Academic literature on the topic 'Te Kawa a Māui'
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Journal articles on the topic "Te Kawa a Māui"
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Schmidt, Tyson. ""... the menace posed to public healthy "insantiary pahs": Sir Māui Pōmare's clean up of Māori architecture." Architectural History Aotearoa 8 (January 1, 2011): 47–57. http://dx.doi.org/10.26686/aha.v8i.7100.
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Apirana Ngata, Te Puea Hērangi and Wiremu Rātana each left behind what Deidre Brown calls "a major architectural movement" – Ngata staged an architectural renaissance based on traditional practices, Te Puea looked to develop a blending of building practices, and Rātana pointed to a new direction altogether. Sir Māui Pōmare, however, left no distinctive architecture that embodied his views of his people's future, and has largely been overlooked in New Zealand's architectural history as a result. Pōmare's crusade to improve the health of Māori communities, however, did have a pervasive and direct impact on Māori architecture. His beliefs and actions provide an important counterpoint to those of his contemporaries, helping us understand the full spectrum of architectural actions taken by Māori in the early twentieth-century. This paper examines Sir Māui Pōmare's work and its architectural impact, placing it in the context of other influential Māori architectural movements of the time.
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Bischoff, Alan, Andrea Barrier, Mac Beggs, Andrew Nicol, Jim Cole, and Tusar Sahoo. "Volcanoes buried in Te Riu-a-Māui/Zealandia sedimentary basins." New Zealand Journal of Geology and Geophysics 63, no. 4 (July 9, 2020): 378–401. http://dx.doi.org/10.1080/00288306.2020.1773510.
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Anderson, Atholl. "Paulin, Chris, and Mark Fenwick: Te Matau a Māui - Fish-Hooks, Fishing, and Fisheries in New Zealand." Anthropos 112, no. 1 (2017): 347–48. http://dx.doi.org/10.5771/0257-9774-2017-1-347.
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Taiwhati, Marama, Rawiri Toia, Pania Te Maro, Hiria McRae, and Tabitha McKenzie. "Takina te Kawa: Laying the Foundation, a Research Engagement Methodology in Aotearoa (New Zealand)." Australian Journal of Indigenous Education 39, no. 1 (2009): 110–17. http://dx.doi.org/10.1375/s132601110000096x.
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AbstractIn the bi-cultural context of Aotearoa (New Zealand), engagement with stakeholders that is transparent and culturally responsive is a priority for educational research. More common research approaches in New Zealand have followed a Western euro-centric model of engagement with research participants resulting in interventions and initiatives that have not necessarily served the needs of the education sector. The authors critically analyse the researcher relationship with research participants to provide a Māori perspective to guide the engagement process as researchers enter educational communities to conduct research. Embedded with Māori ideology and knowledge, the Hei Korowai ethical research framework is a platform for insider positionality that acknowledges partnership between the researcher and the researched for the benefit of knowledge development and the educational sector.
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Robertson, Natalie. "Swirling currents emerge at the Waiapu river mouth: Lens-based witnessing, documenting and storytelling of slow catastrophes." Journal of Environmental Media 2, no. 1 (November 1, 2021): 6.1–6.16. http://dx.doi.org/10.1386/jem_00054_1.
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This article considers how Indigenous stories and chants can tell us about our ecologies in the time of environmental emergencies. For Ngāti Porou of the lower reaches of the Waiapu river catchment in Te Ika-a-Māui, the North Island of Aotearoa (New Zealand), the slow catastrophes of twentieth-century colonial deforestation impacts, introduced pest-induced inland forest collapse and predicted twenty-first-century climate change sea level rise have converged as our most pressing environmental problems. Waiapu is home to Ngāti Porou Tūturu, coastal fishing people who value their relationships with fish species, notably kahawai. The mōteatea chant form acts as a guide to my photographic and moving image practice to visualize and voice the slow catastrophe of the river. In this article, I discuss how the Ngāti Porou mōteatea He Tangi mo Pāhoe, which reveals nineteenth-century ecological knowledge, particularly of fish species, is reimagined as a moving image visual mōteatea. Through reframing the threats as the current faces of our ancestors, this article proposes a shift in thinking from vulnerability into resilience.
