News Archive

Robin McKenzie died in Raumati last month after a courageous battle with cancer. As a physiotherapist at the beginning of his career in 1956, a chance happening changed Robin McKenzie’s life and was the catalyst for curing pain in the lives of others.

Suffering from acute back pain, a ‘Mr Smith’ was shown into a physiotherapy room and lay on the treatment table which had been left with an upraised head end for another patient. When Robin McKenzie entered the room a few minutes later, he was concerned to find the patient in what was considered to be a most damaging position for his condition… yet the patient told him after the short time lying that way, he felt the best he had been in three weeks.

This clinical observation led Robin to begin systematically evaluating the effects that simple movements and positions had on his patients’ back pain. A clear assessment process gradually emerged. This system, now known as the McKenzie Method of Mechanical Diagnosis and Therapy, has achieved worldwide recognition and is now regarded as part of management for low back pain.

Robin’s further vision was that all patients with musculoskeletal pain be taught how to manage their own pain. The two books he wrote specifically for patients: Treat Your Own Back and Treat Your Own Neck have sold over 6 million copies and are available in 17 languages. Two more books followed in the last four years and he also wrote five textbooks for professionals during his career.

He founded the McKenzie Institute International in 1982 and led its growth into a worldwide educational organisation. Physiotherapists, doctors, chiropractors and allied health professionals in 37 different countries have been educated in the McKenzie Method.His last major achievement was an animation that he and a fellow physiotherapist released last year, to show people what was really happening inside their disks. Even at 81 he was still very involved, even with current technology!

Robin was a huge inspiration to patients, scientists and clinicians worldwide. He was very much a family man, and his hobbies were sailing and gardening and he established a beautiful native plant garden at this home.

Though he gradually eased away from work over the past few years, Robin is sadly missed by the teams at Spinal Publications and the McKenzie Institute, who appreciated his visits and regular email contact.

Applications are now open for the 2013 CLNZ Writers’ Awards.

Two talented applicants will be selected by a panel to receive $35,000 each and the title of CLNZ Writers’ Award Winner 2013! This is the largest monetary prize of its kind.

If you (or anyone you know) have a non-fiction project on the boil and would love to see it published, we invite you to apply.

For more information go to www.copyright.co.nz/Writers-Awards/.

New Zealand held its first eT4e – EdTech for Export – conference in Wellington earlier this month at Te Papa. What may come as a surprise is the strength of the sector, with a sellout attendance of 200 people at the one-day event.

For Learning Media digital strategist Jill Wilson, a member of the organising team comprising sponsors Learning Media, Grow Wellington and Education New Zealand, it was an affirmation of what she believes to be an exciting and diverse area in this country.

So what is EdTech? “Google it and you’ll find a wide range of initiatives, projects, people, organisations and investors showing up in your search results – but EdTech is perhaps a new term for New Zealand,” says Jill. “It is a name that can cover a wide field of activity, including software and online systems, learning environments, courseware delivery and content creation – a place where even the creators of video games designed to support learning can be found.”

Key goals of the conference included creating awareness of the world-wide EdTech industry and its export potential – which is worth over $17 billion dollars globally – and creating network opportunities for New Zealand organisations and individuals with product to offer. “Conference attendees came from a wide range of disciplines, which is evidence of the potential to build an effective and powerful EdTech export industry here,” said Jill.

International expert and author, Dr Karen Billings, was the first keynote speaker for the day. The VP of the education division of the US Software and Information Industry Association provided an in-depth view of the “What is EdTech” scene and described some of the strategic directions, programmes, start-ups and initiatives happening in the US.

“A remarkable second session was Who’s in the Room? said Jill. “It provided a chance for conference attendees to introduce themselves briefly, and explain where their interests in EdTech lay. As the mic was passed around the room, it became clear how diverse the sector could be and that very real potential exists for export collaborations.”

Global publishing company Pearson’s Karl Engkvist, Senior VP for Business Development in Asia Pacific, was the second keynote speaker, describing his experiences working in China. He explained the need for in-country relationship building to ensure that local cultural interests and learning needs were reflected in the products and services being offered.

The final keynote speaker, Tim Brooke-Hunt, highlighted how mature industries such as traditional broadcast media also have a part to play in the EdTech sector. Tim is the commissioner for children’s programming for Australia’s public broadcaster, ABC Television, with a number of broadcast and digital channels under his wing.

“The remarkable diversity of the three keynote speakers indicates that EdTech is more than wires and hardware,” Jill commented.

