title: Na yaqona kei na ivakatakilakila vakavanua ena yatu Pasivika (Kava and ethno-cultural identity in Oceania)

authors: Aporosa, S. 'Apo'

subjects: ivakatakilakilavaka

abstract: Garibaldi and Turner (2004, p. 1, 5) explain the role that particular plants play in facilitating the shared ancestry, practices and social experience of an ethnicity. This can include spiritual connections, cultural expression and practice, ceremony, exchange, linguistic reflection, socialisation, medicinal and/or dietary systems. They term these plants ‘cultural keystone species’ and icons of identity, plants that if removed would cause some disruptions to the cultural practices and identity of an ethnic group. Undoubtedly, kava (Piper methysticum) is the cultural keystone species for many Oceanic and Pacific peoples; a “differentiating element of common culture” (Zagefka, 2016, p. 761) informing their ethno-cultural identity. That influence is also extending to new non-Pacific Island user groups who have embraced elements of kava ethno-cultural identity in what has been termed diasporic identity formation in reverse. This chapter will discuss kava with specific reference to ethnic positionality in Fiji, while recognising the tensions from inside and outside the region that support and threaten the continuance of the kava drinking tradition.

text: Na yaqona kei na ivakatakilakila vakavanua ena yatu Pasivika (Kava and ethno-cultural identity in Oceania) Garibaldi and Turner (2004, p. 1, 5) explain the role that particular plants play in facilitating the shared ancestry, practices and social experience of an ethnicity. This can include spiritual connections, cultural expression and practice, ceremony, exchange, linguistic reflection, socialisation, medicinal and/or dietary systems. They term these plants ‘cultural keystone species’ and icons of identity, plants that if removed would cause some disruptions to the cultural practices and identity of an ethnic group. Undoubtedly, kava (Piper methysticum) is the cultural keystone species for many Oceanic and Pacific peoples; a “differentiating element of common culture” (Zagefka, 2016, p. 761) informing their ethno-cultural identity. That influence is also extending to new non-Pacific Island user groups who have embraced elements of kava ethno-cultural identity in what has been termed diasporic identity formation in reverse. This chapter will discuss kava with specific reference to ethnic positionality in Fiji, while recognising the tensions from inside and outside the region that support and threaten the continuance of the kava drinking tradition.

year: 2021

title: "We’re like the sex CPR dummies”: Young women’s understandings of (hetero)sexual pleasure in university accommodation

authors: Brown, Juliana

subjects: (hetero)sex

abstract: In this article, we explore the discourses that affect young women’s experiences of (hetero)sexual pleasure, drawing on data from focus groups with young women and young men who lived within a university residential setting in Aotearoa/New Zealand. Here we focus on the gendered understandings among the participants that prioritise men’s sexual pleasure and largely position women as the means of achieving that pleasure. The young women spoke of multiple barriers to gaining equality during (hetero)sexual experiences, with key issues being the coital imperative and women’s supposed sexual passivity. In challenging these barriers, the young women described various tactics used to resist their subordinate position. However, the women often placed the onus of responsibility for dismantling these barriers on themselves, thus bearing the burden of responsibility for not only young men’s sexual pleasure but also their own.

text: "We’re like the sex CPR dummies”: Young women’s understandings of (hetero)sexual pleasure in university accommodation In this article, we explore the discourses that affect young women’s experiences of (hetero)sexual pleasure, drawing on data from focus groups with young women and young men who lived within a university residential setting in Aotearoa/New Zealand. Here we focus on the gendered understandings among the participants that prioritise men’s sexual pleasure and largely position women as the means of achieving that pleasure. The young women spoke of multiple barriers to gaining equality during (hetero)sexual experiences, with key issues being the coital imperative and women’s supposed sexual passivity. In challenging these barriers, the young women described various tactics used to resist their subordinate position. However, the women often placed the onus of responsibility for dismantling these barriers on themselves, thus bearing the burden of responsibility for not only young men’s sexual pleasure but also their own.

year: 2017

title: 'Entitled to a History': The World of Alice Tawhai's Short Stories and the Maori Literary Tradition

authors: Modlik, Kimberley

subjects: Alice Tawhai

abstract: New Zealand short story writer Alice Tawhai is one of the latest additions to the Maori literary tradition. Her three collections of short stories, Festival of Miracles, Luminous and Dark Jelly, deal with issues not entirely unique to New Zealand – from gang life, to domestic violence, to drug and alcohol abuse – and take as their primary subject an alienated, marginalized and disenfranchised underclass. This means she is likely to be read as speaking solely for the Maori experience.  This thesis will revise this misconception, which in effect ghettoizes or marginalizes Tawhai’s work.

