Kia Strips Off Garter - Sexy Picture Book

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It was indeed a contest of giants, but so expert were they both that neither could prevail. In the end they broke off the affair by mutual consent. It is said by some that it was on this occasion that they made their famous pact, which was framed by Konohe in the following saying:. He and his men came at dusk to a small village where they became embroiled in a fracas with the local inhabitants. Hine Tapora, wife of Rangikaputua, chieftain of Whanau Umuariki, and herself a woman of great rank, came amongst them commanding that they desist.

It is said that Tamahae, in the confusion of the melee and in the gathering of the dusk, mistook her for a man. In any case he slew her. Discovering who she was he took her body and hid it in a disused storage pit which appears to have been under the care of a slave named Torea. For ever after that village bore the name of Rua-a-toria, or the Pit of Torea. The name endures to this day and no doubt will endure long after the circumstances of its naming have been forgotten. Following this incident Tamahae moved on again.

At Waiomatatini he crossed taiaha with one Makahuri in an epic contest of many bouts At Tikitiki he had words with a small man named Hikitai, who was moved to anger and flung a spear at Tamahae, but missed him. Tamahae taunted him with his small stature, but Hikitai reminded him that even a small axe could fell a large tree if the axe were of greenstone. At Rangitukia he encountered a man named Putanga who was noted for his lack of beauty.

Tamahae made some disparaging remark about Putanga's ugliness whereupon that worthy replied that though he might lack in good looks he belonged to the deep pool below the rapids, where only the largest eels are found. Tamahae had not long been back with his own tribe when they were attacked by Ngati Porou in retaliation for the killing of Hine Tapora, the Queen of the Waiapu. In this attack Ngati Porou had enlisted the aid of Ngati Konohe, and this aid was given in spite of Konohe's pact with Tamahae.

This occasioned Tamahae's famous parody of Konohe's saying earlier mentioned. The saying implies that Konohe's rock shifted from its pledged purpose but Tamahae's remained steadfast to his promise. As far as I can ascertain, Tamahae, in spite of being so fond of fighting and of knight-erranting, died peacefully in his bed of a great old age. His fame has come down through the centuries in far more glowing terms that of his brother Kaiaio, though both were famous men in their own right. But though Tamahae's fame as a warrior appears to have exceeded that of Kaiaio's as an agriculturist, I am assured that Tamahae laid aside his beloved taiaha long before he lost his fondness for Kaiaio's kumara.

And of all my Maori friends I know not one who can claim to be as skilled with the talaha as Tamahae, but I know quite as many who can do full justice to the onslaught on the kumara of Kaiaio. Some time ago, when I was journeying in a bus I met a very, very old kuia. Our talk touched on many things, including the story of Tamahae.

She told me, and I was glad to learn, that the variety of kumara perfected by Kaiaio was a white kumara and was known as uti-uti. This then is the story of the knight-errantry of Tamahae as I have been able to piece it together from the fragments gathered from many Maori friends. I shall not mention their names for fear I should leave someone out, and indeed, I am not sure I can remember them all. I know that there are as many versions of this story as there are people who tell it.

He whakaatu tenei ki te hunga e manako mai ka timata te tuawha o nga whaataetae tuhituhi a Te Ao Hou. Kauaka e heke iho i te nga kupu o nga korero a te hunga whakataetae. Kei te tangata tonu te whakaaro mo tana kaupapa korero engari ko te tumanako me Maori te kaupapa o etahi o nga tuhituhi. Me korero purakau me korero tika ranei nga tuhituhi. Box , Wellington i mua mai o te 31 o Tihema. Jones mo nga tuhituhi Maori. Ka taia enei tuhituhi ki Te Ao Hou a mehemea i neke atu i te kupu te roa ka utua te puhaketanga atu.

Ka ata tirohia ano etahi o nga tuhituhi a ko nga mea e rorotu ana ka taia ki Te Ao Hou.

kia sportage manual book Manual

Stories must have a length of at least 1, words. They may be on any subject of the author's choice, although it is hoped that many of the contributions will be related to some aspect of Maori life. Persons and places may be either true or fictional. Manuscripts should be sent to the editor of Te Ao Hou , P.

Wellington City Libraries

Box , Wellington, before December Jones for the Maori contributions. The prizes will be ten guineas for the best story in English and ten guineas for the best story in Maori. The prize stories will then be published in this magazine. If they exceed 2, words, a contributors' fee will be paid for the balance. Other entries of enough merit will also be published at our usual contributors' rates. Ko te maori te tino kaupapa o nga tikanga Maori e kiia nei ko te Maoritanga: Kaore he take i rere ai ki te reo Pakeha tango mai ai hei kakahu mo nga whakaaro o te hinengaro Maori.

Ka nui kei tona ake reo, engari na te mea he reo i whakaititia e te whakatipuranga tangata e kapo nei ki nga mea a te Pakeha. Ka korerotia te reo Maori kae rere mai ona hoa, a ko te hoa nui o tera reo ko te wahi i tau hei koreretanga mona: Ko te whakahuihui te hoa nui o te reo Maori. Me te aha e mau ai nga waiata hei hoa i nga haere, i nga tu marae? Ma te aha e taea ai te whakaahua ki te hinengaro tamariki te wa i o ratau tipuna? Ma te mau ki te reo nei, ki nga haka, ki nga waiata, ki nga whakapapanga taonga tuku iho a nga tipuna.

Ka kore taua reo nei, ka rite tonu hoki nga tamariki nei ki te Pakeha, ka awhi noa mai i waho, kaore e uru ki roto. He patai mahara mo te reo Maori, ka mau ranei? Mehemea e kaha ana te hinengaro ki te mea, kia mau tona reo, ona tikanga, nga mahi a ona tipuna, me te whakapiki i tona Maoritanga, ka mau tonu. Ki te anga nga whakaaro o te tangata, tona hinengaro ki a mea, kaore he raparapa mana. Kei tona taha tonu te tangata hei tohutohu i a ia, hei korero ki a ia, hei waiata ki a ia.

Apopo aua tohunga Maori ona ka ngaro i waenganui o te iwi, i nga marae, i nga nohoanga tangata. Ko aua tangata hoki he tere ki te mohio ki te aro atu te tamariki ki a ratau, kaore ranei. Ka arotia ka hihiri ratou ki te mahi i nga mahi e minaia ana e te tamariki, a kaore e arotia ka nohopuku. Na, e nohopuku nei te tini o te tohunga i waenganui i nga tamariki whakaaro kore o te iwi Maori.

