Academic literature on the topic 'Tikanga'

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Journal articles on the topic "Tikanga"

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Whata, Justice Christian. "Tikanga and the Law." Amicus Curiae 4, no. 3 (June 24, 2023): 610–22. http://dx.doi.org/10.14296/ac.v4i3.5620.

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This paper is based on the transcript from a presentation given at the New Zealand Asian Lawyers Wānanga on Tikanga and the Law given on 3 May 2023. This paper offers one of many explanations of tikanga and is an entry level introduction only to a complex kaupapa. This paper traverses briefly a proposed three-part model of recognition of tikanga. The first part of the model is a methodology of engagement. The second part is the notion of kaitiaki as a controlling principle. The third part is tikanga-enabling processes. The last two steps of the methodology are covered briefly due to time restraints. Keywords: tikanga; normative system; recognition; methodology of engagement; tikanga-enabling processes; common law.
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Fox, Acting Chief Judge Caren. "Tikanga as the First Law of New Zealand." Amicus Curiae 4, no. 3 (June 24, 2023): 635–48. http://dx.doi.org/10.14296/ac.v4i3.5623.

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This article provides an overview of the history of the Māori Land Court, as well as present day developments of the Court. It considers the role that tikanga (Māori customary values and practices) plays in the Māori Land Court, and how the Court has applied tikanga in a number of contemporary judgments. It then considers the Waitangi Tribunal (a Commission of Inquiry which examines Crown breaches of its obligations to Māori), and how tikanga can be demonstrated in the process and the findings of the Tribunal. It discusses how both judicial bodies have approached the challenge of competing tikanga claims. Finally, the article poses ideas of how tikanga can be applied going forward. Keywords: tikanga; Māori Land Court; Native Land Court; Waitangi Tribunal; indigenous law; cultural considerations.
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Taumaunu, Chief District Court Judge Heemi. "Remarks on Tikanga and the District Court." Amicus Curiae 4, no. 3 (June 24, 2023): 630–34. http://dx.doi.org/10.14296/ac.v4i3.5622.

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This article explores tikanga in the District Court context. It explains that the incorporation of Te Reo Māori (Māori language) and tikanga Māori is relatively new in the District Court. It discusses the introduction of Te Ao Mārama and solution-focused judging approaches since 2020 and goes on to describe how tikanga might operate in a Te Ao Mārama context. Keywords: Te Ao Mārama; tikanga; education; rangatahi; Te Reo Māori.
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Hughes, Alister. "Rebalancing Wrongs: Towards a New Law of Remedies for Aotearoa New Zealand." Victoria University of Wellington Law Review 53, no. 2 (August 29, 2022): 303–36. http://dx.doi.org/10.26686/vuwlr.v53i2.7763.

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Tikanga Māori is a central pillar of Aotearoa New Zealand and the common law is developing to reflect that. A new era of law is emerging, informed by both tikanga Māori and settler law. While this is an important, positive step towards establishing an appropriate domestic jurisprudence of Aotearoa New Zealand, misguided integration, no matter how well intentioned, is harmful. The ongoing collision between tikanga Māori and settler law in a legal context must be navigated carefully. It gives rise to the need for specific examination of different areas of law to consider how the two systems might interact. This article examines the law surrounding remedies and considers whether and how remedial structures in tikanga Māori and settler law might be reconciled. It undertakes a broader structural analysis and a closer examination of the specific aims of each remedial framework. Overall, it argues that, with a shift in underpinning rationale to one informed by tikanga Māori, existing common law remedies may be applied in ways consistent with, and that give effect to, tikanga Māori. Despite tensions between the two frameworks, the flexibility within both tikanga Māori and the settler common law is sufficient to allow them to come together into a new law of remedies in Aotearoa New Zealand.
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Doogan, Judge Michael. "Tikanga and the Law Wānanga." Amicus Curiae 4, no. 3 (June 24, 2023): 649–59. http://dx.doi.org/10.14296/ac.v4i3.5624.

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Tikanga Māori is increasingly influencing the law of New Zealand, in every jurisdiction. The Environment Court is becoming more concerned with issues which necessitate knowledge of different tikanga Māori, matauranga Māori and Te Reo Māori. The following is a discussion on how tikanga affects the incorporation of Treaty of Waitangi and Māori concepts in the Resource Management Act 1991. It then moves to how and to what extent the Environment Court can consider relational and mana whenua issues. And lastly, Judge Doogan gives insights from a Māori Land Court, Waitangi Tribunal and Environment Court judge for practitioners on understanding tikanga issues and working with Māori collectives. Keywords: Environment Court; Māori Land Court; Waitangi Tribunal; Resource Management Act 1991; Lex Aotearoa; Te Reo; tikanga; mātauranga; mana whenua; procedure; advocacy.
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Browning, Claire. "Tukutuku in te Tiriti o Waitangi: A Tikanga Māori Touchstone for Tiriti Interpretation." Legalities 3, no. 2 (September 2023): 163–87. http://dx.doi.org/10.3366/legal.2023.0054.

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The tikanga Māori concept, tuku, in te Tiriti o Waitangi’s reo Māori text warrants focus in Tiriti interpretation. This article reviews the place of tuku in te Tiriti and considers how applied, tikanga-centred study of this concept contributes to a tikanga Māori perspective on the proper relationality of that treaty’s parties. Studying, as sources of principle, tuku in two treaty-applicable customary contexts – the wall panel weaving technique, tukutuku (an alliance between two workers) and the socio-political alliances of tuku whenua – shows ways in which both the text of te Tiriti and well-settled ‘principles of the Treaty of Waitangi’ align with these tuku, and thus tikanga. Not only has this explanatory value with respect to te Tiriti o Waitangi principles; it yields insights both relationally and constitutionally. In tuku, the Tiriti relationship has tikanga-consistent foundations; it is anchored already in a tikanga paradigm. However, whereas framing presently predominantly focuses on parties’ ‘partnership’, this is an insufficient account. Another conception of treaty relations lies in tukutuku panel making, an alliance which depends on a reciprocal connection, works toward a woven construction, and is grounded in a kinship metaphor.
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Crocket, Kathie. "Supervision as Cultural Partnership." Ata: Journal of Psychotherapy Aotearoa New Zealand 19, no. 1 (September 18, 2015): 67–81. http://dx.doi.org/10.9791/ajpanz.2015.06.

