title: From mainstream to manaaki: Indigenising our approach to immigration

authors: Kukutai, Tahu

abstract: In recent years, discontent with migration and migrants in the wealthy global north has manifested in disturbing ways: cue Brexit, xenophobia, border paranoia, far-right nationalism and its bedfellow white supremacy. On the surface, Aotearoa New Zealand appears to have escaped the uglier aspects of this nativism. Despite the grumblings of the New Zealand First Party, no serious popular or political anti-immigration movement has appeared, and racially motivated attacks against migrants are relatively rare. This is despite the fact that Aotearoa has a much higher relative foreign-born population share than the United States or United Kingdom,1 and ‘superdiverse’ Auckland – which comprises at least 40 per cent migrants – now has the ignominious claim to being the fourthleast affordable city in the world, far outstripping London and New York.

text: From mainstream to manaaki: Indigenising our approach to immigration In recent years, discontent with migration and migrants in the wealthy global north has manifested in disturbing ways: cue Brexit, xenophobia, border paranoia, far-right nationalism and its bedfellow white supremacy. On the surface, Aotearoa New Zealand appears to have escaped the uglier aspects of this nativism. Despite the grumblings of the New Zealand First Party, no serious popular or political anti-immigration movement has appeared, and racially motivated attacks against migrants are relatively rare. This is despite the fact that Aotearoa has a much higher relative foreign-born population share than the United States or United Kingdom,1 and ‘superdiverse’ Auckland – which comprises at least 40 per cent migrants – now has the ignominious claim to being the fourthleast affordable city in the world, far outstripping London and New York.

year: 2017

title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009

title: A probabilistic dynamic programming model of rape seed harvesting

authors: Foulds, James Richard

subjects: crop harvesting

abstract: We discuss a practical scenario from an operations scheduling viewpoint involving commercial contracting enterprises that visit farms in order to harvest rape seed crops. We report on a probabilistic dynamic programming formulation that was designed specifically for scenarios of the type described. The paper is an extension of previous work from the deterministic one-farm case to allow for: the specific considerations necessary to harvest a particular crop, namely rape seed, harvesting at multiple farms, machine failure, and the fact that activity duration times are uncertain. The computational times experienced in solving practical instances of the formulation are encouraging.

text: A probabilistic dynamic programming model of rape seed harvesting We discuss a practical scenario from an operations scheduling viewpoint involving commercial contracting enterprises that visit farms in order to harvest rape seed crops. We report on a probabilistic dynamic programming formulation that was designed specifically for scenarios of the type described. The paper is an extension of previous work from the deterministic one-farm case to allow for: the specific considerations necessary to harvest a particular crop, namely rape seed, harvesting at multiple farms, machine failure, and the fact that activity duration times are uncertain. The computational times experienced in solving practical instances of the formulation are encouraging.

year: 2006