Academic literature on the topic 'Āhuatanga Māori (Māori Tradition)'

This is an essay about rangahau and me. I am a Kai-rangahau. Kai, a Māori language prefix, is added to verbs to form nouns denoting a human agent, the person doing the action. The action is rangahau—defined in this essay through āhuatanga Māori (Māori tradition). This article offers an example of rangahau as seen through the eyes of a Kai-rangahau and a Māori worldview. The example provided highlights the need for Kai-rangahau of Māori tradition “to get it right”—to honor the past, to inspire the present, and to be accountable to the future.

INTRODUCTION: Cultural supervision with Māori (tangata whenua) in social work has been a focus of practice in Aotearoa New Zealand. New approaches to address the cultural needs of Māori social workers and those of other cultural backgrounds have been developed. This article portrays a model of cultural supervision for Muslim social workers in Aotearoa.APPROACH: The broader methodological structure of this reflective account is a kaupapa Māori framework and Rangahau (a Wānanga response to research). Rangahau is the traditional Māori methodology of inquiry utilising mātauranga Māori and āhuatanga Māori – traditional Māori bodies of knowledge from the context of a Māori world view. Critical self-reflection and use of reflective journals are used as methods of the rangahau.FINDINGS: A model of supervision is presented which is tawaf, a ritual of haj – one of the pillars of Islam. Muslims (who follow Islam as a religion) perform haj (pilgrimage) to receive hedayet (spiritual guidance) to cleanse their nafs (soul). In this model, the phases of tawaf have been applied to structure and guide social work supervision sessions designed for Muslim social workers. Some important values of Islam such as tawbah, sabr, shukr, tawakkul, and takwa, have been integrated into the model as every action of Muslims is value-based. The model combines both nafs and a value-based approach in supervision.IMPLICATIONS: Tawaf represents the Islamic worldview and aims to deconstruct and reconstruct supervisees’ practice and assumptions. This will be used in the context of cultural supervision with Muslim social workers by Muslim supervisors.

While Western attachment theory has tended to focus on the interpersonal attachments between people, indigenous Māori attachment perspectives have always included connections and relationships to aspects outside of the interpersonal domain. Collective, cultural and tikanga-based extrapersonal relationships are significant in Te Ao Māori and include connection to whānau/hapū/iwi (extended family and community groups), whenua (land and the natural world), and wairua (interconnection and spirituality). Alongside vital interpersonal relationships, these extrapersonal connections are substantial to the development of an indigenous Māori self which is well and supported within a holistic framework. This article explores the extrapersonal connections outlined above, their importance to Hauora Māori and implications for the practice of psychotherapy in Aotearoa New Zealand.WhakarāpopotongaI te wā e warea ana te arotahi kaupapa piripono a te Uru ki te piringa whaiaro tangata ki te tangata, ko tā te Māori tirohanga piripono he whakauru i ngā here ngā whanaungatanga ki ngā āhuatanga i tua atu i te ao whaiaro. He take nunui te whānau kohinga ahurea o te Ao Māori whakakaohia ki tēnei te here ā-whānau, ā-hāpū, ā-iwi (whānau whānui me ngā rōpū hāpori), te whenua, te taiao me te wairua (ngā taura here, te waiuratanga). I tua atu o ngā here whaiaro he wāhanga tino nui tō ēnei kohinga ahurea ki te whanaketanga o te mana motuhake o te tangata whenua Māori e ora ana e tautokohia ana e te papa whānui nei. E wherawhera ana tēnei tuhinga i ngā here whakawaho kua whakaarahia i runga ake nei, te hira o ēnei ki te Hauora Māori me ngā whakahīrau mō ngā mahi hauora hinengaro i Aotearoa.

AbstractThis paper describes commissioned research on how a Wānanga, a Maori focused post school institution in New Zealand, perceived its strategic options following the publication of the Labour-led government's Tertiary Education Strategy 2007–2012 and the Statement of Education Priorities 2008–10 (Ministry of Education 2006). The research used a Delphi panel process that looks for consensus answers to specific research questions: How should the Wānanga respond to the policies sketched in the Tertiary Education Strategy and the Statement of Education Priorities? What is the range of issues that may need to be addressed as a result of this new policy framework? What options does the Wānanga have in addressing these issues? The Delphi process enabled a clear set of priorities to be established: provide quality teaching and learning reflecting Māori values and practices; develop a consistent internal philosophy based on tikanga and āhuatanga Māori; and provide second chance education for Māori and other learners.

