title: Riding the knowledge wave: An examination of recent work-based learning in New Zealand

authors: Piercy, Gemma Louise

subjects: industrial relations

abstract: This paper offers insights into the policy environment within which work-based learning takes place. Since 1999, work-based learning in New Zealand has been reframed by a series of ‘third way’ policies implemented by the Labour-led coalition government. These initiatives incorporate an interesting mix of borrowed ideas, principally from the United Kingdom, and domestic imperatives. The purpose of this paper is to outline, examine, and evaluate New Zealand’s ‘third way’ approach to education and training and its present and future implications for work-based learning. 

The direction of Labour’s policies was signaled in its 1999 election manifesto document, Skills for 21st Century.  Buoyed by the support for and success of its initial policies, the government has continued to borrow and adapt overseas initiatives.  This paper builds on previous comparative research (Piercy, 2003; Murray and Piercy, 2003). It traces the implementation of key policy reforms that relate to the broad area of work-based learning.  It describes, briefly, the evolution of the current Tertiary Education Strategy (TES) and the contribution made by the ‘third way’ Tertiary Education Advisory Committee (TEAC).  The TES is a five to seven year plan that intends to give focus and certainty to the entire post-compulsory education and training sector (PCET); this effectively includes all work-based learning. The paper also examines the three Statements of Educational Priorities (STEP) that have been released to date (the latest in April 2005).  The STEPs constitute an action plan for each phase of the TES. The paper concludes that the adoption of a ‘third way’ approach since 1999 has not only altered significantly the role now played by employers, unions, and industry training organizations (ITOs) but also provided opportunities to transform important aspects of work-based learning.

text: Riding the knowledge wave: An examination of recent work-based learning in New Zealand This paper offers insights into the policy environment within which work-based learning takes place. Since 1999, work-based learning in New Zealand has been reframed by a series of ‘third way’ policies implemented by the Labour-led coalition government. These initiatives incorporate an interesting mix of borrowed ideas, principally from the United Kingdom, and domestic imperatives. The purpose of this paper is to outline, examine, and evaluate New Zealand’s ‘third way’ approach to education and training and its present and future implications for work-based learning. 

The direction of Labour’s policies was signaled in its 1999 election manifesto document, Skills for 21st Century.  Buoyed by the support for and success of its initial policies, the government has continued to borrow and adapt overseas initiatives.  This paper builds on previous comparative research (Piercy, 2003; Murray and Piercy, 2003). It traces the implementation of key policy reforms that relate to the broad area of work-based learning.  It describes, briefly, the evolution of the current Tertiary Education Strategy (TES) and the contribution made by the ‘third way’ Tertiary Education Advisory Committee (TEAC).  The TES is a five to seven year plan that intends to give focus and certainty to the entire post-compulsory education and training sector (PCET); this effectively includes all work-based learning. The paper also examines the three Statements of Educational Priorities (STEP) that have been released to date (the latest in April 2005).  The STEPs constitute an action plan for each phase of the TES. The paper concludes that the adoption of a ‘third way’ approach since 1999 has not only altered significantly the role now played by employers, unions, and industry training organizations (ITOs) but also provided opportunities to transform important aspects of work-based learning.

year: 2005

title: Charity law, the advancement of religion and public benefit - Will the United Kingdom be the answer to New Zealand's prayers?

authors: Chevalier-Watts, Juliet

abstract: The law of charity and religion has an ancient relationship and religion, for charity law purposes, recognises a plethora of belief systems. However, for a religion to be recognised at law in New Zealand and in the United Kingdom it must have public benefit, whether that is a presumed requirement or to be shown expressly. This requirement of public benefit has generated much debate over the decades, in parliaments, in courts and in academia. This article considers the very real issues associate with public benefit and the advancement of religion in charity law and asks whether the contemporary approach of the United Kingdom with regard to the removal of the presumption of public benefit would provide a more certain legal path for New Zealand courts and charitable bodies

text: Charity law, the advancement of religion and public benefit - Will the United Kingdom be the answer to New Zealand's prayers? The law of charity and religion has an ancient relationship and religion, for charity law purposes, recognises a plethora of belief systems. However, for a religion to be recognised at law in New Zealand and in the United Kingdom it must have public benefit, whether that is a presumed requirement or to be shown expressly. This requirement of public benefit has generated much debate over the decades, in parliaments, in courts and in academia. This article considers the very real issues associate with public benefit and the advancement of religion in charity law and asks whether the contemporary approach of the United Kingdom with regard to the removal of the presumption of public benefit would provide a more certain legal path for New Zealand courts and charitable bodies

year: 2016

title: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton

authors: Kiff, Shirin

subjects: Ethnography

abstract: This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

text: Colonial versus ancestral legacy: The assertion of culture and identity through public arts in Kirikiriroa/Hamilton This thesis is an ethnography of Hamilton. It focuses on the role of public arts as a cultural regeneration tool and their function in shaping the community(s) in Kirikiriroa/Hamilton through building a sense of place and identity. As a qualitative study, I conducted nine semi- structured interviews with public art artists, art advocates and residents to explore the relational context within which the development and transmission of meaning takes place, a process which is central to culture and identity. The primary purpose of the research interviews was to gain insight into the factors that motivate arts organisers and planners to direct valuable limited resources into public art projects and its observable outcomes. The second purpose of the interviews, conducted while walking to public artworks in the city centre with six participants, was to examine the effect of public art on the public.
My methods also include tracking press reviews, monitoring comments and posts on social media and institutional debates involving residents, artists, and public authorities concerning public arts. I also recorded data by taking photographs and recording field notes of my observations during and after the fieldwork process. Data gathering was also enhanced by the large-scale collection of written materials and resources, including public art publications and HCC policy documents. Taken together, these research methods allowed me to investigate whether Hamilton had achieved its goals in its cultural regeneration efforts. In my analysis, I discuss the role of public art and its association with place and consider how artworks may antagonise Māori-Pākehā relationships or otherwise emphasis residents’ sense of place.
Biculturalism and monoculturalism narratives appear to dominate public arts with the purpose of invoking either a colonial legacy or ancestral legacy while the politics of multiculturalism continue to jockey for place. Colonial legacy refers to the glorifying of colonial achievements while ancestral legacy in this context refers to Māori assertion of history, culture and identity. Particularly, in this research, ancestral legacy belonging to local hapū, Ngāti Wairere. Participants’ narratives reveal four overarching themes, 1) the publics’ resistance to the making of colonial places through public art, 2) Ngāti Wairere struggles to assert ancestral legacy through public arts, 3) the need for ethnically diverse artworks to create and maintain ethnically diverse places, and 4) a yearning for a collective identity represented through public arts. Hamilton’s public artworks are variously perceived as a superficial representation of Māori culture, identity and history, a reminder of a colonial binary discourse, the colonised versus the coloniser, an assertion of either a Māori ancestral legacy or a colonial legacy or, minimally, a nod to multiculturalism. Nevertheless, my research shows that participants engagement with these artworks reveal a yearning for a local collective identity that is still a work in progress.

year: 2021