title: Historicising Gerd Koch's Ethnographic Films on Tuvalu

authors: Goldsmith, Michael

subjects: Gerd Koch

abstract: Gerd Koch is probably best known for his studies of Tuvalu in the early 1960s, when it was still part of the Gilbert and Ellice Islands Colony. In the process of recording aspects of material and expressive culture on Niutao, one of the northernmost islands, he shot a series of black-and-white silent films. Fifteen of these films were archived at IWF Wissen und Medien in G ttingen, Germany, formerly the Institut f r den Wissenschaftlichen Film, as part of an encyclopaedic project reflecting mid-20th-century scientific and philosophical assumptions. What do these films tell us about Tuvalu and the histories of anthropology and ethnographic film-making in the Pacific? This paper proposes some answers by focusing on two films featuring styles of combat that are both called 'failima' yet are clearly different from each other.

text: Historicising Gerd Koch's Ethnographic Films on Tuvalu Gerd Koch is probably best known for his studies of Tuvalu in the early 1960s, when it was still part of the Gilbert and Ellice Islands Colony. In the process of recording aspects of material and expressive culture on Niutao, one of the northernmost islands, he shot a series of black-and-white silent films. Fifteen of these films were archived at IWF Wissen und Medien in G ttingen, Germany, formerly the Institut f r den Wissenschaftlichen Film, as part of an encyclopaedic project reflecting mid-20th-century scientific and philosophical assumptions. What do these films tell us about Tuvalu and the histories of anthropology and ethnographic film-making in the Pacific? This paper proposes some answers by focusing on two films featuring styles of combat that are both called 'failima' yet are clearly different from each other.

year: 2010

title: Editorial: Grammar in the face of diversity

authors: Locke, Terry

subjects: grammar

abstract: The river one dips one’s toes into from one editorial to the next is never the same, as Heraclitus might have observed. Part 1 of this double issue (December, 2005) consisted of eight articles from contributors based in five countries: the United States, England, New Zealand, South Africa and Canada. Part 2 contains six articles and two teacher narratives from the United States (two), Scotland, the Netherlands, Australia (2), Indonesia and Denmark. The inclusion of contributors from European countries outside of the United Kingdom is a reminder that debates over the “grammar” question are not confined to the Anglophonic world. I am grateful to Amos van Gelderen and Anette Wulff for finding time to contribute to a journal, which hitherto has addressed itself to readers in a relatively small range of (officially) English speaking constituencies. I am also grateful to Handoyo Widodo for his contribution, written in the context of English-language teaching in Indonesia.

text: Editorial: Grammar in the face of diversity The river one dips one’s toes into from one editorial to the next is never the same, as Heraclitus might have observed. Part 1 of this double issue (December, 2005) consisted of eight articles from contributors based in five countries: the United States, England, New Zealand, South Africa and Canada. Part 2 contains six articles and two teacher narratives from the United States (two), Scotland, the Netherlands, Australia (2), Indonesia and Denmark. The inclusion of contributors from European countries outside of the United Kingdom is a reminder that debates over the “grammar” question are not confined to the Anglophonic world. I am grateful to Amos van Gelderen and Anette Wulff for finding time to contribute to a journal, which hitherto has addressed itself to readers in a relatively small range of (officially) English speaking constituencies. I am also grateful to Handoyo Widodo for his contribution, written in the context of English-language teaching in Indonesia.

year: 2006

title: Ko te Kōauau: Its historical journey, aspects of construction, socio-cultural relevance, and performance

authors: Komene, Jo'el

subjects: Koauau

abstract: In recent years there has been a revival of interest in traditional Māori musical instruments, including the Kōauau (sometimes called a  flute ). Most of the information on record is from Pākehā perspectives of music and culture. This thesis studies Kōauau in a Māori framework, giving weight to traditional Māori knowledge and practices, while bringing together much scattered information. The research links the origins/whakapapa of the Kōauau to the gods and their natural world, especially Hineraukatauri. The thesis analyses the materials used for Kōauau, the circumstances under which materials were acquired, their significance, design and methods of construction, and the tools employed in making Kōauau. The study discusses techniques for playing Kōauau, including its range of sounds, occasions on which they were played, and for what purposes they were used. Reference is made to the story of Hinemoa and Tūtānekai, with the suggestion that more knowledge can be drawn from pakiwaitara and pūrākau. As part of the research, several Kōauau available in the Auckland Museum were examined, showing that close inspection of these taonga significantly extended the information on them held by the Museum. Despite the constraints of the research in terms of time and other resources, the thesis makes an important contribution to knowledge, by collating widely distributed documentation into a concise form, by placing the Kōauau into a Māori perspective, emphasizing the spiritual dimensions of the instrument in its origins and its function, and by indicating what kinds of further research will assist in strengthening the revival of the Kōauau.

text: Ko te Kōauau: Its historical journey, aspects of construction, socio-cultural relevance, and performance In recent years there has been a revival of interest in traditional Māori musical instruments, including the Kōauau (sometimes called a  flute ). Most of the information on record is from Pākehā perspectives of music and culture. This thesis studies Kōauau in a Māori framework, giving weight to traditional Māori knowledge and practices, while bringing together much scattered information. The research links the origins/whakapapa of the Kōauau to the gods and their natural world, especially Hineraukatauri. The thesis analyses the materials used for Kōauau, the circumstances under which materials were acquired, their significance, design and methods of construction, and the tools employed in making Kōauau. The study discusses techniques for playing Kōauau, including its range of sounds, occasions on which they were played, and for what purposes they were used. Reference is made to the story of Hinemoa and Tūtānekai, with the suggestion that more knowledge can be drawn from pakiwaitara and pūrākau. As part of the research, several Kōauau available in the Auckland Museum were examined, showing that close inspection of these taonga significantly extended the information on them held by the Museum. Despite the constraints of the research in terms of time and other resources, the thesis makes an important contribution to knowledge, by collating widely distributed documentation into a concise form, by placing the Kōauau into a Māori perspective, emphasizing the spiritual dimensions of the instrument in its origins and its function, and by indicating what kinds of further research will assist in strengthening the revival of the Kōauau.

year: 2008