Ka mohio mai koe hei to ao tamariki nei te kaha e mau ai te taha Maori. Ko te reo te kaupapa o te Maoritanga. Kei nga koka o nga tamariki te whakautu mo tenei. Ka hoki rawa te whakatikatika mo tatau ki nga kohanga o nga tamariki. Ma nga koka e whakaatu te reo Maori ki a ratau tamariki i te wa e kohungahunga ana, i te wa ngawari ai te hinegaro ke te pepehi. Ko etahi e ki ana kei te morimoria e nga koka hei Pakeha: Haunga te mau o te kakano Maori i nga kanohi, engari etahi ahua katoa Pakeha i muri atu nei. Me tipu ake te tamariki me te reo i waia ki o ratau taringa.

Hei reira tona pupri mai ai i te reo Maori. Ka tukua kia Pakeha, ka uaua te hoki mai ki te taringa te tika o te reo Maori. Na kaore taua reo e taea te whakaako ki nga kura katoa o Niu Tireni. Engari ka taea te whakahohonu e te kura te matauranga ki taua reo. Ma te kura hoki e whakaako te reo Pakeha e wehe i roto i te hinengaro nga huarahi whakaputa i te whakaaro: Tirohia nga tangata kura i kaupapatia mai i te reo Maori i o ratau na timatanga. No muri i piki ai ki te reo Pakeha.

Pai tonu ki tetahi reo, pai tonu ki tetahi, ka powaiwai i waenganui. Engari kei te tipu ake etahi o nga taitamariki a, kei te hoki haere nga whakaaro aroha o te iwi ki nga taonga tuku iho a o tatau tipuna. Ko tetahi wahi o te mea nei kei te tipu whakahawea ake o tetahi momo taitamariki ki tona taha Maori. Ka kite etahi he taha nui no ratau te taha Maori, a ka timata te whakapiri mai. Ma wai e whakatikatika? Ma te Pakeha pea. Ko ratou hoki kei te whakanui i nga mea a te Maori, ma ratau e whakatipua te Maori kore mohio ki tona ake reo, ki tona ake taha.

Apopo pea ka kiia e kore te tangata e whiwhi ki nga tuunga i te taha Maori ki te kore e mohio ki te reo Maori. Kei te nui nga mea i timata i te whakahawea, kua hoki mai ki tona taha. Ko te tumanako ia mo nga taitamariki e puta i nga kura nunui hei reo mo to tatau nei whakatipuranga. Biggest Adult Education class ever held in Rotorua was the recent Maori language course for which enrolment was Tutor is Mr A.

Most of those joining are Pakehas. The place of Maori culture in the schools is a much debated subject today. We are therefore glad to be able to offer readers this authorative statement from the Officer for Maori Education. M aori culture is part of the birth-right of every Maori child. This article will give some first-hand account of what is being done in Maori education to help the children acquire a knowledge of their own cultural background.

T he school can never keep alive any phase of a national culture without some support from the homes of the people. The schools alone cannot save the Maori language, Maori arts and crafts or Maori song and dance. The Maori people themselves as a race must take the prime responsibility for the perpetuation of their culture or for its passing. This does not however mean that the schools have no responsibility in the matter; their responsibility is very real and policy indicates this in the following resolution passed at the first meeting of the National Committee on Maori Education Among the most valuable contributions made towards a knowledge of Maori history and Maori living is that of the School Publications Branch of the Department of Education.

Bulletins issued to all primary schools include:. The series of bulletins by Roderick Finlayson describe, taking as an example one Maori family, how the changes of the nineteenth century affected the Maori people. They explain the facts about the changes in Maori culture almost like a novel, and so simply that children can without difficulty understand what happened. Life in the Pa outlines traditional Maori custom, and Ruatahuna describes the life of a present day Maori community in the back country. These booklets, together with the bulletin on the Treaty of Waitangi yet to come, present a good and lively historical background for Maori as well as European children.

They do not, of course, cover the facts about Maori culture in any comprehensive way, but it seems to me such a historical background is an excellent basis for other cultural reading, and further bulletins are being planned. An in-service training course we held at Ardmore Teachers' College in September last. Those invited had recently been appointed to schools where for the first time in their careers they would be teaching Maoris. It was a windy spring afternoon and young teachers in training were entering the College grounds after the spring vacation.

Here and there an obvious stranger felt his way towards the administration building till the whole twenty teachers of the special Maori course, from schools as far apart as Te Hapua and D'Urville Island gathered for the Principal's welcome and the opening session. They were a diverse group from the beginning, but one in their enthusiasm to gain a better knowledge of the cultural heritage of the children they had to teach and of the most effective approach to that teaching.

Eight mornings were spent in lectures and vigorous discussion on the teaching of English and its problems, the background of the Maori five year old and infant method, arithmetic in the Maori school, social development and health of the Maori child, a study of the Maori community. Discussion ranged from the infant class to the difficulties encountered at school certificate level.

There was much pointed argument. The points of view of the tentative theorist and those of the forthright practitioner were all heard and debated and time was all too short. There were eight afternoons of carving and tukutuku and taniko work. Everyone actually participated in the craft work and took samples of his work away with him. Song and dance and poi and haka all were made real to these teachers at the Maori colleges they visited.

And eight afternoons were far too few.

The evenings provided intellectual fare that was a challenge to people interested in racial relations and national cultures. And the result of it all was an insistent demand that the same twenty people meet again in the near future. Up till now the Maori people owe a great deal to teachers of the Maori service for keeping alive much in their national culture, from now on their indebtedness will be extended to an ever widening group of teachers in the schools of New Zealand.

Maori culture is part of the ordinary classroom teaching of many an isolated Maori school. Let us describe a typical scene in such a classroom. Two Maori assistant teachers are in attendance and in front of the class is a Maori elder explaining the connection between a certain waiata and the historical event with which it is associated.

The children are intent, their faces show it; they forget that they are the children of modern millworkers, but become conscious of their inheritance, of belonging to a proud race. Such a race must not discard its language and again Maori District High Schools, Maori Colleges and one or two post-primary schools have done much to encourage Maori children to a knowledge of their native tongue. A new and more vigorous approach to the teaching of of Maori is necessary. The Refresher Course held at Whakarewarewa in May has helped to show the way.

This Course is described on page of this issue. To a great proportion of Maori people their native tongue can no longer be the At refresher courses, teachers exchange notes on Maori crafts. Here carving designs are copied, to be later used in classroom work in Maori schools. One part of Maori culture now widely taught in Maori schools are stick games. Sticks, often made by the children themselves, are a popular part of this Northland school's equipment. In another corner of the North Island a small group of people is at work—some are Maori, several are European.

A piece of their work is before me. It consists of instructions designed to enable any teacher to give guidance in the performance of several poi dances. Illustrated and very clearly set out it should enable many more Maori children and indeed Europeans too to participate in this most graceful, most relaxed rhythmic dance. Among these efforts is one that reaches schools and children indirectly—it is the excellent point of view and background expressed in the pages of Te Ao Hou.

Indeed the actual work of children from the schools is given a place in these pages and the magazine is greatly valued in many of our schools. The graciousness, warmth, and strength of Maori personality are revealed through many of these cultural activities. As happens in Teachers' Colleges and in Maori schools where European joins Maori in cultural activities, could not all European children learn something of Maori culture, not through history alone, but through direct participation in song and dance, in art and craft?

