title: The Community Arts Service: History and Social Context.

authors: Ulenberg, Phillippa

subjects: New Zealand

abstract: The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia.
As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities.
Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country.
Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

text: The Community Arts Service: History and Social Context. The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia.
As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities.
Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country.
Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

year: 2009

title: The First World War in New Zealand Fiction

authors: Wood, Ryan

abstract: New Zealand fiction in which the First World War features either directly or indirectly has steadily grown in volume since the end of the war in 1918. Well-known texts, such as Passport to Hell (1936) and Once on Chunuk Bair (1982), have been the subjects of much literary criticism and evaluation. But there are several more New Zealand texts that fall within the sub-genre of Great War fiction that have not been subject to the same academic scrutiny; nor has there been a comparative study of these texts. Some of these include Robin Hyde’s Nor The Years Condemn (a less well-known sequel to Passport to Hell) as well as more contemporary novels such as Elizabeth Knox’s After Z-Hour and C.K. Stead’s Mansfield, along with short texts such as Barbara Anderson’s ‘Real Beach Weather’ and Dean Parker’s counterfactual essay ‘What if a poet had taken us out of the Great War?’. This thesis seeks to fill this gap in academic thought by closely examining several fictional accounts, and detecting both their differences, but also the common concerns that might unify them beyond merely including reference to the First World War. The thesis addresses the motives behind writing about the war, and its haunting nature, before moving on to a discussion of the presence (or lack thereof) of the Gallipoli myth in our fiction. The thesis then explores the different ‘worlds’ of the war, both literally and metaphorically, including the use of pastoral New Zealand as a contrast to the industrialised front. Finally, the thesis examines the impact of the war on heterosexual relationships, and how the fiction responds to this often unremembered legacy of the Great War.

text: The First World War in New Zealand Fiction New Zealand fiction in which the First World War features either directly or indirectly has steadily grown in volume since the end of the war in 1918. Well-known texts, such as Passport to Hell (1936) and Once on Chunuk Bair (1982), have been the subjects of much literary criticism and evaluation. But there are several more New Zealand texts that fall within the sub-genre of Great War fiction that have not been subject to the same academic scrutiny; nor has there been a comparative study of these texts. Some of these include Robin Hyde’s Nor The Years Condemn (a less well-known sequel to Passport to Hell) as well as more contemporary novels such as Elizabeth Knox’s After Z-Hour and C.K. Stead’s Mansfield, along with short texts such as Barbara Anderson’s ‘Real Beach Weather’ and Dean Parker’s counterfactual essay ‘What if a poet had taken us out of the Great War?’. This thesis seeks to fill this gap in academic thought by closely examining several fictional accounts, and detecting both their differences, but also the common concerns that might unify them beyond merely including reference to the First World War. The thesis addresses the motives behind writing about the war, and its haunting nature, before moving on to a discussion of the presence (or lack thereof) of the Gallipoli myth in our fiction. The thesis then explores the different ‘worlds’ of the war, both literally and metaphorically, including the use of pastoral New Zealand as a contrast to the industrialised front. Finally, the thesis examines the impact of the war on heterosexual relationships, and how the fiction responds to this often unremembered legacy of the Great War.

year: 2016

title: Indigenizing outdoor play in New Zealand: A conversation analysis approach

authors: Bateman, Amanda

abstract: This chapter focuses on a single case analysis of one trip to a local bush reserve in New Zealand. The observations included in this chapter begin by exploring the way in which a promise to the Maori God Tane Mahuta is managed by the teachers and children at the beginning of the excursion. The promise made is part of the mundane, everyday activity engaged in by these children and teachers during their weekly visit to the bush reserve, where every child is required to recite a phrase that promises not to hurt the creatures, animals or plants of Tane Mahuta when they are playing in the forest. In the first of the video-recorded episodes, explicit reference to Tane Mahuta is initially oriented through one of the children reciting the promise, unprompted, at the beginning of the recording. The second observation reveals one of the teachers explaining to a child the rules of entering the forest: that you have to ask permission from Tane Mahuta before you enter. When a child does not want to say the promise, he is encouraged to do so collaboratively with the teacher before entering the forest. Only once the child has said the promise does he enter, demonstrating the importance of the verbal commitment and participation in the accountable action of promise-making by the participants prior to entering the forest.

text: Indigenizing outdoor play in New Zealand: A conversation analysis approach This chapter focuses on a single case analysis of one trip to a local bush reserve in New Zealand. The observations included in this chapter begin by exploring the way in which a promise to the Maori God Tane Mahuta is managed by the teachers and children at the beginning of the excursion. The promise made is part of the mundane, everyday activity engaged in by these children and teachers during their weekly visit to the bush reserve, where every child is required to recite a phrase that promises not to hurt the creatures, animals or plants of Tane Mahuta when they are playing in the forest. In the first of the video-recorded episodes, explicit reference to Tane Mahuta is initially oriented through one of the children reciting the promise, unprompted, at the beginning of the recording. The second observation reveals one of the teachers explaining to a child the rules of entering the forest: that you have to ask permission from Tane Mahuta before you enter. When a child does not want to say the promise, he is encouraged to do so collaboratively with the teacher before entering the forest. Only once the child has said the promise does he enter, demonstrating the importance of the verbal commitment and participation in the accountable action of promise-making by the participants prior to entering the forest.

year: 2017