New zealand costume for boys: Amazon.com: Child’s Traditional Maori New Zealand Korowai Cloak

New Zealand schoolchildren encouraged to dress up dead possums in competition

Hello possums! New Zealand schoolchildren encouraged to dress up DEAD animals in bizarre competition

  • Animal groups left horrified by the best-dressed dead possum contest
  • School brushes off criticism, claiming it was ‘a lot of fun’ which raised money for charity

By Kerry Mcqueeney

Published: | Updated:

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Dressed in wedding gowns and bikinis – their eyes fixed, jaws stiffened and bodies frozen in time – you might be forgiven for thinking you had stumbled on to a taxidermist fancy dress convention.

However, these furry corpses formed part of a display at a school in New Zealand which held a bizarre best-dressed dead possum competition as part of a fundraising day.

Children let their imaginations run wild when they dressed the dead animals in all their finery for the contest at Uruti School on New Zealand’s North Island.

Prettiest possum? Not content with dressing this one in pink and elaborate jewels, one participant obviously thought it needed one more detail – a pair of stick-on eyes

He could have been a contender: Some might say rigor mortis has helped this entrant strike a pose in the boxing ring. Meanwhile, death imitates art with this entry

Bad taste: One possum appeared to be dressed as a patient, while another showed off an elaborate hat, wig and claws that are sprayed purple

One dressed as a boxer had its torso skinned, and one might wonder whether rigor mortis could have helped the animal keep its fighting pose in the ring.

Others were fitted out in baby grows while another worked the Van Gogh look, dressed as a painter complete with smock and easel.

Another was dressed head to toe in pink and elaborate jewels. But the entrant clearly thought something was missing – so they added a pair of stick-on eyes plastered over the animal’s real peepers.

The gruesome exhibition is a far cry from the traditional school fundraising efforts of jumble sales and cake baking.

The school has been criticised for encouraging children to dress up dead animals for the day, which also featured a wild pig hunt.

It has sparked horror with animal welfare groups but teachers defended the contest as ‘lots of fun’ which helped raise more than £4,000 for the school.

Principal Pauline Sutton told the Taranaki Daily News: ‘There was an amazing crowd and it was lots of fun. Animals aren’t the only species who are dressed up after they die. We do it to humans too.’

Easy rider: Sat on a child’s trike, the outfit of tracksuit bottoms and a fleece jumper is finished with a hat, spectacles and a necklace

However, the event was labelled unacceptable and tasteless by the Society for the Prevention of Cruelty to Animals.

Spokeswoman, Jackie Poles-Smith told the Independent: ‘Animals deserve respect, whether they’re wild, domestic or pets. We encourage empathy [for] all animals, even when they’re dead, and it’s a shame that a school is encouraging its children to do this.’

The possum is an introduced species in New Zealand that wreaks havoc with the native wildlife. This includes threatening the kiwi bird which, along with the fern frond, is a national symbol of the country.

While brush-tailed possums are protected in their native Australia, the species is a pest in New Zealand. Hunting and killing them has become something of a national sport.

Wedding belle: This little girl looks proud as she clutches a dead possum wearing a bridal gown. The event was labelled unacceptable by the animal rights activists

Life’s a beach: This entry, left, shows a possum posing in a bikini with a bottle of sun screen close at hand while, right, it is unclear precisely what kind of look this entrant was going for with a black dress, pink wig, stick-on eyes… and painted pink claws

Hanging out: Two possums were fitted out in baby grows. The school defended the creepy contest as ‘good fun’

The Haka | 100% Pure New Zealand

What is the haka?

The haka is a type of ceremonial Māori dance or challenge. Haka are usually performed in a group and typically represent a display of a tribe’s pride, strength and unity.

Actions include foot-stamping, tongue protrusions and rhythmic body slapping to accompany a loud chant. The words of a haka often poetically describe ancestors and events in the tribe’s history.

When is the haka performed?

Traditionally, the haka was performed when two parties met as part of the customs around encounters. 

For example, the haka was used on the battlefield to prepare warriors mentally and physically for battle, but it was also performed when groups came together in peace. 

Today, haka are still used during Māori ceremonies and celebrations to honour guests and show the importance of the occasion. This includes family events, like birthdays and weddings.

Wedding haka

Haka dances can be performed at weddings as a show of respect, to show reverence for the couple and their guests or to mark the important milestone. 

At weddings, women may also join the haka performance. 

Rugby haka

Haka are also used to challenge opponents on the sports field. The New Zealand rugby team, the All Blacks, perform the haka before each match in a stunning show of strength and physical prowess. 

The All Blacks use ‘Ka Mate’ as their haka, which was composed in the 1820s by the Maori chief Te Rauparaha. The words to this particular haka dance have become famous around the world since it became a part of the pregame ritual of the All Blacks.

The Black Ferns, New Zealand’s women’s rugby team, are also famous for performing rousing haka. The haka they perform before an international match is called ‘Ko Uhia Mai’ which means ‘Let it be known’ and was composed by Whetu Tipiwai.

Regular haka waiata sessions enable the Black Ferns to honour their cultural roots and traditions.  

Who can perform the haka?

One common misconception around haka is that it should only be performed by males.

While there are some haka that can only be performed by men, there are others that can be performed by anyone and even some women-only haka.

Many young Māori people perform in kapa haka groups which have local and national competitions. 

Non-Māori are welcome to learn the haka, however, it’s important that you respect the culture and traditions behind the dance. Learn the words and make sure you understand the meanings behind the chants, the significance of a particular haka and what you are trying to express when performing it.  

