Academic literature on the topic 'Kapa haka'
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Journal articles on the topic "Kapa haka"
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Kuroda, Y., G. Geisler, P. C. H. Morel, and J. Hapeta. "Stress, Emotions, and Motivational States Among Traditional Dancers in New Zealand and Japan." Psychological Reports 120, no. 5 (June 1, 2017): 895–913. http://dx.doi.org/10.1177/0033294117711130.
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This study used a reversal theory framework to examine motivational dominance and changes in motivational state, arousal, stress, and emotions among members of traditional Japanese (Nihon Odori Sports Science (NOSS)) and New Zealand (Kapa Haka) dance groups. Eighty-four participants (50 in Japan and 34 in New Zealand) completed questionnaires on each variable before and after a dance class. The findings indicated that the Kapa Haka dancers were significantly more playful and arousal-seeking than the NOSS dancers. They also reported higher overall arousal, preferred arousal, and effort during performance while the NOSS dancers became more serious afterward. Data on emotions matched those of arousal in that the Kapa Haka dancers felt significantly more excited and provocative after the session. The NOSS dancers were more relaxed and placid, both overall and after dancing. These patterns were consistent with the dancers’ respective motivational states and motivational dominance, and suggest that both dances can be effective in reducing negative affect. They also suggest that psychological effects are dependent upon performers' personal and cultural affiliation with the two dance forms.
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Sakamoto, Hiromi. "Researching Kapa Haka and its Educational Meanings in Today’s Aotearoa/New Zealand." International Journal of the Arts in Society: Annual Review 6, no. 3 (2011): 57–66. http://dx.doi.org/10.18848/1833-1866/cgp/v06i03/36024.
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Whitinui, Paul. "Indigenous-based inclusive pedagogy: The art of Kapa Haka to improve educational outcomes for Māori students in mainstream secondary schools in Aotearoa, New Zealand." International Journal of Pedagogies and Learning 6, no. 1 (January 2010): 3–22. http://dx.doi.org/10.5172/ijpl.6.1.3.
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Mazer, Sharon. "Girl on a Corner by Victor Rodger, and: Marama dir. by Nina Nawalowalo, and: Room 1334 by Mika, and: Te Matatini—National Kapa Haka Festival." Theatre Journal 67, no. 3 (2015): 530–32. http://dx.doi.org/10.1353/tj.2015.0072.
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Zahar, Erlina, and Devi Syahfitri. "MAKNA GAYA BAHASA PERSONIFIKASI DALAM NOVEL TENGGELAMNYA KAPAL VAN DER WIJCK KARYA HAMKA." Aksara: Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 3, no. 2 (January 14, 2020): 150. http://dx.doi.org/10.33087/aksara.v3i2.129.
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The purpose of this research to describe the personification figurative language in the novel Tenggelamnya Kapal Van Der Wijck by Hamka”. There are many kinds of personification in the novel Tenggelamnya Kapal Van Der Wijck by Hamka. The data of this research is primary data in a form of utterances which have personification figurative language in the novel Tenggelamnya Kapal Van Der Wijck by Hamka. The source of the data is the novel Tenggelamnya Kapal Van Der Wijck by Hamka. This research is qualitative by using content analysis. By collecting whola data, choosing, then analyzing the data, the personification figurative language in the novel Tenggelamnya Kapal Van Der Wijck by Hamka can be understood. The researcher then interprets the data in the forms of utterances in the novel. From the analysis, it can be concluded that the personification in the novel Tenggelamnya Kapal Van Der Wijck by Hamka consists of personification which can be seen from the words ombak, tenang, hidup, senja, makan, angin, jembatan
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Sunarto, Dwi Adi, Anastasia Siti Murdiyati, and Nurindah. "Penerapan Teknologi Pengendalian Hama Kapas Ramah Lingkungan." Buletin Tanaman Tembakau, Serat & Minyak Industri 3, no. 1 (October 10, 2016): 38. http://dx.doi.org/10.21082/bultas.v3n1.2011.38-47.
