Academic literature on the topic 'Tikanga Māori (Māori Customary Practices)'
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Journal articles on the topic "Tikanga Māori (Māori Customary Practices)"
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Broughton, John R., Herenia P. Lawrence, and Lisa Jamieson. "Tikanga Māori (Māori Customary Practices) in Oral Health Research." Journal of Health Care for the Poor and Underserved 27, no. 1A (2016): 101–9. http://dx.doi.org/10.1353/hpu.2016.0031.
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Connor, Helene Diana. "Whakapapa Back: Mixed Indigenous Māori and Pākehā Genealogy and Heritage in Aotearoa/New Zealand." Genealogy 3, no. 4 (December 16, 2019): 73. http://dx.doi.org/10.3390/genealogy3040073.
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Māori tribal and social histories are founded on whakapapa (genealogy). Whakapapa and the knowledge of one’s ancestry is what connects all Māori to one another and is the central marker of traditional mātauranga Māori (Māori knowledge). Knowledge of one’s whakapapa and ancestral links is at the root of Māori identity and heritage, which can be re-connected with even if a person has been dislocated from it by colonization, urbanization and/or marriage. The collective experiences of Māori are contextualized within whakapapa and narratives of iwi (tribe), hapū (sub-tribe) and whanau (family). Within the context of colonization, whakapapa as a meaningful epistemological framework has not been erased and continues to connect Māori to one another and our tribal lands, histories and stories. Whakapapa and Māori identity are underpinned by an epistemology based on Māori tikanga (customary practices) that take into account the importance of a collective vision. However, research on counseling with people of indigenous descent from Aotearoa/New Zealand has found that for people of mixed Māori and Pākehā (European) heritage, it is important to recognize both sides of a person’s family in working on mental health issues. To address the complications of mixed identity, this article is written from an autoethnographic point of view to share how whakapapa and genealogical links have shaped my identity as someone of mixed Māori and Pākehā heritage.
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Moeke-Maxwell, Tess, Rawiri Wharemate, Stella Black, Kathleen Mason, Janine Wiles, and Merryn Gott. "Toku toa, he toa rangatira: A qualitative investigation of New Zealand Māori end of life care customs." International Journal of Indigenous Health 13, no. 2 (December 14, 2018): 30–46. http://dx.doi.org/10.32799/ijih.v13i2.29749.
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Informal end of life caregiving will increase over the next 30 years in line with the anticipated increase in older Māori deaths. Of concern, New Zealand’s neo-colonial trajectory (loss of lands, cultural disenfranchisement, urban migration, ethnic diversity, global diaspora and changing whānau (family, including extended family) compositions) has restricted some indigenous whānau from retaining their end of life care customs. This article reports on a qualitative pilot study on Māori whānau end of life care customs undertaken to explore how those care customs contribute towards strengthening whānau resilience and bereavement. Five whānau, including thirteen individuals from diverse iwi (tribes), took part in one of six face to face interviews. Kaupapa Māori research methods informed the analysis. The findings report a high level of customary caregiving knowledge among older whānau carers as well as a cohesive whānau collective support system for this group. Tribal care customs were handed down via 1) enculturation with tribal principles, processes and practices 2) observing kaumātua processes and practices and 3) being chosen and prepared for a specific care role by kaumātua. Younger participants had strong cultural care values but less customary care knowledge. The pilot concluded the need for a larger systematic qualitative study of Māori tikanga (customs) and kawa (guidelines) as well as the development of participant digital stories to support a free online educational resource to increase understanding among whānau, indigenous communities and the health and palliative care sectors.
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Dunn, Sarah, and Milly Locke. "Mātauranga Māori, inquiry and creative music-making in the primary music classroom: A Pākehā teacher’s journey." Teachers and Curriculum 22, no. 2 (November 3, 2022): 99–112. http://dx.doi.org/10.15663/tandc.v22i2.399.
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This article draws on a master’s study into programme decisions and processes of a Pākehā primary music teacher who sought to include mātauranga Māori (Māori knowledge), tikanga Māori (Māori practices) and te ao Māori (a Māori way of seeing the world) in their teaching practice. The study investigated how children are enabled to experience mātauranga Māori within an inquiry approach to teaching and learning, through engagement with taonga pūoro (singing treasures) and the whakataukī (proverb) of the whakapapa (genealogy) of Māori music as stimuli for creative music-making. Drawing on action research and self-study, I conducted an intervention of eight music lessons with 28 children from Years 3 and 4. Findings emerged from an analysis of student questionnaires, my teacher journal, student reflections, and scores and audio recordings of students’ creative music-making.In this article I focus specifically on two aspects of my findings:1. The way that the teacher-as-learner position within inquiry pedagogy complements the ethos of ako (reciprocal learning), and the way a holistic, integrated learning approach is supported by the centrality of interconnection within te ao Māori.2. The process by which a teacher might use the whakapapa of Māori music as a conceptual framework for inspiring a sound palette of the natural world in children and for scaffolding creative music-making.As a teacher I found that I could establish whanaungatanga (a family-like connection) in the primary music classroom through a relational pedagogy and valuing the children’s individuality through collaborative processes. This small study reinforced my belief that teachers need to take responsibility for their bicultural practices in the classroom, that a complementary ethos of inquiry and Māori approaches to teaching and learning can be fostered, that inquiry pedagogy can be effective in music education, and that practical approaches for experiencing Māori knowledge, inspired by Māori music, can flourish in the primary music classroom.