The origin of the haka

The Māori legend describing the origin of the haka paints it as a celebration of life.

The story goes that Tama-nui-te-ra, the sun god, and his wife Hine-raumati, who embodies summer, had a son named Tane-rore.

On hot summer days, Tane-rore would dance for his mother, causing the air to quiver.

This light, rapid movement was the foundation of all haka.  

Disney pulls Maui children’s costume amid claims it is offensive | Moana

Disney has said it will no longer sell a boy’s costume for a Polynesian character that some Pacific Islanders have compared to blackface.

The outfit depicts the character Maui in the upcoming animated movie Moana. It has a long-sleeve brown shirt and long pants featuring full-body tattoos. It comes with a fake shark-tooth necklace and green-leaf “skirt.”

Disney’s online store had offered boy’s pyjamas and a men’s t-shirt in a similar design, but those products were no longer available on Wednesday.

“The team behind Moana has taken great care to respect the cultures of the Pacific Islands that inspired the film, and we regret that the Maui costume has offended some,” the company said in a statement. “We sincerely apologize and are pulling the costume from our website and stores.”

The costume earned international condemnation.

Marama Fox, a co-leader of New Zealand’s indigenous Maori Party and a member of New Zealand’s parliament, said the costume was a case of cultural misappropriation and an example of a company trying to profit off of another culture’s intellectual property.

The movie itself, she said, appeared to be playing into stereotypes.

“It depicts Maui as a bit of a beefy guy, and not in a good way. That’s not the picture I have of the Maui who fished up the North Island, and had a number of feats attributed to him,” she said.

The outfit had caused disquiet among the Polynesian community.

Hawaiian Chelsie Haunani Fairchild said it was offputting to have a child wear the skin of another race.

“Polyface is Disney’s new version of blackface. Let’s call it like it is, people,” Fairchild said in a video she posted on Facebook.

The college student said in an interview the costume doesn’t honour or pay homage to a culture or person, but makes fun of it.

“It bastardizes Polynesians by doing something like that. You’re stripping away its integrity,” said Fairchild, who is attending school in San Antonio, Texas.

The Disney online store recently began selling the costume, just in time for Halloween. The listing noted the getup had “padded arms and legs for mighty stature!”

Moana is due for release in November. The animated feature is about a teenager who sails through the South Pacific to a fabled island. She meets Maui — revered in Polynesian oral traditions and viewed by some Pacific Islanders as an ancestor — who helps her explore the ocean.

Kid’s Halloween Costumes | Party City

Shop the best Halloween costumes for kids

Are you looking for the coolest, cutest and best Halloween costumes for kids? Look no further than Party City – your headquarters for all things Halloween. We carry a wide variety of kids’ Halloween costumes, from classics like cops and pirates to dinosaurs and the latest superheroes. No matter what your child’s tastes or interests, our collection is a great place to find fun, comfortable Halloween costumes for your kids.  

  • Is this your child’s first Halloween? If you’re looking for cute kids’ Halloween costumes, look no further! We have lots of great options that are warm, comfortable and the perfect fit for your little one. Whether you’re looking for something classic or trendsetting, we have Halloween clothes for little kids that will help them celebrate in style.
  • Toddlers love dressing up for Halloween and trick or treat, but they don’t always have patience for shopping. If you’re not up for visiting kids’ costume stores with them, we make it easy to shop from home. Party City offers the best kids’ Halloween costumes for toddlers, including characters and concepts they’ll love and want to wear over and over.
  • Does your little girl revel in Halloween festivities like her annual classroom party? If so, she’ll love our selection of cool kids’ Halloween costumes that let her become her favorite character! From movies and TV to more traditional looks, our kids’ Halloween outfits offer something for just about every young lady. Best of all, our Halloween costume accessories for kids let her create a look that’s truly one of a kind!
  • If your little boy wants a great costume, you’ve come to the right place! Our selection of children’s Halloween costumes includes an amazing array of costumes for boys that he’ll be excited to wear. From scary to strange, silly to super, your child is sure to find something he loves. Explore our complete collection and find the perfect Halloween look for him!

Whether you’re looking for something specific or you’re just browsing, we have you covered. Our extensive selection of kids’ Halloween costumes includes costumes for boys and girls of all ages, from infants to toddlers to teens. Check out our kids’ costumes today!

About – Amanda Neale – Costume Designer


Amanda has established herself as one of New Zealand’s most respected costume designers. She has been collaborating with New Zealand filmmakers Taika Waititi and Robert Sarkies since Scarfies in 1998 and most recently on Waititi’s What We Do in the Shadows and Sarkies’ Consent: The Louise Nicholas Story.  


Amanda has worked on movies for other New Zealand directors, mostly notably Jane Campion and Peter Jackson. She has assisted costume designer Ngila Dickson and Michael Wilkinson. Amanda began her career working as a set costumer on large studio movies such as Hercules, the Lord of the Rings trilogy and The Last Samurai. She moved into costume buying for films such as King Kong and Avatar.

Amanda also worked as a costume designer for Steven Spielberg’s 3D animated Tintin and co-designed costumes for Jane Campion’s award-winning television series Top Of The Lake. In late 2014 Amanda worked in Sydney on James Vanderbilt’s directorial debut Truth, starring Cate Blanchett and Robert Redford. After filming Truth, Amanda had the privilege of working on another film starring Robert Redford, Disney’s new adaptation of Pete’s Dragon, directed by David Lowery.