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<p>Penerapan komponen teknologi pengendalian hama ramah lingkungan dilaksanakan di daerah pengembang-an kapas di Kecamatan Jati, Kabupaten Blora, Jawa Tengah di lahan petani seluas ± 5 hektar yang dimiliki oleh 20 petani pada bulan Maret sampai dengan Oktober 2009. Komponen teknologi pengendalian hama ra-mah lingkungan diharapkan menjadi solusi yang tepat untuk mengatasi masalah serangga hama pada tanam-an kapas dan dapat diterima oleh petani. Pengendalian serangga hama kapas yang diterapkan adalah pengen-dalian serangga hama ramah lingkungan dengan komponen pengendalian yang terdiri atas seed treatment dengan insektisida imidakloprit dan penyemprotan insektisida botani ekstrak biji mimba berdasarkan ambang kendali yang mempertimbangkan keberadaan musuh alami dibandingkan dengan pengendalian serangga ha-ma konvensional (pengendalian hama menggunakan insektisida kimiawi sintetis seperti yang biasa diterap-kan oleh petani). Hasil penelitian menunjukkan bahwa penerapan komponen teknologi pengendalian hama ra-mah lingkungan yang terdiri atas seed treatment, insektisida botani ekstrak biji mimba, dan ambang kendali dengan mempertimbangkan keberadaan musuh alami, terbukti dapat menekan populasi serangga hama ka-pas selalu di bawah batas ambang kendali dan tidak berbeda dengan pengendalian hama secara konvensio-nal. Pengendalian hama ramah lingkungan lebih aman terhadap musuh alami dengan pendapatan usaha tani kapas Rp621.250,00 lebih tinggi dibanding pengendalian hama secara konvensional. Teknologi pengendalian hama ramah lingkungan dapat diterima oleh petani, kecuali teknologi ambang kendali yang secara konsep da-pat diterima, tetapi petani masih enggan untuk melaksanakannya.</p><p> </p><p>Application of environmentally friendly pest control technology is expected to be the best solution to over-come insect pest problem on cotton crops and can be accepted by farmers. The research was conducted in the area of cotton development in Jati District, Blora Regency, Central Java on farmers' land area of 5 hectares owned by 20 farmers from March to October 2009. The applied treatments were: application of environmen-tally friendly pest insect control components, ie: seed treatment and botanical neem seed extracts insecticide sprayed based on an action threshold that considers the presence of natural enemies took in to account, compared with conventional pest control (pest control using synthetic chemical insecticides commonly used by the cotton farmers). The results showed that the application of environmentally friendly pest control tech-nology suppressed cotton insect pest population with no negative effect on natural enemies, and retained seed cotton production, increased the income of cotton farming as much as Rp621.250,00. Components of en-vironmentally friendly pest control technology can be accepted by cotton farmers, including the action thres-hold concept. However, the farmers were mind to implement the action threshold as it is too complicated for them.</p>
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Rudianto, Riki, Dedi Supriyatdi, Mirodi Syofian, and Jakty Kesuma. "Uji Resistensi 22 Plama Nutfah Kapas (Gossypium sp.) terhadap Hama Utama pada Fase Generatif." Agrosains : Jurnal Penelitian Agronomi 22, no. 1 (April 1, 2020): 21. http://dx.doi.org/10.20961/agsjpa.v22i1.35535.
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Kapas (<em>Gossypium </em>sp<em>.</em>) merupakan salah satu andalan sub sektor perkebunan. Serat yang dihasilkan banyak dimanfaatkan sebagai bahan baku dalam industri tekstil di Indonesia. Namun, tanaman kapas banyak yang terserang hama seperti hama <em>Dysdercus cingulatus</em>, <em>Bemissia tabaci</em>, <em>Spodoptera litura</em> dan <em>Antractomorpa crenulata</em> sehingga produksi kapas rendah. Mekanisme resistensi tanaman terhadap serangan hama ada 3 kategori yaitu antixenosis, toleransi, dan antibiosis. Penelitian ini bertujuan untuk menguji resistensi tanaman kapas terhadap serangan hama. Penelitian dilaksanakan di lahan percobaan Politeknik Negeri Lampung dimulai pada bulan Mei sampai November 2018. Penelitian ini menggunakan Rancangan Acak Kelompok non faktorial terdiri dari 22 perlakuan dan 2 kali ulangan dengan masing-masing perlakuan terdiri dari 5 tanaman, sehingga diperoleh 220 tanaman. Data hasil pengamatan diolah melalui analisis varian (Anova) jika nilai rata-rata berbeda maka dilanjutkan dengan uji BNT 5%. Hasil penelitian menunjukan bahwa Plasma nutfah kapas FDH 834 resisten terhadap kerusakan daun tetapi rentan terhadap kerusakan kerusakan batang pada fase generatif dan plasma nutfah kapas SA 2465 resisten terhadap hama penggerek buah.
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Pakpahan, Agus. "Kendala kelembagaan dalam sistem produksi kapas di Sulawesi Selatan." Forum penelitian Agro Ekonomi 7, no. 1 (September 13, 2016): 44. http://dx.doi.org/10.21082/fae.v7n1.1989.44-51.
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<strong>Indonesian</strong><br />Tulisan ini ditujukan untuk memperoleh pengetahuan tentang permasalahan dalam usahatani kapas terutama dalam kaitannya dengan unsur kelembagaan. Data atau informasi yang diperoleh melalui wawancara dengan petani dan pihak lain yang terkait menunjukkan bahwa fluktuasi hasil kapas per hektar di Sulawesi Selatan disebabkan (terutama) oleh serangan hama Heliothis sp. Untuk meningkatkan produksi dan produktivitas kapas bukan hanya diperlukan perbaikan teknologi produksi termasuk teknik pengendalian hama, melainkan juga diperlukan pengetahuan mengenai organisasi usaha kapas yang efektif. Penelitian lanjutan untuk perbaikan organisasi usaha kapas (koordinasi mikro-makro dan makro-makro) perlu dilakukan.
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Nurindah. "Konservasi Musuh Alami Mendukung Budi Daya Tanaman Kapas Tanpa Penyemprotan Insektisida." Buletin Tanaman Tembakau, Serat & Minyak Industri 6, no. 2 (October 10, 2016): 99. http://dx.doi.org/10.21082/bultas.v6n2.2014.99-107.