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The term cultural supervision has been coined as part of a strategy that implicates supervision in the support and development of culturally appropriate therapeutic practice. In Aotearoa New Zealand particular focus has been given to supervision where the client is Māori and the practitioner is a member of the dominant Pākehā culture particularly, or of other non-Māori cultures. However, while the phrase cultural supervision has entered common professional parlance, the practice has had little research attention in counselling/psychotherapy in New Zealand. Cultural supervision appears to encompass a range of understandings, and there is no clear agreement about practice implications. It is unclear what alignment there is between aspirations, regulations, and practice. This article reports on an exploratory qualitative study that investigated how supervision might work in supporting culturally appropriate counselling practice in Aotearoa New Zealand. The study’s findings are presented as a multi-voiced dialogue. This arts-based representational practice enacts the uncertainties of post-colonial experience. Its intention is to make assumptions, ideas, and practices available for discussion. Its contribution is to join current dialogue about supervision and culture, and to raise further questions about how supervision and culturally appropriate practice come together. Whakarāpopotonga Kua whakakaupapahia te kīanga whakahaere tikanga-ā-iwi ki tētahi peka o tētahi rautaki hono whakahaere tikanga ki te tautoko, whakangungu haumanu tikanga-ā-iwi tika. I Aotearoa tōtika tonu te aronui atu ki ngā wā he Māori te kiritaki he Pākehā o te ahurea matua, o te hunga ehara rānei i te Māori te kaiwhakawaiwai. Heoi, ahakoa kua putaputa noa mai tēnei kīanga i waenga i ngā kōrerorero ngaio, kāre anō kia āta rangahauhia kia arotikahia rānei i roto i ngā mahi kaikōrero/kaimahi hinengaro i Aotearoa. Te āhua nei he maha ngā mātauranga e tāwharauhia ana e te mahi nei, ā, kāre he whakaarohanga mō ngā hua o te mahi. Kāre i te mārama he aha ngā here mai i ngā whāinga ki ngā here me te mahi. Ko tēnei tuhinga he pūrongo rapunga matai wheako kimi me pēhea e tika ai te whakahaere tikanga hei tautokohanga kaikōrero whakawaiwai tikanga-ā-iwi i Aotearoa. Ko ngā rangahautanga kei roto i te reo maha. Ko tōna tikanga he whakatau mahara, whakaaro, mahi whakawai hoki hai matapakihanga. Ko tāna koha ko te hono ki ngā whakawhitinga korero onamata e pā ana ki te whakahaere tikanga me te tikanga-ā-iwi, ā, ki te whakaara pātai titiro me pēhea e hono tahi ai te whakahaere tikanga me te tikanga-ā-iwi.
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Jones, Nicolas, and Marcos Mortensen Steagall. "Unprecedented Times: Māori Experiences of Pandemics Past in the Time of COVID-19." LINK Praxis 1, no. 1 (October 25, 2023): 109–29. http://dx.doi.org/10.24135/link-praxis.v1i1.5.

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Covid-19’s (mate korona) spread across the world and the implementation of wide sweeping government instigated public health measures saw a growing notion globally that we are living in “unprecidented times”. This notion was also expressed in Aotearoa New Zealand with the arrival of Covid-19 to Aotearoa New Zealand shores in early 2020. While Covid-19 presents a new epidemiological threat, examination of Aotearoa’s historical twentith century pandemics and sporadic outbreaks of infectious diseases show similar challanges to tikanga Māori (Māori protocols, customs, and behavioural guidelines) as COVID-19 presents today. This paper contextualises Māori experiences of epidemics and pandemics of the past and explores the historical and contemporary assaults on Māori customs during times of disease. Drawing on archival research, contemporary sources, and interviews with kaumātua (Māori elders) conducted during Aotearoa’s first national lockdown in 2020, this study scrutinises both historical and contemporary New Zealand Governmental responses and media attitudes towards tangihanga (funarary rites) and hongi (pressing of the noses) during pandemics and epidemics. Alongside examining the cultural significance and importance of tangihanga and hongi to Māori, this study shows that far from being “unprecedented times”, many of the same challenges to these practices Māori have faced during past pandemics and epidemics have remerged during COVID-19. Through this examination, this study highlights that a pattern exists where tikanga Māori practices come under public and political scrutiny and attack during pandemics and infectious disease outbreaks. Kaumātua are bastions of tikanga and collective memory of pandemics and other crises of the past and have integrated tikanga based disease mitigation measures into their intergenerational collective memory corpus. This paper highlights both the importance of these tikanga practices to kaumātua, and how tikanga informed kaumātua approaches to COVID-19 public health measure restrictions and their personal hauora (health). By undertaking this study, this paper draws particular attention to tikanga as an imperative aspect of Māori identity that must be understood by health officials, and the continual importance of the tikanga Māori concept of tapu (restricted, set apart, sacred) in mitigating disease and maintaining Māori hauora (health).
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Chen, Mai. "The Increasing Need for Cultural Experts in New Zealand Courts." Amicus Curiae 4, no. 3 (June 24, 2023): 583–98. http://dx.doi.org/10.14296/ac.v4i3.5618.

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New Zealand’s unique demography, with a large indigenous Māori population and a national population which is also increasingly superdiverse, means that New Zealand courts need more assistance from cultural experts if “the common law [is to] serve all in society”, as our Chief Justice recently said in the Supreme Court (Peter Hugh McGregor Ellis v R (Ellis) 2022: para 174). This paper examines two recent Supreme Court decisions: Ellis and Deng v Zheng (2022), which explain the increasing need for cultural experts in New Zealand courts to determine what tikanga (Māori customs and practices) as the first law of New Zealand is and how it applies, as well as to ensure equal access to justice despite cultural and linguistic diversity. The greatest need for cultural experts arises from the majority of the Supreme Court’s acceptance that tikanga was the first law of Aotearoa/New Zealand. There has been ad hoc (albeit growing) incorporation of tikanga and Te Tiriti o Waitangi (Te Tiriti) in various statutes, and no entrenchment in a supreme constitution, but even without statutory incorporation, the courts have interpreted statutes to take account of tikanga values and interests and to be consistent with Te Tiriti to the extent possible. Lawyers and judges need to acquire a base level of tikanga knowledge and cultural competency to be able to identify when a deeper level of tikanga/cultural expertise is needed, and cultural experts need to be called on to provide evidence to assist the Court. This is important (not only to ensure that justice is done in particular cases) but to maintain broader constitutional legitimacy. This includes acknowledging significant cultural differences in the application and development of the common law, in relevant cases. Pluralism is an important value which may be relevant to filling the gaps in the common law created by new situations that indigenous and superdiverse cultures and languages give rise to (Chen, forthcoming 2024; see also Palmer & Ling 2023). Keywords: tikanga; New Zealand; cultural experts; evidence; statutory interpretation; development of the common law.
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Morar, Rhianna. "Kia Whakatōmuri Haere Whakamua: Implementing Tikanga Māori as the Jurisdictional Framework for Overlapping Claims Disputes." Victoria University of Wellington Law Review 52, no. 1 (June 27, 2021): 197–220. http://dx.doi.org/10.26686/vuwlr.v52i1.6850.

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This article addresses the misconception that overlapping rights to land are always in tension with one another. In this article, I apply a tikanga-based analysis to the policy on overlapping rights that is used in the settlement of historical Treaty of Waitangi claims. I argue that the supremacy of colonial law within the State legal system continues to suppress indigenous relationality and limit the mechanisms for reciprocity. This article problematises the following claims made about overlapping claims disputes. First, that overlapping rights are too complex for judicial resolution. This article examines the ways in which overlapping rights are capable of co-existing to preserve relationships between different iwi and hapū. Second, that tikanga is a contestable system of law and should not be regarded as a question of law or as a jurisdictional framework for resolving such disputes. This article critically analyses the extent to which these claims are based on the supremacy of colonial law within the State legal system by considering the application of tikanga in the courts and alternative dispute resolution processes. I argue that tikanga Māori is the only applicable framework whereby differences can be mediated in a way that preserves the relationships between the parties and provides redress mechanisms for continuing reciprocity. This article concludes that the State legal system at present continues to delegitimise indigenous relationality in ways that amalgamate rights into a colonial recognition framework, which fails to recognise tikanga Māori as an equal system of law in Aotearoa New Zealand.
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Dissertations / Theses on the topic "Tikanga"

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Davies, Sydney H. "Nga Whaiora Tikanga Roanga: Māori Views of Health in Utah." DigitalCommons@USU, 2010. https://digitalcommons.usu.edu/etd/688.