Filmography

Feature Film & Television

2020  Sweat Tooth Season 1 – Directors : Jim Mickle, Toa Fraser, Robin Grace

2019  What We Do In The Shadows Season 2 – Directors : Jermine Clement, Kyle Newacheck, Yana Gorskaya,

2018  What We Do In The shadows Season 1 –  Directors : Jermaine Clement, Tiaka Waititi, Jason Woliner, Jackie van Beek

2017 Wellington Paranormal Unit ( Shadows Spin Off ) – Director : Jemaine Clement

2017 Adrift – Director : Baltasar Kormakur

2016 The Meg – Director Jon Turteltaub

2015 Pete’s Dragon – Director : David Lowery

2014 Truth – Director : James-Vanderbilt

2014 Consent – Director : Robert Sarkies

2012 What We do in Shadows – Directors : Taika Waititi & Jemaine Clement

2012 Top of the Lake – (associate designer) – Directors : Jane Campion & Garth Davis

2011 Two Little Boys – Director : Robert Sarkies

2009 Tintin – VFX Costumier for Weta Digital. Directors : Peter Jackson & Steven Spielberg

2009 Boy – Director : Taika Waititi

2008 Somewhere We Know – Director : Jamie Lawernce

2008 Separation City – Director : Paul Middleditch

2007 Show of Hands – Director : Anthony McCarten

2005 Eagle vs Shark – Director : Taika Waititi

2003 For Good – Director : Stuart McKenzie

2003 Fracture – Director : Larry Parr

1999 Scarfies – Director : Robert Sarkies

NZ Costume Supervisor

2017 Wrinkle In Time – (NZ Supervisor) – Directors : Ave DuVernay, Costume Designer, Paco Delgardo

Short Film

2013 Woodville (web series) – Director : Georgiana Taylor

2012 Bee (working title) – Director : Loren Taylor

2008 Choice Night – Director : Christopher Dudman

2008 Handover – Director : David Stubbs

2007 Mokapuna – Director : Ainsley Gardiner

2006 Fog – Director : Peter Salmon

2006 The Shadow of The Sun – Director : Rachel Douglas

Feature Film and Television – as costume buyer

2007 Avatar – Costume Designer : John Harding

2004 King Kong – Costume Designer : Terry Ryan

2003 Without A Paddle – Costume Designer : Ngila Dickson

2001 Shearers Breakfast – Costume Designer : Michael Wilkinson

1997 Duggan – Television Series 1&3 Costume : Designer Gillie Coxhill

Feature Film and Television – as standby costume

2008 The Lovely Bones – New Zealand Stylist Kate Hawley

2003 The Last Samurai – Costume Designer : Ngila Dickson

1999-2002 The Lord Of The Rings Trilogy – Costume Designer : Ngila Dickson

1998 Hercules, TV Series – Costume Designer : Ngila Dickson

Television Commercials

2018 2 Degrees Brand – Finch – Director : Fred Bobbsey

2014 Air NZ Inflight safety presentation – Epic Journey – Curious Film, Director : Taika Waititi

2014 5 Seeds Cider – Not your ordinary Cider – Prodigy Films, Director : Jim Hosking

2013 Interislander -Thick as Thieves, Director : Zoe McItosh

2013 Westfield – Born to Give – Exit Films, Director : Paola Morabito

2013 New World – Master Butcher – Prodigy Films, Director : Steve Hudson

2013 Verizon – Sparklers – Exit Films, Director : Garth Davis

2013 Trademe – Family Names – Capital City Films, Director : Robert Sarkies

2013 Expedia – Bucket List – Revolver, Director : Leo Woodhead

2012 Flooring Xtra – Hoverlion, Director : Rollo Wenlock

Accolades

2021 CDGA Nomination for Excellence in Sci -Fi / Fantasy Television – What We Do In the Shadows “Nouveau Theatre Des Vampires”

2014 What We do In The Shadows Screen Award nomination

2011 Two Little Boys Screen Award nomination

2009 Boy Screen Award nomination

2005 Fracture Screen Award accolade

1999 Scarfies Screen Award nomination

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Maori Costume and Taniko

The 21st century has brought many adaptations and interpretations of Maori costume. While it is definitely feasible that the style of costume is evolving, many interpretations unfortunately demonstrate a lack of care and research into style and materials used for traditional costume. On the other hand, there are also very elegant interpretations that are dignified even without using traditional style or materials.

The costume outlined here is considered “traditional”, but it is really a modern adaptation based on tradition. Taniko weaving and taniko designs used in the various costume pieces are the intended focus of this page.

Traditional costume is worn by members of concert groups (also known as kapa haka groups, cultural entertainers or theatre groups) at many different events around New Zealand, occasionally by guides who conduct visiting V.I.P’s around the thermal areas of Rotorua, and at several destinations around the country dedicated to offering tourists an encounter with some form of Maoritanga. As well, kapa haka groups are often attached to ex-patriot associations, New Zealand Embassies, Consulates and trade missions in many parts of the world.

However, for important and ceremonial occasions Maori dignitaries and people such as the reigning monarch, selected Heads of State and people who have been awarded the entitlement to wear a kakahu (cloak), usually wear it over formal attire. Such kakahu are woven with authentic materials in the traditional manner, and are priceless artifacts in their own right.

FEMALE COSTUME
With the passage of time Maori costume has undergone several changes. The arrival of missionaries influenced the most significant change in traditional women’s clothing, mostly for the sake of modesty and decorum as they saw it – the introduction of the pari for women.