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<p>Pengendalian serangga hama pada pertanaman kapas pada umumnya masih menggunakan insektisida kimia sintesis, walaupun sistem PHT telah dikenal dan diterapkan. Pengelolaan hama yang berdasarkan pemaham-an agroekologi dengan memperhatikan musuh alami sebagai faktor mortalitas biotik serangga hama yang efektif menghasilkan pengendalian hama tanpa penyemprotan insektisida. Pengelolaan hama dalam sistem budi daya kapas tanpa penyemprotan insektisida tersebut meliputi penggunaan varietas kapas yang mempu-nyai ketahanan penuh atau moderat terhadap wereng kapas, konservasi musuh alami melalui perlakuan benih dengan imidakloprit sebelum tanam atau penyediaan pakan musuh alami dengan penyemprotan molases (te-tes) tebu, dan penerapan ambang kendali dengan mempertimbangkan keberadaan predator. Penerapan sis-tem budi daya kapas tanpa penyemprotan insektisida menyebabkan budi daya kapas lebih efisien dan ramah lingkungan, sehingga dapat berdampak pada minat petani untuk berusaha tani kapas.</p><p> </p><p>Although IPM concept has been recognized and applied in cotton fields, the use of synthetic chemical insec-ticides are still widespread in many places across the country. One of the reasons is because the role of na-tural enemies to control the pests is not yet well understood. Pest management based on understanding of natural enemies of pests as an effective biotic mortality factor is important and will result in cotton pest con-trol without insecticide sprays. The strategy for pest management without insecticide sprays consists of the use of resistant or moderately resistant cotton varieties, conservation of natural enemies through seed treat-ment or artificial food spray with molasses, and the application of action threshold that consider the preda-tor’s presence. Cotton cultivation system without insecticide spray will cause more efficient and environ-mentally friendly cultivation that provides a positive impact on the farmers eager to grow cotton.</p>
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Idris, Herwita. "FORMULA INSEKTISIDA NABATI UNTUK MENGENDALIKAN HAMA PENGGULUNG DAUN (Pachyzancla stultalis) PADA TANAMAN NILAM." Buletin Penelitian Tanaman Rempah dan Obat 25, no. 1 (May 9, 2016): 69. http://dx.doi.org/10.21082/bullittro.v25n1.2014.69-76.
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<p class="IsiabstrakIndonesia">Hama penggulung daun (<em>Pachyzancla stultalis</em>) merupakan salah satu hama penting pada tanaman nilam, dapat merusak dan menurunkan mutu minyak, sehingga perlu dicari solusi yang lebih aman untuk mengendalikan hama tersebut. Penggunaan insektisida botani adalah salah satu cara untuk mengendalikan hama pada tanaman. Sehubungan dengan itu telah dilakukan penelitian insektisida nabati yang mengandung bahan aktif cynamaldehid, citronellal, oleandrin, thevetin dan alamandin terhadap hama penggulung daun nilam <em>P. stultalis</em>. Penelitian dilaksanakan dirumah kaca dan di lapang. Penelitian rumah kaca menggunakan rancangan acak lengkap (tujuh perlakuan dan empat ulangan), sedangkan pengujian skala lapang dilakukan dalam rancangan acak kelompok (10 perlakuan dan tiga ulangan). Parameter pengamatan meliputi mortalitas dan intensitas serangan larva penggulung daun nilam. Hasil penelitian menunjukkan bahwa formula insektisida nabati yang diuji dalam skala rumah kaca, dapat mengendalikan penggulung daun <em>P. stultalis </em>antara 19,81-52,09% pada konsentrasi 5-10%. Pemakaian formulasi 20%, menunjukkan efektifitas lebih baik dengan persentase kematian antara 23,96-56,24%. Pada uji skala lapang, efektivitas formula insektisida lebih rendah dibandingkan rumah kaca, dengan tingkat kematian larva antara 46,80-49,50% dan intensitas serangan antara 41,30-46,40%. Peningkatan konsentrasi formulasi menjadi 22%, menunjukkan hasil yang lebih baik pada semua parameter.</p>
Dissertations / Theses on the topic "Kapa haka"
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Rollo, Te Manaaroha Pirihira. "Kapa Haka Whakataetae Kua tini haere te kanohi o te mahi kapa haka i te ao hurihuri nei." The University of Waikato, 2007. http://hdl.handle.net/10289/2522.
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KO TE ARIA Tihei Haka! Mauriora Kapa haka (Rollo 2006) Ka tū te ihiihi, ka tū te wanawana o te hunga i ngā hui whakataetae kapa haka o te motu. He hui rongonui i te maramataka a te Māori ia tau ia tau, ā, he hui whakahirahira anō mō rātou mā i whakawhiti mai i tāwahi rā hoki. Mā te mahi a te kapa haka ka whakaari ngā rōpū haka i ngā mahi nō nehe rā me ngā mahi hou o te ao onāianei. Ahakoa te āhuatanga o te mahi, he taonga tuku iho nā rātou mā kua mene ki te pō. Moe mai rā e te kāhui o ngā whetu i te pō, moe mai i te Ariki o te rangi. I tēnei tuhinga, e āta titiro ana 'hau ki ngā mahi hou me te āhuatanga hou kei ngā rōpū haka i te whakataetae-a-motu, arā Te Matatini me ētahi atu momo whakataetae