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This study looked at the health beliefs of Maori who live in Utah, U.S. and examined what ways those beliefs have evolved from traditional Maori health beliefs. It also looked at the conditions and indicators of those conditions that maintain those health beliefs. A New Zealand study found that Maori older than age 45 years were more likely to have traditional health beliefs, whereas Maori younger than age 45 were more likely to have western-based health beliefs. Using grounded theory, the narratives--from two groups, younger or older than 45 years, where each group was composed of eight randomly selected participants--were collected and analyzed. It was found that all participants held traditional Maori health beliefs. Those beliefs were compatible with the construct of the Maori health model as presented in Te Whare Tapa Wha. This Maori model, along with participants, presented health as holistic, comprising components of physical, mental, spiritual, and family. Participants perceived health as having all four elements interconnected, with spirituality being the key element that binds all the others. Conditions that maintained this belief were time in country; acculturation, with racism possibly providing resistance to that condition; enculturation; and spirituality. Participants' spirituality was the key condition of maintaining their Maori health belief that is presented in this study. Enculturation, as a necessary but insufficient condition of Maori health beliefs, was based on indicators of opportunity, location, family, and social support and how these indicators play out over the life course of individuals. The most important indicator for enculturation was family or other social support for individuals to engage in Maori cultural activities.
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Simon, Katie. "Finding synergistic conservation values? Māori tikanga, science, resource management and law." The University of Waikato, 2007. http://hdl.handle.net/10289/2639.

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In this doctorate, I provide a balanced and collaborative approach to knowledge/value change between the contesting worldviews of indigenous knowledge and western science, termed 'synergistic'. My search for synergy is comparative and reconciliatory. This endeavours to overcome the popular pre-occupation with conflict and opposition. Rather, both difference and similarity are recognised. Through the comparison of such synergy, I argue that Māori development requires for its further advancement a focus not only on difference and conflict, but also on affinity and convergence. My primary concern is to establish a better understanding of the synergistic, adaptive strategies or indigenous innovation of Māori kaitiaki, environmental stewards. I investigate conflicting and converging Māori and western scientific conservation and use values in Aotearoa/New Zealand environmental governance and management regimes under the Resource Management Act 1991, with specific regard to indicator development. The balance of values were compared in ecological environmental governance, from five Aotearoa governmental authorities and three Māori river communities, utilising Māori and western social science methods. My focus on indicators pinpoints contesting knowledge/value change between the marginalisation of indigenous knowledge and dominance of western science. This seeks to highlight the potential viability of Māori kaitiakitanga, stewardship in global and national terms of sustainability. However, potential synergy is held back by a prevailing viewpoint of the indigenous worldview as backward, past-oriented and non-synergistic. An oppositional dogma predominates, which is a key problem to overcome. It spans world and national literature, resulting in considerable gaps in knowledge on synergy, conceptually, methodologically, empirically and analytically. This is addressed by an authoritative Māori synergistic standpoint from my own cultural lens and decolonised theorising, termed 'nuanced problem solving'. I articulate both worldviews in knowledge/value change through comparative, evolutionary, multi-dimensional, cross-cultural and inter-disciplinary research on synergy. My nuanced problem solving encapsulates the two main parts of the doctorate, whereby synergy is correlated between theory and social practice. Part one deals with value comparison in theory utilising high abstracted concepts and methods at the global level of environmental governance. Part two deals with value balance in social practice utilising medium abstracted and concrete empirical and analytical research at global, national, regional, district and cross-tribal levels of environmental governance. Potential synergy cross-cuts each part from high abstracted thought down and from the practical flax roots up. I argue that Māori advancement fluctuates between them. Drawing on cultural and theoretical leanings of the Māori synergistic standpoint, both a strong correlation with existing theory and expanded synergistic theorising was found. Due to the expansiveness of the research, these correlated findings only provide an embryonic understanding of potential synergy. A postscript describes my other work on synergy with five external agencies concerning foreshore, lakeside, wastewater, land disposal and carbon marketing kaitiakitanga. I argue that additional research on synergy is needed in order to further advance Māori.
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Hirsch, Robb Young, and n/a. "Kindling tikanga environmentalism : the common ground of native culture and democratic citizenship." University of Otago. Department of Geography, 1997. http://adt.otago.ac.nz./public/adt-NZDU20070530.150425.

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An innovative regime combining native culture and democracy in community fisheries management has crystallized in New Zealand. While researchers have looked into co-management of natural resources between communities and governments, and various studies have isolated indigenous ecologies on one hand and highlighted environmentalism in modern society on another society on another, no substantial research has gauged the opportunities for indigenous peoples and the wider citizenry of democratic-capitalistic societies to collaborate as cultures in concert with the environmental law. The primary research, involving local experimentation, concerns the viability of the novel cooperative endeavor called Taiapure-local fishery. I discovered in the principal trial communities in the North and South Islands that its design is compelling if properly understood. Yet the salience of the regime is hampered by external pressures from the commercial fishing industry, control by central government, and by internal lack of solidarity and trust. I conclude that human relationships and the leadership of local people are the keys to sucess of the New Zealand model and its wider dynamics.
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Foster, Winnie Gipsy. "Conceptualising Wairuatanga: Rituals, Relevance and Realities for teachers." Thesis, University of Canterbury. Educational Studies and Human Development, 2009. http://hdl.handle.net/10092/4290.

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This research project was based on the complexities and conceptualising forms of wairuatanga and their implications for teaching and learning in New Zealand mainstream schools. As a relatively new study for research the project explored wairuatanga through the life and work experiences of three Māori teachers from education centres around New Zealand. Wairuatanga permeated through the life and teaching of the participants who all expressed their own sense of wairuatanga in different ways. The cognisance of mātauranga Māori, tikanga Māori and insights into te ao Māori were identified and explored thus taking into account the various ways in which the three participants extended the parameters of existing knowledge of wairuatanga and how they promoted and created a climate within their own teaching context that fostered the natural inclusion of wairuatanga. The findings will assist current teachers and others to develop an understanding and appreciation of the different forms of wairuatanga that may assist them to apply this value to their own classroom practice. It is hoped that the findings will also help to inform teaching practices with respect to teaching and learning not only for Māori children but for all children in New Zealand mainstream schools.
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Jeffs, Lynda Caron, and n/a. "A culturally safe public health research framework." University of Otago. Christchurch School of Medicine & Health Sciences, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070524.120343.

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The concept of cultural safety arose in Aotearoa me Te Waipounamu/New Zealand in the late 1980�s in response to the differential health experience and negative health outcomes of the first nation people of Aotearoa me Te Waipounamu/New Zealand, the New Zealand Maori. It was introduced and developed by Maori nurses initially, as they recognised the effect culture had on health and understood safety as a common nursing concept. The concept of cultural safety has developed into a disipline which is taught as part of all nursing and midwifery curricula in Aotearoa me Te Waipounamu/New Zealand. As cultural safety has developed the concept of culture has been extended to include people who differ from the nurse by reason of: age, migrant status, sexual preference, socioeconomic status, religious persuasion, gender, ethnicity, and in Aotearoa me Te Waipounamu/New Zealand, the Treaty of Waitangi status of the nurse and recipient/s of her/his care. Nationally and internationally, health experience and health outcomes are poorer for people of minority group status than for people who are part of the dominant group. Public-health research is therefore generally conducted on, or with, people with minority group status. Public-health researchers, by education, are members of the dominant culture and may be unaware that their own and their clients; responses may relate to one/other or both cultures being diminished do not always ensure the safety of their own culture or the culture being researched. This study�s objective was to develop a flexible, culturally safe public health research framework for researches to use when researching people who are culturally different from themselves. The study will argue that the use of such a framework will contribute significantly to improved health outcomes for people with minority status and will assist the movement towards emancipatory social change. The methods undertaken included: gaining permission from Irihapeti Ramsden, the architect of cultural safety to undertake the research, conducting a literature review, consideration of primary sources and their key concepts, consulting widely with people in the field of public health and cultural safety, self reflecting on the writers own personal and professional experience and finally designing the culturally safe public health research framework.
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Martin, Averil. "Tupuna: Maori in Australia divided in death." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382701.