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Trewick, Steven A., Ian M. Henderson, Stephen R. Pohe, and Mary Morgan-Richards. "Spatial Variation of Acanthophlebia cruentata (Ephemeroptera), a Mayfly Endemic to Te Ika-a-Māui—North Island of Aotearoa, New Zealand." Insects 13, no. 7 (June 23, 2022): 567. http://dx.doi.org/10.3390/insects13070567.
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The mayfly Acanthophlebia cruentata of Aotearoa, New Zealand, is widespread in Te Ika-a-Māui North Island streams, but has never been collected from South Island despite land connection during the last glacial maximum. Population structure of this mayfly might reflect re-colonisation after volcanic eruptions in North Island c1800 years ago, climate cycling or conceal older, cryptic diversity. We collected population samples from 33 locations to estimate levels of population genetic diversity and to document phenotypic variation. Relatively low intraspecific haplotype divergence was recorded among mitochondrial cytb sequences from 492 individuals, but these resolved three geographic-haplotype regions (north, west, east). We detected a signature of isolation by distance at low latitudes (north) but evidence of recent population growth in the west and east. We did not detect an effect of volcanic eruptions but infer range expansion into higher latitudes from a common ancestor during the last glacial period. As judged from wing length, both sexes of adult mayflies were larger at higher elevation and we found that haplotype region was also a significant predictor of Acanthophlebia cruentata size. This suggests that our mitochondrial marker is concordant with nuclear genetic differences that might be explained by founder effect during range expansion.
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Hughes, Hemaima. "Te Hikoi o Kawa Whakaruruhau Inanahi ki aiane: The journey to cultural safety yesterday to today." Nursing Praxis Aotearoa New Zealand 37, no. 1 (March 2021): 9. http://dx.doi.org/10.36951/27034542.2021.009.
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Hewson, Ian, and Mary A. Sewell. "Surveillance of densoviruses and mesomycetozoans inhabiting grossly normal tissues of three Aotearoa New Zealand asteroid species." PLOS ONE 16, no. 4 (April 22, 2021): e0241026. http://dx.doi.org/10.1371/journal.pone.0241026.
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Asteroid wasting events and mass mortality have occurred for over a century. We currently lack a fundamental understanding of the microbial ecology of asteroid disease, with disease investigations hindered by sparse information about the microorganisms associated with grossly normal specimens. We surveilled viruses and protists associated with grossly normal specimens of three asteroid species (Patiriella regularis, Stichaster australis, Coscinasterias muricata) on the North Island / Te Ika-a-Māui, Aotearoa New Zealand, using metagenomes prepared from virus and ribosome-sized material. We discovered several densovirus-like genome fragments in our RNA and DNA metagenomic libraries. Subsequent survey of their prevalence within populations by quantitative PCR (qPCR) demonstrated their occurrence in only a few (13%) specimens (n = 36). Survey of large and small subunit rRNAs in metagenomes revealed the presence of a mesomycete (most closely matching Ichthyosporea sp.). Survey of large subunit prevalence and load by qPCR revealed that it is widely detectable (80%) and present predominately in body wall tissues across all 3 species of asteroid. Our results raise interesting questions about the roles of these microbiome constituents in host ecology and pathogenesis under changing ocean conditions.
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Wood, Peter. "Swiss Architectural Origins, Le Corbusier, and the Pātaka of Lake Horowhenua (1845)." Architectural History Aotearoa 11 (October 1, 2014): 72–81. http://dx.doi.org/10.26686/aha.v11i.7417.