AbstractThis paper describes commissioned research on how a Wānanga, a Maori focused post school institution in New Zealand, perceived its strategic options following the publication of the Labour-led government's Tertiary Education Strategy 2007–2012 and the Statement of Education Priorities 2008–10 (Ministry of Education 2006). The research used a Delphi panel process that looks for consensus answers to specific research questions: How should the Wānanga respond to the policies sketched in the Tertiary Education Strategy and the Statement of Education Priorities? What is the range of issues that may need to be addressed as a result of this new policy framework? What options does the Wānanga have in addressing these issues? The Delphi process enabled a clear set of priorities to be established: provide quality teaching and learning reflecting Māori values and practices; develop a consistent internal philosophy based on tikanga and āhuatanga Māori; and provide second chance education for Māori and other learners.

Hui and hui rūnanga, Māori decision-making gatherings, are vital in Māori constitutionalism. Hui demonstrate the practical exercise of tikanga Māori. There is a set of relatively stable Māori legal norms, derived from tikanga Māori, that can be seen at work in such hui-based decision-making. These norms (mana, tapu, whakapapa, whanaungatanga and rangatiratanga) serve to strengthen and demonstrate group processes. They arguably do not establish merely optional guidelines for group behaviour; they can serve to constrain decision-making. A case study set in a hui in a modern Māori urban context serves to demonstrate the exercise of such Māori legal norms in civic decision-making.

Māori, New Zealand’s indigenous population, have a unique connection to the environment (Harris and Tipene 2006). In Māori tradition, Papatūānuku is the land—the earth mother who gives birth to all things, including Māori (Dell 2017). Māori also self-define as tāngata whenua (people of the land), a status formally recognised in New Zealand legislation. Māori have fought to regain tino rangatiratanga (authority and self-determination; see Gillespie 1998) over lands lost via colonisation. Accordingly, Cowie et al. (2016) found that socio-political consciousness—a dimension of Māori identity—correlated positively with Schwartz’s (1992) value of protecting the environment and preserving nature. Yet, Māori perceptions of land also derive from spiritual associations. Our work investigated the spiritual component of Māori environmental regard by delineating between protecting the environment (i.e., a value with socio-political implications) and desiring unity with nature (i.e., a value with spiritual overtones) amongst a large national sample of Māori (N = 6812). As hypothesized, socio-political consciousness correlated positively with valuing environmental protection, whilst spirituality correlated positively with valuing unity with nature. These results demonstrate that Māori connection with the land is simultaneously rooted in spirituality and socio-political concerns.

The mana wāhine movement can be seen as a Māori version of ecofeminism. This definition, however, limits its valence and profound meaning, which can be understood only in the light of a different cultural paradigm. The poetry collection Tātai Whetū, in Māori and English, translated into Italian in the volume Matariki, sciame di stelle, exemplifies writing in the tradition of mana wāhine, that is, a literary genre that inflects political activism, environmentalism, feminism and a deep bond with Māori cultural roots

AbstractThis paper explores the notion of whakapapa as providing a legitimate research framework for engaging in research with Māori communities. By exploring the tradition and meaning of whakapapa, the paper will legitimate how whakapapa and an understanding of whakapapa can be used by Māori researchers working among Māori communities. Therefore, emphasis is placed on a research methodology framed by whakapapa that not only authenticates Māori epistemology in comparison with Western traditions, but that also supports the notion of a whakapapa research methodology being transplanted across the Indigenous world; Indigenous peoples researching among their Indigenous communities. Consequently, Indigenous identity is strengthened as is the contribution of the concept of whakapapa to Indigenous research paradigms worldwide.