For the lunch break – labelled Food for Thought – various speakers were located at different tables, an opportunity for informal conversations with the experts, and a chance to build local contacts following the earlier introductions.

The afternoon featured breakout sessions through which EdTech export stories were shared. Powerful presentations included What’s Hot? – opportunities in digital learning and serious games by Stephen Knightly, Chair of the NZ Game Developers Association. “Stephen is an excellent speaker who highlighted the depth of talent in the serious games arena in New Zealand,” said Jill.

The What’s Next? – future oriented learning presentation by NZCER’s Rachel Bolstad and Dr Garry Falloon from the University of Waikato, described how the nature of teaching and learning is changing in this digital age. They discussed how researchers could share their knowledge with those working in EdTech. “This session helped to drive home the essential need to understand user behaviours and the role of EdTech in engaging them in learning.”

Another intriguing session was Augmented Reality – here and now, presented by Andreas Düenser, Senior Research Scientist from HITLabNZ. “Andreas demonstrated Hitlab’s world-class expertise in the field of augmented reality. He included examples of how AR images can bring a printed book to life for the reader, and how their CityView App can help learners in the future see AR-based 3D models of buildings lost to the Christchurch earthquakes on some of the now empty spaces in the city centre.”

There was an incredible buzz at the end-of-day drinks, says Jill. “Many people were seeking each other out, exchanging ideas and discussing what they learned. It was proof of the wealth of both the technical and creative talents we have to offer the EdTech world; in the near future this export sector could become as important to New Zealand as our film industry.”

www.edtechforexport.co.nz will now become a hub for EdTech news and information. Videos of the keynotes and some breakout sessions will be up on the site soon and the conference survey will ensure feedback for future events.

From top left clockwise: David Barrowman (Vet Nurse Plus) & Steve Clarke (PixelBook); John Eyles (Learning Consulting Croup), Jules Annear (Annear Ropata Consultants) & Stephen Knightly (InGame); Kevin Arscott (American Universities International Programs Limited) & Leanna Clarry (PaperKite); Matt Comeskey (South Pacific Press), Dolly Seow-Ganesan (NZTE) & Amy Rutherford (Education New Zealand).

Creative New Zealand’s Te Manu Ka Tau: Flying Friends are sponsoring three overseas publishers to attend the publishers’ programme based around the Auckland Writers and Readers Festival, 15–19 May 2013. This year PANZ is pleased to be managing this Creative New Zealand-funded initiative.

Emily Chuang and Gray Tan are both publishers from Taiwan who will be part of Flying Friends, as will Stefan Weidle from Weidle Verlag in Germany.

An experienced translator and publisher working with the Morning Star Group, Emily is about to start her own imprint, Emily Publishing, within the company. Her focus will be on introducing English language authors in both fiction and non-fiction fields to a Taiwanese audience.

Gray Tan has his own Grayhawk Agency representing foreign publishers in Asian markets. Since 2009, he has also represented Chinese authors in international markets.

Stefan Weidle is a Bonn publisher (Weidle Verlag) with a special interest in small, independent publishers via his role as chair of the Kurt Wolff Foundation which has 80 publishing house participants. “We’re present at book fairs, in Germany and abroad. Above all, we want to draw attention to the niches occupied by the smaller publishing houses.”

Also accompanying the Flying Friends delegation is Stefan’s wife Barbara Weidle, who runs Literaturhaus Bonn and is an organiser and promoter of literary events.

Note these opportunities to meet with Emily, Gray, Stefan and Barbara:

The Te Manu Ka Tau programme is intended to increase the sale of international rights and encourage translations of New Zealand literature. In 2013, the focus is to strengthen networks with Germany following New Zealand’s role as Guest of Honour at the Frankfurt Book Fair last year, and to establish relationships with Asian publishers, given New Zealand’s growing presence at the Taipei International Book Exhibition.

For further info and bookings please email sophia@publishers.org.nz

Wendy Harrex was the first fulltime employee of Otago University Press (then University of Otago Press) when she moved to Dunedin from Auckland in 1993. Her task was to take a part-time operation and build it into a proper publishing house. In a farewell speech celebrating her role in the University, Wendy spoke of her life in publishing at Otago and beyond:

I came because I was ready for a new challenge and had the required skills. I had been publishing books for 22 years, in the UK and in New Zealand. I had played a part in establishing Oxford University Press’s New Zealand list and operated my own company for 11 years.

