title: New Zealand army chaplains at war : 2 NZEF 1939 - 1945

authors: Glen, Frank

abstract: This thesis investigates the motivations to engage in, and the pastoral and sacramental work of, the 1939-45 World War Two chaplains of the Second New Zealand Expeditionary Force, and it explores the theological framework, and theology in which such chaplaincy was carried out. It concludes by noting significant factors and issues of concern to chaplains and their churches in respect of the transition from war to peace.

Historical models of military chaplaincy are found in Constantine’s Roman Empire of 312-337CE, the Christian Crusades of 1096-1291, and the later British Empire. Features of these models provide a tool for understanding and interpreting many aspects of the work and role of the military chaplains of this study. The impact of Christian pacifism is considered, as it is one of the influences which came to bear upon the decision of some clergy who enlisted as chaplains.

Chaplains were recruited from eight denominations and they demonstrated a common pastoral concern for all who were engaged in the various theatres of war. Through the introduction of the concept of ecumenical unit chaplaincy, the battalion became the padre’s parish where he conducted worship, exercised pastoral skills, read the liturgies and preached the Gospel. This became the corner-stone of an ecumenical chaplaincy which developed throughout the war years. Despite the exigencies of war a Bible Class network, church parades - both voluntary and compulsory - and a wide range of religious activities contributed to a spiritual programme which met the needs of a largely nominal Christian 2NZEF.

There emerged from the experience of worship within the 2NZEF a pragmatic ecumenical approach to many aspects of chaplaincy, including in particular the practice, at least for Protestants, of inter-communion. Roman Catholic practice and theological understanding of the Eucharist was enriched by a particular New Zealand contribution. The isolation of the Pacific theatre, coupled with the maturing of the Chaplain’s Department through the Middle East experiences, resulted in a heightening of ecumenical development within the 3rd Division chaplaincy.

The chaplain’s skills in pastoral matters were required to maintain morale, cope with death, wounding and captivity. They are defined first from a military perspective and then examined from a biblical viewpoint. It is primarily in reference to chaplains’ skills associated with the battlefield context, although other situations are included, that issues of pastoral ministry are identified and discussed. The Maori chaplains’ task is discussed in reference to the tohunga of pre-Christian times. Unlike their Pakeha (European) associates. Maori chaplains had access to individuals of influence within New Zealand Maori politics, a factor which was of particular significance.

Almost all chaplains had a belief in the natural justice of World War Two and this thesis will suggest they believed that not to have embarked upon war would have led to infinitely more serious problems for both civilization and the Christian Church. Throughout the war years there was an identified and distinct implicit theological framework which underwrote their attitudes and actions. Their opinions, theological framework and ideology, regarding the war arose both from the ministerial duties they performed and their battlefield experience of war itself.

The model of New Zealand chaplaincy is defined and compared with the classical models noted at the beginning of the thesis. At the end of the war, the 2NZEF Chaplains’ Department held a series of Leadership Schools. These Schools, involving laymen of all denominations. addressed a series of transitional religious and social issues, the outcomes of which were to develop over the decades following WW2. The concluding chapter summarizes a Theology of Chaplaincy which has developed from the foregoing study.

text: New Zealand army chaplains at war : 2 NZEF 1939 - 1945 This thesis investigates the motivations to engage in, and the pastoral and sacramental work of, the 1939-45 World War Two chaplains of the Second New Zealand Expeditionary Force, and it explores the theological framework, and theology in which such chaplaincy was carried out. It concludes by noting significant factors and issues of concern to chaplains and their churches in respect of the transition from war to peace.

Historical models of military chaplaincy are found in Constantine’s Roman Empire of 312-337CE, the Christian Crusades of 1096-1291, and the later British Empire. Features of these models provide a tool for understanding and interpreting many aspects of the work and role of the military chaplains of this study. The impact of Christian pacifism is considered, as it is one of the influences which came to bear upon the decision of some clergy who enlisted as chaplains.

Chaplains were recruited from eight denominations and they demonstrated a common pastoral concern for all who were engaged in the various theatres of war. Through the introduction of the concept of ecumenical unit chaplaincy, the battalion became the padre’s parish where he conducted worship, exercised pastoral skills, read the liturgies and preached the Gospel. This became the corner-stone of an ecumenical chaplaincy which developed throughout the war years. Despite the exigencies of war a Bible Class network, church parades - both voluntary and compulsory - and a wide range of religious activities contributed to a spiritual programme which met the needs of a largely nominal Christian 2NZEF.