In this way they could absorb something of the best that an older Maori culture can give to a developing New Zealand culture. Maori action songs were not known to the Maori of fifty years ago, but nevertheless their popularity since their introduction into Maori culture is obvious from the number of songs composed throughout the years by such persons as the late Sir Apirana Ngata, the late Paraire Tomoana, and a host of others.

Songs to honour a person, to commemorate an event, to farewell and to welcome people, and indeed songs which cover various phases of life, have been composed by numerous artists. It is the writer's intention to select two songs per issue of Te Ao Hou to avoid their being completely forgotten. Such songs of course, could well be used by Maori Youth Clubs and will augment their library of songs. The English translations are free. For years, the question of the ownership of the Wanganui River has been a matter of several Court proceedings and is today still undecided.

On 6th January , Mr Whanarere was in bed ill. His late father, Mr Rama Whanarere, who was prominent chief of his tribe, was one of the elders who urged the Wanganui tribes to unite in their efforts to claim and retain the ownership of the river. This inspired Ope and while ill he composed this song which has been adopted by the Putiki Maori Club of Wanganui as its theme action song.

Te wai tuku kiri O te iwi kua ngaro, E pakangatia nei, E matou e. I haere mai ra koe, I runga o Tongariro, I te maunga huka ra E rere nei e! E te iwi o Whanganui, Pupuia tatou, Kia kotahi te reo, Kia oti ai e! That rapidly descends, The river of Wanganui, And gaily wends its way, To the ocean deep; The one time bathing waters, Of our elders now departed, For which we'll always fight.

Tongariro, Did thou originate, A snow-capped mountain, From whence ye came: From the pen of the greatest literary artist in Maoridom, the late Sir Apirana Ngata, comes an old favourite which was sung extensively during both World Wars. This song was also one of the favourites of the Tairawhiti Kiwi Club of Gisborne during — Na te aroha o te Kaihanga, Kia ora ra koutou! Nau mai, e te iwi Ki te marae Pae o te riri Mai onamata. Whiua te aroha Ki nga hoia, Kia ora ra koutou. E te iwi, kia toa, Whaia ko te kaha, Whiua te aroha Ki nga hoia. Greetings to one and all.

And ever shed afar, Love to our noble men, Greetings to one and all. All tribes, be always brave, Seek only what is mighty, And ever shed afar, Love to our noble men; Cast aside anxiety, But in our mourning, We greet you, one and all. Tenei reo no te pukapuka ripoata a Taurau Toi ite wa iaia etu ana hei Kaitirotiro marae. Tona ingoa tuturu Ko Wii no te matenga o tana tuakana o Taurau ka huaina tona ingoa ko Taurau mate noa ia. Ko ahau tana tamaiti potiki tekau aku tau ka mate taku matua.

Ka kaumatua ahau ka rongo ahau i te mohio o nga kaumatua o nga takiwa tawhiti ki toku matua. Ki toku whakapae a Taurau i kura ki te kura Maori o Waimamaku.

He Kainga o Inaia Toi no tana matua i reira. Ko tana kainga tuturu i Waiarohia, e rua pea maero te tawhiti i Opononi i te taha o te moana. E rua ona whare, engari ko tenei te whare i tika te oti. He tino whare atahua. E rua pakeha i reira e noho ana. Te tuatahi Ko Mr Hargraves, i te wa i a ia e taka ana i te mate i mate ai ia i te Hune Ko Mr Laing he mahita kura i reira e noho ana. No Noema 15 ka timata ki taua mahi. Ko te tuhi o ana ripoata he mea tuhi ia marama ia marama. I te 12 o Noema ka timata ki te tirotiro i nga marae no Hanuere 15 ka mutu te rauna tuatahi.

Kaore he mahi i oti i tenei rauna. I te 28 o nga ra o Hanuere ka haere ki Whirinaki ki te whakatu komiti marae. I roto o te ripoata o Pepuere 28 Nga whare papa kua oti te hanga hou e rima. Kotahi whare kauta i Mangamuka he mea neke i te taha o te wai e kainga ana. Tenei kauta no Karene Hare. Nga whare paku kua oti te hanga i nga whakahau i Waimamaku e Nga whare papa kua oti i Waimamaku 1.

He kupu no tana ripoata. I te 26 o nga ra ka tae ahau ki Waihou ki te whakatau i te raruraru o te komiti marae ki a Te Hira Mataika. Kua oti taua raruraru he mea whakatau me paipa mai he wai mo nga kainga o Te Hira. Ripoata mo nga whare paku. Waimamaku kua oti katoa. Kohukohu e 4 Pakanae e 5.

He nui atu nga whare paku o era wahi kua oti. Kei te oho nui tenei kaute ki te whakatutuki o nga tohutohu. He Hui Hinota i tu ki Waimamaku i te 18 o nga ra o Maehe i reira ahau i te tiaki i te taha o te tari o te ora kotahi wiki taua hui tangata i reira. E hoa tena koe. He ripoata atu ki a koe mo te mare Peke Whooping Cough. Ka rua kua mate kotahi ano taima i mate ai, enei tamariki na Paua Mihaka Pakanae.

He nui atu nga tamariki e pangia ana e tenei mate engari kua pai haere ake. He whare perana i Pakanae kua tahua. He whare perana i Mangamuka kua tahua. He whare perana i Whirinaki kua tahua. Nga Whare hou e rima kua oti. He whare paku no te Pakeha i Waimamaku he mea hanga ki runga o te wai e kainga ana, kua oti te neke. He whare perana i Waimamaku kua tahua. Whare perana Whakarapa Panguru kua tahuna.

Nga whare Paku Utakura He hui i Whakarapa i Mei 18 ki te 24 Ka mutu tenei hui ka haere maua ko te Rangihiroa ki Taheke. He raruraru mo te tunga o te whare hui. Na maua ko te Rangihiroa i tohu he wahi hei tung mo taua whare ki te wahi marangai. Kua oti tenei raruraru. Whare papa kua oti i nga whakahau. Whare perana 2, kua tahua. Mataraua 2 whare perana kua tahua. Otau 1 whare papa.

Omanaia 1 wharepapa kei te mahia. Whangape nga wharepapa Nga whare papa kua oti o Whirinaki 4. Nga whare Perana he mea tahu 2. Nga whare paku 10 Pakanae whare perana he mea tahu 2. I te 8 o nga ra o Hurae ka tae ahau ki Kaihu mo te hui taenga iho o te Rangihiroa i te kore o te Waake e tae wawe ake ka tukua mai ki ahau te whakahaere o nga tikanga o te tari o te ora.