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Death and disposition of remains are universal problems that touch every culture. Although every culture organises and packages dying and death each manages disposition in a different way. When Māori die in Australia it tests the strength of their resolve to be Māori and differentiate between cultural and national identities and their veneer of Australian-ness. This research engages with constructivism, grounded theory and kaupapa Māori frameworks in order to determine factors that influence repatriation of cremated Māori remains to New Zealand. At the core of this research is the attribution of identity to cremated remains (cremains) as it determines how they will be treated and cared for. Interment decisions have significant cultural and economic impacts, but the main contribution of this thesis is these decisions may redefine Māori cultural and spiritual conceptions of deceased and so homelands. Data was collected for a period of six months through an online questionnaire deployed through social media. From this questionnaire eight people self-nominated for in-depth interviews to determine the reasons for their decisions, however only six people provided consent. Interviews were transcribed and coded and organised into themes. Although this is a small sample size and not generalizable, it is indicative and leaves scope for a much broader study. Analysis indicated Māori transmigrants are making decisions about tangihanga (funerals) and interment of cremains under difficult circumstances. All the while they were either disconnected from family, tikanga (cultural protocols) and a society that values deceased or connected to tikanga that was disrupted by the colonial project. As transmigrants, Māori tend to cremate because the cost of burial is too expensive and repatriation of a body is unachievable with a limited disposable income. Interment in either country appears to be determined by the strength of connections to family, kainga (homelands) and ancestors on either side of the Tasman Sea. This generated internal conflict and divided loyalty between both countries. This thesis is about how death practices are disrupted by migration and are forced to evolve. Although difficult, this thesis has determined that people participating in this research attributed an identity and an afterlife to cremains. They are recognised as tūpuna, still protected, watched over, and secreted away to be safe from harm.
Thesis (Masters)
Master of Arts Research (MARes)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Paki, Vanessa Anne. "Kimihia, rangahaua ngā tikanga heke iho. He taonga huahua e riro mai: Exploring whakapapa as a tool towards a kaupapa Māori assessment framework in early childhood education." The University of Waikato, 2007. http://hdl.handle.net/10289/2285.

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This study explores whakapapa as a tool, which can be used as a kaupapa Māori assessment framework in early childhood education, positioning kaupapa Māori theory as a paradigm base underpinning a philosophical and theoretical discourse towards assessment for children's learning. This thesis represents the culmination of a personal and professional journey, derived from the writer's longstanding interest in and commitment to kaupapa Māori early childhood education, and more specifically, philosophies and practices for assessment in this context. The study has canvassed a vast terrain of kaupapa Māori philosophy in its search for a theoretical grounding for a kaupapa Māori assessment framework for early childhood education. Foundation to the study has been the premise that the notion of whakapapa serves as an overarching philosophical matrix, encompassing the interconnected realms of genealogy, spirituality, and knowledge that precede, surround, and embrace the Māori child. Throughout the thesis, diagrams are employed to demonstrate and model the whakapapa underpinning the conceptualisations being explored. After contextualising the study within a historical overview of the impact of colonisation of kaupapa Māori education and research, it is suggested that a re-examination of key concepts from tikanga Māori will illuminate transformative possibilities applicable to the study's focus on the development of a theoretical base for an assessment tool within kaupapa Māori early childhood settings. Drawing from the literature, the thesis re-positions the view of the Māori child to one of being nurtured within a philosophical construct underpinned and immersed in tikanga such as whakapapa, ira tangata, whanaungatanga, mana and tapu, and ako, providing a strongly Māori theoretical base for the envisioning of the assessment process. The outcome of this study is to propose an assessment framework, which embodies and reflects these core kaupapa Māori philosophies as praxis.
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Jones, Kay-Lee Emma. "Partial immersion te reo Māori Education : An investigative study about the forgotten other of Māori Education." Thesis, University of Canterbury. School of Teacher Education- Primary, 2015. http://hdl.handle.net/10092/10589.

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Māori education has grown out of a long and varied history of Māori engagement with Western forms of schooling. Full immersion Māori learning environments such as kura kaupapa Māori emerged from a background of colonial Mission schools, Native Schools, and evolving assimilation and integration educational policies. It is the subsequent loss of language, continual Māori school underachievement and Māori struggles for indigenous self-determination that have provided the conditions in which the development of Kaupapa Māori otherwise known as Māori medium education has taken place. Māori medium education has emerged in varying forms and differing levels of Māori language immersion, although the principles and philosophies of these environments remain particularly Māori orientated. Kaupapa Māori education is largely built upon whānau aspirations and is set within a Māori framework of learning and Māori language teaching. In addition to full immersion Māori schools there are other classroom settings that offer varied levels of Māori language instruction. Some of these classrooms have been established in English medium schools, creating a bilingual context. While full immersion schools focus on the breadth of all things Māori, bilingual schools may have a slightly different focus. May, Hill and Tiakiwai (2006 p.1) in their review of Bilingual Education in Aotearoa explain it as an area of instruction where school subjects are taught in two languages (Māori and English) and students become fluent orators and writers in both. Little is understood about the dynamics of partial immersion programmes and the contribution these settings make to Māori language and cultural knowledge acquisition and to wider self-determination aspirations of Māori. Drawing from the contributed insights of teaching staff, whānau and other stakeholders linked to partial immersion education, this research considers these settings to better understand the relationship between language acquisition and cultural knowledge attainment. A synergy of Kaupapa Māori theory with a qualitative interpretivist approach has guided the research process. The rationale for the research was to strengthen cultural knowledge and cultural aspirations which made it appropriate to use Kaupapa Māori principles as a foundation of which to develop the research. As research is currently limited in this respect a more extensive understanding of the teaching and learning programmes within a partial immersion classroom may be paramount to their continuation and success. Key findings emerged from the participant interviews and clear characteristics of these environments developed: Whānau (family), te reo Māori me ōna tikanga (Māori language and cultural customs) Māori values, and Māori pedagogies. The participants talked about many features particular to partial immersion education that linked to these four themes. The themes were further analysed to find key positive outcomes of these settings. A strong sense of pride in identity, particularly Māori identity and Māori succeeding as Māori were the two key positive outcomes that emerged from the participant data.
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Salmon, Summer Anne. "A New Technique for Measuring Runup Variation Using Sub-Aerial Video Imagery." The University of Waikato, 2008. http://hdl.handle.net/10289/2511.