Over the last hundred years or so more subtle changes have gradually been wrought. Around the time of Cook’s arrival (1769) women wore a maro, a triangular shaped garment worn exactly like an apron. By the end of the 19th century the maro had gradually evolved into a kilt- or rapaki-like garment similar to the piupiu we know today but also included a cloak-like woven inner lining. That inner panel gradually became just a waistband and a much lighter weight cotton fabric underskirt called a panekoti (derived from the english word “petticoat”) appeared. In general terms, women’s garments have remained relatively unchanged since then. In modern times, the underskirt is usually red or black in colour, and attached to either the pari or piupiu in women’s costume. It should correctly be the same length as the piupiu although there is a trend towards a longer underskirt with a printed design visible on the extention below the bottom of the piupiu. At some ceremonial events and occasions as well as cultural presentations, the piupiu may even be seen worn in a manner similar to a cloak, over regular street clothes (usually black dresses for women).

MALE COSTUME
While the female costume has remained fairly static for much of the last century or more, male costume has varied in style and garments over the years. Similar to the women’s costume, maximum male costume would include a kakahu, either as a kahu huruhuru or the korowai with tags woven or attached to it, and in recent years cloaks made in the style of short rain capes seem to be appearing, as well. Neck and ear ornaments as described for women are also worn, and occasionally feathers, too.

Until the middle of the 20th century some piupiu worn by men were decorated with taniko weaving across top edge. Nowadays men’s piupius are shorter (now mid-thigh) with a plain black woven or plaited top edge. For much of the century males wore a tapeka (body band, a.k.a. bandolier) diagonally across the chest but now there is a swing back to a style of costume that reflects the taniko woven decorative top edge on piupiu. Instead of the tapeka, which is no longer favoured, many male members of entertainment groups now prefer the tatua a wide type of belt worn around their waists over the plaited waistband of their piupiu. Like the tapeka or the women’s tipare, the tatua is often patterned after the design on the woman’s pari. Black shorts or a black bathing suit are now commonly worn by men for modesty and dignity.

Also popular with some groups, (particularly children’s groups) in lieu of the flax piupiu for boys is a type of linen fabric wraparound kilt, called a rapaki, with thrums of black flax fibre attached randomly. This is based on a cloak-like garment that males wore around their waists in the pre- and early-contact periods. The tatua can be worn with the rapaki. While it could be considered more modest, and certainly more cost efficient for children’s groups, it is a shame that male members of some entertainment groups are foregoing the traditional piupiu.

(As a small digression from the subject of this page, it needs to be noted nevertheless, that, although flax piupiu as they are known today have only been around for perhaps a hundred years or so, they are sadly being seen less and less for another reason. Cultural groups are turning more often to piupiu made of yarn and plastic tubing. With the rigourous demands of a cultural group’s presentations, these modern piupius are indeed more durable and cost effective than those made of flax. While the heavier plastic tube piupiu behaves very similarly to the traditional flax piupiu the distinctive rustling and slapping sounds of the strands of flax as the wearer moves in dance or haka are being lost and forever silenced. )

TANIKO DESIGNS
Although taniko designs are still a prominent part of Maori costume, only kakahu usually have authentic and traditional taniko weaving incorporated into them. (Note the kakahu in the photo at right – it is being worn with the taniko design on the upper edge. While this is often seen, strictly speaking it is incorrect. Taniko weaving is traditionally found at the bottom edge of kakahu.)

Instead of using costly and time-consuming taniko weaving for pari and tipare, other techniques are often used today to create taniko designs. For example, cross stitched pari and tipare (as shown at right) are the most commonly seen, but other embroidery techniques may also be employed such as embroidery on canvas, ribbon or ric-rac embroidery, they might be tapestry woven, worked in machine applique, patchwork, screen printed or even simply painted.

Taniko designs that are indigenous to, or have special significance for, whanau , hapu and/or iwi, (extended family, sub-tribe and/or tribe) can often be seen on costumes worn during a cultural presentation or festival.

Designs for the pari can be worked in one of several different styles. Some are based on a square or rectangular shape with the dominant design motif worked in the centre front of the pari. Some are based on multiple recurring diamond designs aligned vertically in the style of the whakarua kopito (two points) classification of taniko designs, and others are narrow horizontal design strips. Most often seen, however, is a pari design that includes a large single diamond shape in the centre front with a star-like motif (or similar) in the centre. Several different pattern elements can also be included in the designs, such as diamonds, triangles, solid bands of colour and perhaps a logo or a motif meaningful to the group. It is interesting to note that curvilinear designs are beginning to emerge as designs on pari and also as a taniko-style border on kakahu. Two particular designs, one named kowhaiwhai and the other ngutu kaka were both developed as knitting patterns in the late 1960s and published in a booklet by a New Zealand woman’s magazine. Both designs are used as multiple horizontal bands across the width of the pari. Working from a chart, knitting designs can be easily re-interpreted in taniko weaving.


Another specific design that is also seen is the poutama pattern, or some sort of variation of this design. Known in English as the “Stairway to Heaven” and also the “Stairway of Knowledge”, it is often used, appropriately, in costumes for school kapa haka groups, with the school logo or insignia included in the centre front motif. This is a very attractive style of pari for a school group participating in a competition, and suggests that care and attention to detail were taken into consideration when creating the costumes.