E 4 nga turoro i mahia e te takuta e te Rangihiroa. Ko te pai tenei o toku mema he takuta tonu. Rapua mai tetahi mema kia rite ki to matou. Ki a Takuta Pomare M. He whare no Wi Moka Mangamuka. Ngarongotea 5 whare papa 5 whare paku Whakarapa 12 whare papa kua oti. Nga kauta he mea tahu ki te ahi 5. Waimamaku Te mahi ienei marama he whakatikatika i nga marae. Mangamuka, Hepetema 23 Nga whare kua pahitia 3 e rua he whare perana 2. Whare perana kua tahuna.

He ripoata tenei mo te whare miraka kau a Hohepa Heperi. Ko te whare pai tenei o nga whare mirakatanga kau kei roto o Hokianga nei ahakoa a nga Pakeha no Taranaki te kamura me te tauira. Ka ahei noatu te tangata ina ia ka hoki mai i te karakia me ona kakahu papai ki te miraka i nga kau i te nui o te pai me te ma o roto o tenei whare miraka kau. Nga whare o Utakura whare papa 1, perana hou 2 kua tahuna 4. Waimamaku whare itahuna Whakarapa Nga whare he mea tono, kia tahuna Na i runga i enei ripoata ka kitea te ahua o te no ho a nga tangata o te 50 tau kua pahure ki muri.

Torutoru rawa nga tangata tika nga kainga noho. Maku e titiro kahore he whare paku o tetahi Maori i roto i tana takiwa. Me matakitaki i nga whare noho i mua o tona timatanga he whare perana nga whare he whare nikau o etahi i whakahaua kia tahuna. Ko te miharo te taea enei whakahau e tana iwi i roto i tenei 12 marama i te pakeke o te ora i taua wa. E wha tau i tu ai ia i tenei tunga Kaitirotiro marae no te 31 Hanuere ka mutu ia. Koia tenei kote ra i tonoa ai tana ripoata mutunga ki te Tari O Te Ora.

Kei a tatou te iwi Maori tenei ingoa roa nei. Kei Massachusetts takiwa o America tenei ingoa nei. I oku haerenga ki etehi o nga motu maha noa o te moana Nui a Kiwa, ka u ahau ki Tahiti. Ko te taone o tenei motu ko Papeete, i konei, ka tutaki ahau, ki tetehi tangata matau, nana i homai enei ingoa e toru hei tapiri ake ki era o nga ingoa roroa o te ao. Ko nga tamariki enei a Kiingi Pomare te tuarima, kiingi whakamutunga o Tahiti tae noa ki nga motu katoa o tenei moana. KA aua atu inaianei e korerorerotia ana e ngaitaua e te iwi Maori a e etahi o nga Pakeha aroha ki a tatou nei taonga ki a te Maori, tenei kaupapa te whakaako o te reo Maori.

Ko te whakaaro o te nuinga noa iho o te tangata kei te heke haere te tokomaha o tatou me a tatou tamariki koia nei te reo ko te reo Maori hei reo korero ia ra ia ra. He tika kei nga rohe penei me Waikato, me Tuhoe, me Te Arawa, me te Tairawhiti ki Ngatiporou ka nui te u o nga tamariki ki to ratou reo Maori, engari kua nui haere nga whanau o roto o enei rohe he Pakeha anake te reo.

Ko te whakapae no nga whaea te he. He pai tonu i te wa e ora ana nga tipuna hei aki i nga mokopuna ki te korero Maori, engari ka noho ko nga whakatipuranga o muri nei hei tipuna kua riro i te huarahi pokatata kua korero Pakeha anake. Na reira kei te kaha te tipu o tetahi momo tangata he Maori te kiri engari kaore he reo Maori na reira te patai he aha ra tenei iwi? I te marama o Mei ka tu tetahi hui ki Rotorua na nga tangata kei te whakaakoako i te reo Maori ki nga tamariki Maori kei etahi o nga kareti a kei etahi o nga kura pakupaku. E 45 taua hunga no te whare wananga o Akarana no nga kareti penei me Tipene, me Hato Paora, me Hukarere a me era atu wahi.

He tokomaha o taua hunga he Pakeha motuake. Inahoki i reira tetahi wahine ko tana mahi he whakaako i te reo Maori ma te tuhituhi, a ma te Reo Irirangi, kei te kura Correspondence i Poneke nei ei a ia e mahi ana. He Pakeha motuhake tenei wahine engari he Maori te tane, a he tohunga ia ki te reo Maori. I reira hoki etahi o nga Pirihi Katorika he tangata kaha ki te ako i te hohonutanga o te reo Maori.

No te Ratapu te 18 O Mei i te hawhe o te waru i te po ka huihui taua ropu kaiwhakaako, ratou ko Te Minita mo nga kura ki te ruma whakairo o te whare kura i Te Whakarewarewa. I te whakautu a Hoani Rotana te Tiamana o taua hui, ka mea ia nui atu tona koa i heipu mai te Minita mo nga kura a Te Honore Mr Skoglund ki taua hui, he tohu kei te manaakitia e te Kawanatanga te whakaaro me whakaako te reo Maori ki nga kura. Ka mutu ano tona hinapouri tu rawa ake tenei momo hui kua ngarongaro te momo tangata pera me te kaumatua ra me Te Apirana hei whakapuaki i te matauranga o te reo Maori.

Ka tu ko te Minita Maori ka mihi ki te hunga i huihui ki te wananga i te whakaako o te Reo Maori. Ka mutu ano te mea kei roto i ona whakaaro hei aruaru i taua kaupapa ko te kore e tokomaha o nga tohunga hei whakaako i nga tamariki o nga kura ki te reo Maori. Heoi ano ko nga kupu tautoko e whanau mai i taua hui mana ma te Minita Maori e ata whiriwhiri a ko nga mea e taea ma tona Kawanatanga e whakatinana.

No te ata o te Mane ka ata timata te hui. I reira nga tohunga o te Pakeha whakaako i era momo reo pera me te Wiwi ki te whakatakoto tauira hei matakitaki ma taua hunga ma te iwi e whakaako ana i te reo Maori. Na Hone Waititi B. Kaingakau ana tera ana korero ki ona hoa kura mahita.

Ko tenei tangata, he toto Maori paku, i haere ki Amerika i tera atu tau i runga i te karahipi a nga hoia o te whawhai nui tuatahi whakamaumahara ki a Ta Apirana. I haere ia ki nga whare wananga i Amerika ki te rapa i te hohonutanga o te matauranga mo te whanauneatanga o te reo Maori ki nga reo o era iwi e noho whanaunga ana o te Moana-Nui-a-Kiwa i runga i nga kaupapa o nehera. I whakawhiwhia a ia ki te tohu matauranaga Dr of Linguistics ara he tohunga ki te kaupapa o nga reo Maori o te Moana-Nui-a-Kiwa.

