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Purpose – This chapter investigates how being Māori influences the sport experiences of Māori participants, and offers a critical Māori perspective on mainstream New Zealand sport. It argues for the value of moving towards a culturally competent approach that embraces, rather than resists, Māori tikanga and practices.

Design/methodology/approach – The research is driven by an Indigenous kaupapa Māori research methodology that privileges research by Māori, about Māori, being Māori. Ten highly experienced Māori participants were interviewed. The cultural competence continuum was employed to assess New Zealand sport’s ability to meet the needs of its indigenous peoples.

Findings – For the Māori participants, mainstream sport reflects the echoes of colonial ways of thinking that frequently ignore or devalue Māori values or interpret assertions of self-determination as separatist and divisive. Using examples from the participants’ experiences, we argue that cultural competence is something that could benefit all in New Zealand sport.

Research limitations/implications – The limitations of a small sample are addressed by triangulating the participants’ perspectives with other sources of information about Maori sporting experience.

Originality/value – The chapter privileges a Māori critique of existing structures and suggests a way forward that could positively influence sport delivery for Māori and people of all ethnicities.

Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.

Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the contribution of Cangaço-inspired productions to Brazilian cinema, as well as the particular characteristics of what constitutes the Cangaço genre.

Following a historical survey of the Cangaço, the films were divided into different categories and ranked in terms of relevance. Only the most important are discussed in this chapter.

The Cangaço has been portrayed in Brazilian cinema through the decades in diverse ways, dating back to the 1920s. After becoming a consolidated film genre in the 1950s, then known as Nordestern, the Cangaço finally acquired a proper structure, featuring multiple Western references among its common characteristics. In the 1960s, Glauber Rocha, one of the most prominent filmmakers of the Cinema Novo avant-garde movement, added his own symbolism to the genre. Eventually, the Cangaço was also revisited by directors who combined it with other genres such as comedy, documentary, and erotic films. Another relevant reinterpretation came in the 1990s, when filmmakers of the so-called New Brazilian Cinema offered a new view on the subject.

Despite its strong association with Brazil, the Cangaço has not been thoroughly investigated by researchers. This chapter presents a historical survey and analysis of Cangaço films, highlighting their relevance to Brazilian cinema.

Serious questions have been raised regarding the necessity to continue focusing our research on what constitutes individual, or what the authors refer to as singular leadership. Although the authors consider these questions to be important to advancing the field of leadership theory, research, and practice, they also suggest that attempts to minimize the relevance of singular leadership may hinder progress in other domains of leadership research. In this chapter, the authors explore how and why singular leaders and their leadership matter, and how they may influence follower, peer, and organizational outcomes. The authors use a paradoxical framework to present a theoretical model and propositions that allow us to clarify the influence of different forms of singular leadership within organizations. In our examination of singular leadership, the authors consider both positive and harmful modes of attributes, cognitions, and behaviors.

This chapter examines the practical and conceptual limitations and possibilities of using ethnographic methods in the college writing classroom for the purpose of instructors’ professional development. The study is based on ethnographic research with a second-year course in Stanford University’s Program in Writing and Rhetoric. The study’s dual foci included the teacher–researcher’s pedagogical practices and students’ learning, and entailed participant-observation and the recording of ethnographic fieldnotes. It builds on the anthropology of literacy, a tradition of action research among educational ethnographers, and scholarship on composition pedagogy. Participant-observation could be helpful to other college instructors interested in improving their teaching. However, combining participant-observation with direct student feedback through interviews or surveys will be most effective in shaping educators’ professional development. Using participant-observation for professional development in the college writing classroom did not only situate me, the ethnographer, as both subject and object of research. Unexpectedly, my research also placed ethnographic methods as objects of research. By examining student learning and teaching practices ethnographically, researchers create opportunities to illuminate assumptions related to research as well as broader lessons about the study of teaching and learning.

The Siege opens with news footage of the bombing of military dormitory barracks in Dhahran, Saudi Arabia (on June 25, 1996). Whatever the genesis of the screenplay may have been, the release of a film some two years after the actual event which inspired some of its story is remarkably quick by Hollywood standards (where the average development time of any project is three years). An interesting film on its initial release, it now screens like a premonition, or a blueprint. The fictional alleged perpetrator of the bombing – which was actually the work of Al Qaeda – Ahmed bin Talal is secretly kidnapped by U.S. forces, and taken to the U.S. The drama which then unfolds involves the operations of a network of terrorist cells – all trained by the CIA to destabilize Saddam Hussein – demanding bin Talal’s release through an escalating series of bombings in New York City culminating in the destruction of One Federal Plaza, the imposition of martial law in Brooklyn, and the detention of all Arab-American adult males in makeshift camps set up in sports stadiums.

Chester Whitney Wright (1879–1966) received his A.B. in 1901, A.M. in 1902 and Ph.D. in 1906, all from Harvard University. After teaching at Cornell University during 1906–1907, he taught at the University of Chicago from 1907 to 1944. Wright was the author of Economic History of the United States (1941, 1949); editor of Economic Problems of War and Its Aftermath (1942), to which he contributed a chapter on economic lessons from previous wars, and other chapters were authored by John U. Nef (war and the early industrial revolution) and by Frank H. Knight (the war and the crisis of individualism); and co-editor of Materials for the Study of Elementary Economics (1913). Wright’s Wool-Growing and the Tariff received the David Ames Wells Prize for 1907–1908, and was volume 5 in the Harvard Economic Studies. I am indebted to Holly Flynn for assistance in preparing Wright’s biography and in tracking down incomplete references; to Marianne Johnson in preparing many tables and charts; and to F. Taylor Ostrander, as usual, for help in transcribing and proofreading.