This article explores deep underlying assumptions about relationships between people and the planet, and how these translate into very different ways of relating to waterways in Aotearoa New Zealand. In te ao Mäori – ancestral Mäori ways of living – rivers and lakes are the tears of Ranginui, the sky father, mourning his separation from Papatüänuku, the earth mother, and people are their descendants, joined in complex whakapapa that link all forms of life together. In modern ways of thinking, on the other hand, ideas such as private property, resource management and ecosystem services can be traced back to the Genesis story of God’s gift of ‘dominion’ to Adam and Eve over fish, birds, plants and the earth itself, including waterways, in which all other life forms are created for human purposes. In successive Waitangi Tribunal claims, iwi have disputed these assumptions in relation to fisheries, tribal lands and rivers, and, in worldleading legislation, the Whanganui River has been declared a legal person with its own rights. In this article, the authors discuss different ways in which the rights of rivers as rivers might be understood in scientific terms, investigating the ‘geomorphic rights’ of the Whanganui River, for instance, and how rivers as living communities of land, water, plants, animals and people might be understood through ‘river ethnography’, an approach that aligns a wide range of natural and social sciences with mätauranga taiao – ancestral knowledge of other living systems. They also consider how current policy discussions might be informed by such framings, so that river communities across Aotearoa New Zealand may be restored to a state of ora – life, health, abundance and prosperity.
So long as song writers exist there would seem to be no possibility of the poems of Robert Herrick being forgotten. The present setting of " To Music " (to becalm his fever) is melodically in consonance with the period in which the poet lived, and is gratefully written for the voice. The accompaniment is also well devised. The vocal compass is only from the first space on the treble stave to the E above and the majority of the notes lie in the medium register. " Come, Spring," is an invocation to that period of the year when East winds and showers are wont to prevail, but which has long been idealised by poets as the halcyon time for lovers. Of course the latter view is taken by the composer of this song, which is as bright and blythe as spring sho?wld be. ' Time has wings " is a merry little ditty wherein is shown how Love gives wings to Time. Most of us have experienced this, and it is a pleasing subject for a singer, who, in this case, should be a light soprano. The song merits recognition, for it possesses vivacity and is well written.
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