Nana etahi korero werowero whakaaro ara tana korero mo te tuhi o te reo Maori. Ko ta Takuta Biggs korero me pera te tuhi o te Maori i te tuhi o te kupu ra Maataapuunaa. Ki te hunga korero Maori he whakarihariha tenei tu tuhi o te reo Maori. Otira i te mea koianei te. A typical group at the Rotorua refresher course.

Canon Kaa, left, is studying the new booklet on Tuwhakairiora written by Pine Taiapa. As the Canon conducts classes in the Maori language in Hastings. In has a practical interest in anything appearing in the language. Awatere, District Maori Welfare Officer, Rotorua, whose recent adult education course in Maori in Rotorua beat all previous local attendance records. Awatere contributed an inspiring lecture on waiata's to the course. Na Hoani Rotana te tino korero—ko te reo te ha ora o te Maoritanga. Ka ngaro te reo ka moumou noa te whai a te tangata ki te pupuri i tona Maoritanga.

Ko tetahi mea whakamiharo o taua hui ko te tokomaha o nga kai-whakahaere o te Tari o nga Kura i reira e noho ana e whakarongo ana ki nga korero a e whakahokihoki ana i nga pataitai. Me timata te ako o te reo Maori ki nga kura Maori me nga kura Poari pakupaku he tokomaha nga tamariki Maori kei reira. Me tuhi etahi pukapuka whakaako i te reo Maori me timata atu i raro ka piki haere—ma tetahi tohunga ma etahi tohunga ranei e tuhi a ma te Kawanatanga e ta, e whakarato. Me whakakaupapa etahi korero Maori ki etahi pukapuka hei korero ma nga tamariki kei te whakaakona ki te korero Maori. Me whakaako nga tamariki Pakeha ki to te Maori kaupapa.

Ki nga korero purakau, ki te aronga o nga ingoa maunga, o nga ingoa awa o nga ingoa kainga, hei huarahi atu mo te aroha ki a te Maori taonga a hei mea tuhonohono i nga tamariki Maori me nga tamariki Pakeha ara ia i te Maori raua ko te Pakeha. Ara atu nga kupu tohutohu o taua hui a meake nei ka panui ai hei korero ma koutou. I panuitia atu ai enei korero hei maramatanga mo koutou e kui ma, e koro ma kei te whakaaro nuitia te reo Maori. For several years he was a teacher at the correspondence school in Wellington.

He collaborated with Mr Awatere in the lecture on waiatas and showed himself an authority on classical Maori. An English version of the article on pages 24 — 25 Photography: Approximately forty-five teachers of the Maori language assembled at the School of Forestry, Rotorua, on Sunday 18th May to commence a week of lectures and deliberation on the teaching of the Maori language.

Most of the scholars stayed in the single men's huts in the Forestry camp and here after evening sessions they visited each other. With the firewood bins full of pine cones supplied by the generous Forestry authorities, and the little stoves blazing, the day's discussions were gone over again, and remits planned. Scholarly trappings were not wanting in these huts; nearly all had libraries brought by the members, sometimes quite formidable rows of books on Maori subjects, usually a dictionary, often a tape recorder, not rarely a typewriter.

Obviously people had come to work. They worked morning, afternoon and evening; only once after lunch one could see a procession of cars leaving the camp for an outing. They all went to a lookout tower near Ngongotaha. Overlooking the lakes and mountains in a powerful autumn wind, members listened to Peter Awatere reciting history and songs attached to the features of the landscape; then they returned to the conference room.

What subjects were discussed? The Maori text describes them in some detail; here we shall only list them briefly:. One teacher in foreign language, Mr C. Lowe, of Christchurch, and one teacher of English, Mr C. Kelly, of Auckland, gave lectures on how to teach languages.

A full plan for a high school course in Maori was ably set out by Mr H. Dr Bruce Biggs of the Department of Anthropology. Auckland University, gave two scholarly lectures on the structure of the Maori language. He advocated the distinct indication of the long and short vowels in the written Maori, and the marking of the long vowel sound by doubling the vowel. A resolution from the course unanimously supported the need for clear indication but only a narrow majority favoured the double vowel. Awatere and Mr Hironi Wikiriwhi discussed the teaching of Maori waiatas.

The group responded enthusiastically. Mrs Hattaway, Editor of School Publications described the growth and policy of her Department's publishing activities and invited the course's recommendations for publications in Maori. Alexander, Headmaster of the Whakarewarewa Maori School, advocated the teaching of Maori studies in schools. He thought European children should be familiar with hakas, pois and Maori culture, and be able to pronounce Maori place names.

The last few hours of the course were taken up with a formidable volley of remits and recommendations from the floor, so many and so involved that a committee was specially set up to sort them out and condense them so they would look less unwieldy. The result was that eleven remits were sent as recommendations to th Education Department. Most of these were aimed at giving Maori children better opportunities to learn Maori culture and language in primary and secondary schools, and at improving the training given to those who are to teach these subjects.

Particularly the training of Maori language teachers was thought to need improvement. In addition Course members pressed for a part-time liaison officer for Maori children in. Two important Course Personalities: Laughton, Course president and Dr B. Lecturer in Maori at Auckland University. Mr Laughton has made many important contributions to Maori language study; he saw the latest edition of the Maori Bible through its final stages.

Dr Biggs, after his study in America, was able to give the Course valuable guidance in scientific method in the study of the Maori language. The most important remit was probably the one asking the Education Department to set up a standing committee to advise on Maori language teaching. The course was the first of its kind. It was noted for the presence of several prominent educational personalities, including the Minister of Education. It presented a challenge to young educated Maoris to become expert in the language and traditions of their people.

Teachers were fortunate in having the services of the Very Rev. He ruled the meeting with sympathy and understanding and his lecture on the traditions and customs as the background to language was the most inspiring lecture of the whole course. Tape recorders were used to study new action songs collected by the teachers at recent huis.

There was much zealous practising and copying of texts and no doubt Maori children at many schools will benefit. A young Maori actor—St. The Prime Minister, the Rt. Walter Nash, has attended a remarkable number of Maori gatherings this year. Although some of them involved important business, many were social or religious or had a cultural or welfare aim.

The little girl, Joy lhaka, stayed on Mr Nash's knee for some time during a sports function while the team of Tauranga marching girls went through their paces. They came to Christchurch to do their apprenticeships, because good accommodation was available to them at the Rehua Hostel, now operated by the Methodist Church especially for Maori apprentices.

The only Maori to be in charge of a home for the aged is Sister M. Manawatu, who runs the Buchanan Home at Greytown. She was the only Maori at a meeting called in Wellington by the Health Department recently to discuss the problems of old people in New Zealand. Before marriage she was Mere Wehipeihana, of Ohau, near Levin. During Te Rangihiroa's last visit to New Zealand in , Lady Buck became widely known to the Maori people as they both travelled from marae to marae.

