Massey Documents by Type
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Item Performing Te Whare Tapa Whā: Cultural Rights and Decolonising Corrections(Taylor and Francis Group, 2021-08) Hazou R; Woodland S; Ilgenfritz PNgā Pātū Kōrero: Walls That Talk (2019) is a documentary theatre production staged by incarcerated men at Unit 8 Te Piriti at Auckland Prison in Aotearoa New Zealand. The performance was built around Te Whare Tapa Whā (The House of Four Sides) – a model of Māori health that participants engaged with as part of their therapy for being convicted of sex offences. This article discusses the use of masks in performance and the significance of Te Whare Tapa Whā as a dramaturgical device. What insights for decolonising prison theatre practices can be advanced by building on foundations of cultural rights?Item Cute studies(UTS ePRESS, 2014) Duncan PKItem Postgraduate writing for publication workshops: Preparation for the past or for the future?(2013) Comer KV; Clement J; Brogt E; Obel CThis article demonstrates the potential for postgraduate writing for publication workshops to foster increased research outputs alongside improved writing abilities. The authors explore some consequences of a national research evaluation framework of universities in New Zealand, and discuss how postgraduate student feedback led to the piloting of publication workshops. The approaches and successes of these workshops are explored. In arguing for support for such workshops with respect to their demonstrated benefits for participants in New Zealand and elsewhere, the authors also note the need to focus greater attention on the future employment of postgraduates.Item On duration(Taylor & Francis (Routledge), 29/10/2018) Preston J; O'Hara WItem Introduction (Vol. 17 No. 2)(Equinox Publishing, 7/03/2017) Wilson ORItem Dreaming of Shakespeare in Palestine(Taylor & Francis (Routledge), 25/05/2015) Hazou RTIn September 2011, I travelled to the Palestinian Occupied Territories to participate in an internship with the Al Kasaba Theatre in Ramallah. As part of my internship I was invited to attend rehearsals of 'A Midsummer Night’s Dream' with students of the Drama Academy Ramallah. Directed by Samer Al-Saber, with movement and choreography by Petra Barghouthi, the production premiered as a work in progress in Palestine before touring to Essen, Germany, where it was presented as part of an Intercultural Shakespeare Festival organised by Folkwang University. In this paper I draw on post-colonial theory to offer some observations about the various strategies of syncretisation that the production seemed to employ in order to localise, indigenise or ‘Palestinian-ise’ Shakespeare’s text. My analysis will attempt to illuminate some of the Palestinian cultural specificity introduced by the syncretic approach as well as offer some assessment of the potential and unintended impact that this approach might have engendered.Item Technostalgia in new recording projects by the 1980s ‘Dunedin Sound’ band The Chills(Association for the Study of the Art of Record Production, 1/04/2016) Wilson OR; Holland MItem Carcerality, Theatre, Rights: Editorial(Taylor and Francis Group, 2021-08) Woodland S; Hazou RThreatened with ever-increasing levels of surveillance and confinement, this special issue attempts to extend the discussion of Prison Theatre to consider ‘carcerality’ as a pervasive neoliberal strategy. The issue aims to steer the discussion away from considerations of utility and the aesthetics of redemption, towards understandings of the arts in carceral spaces as a fundamental human right. What role can theatre and performance play in highlighting the rights of those experiencing state-sponsored control, confinement and exclusion? And what role can theatre and performance play in challenging the exclusionary structures of carcerality by enhancing freedoms, liberty and inclusion?Item ‘Beaumont’s The Knight of the Burning Pestle and the Menace of the Authoring Audience’(Humanities Research Centre, Sheffield Hallam University, 2018) Angus WFrancis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interpretation and legitimate authority, centred around an audience which is empowered partly by the threat of informing. As a contrast, Ben Jonson’s onstage audiences are often allowed only ridiculous or overblown reactions, a kind of instructional dysfunction, while remaining entirely under the control of the author. In The Knight of the Burning Pestle however, the onstage audience are allowed a much more actively intrusive role, as they attempt to hold sway over the writing and production of the play they inhabit. Beaumont’s onstage citizens therefore stage an authorship which feels itself to be under siege by a far more unruly form of audience empowerment and signify the fear of of venal interpretation and misheld authority. The end result is a theatrical form which accurately reproduces the critical atmosphere of the drama and of the material context of its production. In offering this Beaumont reveals the precarious nature of his own authority in relation to that of a potentially informing audience. His metadrama therefore registers, in both form and content, the solid fear that ‘unseemly speeches . . . mistaking the Author’s intention’ by informers may lead not only to ‘unkind reports’, but also ultimately to the horrors of the early modern gaol.Item Monster(Overland, 1/06/2015) Makereti TRM; Gracewood, JWhy look to fiction to take the temperature of a country? You might as well ask the canary to issue a detailed report into working conditions in the coalmine. The task of the writer is to sing her own song, which may be entirely at odds with the atmosphere in which she finds herself. And yet: these three stories alert us to something in the air in Aotearoa New Zealand. The barometer swings, conditions change, and people are buffeted by circumstance, challenged by fresh strangeness. The location of each story is absolutely local – we know where we are – but the threat is diffuse, worldly, universal. As always, it’s an interesting time to be a writer in New Zealand. We are all luminaries now, writing not in the shadow but by the light of Eleanor Catton’s brilliant success, which blazes like a signal fire on the beach. Not a problem, to use the vernacular. We’ve been here before, with Katherine Mansfield’s ‘little lamp’, and we’ll be here again. Engaging the world beyond our shores, tangling with its cultural economies, and then plunging back into the hinterland, the harbour, the bare cupboard, mining our own dark past – and present and future – for literary gold.