This decade can be noted for several distinct approaches to Māori architecture, reflecting a variety of nationalistic impulses. This paper offers a brief overview of the diversity of Māori architecture and ideas in this period. Pākehā, in the search for national identity, and also reflecting the interests of the global Arts and Crafts movement, were enthused by the local example of the carved and decorated whare whakairo, native timbers, Māori adzing techniques and local flora and fauna. This can be seen in the work of architects such as JW Chapman Taylor, as well as the symbolism and trademarks of popular culture, and the pattern of museum acquisitions. By the twentieth century Māori were seen as a culture that could soon become extinct and this is reflected in the images of artists such as Goldie ("The Calm Close of Valour’s Various Days"), Lindauer's interest in preserving ersatz records of tradition and custom, and Dittmer's interest in myth and legend. Parliamentarian Āpirana Ngata, a member of the Young Maori Party, was very influential in the revival of certain customary arts (seen in the later establishment of schools of Māori arts and crafts in Rotorua) but he and his colleagues promoted a form of these arts that while "encouraging national Maori unity" also suppressed the diversity of activity in modern figurative painting and tribal identity for instance. These approaches can be contrasted with the patterns of building by other Māori movements more opposed to the government and actively seeking the restoration of Māori lands, rights and mana. Rua Kēnana's settlement at Maungapōhatu in the 1910s and TW Rātana's hall and church building later in the century (his ministry began in 1918) eschew the use of any meeting house forms or customary motifs – they were turning to new forms and symbols to sustain Māori identity in the new century.

The aim of this thesis is to undertake a theoretical analysis of the dynamics of change in pre-Ngāi Tahu and Ngāti Māmoe oral traditions of Te Waipounamu to gain a deeper understanding of their nature, function, evolution and meaning. For the purposes of this thesis a framework will be established to classify changes to encompass different types of alterations made pre-contact and post-contact to authentic and un-authentic oral traditions. This model will analyse the continuum of change and will be applied in later chapters to pre-Ngāi Tahu and Ngāti Māmoe traditions to gain an understanding of the dynamics, evolution and construction of the oral traditions of Te Waipounamu. This study of the morphology of tradition will demonstrate they were never fixed but evolved alongside their communities as they adapted to ensure tribal identity and mana was firmly entrenched in their local landscape. A major component of this thesis will be analysis of Waitaha traditions centring upon three key questions; firstly who were Waitaha peoples, secondly, where were they from, and thirdly, were they, and do they continue to be separate social units? This thesis will contribute to this discussion by analysing literature concerning pre-Ngāi Tahu and Ngāti Māmoe tribal identities to ascertain not just who they were and where they were from but how their identities have been constructed and modified over time. Analysis will examine the role of oral tradition in establishing tribal identity and how Waitaha traditions were changed both pre and post-contact to suit the cultural, political and ideological imperatives of the time, providing an insight into how our ancestors perceived, recollected and constructed the past to suit the needs of the present.

This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.

Indigenous peoples think about oral history differently. This is the key assertion of this opening chapter, which draws on a specific Māori tribal context and community to show how native peoples maintain and employ our own interpretations of oral history. This chapter highlights the tensions and divisions between oral history and oral tradition, revealing how these disciplines have been instrumental in the colonial displacement of indigenous historical knowledge as traditions, myths, and folk songs. Drawing on a personal tribal journey and experience, this chapter reveals how indigenous perspectives remain largely absent in today’s popular oral history definitions, particularly in regard to the form, methods, theories, and politics of the discipline.

This chapter examines the form of oral history sources and what scholars argue constitutes an “oral” source. It compares popular definitions drawn from the fields of oral history and tradition, and analyses these from an indigenous perspective using the voices of Ngāti Porou people. This chapter proposes a specific Māori definition of oral history called “kōrero tuku iho,” and explores the many ways in which tribal peoples describe and define the form of oral history. These include broader perceptions of what constitutes an “oral literature,” the concept of ownership and oral history, the living nature of oral sources, the shaping and dissemination of oral history via word of mouth, and the intergenerational construction of oral memory in formal speech making, narrative, performance, songs, carvings, incantations and prayer.

