this need. This paper details the development and trial of these tools.

year: 2009