This publication is the outcome of a workshop held at the Ōtākou Marae, southern New Zealand, in November 2014, which was jointly hosted by the Monash Indigenous Studies Centre, the Department of History and Art History and the Centre for Research on Colonial Culture at the University of Otago. My thanks go to Lynette Russell and Tony Ballantyne, whose commitment to comparative and connected historical scholarship, and to a management style based in collegiate relationships, facilitated both the workshop and this edited collection. Thank you to the speakers and participants at that workshop, particularly Jane Carey for her participation and enthusiastic support, and to the contributors to this volume for their patience through delays and changing circumstances.
I would particularly like to thank Mike Stevens for his role in organising the workshop, for our time studying and now researching together, but also for much more than this—for years of friendship between us (and now our families), generous hospitality and for introducing me to the taonga of coming to know Ngāi Tahu people and culture. I pay my respects to Ngāi Tahu ancestors and people discussed in this book, as well as to all the other Indigenous communities, both ancestors and their contemporary descendants, whose histories we trace.
Thank you to my colleagues in the history research group at Monash University for their feedback on the introductory chapter, especially Charlotte Greenhalgh, Kat Ellinghaus and Christina Twomey whose insightful comments helped immeasurably. To John Bradley, thank you for being such a champion of interdisciplinary and engaged research, and for the conversations, reading of each other’s work and help to engage with other epistemologies.
Aboriginal History and Rani Kerin have been excellent to work with; as authors we thank them for their efforts and their persistence in supporting publications on Indigenous histories and perspectives. Thank you also to our peer reviewers whose insights improved the work. Special thanks must go to Heather Goodall for her encouragement and advice.
My thanks go to the State Library of New South Wales for the cover image and for their excellent support of researchers working with their collections. Finally, the publication of this collection would not have been possible without the generous support of the Faculty of Arts at Monash University, for which I am grateful.