logo
New Zealand Archaeology Week May 3rd

New Zealand Archaeology Week May 3rd

Scoop28-04-2025

Press Release – NZ Archaeological Association
NZAAs aim is to build appreciation of the value of protecting the fragile record of Aotearoa New Zealands past.
Co-ordinated by the New Zealand Archaeological Association (NZAA), events include talks, heritage walks and tours, special exhibitions, a pub quiz and fun community days. There is even a baking competition which is open to everyone!
During Archaeology Week, archaeologists and the public get together to share our country's story. It's an opportunity for archaeologists to highlight the valuable and varied projects that they are working on, and for participants to engage more deeply with the places where they live, and the people who lived there. NZAA's aim is to build appreciation of the value of protecting the fragile record of Aotearoa New Zealand's past.
Here are a few of the events happening around the country
At Highwic House in Auckland – Meet and Archaeologist and have a go! May 3rd 11am -1pm
Attend a tour of the new archaeology and bioanthropology lab facilities at the University of Auckland. May 7th 4pm-6pm
In Wellington at the Te Awe library there will be a series of quick fire talks about recent work in the Wellington area. May 5th 5.30-6.30pm
Te Whare Waiutuutu Kate Sheppard House is hosting the Ōtautahi Christchurch Festival of Archaeology. May 10th 11am-3pm
In Dunedin have a go at cataloguing the stone artefacts from Tiwai at Tūhura Otago Museum. May 9th and 10th 10am-4pm.
These are just some of the great events planned for archaeology week – more information on other events around the regions can be found on the NZAA's website https://nzarchaeology.org/news-events/national-archaeology-week-2025 or on social media using the hashtag #nzarchweek2025.
About the NZAA
The New Zealand Archaeological Association is a volunteer organisation that works to promote research and teaching in archaeology, strengthen links between professional archaeologists and non-professionals, as well as encourage conservation of archaeological sites within New Zealand. We lobby on behalf of our members, and work alongside local government, Heritage New Zealand Pouhere Taonga and the Department of Conservation.
Archaeology in New Zealand
New Zealand has a short but dynamic history of settlement, characterised by rapid environmental and cultural change. Archaeological sites in New Zealand relate the story of the first settlers from Eastern Polynesia around 1300 AD, the development of a unique New Zealand Māori culture within a few generations, and the 19th century settlement by European, Chinese and other immigrants. These sites inform us of New Zealand's domestic, maritime, military, industrial and farming history.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Our reviews from the final week of the Kia Mau festival
Our reviews from the final week of the Kia Mau festival