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Video monitoring of beaches is becoming the preferred method for observing changes to nearshore morphology. Consequently this work investigates a new technique for predicting the probability of inundation that is based on measuring runup variation using video. Runup is defined as the water-level elevation maxima on the foreshore relative to the still water level and the waterline is defined as the position where the MWL intersects the beach face. Tairua, and Pauanui Beaches, on the north east coast of the North Island of New Zealand, were used as the field site in this study and represent two very different beaches with the same incoming wave and meteorological conditions. Tairua is most frequently in an intermediate beach state, whereas Pauanui is usually flatter in nature. In order to rectify runup observations, an estimate of the runup elevation was needed (Z). This was estimated by measuring the variation of the waterline over a tidal cycle from time-averaged video images during a storm event and provided beach morphology statistics (i.e. beach slope (α) and beach intercept (b)) used in the rectification process where Z=aX+b. The maximum swash excursions were digitized from time-stacks, and rectified to provide run-up timeseries with duration 20 minutes. Field calibrations revealed a videoed waterline that was seaward of the surveyed waterline. Quantification of this error gave a vertical offset of 0.33m at Tairua and 0.25m at Pauanui. At Tairua, incident wave energy was dominant in the swash zone, and the runup distributions followed a Rayleigh distribution. At Pauanui, the flatter beach, the runup distributions were approximately bimodal due to the dominance of infragravity energy in the swash signal. The slope of the beach was a major control on the runup elevation; runup at Pauanui was directly affected by the deepwater wave height and the tide, while at Tairua there was no correlation. Overall, the results of the study indicate realistic runup measurements, over a wide range of time scales and, importantly, during storm events. However, comparisons of videoed runup and empirical runup formulae revealed larger deviations as the beach steepness increased. Furthur tests need to be carried out to see if this is a limitation of this technique, used to measure runup. The runup statistics are consistently higher at Tairua and suggests that swash runs up higher on steeper beaches. However, because of the characteristics of flatter beaches (such as high water tables and low drainage efficiencies) the impact of extreme runup elevations on such beaches are more critical in regards to erosion and/ or inundation. The coastal environment is of great importance to Māori. Damage to the coast and coastal waahi tapu (places of spiritual importance) caused by erosion and inundation, adversely affects the spiritual and cultural well-being of Māori. For this reason, a chapter was dedicated to investigating the practices used by Māori to protect and preserve the coasts in accordance with tikanga Māori (Māori protocols). Mimicking nature was and still is a practice used by Māori to restore the beaches after erosive events, and includes replanting native dune plants and using natural materials on the beaches to stabilize the dunes. Tapu and rahui (the power and influence of the gods) were imposed on communities to prohibit and prevent people from free access to either food resources or to a particular place, in order to protect people and/ or resources. Interpretations of Māori oral histories provide insights into past local hazards and inform about the safety and viability of certain activities within an area. Environmental indicators were used to identify and forecast extreme weather conditions locally. Māori knowledge of past hazards, and the coastal environment as a whole, is a valuable resource and provides a unique source of expertise that can contribute to current coastal hazards management plans in New Zealand and provide insights about the areas that may again be impacted by natural hazards.
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Gillies, Annemarie. "Kia taupunga te ngākau Māori : anchoring Māori health workforce potential : a thesis presented for the degree of Doctor of Philosophy, Māori Studies, Massey University, Palmerston North, New Zealand." Massey University, 2006. http://hdl.handle.net/10179/994.

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In New Zealand Māori are under-represented in the workforce across multiple sectors. This thesis explores this incongruity with regard to Māori health. A Māori perspective and philosophical foundation formed the basis of the methodological approach, utilising a case study research design to inform the study. This provided the opportunity to explore Māori health workforce development initiatives and their potential to contribute to improvements and gains in Māori health. It was important that this work take into account social and economic factors and their impact on health, as well as the varying political climates of market oriented reform and a fiscal policy focus, because it has not only challenged Māori health development but also provided opportunities for increased Māori involvement and participation in health and New Zealand society. Therefore the thesis, while focused on health takes cognisance of and, coincides with the capacity and capability building efforts that have been a feature of overall Māori development, progress and advancement. In the context of this thesis Māori health workers are seen as leaders within their whānau, hapū, iwi, and Māori communities. Consequently a potential workforce that is strong and powerful can lead to anticipated gains in Māori health alongside other Māori movements for advancement. The potential cannot be under-estimated. This thesis argues that there are critical success factors, specific determinants, influencing Māori health workforce potential, and that these success factors have wider application. Therefore, as this thesis suggests Māori workforce development, especially in relationship to the health workforce, is dependent on effective Māori leadership, the application of Māori values to workplace practices, levels of resourcing that are compatible with training and development, critical mass, and targeted policies and programmes.
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Books on the topic "Tikanga"

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Tikanga Māori: Living by Māori values. Wellington: Huia Publishers, 2016.

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Barlow, Cleve. Tikanga whakaaro =: Key concepts in Māori culture. Auckland: Oxford University Press, 1991.

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Barlow, Cleve. Tikanga whakaaro: Key concepts in Maori culture. Auckland: Oxford University Press, 1991.

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Barlow, Cleve. Tikanga whakaaro: Key concepts in Maori culture. Auckland: Oxford University Press, 1991.

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Matiu, McCully. Te Whānau Moana: Ngā kaupapa me ngā tikanga = customs and protocols. Auckland [N.Z.]: Reed Books (NZ), 2003.

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Nairn, R. G. Ka tū, ka oho: Visions of a bicultural partnership in psychology : invited keynotes : revisiting the past to reset the future. Wellington, N.Z.]: New Zealand Psychological Society, 2012.

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Mikaere, Annabel. The balance destroyed: The consequences for Māori women of the colonisation of Tikanga Māori. Auckland [N.Z.]: Published jointly by the International Research Institute for Māori and Indigenous Education and Ani Mikaere, 2003.

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New Zealand. Law Commission. The treaty of Waitanchi and Maori fisheries =: Mataitai : nga tikanga Maori me te tiriti o Waitangi. Wellington, N.Z: The Commission, 1989.

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Ballara, Angela. Taua: 'musket wars', 'land wars' or tikanga? : warfare in Māori society in the early nineteenth century. Auckland, N.Z: Penguin Books, 2003.

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New Zealand. Statistics New Zealand. and New Zealand. Ministry of Cultural Affairs., eds. New Zealand framework for cultural statistics, 1995 =: Te Anga tatauranga tikanga-ā-iwi o Aotearoa, 1995. Wellington, N.Z: Statistics New Zealand, 1995.

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Book chapters on the topic "Tikanga"

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Toki, Valmaine. "Māori and tikanga." In Indigenous Courts, Self-Determination and Criminal Justice, 33–56. Abingdon, Oxon ; New York : Routledge, 2018. | Series: Indigenous peoples and the law | Based on author's thesis (doctoral - University of Waikato, 2016) issued under title: A case for an indigenous court – a realisation of self-determination?: Routledge, 2018. http://dx.doi.org/10.4324/9781351239622-3.

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Tangaere, Angie, and Penny Hagen. "Tikanga-led design." In Entanglements of Designing Social Innovation in the Asia-Pacific, 149–58. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003244684-13.

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Toki, Valmaine. "Tikanga Māori and therapeutic jurisprudence." In Indigenous Courts, Self-Determination and Criminal Justice, 212–36. Abingdon, Oxon ; New York : Routledge, 2018. | Series: Indigenous peoples and the law | Based on author's thesis (doctoral - University of Waikato, 2016) issued under title: A case for an indigenous court – a realisation of self-determination?: Routledge, 2018. http://dx.doi.org/10.4324/9781351239622-8.

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Mcrae, Hiria, and Marama Taiwhati. "Tikanga Māori Kei Te Ao Whakaako." In Processes of Inquiry, 133–48. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-531-4_8.