At that time, the New Zealand market was becoming overcrowded. There were three university presses already operating. Local offices of multinationals were developing strong lists. There were good independent publishers in various parts of the country.

At an early meeting of the Press committee we agreed that rather than create yet another New Zealand publishing house our objective was to build the Press into a significant publisher in the Asia-Pacific region, a press that the University would be proud of.

The one constant I could depend on was change. The day I started in the industry, 42 years ago, I was shown around both the printing works and the publishing offices of OUP in Oxford. I met the linotype compositor and another person who was producing text on a varityper, a pre-digital typesetting machine. In the drawing office, photo-generated type was being used for illustrations – very exciting. Hot metal was on the way out, cold type was on the way in.

For the books I subsequently worked on, long galleys of phototypeset text were cut up and pasted down to make book pages. Pictures were placed where the text needed them to be. A revolution!

Before I left the UK, I spotted an article in Time magazine with an image showing experiments in book layout using a computer screen. Yes, I thought, that is where I want to go.

I was part of a whole generation who came into publishing with these changes in technology. The new technology enabled us to put words and pictures on the same page in a way that had been difficult before. It enabled us to use colour differently – some 70s publications still blow your mind visually. It enabled us to seize control of publishing – we could start our own newspapers, magazines, books and publishing houses.

And the technology kept changing. I first used an accounting package to run my business in 1986. At Otago, I produced my first book in Pagemaker on a Mac the year I arrived at the Press. We soon took on publication of Kwok Wing Lai’s magazine Computers in New Zealand Schools. Working on the magazine, we found out about ICT, interactive whiteboards, the internet, websites, voice-operated programs.

Society was changing too, of course. Questions about national identity and race relations were bubbling to the surface. My publishing at OUP in Wellington and Auckland reflected that with Judy Binney’s Mihaia, Anne Salmond’s Eruera, and a children’s list of picture books and novels by Maurice Gee, Tessa Duder, and Gavin Bishop, amongst others. My own company was New Zealand’s only feminist press. At Otago we were soon publishing the Women’s Studies Journal, the Children’s Issues Journal, and the Bioethics Journal.

We needed to build critical mass for the Press as quickly as possible. Publishing these journals was a way of bringing new ideas and potential authors into the Press and finding new areas to publish in, publishing that no one else was doing. The resulting books sold well internationally.

My involvement in the wider book trade helped to grow the list as well. In the 90s, the biggest trade event each year was the Women’s Book Festival, held each spring. Otago published novels by Linda Burgess and Bronwyn Tate, who were toured nationally by the Festival and whose books sold out as a result. Alas, the festival came to an end before the 90s did, and our fiction list died with it.

When I was President of the Publishers Association, the industry was making a push into export, attending both the Australian Book Fair and the Frankfurt Book Fair each year. I also attended Asia Pacific Publishers Association meetings and displayed New Zealand books at two Tokyo Book Fairs.

The Press began buying rights to publish books in New Zealand, many of which sold well and created income that did not require book production time and effort on our part.

With a growing sense of national identity in society, there was a great need for books on Maori and Pacific subjects. Atholl Anderson’s edition of Herries Beattie’s Traditional Lifeways of the Southern Maori was the first of our books on southern Maori history, now a focus for part of our list. These and subsequent books on indigeneity and sovereignty enabled us to become the publisher of Linda Tuhiwai Smith’s Decolonizing Methodologies.

More recently, we have extended into the publication of Maori and Pacific art books, including such wonderful titles as John Pule and Nicholas Thomas’ Hiapo: Past and Present in Niuean Bark Cloth and Fiona Pardington’s The Pressure of Sunlight Falling.

We also took on a new kind of natural history publishing. Neville Peat and Brian Patrick arrived one day with an appealing project: a book on Wild Dunedin. As I was then our entire book production staff, I produced this book in Pagemaker, as well as the subsequent Wild Fiordland, Wild Central and Wild Rivers. It was a prize-winning series, with each new title winning or being shortlisted in the New Zealand book awards.

And following these books was a truly monumental undertaking for a small press – The Natural History of Southern New Zealand – which quickly became a classic.

Natural history opened the door to another new area, ecotourism. One day in the Catlins my family and I came across a guide leading a group of tourists. He was struggling along the path with a pile of books, ready to answer their questions. There has to be a better way, I thought. I commissioned Neville Peat to write The Catlins, and this became another book I produced in Pagemaker. Once we had the format, we were away – seven more books, mainly on South Island locations, followed.