The Spinoff

time8 hours ago

  • The Spinoff

Our reviews from the final week of the Kia Mau festival

For the final week of the Kia Mau festival, we review holding fun-erals for dead nannies and a speed-cycle history of Asian-New Zealand theatre. (We were going to see more shows, but the flu took us out.) Tūī Girls Tūi Girls starts as you walk in – tea and biscuits laid out on a table, Manaia and Dee play on the floor of the stage as you take your seat, speakers pump out classic Māori jams. You've been here before. It's in the Basement Theatre, but the set design has been executed perfectly, you feel just like you're in Nan's shed. The thing is, Nanny's dead. But, luckily for her mokopuna, Tess, Nita, Manaia, and Dee, her wairua stays a bit longer before her journey back to Hawaiki, her ancestral homeland. In this coming-of-age, the girls grapple with identity, grieving their nan, and the age-old question: what happens when you die? Tarsha Te Rure is outstanding as Nanny, her chemistry with the cast is undeniable. The cast and crew did brilliantly to create an immersive experience – you really felt as though you were part of their whānau. My takeaway from this is distilled in what Nanny said on the importance of vulnerability. Don't be afraid to show your whānau that you love them, don't be afraid to be open and share your stories. I'll hug my whānau tighter when I see them next, I may not be as lucky as the girls are to spend those extra moments with them before they head off to Te Rerenga Wairua. So, get you a cuppa, a bikkie, and a tissue – you're gonna need it! /Taipari Taua A Short History of Asian New Zealand Theatre It took around 150 years after the first major wave of Asian immigration to Aotearoa in the 1860s before the first Asian-New Zealand mainstage play, Kā-Shue, opened in 1996. That was the first major Chinese-New Zealand play – the first mainstage Indian-New Zealand play was Krishnan's Dairy in 1998, the first Cambodian-New Zealand mainstage play was Neang Neak's Legacy in 2013, the first Filipino-New Zealand major play was Pinay in 2019, and so on, and so forth. All of this to say, the history of Asian New Zealand theatre is short, still full of firsts, and at times, so expansive it seems hard to define, and yet, often still so restricted by the fact of existing in a Pākehā society. Nathan Joe's show is a performance essay which speed-cycles through this history in 10 exercises, exploring not only the plays that have formed the canon of Asian-New Zealand theatre, but also the tensions and aspirations that exist when you create something to fill an absence. And the cycling is very literal – the staging is just a stationary push bike powering a couple of lamps above and below, in front of a presentation of the performance, like a spin cycle class set in a lecture hall. And while Joe has performed ASHOANZT himself, he has also invited other Asian playwrights and actors to lead it as well, and on Thursday night I caught Dawn Cheong take on the challenge of cycling for 60 minutes while performing a script she was only reading for the first time. While the script is mostly Joe's narrative and takes, there were questions written in for Cheong to answer, like rating her love for theatre as it stands currently ('right now, it's a solid five'), and chances to share anecdotes from life as an Asian actor, like that time a Toi Whakaari lecturer tried to imitate the shape of her eyes and insinuate that all Asian women are flirtatious. Or that time her mother died, and how reading old songs and books from your childhood can make you feel whole in your grief, or the importance of letting younger Asian creatives go through the rite-of-passage of writing about their homeland. This feels strange to say after digesting so much of the personal sacrifice felt by Asian creatives in having their work recognised (like, thanks for suffering for the sake of art, I guess!), but I was very grateful to have seen this show and be afforded these insights. It's funny to think that the same issues discussed among Māori creatives – How much of my personal history do I offer to this? How far do we lean into stereotypes? How far do we run away from them? Why does everyone want to tell stories about homecoming, like surely there's something else going on, right? But also, how do we still appeal to Pākehā? – are the same issues being discussed by Asian creatives. At the end of the day, we're all vying for Pākehā funding, Pākehā awards, Pākehā approval. It's a cycle that, like Cheong, often leaves you tired, sweaty, achey and just over it. And yet, there's still beautiful art to be made out of it. /Lyric Waiwiri-Smith

Country star claims racism rife at festival
Country star claims racism rife at festival

Otago Daily Times

time9 hours ago

  • Otago Daily Times

Country star claims racism rife at festival

A former Gore Gold Guitar winner has called out racist overtones at the festival, surprising organisers, who have vowed to fix the issues. The 50th anniversary of the MLT Gold Guitar Awards held in Gore two weeks ago had the town packed with country music fans. But last year's winner Amy Maynard was left singing the blues, after what she called the worst festival experience of her life. The Māori musician told the Otago Daily Times she noticed multiple incidents of being treated differently than her partner, who is white, and between her sons who have different complexions, as well as reactions to te reo Māori. "It's the eye rolls you see when people start using Māori on stage, people looking and projecting their anger and frustration just at me, not my partner. "Security would go to my middle kid, who is of a darker complexion, and not my eldest, just the discrepancy between the two," she said. Ms Maynard said she was not alone in these thoughts and said many people shared similar sentiments about their experiences in Southland. "I have had multiple people reaching out to me [various sound engineers, musicians, wonderful people], who have all in some way been affected, either micro or macro, aggressively from people down south," she said. "Being in Gore this year and out of my stage attire, I must have presented a very different picture to the general public. "As a result, they treated me as such," she said. Ms Maynard said she was warned to avoid speaking te reo Māori or face an immediate disqualification, which she disregarded when winning last year. She said although there was positive movement with more te reo spoken and sung in the event, inclusivity had not been wholeheartedly embraced. MLT Gold Guitar Awards convener Phillip Geary said the event had a zero tolerance policy for racism of any kind. "We always aim to create a safe and inclusive space at our event and we were deeply disheartened and disappointed to hear of Amy's experience," he said. Mr Geary denied there were any disqualifications for speaking te reo, as the language has always been encouraged and welcome on their stage. "Māori have always had a home in country music in New Zealand, and te reo has always featured in the Gold Guitar finals, right through the 50 years," he said. Advice would be sought from Soundcheck Aotearoa, a music industry group dedicated to safety and inclusivity, to help address potential issues, he said. Mr Geary said they were taking Ms Maynard's grievances and the issues raised very seriously.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store