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Parsons, Meg, Karen Fisher, and Roa Petra Crease. "A History of the Settler-Colonial Freshwater Impure-Ment: Water Pollution and the Creation of Multiple Environmental Injustices Along the Waipaˉ River." In Decolonising Blue Spaces in the Anthropocene, 181–234. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-61071-5_5.

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AbstractIn this chapter, we outline the history of water pollution in Aotearoa New Zealand’s Waipā River and its tributaries and demonstrate how environmental injustices can accumulate slowly over time. We highlight how Indigenous (Māori) and non-Indigenous (Pākehā) peoples held fundamentally different understandings of what constituted contaminated or clean water based on their different ontologies and epistemologies. We highlight how Māori people and their tikanga (laws) and mātauranga (knowledge) were excluded from settler-state water management planning processes for the majority of the twentieth century. Since 1991 new legislation (Resource Management Act) allows for Māori to participate in decision-making, however Māori values and knowledge continues to be marginalised, and Māori concerns about water pollution remain unaddressed. Accordingly, in the Waipā River environmental injustice continues to accumulate.
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Tadius, Malvera Luther, Hakpantria, and Hendrik. "Implementation of School Culture Based on Character Development at SDN 5 Tikala." In Online Conference of Education Research International (OCERI 2023), 648–55. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-108-1_64.

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Kairupan, Sisca B., Marthinus Mandagi, Jeane Mantiri, and Margareth Rantung. "Performance of Village Government Apparatus in Public Service in Administration (Case Study in Taas Village, Tikala Subdistrict, Manado City)." In Proceedings of the Unima International Conference on Social Sciences and Humanities (UNICSSH 2022), 1808–16. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-35-0_216.

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Kawharu, Merata, Leonie Jones, and Paul Tapsell. "Where Tikanga Meets Technology." In He Pou Hiringa: Grounding Science and Technology in Te Ao Māori, 55–74. Bridget Williams Books, 2021. http://dx.doi.org/10.7810/9781988587486_3.

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"Tikanga Māori and English Law." In People, Power, and Law. Hart Publishing, 2022. http://dx.doi.org/10.5040/9781509931644.ch-001.

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"Tikanga Māori and English Law." In People, Power, and Law. Hart Publishing, 2022. http://dx.doi.org/10.5040/9781509931644.ch-001.

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Conference papers on the topic "Tikanga"

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Smith, Valance, James Smith-Harvey, and Sebastian Vidal Bustamante. "Ako for Niños: An animated children’s series bridging migrant participation and intercultural co-design to bring meaningful Tikanga to Tauiwi." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.

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This presentation advances a case study for an ongoing intercultural animation project which seeks to meaningfully educate New Zealand Tauiwi (the country's diverse groups, including migrants and refugees) on the values, customs and protocols (Tikanga) of Māori (the indigenous people of Aotearoa New Zealand). Ako For Niños (‘education for children’), implemented by a migrant social services organisation and media-design team, introduces Latin American Tauiwi to Tikanga through an animated children’s series, developed with a community short story writing competition and co-design with a kaitiaki (Māori guardian/advisor). Māori are recognised in Te Tiriti o Waitangi (the founding document of New Zealand) as partners with Pākeha (European New Zealanders), and Māori knowledge and Tikanga are important to society and culture in Aotearoa. Notwithstanding, there has been a historic lack of attention paid to developing meaningful understandings of Māori perspectives for New Zealand Tauiwi. Ako For Niños endeavours to address current shortages of engaging resources on Māori worldviews for Tauiwi communities, create opportunities for Tauiwi to benefit from Māori epistemologies, and foster healthy community relationships between Māori and Latin American Tauiwi. Through the project’s short story competition, Tauiwi were given definitions of Tikanga through a social media campaign, then prompted to write a children’s tale based on one of these in their native language. This encouraged Tauiwi to gain deeper comprehension of Māori values, and interpret Tikanga into their own expressions. Three winning entries were selected, then adapted into stop-motion and 2D animations. By converting the stories into aesthetically pleasing animated episodes, the Tikanga and narratives could be made more captivating for young audiences and families, appealing to the senses and emotions through visual storytelling, sound-design, and music. The media-design team worked closely with a kaitiaki during this process to better understand and communicate the Tikanga, adapting and co-designing the narratives in a culturally safe process. This ensured Māori knowledge, values, and interests were disseminated in correct and respectful ways. We argue for the importance of creative participation of Tauiwi, alongside co-design with Māori to produce educational intercultural design projects on Māori worldviews. Creative participation encourages new cultural knowledge to be imaginatively transliterated into personal interpretations and expressions of Tauiwi, allowing indigenous perspectives to be made more meaningful. This meaningful engagement with Māori values, which are more grounded in relational and human-centred concepts, can empower Tauiwi to feel more cared for and interconnected with their new home and culture. Additionally, co-design with Māori can help to honour Te Tiriti, and create spaces where Tauiwi, Pākeha and Māori interface in genuine partnership with agency (rangatiratanga), enhancing the credibility and value of outcomes. This session unpacks the contexts informing, and methods undertaken to develop the series, presenting current outcomes and expected directions (including a screening and exhibition). We will also highlight potential for the methodology to be applied in new ways in future, such as with other Tauiwi communities, different cultural knowledge, and increased collaborative co-design with Māori.
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Smith, Valance, James Smith-Harvey, and Sebastian Vidal Bustamante. "Ako For Niños: uma série de animação infantil que une a participação de migrantes e o codesign intercultural para trazer Tikanga significativa para Tauiwi." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.g299.

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Esta apresentação desenvolve um estudo de caso para um projeto de animação intercultural em andamento, que visa educar significativamente os Tauiwi da Nova Zelândia (os diversos grupos do país, incluindo migrantes e refugiados) sobre os valores, costumes e protocolos (Tikanga) dos Maori (o povo indígena de Aotearoa, Nova Zelândia). Ako For Niños (“Educação para Crianças”), implementado por uma organização de serviços sociais de migrantes e uma equipe de design de mídia, apresenta Tauiwi latino-americano ao Tikanga por meio de uma série de animação infantil, desenvolvida com um concurso de redação de contos da comunidade e codesign com um kaitiaki (tutor/conselheiro maori). Os Maori são reconhecidos no Te Tiriti o Waitangi (o documento fundador da Nova Zelândia) como parceiros de Pākeha (neozelandeses europeus), e o conhecimento maori e o Tikanga são importantes para a sociedade e a cultura em Aotearoa. Não obstante, tem havido uma histórica falta de atenção ao desenvolvimento de compreensões significativas das perspectivas maori para os Tauiwi da Nova Zelândia (Kukutai e Rata, 2017). A Ako For Niños esforça-se para abordar a atual escassez de recursos nas visões de mundo Māori para as comunidades Tauiwi, criar oportunidades para que os Tauiwi se beneficiem das epistemologias maori e promover relacionamentos comunitários saudáveis entre os maori e os Tauiwi latino-americanos. Por meio do concurso de contos do projeto, Tauiwi recebeu definições de Tikanga por meio de uma campanha de mídia social e, em seguida, foi solicitado a escrever um conto infantil baseado em um deles em sua língua nativa. Isso encorajou Tauiwi a obter uma compreensão mais profunda dos valores maori e interpretar Tikanga em suas próprias expressões. Três vencedoras foram selecionadas e, em seguida, adaptadas para animações em stop motion e 2D. Ao converter as histórias em episódios de animação esteticamente agradáveis, o Tikanga e as narrativas podem se tornar mais cativantes para o público jovem e famílias, apelando aos sentidos e emoções por meio de narrativa visual, design de som e música. A equipe de design de mídia trabalhou em estreita colaboração com um kaitiaki durante este processo para melhor compreender e comunicar o Tikanga, adaptando e coprojetando as narrativas em um processo culturalmente seguro. Isto garantiu que o conhecimento, valores e interesses maoris fossem disseminados de maneira correta e respeitosa. Defendemos a importância da participação criativa de Tauiwi, juntamente com o codesign com os Maori, para produzir projetos de design intercultural educacional em visões de mundo maori. A participação criativa encoraja novos conhecimentos culturais a serem transliterados com imaginação em interpretações e expressões pessoais de Tauiwi, permitindo que as perspectivas indígenas se tornem mais significativas. Este envolvimento significativo com os valores maori, que são mais baseados em conceitos relacionais e centrados no ser humano (Brannelly et al., 2013; Kukutai e Rata, 2017), pode capacitar Tauiwi a se sentir mais cuidado e interconectado com sua nova casa e cultura. Além disso, o codesign com Māori pode ajudar a homenagear Te Tiriti e criar espaços onde Tauiwi, Pākeha e Maori se relacionam em uma parceria genuína com a agência (rangatiratanga), aumentando a credibilidade e o valor dos resultados. Esta sessão revela os contextos informativos e os métodos empreendidos para desenvolver a série, apresentando os resultados atuais e as direções esperadas (incluindo uma triagem e uma exibição). Também destacaremos o potencial da metodologia a ser aplicada de novas maneiras no futuro, como com outras comunidades Tauiwi, conhecimento cultural diferente e maior codesign colaborativo com os Maori.
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Smith, Valance, James Smith-Harvey, and Sebastian Vidal Bustamante. "Ako for Niños: una serie animada para niños que une la participación de los migrantes y el co-diseño intercultural para traer un Tikanga significativo a Tauiwi." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.142.g298.