i Aotearoa, tāpiri mai hoki ērā kei Te Moana nui a Kiwa. Ko te ingoa matua o tēnei tuhinga, KAPA HAKA WHAKATAETAE. Kua tīni haere te kanohi o te mahi kapa haka i te ao hurihuri nei . No reira, ko te tino pātai kei tēnei rangahau ko tērā. He aha ngā mahi hou kei te kapa haka whakataetae? Nā he hua anō hoki kei reira? Ka hāngaia tonu e te tuhinga nei ngā hui whakataetae kapa haka mai i te tau 1972 tae noa ki te tau 2006. Ngā ūpoko o te tuhinga whakapae E whā ngā wāhanga ūpoko o tēnei tuhinga whakapae. Mā ngā ūpoko katoa ka kitea ai ngā momo kaupapa ake e hāngai pū ana ki te kaupapa mō te whakataetae kapa haka me ōna āhuatanga hou. He mahi whakahirahira tāku ki te whakatakoto i ngā kōrero, i ngā whakaaro, i ngā mātauranga o tēnā tangata mōhio, o tēnā tangata mātau ki roto i ngā whare māramatanga, arā ngā wāhanga wēnā, hei mātauranga hou mō te ao katoa. I te ūpoko tuatahi, ka anga te titiro ki ngā whakamāramatanga o ngā tikanga-a-iwi e pā ana ki te tūturutanga me te ao o te kapa haka. Mā wēnei whakamāramatanga hei awhi i a 'hau i taku rangahau ki te mahi onāianei o te whakataetae kapa haka. Ka whai mātauranga 'hau mō ngā tikanga o ngā kupu e rua. Ko ēnei ko te kupu haka te tuatahi, ā, ko te kupu kapa haka te tuarua. He aha ngā rerekētanga me te ōritenga o wēnei kupu rongonui? Ka anga whakamua ki ngā tūmanako me ngā ritenga o te whakataetae kapa haka a te motu mai i te New Zealand Polynesian Festival tae atu ki Te Matatini. Ko te whāinga mutunga o tēnei wāhanga, ka hoki whakanui ki te whakataetae-a-motu mai i te tau 1972 tae noa atu ki te tau 2006. Ko te ūpoko tuarua, ka whakatakoto e 'hau ngā whakautu o ngā patapātai mai i ngā rārangi kōrero me ngā whakaaro whānui i whakahokia mai e ngā tāngata o ngā rōpū haka e whā, arā, Te Rōpū Haka o Te Kotahitanga, Ngāti Poneke Young Māori Club, ko Te Waihīrere, ā, huri atu ki Te Pou a Mangatāwhiri hoki, he rōpū i whakatūhia anō i te tau 2005. I tēnei wāhanga ka kitea ngā kōrero ātaahua, ngā mātauranga tūturu me ngā whakaaro hōhonu o ngā kaiako me ngā tāngata e tautoko ana i taku mahi kimi mātauranga. Nā rātou ka ohorere, ka mirimiri hoki i tōku hinengaro ki ngā māramatanga hou. He tika anō te kupu ā Pā Henare Tate nō Ngapuhi nui tonu e kī ana, Mā te whakaatu, ka mōhio, mā te mōhio, ka mārama, mā te mārama, ka mātau, mā te mātau, ka ora (Barlow 1991) I te ūpoko tuatoru he whakaaturanga tēnei o āku tirohanga ki ngā āhua rerekē me ngā mahi hou i roto i ngā rōpū haka i runga i te ātamira o te whakataetae, i roto hoki i te mura o te ahi o te whakataetae. Kua tuhituhi au i ngā momo āhuatanga e pā ana ki te taha o te kanikani, te mahi-a-korikori me ngā mahi katoa i runga i te atamira. Ahakoa iti ko tētahi atu wahanga o ērā kōrero e pā ana ki te pūoro me ōna mana kua puta i konei. Ka huri taku tuhinga ki te taha o te reo waiata, te toi whakaari me te whakaataata o ngā mahi a te Rēhia. I konei ka titiro ki te tāmoko, te pani kanohi me te pani tinana, arā he mahi hou katoa. Ko te wahanga mutunga e pā ana ki te reo Māori me te tito waiata hoki. Ahakoa he maha ngā āhuatanga, ko ngā tuhinga nei mō ia āhuatanga kia kitea ai ngā rerekēnga me ngā mahi hou i te whakataetae kapa haka o te ao Māori. No reira te nuinga engari ko wētahi i whakaurua mai i ētahi atu iwi ō tāwahi. Ko te ūpoko whakamutunga, ka hāngai taku titiro ki te ao o te whakataetae, arā, ki ngā whakaaro me te tā o te hinengaro me te ngākau o te tangata. Ka peka haere ki te whakatū o ngā rōpū whakataetae me te parakatihi o ngā waiata, ngā haka me ngā whakaritenga mo te whakataetae kapa haka. Ko te kōrero whakamutunga, ka huri ki wētahi atu o ngā whakataetae mai i Te Kuki Airani, i Tahiti me Hawaii hoki. Āe mārika, ka ora te ao o te whakataetae puta noa i te ao nui. Ki ahau, mā tēnei tuhinga hei whakapuare ngā hurihanga o te ao Māori me te ao o te kapa haka. Ka ea, he tika hoki te whakataukī rā, ka pū te ruha, ka hao te rangatahi (Ryan 1995), arā ka kimi i ērā e pīataata ai o rātou wairua, hinengaro, ngākau.
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Papesch, Te Rita Bernadette. "Creating a modern Maori identity through Kapa Haka." Thesis, University of Canterbury. Theatre and Film Studies, 2015. http://hdl.handle.net/10092/11263.
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Ariā – Abstract
This thesis is concerned with discovering if and how Māori cultural performance, which we now know as Kapa Haka, has contributed to the creation and development of a modern Māori identity. Māori cultural identity is traditionally traced through whakapapa and is confirmed by a practising knowledge of te reo Māori, kawa and tikanga. Whakapapa links a person to his or her atua, tangata, whenua, tūrangawaewae, marae, whānau, hapū, iwi and waka. The question arises as to whether these are still essential elements in defining a modern Māori (cultural) identity. I want to find out what that modern Māori identity looks like and how it is described. I say it is described in and by Kapa Haka.