Influential women writers of the Maori literary tradition, such as J. C. Sturm, Patricia Grace and Keri Hulme, have taken a particular interest in the long legacy of colonialism in New Zealand, especially of the impact of that legacy on Maori women. This thesis demonstrates that while Tawhai’s work engages with these familiar notions, her gaze is not limited to these issues. This thesis therefore places Tawhai’s work within that tradition and matrilineal genealogy before going on to show how she moves the paradigm beyond the usual grievances of biculturalism and colonialism, orienting her work instead around the increasingly multicultural experience of contemporary life in New Zealand.

The first section of this thesis will establish a platform for reading Tawhai in regards to her literary legacy and in the context of contemporary thinking, drawing on cultural theorist Stuart Hall and his theory on identity formation and identity politics as well as indigenous writings experts Patrick Evans and Chadwick Allen. This thesis will then move into its second section, which is an analysis of some of the overarching themes that can be found in the short stories of Tawhai’s literary foremothers, Sturm, Grace and Hulme. These include, for example, racism and discrimination, loss of ancestral lands, problems to do with urbanization and family violence.

The third and final section of this thesis will then consider Tawhai’s representation of contemporary experience, taking a particular interest in her portrayals of contemporary multicultural ethnic identities as well as the flexible and provisional nature of gendered and sexual identities today. The final subsection will then analyze her representations of the new family and social structures that may have replaced the traditional family model.

Through a close reading of her short stories and an appreciation of the legacy that she bears, this thesis will show how Tawhai’s work is a larger lens of contemporary New Zealand society as well as a significant addition to the Maori literary tradition.

text: 'Entitled to a History': The World of Alice Tawhai's Short Stories and the Maori Literary Tradition New Zealand short story writer Alice Tawhai is one of the latest additions to the Maori literary tradition. Her three collections of short stories, Festival of Miracles, Luminous and Dark Jelly, deal with issues not entirely unique to New Zealand – from gang life, to domestic violence, to drug and alcohol abuse – and take as their primary subject an alienated, marginalized and disenfranchised underclass. This means she is likely to be read as speaking solely for the Maori experience.  This thesis will revise this misconception, which in effect ghettoizes or marginalizes Tawhai’s work.

Influential women writers of the Maori literary tradition, such as J. C. Sturm, Patricia Grace and Keri Hulme, have taken a particular interest in the long legacy of colonialism in New Zealand, especially of the impact of that legacy on Maori women. This thesis demonstrates that while Tawhai’s work engages with these familiar notions, her gaze is not limited to these issues. This thesis therefore places Tawhai’s work within that tradition and matrilineal genealogy before going on to show how she moves the paradigm beyond the usual grievances of biculturalism and colonialism, orienting her work instead around the increasingly multicultural experience of contemporary life in New Zealand.

The first section of this thesis will establish a platform for reading Tawhai in regards to her literary legacy and in the context of contemporary thinking, drawing on cultural theorist Stuart Hall and his theory on identity formation and identity politics as well as indigenous writings experts Patrick Evans and Chadwick Allen. This thesis will then move into its second section, which is an analysis of some of the overarching themes that can be found in the short stories of Tawhai’s literary foremothers, Sturm, Grace and Hulme. These include, for example, racism and discrimination, loss of ancestral lands, problems to do with urbanization and family violence.

The third and final section of this thesis will then consider Tawhai’s representation of contemporary experience, taking a particular interest in her portrayals of contemporary multicultural ethnic identities as well as the flexible and provisional nature of gendered and sexual identities today. The final subsection will then analyze her representations of the new family and social structures that may have replaced the traditional family model.

Through a close reading of her short stories and an appreciation of the legacy that she bears, this thesis will show how Tawhai’s work is a larger lens of contemporary New Zealand society as well as a significant addition to the Maori literary tradition.

year: 2014