Home » E-Journals » New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia
The role of this open access peer reviewed journal is twofold. Firstly, it provides a platform for the publication, and therefore for the development, of research within New Zealand in the fields of drama, music, and dance, as they relate to education in it widest sense. Secondly, it allows us in New Zealand to contribute to international dialogues in these fields. It therefore bodes well for the future of our journal that, as well as local contributions, we have two contributions from people who been early, and continuing, pioneers in the development of the scholarship of the arts in education. We hope in future issues to have many more.
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E-Journal Publication Details
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3Part of the E-journal: New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia; Edition 3. E-Journal General Editor: Janinka Greenwood, Chair of Review Panel, University of Canterbury; Susan Battye, Executive Editor, Drama New Zealand
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Editorial Review Panel
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3The list of those on the e-journal Editorial Review Panel.
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Editorial 2011
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
Kia ora ra tatou i te tau nei o Rua-a -moko. For us, the editors in Christchurch, this has been an extraordinary year. We have been an unwilling but participatory audience to a climatic, harrowing, open- air, site-specific piece of performance art, that involved not only all the people in our city but also the earth itself.
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Performance, Language Revitalisation, and Digital Technology
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
This article explores the role dramatic uses of digital technology play in language revitalisation for indigenous people in New Zealand. In particular it examines three illustrative examples: a film, a Māori television channel, and the use of popular websites. It suggests that Schechner’s model of performance as a continuum reaching from entertainment to efficacy is a useful tool for analysing the impact of performance through technologies on language revitalisation and language learning.
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Tikanga Frameworks and the Learning Environment at Toi Whakaari
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
This paper examines the effect of tikanga frameworks in training for a career in theatre and screen. It examines the way in which Toi Whakaari: NZ Drama School seeks to blend together the best of contemporary performing arts practice while innovating out of the indigenous wisdom of this country that holds so much knowledge and clarity about the development of working community cultures. In particular, it looks at the journey to employ these structures at Toi Whakaari: NZ Drama School and the way in which they are affecting the work of the school, including its performative work.
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Heart, Honesty and Discipline: Mask Training and the Foundation of Lab: Research Theatre Company
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
The culture of actor training is central in the work of LAB: Research Theatre Company. This paper explores the principles behind the development of the company’s own theatre language and the ethos that informs the utilization of mask and improvisation techniques. Members of the company discuss their learning process and discoveries.
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Where do drama teachers come from? Initial investigations into the formation of professional identity
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
George Bernard Shaw’s aphorism that ‘Those who can do, those who can’t teach’ may justifiably be deemed offensive by many teachers. My own personal experience has illustrated that it is often assumed, usually by people who know little if anything of what either teaching or acting actually involves, that those who decide to teach drama do so because they can’t get a job as an actor.
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Problems With Process – Sshh! Don’t use the P word
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
This paper, an extended opinion piece, addresses the teaching of pre-service drama teachers at the Faculty of Education, The University of Auckland, with particular reference to teaching process drama. It considers what pre-service drama teachers need to know and how this connects with process drama. Process drama is described. The paper then addresses the tutor’s personal experiences. It concludes by asking questions and making recommendations for a way forward. After a description of the context in which this teaching takes place, the paper switches to the first person to describe personal experience and observations.
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Museum Theatre as a Way to Teach Aboriginal History in Taiwan
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
The various aboriginal histories of Taiwan have been marginalized by the dominant Han people’s historical narratives. Nevertheless, their lives and stories have always been part of the history of Taiwan. This paper aims to use the process of making museum theatre about the Papora aboriginal people to reclaim their subjectivity by recovering their lifestyles and stories in the historical period.