There emerged from the experience of worship within the 2NZEF a pragmatic ecumenical approach to many aspects of chaplaincy, including in particular the practice, at least for Protestants, of inter-communion. Roman Catholic practice and theological understanding of the Eucharist was enriched by a particular New Zealand contribution. The isolation of the Pacific theatre, coupled with the maturing of the Chaplain’s Department through the Middle East experiences, resulted in a heightening of ecumenical development within the 3rd Division chaplaincy.

The chaplain’s skills in pastoral matters were required to maintain morale, cope with death, wounding and captivity. They are defined first from a military perspective and then examined from a biblical viewpoint. It is primarily in reference to chaplains’ skills associated with the battlefield context, although other situations are included, that issues of pastoral ministry are identified and discussed. The Maori chaplains’ task is discussed in reference to the tohunga of pre-Christian times. Unlike their Pakeha (European) associates. Maori chaplains had access to individuals of influence within New Zealand Maori politics, a factor which was of particular significance.

Almost all chaplains had a belief in the natural justice of World War Two and this thesis will suggest they believed that not to have embarked upon war would have led to infinitely more serious problems for both civilization and the Christian Church. Throughout the war years there was an identified and distinct implicit theological framework which underwrote their attitudes and actions. Their opinions, theological framework and ideology, regarding the war arose both from the ministerial duties they performed and their battlefield experience of war itself.

The model of New Zealand chaplaincy is defined and compared with the classical models noted at the beginning of the thesis. At the end of the war, the 2NZEF Chaplains’ Department held a series of Leadership Schools. These Schools, involving laymen of all denominations. addressed a series of transitional religious and social issues, the outcomes of which were to develop over the decades following WW2. The concluding chapter summarizes a Theology of Chaplaincy which has developed from the foregoing study.

year: 1996

title: Site-specific performance rituals in the Anthropocene

authors: Claus, Johanna

abstract: In this creative practice PhD, I investigated site-specific performance rituals in the Anthropocene. Driven by the urge to respond to the challenges of the current time, I examined how different seasonal rituals might be expressed in specific sites in Aotearoa, New Zealand. Furthermore, including participants from diverse cultural backgrounds, and carrying an awareness of the complexities of colonialism, I analysed insights from key ritual experts to enhance my understanding of ritual practices within the specific socio-cultural and environmental context of Aotearoa. Inspired by critical posthumanist philosophies, I viewed ritual practices through a lens that considered the interconnectedness of technology, culture, and nature, moving beyond essentialist and dualistic tendencies. Inspired by (Haraway, 2007) and Braidotti (2019), I embraced a perspective of ‘staying with the trouble’ and ‘radical hope’ as a strategy to inspire commitments to safeguarding life on Earth amid increasing societal divisions, and environmental disasters.
Working at the intersection of various disciplines, I crafted a qualitative research design that embraced multiple ways of knowing through creative practice research. I gathered insights from four ritual experts grounded in mātauranga Māori or neo-Paganism through in-depth interviews, to comprehend multifaceted and culturally sensitive approaches to ritual practices in Aotearoa. Moreover, the creative investigation of four seasonal performance rituals served as the primary mode of inquiry (Niedderer & Roworth-Stokes, 2007; Skains, 2018). The methods used for these rituals included contemporary performance practices, eco-somatic movement, improvisation, site-specific dance, audience participation, and others.
The rich knowledge gained throughout these investigations is conveyed through the documentation of four seasonal rituals, presented in video works alongside this thesis. The findings are articulated in two empirical chapters, one focusing on the findings and analysis of the expert interviews and the other on the findings and analysis of four performance rituals, revealing nuanced and complex insights into the creation of site-specific performance rituals in the Anthropocene. Navigating site-specific performance practices as an immigrant necessitated continuous critical self-reflection on biases and assumptions, leading to intricate explorations of embodiment, identity, culture, nature, and the more-than-human world within a posthuman context. Operating in the liminal space of this tension alongside performer participants, ritual experts, and audience members yielded the articulation of my findings: a ritual score capable of accommodating the complexities of the Anthropocene.