The framework used for this thesis is that of a Kapa Haka performance, starting with the whakaeke – introduction, and ending with the whakawātea - exit. It weaves together personal histories - my own and those who have memory of the first Festival in 1972 and other developments. It also incorporates social history as it has affected Māori. It looks at the impact this has had on Kapa Haka from the early concert parties set up for tourist consumption, to iwi and Hāhi hui, to Te Matatini in the present, all the while developing an argument for a modern Māori identity.
In undertaking to write this doctoral thesis in Theatre and Film Studies, I have placed myself in a position where I have to step outside of my assumptions of what I think I know about who I am and what I am. This is in order to attempt to explain what I mean by not only a cultural identity, but also a modern Māori identity, as identified in Kapa Haka, so that others will understand. I need to be able to sing the song when I need to, remembering that it is what I do best.
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Valzer, Simon. "Un exemple de revitalisation culturelle : les arts performatifs maori - Haka et Kapa haka." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10115.
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Ka'ai-Oldman, Rachael Te Awhina, and n/a. "Takina ko au, Takina ko koe! Te ahuatanga o te whakataetae kapa haka." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.123401.
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Nga mahi a Tane-rore me Te Rehia (traditional Maori performing arts) is one of the most visible aspects of Maori culture. Traditional Maori performing arts is one of the key elements seen on the marae and it marked the first experiences between the Maori and European explorers. However, since the arrival of tauiwi (foreigners) the art has evolved, largely as a result of outside influences. Many of the changes that have been introduced to the art have been a product of the struggle of Maori to maintain their language and customs, despite the onslaught of cultural domination. An example of one such change is the introduction of a Western style competition, that is, a formal style of competition that includes judges, assessment criteria and/or competition rules, and prizes. This thesis will explore the evolution of traditional Maori performing arts with particular reference to how this traditional art form has been affected by the 'Western' notion of competition.
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Paenga, Maria Dawn Te Ahu. "Te Māoritanga wellbeing and identity : Kapa Haka as a vehicle for Māori health promotion : a dissertation submitted to Te Wānanga Aronui o Tamaki Makau Rau, AUT University in partial fulfilment of the requirements for the degree of Master of Health Science (MHSc), 2008." Abstract Full dissertation, 2008.
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Dissertation (MHSc--Health Science) -- AUT University, 2008.Includes bibliographical references. Also held in print (xi, 132 leaves : col. ill. ; 30 cm.) in North Shore Campus Theses Collection (T 362.108999442 PAE)
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Hamilton, Mark James. "Martial Dance Theatre: A Comparative Study of Torotoro Urban Māori Dance Crew (New Zealand) & Samudra Performing Arts (India)." Thesis, University of Canterbury. Theatre and Film Studies, 2010. http://hdl.handle.net/10092/5092.
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This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit.
The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge.
In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?
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Rollo, Te Manaaroha. "Kapa haka whakataetae kua tīni haere te kanohi o te mahi kapa haka i te ao hurihuri nei : kapa haka whakataetae, 1972-2006 /." 2007. http://adt.waikato.ac.nz./public/adt-uow20070306.125340.
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Whitinui, Paul. "The indigenous factor: exploring kapa haka as a culturally responsive learning environment in mainstream secondary schools." 2008. http://hdl.handle.net/2292/2377.
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Recent research focusing on improving educational outcomes for Māori students in mainstream secondary schools in Aotearoa/New Zealand have asserted that building positive student-teacher relationships in the classroom are fundamental (c. f. Bishop, Berryman, & Richardson, 2003; Bishop & Tiakiwai, 2003; Ministry of Education, 2002, 2006). In contrast, attempts to investigate the educational benefits associated with Māori students participating in cultural learning activities, such as kapa haka, and the implications for improving levels of Māori student achievement, remains relatively unexplored. To embark on such an investigation, Māori kapa haka students and teachers from four mainstream secondary schools were invited to take part in an interview process informed by using a Kaupapa Māori theoretical approach. As a result, the study revealed quite emphatically that not only does kapa haka provide Māori students with an appropriate ‘culturally responsive’ learning experience, but that they also feel more confident and optimistic about school and their education. Moreover, kapa haka provides the opportunity for students to celebrate who they are as Māori and as ‘culturally connected’ learners in mainstream schooling contexts. In addition, Māori students through the kapa haka experience learn to ‘protect’, ‘problem-solve’, ‘provide’, and ‘heal’ their inner self-worth, essence and wellbeing as Māori. Similarly, most teachers agreed that kapa haka provides Māori students with a creative, dynamic and powerful way to access their learning potential as cultural human beings. An overwhelming response by both students and teachers is that kapa haka should be timetabled as an academic subject to provide greater access to indigenous and cultural performing art that affirms their identity as Māori, and our uniqueness as New Zealanders. Finally, the research proposes a ‘culturally responsive’ learning strategy to assist what mainstream secondary schools and teachers provide as valid and purposeful learning opportunities for ‘culturally connected’ learners who are Māori.
Books on the topic "Kapa haka"
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Belcher, Angie. The girls in the kapahaka. Auckland, N.Z: Reed, 2006.
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Haea ya, kʻosŭmosŭ pada ro kaja. Sŏul: Ŭlchi Sŏjŏk, 1990.
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Bijutsukan, Ishikawa Kenritsu. Maeda Tsunanori ten: Kaga bunka no hana : kaikan 5-shūnen kinen. Kanazawa-shi: Ishikawa Kenritsu Bijutsukan, 1988.