History has also been an important part of our list. With the arrival of print on demand, we established the Otago History Series as an economic format for more academic writing about history. And we have been fortunate to publish some of the many substantial illustrated histories commissioned by the Ministry for Culture & Heritage, including Gavin McLean’s The Governors. More recently, biography/memoir has been a growing category.

And of course Otago became the publisher of the literary and arts magazine Landfall in 1994. Initially our task was to support editor Chris Price in maintaining its standing and readership, which meant finding new subscribers; now David Eggleton is theeditor.

Along the way, we have established the Landfall Essay Competition, the Kathleen Grattan Award for Poetry and the Seresin Landfall Residency for writers. In 2011, as our first online publishing venture, we established the blogsite Landfall Review Online which reviews New Zealand books. And we have kept publishing a small poetry list, specialising in southern poets, including former Poet Laureate Cilla McQueen.

The Press gained a UK/Europe distributor in 2006, and with our overseas sales growing significantly we decided to take on our own warehousing and distribution in NZ, assisted by sales reps Archetype Book Services. It has turned us into a unique operation amongst New Zealand’s university presses, giving us great information about our books, our customers and our sales, and has created work for the many wonderful student helpers we have employed over the years. So the Press is now very different from what it was in 1993 and has over two hundred titles in print.

As the internet took off, publishers found Google had plans for our books and Amazon began to undermine our local booksellers. Were book publishers and booksellers going to disappear altogether, we began to ask ourselves? What was going to happen to our New Zealand book culture and heritage?

As ever, where there are threats, there are opportunities. The Press has been working for some time on ebook production and distribution possibilities. I am departing at yet another exciting, interesting and challenging time in the industry!

One thing is certain, the world will keep changing.New Zealand is a tiny country on an increasingly unstable planet. We need our universities and our university presses, developing and promulgating the ideas and critical voices that help to keep us free, and preserving and growing the knowledge we need to survive as an independent, diverse, just and peaceful society.

Wendy Harrex

Media Release

FINALISTS ANNOUNCED

A diverse range of themes and styles – but where are the heroines?

An impressive variety of books make up the finalists of this year’s New Zealand Post Children’s Book Awards.  And Chief Judge Bernard Beckett says it suggests we have a group of New Zealand writers who are confident enough to pursue their own interests.

In all, 19 books have been selected as finalists across four categories: best picture book, junior fiction, young adult and non-fiction. The winners from each category will be announced in June. 

War was a dominant theme among this year’s entries – a year before the centenary of the start of the First World War.

Bernard said: “As judges, we were pleased to see coverage given to conflicts less likely to be known to young readers such as The Boer War or the conflict in Malaysia. Prominence was also given to the bravery of those who resisted armed conflict, both in World War One and at Parihaka – that strikes us as tremendously important.”

The finalists were chosen from hundreds of entries read by the panel of three judges: children’s literature expert and author Eirlys Hunter, presenter of Radio New Zealand’s Arts on Sunday programme, Lynn Freeman and author Bernard Beckett.  

The judges said it was a privilege to read and assess New Zealand’s best books for children and young adults in 2012.

However, the judges raised concerns over the many entries that had great potential but didn’t meet the standard required to become a finalist.

“A large number of books were crying out for a more considered editing or design process: books with clear potential that needed only another careful draft; delightful children’s stories let down by the illustrations or design layout. To see such possibilities unrealised was a clear frustration for us.”

“We were also surprised to see how few strong female characters there were in these pages. Young girls are in danger of seeing themselves once again as serving only decorative roles in stories, and we hope this is more a blip than the beginning of a retrograde trend.”

School-aged children and young adults can now vote for their favourite books from among the finalists for the coveted Children’s Choice Award.

ENDS

FINALISTS

Picture Book 

A Great Cake by Tina Matthews

Melu by Kyle Mewburn, Ali Teo & John O’Reilly

Mister Whistler by Margaret Mahy & Gavin Bishop

Mr Bear Branches and the Cloud Conundrum by Terri Rose Baynton

Remember That November / Maumahara ki tērā Nōema by Jennifer Beck, Lindy Fisher & Kawata Teepa

