From the 1870s to the early twentieth century, the Bohemian immigrant artist Gottfried Lindauer travelled to marae and rural towns around New Zealand and - commissioned by Maori and Pakeha - captured in paint the images of key Maori figures. For Maori then and now, the faces of tupuna are full of mana and life. Now this definitive book on Lindauer's portraits of the ancestors collects that work for New Zealanders. The book presents 67 major portraits and 8 genre paintings alongside detailed accounts of the subject and work, followed by essays by leading scholars that take us inside Lindauer and his world: from his artistic training in Bohemia to his travels around New Zealand as Maori and Pakeha commissioned him to paint portraits; his artistic techniques and deep relationship with photography; Henry Partridge's gallery of Lindauer works on Queen Street in Auckland where Maori visited to see their ancestors; and the afterlife of the paintings in marae and memory. Published in association with Auckland Art Gallery Toi o Tamaki.

Drawing on a wide range of sources in both English and Maori, this study explores the entrepreneurial activity of New Zealand's indigenous Maori in the early colonial period. Focusing on the two industries—coastal shipping and flourmilling—where Maori were spectacularly successful in the 1840s and 1850s, this title examines how such a society was able to develop capital-intensive investments and harness tribal ownership quickly and effectively to render commercial advantages. A discussion of the sudden decline in the &“golden age&” of Maori enterprise—from changing market conditions, to land alienation—is also included.

Te Iwi Maori presents an engrossing survey of the history of the M&āori population from the earliest times to the present, concentrating particularly on the demographic impact of European colonisation. It also considers present and future population trends, many of which have major implications for social and resource policy. Among questions explored are the marked fertility decline of the 1970s, urbanisation, emigration (especially to Australia), and regional population patterns.

From a childhood spent in London's rough East End to a half-century in New Zealand photographing winemakers and artists, children and kuia, Marti Friedlander has lived a life marked by adventure, travel, and its fair share of challenges. It is also a life that has been defined by the art of observation and capturing on film. In Self Portrait, the renowned photographer tells her story for the first time. As clear and unflinching in her prose as she is in her photography, Friedlander describes growing up in a London orphanage, being Jewish, working in a Kensington photography studio, marrying a New Zealander, the challenges of moving to a new country, and a life spent photographing the ordinary and the extraordinary, from balloons and beaches to politicians and protests. She also explains how, with a stranger's eye, she captured the transformation of New Zealand life over the last half century. This is a rich meditation on one woman's photographic journey through the 20th century.

‘Us Maoris used to practice slavery just like them poor Negroes had to endure in America . . .' says Beth Heke in Once Were Warriors. ‘Oh those evil colonials who destroyed Maori culture by ending slavery and cannibalism while increasing the life expectancy,' wrote one sarcastic blogger. So was Maori slavery ‘just like' the experience of Africans in the Americas and were British missionaries or colonial administrators responsible for ending the practice? What was the nature of freedom and unfreedom in Maori society and how did that intersect with the perceptions of British colonists and the anti-slavery movement? A meticulously researched book, Outcasts of the Gods? looks closely at a huge variety of evidence to answer these questions, analyzing bondage and freedom in traditional Maori society; the role of economics and mana in shaping captivity; and how the arrival of colonists and new trade opportunities transformed Maori society and the place of captives within it.