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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, Carwyn. "Lost from Sight: Developing Recognition of Māori Law in Aotearoa New Zealand." Legalities 1, no. 2 (September 2021): 162–86. http://dx.doi.org/10.3366/legal.2021.0015.
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In Aotearoa New Zealand, the state legal system is increasingly drawing on aspects of Māori law. Recent decisions suggest that the courts are willing to consider Māori law as a source of New Zealand law. This marks a change from earlier approaches which recognised discrete customary practices as customary law. Questions of state recognition of customary law have tended to focus attention on common law tests and so obscure processes of the Indigenous legal system, the sources of Indigenous law, and Indigenous forms of legal reasoning and communication. This article suggests that by focusing instead on understanding the application of Māori law within a fuller cultural context, the New Zealand courts may be better able to reveal and understand the Indigenous legal principles and processes at work. This would include engaging with a different range of legal sources, including working with Māori stories as legal texts, to make visible aspects of Indigenous law that can help to drive developments in the state legal system.
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Walker, Shayne. "The teaching of Māori social work practice and theory to a predominantly Pākehā audience." Aotearoa New Zealand Social Work 24, no. 3-4 (July 8, 2016): 65–74. http://dx.doi.org/10.11157/anzswj-vol24iss3-4id125.
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This article will explore the practices of teaching social work students in Aotearoa New Zealand to equip them for bicultural practice. This includes te reo Māori (the Māori language) and tikanga (culture) papers as well as specific teaching on the Treaty of Waitangi provisions. It will discuss some of the results, which suggest students know about Treaty provisions but are less able to translate this knowledge into practices, which are bicultural. It then suggests some strategies for moving this teaching forward so that students start to feel accustomed to and confident in practices which are suited to a bicultural setting. In this, it is suggested that it might be necessary to take a cross-cultural position and take aspects from diversity or cross-cultural training to enhance students’ understanding and ability in working with Māori in the South Island of Aotearoa New Zealand. One of the difficulties with taking this approach is that most of these models emerge from a western rather than an indigenous framework of understanding and practice. In using this work, it is attempted to integrate indigenous methods and worldviews.
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Walker, Léonie, Jill Clendon, Leanne Manson, and Kerri Nuku. "Ngā Reanga o Ngā Tapuhi: Generations of Māori nurses." AlterNative: An International Journal of Indigenous Peoples 12, no. 4 (December 2016): 356–68. http://dx.doi.org/10.20507/alternative.2016.12.4.2.
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The aim of this study was to explore the experiences of Māori nurses and student nurses in Aotearoa New Zealand who combine culturally specific customary obligations in all areas of whānau (family), hapū (kinship group) and iwi (wider kinship group) life (in particular, caregiving responsibilities) with working or studying. The study was underpinned by a collaborative Kaupapa Māori (Māori principles and values) approach. Paired or triad interviews were undertaken with 13 Māori nurses and two Māori student nurses (all women), aged between 22 and 57, and from all parts of Aotearoa New Zealand, between October and December 2015. Their stories give a picture of considerable community service and duty outside work. The impacts on emotional and physical health which caregiving responsibilities have on Māori nurses are under-reported to their management. Facilitating Māori voices and realities to be heard will raise awareness of the issues and help identify potential strategies, policies and employment practices that will validate and support Māori nurses in their workplaces and in the wider community.
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Zepke, Nick. "Thinking strategically in response to New Zealand's tertiary education strategy: The case of a Wānanga." Journal of Management & Organization 15, no. 1 (March 2009): 110–21. http://dx.doi.org/10.1017/s1833367200002911.
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AbstractThis paper describes commissioned research on how a Wānanga, a Maori focused post school institution in New Zealand, perceived its strategic options following the publication of the Labour-led government's Tertiary Education Strategy 2007–2012 and the Statement of Education Priorities 2008–10 (Ministry of Education 2006). The research used a Delphi panel process that looks for consensus answers to specific research questions: How should the Wānanga respond to the policies sketched in the Tertiary Education Strategy and the Statement of Education Priorities? What is the range of issues that may need to be addressed as a result of this new policy framework? What options does the Wānanga have in addressing these issues? The Delphi process enabled a clear set of priorities to be established: provide quality teaching and learning reflecting Māori values and practices; develop a consistent internal philosophy based on tikanga and āhuatanga Māori; and provide second chance education for Māori and other learners.
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Zepke, Nick. "Thinking strategically in response to New Zealand's tertiary education strategy: The case of a Wānanga." Journal of Management & Organization 15, no. 1 (March 2009): 110–21. http://dx.doi.org/10.5172/jmo.837.15.1.110.