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Esta presentación muestra un estudio de caso de un proyecto de animación intercultural en curso que busca educar significativamente a los Tauiwi de Nueva Zelanda (grupos diversos del país, incluidos los migrantes y refugiados) sobre los valores, costumbres y protocolos (Tikanga) de los maoríes (pueblos indígenas de Aotearoa, Nueva Zelanda). Ako For Niños (“Educación para niños”), implementada por una organización de servicios sociales para migrantes y un equipo de diseño de medios, introduce a los Tauiwi latinoamericanos al Tikanga a través de una serie animada para niños, desarrollada con un concurso comunitario de escritura de cuentos y co-diseño con un kaitiaki (tutor/asesor maorí). Los maoríes son reconocidos en el Te Tiriti o Waitangi (documento fundacional de Nueva Zelanda) como socios de Pākeha (neozelandeses europeos), y el conocimiento maorí y Tikanga son importantes para la sociedad y la cultura en Aotearoa. No obstante, ha habido una falta histórica de atención prestada al desarrollo de una comprensión significativa de las perspectivas maoríes para los Tauiwi en Nueva Zelanda (Kukutai y Rata, 2017). Ako For Niños se esfuerza por abordar la escasez actual de recursos atractivos sobre las cosmovisiones maoríes para las comunidades Tauiwi, crear oportunidades para que los Tauiwi se beneficien de las epistemologías maoríes y fomentar relaciones comunitarias saludables entre los maoríes y los Tauiwi latinoamericanos. A través del concurso de cuentos del proyecto, a los Tauiwi se les dieron definiciones del Tikanga a través de una campaña en las redes sociales, y luego se les pidió que escribieran un cuento infantil basado en uno de estos en su idioma nativo. Esto alentó a los Tauiwi a obtener una comprensión más profunda de los valores maoríes e interpretar el Tikanga en sus propias expresiones. Se seleccionaron tres escritos ganadores, luego se adaptaron a animaciones en 2D y stop-motion. Al convertir las historias en episodios animados estéticamente agradables, el Tikanga y las narrativas podrían ser más cautivadoras para el público joven y las familias, apelando a los sentidos y las emociones a través de la narración visual, el diseño de sonido y la música. El equipo de diseño de medios trabajó en estrecha colaboración con un kaitiaki durante este proceso, para comprender y comunicar mejor el Tikanga, adaptando y codiseñando las narrativas en un proceso culturalmente seguro. Esto aseguró que el conocimiento, los valores y los intereses de los maoríes se difundieran de manera correcta y respetuosa. Defendemos la importancia de la participación creativa del Tauiwi, junto con el co-diseño con los maoríes para producir proyectos educativos de diseño intercultural sobre las cosmovisiones maoríes. La participación creativa fomenta la transliteración imaginativa de nuevos conocimientos culturales en interpretaciones y expresiones personales del Tauiwi, lo que permite que las perspectivas indígenas sean más significativas. Este compromiso significativo con los valores maoríes, que se basan más en conceptos relacionales y centrados en el ser humano (Brannelly et al., 2013; Kukutai y Rata, 2017), puede empoderar a los Tauiwi para que se sientan más cuidados e interconectados con su nuevo hogar y cultura. Además, el co-diseño con maoríes puede ayudar a honrar a Te Tiriti y crear espacios donde los Tauiwi, Pākeha y maoríes interactúen en una asociación genuina con la agencia (rangatiratanga), mejorando la credibilidad y el valor de los resultados. Esta sesión desentraña los contextos que informan y los métodos adoptados para desarrollar la serie, presentando los resultados actuales y las direcciones esperadas (incluida una proyección y una exhibición). También destacaremos el potencial para que la metodología se aplique de nuevas maneras en el futuro, así como con otras comunidades Tauiwi, diferentes conocimientos culturales y un mayor co-diseño colaborativo con los maoríes.
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Jones, Nicholas. "Unprecedented Times: Māori Experiences and Responses to Global Pandemics." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.183.

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The onset of COVID-19 in 2020 saw media, politicians, and government organisations quick to comment that these are “unprecedented times.” However, in Aotearoa/New Zealand, the 1918 influenza (mate rewharewha urutā) pandemic, and sporadic outbreaks of tuberculosis (mate kohi), and HIV/AIDS (mate ārai kore), have presented challenges similar to COVID-19 today. Focusing mainly, but not limited to, the 1918 influenza pandemic and the many tuberculosis outbreaks that plagued Aotearoa, this paper will contextualise the Māori experience and explore the challenges, prejudices, and assaults on Māori customs in times of pandemic. This paper focuses on Governmental responses to COVID-19 in regard to tangihanga (funeral rites) and hongi (pressing of noses), and shows in times of pandemic, a pattern exists where these cultural practices come under attack. The significance of these practices must be understood by health officials in the full context in order to assist the government in creating new health policies. Incorporating the contemporary voices of kaumātua (Māori elders) interviewed during the COVID-19 outbreak, I will examine the significance of Māori cultural practices in Māori society and highlight challenges that kaumātua endured during the COVID-19 lockdown. Far from being “unprecedented times,” this study will show many of the same challenges Māori faced in past pandemics have resurfaced again in the time of COVID-19. Kaumātua hold a collective memory of pandemics and other crises. During the height of COVID-19 restrictions, some Māori elders have reflected that these restrictions were nothing new to them. Rather, disease and disease mitigation measures have been incorporated as part of their intergenerational collective memory corpus. With COVID-19’s arrival on Aotearoa’s shores, Māori leaders, kaumātua, and communities galvanized to protect their communities, instigating community roadblocks, delivering food packages, and adapting tikanga (protocols and customs). Māori communities drew upon the past experiences of their tīpuna (ancestors) of disease, passed down as taonga tuku iho (treasures handed down from the ancestors), to inform their responses to COVID-19. Drawing upon kaumātua kōrero (analysis), this paper highlights the role of intergenerational collective memory of past pandemics in informing Māori communities’ tikanga based responses to COVID-19. In doing so, this paper draws particular focus to the continual importance of the concept of tapu (sacred, prohibited, restricted) and its role in mitigating disease and maintaining hygiene during customary community gatherings and rituals, and at home.
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Williams, Toiroa. "No hea koe? De onde você é?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g115.