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In April, 1845, the Rev. Richard Taylor passed through the area of the North Island now marked by the town of Levin. At this time, he described Lake Horowhenua as being of singular appearance for the small storehouses built over the water on poles. As was his predilection, Taylor made a drawing of the lake huts, a version of which was belatedly included in the second edition of his most important literary contribution, Te Ika-a-Māui (1870). This image would have remained as little more than a questionable curiosity was it not for Messrs Black Bros who, in the course of exploring the lake bed for Māori artefacts in 1932, legitimised Taylor's observation with their discovery of the submerged architectural remains of an aquatic hut. Nonetheless, almost a century after Taylor's original diary entry, GL Adkin, writing for The Journal of the Polynesian Society, lamented the neglect shown toward these remarkable structures, and which he cited as just one example of the "tantalising gaps" in the recorded history of Māori custom and culture. Sadly, it is well beyond the scope of this research to properly redress the historical neglect shown toward lake pātaka. What I do wish to do is to link these structures to an event on the shores of the Lake of Zurich, Switzerland, when Dr Ferdinand Keller noticed some half-submerged piles in 1854. Upon these remains Keller made a great, if erroneous, case for primitive "pile-work habitations" in the Swiss lakes. The impact of this argument cannot be understated. It became the privileged model for architectural origins in the German and French parts of Switzerland, and by the 1890s it was a part of standard teaching texts in Swiss schools, where it was firmly inculcated into the curriculum at the time that Charles Edouard Jeanneret was a child. This in turn has led Vogt to suggest that, in Keller's "dwellings on the water," Le Corbusier found a Primitive Hut typology that underpinned all his architectural thinking, and which is made most explicit in his principled use of piloti. What makes this all the more involved is that Keller, in searching for examples to visualise the construction of the Swiss lake dwellings, turned to the Pacific (which he categorised as at a developmental stage of architectural evolution akin to early Europe). In this paper I identify the exact etching by Louis Auguste de Sainson that Keller took for direct influence. The problem, however, is that de Sainson depicted a conventional whare built on land, and Keller transposed it to the water. So we have on the one side of this paper an authentic lake whare that is all but forgotten, and a famed European lake-hut that is all but Māori, and between the two is the figure of Le Corbusier who may or may not have unknowingly based one on his major innovations on influences found in the pātaka of Lake Horowhenua.
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Tecun, Arcia. "Kava Rootz." Journal of Anthropological Films 5, no. 01 (April 23, 2021). http://dx.doi.org/10.15845/jaf.v5i01.2844.
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This documentary film is a result of multi-sited ethnographic research between 2015-2019, which explores cultural identity, gender, music, and spirituality through contemporary and common kava practices. Drawing from over 17 years of participation in kava communities, this film is grounded in Tongan experiences, while also including a mobile and expanding Moana/Wansolwara/Oceanic perspective with contributions from Fijians, Sāmoans, Māori, and more. The knowledge holders in this film span across four territories, including Te Ika a Māui in Aotearoa, Utah (US) on Turtle Island, The Kingdom of Tonga, and Kamberra, Australia. They share a complex web of experiences, purpose, and tensions within the contemporary practices of common kava gatherings known in Tongan as faikava. Contemporary kava gatherings are spaces to release the pressures of modern life, nurture ancestral and social relationships, reveal truths, build community, produce and transmit knowledge, negotiate identity, heal, and foster positive well-being through comradery and openness. This film cannot cover all of the complexity of kava culture, yet attempts to be a meaningful introduction to the dynamic practices that are alive and expanding throughout the world.
Books on the topic "Te Kawa a Māui"
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21-seiki Nyū Metoroporisu Tōkyō o Kangaeru Kai. Tōkyō kawa no te no mirai o kataru. Tōkyō: 21-seiki Nyū Metoroporisu Tōkyō o Kangaeru Kai, 1989.
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Patricia, Tauroa, and Hanly Gil, eds. Te marae: A guide to customs & protocol. Auckland: Reed Methuen, 1987.
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Harawira, Wena. Te Kawa O Te Marae. Reed New Zealand, 2000.
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author, Atkinson Brett, Bennett Sarah 1971 author, Dragicevich Peter author, Slater Lee 1971 author, and Lonely Planet Publications (Firm), eds. New Zealand's North Island: (Te Ika-a-Māui). 4th ed. Lonely Planet Publications, 2016.
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author, Atkinson Brett, Isalska Anita author, and Levin Sofia author, eds. New Zealand's North Island (Te Ika-a-Māui). 5th ed. 2018.
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Atkinson, Brett. New Zealand's North Island: (Te Ika-a-Māui). 3rd ed. 2014.