It was her wish that her ashes should be interred in the vault at Okaki burial ground, where her husband's last remains were taken in great ceremony four years ago. The ceremony at the vault at Okoki was on the following Sunday, in the presence of the Prime Minister, the Rt. Walter Nash, the Hon. Respect was paid to Lady Buck's ashes at Orimupiko marae, Opunake.

On the right is the new meeting house Ohinetuhirau, which was opened by the Prime Minister on the occasion of this visit. The ashes leave Manukorihi Pa, led by Rev. Pallbearers are Messers R. Katene, all fellow soldiers of Sir Peter Buck in the first world war. Feather box waka huia in the style of Northern carving. As the box was suspended from the roof, the bottom shown here was the most ornate. This specimen is stone tool work. Its place of origin is unknown. It come to the Dominion Museum from the Oldman Collection.

The long rolling curi [ unclear: The waka huia or papahou was the treasure box of a chief or of a family group. It may be more rightly termed papahou , for it held many small treasured items of adornment other than huia tail feathers. Combs for the hair, tiki, greenstone and bone ornaments, valued feathers and other small treasures were all retained in the papahou under a very special tapu , the box being suspended from a rafter of a chief's sleeping hut, or kept in one of those small whatu rangi upheld by a single pole of considerable length.

Many of the curious and remarkable pendants held in our Museums once graced a welcarved waka huia or papahou. There were several different forms of waka huia or papahou , all more or less fully ornamented with superficial carving. Examples of some of the man groups are figured. A highly ornamental specimen has a raised carved lid with human or manaia figures above. The lower surface is covered with running scrolls and spirals which have two plain ridges partially interlocking at intervals. The second figure illustrates. Waka huia from the British Museum, with matching mania figures.

Lastly we have an unusual type of treasure box of which no specific name is known to me and which exhibits a human form holding the box on his bent back. The specimen illustrated is a modern carving by Mr J. McEwen after an old prototype. We have Maori carvers in our midst; all too few in relation to the population.

Why should not the great Maori families of today have their own carved waka huia , made to their own design. Here is a work for an ambitious young man or a group of ambitious young men. Let us start with simple types until we get used to our tools. Strong hands and resolute hearts are the ingredients required. The rest will follow. Many beautiful waka huia have gone overseas; but in recent years some have been returned.

Oustanding and interesting types are on view in the Dominion Museum. These are from the collection gathered together by the late W. Oldman, London, and purchased by the New Zealand Government. It is perhaps not remarkable that so many of the finest examples of waka huia are to be found in England, for this was a convenient type of gift wherewith to speed the departure of some pakeha well loved by the Maoris of his day.

Modern papahou, carved by J. IN these modern times examples of Maori architecture in the South Island are rare. Buildings which existed in pre-pakeha days have long since vanished—destroyed by fire or fallen into ruin and decay.

The ones figured here have been built at the small settlement of Otakou, seventeen miles from Dunedin, since The ceremonial gates were built in to celebrate the centenary of the signing of the Treaty of Waitangi. For though it seems a long way from the scene of that historic event, the Treaty was signed here by the Southern Chiefs Karetai and Korako. The church is a memorial to the work of the Methodist Church in Otago, and to celebrate the hundredth anniversary of the arrival in of the Rev.

James Watkin, the first missionary to Otago. It is, however, a Maori mission church, and services may be held there by the clergy of any denomination. The whole of the interior has been decorated in typical Maori style and colours are the characteristic red, white and black. The sanctuary is lined to a height of about five feet with genuine tukutuku —imported from the North. Above the altar is a beautiful window of stained glass, the work of Mr John Brock of Dunedin. The pulpit also has panels of tukutuku. At the back of the church a door leads into another room, a museum where hundreds of interesting relies of Maori and Pakeha occupation of the district may be seen.

The hall was built later, and it is, for so small a district, a truly splendid one. It has the design of a whare runanga outwardly at least. These were cast in a reddish brown colour from moulds made of genuine carvings in the Otago Museum. How scattered are the tribes! Seldom now do the walls echo to the sound of waiata, karanga and korero. One of the oldest chiefs of the district, Mr Kahu Te Kura right who was one of the earliest pupils at the first Tokaanu school breaks out the flag. General view of the new school.

Twentieth Century Photography, Taumarunui. The opening of the Kuratau Maori School marks a very considerable change in the landscape between Tokaanu and Taumarunui. Not so long ago, the land surrounding Kuratau was worthless scrub, flanked by inaccessible forest. Now there is a highway right through from Tokaanu to Taumarunui; vast land development schemes are in progress at Kuratau, at Hauhungaroa, at Pukawa and all along the road to Waihi. The children of settlers and workers on all these schemes now have an excellent new school to go to.

It was open for lessons last October, with a roll of 70, which has already risen to 93, On 23rd April it was officially declared open by Mr D. Most of the children now going to Kuratau school come from nearby milling centres and from the unit farms already established on the newly developed land. The school can accomodate a maximum of pupils; this figure will be reached very soon. In fact, within a few years it may well be exceeded; the Department of Maori Affairs has land development schemes in the area totalling almost 24, acres.

Over half this acreage has been developed and the rest is expected to follow soon. Ultimately 45 settlers will be occupying this land, mainly on sheep farms; of these only 9 are. Mr Kahu Te Kura addresses the children at the school during the opening ceremonies. Left of him is Mr J. Asher, master of ceremonies, seated are the other prominent visitors. In addition to departmental development there are some 9, acres being broken in by the Lands Department and by two Maori incorporations Hauhungaroa and Puketapu. At the opening day the official party assembled at the gates of the school and then made its way through a guard of honour of pupils dressed in Maori costume as they chanted a traditional Maori welcome and waved branches of greenery.

Chairman was a prominent Maori leader and member of the Tuwharetoa Advisory Committee. Stafford, Inspector of Maori Schools, and many others. Mr Asher delivered an opening address. He then called on Mr Ben Christy, Chairman of the School Committee, who extended a welcome to the visitors to the ceremony and appreciation to the Paurini family for its gift of the land for the building, and also to the Education Department for erecting the building. The headmaster of the new school, Mr B.

James, was the next speaker, who said he was impressed at the interest shown in the school by the local residents and parents. An action song by the pupils delighted the audience and then one of the oldest surviving chiefs, Kahu te Kura, spoke. Kahu te Kura was an original pupil at the first Tokaanu Maori school and said he thought that, today, education for Maori children took precedence over everything else.

Tribal lands and even Maori culture should take second place to modern education which allowed Maori children to be measured by the same yardstick as their European friends. With education, Maori children would be well protected in the future. He then walked to the flagpole and broke out the New Zealand flag while the children sang the National and New Zealand anthems. When the Maori chiefs visited Vienna, this was part of the imperial palace. Today, it is the Ethnological Museum, in which treasures from all parts of the world are displayed.