A costume style which seems to be popular at the moment is a sort of “hybrid” costume. I am not here to judge whether this is right or wrong, correct or incorrect, so this is just a brief discussion of one alternative costume that is currently being used. (A personal note – to be honest, although I prefer – and would recommend – the more traditional style of costume, I think this is actually a rather attractive outfit.) It is, ofcourse, taking the pari and attached (under)skirt one step further in the course of costume evolution. This particular style of outfit for a cultural group might appear in either red or black, as shown at right, and could also include karure or similar tags (not shown in this particular image) that are stitched to the body of the outfit in a uniform pattern. The decorative yoke is ideal for showcasing taniko designs that are significant or meaningful to the group. In the same way pari are created for the more traditional costume, the yoke, and indeed, even the shoulder straps may be woven, cross-stitched or decorated in an appropriate taniko design. Worn as a long dress, this style of costume is obviously a women’s garment – male members of the cultural group wear normal costume as described above. Tipare on women, neck and ear ornaments and feathers in the hair may also be included.

FIBRES AND DYES
In past times, colouring the prepared harakeke (flax Phormium tenax) fibres to weave into kakahu and other items of clothing incorporated natural dyes that were rendered from specific plants or trees or from the minerals found in certain types of mud. Colours were limited to black (from mud with a high iron content found in swampy areas ), yellow (which came from Raurekau bark) and reddish-brown (from Tanekaha bark) while other fibres were left natural. These dyes were used for hundreds of years but after European contact, early 19th century traders brought woollen goods which were often unravelled to obtain yarn. Some yarns were oversewn onto existing taniko borders on kakahu and rapaki and eventually some yarns were used in the weaving process. Colours included blue, green, purple, turquoise, scarlet, etc, many of them being very dark shades. This practice did not last long because the yarns tended to wear out and break faster than the harakeke materials, so yarn was eventually abandoned as a weaving material.

With the convenience and availability of modern fibres and synthetic (chemical) dyes, in the latter half of the 20th century costumes became more brightly coloured and, based on the original plant-based dyes used in taniko designs, the red-white-black colour combination was established as traditional. Very attractive green, white and black designs, often re-interpretations of older designs originally created in the red-white-black combination, began appearing on pari, tipare and tatua, as well as on kakahu. Some presentations which I have attended include a change of pari, tipare and tatua. Costumes using traditional colours may be worn, for example, in the first half of the performance, and after a short intermission the group may continue their presentation wearing costumes with the same taniko design but which might include other colours.

School groups now also compete in kapa haka competitions around the country in costumes that include their school colours. More recently, i. e. the 1990s and into the 21st century, blue, in it’s many hues, tints and shades, began to emerge as a dominant costume colour, often in combination with either white, black or yellow, or using all 4 colours together. Used with care and attention to costume detail, this could be considered another form of costume evolution, even though the colour blue did not appear in indigenous textiles until post-European contact.

INTO THE FUTURE
Taniko designs will endure on Maori costume, whether traditionally woven or interpreted through some other creative process, and certainly on kakahu. One hundred and fifty years ago weavers included non-natural coloured wool yarns brought to New Zealand by traders but weavers today seem to retrospectively prefer dyed fibres that reflect the original mud and plant-based dye colours of reddish-brown, yellow, black and natural. While patterns have also changed in style many old Classical period motifs are still being used, or have been adapted. The weaver’s sense of harmony and balance in the placement of design elements and the use of colour gives new life to old motifs while creating new designs that will ensure the survival of taniko weaving as both an adornment for kakahu, and as a stand-alone textile in the manufacture of modern-day items.

Copyright 1999 – 2006(), Judy Shorten

Original page created 1999. Most recent update – June, 2006

New zealand boys clothes: activities holidays Halloween

New zealand boys clothes: activities holidays Halloween



Figure 1.–Here we see Auckland boys in their Halloween costumes, gtting ready for trick-or-treat. In the southern hemisphere November is in late-spring rather than fall. .

Halloween is not as popular in New Zealand as in other Western countries, especially, the Inited States, and traditionally has not generally been celebrated. In recent years American-style Halloween has elicited some interest. It is not an official holiday, but is not official in America. Even young kids are commonly aware of how Halloween is celebrated in America–especially Trick-or-Treat. And of course they want to get in on the fun. Going house to house for free candy to be passed out appeals to the hear (and taste buds) of every kid. And of course dressing up in costumes is another appeal. Halloween as aesult, is gradually growing in popularity, both in Australia and New Zealand. And of course the goof old capitalist profit motive is kicking in with some retail outlets promoting the holiday, both costume and candy sales. As a result, each year we see more kids dressing up for trick-or-treat. This goes hand and hand with the costumes. Once you have a costume, you want to show it off, and what better way than trick-or-treat when oddles of candy are to be had. I don’t know if Halloween parties have begun to become popular or id there are school activities. The British Guy Fauukes Day occues about the same time, but we do not know to what extent this has been celebrated in New Zealand. Perhaps readers will know more.



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Created: 12:16 AM 7/29/2011
Last updated: 12:16 AM 7/29/2011

90,000 Tie as a “colonial loop”. New Zealand’s indigenous people fight for identity

Allegations of ethnic discrimination made last week in the world’s most inclusive parliament have brought New Zealand back to attention. A high-profile scandal that erupted over the usual tie, led to a change in more than a century of tradition and the renewal of public discussion about attitudes towards the Maori and their role in the life of the country.

Raviri Waititi with a traditional Maori hei-tiki amulet around his neck

© REUTERS / AAP Image / Ben McKay

Last week, Maori MP Raviri Waititi, the only representative of the people elected on the party list, came to the parliament meeting without a tie.This is not prohibited by the rules for parliamentarians, but there is one caveat: you can sit and listen without a tie, but you cannot speak and ask questions from the rostrum. Waititi had questions, and he even started asking them, but the speaker of the New Zealand parliament, Trevor Mallard, interrupted his colleague and, after a short skirmish, asked him to leave the courtroom.

