title: Na gunu yaqona ena kena ivalavala vei keda na itaukei, na vakasama vata kei na vakatulewa e sala muria mai; vata kei na ituvaki vinaka ni vakasama nei koya na dau ni vakau motoka. Traditional kava-drinking, cognition and driver fitness [Fijian]

authors: Aporosa, S. 'Apo'

abstract: E robota vakarabailevu na Pasivika na tubu ni itei ni yaqona, se ‘na nodra itei na Kalou Vu’. E vakayagataki me wainimate vakaViti, e tuki tale ga na wakana ka lose ena waidroka ka tauvuloni me gunuvi ka igunugunu veivakacegui. E tiko na ikilai vakavanua ni yaqona, ia baleta ni sa gunuvi vakasivia ena loma ni vica na auwa, sa vure cake mai na kauwai ena vuku ni kena revurevu ki na nodra tataqomaki na draiva. A sa vulica o Dr ‘Apo’ Aporosa, e dua na Research Fellow ena univesiti ni Waikato e Niusiladi na revurevu ni kena vakayagataki vakavanua na yaqona ki na ituvaki vinaka ni vakasama kei na veika e vakavurea ena ituvaki vinaka ni draiva. E vulica o Dr ‘Apo’ Aporosa na revurevu ni vakayagataki vakavanua ni yaqona ki na ituvaki vinaka ni vakasama kei na veika e vakavurea ena ituvaki vinaka ni draiva. 

(Kava, or ‘the plant of the gods’, grows widely across tropical Moananuiākea (the Pacific). Used in traditional medicine, its roots are also pounded and strained through water to make a drink with relaxant effects. Kava has deep cultural significance, but because it is drunk in large quantities over several hours, concerns have been raised about its effects on driver safety. Dr ‘Apo’ Aporosa, a Research Fellow at the University of Waikato in New Zealand, has studied the impact of traditional kava use on cognition and its implications for driver fitness. The findings of that research are presented here in the Fijian language.)

text: Na gunu yaqona ena kena ivalavala vei keda na itaukei, na vakasama vata kei na vakatulewa e sala muria mai; vata kei na ituvaki vinaka ni vakasama nei koya na dau ni vakau motoka. Traditional kava-drinking, cognition and driver fitness [Fijian] E robota vakarabailevu na Pasivika na tubu ni itei ni yaqona, se ‘na nodra itei na Kalou Vu’. E vakayagataki me wainimate vakaViti, e tuki tale ga na wakana ka lose ena waidroka ka tauvuloni me gunuvi ka igunugunu veivakacegui. E tiko na ikilai vakavanua ni yaqona, ia baleta ni sa gunuvi vakasivia ena loma ni vica na auwa, sa vure cake mai na kauwai ena vuku ni kena revurevu ki na nodra tataqomaki na draiva. A sa vulica o Dr ‘Apo’ Aporosa, e dua na Research Fellow ena univesiti ni Waikato e Niusiladi na revurevu ni kena vakayagataki vakavanua na yaqona ki na ituvaki vinaka ni vakasama kei na veika e vakavurea ena ituvaki vinaka ni draiva. E vulica o Dr ‘Apo’ Aporosa na revurevu ni vakayagataki vakavanua ni yaqona ki na ituvaki vinaka ni vakasama kei na veika e vakavurea ena ituvaki vinaka ni draiva. 

(Kava, or ‘the plant of the gods’, grows widely across tropical Moananuiākea (the Pacific). Used in traditional medicine, its roots are also pounded and strained through water to make a drink with relaxant effects. Kava has deep cultural significance, but because it is drunk in large quantities over several hours, concerns have been raised about its effects on driver safety. Dr ‘Apo’ Aporosa, a Research Fellow at the University of Waikato in New Zealand, has studied the impact of traditional kava use on cognition and its implications for driver fitness. The findings of that research are presented here in the Fijian language.)

year: 2023

title: Talatalanoa as ongoing complex conversations and negotiations of practice in higher education

authors: Fa'avae, David Taufui Mkiato

subjects: talatalanoa

abstract: Higher education is a site where diverse cultures and knowledges intersect. Engaging in complex conversations is necessary for educators and academics to confront and negotiate differences, especially in areas they may not be overly familiar with. Negotiating complex conversations is difficult, time consuming, risky, yet rewarding, particularly if shifts in the understanding or valuing of relational engagement and practice. In this article, as a Tongan teacher educator and Pāpālangi (of European heritage/s) educator, we critically reflect on our work in transforming learning and engagement contexts that predominantly ignore expressions of Pacific Indigenous knowledge and Tongan ways of being. Through our collaborative talatalanoa (ongoing conversations) we demonstrate the value of negotiating complex conversations in higher education and particular aspects to consider when instigating them.

text: Talatalanoa as ongoing complex conversations and negotiations of practice in higher education Higher education is a site where diverse cultures and knowledges intersect. Engaging in complex conversations is necessary for educators and academics to confront and negotiate differences, especially in areas they may not be overly familiar with. Negotiating complex conversations is difficult, time consuming, risky, yet rewarding, particularly if shifts in the understanding or valuing of relational engagement and practice. In this article, as a Tongan teacher educator and Pāpālangi (of European heritage/s) educator, we critically reflect on our work in transforming learning and engagement contexts that predominantly ignore expressions of Pacific Indigenous knowledge and Tongan ways of being. Through our collaborative talatalanoa (ongoing conversations) we demonstrate the value of negotiating complex conversations in higher education and particular aspects to consider when instigating them.

year: 2021

title: Portfolio of compositions

authors: Hoadley, Benjamin Russell

subjects: New Zealand composition

abstract: The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

text: Portfolio of compositions The music in this portfolio of original compositions is steeped in the Western tradition of tonal music. The pieces were written while also pursuing a professional career as a bassoonist touring internationally and performing a wide variety of western art music, from Renaissance to contemporary. I have responded to these influences consciously and unconsciously in my music. The overarching focus of this composition portfolio is to provide an answer to the question — to what extent do musical influences impact on the compositions of an international touring performer?

Underpinning the portfolio is the fact that the pieces were all written in New Zealand during periods of intense reflection and study. While I am constantly collecting ideas and inspiration for my music while travelling, I consolidate and realise these ideas only when I am home.

I identify with being a New Zealand composer, with cosmopolitan influences on my music reflecting the global influences on New Zealand’s culture and art. Working closely with composers performing their music has also informed my composition. I mention Gillian Whitehead in particular, whose music I have performed widely.

The two outer pieces in the portfolio, Huia and Manaia 4 are the most directly associated with New Zealand in their subject matter. Other pieces have foreign themes, from my nocturnal impressions of New York in Night Music to the Ancient Greece of Ostrakon to the West African poetry of Four Songs.

All of the pieces were written for professional musicians to perform, including the Auckland Philharmonia Orchestra and the Sydney Omega Ensemble. Having these outstanding performers in mind while writing, and interacting with these musicians during the composition process, has informed my writing.

year: 2016