They include a number of Maori works of art, most of them brought back to Austria by Andreas Reischek. A century ago , when the Austrian Empire included the ports of Trieste and Venice, Archduke Maximilian, brother of the Emperor Franz Josef and head of the Imperial Navy, ordered an exploratory world cruise to be made by the frigate Novara , with a staff of seven scientists. She visited Auckland from 22nd December to 8th January When she left for Trieste, a geologist, Dr Ferdinand von Hochstetter, stayed behind, at the request of the New Zealand Government, to investigate Auckland coal deposits.

The Maoris reached Vienna in October. It was arranged for them to work at the State Printing House; a member of the staff knew Maori, and taught them English and German, all branches of printing, and drawing. They spent nine months there, and were presented to many prominent people, including the Emperor. When they left they were given a printing press now in the Te Awamutu Museum , and they returned home after a visit to England, where they were presented to Queen Victoria. Returning to Europe, he kept up his interest in New Zealand, corresponded with von Haast, and exchanged botanical and other specimens.

He published his book New Zealand in German and English. Later he became Director of the State Museum, Vienna,. Maori exhibits in the Viennese Ethnological Museum. All these fine examples of Maori art, with the exception of the one on the far left, are from the Reischek collection. In von Haast wrote asking von Hochstetter to find him an assistant for the work of founding the Canterbury Museum.

Andreas Reischek was sent out as a taxidermist. After his term of two year's work he spent ten years more travelling in New Zealand and getting to know the Maoris. He took back his famous collection of Maori objects to Austria, and it is now in the Ethnological Museum—part of the old State Museum—in Vienna.

A special display of the collection has recently been made by the ethnologist, Dr Irmgard Moschner, who is keenly interested in New Zealand and the Maoris. Professor Andreas Reischek, now aged 65, and a prominent figure in educational work in Austrian broadcasting, also takes a great interest in Maori Affairs and corresponds regularly with Maori friends. We are pleased to offer our readers a manuscript of great interest to students of Maori history and language. They were introduced to the Emperor. The Archduke Maximilian showed them all over the city and on parting asked what they would like as a present.

Named after a battle won by an Austrian army in Italy, the frigate Novara acted as the link between Austria and the Maori people. It is on this ship that the authors of our diary travelled to Vienna where they met the Emperor and learned the printing trade. This photograph is after a painting by Zoebl, done in Tenei korero mo te pai o tenei iwi o te Taiti.

Ka nui te pai o taua iwi, heoi ano te iwi pai i kitea ai e maua ki nga whenua pakeha. Te papai o nga whare, te papai o nga kai me ana wai. I nui te pai o tona tangata te karanga mai kia haere noa atu ki te whare kia mahia he kai. Te kore kai rama, kahore he haurangi kahore mea kotahi i kitea e maua ki te rori ahakoa iwa noa nga marama ki reira e noho ana maua, Kaore hoki tetahi mea kino i kitea e maua ki taua whenua. Heoi ano te motu rangatira e noho nei i te ao ko Haramane. Tana moni he moni pukapuka; kaore i penei me ta te Ingarihi moni: E kotahi pene ana te utu mo te tangata ina kai ki roto i nga whare kainga, ta te Ingarihi e nuku ana ki te rua hereni.

These words are set down in praise of the Austrians. They are a good people, the most generous people we visited in the land of the Europeans. The buildings are beautiful, the food and the beverages delicious. Hard liquor is not found amongst them, nor did we see one drunk on the road during the nine months of our stay and we did not see anything bad in that land. They are undoubtedly a people of the highest standing in the world. They have paper money which is unlike that of the English. Money varies from people to people and theirs is Austrian money. It only costs one penny for a meal in a restaurant, whereas in England it is more than two shillings.

We began our stay in this country in the month of September , and were taken to a leading chief of the land who was to arrange the place. A i te timatanga o to maua nohonanga ki taua whenua te marama ko Hepetema a kawea ana maua ki tetahi rangatira nui runanga o taua whenua. Te take mana e whakarite te wahi hei nohoanga mo maua. A rite ana, karangatia ana ki te whare perehi a te rangatira nui, noho ai enei rua Maori taihoa kia tata nga ra o to raua hokinga ki to raua kainga, ka haere ai kia kite i te Emepara.

A, i te tekau ma ono o nga ra o Mei i a ka tae ake a te Hokiteta, haere ana ko ia te mea i tae wawe ki te Kingi. A tuhituhi ana ia ki a Hata i te Riete ka mea atu kua hiahia te rangatira nui kia haere atu enei rua Maori kia kite i a ia, a whakaae ana a Hata mo te rua o nga wiki ka haere atu ai ahau. Ko tana korero mai tera ki a te Hokiteta, mo te paraire i te rua o nga wiki haere atu ai enei rua Maori ki tetahi whare huinga o nga rangatira o te Nowara i Remihe Kaihe. No te Paraire haere ana matau, ka uru ki roto i taua whare. He whare korero whakahari mo nga rangatira o to ratou nei manuao mo te hokinga mai i te titiro i nga whenua katoa o te ao, mo maua hoki tetahi wahi o taua korero mo to ratou kitenga i te Maori moko.

I kite atu maua i to maua rangatira ki roto i taua whare, notemea e rua marama e wehe atu ana i a maua e noho ana ia e mahi ana i nga korero o nga whenua i haere ai te kaipuke. Taua pa e tata ana ki Itari, te ingoa te Riete. He nui te matara o taua pa no te Tariana, he wehenga ano no Haramane, engari no te Taiti ano taua iwi, kotahi tonu te kingitanga ko Paranihi Hohepa. Otiia e toru kingitanga i roto o taua whenua kotahi o Haramane e wha: No Haramane anake enei kingitanga.

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Ka hoki ano tenei korero ki to maua kitenga i te Kingi tuatahi i a Paranihi Hohepa koia te mea i nuku ake i roto i enei kingitanga o Haramane. He did so and we were made welcome at the printing house of that great gentleman. Here they are each assigned a name and an age, and held in a camp in the desert while they learn Spanish, the language of their new country. Though like everyone else who arrives in this new country he seems to be washed clean of all traces of memory, he is convinced he will know her when he sees her.

When he manages to convince his boss to let him prove that a run of sabotage in coal mines is more than the actions of some union activists, Bell soon finds himself with some very powerful and determined enemies. She takes to her bed, and refuses to talk to anyone, including the police; meanwhile his father, a tribal judge, endeavours to wrest justice from a situation that defies his keenest efforts. She imagines him merely missing or suffering from amnesia because she cannot accept he might be dead; she knows that time does not heal, that grief never goes away.

Meanwhile, decades into the future, privileged housewife Claire is bored with her marriage to Peter, a good provider but a demanding perfectionist, and launches an affair that Peter soon discovers. As this is , she must stay in the marriage or risk losing their daughter. Claire attends the 80th birthday party of her formidable mother-in-law, Birdie. Unknowingly, the house cook was passing the disease to families around the city. Eventually, typhoid outbreaks were traced to Mary, and she was placed in isolation. She was released three years later on the condition she would never cook again, but that promise proved hard for her to keep.

