The leading historian Keith Sorrenson has collected in three volumes the complete correspondence (174 letters in all) between two distinguished twentieth-century Maori scholars and statesmen, Sir Apirana Ngata and Sir Peter Buck (Te Rangi Hiroa). 'The letters confirm that each man was indeed a totara tree of some magnificence and that each was a tree that stood alone. Even today such trees remain rare,' writes Hirini Moko Mead.

Craft practice has a rich history and remains vibrant, sustaining communities while negotiating cultures within local or international contexts. More than two centuries of industrialization have not extinguished handmade goods; rather, the broader force of industrialization has redefined and continues to define the context of creation, deployment and use of craft objects. With object study at the core, this book brings together a collection of essays that address the past and present of craft production, its use and meaning within a range of community settings from the Huron Wendat of colonial Quebec to the Girls? Friendly Society of twentieth-century England. The making of handcrafted objects has and continues to flourish despite the powerful juggernaut of global industrialization, whether inspired by a calculated refutation of industrial sameness, an essential means to sustain a cultural community under threat, or a rejection of the imposed definitions by a dominant culture. The broader effects of urbanizing, imperial and globalizing projects shape the multiple contexts of interaction and resistance that can define craft ventures through place and time. By attending to the political histories of craft objects and their makers, over the last few centuries, these essays reveal the creative persistence of various hand mediums and the material debates they represented.

For more than half a century, Keith Sorrenson – one of New Zealand’s leading historians and himself of mixed Maori and Pakeha descent – has dived deeper than anyone into the story of two peoples in New Zealand. In this new book, Sorrenson brings together his major writing from the last 56 years into a powerful whole – covering topics from the origins of Maori (and Pakeha ideas about those origins), through land purchases and the King Movement of the nineteenth century, and on to twentieth-century politics and the new history of the Waitangi Tribunal. Throughout his career, Sorrenson has been concerned with the international context for New Zealand history while also attempting to understand and explain Maori conceptions and Pakeha ideas from the inside. And he has been determined to tell the real story of Maori losses of land and their political responses as, in the face of Pakeha colonisation, they became a minority in their own country. Ko te Whenua te Utu / Land is the Price is a powerful history of Maori and Pakeha in New Zealand.

Kaupapa Maori theory and methodology developed over twenty years ago and have since become influential in social research, practice and policy areas. This collection furthers knowledge about kaupapa Maori by examining its effects over the decades, identifying and discussing its conventions and boundaries and reflecting on kaupapa Maori in social and educational research and practice. The collection contains chapters by Brad Coombes, Garrick Cooper, Mason Durie, Carl Mika, Te Ahukarama Charles Royal, Graham Hingangaroa Smith, Linda Tuhiwai Smith, Alice Te Punga Somerville, Georgina Stewart and Tamasailau Suaalii-Sauni, along with the collection editors.

Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.

This volume contains studies of scientific and cultural discoveries made on Cook's 1768-7 voyage to the South Sea in Endeavour, and issues emerging from this and successive Pacific voyages.

Paradise Reforged picks up where Making Peoples left off, taking the story of the New Zealanders from the 1880s to the end of the twentieth century. It begins with the search for "Better Britain" and ends by analyzing the modern Maori resurgence, the new Pakeha consciousness, and the implications of a reinterpreted past for New Zealand's future. Along the way the book deals with subjects ranging from sport and sex to childhood and popular culture. Critics hailed Making Peoples as "brilliant" and "the most ambitious book yet written on [New Zealand's] past." Paradise Reforged, its successor, adopts a similarly incisive, original sweep across the New Zealand historical landscape in confronting the myths of the past. That some of its themes are uncomfortably close to the present makes the result all the more fascinating.