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Hakubutsukan, Ishikawa Kenritsu Rekishi. Some no hana, ori no kokoro: Kaga, Noto no waza to dezain. Kanazawa-shi: Ishikawa Kenritsu Rekishi Hakubutsukan, 2011.
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Kitanā kama jānate haiṃ hama khyatihīnata ke bāre meṃ: Kavitaem̐ : 2007 se 2011. Jayapura: Bodhi Prakāśana, 2012.
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Nukman. Tenggelamnya kapal van der Wijck Hamka dan Majdulin al-Manfaluthy: Studi sastra komparatif : laporan penelitian. Padang: Institut Agama Islam Negeri Imam Bonjol, 1996.
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Vesco, Silvia. Spontanea maestria. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-426-4.
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The appearance of Dr Vesco’s translation and study of Hokusai’s Ryakuga haya oshie, together with a full reproduction of the original book, is a matter of great excitement in the field of Japanese Studies. Hokusai has been known in Europe and North America for some 150 years. In his own country, he came to public attention about 1800, with youthful work produced under the name of Shunrô. He lived to the advanced age of 88, and when he died in 1849, he was one of the best-known artists in Japan. He was soon to be the best-known Japanese artist in the West, a status that he probably still holds. ‘Under the Great Wave off Kanagawa’ – often referred to simply as ‘Hokusai’s Great Wave’ (from the Thirty-six View of Mt Fuji) – is said to be the most immediately-recognisable piece of graphic design worldwide. Hokusai was a townsman living in a socially stratified society. He was not a member of the elite, though other famous artists were. He did neither depict elite topics, nor work for elite clients. Rather, Hokusai associated with the ‘Floating World’ (ukiyo) that is Edo’s leisure-time distractions. He also made views of his city, its surroundings, and the wider Japanese countryside, but he was not a great traveller, other than in his mind. Rather unrecognised is what Dr Vesco now brings to our attention. Hokusai saw his role as promoting the practice of art. Of course, he had his students, but as we see here, Hokusai also published out-reach volumes, aimed at introducing the joys of picture-making to amateurs who were not being formally instructed. The lessons were easy to follow, and also fun, as he reduced people animals and plants to basic shapes and formulae. Starting with the auspicious subject of Tang lions (kara shishi), Hokusai leads us through a range of topics, down to the demotic, such as clothes washing. Readers today will certainly find a smile crossing their face as they look through the pictures. Thanks to Dr Vesco’s careful translations, we can also understand the advice and commentaries supplied in Hokusai’s accompanying texts. An additional feature of Dr Vesco’s work will be of assistance to more specialist readers, as she has transcribed the original Japanese. This was no simple task, as it is written in abbreviated calligraphy (kuzushiji). At all levels, readers, art enthusiasts and those who love to create pictures will now have access to Hokusai’s most important study aid. We can delve into it, copy from, and chuckle at, just as people did when the volumes first appeared. Western readers might ponder something else: Ryakuga haya oshie appeared in 1812, as European countries were tearing themselves apart.
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Wilson, Oli. Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0014.
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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.
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Te, Karu Sonny, ed. Te ngahurutanga o ngā tau o te Kapa haka o te whare Wānanga o Waikato. Hamilton: Te Ngahurutanga, 1989.
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Nizwar, Syafa'at, ed. Laporan akhir analisis kebijaksanaan sosial ekonomi pengembangan agribisnis komoditas kapas dalam mendukung pengembangan teknologi pengendalian hama terpadu. [Bogor]: Bagian Proyek Penelitian Pengendalian Hama Terpadu Perkebunan Rakyat, Badan Penelitian dan Pengembangan Pertanian, Departemen Pertanian, 2003.
Find full textBook chapters on the topic "Kapa haka"
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Rollo, Te Manaaaroha. "Kapa Haka Transforms Lives Through Arts-Based Service Learning: Developing a Sense of Community Ownership in Service Learning Projects: A Māori Perspective." In Engaging First Peoples in Arts-Based Service Learning, 159–74. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-22153-3_11.
Full textConference papers on the topic "Kapa haka"
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Harlianingtyas, Irma, and Ramadhan Taufika. "Peramalan Serangan Hama Tanaman Tembakau (Nicotiana tabaccum) pada Fase Vegetatif di PT. Tarutama Nusantara Jember." In Seminar Nasional Semanis Tani Polije 2020. Politeknik Negeri Jember, 2020. http://dx.doi.org/10.25047/agropross.2020.48.