Junior Fiction

The ACB with Honora Lee by Kate De Goldi & Gregory O’Brien

The Queen and the Nobody Boy (A Tale of Fontania) by Barbara Else

My Brother's War by David Hill

Red Rocks by Rachael King

Uncle Trev and His Whistling Bull by Jack Lasenby

Young Adult Fiction 

Earth Dragon, Fire Hare by Ken Catran

Into the River by Ted Dawe

The Nature of Ash by Mandy Hager

Reach by Hugh Brown

Snakes and Ladders by Mary-anne Scott

Non-fiction

100 Amazing Tales From Aotearoa by Simon Morton & Riria Hotere

Kiwi: the real story by Annemarie Florian & Heather Hunt

Taketakerau, The Millennium Tree by Marnie Anstis, Patricia Howitt & Kelly Spencer

At the Beach: Explore & discover the New Zealand seashore by Ned Barraud & Gillian Candler

Note: Four finalists were selected in the non-fiction category, compared to five in the other categories. The judges felt the books selected represented the best on offer, and all were significantly better than the next tier of titles considered.

For more information on the New Zealand Post Book Awards contact: 

Background information

The New Zealand Post Children’s Book Awards are managed by Booksellers New Zealand and sponsored by New Zealand Post. The awards are also supported by Creative New Zealand and Booksellers Tokens New Zealand.

Important dates

www.booksellers.co.nz

Early spring in Leipzig saw snow falling for the 14–17 March Book Fair, but that was no deterrent to Sarah Ropata and her mission to reunite with German publishers and introduce New Zealand’s 2013 Rights Catalogue.

Drawing visibility to New Zealand was Sarah Quigley (pictured below left) with two readings from The Conductor, the first on the Frankfurt Book Fair stage in the fairground, after which the author was mobbed by fans.

Sarah Quigley’s second reading was staged in the chandeliered elegance of the Bach Museum, with the addition of a local music school string quartet playing Shostakovich as part of the event. As a result of local publicity, the hall was packed and the bookstall busy.
 
Following the reading, NZ Ambassador to Germany Peter Rider hosted a reception at the hall for invited guests, German publishers and media, a great networking opportunity.
 
Throughout the four days of the fair, Sarah Ropata kept appointments she had made with publishers on various stands and approached others, presenting the NZ Rights Catalogue. “There was enough of everything in the list for something to be suitable for all of the publishers, and it generated a lot of leads,” she said.
 
“For me it was a highlight to be able to say thank you in person to all the people who helped and invested both money and resources into last year’s campaign. Without them we would not have achieved as much as we did – our German and Swiss publishing partners were critical to our success and it was wonderful to be able to acknowledge their support.”

For more info please contact: Sarah Ropata sarah@publishers.org.nz

Download a copy of the NZ Rights Catalogue here.

Snow-covered entrance to the 2013 Leipzig Buch Messe

11 March 2013

For 2013, a best cookbook category sponsored by 1010 Printing Group will be added to the PANZ Book Design Awards. “The support of 1010 Printing allows us to add a category for food and wine books which we have wanted to do for some time,” says PANZ councillor for the awards Sam Elworthy. “Given the strength of the category in our publishing, it is great to recognise this with the 1010 Printing Award for Best Cookbook.”

PANZ is also pleased to announce that the shipping and freight company Oceanbridge, which generously supported New Zealand’s Guest of Honour year at the Frankfurt Book Fair, will now be a major sponsor of the design awards and principal sponsor of the Book Design Workshop. Geared towards publishers and designers alike, the workshop will be held on 19 July, the morning following awards night.

Sam Elworthy comments, “The Book Design Workshop began last year and was very well received by designers, production managers and publishers, so it’s great to have the great Oceanbridge team back this workshop with their sponsorship and expertise.”

And with a new print sponsor joining the team, the awards are looking in good shape. Idealog, “the home of NZ business ideas, innovation and creativity,” will now operate as the principal print/media sponsor for the awards.

Established categories in the PANZ Book Design Awards are the Random House New Zealand Award for Best Illustrated Book, the Hachette New Zealand Award for Best Non-illustrated Book, Scholastic New Zealand Award for Best Children's Book, Pearson Award for Best Educational Book, HarperCollins Publishers Award for Best Cover and the Mary Egan Award for Best Typography.

The Gerard Reid Award for Best Book, sponsored by Nielsen Book Services, will be chosen from the winners of these seven categories.

A stand-alone award, the PANZ Young Designer of the Year, will also be presented at the event to be held in Auckland on 18 July. For this award, designers under the age of 35 submit a small portfolio of their work.