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Este artigo relata uma jornada do projeto de doutorado conduzido pelo pesquisador, Tangohia mai te taura (Pegue esta Corda). O estudo envolve pesquisar, dirigir e produzir um documentário sobre as queixas históricas de Te Whakatōhea e Te Whānau ā Mokomoko. Especificamente, explora os potenciais da prática e forma documental em relação a Mātauranga Māori (costumes e conhecimento maori) e kaupapa Māori (abordagens de pesquisa maori). O estudo busca questionar certas narrativas construídas por Pākehā sobre o assassinato exoticizado do missionário, o reverendo Carl Sylvius Völkner, em 1885. Como consequência de uma acusação de assassinato, meu ancestral Mokomoko foi preso pelo crime, preso e enforcado, protestando o tempo todo por sua inocência. Em retribuição, nosso povo teve suas cobiçadas terras confiscadas pelo governo e se tornaram párias de vários relatos históricos. A tese pergunta como um documentarista maori desta iwi (tribo) pode chegar ao luto e à injustiça de tal evento de maneiras culturalmente sensíveis, para contar a história do impacto geracional. A pesquisa considera quatro características distintas da abordagem do autor como um cineasta indígena. Whakapapa – genealogia– Em maori, o pensamento whakapapa conecta o realizador com o filme, os entrevistados e a comunidade. No entanto, as conexões do whakapapa carregam a responsabilidade de navegar na produção de filmes com respeito e cuidado. Whenua e whanau – terra e família – Metodologicamente, minha abordagem através da incorporação. Passo o tempo residindo e reconectando-me com minha família extensa e as terras em que vivemos. Eu ando, penso,ouço e sinto meu caminho através de um mundo complexo, buscando ativamente oportunidades de participar de wānanga (discussões) e apoiar kapa haka (artes performáticas maori) relacionadas à nossa terra e família. Minha posição é de humildade e cocriação. Estou ciente de que o rōpū (tripulação) com quem trabalho será chamado ao coração confiante de meu whanau. Assim, semanas antes do início da produção, convivemos com o mundo que o documentário busca registrar Tikanga – alfândega – O processo e as estruturas de fazer este filme permanecem cientes de tikanga Māori (costumes maori). Karakia e waiata (orações e canções maori) acompanham o processo de criação da obra. A grande tripulação maori está atenta aos protocolos e sensibilidades. Estas práticas também afirmam nosso rōpū (grupo) como uma família. Koha – reciprocidade – Ao contrário de muitas abordagens convencionais para a produção de documentários, onde os filmes são “filmados” de maneira econômica e eficiente, este projeto é baseado no conceito de koha (reciprocidade). As comunidades são entendidas como presenteando seu tempo e suas histórias e, em resposta, há os presentes do projeto de volta. Como artista, faço esforços conscientes para apoiar os iwi (tribos locais); repatriar conhecimentos e artefatos que localizo em minhas pesquisas, sendo um membro ativo dentro da cidade e apoiando iniciativas comunitárias. Como cineasta, sou membro de uma geração que foi cada vez mais afastada da história e da dor incorporada de meu whanau. Venho em busca de meu passado, em um esforço para compreender e contribuir com algo útil que apoie as aspirações e a agência do meu povo na obtenção de valor, cura e reparação histórica.
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Williams, Toiroa. "No hea koe? ¿De dónde eres?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.g114.

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Este artículo relata un viaje del proyecto de doctorado dirigido por la práctica del investigador, Tangohia mai te taura (“Toma esta soga”). El estudio implica investigar, dirigir y producir un documental sobre agravios históricos dentro de Te Whakatōhea y Te Whānau ā Mokomoko. Específicamente, explora el potencial de la práctica y la forma documental en relación con Mātauranga Māori (costumbres y conocimientos maoríes) y kaupapa Māori (enfoques de investigación maoríes). El estudio busca cuestionar ciertas narrativas construidas por Pākehā sobre el exotizado asesinato del misionero, el reverendo Carl Sylvius Völkner en 1885. Como consecuencia de una acusación de asesinato, mi antepasado Mokomoko fue arrestado por el crimen, encarcelado y ahorcado, mientras protestaba su inocencia. En represalia, a nuestro pueblo le confiscaron sus codiciadas tierras por parte del gobierno y se convirtieron en parias de múltiples relatos históricos. La tesis pregunta cómo un documentalista maorí de esta iwi (tribu) podría llegar al dolor y la injusticia de tal evento de maneras culturalmente sensibles, para contar la historia del impacto generacional. La investigación considera cuatro rasgos distintivos del enfoque del autor como cineasta indígena. WHAKAPAPA - GENEALOGÍA: En el pensamiento maorí, whakapapa conecta al realizador con la película, los entrevistados y la comunidad. Sin embargo, las conexiones de whakapapa conllevan la responsabilidad de navegar la realización de películas con respeto y cuidado. WHENUA y WHANAU - TIERRA Y FAMILIA: Metodológicamente mi enfoque a través de la encarnación. Paso tiempo viviendo y reconectando con mi familia extendida y las tierras en las que vivimos. Camino, pienso,escucho y siento mi camino a través de un mundo complejo, buscando activamente oportunidades para asistir a wānanga (discusiones) y apoyar las kapa haka (artes escénicas maoríes) relacionadas con nuestra tierra y nuestra familia. Mi posición es de humildad y cocreación. Soy consciente de que el rōpū (equipo) con el que trabajo será llamado al corazón confiado de mi whanau. Así, semanas antes de que comience la producción, vivimos con el mundo que el documental busca grabar. TIKANGA - ADUANAS: El proceso y las estructuras de realización de esta película siguen siendo conscientes de tikanga Māori (costumbres maoríes). Karakia y waiata (oraciones y canciones maoríes) acompañan el proceso de creación de la obra. La tripulación, en gran parte maorí, está atenta a los protocolos y sensibilidades. Estas prácticas también afirman nuestro rōpū (grupo) como familia. KOHA - RECIPROCACIÓN: A diferencia de muchos enfoques convencionales para la realización de documentales, donde las películas se “filman” de manera económica y eficiente, este proyecto se basa en el concepto de koha (reciprocidad). Se entiende que las comunidades regalan su tiempo e historias y, en respuesta, los regalos del proyecto regresan. Como artista, hago esfuerzos conscientes para apoyar a la iwi, repatriar conocimientos y artefactos que ubico en mi investigación, ser un miembro activo dentro de la ciudad y apoyar iniciativas comunitarias. Como cineasta, soy miembro de una generación que se ha ido alejando gradualmente de la historia y encarnado el dolor de mi whanau. Vengo a buscar mi pasado en un esfuerzo por comprender y contribuir con algo útil que apoye las aspiraciones y la capacidad de mi pueblo para lograr valor, curación y reparación histórica.
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.
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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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Paora, Tangaroa. "Applying a kaupapa Māori paradigm to researching takatāpui identities." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.179.

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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.
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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.

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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.
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