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Te Matau a Māui: Fish-hooks, Fishing and Fisheries in New Zealand. University of Hawaii Press, 2016.
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Mirai no kawa no hotori ni te: Yoshinogawa messeji = Message from the river of the future. Hatsubai Yama to Keikokusha, 1997.
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Gover, Kirsty, and Frances Hancock. He Tirohanga O Kawa Ki Te Tiriti O Waitangi: A Guide to the Principles of the Treaty of Waitangi As Expressed By the Courts and the Waitangi Tribunal. te puni kokiri, 2001.
Find full textConference papers on the topic "Te Kawa a Māui"
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Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.
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In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.
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This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.
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Grieve, Fiona, and Kyra Clarke. "Threaded Magazine: Adopting a Culturally Connected Approach." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.
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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.
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Grieve, Fiona, and Kyra Clarke. "Revista Threaded: Adotando uma abordagem culturalmente conectada." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.g52.
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Já se passaram dez anos desde que o conceito de Plataforma de Publicação foi publicado na edição especial do Scope Journal ISSN (versão on-line; 1177-5661). O termo “Plataforma de Publicação” foi introduzido no relatório de prática O Site de Publicação na Prática Contemporânea. Este artigo pesquisou uma série de projetos de publicação analisando modelos editoriais distintos como locais para discussão, colaboração, apresentação de prática e reflexão. Neste contexto, o termo “Plataforma de Publicação” é empregado para descrever um espaço para uma série de modos editoriais distintos. A plataforma considera o impresso como espaço de diversidade de discursos e disseminação de ideias, ampliando o significado e as fronteiras da mídia impressa por meio de um espectro de cenários editoriais. A Plataforma de Publicação posiciona os espaços impressos como sites para refletir sobre estruturas editoriais, conteúdo, práticas de design e metodologias colaborativas. Uma das ideias centrais do relatório foi o papel da colaboração para conduzir o conteúdo, examinando como as relações criativas e a parceria de produção de mídia afetam a prática editorial e os resultados do design. Dez anos depois, a Plataforma de Publicação evoluiu e renovou-se com projetos de publicação emergentes, para incorporar um espectro de prática responsiva à comunidade, experimentação, interdisciplinaridade, conexão crítica, criatividade, produção cultural, artes contemporâneas e discurso artesanal. Este artigo apresenta um estudo de caso da “Threaded Magazine” como um projeto editorial e o papel de sua abordagem culturalmente conectada. Este estudo usa o termo “abordagem culturalmente conectada” para enquadrar como a Threaded Magazine incorpora, como uma base orientadora para cada edição, os três princípios de Te Tiriti o Waitangi: participação, proteção e parceria. Esta apresentação reflete sobre como estes princípios se conectam a quem a Threaded Magazine é coletivamente, como editores e designers, e é determinada por quem nos associamos, fazemos parceria e colaboramos. Um fator-chave que influenciou a Threaded Magazine a adotar uma abordagem mais culturalmente conectada surgiu com o convite para participar da publicação internacional intitulada Projeto 16/2, encomendada pela Fedrigoni Papers para a Feira do Livro de Frankfurt, na Alemanha. O Projeto 16/2 criou uma oportunidade para um processo de autodescoberta editorial. Esta trajetória traduziu a tradição da narrativa oral para a linguagem gráfica, transmitindo a essência (te ihi) de quem éramos. A visualidade e tato da mídia impressa definiu um formato para para a Threaded Magazine se concentrar na herança cultural, tradições originais e narrativas de Aotearoa. Este artigo apresenta uma visão geral da introdução de um kaupapa para a edição 20, a edição de “Novos Começos” e o processo de adesão a tikanga Māori e Mātauranga Māori, enquanto estabelece um kawa editorial específico (protocolo) para a publicação. A influência e colaboração com o consultor cultural rōpū (grupo) Ngā Aho, kaumātua e kuia (conselheiros) irá desenvolver o princípio da participação. A edição 20 conectou a Threaded Magazine profissional, espiritual, física e culturalmente com a identidade única e a paisagem dos praticantes indígenas na vanguarda do mahi toi (arte contemporânea maori) em Aotearoa. A edição especial, número 21, em desenvolvimento, continua a avançar uma abordagem culturalmente conectada trabalhando com whānau, kaiwhatu (tecelões), tohunga whakairo (escultores), kaumātua e kuia para explorar narrativas culturais, conexões, visualmente, por meio de uma estrutura editorial.