In this practice-led doctoral thesis I adopt a Kaupapa Māori paradigm, where rangahau (gathering, grouping and forming, to create new knowledge and understanding), is grounded in a cultural perspective and Māori holistic worldview that is respectful of tikanga Māori (customs) and āhuatanga Māori (cultural practices). The case study that forms the focus of the presentation asks, “How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression”. In addressing this, the researcher is guided and upheld by five mātāpono (principles): He kanohi kitea (a face seen, is appreciated) Titiro, whakarongo, kōrero (looking, listening and speaking) Manaakitangata (sharing and hosting people, being generous) Kia tūpato (being cautious) Kāua e takahi i te mana o te tangata (avoiding trampling on the mana of participants). In connecting these principles and values that are innate within te ao Māori (Māori people and culture) the paper unpacks a distinctive approach taken to interviewing and photographing nine takatāpui tāne (Māori males whose sexuality and gender identification are non-heteronormative). These men’s narratives of experience form the cornerstone of the inquiry that has a research focus on tuakiritanga (identity) where performative expression and connectivity to Māori way of being, causes individuals to carry themselves in distinctive ways. The lived experience of being takatāpui within systems that are built to be exclusive and discriminatory is significant for such individuals as they struggle to reclaim a place of belonging within te ao Māori, re-Indigenise whakaaro (understanding), and tangatatanga (being the self). In discussing a specifically Māori approach to drawing the poetics of lived experience forward in images and text, the presentation considers cultural practices like kaitahi (sharing of food and space), kanohi ki te kanohi kōrero (face to face interviewing), and manaakitangata (hosting with respect and care). The paper then considers the implications of working with an artistic collaborator (photographer), who is not Māori and does not identify as takatāpui yet becomes part of an environment of trust and vulnerable expression. Finally, the paper discusses images surfacing from a series of photoshoots and interviews conducted between August 2021 and February 2023. Here my concern was with how a participant’s identitiy and perfomativity might be discussed when preparing for a photoshoot, and then reviewing images that had been taken. The process involved an initial interview about each person’s identitiy, then a reflection on images emanating from studio session. For the shoot, the participant initially dressed themseleves as the takatāpui tāne who ‘passed’ in the world and later as the takatāpui tāne who dwelt inside. For the researcher, the process of titiro, whakarongo, kōrero (observing, listening and recording what was spoken), resourced a subsequent creative writing exercise where works were composed from fragments of interviews. These poems along with the photographs and interviews, constituted portraits of how each person understood themself as a self-realising, proud, fluid and distinctive Māori individual.

It has been ten years since the concept of the Publication Platform has been published in the special edition of the Scope Journal ISSN (online version; 1177-5661). The term ‘Publication Platform’ was introduced in the Practice Report, The Site of Publication in Contemporary Practice. This article surveyed a series of publication projects analysing distinctive editorial models as venues for discussion, collaboration, presentation of practice, and reflection. In this context, the term Publication Platform is employed to describe a space for a series of distinctive editorial modes. The platform considers printed matter as a venue for a diversity of discourse and dissemination of ideas, expanding the meaning and boundaries of printed media through a spectrum of publishing scenarios. The Publication Platform positions printed spaces as sites to reflect on editorial frameworks, content, design practices, and collaborative methodologies. One of the central ideas to the report was the role of collaboration to lead content, examining how creative relationships and media production partnership, affect editorial practice and design outcomes. Ten years after, the Publication Platform has evolved and renewed with emergent publishing projects to incorporate a spectrum of practice responsive to community, experimentation, interdisciplinarity, critical wiring, creativity, cultural production, contemporary arts, and craft-led discourse. This paper presents a case study of ‘Threaded Magazine’ as an editorial project and the role of its culturally connected approach. This study uses the term ‘culturally connected approach’ to frame how Threaded Magazine embodies, as a guiding underlying foundation for each issue, the three principles of Te Tiriti o Waitangi: Participation, Protection and Partnership. This presentation reflects on how these principals connect to who Threaded Magazine are collectively as editors and designers, and determined by who we associate with, partner, and collaborate with. A key factor that influenced Threaded Magazine to adopt a more culturally connected approach arose by the invitation to participate in the international publication entitled Project 16/2, commissioned by Fedrigoni Papers for the Frankfurt Bookfair, in Germany. The Project 16/2 created an opportunity for a process of editorial self-discovery. This trajectory translated the tradition of oral storytelling into graphic language, conveying the essence (te ihi) of who we were. The visuality and tactility of the printed media set a format for Threaded Magazine to focus on Aotearoa’s cultural heritage, original traditions, and narratives. This paper overviews the introduction of a kaupapa for Issue 20, the ‘New Beginnings’ edition and process of adhering to tikanga Māori and Mātauranga Māori while establishing a particular editorial kawa (protocol) for the publication. The influence and collaboration with cultural advisory rōpū (group) Ngā Aho, kaumātua and kuia (advisors) will elaborate on the principle of participation. Issue 20 connected Threaded Magazine professionally, spiritually, physically, and culturally with the unique identity and landscape of Indigenous practitioners at the forefront of mahi toi (Māori Contemporary art) across Aotearoa. Special Edition, Issue 21, in development, continues to advance a culturally connected approach working with whānau, kaiwhatu (weavers), tohunga whakairo (carvers), kaumātua and kuia to explore cultural narratives, connections, visually through an editorial framework.