Special attention has been given to the judging format to ensure the judging process is fair and transparent for all the awards made. As of this year there will be four judges to cover all entries, and in line with a strict set of rules, judges who have a conflict of interest in any particular category will remain silent and will not submit a score for the book in conflict. Scores will then be based on their average.

The final polish for the refreshed PANZ Book Design Awards is a new logo – created by top graphic and book designer Gideon Keith, Creative Partner at Strategy Design and Advertising.

The PANZ Book Design Awards are now open for entries, with a closing date of Friday 12 April 2013. Criteria and registration forms here.

Ends

A refusal by the country’s eight universities to agree a fairer annual licence fee, allowing lecturers to copy authors work for their students, has left the non profit organisation that protects and licenses copyrighted work no option but to file a case with the Copyright Tribunal.

As the academic year kicks off, New Zealand universities are selling ‘course packs’ to students containing photocopied chapters and articles saving students from having to purchase full textbooks.

Universities must obtain appropriate licences in order to legally provide large amounts of copied course material to students outside what’s allowed under the Copyright Act. Without a licence, universities cannot charge for course packs and students would have to purchase the whole book or publication.

The licensing scheme operated by Copyright Licensing New Zealand (CLNZ) ensures that authors and publishers are being fairly paid for the use of their work. A CLNZ licence enables university staff to copy and share an extensive range of printed resources to ensure their teaching meets international standards. The net proceeds of the licensing scheme are paid out to the authors and publishers whose works are copied by the universities.

It will be the first time the Copyright Tribunal has looked at what universities are paying for the licence fee.  But it’s a move CLNZ Chief Executive, Paula Browning says the organisation has been forced to take. She says after a year of negotiations, Universities New Zealand (UNZ) has refused to budge on the current $20 fee per student, which was agreed back in 2007.

“Despite increases in the average number of pages being copied per student and the ability the licence gives universities to provide copies electronically to students, the universities aren’t prepared to agree to the modest $6 increase in the annual fee sought, which hasn’t been adjusted in over 5 years,” said Paula Browning.

“Many universities have been increasing student fees by the maximum allowable annually. They then also charge students to receive each individual course pack. Each year students will generally be required to purchase multiple course packs spread across two semesters. Fees charged per pack are significant – up to $85.00 in some cases. At the same time the universities are paying just $20 per student per year to compensate authors and publishers whose works are included in the course packs.”

The universities' current licence with CLNZ expired on 31 December 2012. CLNZ extended the existing licence to 28 February pending the completion of negotiations on the new fee. Paula Browning says CLNZ has gone to the Tribunal seeking a four-year deal with an annual licence fee of $26 per Equivalent Full Time Student (EFTS) for 2013, adjusted each year by the rate of CPI.

While the case is before the Tribunal, CLNZ has offered the universities the option of rolling-over the existing licence to ensure they are protected against legal action for breach of copyright.

The Copyright Tribunal is mandated to look at what is a reasonable fee, taking into account all of the relevant circumstances. If the Tribunal upholds the new fee being proposed by CLNZ, it has the discretion to backdate it to take effect from 1 March 2013.

A timetable for the matter to be heard before the Copyright Tribunal has not been set. 

ENDS

For more information or an interview with Paula Browning please contact Trish Sherson at Sherson Willis on 021 570 803 or trish@shersonwillis.com.

About Copyright Licensing New Zealand Limited

CLNZ is a not for profit organisation jointly owned by the New Zealand Society of Authors (NZSA) and the Publishers Association of New Zealand (PANZ). The CLNZ licence provides advanced permission to copy, scan and share more copyright protected material from books, journals, periodicals and newspapers than the 3% of a work education institutions are allowed to copy under the Copyright Act.

The licence also gives Universities broad legal protection against copyright breaches.

CLNZ has licences in place with the majority of New Zealand’s educational institutions including schools, Private Training Establishments (PTEs), Polytechnics and Universities, which pay an annual license fee based on enrolment numbers.

Under the Copyright Act, education facilities can copy:

• 3% or 3 pages of a work as long as no more than 50% of the work is copied. For example, no more than 50% of a poem
• No charge can be made for the supply of copies to students

Under a CLNZ licence, teaching staff can copy:

• 10% or one chapter of a work (whichever is larger)
• 15 pages of a single work contained in a collection or anthology or works (eg short stories and poems)
• A complete article from a periodical or journal (more if on the same subject)
• Illustrations (as published with the printed work)

In addition, under the CLNZ licence teaching staff can scan from printed resources and share with students via a password protected site (ie intranet site).