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Grieve, Fiona, and Kyra Clarke. "Revista Threaded: Adopción de un enfoque culturalmente conectado." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.g51.
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Han pasado diez años desde que se publicó el concepto de Plataforma de Publicaciones en la edición especial del Scope Journal ISSN (versión en línea; 1177-5661). El término “Plataforma de publicación” se introdujo en el Informe de práctica, el sitio de publicación en la práctica contemporánea. Este artículo examinó una serie de proyectos de publicación que analizan modelos editoriales distintivos como espacios de discusión, colaboración, presentación de prácticas y reflexión. En este contexto, el término “Plataforma de Publicaciones” se emplea para describir un espacio para una serie de modos editoriales distintivos. La plataforma considera al material impreso como un lugar para una diversidad de discursos y diseminación de ideas, ampliando el significado y los límites de los medios impresos a través de un espectro de escenarios editoriales. La Plataforma de Publicaciones posiciona los espacios impresos como sitios para reflexionar sobre los marcos editoriales, el contenido, las prácticas de diseño y las metodologías colaborativas. Una de las ideas centrales del informe fue el papel de la colaboración para dirigir el contenido, examinando cómo las relaciones creativas y la asociación de producción de medios afectan la práctica editorial y los resultados del diseño. Diez años después, la Plataforma de Publicaciones ha evolucionado y se ha renovado con proyectos editoriales emergentes para incorporar un espectro de prácticas que responden a la comunidad, la experimentación, la interdisciplinariedad, el cableado crítico, la creatividad, la producción cultural, las artes contemporáneas y el discurso dirigido por la artesanía. Este documento presenta un estudio de caso de “Threaded Magazine”, como un proyecto editorial y el papel que tiene su enfoque culturalmente conectado. Este estudio utiliza el término “enfoque culturalmente conectado” para enmarcar cómo Threaded Magazine encarna, como fundamento subyacente rector de cada número, los tres principios de Te Tiriti o Waitangi: participación, protección y asociación. Esta presentación reflexiona sobre cómo estos principios se conectan con lo que Threaded Magazine es colectivamente como editores y diseñadores, y está determinado por con quién se asocia, comparte y colabora. Un factor clave que influyó en Threaded Magazine para adoptar un enfoque más culturalmente conectado fue la invitación a participar en la publicación internacional titulada Proyecto 16/2, encargada por Fedrigoni Papers para la Feria del Libro de Frankfurt, en Alemania. El Proyecto 16/2 creó una oportunidad para un proceso de autodescubrimiento editorial. Esta trayectoria tradujo la tradición de la narración oral al lenguaje gráfico, transmitiendo la esencia (te ihi) de quiénes éramos. La visualidad y la capacidad táctil de los medios impresos establecieron un formato para que Threaded Magazine se centrara en la herencia cultural, las tradiciones originales y las narrativas de Aotearoa. Este artículo describe la introducción de un kaupapa para el número 20, la edición de “Nuevos comienzos” y el proceso de adhesión a tikanga Māori y Mātauranga Māori, mientras se establece un kawa (protocolo) editorial particular para la publicación. La influencia y la colaboración con los asesores culturales rōpū (grupo) Ngā Aho, kaumātua y kuia (asesores) se desarrollarán sobre el principio de participación. El número 20 conectó Threaded Magazine profesional, espiritual, física y culturalmente con la identidad y el paisaje únicos de los practicantes indígenas a la vanguardia del mahi toi (arte contemporáneo maorí) en Aotearoa. La edición especial, número 21, en desarrollo, continúa avanzando en un enfoque culturalmente conectado, trabajando con whānau, kaiwhatu (tejedores), tohunga whakairo (talladores), kaumātua y kuia para explorar narrativas culturales y conexiones visualmente a través de un marco editorial.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
Full textAbstract:
In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.