On this topic

The next day, the Maori returned to the Houses of Parliament. Instead of a tie, he put on the traditional Maori amulet hei-tiki – a jade plate on a leather cord.He called the European tie a “colonial noose” and said that he would “never bow his head to the rule of pakeh” (the Maori name for New Zealanders of European descent). Waititi accompanied his refusal to wear a tie instead of the traditional amulet with a large-scale media campaign, talking about the ongoing discrimination of the Maori for hundreds of years and about the struggle of a free people against “enslavement and assimilation.”

And already last Thursday, February 11, opening a meeting of the New Zealand Parliament, its Speaker Trevor Mallard announced the abolition of a multi-year rule requiring male MPs to wear a tie before speaking.He noted that the majority of the members of the by-laws committee approved this change of dress code for male MPs. “As speaker [of parliament], I am guided by the opinion of the relevant committee, and therefore ties will no longer be considered a necessary element of a business suit,” said Mallard.

The Maori Party considered this decision a great victory and the end of the tie war.

Dutch navigator and explorer Abel Tasman discovered New Zealand in 1642.The islands were inhabited, and the first meeting of Aboriginal and European travelers did not end well – the Maori simply attacked the intruders and killed several sailors. So, in the northern part of the New Zealand South Island, Killer’s Bay appeared, later renamed Golden Bay.

After 172 years, the first settlement of Europeans appeared in New Zealand, who also received a not very warm welcome from the Maori. And only in 1840, after the signing of the Treaty of Waitangi, the neighbors began to coexist relatively peacefully.And February 6 – the date of the signing of the peace agreement – became the day of the national holiday – the Day of Waitangi. It is generally accepted that it was this treaty that formed the basis for the creation of the state of New Zealand, and therefore to this day it is one of the main constitutional documents of the country. And one of the most controversial.

Continued

Maori in New Zealand today is almost 17% of the population (850.5 thousand people out of 5 million of the country’s population). They protect their way of life, keep separate groups, preserve their language and culture.Living in cities and towns next to Europeans (or even non-Europeans – representatives of dozens of cultures and nations live in the country), they still form communities, whose leaders, on behalf of the collective, actively participate in public life.

Dismantling of the colonial heritage

In September 2019, the elders of several Maori communities banned copies of Captain Cook’s ship Endeavor from entering the harbors of several cities on the North Island. This disrupted the program of the national holiday – the 250th anniversary of the first meeting of Europeans and indigenous people of New Zealand.”Cook did not discover anything here, and all sorts of euphemisms like ‘first meeting on the shore’ do not change the meaning that there was an invasion 250 years ago,” said community elder Anahera Ngati Kau Herbert-Graves, adding that there is nothing to celebrate for the Maori . ..

On this topic

A year later, several communities at once announced that they were not connected with the most pleasant memories of the first settlers, about whom, moreover, the geographical names invented by Europeans always remind.The Maori living on the shores of Hawke’s Bay, located on the southeastern coast of New Zealand’s North Island, demanded to change the name of Cape Kidnappers (literal translation from English – Cape Kidnappers), returning it to its historical name – Te Kauvay-a-Maui, which in the Maori language means “Maui fishing hook”.

And the Maori from the city of Hamilton, located 120 km south of Auckland, insisted on the dismantling of the monument to the British officer John Hamilton, after whom the city was named.Moreover, after the demolition of the monument, the co-chairman of the Maori Party, Debbie Ngareva-Packer, urged not to stop there, but to “conduct a thorough investigation to find and eliminate all colonial monuments and place names associated with racism and Maori oppression.

However, such activity of the indigenous people of New Zealand does not particularly concern their participation in the political life of the state. Of the 276.5 thousand registered Maori voters for the last elections (October 2020), slightly more than 33.6 thousand turned up.As a result, of the seven seats reserved in parliament for representatives of the indigenous population, only two were occupied. Of course, the total number of Maori in the highest legislative body of the country is slightly higher, and one of the representatives of the indigenous people, Nanaia Mahuta, even took the post of Foreign Minister of New Zealand, but she was elected not from the Maori Party, but from the ruling Labor Party of the country.

90,000 Death with a scythe guards vacationers on the beaches of New Zealand “BigPicture.ru

Swimming and sunbathing on the beaches of New Zealand, you can meet a strange figure – a man in a death suit.This is not a lone eccentric with a peculiar sense of humor, but a character in an action launched by the government. 105 people are drowning in the country every year, and about 80 such cases are preventable. The authorities decided to remind New Zealanders and tourists about safe behavior on the water in a visual way – with the help of a visual embodiment of death.

The Reaper’s character got an Instagram account, where he takes pictures on the beach with ice cream, poses with a surfboard and rides an inflatable flamingo, and at the same time makes gloomy jokes.

In 2016, a third of people drowning in New Zealand were between 15 and 34 years old, so the campaign targets young people. It was launched by the Accident Injury Compensation Corporation in partnership with Water Safety New Zealand, which teaches New Zealanders how to behave on the water.

“Water can be deadly if people in the water make bad decisions. Reaper Swimmers reminds that danger lurks everywhere. You definitely don’t want to date such a character, and the goal of this campaign is for young people to stop and think before making bad decisions that can be fatal.

“Does it make me look fat?”

Reaper Swimmers can be seen on New Zealand’s beaches, lakes, rivers and canals, which are known to be at high risk. There he is looking for young people who behave incorrectly on the water. They are easy to find using geolocation on Instagram, Facebook and Snapchat. In this case, the Reaper does not appear between the flags on the beach and in safe places for families.