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Tembakau adalah produk pertanian semusim yang bukan termasuk dalam komoditas perkebunan. Produk ini dikonsumsi bukan untuk makanan tetapi sebagai pengisi waktu luang yaitu sebagai bahan baku rokok dan cerutu. Tembakau juga dapat dikunyah. Kandungan metabolit sekunder yang kaya juga membuatnya bermanfaat sebagai pestisida dan bahan baku obat. Salah satu tantangan dalam budidaya tembakau adalah adanya organisme pengganggu tanaman. Serangan hama dan penyakit dapat mempengaruhi kualitas maupun kuantitas hasil panen tembakau. Serangan hama dan penyakit yang paling banyak terjadi adalah pada saat fase vegetatif, karena pada vase ini semua bagian tanaman menjadi sasaran makanan bagi organisme pengganggu tanaman. Organisme pengganggu tanaman yang dianggap sebagai hama pada vase vegetattif tanaman tembakau adalah ualt tanah, ulat daun, belalang, kupu, gayas/jangkrik. Kegiatan penelitian ini dilakukan di PT Tarutama Nusantara Jember, data yang digunakan adalah data serangan hama yang terjadi pada seluruh kebun milik TTN dari tahun 2013 hingga 2019. Tujuan dilakukan penelitian ini adalah mengtahui prediksi serangan hama yang akan terjadi guna mempermudah perusahaan dalam menentukan strategi dan kebijakan guna meningkatkan produksi tembakau khususnya sebagai pelapis cerutu dekblad/wrapper. Metode penelitian yang digunakan untuk memprediksi serangan hama yang terjadi adalah metode regresi linier. Hasil penelitian menunjukkan prediksi serangan hama ulat tanah (Agrotis iplison) tahun 2021 sebesar 15,6%, ulat grayak (Spodoptera litura) sebesar 19,08%, serangan hama belalang sebesar 15,77%, dan serangan hama ketep (Setomorpha rutella) sebesar 15,23%, serta serangan hama jangkrik (Gryllidae) pada tahun 2021 adalah sebesar 8,20%.
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ÖZLÜ, Zeynel, and Kerim TİRYAKİ. "CUMHURİYETİN İLK YILLARINDA TÜRK HAVA SAHASININ GÜVENLİĞİNE DAİR BİR ÇALIŞMA: TÜRKİYE CUMHURİYETİ SEYRÜSEFER-İ HAVÂÎ KARARNAMESİ (1925)." In 9. Uluslararası Atatürk Kongresi. Ankara: Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.92.
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XIX. yüzyıldan başlayıp günümüze kadar gelişme göstermiş olan uçak teknolojisinin savaş dönemlerinde yarattığı ve yaratacağı tehlikeler, barış dönemlerinde yolcu taşımacılığı güvenliğinin sağlanması ihtiyacı ve ülkelerin kendi ulusal hava sahası güvenliğini sağlama düşüncesi hava sahası güvenliği politikalarını doğurmuştur. Bu amaç doğrultusunda her ülke uluslararası antlaşmalar çerçevesinde hazırlanan bağlayıcı temel ilkeler doğrultusunda ulusal hava sahası güvenlik politikalarını oluşturmaya çalışmıştır. Bu bağlamda Lozan antlaşmasında da bu konu ile alakalı belirlenen ilkeler çerçevesinde Türkiye Cumhuriyeti Devleti kendi hava sahası güvenliğini sağlama çalışmalarında bulunmuştur. Bu çerçevede Lozan Antlaşmasında hava ulaşım güvenliğinin sağlanmasına yönelik hazırlanan bağlayıcı ilkeler doğrultusunda Türkiye Cumhuriyeti Seyrüsefer-i Havâî Kararnamesi hazırlanmıştır. Yapılan bu çalışmada da adı geçen bu kararname analiz edilerek cumhuriyetin ilk yıllarında Türk hava sahası güvenliğinin sağlanmasına dair tespitlerde bulunulmuştur. Bu kararnamede 6 bölüm 35 madde, uçuş sahası dahilinde ülkelere verilen rumuzların ne şekilde olduğunu gösteren ve askeri uçak meydanlarındaki ücretlerin belirtildiği iki liste, Lozan antlaşmasında hava faaliyetleri ile alakalı madde ve bölümler ve İstanbul ve Çanakkale boğazlarından geçiş usulüne dair sözleşme maddeleri yer almıştır. Ayrıca Türkiye Cumhuriyeti hava sahasının sınırları, Türk savaş uçakları ve balonlarından başka uçak ve balonların belirlenmiş mevkilerin üstünde uçmalarının ve bu mevkiler dahilinde karaya inmelerinin yasak olduğu ve İzmir, Çatalca, İzmit, Amasra, Samsun, Trabzon, Erzurum mıntıkalarının uçuş sınırları belirtilmiştir. Türkiye Cumhuriyeti hava sınırları dahilinde sivil uçak ve balonların uçuş haklarına sahip olan devletlerin 1919 tarihli uluslararası hava sözleşmesine imza atan devletler olduğu belirtilmiştir. Uluslararası sözleşme dışında kalan ülkelerin ise sivil uçak ve balonlarının Türkiye Cumhuriyeti tarafından belirlenmiş sınırlar dahilinde uçuş haklarına sahip oldukları ve bu hakların da kara ve deniz uçaklarına göre sınıflandırıldığı ifade edilmiştir.
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Abbas, Abbas. "Comparison of The Female Stereotypes in O Pioneers! by Willa Cather And Tenggelamnya Kapal Van Der Wijck by Hamka." In First International Conference on Advances in Education, Humanities, and Language, ICEL 2019, Malang, Indonesia, 23-24 March 2019. EAI, 2019. http://dx.doi.org/10.4108/eai.23-3-2019.2284914.
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Sulistyowati, Desty Dwi, R. M. Yani Abikresna J, Wahyu Widiyono, and Solichatun. "Karakterisasi Fisiologis 15 Aksesi Sorgum (Sorghum bicolor L. Moench) pada Fase Awal Vegetatif." In Seminar Nasional Semanis Tani Polije 2021. Politeknik Negeri Jember, 2021. http://dx.doi.org/10.25047/agropross.2021.209.