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Book Review: Drama Cuts and Drama Cuts Teacher’s Resource Book. Edited by Susan Battye. (Putney., Australia: Phoenix Education, 2010)
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
On a rainy winter’s afternoon in 2006 I attended a performance of Athol Fugard’s Sizwe Bansi is Dead directed by Peter Brook at the Bouffes Du Nord Theatre in Paris. In the romantically shabby-chic auditorium of this crumbling 18th century theatre, two African actors on a stage bare apart from a few simple props and a costume rack held the audience in thrall with this parable on the impossibility of maintaining one’s identity and dignity in the face of a racist political system. Although apartheid had been abolished nearly twenty years beforehand, Fugard’s drama of oppression in a racially segregated South Africa seemed just as moving and relevant as ever, earning a standing ovation from the audience.On a rainy winter’s afternoon in 2006 I attended a performance of Athol Fugard’s Sizwe Bansi is Dead directed by Peter Brook at the Bouffes Du Nord Theatre in Paris. In the romantically shabby-chic auditorium of this crumbling 18th century theatre, two African actors on a stage bare apart from a few simple props and a costume rack held the audience in thrall with this parable on the impossibility of maintaining one’s identity and dignity in the face of a racist political system. Although apartheid had been abolished nearly twenty years beforehand, Fugard’s drama of oppression in a racially segregated South Africa seemed just as moving and relevant as ever, earning a standing ovation from the audience.
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Book Review: Plays for Physical Theatre II. Angie Farrow, Dunmore Publishing, Wellington NZ
E-Journals, New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia, Volume 3
The paradox of publishing the scripted versions of plays that are designed to be performed making full use of physical theatre is plain to see. It could be assumed that such scripts would be overburdened with complex notation of movement and gesture or lengthy stage directions which attempt to convey how the play was originally performed. Fortunately, Angie Farrow’s collection of three very short pieces designed to play in around ten minutes, and three one-act plays employs a number of features that successfully tackle this conundrum.
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E-Journal Publication Details
Volume 2Part of the E-journal: New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia; Edition 2. E-Journal General Editor: Janinka Greenwood, Chair of Review Panel, University of Canterbury; Susan Battye, Executive Editor, Drama New Zealand
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Editorial Review Panel
Volume 2The list of those on the e-journal Editorial Review Panel
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Editorial
Volume 2Welcome to the second volume of The New Zealand Journal of Research in Performing Arts and Education: Nga Mahi a Rehia. The mission of the journal is to provide a platform for the publication, and therefore for the development, of research within New Zealand in the fields of drama, music, and dance, as they relate to education in it widest sense.
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Wan Smolbag’s Theatre in Vanuatu and the New Zealand Connection
Volume 2
This paper examines the connection that exists between a Vanuatu based theatre, film and television company called Wan Smolbag and one of its donor countries, New Zealand.
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Devising Theatre from Personal Narratives: Investigating Tensions for Participants in a New Zealand Community Theatre Experience
Volume 2
Devising a piece of community theatre is an exciting undertaking for all involved, yet this collaborative process is not without its tensions. This paper explores the tensions identified by participants arising from the use of personal narratives in a community theatre event that focused on personal and cultural identities.
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Finding the Balance: Teachers as Recontextualising Agents in the Struggle between Classical and Popular Music in the Secondary School Curriculum
Volume 2
This paper considers seven experienced New Zealand secondary school music teachers’ perceptions of the place of classical and popular music within education and applies Bernstein’s concept of recontextualisation to their discussion of curriculum decision making.
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The Tempest in the “Third Space”: Finding a Place and Value for Shakespeare’s Play in a Bicultural Context
Volume 2
The bicultural space is constantly shifting and transforming. Our New Zealand of the last two or three decades has been marked by a visible growth of cross-cultural interaction… this kind of dynamic and evolving interaction (is called) “the third space”
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A Slice of Theatre Archaeology: Mulgan’s For Love of Appin and Other Plays
Volume 2
Mulgan’s play, For Love of Appin, has been dubbed the first New Zealand play. This article examines the play and its historic context, offering the concept of theatre archaeology as a process for not only the play as an art work in its own right, but also as an artefact that speaks of the socio-cultural context in which it was made.
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A Youth Offender Said: I Liked Acting and Devising a Scene because It Was about Cars
Volume 2
A New Zealand residential youth justice school project researched the potential of drama to model a co-operative learning approach and quality teaching to produce successful learning outcomes for students. It involved the implementation of a one week drama programme facilitated by a university drama lecturer.