“New Zealand is impressive! Lots of amazing beaches and deep places and a whole line of people who just want to do something dumb.The perfect combination. Ha! Yes, so I just walk around all summer and wait for the loot. Swim like idiots and we’ll see you soon. ”

Monologue of the Reaper Swimmers from the action website

Further, the site tells about dangerous places (rocks, calm areas of water on surfing beaches) and risky actions (jumping into the water in unfamiliar places, swimming in clothes or while drunk).

“Halloween. Every year it’s the same: you all want to be me.Damn, come up with your own costume already! I don’t dress like you. “Oh-oh-oh, look, I’m a human. I have skin on my bones, and if water gets into my lungs, I will die. ”

“I love summer, it brings out idiots.”
“So, who among you today wants to become a jeans genius?”
“They say every other guy is a dumbass. I’m betting on the one in the red jersey. ”
“Live, laugh, love.”
“Be mine. Forever”.
“Hello. We just met, and it’s crazy … But here’s my number. Maybe you will call? ”

See also: Social networks are killing: Audi has clearly shown how dangerous it is to sit on the phone while driving

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90,000 How New Zealand Farmers’ Pants Exploded

Well, maybe they didn’t quite explode, but they were actively ignited, that’s for sure! In 1931, the peace of the New Zealand hinterland was disturbed by strange and frightening events: the cotton work trousers of farmers began to explode. After the first rare incidents, which the newspapers reported as an incomprehensible curiosity, the country was soon engulfed in explosions of farm pants. What was the reason?
In England, there is a Weeds Act of 1959, according to which landowners are required to destroy a grub in their territories, if it starts, or to report the presence of this plant in their field to a special service that removes the grub, urgently leaving on call.

The law also provides for material liability of the owner of the field who does not comply with these rules.Livestock in pastures usually avoid eating this herb, but in New Zealand, the gruel very aggressively began to displace clover, cereals and other forage grasses, so that by the end of the 20s of the last century, in many areas, sheep and other animals simply had no choice.

Sheep can eat the groundwort for several months without much harm, but cows and horses very soon die from liver damage. There is no antidote or cure. Meanwhile, with the development of technology, New Zealand’s animal husbandry began to shift from almost complete sheep breeding to the production of milk and dairy products. Industrial refrigerators, wagons and refrigerated ships appeared, which made it possible to preserve and transport perishable products.

Mechanical churns and separators gave farmers the opportunity to carry out primary processing of milk right at home. And finally, trucks came into life, thanks to which it became possible to drive around remote farms every day, collect milk, sour cream, butter and cream and deliver them to shops or dairies.

Keeping cows has become profitable.Their livestock doubled from 1899 to 1919. But the dairy farmers got in the way of the farmer. At first, it was pulled out by hand, but the roots remaining in the ground gave new shoots after a week or two. Soon, even the poorest farm laborers were no longer hired for such hard work as weeding pastures.

Farmer’s wives were already full of chores around the house, and as for the children who could be sent to the fields, here, as luck would have it, the government introduced compulsory secondary education. School buses began to ride along rural roads, picking up the farmers’ offspring every morning and taking them to class.From time to time, school inspectors drove around the farms: is there any child left at home?

Therefore, in 1930, cattle breeders enthusiastically received an article in a local magazine, which reported that there is an excellent remedy for the groundwort – spraying the fields with sodium chlorate. Over the year, imports of this chemical have grown from almost zero to hundreds of tons. Sodium chlorate is a strong oxidizing agent; it does not burn itself, but when mixed with combustible and any other organic substances it forms explosive compounds. Spontaneously ignites or explodes when the temperature rises, impact, friction.It is a relative of the berthollet salt (potassium chlorate) used in pyrotechnics.
Of course it worked – the sodium chlorate treated plants died. But everyone forgot to take into account that sodium chlorate in combination with any other organic substances forms an explosive flammable compound.

After the soil was treated with sodium chlorate diluted in water, the work suit was completely saturated with chemical vapors. Coming home, he, of course, washed his clothes, but this could not help in any way – by this time sodium chlorate was forming dangerous compounds with natural fabric.The farmer’s clothing (mostly pants only – in New Zealand’s hot climates, workers took off their shirts while working in the fields) became a ticking time bomb.
Gradually, after the introduction of sodium chlorate, the country was filled with rumors of exploding and flammable pants. In our time, jokes would surely have rained down that the farmer was so outraged that one place exploded, but the victims were clearly not laughing. Someone was lucky – the pants caught fire in the sun during drying, someone was less fortunate – the clothes caught fire right on the person while riding the horse from rubbing against the saddle, and for someone the use of sodium chlorate ended in tragedy at all – the clothes exploded at home from an accidentally hitting candle, and the unfortunate man did not have time to remove the flaming cloth from himself.

When the number of such cases went to dozens, warnings appeared in the local press about the dangers of using sodium chlorate. But there was nowhere to go: the weed was advancing, and the herbicide had already been purchased on an industrial scale and lay in warehouses. So farmers in New Zealand continued to use sodium chlorate, literally risking their fifth point, until in the late 1930s this compound was completely banned for use in agriculture.


90,000 “Averins in Tokyo were at their best.”Australian gymnast admires the Russian school

Alexandra Kiroi-Bogatyreva will come to Moscow for the Celestial Grace tournament.

Alexandra Kiroi-Bogatyreva will come to Moscow for the Celestial Grace tournament.