Across the Pacific, we meet Ruth, a novelist living on a remote island who discovers a collection of artifacts washed ashore in a Hello Kitty lunchbox, possibly debris from the devastating tsunami. He sells his flat and moves up north to take up the position. However before his first salary cheque has even hit his bank account, new priorities are set for the government department for which he works. So he is given a P. He settles down in his new leather chair behind his new desk, to wait for the green light to begin his mission.

Te Matapihi Ki Te Ao Nui

The green light never comes. What does happen is that two children go missing. The search will take him to dark places and will make him ask questions about the system he is supposed to uphold. But soon they realize they are not alone there, something wants them to leave, and it is making its presence felt. Here, David Simmons extends his earlier account of the many traditions and legends of the Auckland isthmus to its wider context, the countryside beyond. Includes a full nominal roll of members of D Company. This lively account tells the story of the Treaty from its signing in through the debates and struggles of the nineteenth century to the gathering political momentum of recent decades.

This book is published by Search Press, UK and is no. There is no explanation as to what the designs represent, or whence they were derived. A New Zealand journal of indigenous scholarship ;volume 2, no. Jackson explores the restrictions that the principles of the Treaty of Waitangi give to the term rangatiratanga and its authority. A month by the sea: During her month by the sea, Dervla Murphy develops an acute eye for the way in which isolation has shaped this society. Time and again she meets men who have returned to the Strip as an act of presence.

Yet the mosque is often their only daily activity, as difficulties obtaining supplies mean few opportunities for creative work. Four men found theirs. On a wintry October night in , a Piper Navajo commuter plane bound for remote communities in northern Canada set off into thick cloud and freezing rain. One hour later, the plane smashed headlong into a high ridge of rugged forest.

Of the ten people on board, only four — strangers from wildly different backgrounds — survived the crash: Erik, the young pilot who had never wanted to fly in such bad weather in the first place. Larry, a respected politician and family man. Scott, a rookie cop who, against regulations, had unshackled the prisoner he was escorting to face charges. The only one capable of keeping the other three alive — should he choose to.

He escapes blood-thirsty midges and a murderous Hungarian architect while visiting a colony of forgotten Scottish wallabies; finds out how termites, brought in on packing crates after the Second World War, contributed to the devastation of Hurricane Katrina in New Orleans; dives with endangered sea turtles in North Queensland; and dodges crocodiles and machine guns in the eucalyptus forests of Ethiopia….. With its central location to the Asia Pacific market, its thriving tourist industry to act as cover for importation, and a culture of corruption that can easily help law enforcement turn a blind eye, Bali has long been a paradise for traffickers as well as for holiday-makers…..

He revels in surmounting contrived barriers, whether in New York, Paris, or Ukraine. Alone on the ice: Trained as a geologist, the Australian-born Mawson launched an expedition to a largely unexplored region of Antarctica in The effort soon turned into a grim struggle of endurance and survival against an unforgiving environment. We want to feel like explorers, adventurers in undiscovered territory. An Illustrated Journey captures the world through the eyes of 40 talented artists, illustrators and designers.

Maps for every neighbourhood. Walking tours and day planners. Packed with expert travel tips. Have some one on one time with your little one reading these lovely picture books, they are sure to please. One little baby with a busy day ahead. Hot things can burn you in the kitchen.

Daisy wants a puppy so much she wears a scruffy tail and sleeps in an old cane washing basket. A delightful story about a family and a puppy. Satisfy your creative urge, experiment a little with new ideas and learn great techniques through the numerous step-by-step instructions and, if you fancy a pot of tea, take a look at the gorgeous collection of colourful tea cosies, created by J. Knit a monster nursery: Stitch a roomful of fun and practical items — suitable for both boys and girls, and for knitters of all levels — including an irresistible monster mobile, baby blankets, blocks, booties, bookends, rattles, hats, and more!

While the book includes 22 projects, ranging from sachets to rugs, it offers nothing the enterprising knitter could not achieve on his or her own with existing stitch dictionaries. Another weakness is the narrow palette of grey, cream, and black used in almost every project. Such limits are a barrier to inspiration from the otherwise excellent photographs. Still, for the knitter who wants to incorporate his or her craft into her home decor, this book offers a one-stop shop for is pretty patterns for pillows, throws and wall hangings.

The introduction includes how to customize projects, information about yarn and gauging and fairly complete diagrams for a beginning knitter. The 3D letters pictured on the cover are more involved with more seaming and shaping, and more advanced knitters would have fun with those.

The shape of knitting: In this book Lynne searches methodes for shaping flat and dimensional knotted fabrics, as well as, new techniques she has mastermanded. Twenty-four fashion-fresh projects make exploring these skills a fascinating adventure! Alastair Morton and Edinburgh Weavers: Alastair Morton, visionary art director of the company, commissioned a remarkable series of textiles from leading British artists, including Ben Nicholson, Barbara Hepworth and Elisabeth Frink, as well artist-designers, such as Marion Dorn, Ashley Havinden and Lucienne Day.

Morton was also a gifted artist, textile designer and weaver in his own right. This long overdue study traces his wide-ranging career and records the history of Edinburgh Weavers and the glorious textiles it produced. The first half of the book covers spinning basics, from fiber preparation to spinning singles to a variety of plying techniques. The second half covers advanced techniques for spinning novelty, textured, and art yarns, including boucles, crepe yarns, and coil yarns. Anderson includes ample photographs, many of them including callouts describing the makeup of the yarn being discussed.

The art of modern tapestry: Dovecot Studios has constantly evolved since it was established before the Great War. Initial Arts and Crafts ideals developed into a more proactive engagement with modernism from the s, when designs came from leading British artists such as Graham Sutherland, Henry Moore, Stanley Spencer, Cecil Beaton and John Piper. With a plethora of social groups, blogs, and websites such as Etsy and Design Sponge now targeted specifically at a younger, hipper demographic, embroidery has cast off its image as an old fashioned hobby to become more popular than ever before.

With its combination of step-by-step tutorials, practitioner profiles, and inspirational galleries full of bang up-to-date modern pieces, Embroidery introduces an authoritative new style of reference that is guaranteed to appeal to a new generation of embroidery enthusiasts, sewers, and needlecrafters of all levels. Danish design is not all about cool and calm interiors. It is all about fun, colour and enjoyment. The book features RICE style applied to a variety of homes, from a contemporary Copenhagen apartment to a simple country retreat, a comfortable family home to an ultra modern studio space.

Rastafarian children of Solomon:

• Eine Idee des Doktor Ox (German Edition)
• My Boyfriend the Squire
• Gadda (Piccola biblioteca Einaudi Vol. 559) (Italian Edition)
• The Scottish Bride: Bride Series (Sherbrooke Book 6)
• Cowboys and Their Toys
• Bush Bashin
• Fear