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AbstractThis paper describes commissioned research on how a Wānanga, a Maori focused post school institution in New Zealand, perceived its strategic options following the publication of the Labour-led government's Tertiary Education Strategy 2007–2012 and the Statement of Education Priorities 2008–10 (Ministry of Education 2006). The research used a Delphi panel process that looks for consensus answers to specific research questions: How should the Wānanga respond to the policies sketched in the Tertiary Education Strategy and the Statement of Education Priorities? What is the range of issues that may need to be addressed as a result of this new policy framework? What options does the Wānanga have in addressing these issues? The Delphi process enabled a clear set of priorities to be established: provide quality teaching and learning reflecting Māori values and practices; develop a consistent internal philosophy based on tikanga and āhuatanga Māori; and provide second chance education for Māori and other learners.
Books on the topic "Tikanga Māori (Māori Customary Practices)"
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Frame, Alex, Richard Benton, and Meredith Paul. Te mātāpunenga: A compendium of references to the concepts and institutions of Māori customary law. Wellington: Victoria University Press, 2013.
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Murphy, Ngāhuia. Te Awa Atua: Menstruation in the pre-colonial Māori world : an examination of stories, ceremonies and practices regarding menstruation in the pre-colonial Māori world : based on a Masters thesis. Ngaruawahia: He Puna Manawa Ltd, 2013.
Find full textBook chapters on the topic "Tikanga Māori (Māori Customary Practices)"
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Sadler-Howe, Nadia Minee. "Kaitiakitanga." In Handbook of Research on Indigenous Knowledge and Bi-Culturalism in a Global Context, 330–44. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6061-6.ch019.
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The chapter draws from notions and experiences of kaitiakitanga (guardianship) in the context of a pūrākau (indigenous narrative) approach to understanding and developing a Kaupapa Māori conceptual framework. This approach acknowledges Mātauranga Māori (Maori bodies of knowledge) as the theoretical basis for Kaupapa Māori praxis, particularly in the field of health and social services. A pūrākau approach includes utilizing whakapapa kōrero (genealogical narratives) as it informs the use of traditional principles, beliefs, and practices (tikanga) in working alongside Māori whānau, hapū, and iwi. These purakau identify natural elements represented in the form of Ātua, or Gods. Through whakapapa (genealogical descent), Maori episteme positions tangata whenua within nature. The indigenous worldview recognizes the inter-connected relationships, obligations, and responsibilities that underpin the philosophical positioning of kaitiaki practices.
Conference papers on the topic "Tikanga Māori (Māori Customary Practices)"
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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. "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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McNeill, Hinematau. "Urupā Tautaiao: Revitalising ancient customs and practices for the modern world." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.178.
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This urupā tautaiao (natural burials) research is a Marsden funded project with a decolonising agenda. It presents a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. The design practice output focus is the restoration of existing graves located in the urupā (burial ground) of the Ngāti Moko, a hapū (subtribe) of the Tapuika tribe that occupy ancestral land in central North Island of New Zealand. In preparation for the gravesite development, a series of hui a hapū (tribal meetings) were held to engage and encourage participation in the research. The final design which honours pre-contact customary practices, involved collaboration between the tribe, an ecologist, and a landscape architect. Hui a hapū included workshops exploring ancient burial practices. Although pre-contact Māori interred the dead in a variety of environmentally sustainable ways, funerary practices have dramatically shifted due to colonisation. Consequently, Māori have adopted environmentally damaging European practices that includes chemical embalming, concrete gravestones, and water and soil pollution. Mindful of tribal diversity, post-colonial tangihanga (customary Māori funerals) incorporate distinctively Māori and European, customary beliefs and practices. Fortuitously, they have also retained the essence of tūturu (authentic) Māori traditions that reinforce tribal identity and social cohesion. Tūturu traditions are incorporated into the design of the gravesite. Surrounded by conventional gravestones, and using only natural materials, the gravesite aspires to capture the beauty of nature embellished with distinctively Māori cultural motifs. Low maintenance native plants are intersected with four pou (traditional carvings)that carry pūrākau (Māori sacred narratives) of life and death. This dialectical concept is accentuated in the pou depicting Papatūānuku (Earth Mother). Etched into her womb is a coiled umbilical cord referencing life. Reminding us that, although in death we return to her womb, it is also a place that nurtures life. Hoki koe ki a Papatūānuku, ki te kōpū o te whenua (return to the womb of Papatūānuku) is often heard during ritual speeches at tangihanga. The pou also commemorates our connection to the gods. According to Māori beliefs, the primeval parents Papatūānuku (Earth) and Ranginui (Sky) genealogically link people and the environment together through whakapapa (kinship). Whakapapa imposes on humankind, kaitiakitanga (guardianship), responsibility for the wellbeing of the natural environment. In death, returning to Papatūānuku in a natural way, gives credence to kaitiakitanga. This presentation focuses on a project that encourages Māori to embrace culturally compatible burials that are affordable, environmentally responsible, and visually aesthetic. It also has the potential to encourage other indigenous communities to explore their own alternative, culturally unique and innovative ways to address modern death and burial challenges.
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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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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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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.
Full textAbstract:
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.