Alexandra Kiroi-Bogatyreva is an Australian gymnast of Russian origin, who will take part in the unique Celestial Grace tournament. It will be held on December 16-17 in Moscow at the VTB Arena and will combine the rules of the new Olympic cycle, taking into account the rules of the 2001-2005 cycle – these are the times when Russian gymnasts Irina Chashchina and Alina Kabaeva had no equal.

Alexandra was born in New Zealand, lives and trains in Australia, sometimes coming to the training camp in Russia. In addition to gymnastics, an important place in her life is occupied by her studies at the Faculty of Law and work at the FIG – there she deals with issues at the intersection of legal knowledge and sports.

Alexandra also has a dream – to compete at the 2032 home Olympics in Australia. In her interview, the gymnast told Match TV about the changes in her exercises especially for the Celestial Grace tournament and her hobby for figure skating.

Alexandra Kiroi-Bogatyreva / Photo: © Toru Hanai / Stringer / Getty Images Sport / Gettyimages.ru

– Australia and rhythmic gymnastics are quite an exotic choice. How did you end up in this sport? Tell your story.

– I started doing rhythmic gymnastics because it is a Russian sport.My whole family is Russian, although I was born in New Zealand. We moved to Australia only later. I have been doing ballet and other types of gymnastics since I was two years old. And then, at the age of six, she switched to an artistic one – for discipline, stretching, figure. Still, it is a very feminine and beautiful sport. At the age of 11, I won my first international competition in Spain. It was then that I realized that I really like it all. I got such a boost of motivation and realized that I want more and more.

– You attend training camps in Russia.How and with whom do you train?

– I have been to many training camps in Russia. And with Amina Vasilovna (Zaripova), and with Anna Vyacheslavovna (Shumilova), and with many other famous coaches. These training camps were attended by Rita Mamun, Yana Kudryavtseva. This is very useful for a little girl doing gymnastics. I remember it very much.

– You were born when the rules of the 2001-2005 cycle were just starting to take effect. What do you know about gymnastics in those years? Have you watched someone’s recorded performances?

– I was born two years after the Olympic Games in Sydney, where Alina Kabaeva took bronze.She should have won gold, but it so happened that she had a bronze. Of course, when I started practicing, it seems to me that I reviewed all the videos of the performances that were on the Internet. About those rules, I know that there were a lot of elements. The exercises looked very different. This is grace, beauty, in general, for the viewer then there was generally magnificent gymnastics.

– Whose example did you grow as a gymnast? Who is the standard for you?

– When I was growing up, Evgenia Kanaeva, Daria Dmitrieva, Irina Chashchina and Alina Kabaeva, of course, were examples and standards.I looked at them with open eyes and open mouth and admired what they were doing. Especially Evgenia Kanaeva, who went through two Olympic cycles and became twice Olympic champion. For me, this is the highest example that exists, because it is very difficult to hold out so much in this sport.

– In Russia, at the level of the national team, gymnasts have funding from the state. How are things going with this in Australia?

– Unfortunately, there is almost no government support for rhythmic gymnastics in Australia.This is all my parents do. World championships, cups, costumes, swimwear – all expenses are borne by my parents. The Australian federation can help a little, but it is not even one percent of what is needed. So thank you very much to my parents, not only for the fact that they believe in me, but also for helping with everything else.

Koi Si Yan, Diamanto Euripidou and Alexandra Kiroi-Bogatyreva / Photo: © Jaimi Joy / Stringer / Getty Images Sport / Gettyimages.ru

– Have you ever worked at a training camp with Irina Aleksandrovna Viner?

– I did not work with her, but I was at various competitions where she was present.For example, at the World Championships, I went out for Dina Averina, then for Arina, and we visited the same carpet. Of course, I was focused on my look, and they were on theirs, so I didn’t get much communication.

– Who did you personally root for the most at the Tokyo Olympics?

– I was rooting for all the girls. It is unrealistically difficult to get there, and I myself prepared for those Games, but, unfortunately, it did not work out. Dina and Arina (Averins) were at their best, as always, it is a great pleasure to look at them, they deserve the best.

– How do you prepare for the Celestial Graces tournament? Have you changed your exercises in a special way?

– We are preparing hard. The exercises have changed, there are a lot of elements, big ligaments – for example, we connect turns in a row, then balance, then a jump. This turns out to be more expensive in terms of the cost of the elements. Now the exercises are not just throws up and down, where the audience nods their heads all the time, looking at the object. They watch how we work with the body, how we keep our beautiful legs. How do we make a round trip on a half-finger.It is very difficult, I think, but very interesting for the audience. In general, all the changes are for the better.

Alexandra Kiroi-Bogatyreva / Photo: © Ryan Pierse / Staff / Getty Images Sport / Gettyimages.ru

– What is your exercise music?

– I wanted something fiery for the hoop, like rock even. So I took “Natural” from Imagine Dragons, the gang known to all. On the ball – more gentle, slow. For clubs, I always choose something that will cause a fire in the hall so that the audience clapping, it has always been that way, even at the World Championships.The ribbon is such a drama in terms of mood. I really like my music.

– Unexpected question – do you follow figure skating? We now have a real cult of this sport in Russia. In Australia there is, for example, the skater Brendan Kerry. Do you know any other names?

– Yes, I follow figure skating. In addition to Brendan Kerry, I also know the Australian figure skater Kailani Crane. But in general, I love Russian figure skating more, because what Russian figure skaters do on ice, no one else does.Evgenia Medvedeva and Alina Zagitova, when they performed, rooted for them very much. Now I am rooting for all the young girls, they are still showing themselves, it is interesting to see how they will develop.

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Source: Match TV

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