text: Site-specific performance rituals in the Anthropocene In this creative practice PhD, I investigated site-specific performance rituals in the Anthropocene. Driven by the urge to respond to the challenges of the current time, I examined how different seasonal rituals might be expressed in specific sites in Aotearoa, New Zealand. Furthermore, including participants from diverse cultural backgrounds, and carrying an awareness of the complexities of colonialism, I analysed insights from key ritual experts to enhance my understanding of ritual practices within the specific socio-cultural and environmental context of Aotearoa. Inspired by critical posthumanist philosophies, I viewed ritual practices through a lens that considered the interconnectedness of technology, culture, and nature, moving beyond essentialist and dualistic tendencies. Inspired by (Haraway, 2007) and Braidotti (2019), I embraced a perspective of ‘staying with the trouble’ and ‘radical hope’ as a strategy to inspire commitments to safeguarding life on Earth amid increasing societal divisions, and environmental disasters.
Working at the intersection of various disciplines, I crafted a qualitative research design that embraced multiple ways of knowing through creative practice research. I gathered insights from four ritual experts grounded in mātauranga Māori or neo-Paganism through in-depth interviews, to comprehend multifaceted and culturally sensitive approaches to ritual practices in Aotearoa. Moreover, the creative investigation of four seasonal performance rituals served as the primary mode of inquiry (Niedderer & Roworth-Stokes, 2007; Skains, 2018). The methods used for these rituals included contemporary performance practices, eco-somatic movement, improvisation, site-specific dance, audience participation, and others.
The rich knowledge gained throughout these investigations is conveyed through the documentation of four seasonal rituals, presented in video works alongside this thesis. The findings are articulated in two empirical chapters, one focusing on the findings and analysis of the expert interviews and the other on the findings and analysis of four performance rituals, revealing nuanced and complex insights into the creation of site-specific performance rituals in the Anthropocene. Navigating site-specific performance practices as an immigrant necessitated continuous critical self-reflection on biases and assumptions, leading to intricate explorations of embodiment, identity, culture, nature, and the more-than-human world within a posthuman context. Operating in the liminal space of this tension alongside performer participants, ritual experts, and audience members yielded the articulation of my findings: a ritual score capable of accommodating the complexities of the Anthropocene.

year: 2024-05-27

title: Composition Portfolio

authors: Cao, YunQi

abstract: This portfolio consist of five works: an octet (for flute, erhu, yangqin, guzheng, two violins, viola and cello), a trio (for violin, cello and piano), a piano suite, a song cycle and a duet (for flute and harp). The aim was to demonstrate an ability to write in different genres, utilizing different styles and musical techniques, and to find ways of exploring how to combine some elements of Chinese music with Western composition techniques.

The octet for mixes the traditional Chinese musical instruments erhu, yangqin and guzheng with Western flute, violin, viola and cello. Chinese folk music elements are the main thematic materials, but the aim was to fuse the elements of folk music with techniques of modern Western music. 

The Piano Trio traverses a spectrum of musical emotion ranging from gracefulness and lyrical melody to sadness before emerging again into lightness. The second movement uses Chinese heptatonic modes.

The Piano Suite consists of five short pieces. Contrasting moods are evoked including passion, liveliness, comedy, naughtiness and dreaminess. Technically these pieces were inspired by the piano music of Debussy and Ligeti.

The vocal work is a song cycle with four components. Two of the songs use a combination of voice, Chinese instruments and Western instruments. 


Falling Maple Leaves in Autumn is a duet for flute and harp, evoking a scene of leaves falling slowly in the autumn frost and wind.

Cultural interaction is a feature of contemporary concert music. The works in this portfolio aim to show how blending Western contemporary techniques with traditional Chinese instruments and techniques can generate a new artistic vitality.

text: Composition Portfolio This portfolio consist of five works: an octet (for flute, erhu, yangqin, guzheng, two violins, viola and cello), a trio (for violin, cello and piano), a piano suite, a song cycle and a duet (for flute and harp). The aim was to demonstrate an ability to write in different genres, utilizing different styles and musical techniques, and to find ways of exploring how to combine some elements of Chinese music with Western composition techniques.

The octet for mixes the traditional Chinese musical instruments erhu, yangqin and guzheng with Western flute, violin, viola and cello. Chinese folk music elements are the main thematic materials, but the aim was to fuse the elements of folk music with techniques of modern Western music. 

The Piano Trio traverses a spectrum of musical emotion ranging from gracefulness and lyrical melody to sadness before emerging again into lightness. The second movement uses Chinese heptatonic modes.

The Piano Suite consists of five short pieces. Contrasting moods are evoked including passion, liveliness, comedy, naughtiness and dreaminess. Technically these pieces were inspired by the piano music of Debussy and Ligeti.

The vocal work is a song cycle with four components. Two of the songs use a combination of voice, Chinese instruments and Western instruments. 


Falling Maple Leaves in Autumn is a duet for flute and harp, evoking a scene of leaves falling slowly in the autumn frost and wind.

Cultural interaction is a feature of contemporary concert music. The works in this portfolio aim to show how blending Western contemporary techniques with traditional Chinese instruments and techniques can generate a new artistic vitality.

year: 2016