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Sorgum (Sorghum bicolor L.) merupakan tanaman serealia yang potensial untuk dibudidayakan dan dikembangkan, khususnya pada daerah-daerah marginal dan kering di Indonesia. Pengetahuan tentang karakterisasi fisiologis pada fase awal pertumbuhan pertumbuhan tanaman sangat penting, terkait dengan pemenuhan air dan hara untuk aktivitas fisiologis dan efisiensi pemanfaatan air pada tanaman sorgum. Penelitian ini bertujuan untuk mengetahui pola pertumbuhan 15 aksesi sorgum, khususnya pada fase vegetatif pertumbuhan awal sebagai dasar pengetahuan pada fase pertumuhan dan perkembangan berikutnya. Penelitian dilaksanakan di rumah kaca Pusat Penelitian Bioteknologi LIPI Cibinong dengan 15 aksesi sorgum yang ditanam Januari hingga Februari 2019. Penanganan hasil panen di Laboratorium Fisiologi Stres dan Konservasi Benih Bidang Botani Pusat Penelitian Biologi LIPI. Analisis kuantitatif, dilakukan berdasarkan Rancangan Acak Kelompok dengan 15 nomor aksesi sorgum dan 3 kali ulangan. Analisis data dilakukan dengan menyajikan perbandingan rata-rata hasil perolehan data ke dalam bentuk tabel dan histogram, terdiri dari pengamatan hasil pengamatan dan pengukuran. Dari keseluruhan data pertumbuhan meliputi data tinggi tanaman, jumlah daun, kadar klorofil,dan potensial daun dari 15 aksesi sorgum selama 3 MST, dapat dibandingkan keseluruhan data yang diperoleh. Dapat disimpulkan dari beberapa data pengukuran, aksesi yang dinilai kurang baik adalah aksesi Kawali dengan nilai yang selalu terendah dari seluruh aksesi pada semua parameter pengukuran. Sedangkan aksesi yang dapat dinilai cukup baik adalah Buleleng Empok (berdasarkan data tinggi tanaman dan jumlah daun), Suri 4 (berdasarkan data tinggi tanaman, jumlah daun dan potensial air daun), dan Jagung Rote (berdasarkan data tinggi tanaman, jumlah daun, dan kadar klorofil daun).
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BULU, Hatice. "Halkla İlişkiler Amaçları Perspektifinde Sağlık Bakanlığı’nın Pandemi Sürecinde Sosyal Medya Paylaşımları: T.C. Sağlık Bakanlığı Instagram Hesabı İçerik Analizi." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.050.
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Günümüz yaşanan teknolojik gelişmeler bireyleri geleneksel anlamda kullanılan kitle iletişim araçların- dan uzaklaştırarak, modern dijital yöntem ve tekniklere yöneltmiştir. İnternetin kişilerin yaşantısında yer etmesiyle birlikte enformasyon toplumuna ve dijital çağa adım atılmıştır. Bireyler eski yaşantılarına nazaran bilgiye ulaşmak ve bunu diledikleri gibi yayma açısından sınıf atlamışlardır. Gerek kişiler gerekse de kurumlar meydana gelen bir durum ya da gelişmeyi anlık olarak kitlelere ulaştırabilmekte, seslerini duyurabilmektedirler. İleti ve içeriklerin hızlı bir şekilde yayıldığı platformlardan biri de sosyal medya mecralarıdır. Halkla ilişkilerin kurum ve kamuoyu arasında karşılıklı anlayış, iletişim ve uyumu sağladığını göz önünde bulundurulduğunda, sosyal medyanın halkla ilişkiler açısından önemli bir araç olduğunu söylemek mümkün. Küresel anlamda hızla yayılan Covid-19 salgını nedeniyle Dünya Sağlık Örgütü Pandemi ilan etmiştir, Türkiye’de ilk vakanın 11 Mart 2019 tarihinde görülmesiyle birlikte insanlar yoğun bir şekilde gündemi takip etmeye ve güncel olaydan haberdar olmaya çalışmışlardır. Bu bağlamda halkı olup bitenlerden haberdar etmek, bilgilendirmek adına yetkili kurumların geleneksel kitle ileti- şim araçlarının yanı sıra sosyal medya hesaplarına da yöneldikleri görülmektedir. Bu çalışma kapsamında Sağlık Bakanlığı’nın ‘’saglikbakanligi’’ adlı instagram hesabı üzerinden yapılan paylaşımların Grunig ve Hunt’ın Dört Halkla İlişkiler Modeli kapsamında halkla ilişkiler amaçları çerçevesinde ele alınıp incelenecektir. Çalışma kap- samında ‘’saglikbakanligi’’ instagram hesabı üzerinden 1 Aralık 2020 ve 1 Mart 2021 tarihleri arasında paylaşılan iletiler üzerinden içerik analizi yapılacaktır. Yöntem olarak paylaşımlar farklı başlıklar altında sınıflandırılacak. Sağlık Bakanlığı instagram hesabının 1 Aralık 2020 ve 1 Mart 2021 tarihleri arasındaki paylaşımların verileri, pay- laşımların türüne ilişkin veriler, paylaşılan postların altında kullanılan metnin dil özellikleri ve Grunig ve Hunt’ın dört halkla ilişkiler modeli kapsamında halkla ilişkiler amaçlarına yönelik içerikler değerlendirilecek. Araştırma neticesinde ise elde edilen bulgulara bakıldığında Sağlık Bakanlığının instagram hesabı üzerinden halka yönelik açık, şeffaf ve katılımcı bir yaklaşım sergilediği saptanmış, kamuoyundan bu pandemi sürecinde aktif katılım ve desteğin beklendiği görülmüştür.