Academic literature on the topic 'Toi whakairo'

How can indigeneity be understood through training actors in a colonial context? Do ‘Western’ acting schools misrepresent and exploit indigenous practices and cultural traditions towards reinforcing the settler state? Or does a given school's integration of such praxis and customs demonstrate inclusivity, equity and progressivism? At what point does incorporating indigeneity in actor training become a tokenistic appropriation of marginalized cultures? Drawn from fieldwork as a 2019 Fulbright scholar at Toi Whakaari, New Zealand's National Drama School, I intersect training with culture and society. Using the Acting Program as a case study, I deploy an ethnographic methodology to address the aforementioned questions by investigating Toi Whakaari's bicultural pedagogy while positioning it as a reflection of New Zealand's national identity. I especially explore the school's implementation of Tikanga Māori, the practices and beliefs of the country's indigenous peoples. I argue that while some questions remain, Toi Whakaari integrates Māori forms in a manner that is culturally responsible and pedagogically effective, thereby providing a model from which other drama schools can learn.

The art of psychotherapy has been defined as the capacity of the psychotherapist’s mind to receive the psyche of the patient, particularly its unconscious contents. This deceptively simple definition implies the enormously complex art of receiving the most disturbed, dissociated, maddening, often young and primitive, frightening, and fragmented aspects of the patient’s multiple ages and selves, in the hope perhaps that we might make available to our own mind, to the patient’s mind, and within the therapeutic relationship, whatever it is that we discover together, perhaps with the possibility that this may allow that these dissociated, fragmented, lost, and potentially transformative aspects of self might become more accessible to both therapist and patient. The complexity of this process is further intensified when cultural difference is an important aspect of therapeutic engagement. This paper will explore this rich and complex art. It will include exploration of psychoanalytic, relational, and transpersonal psychotherapeutic perspectives as they inform the potentials and mysteries of this deeply receptive process. The paper will consider the potential this receiving of the other might have for the growth of both the therapist and patient within the life span of clinical engagement and will include consideration of implications for cross cultural clinical work. Clinical vignettes illustrating and informing the ideas explored in this paper will be woven throughout the paper. Whakarāpopotonga Kua tautuhia te toi whakaora hinengaro ko te kaha o te hinengaro o te kaiwhakaora hinengaro ki te pupuri i te hinengaro o te tūroro, mātuatua nei ko ngā matū maurimoe. E tohu ana te tautuhinga ngāwari nei i te kaha uaua o te mahi pupuri i ngā maramara tirohanga, ngā tau, ngā whaiaro tini o ngā tūroro arā noa atu te wairangi, te noho wehe, te kārangirangi, he taiohi, he māori, whakawehiwehi, i runga i te wawata tērā pea ka tuwhera ki ō tātau ake hinengaro, ko tō te tūroro ki waenga hoki i te whakapiringa haumanu. E kene pea mā te mea ka kitea, e tuku ēnei tirohanga pūreirei, kongakonga, ngaro, ā, ngā tirohanga hurihanga whaiaro e whakamāmā ake ki te kaiwhakaora me te tūroro. Ka kaha ake te auatanga o tēnei hātepe i te mea ko te rerekētanga o te ahurea te wāhanga nui o te mahi haumanu. Ka wheraina e tēnei tuhinga te tirohanga toitaurea mōmona nei. Ka whakaurua te wherawherahanga o te wetewetenga hinengaro, te tātanga, me ngā tirohanga whakaoranga hinengaro wairua i te mea ko ēnei ngā kaiwhakamōhio i ngā pirikoko o tēnei hātepe toropupū tino hōhonu. Ka whakaarohia e te pepa nei te ēkene pea o te whakaurunga mai o tētahi kē atu mō te whakatipuranga o te kaihaumanu me te tūroro i roto i te wā huitahi ai. Ka whakaarohia ake anō hoki ngā hīkaro mō te mahi haumanu ahurea whakawhiti. Ka rarangahia ngā kōrero haumanu e whakaahua e whakaatu ana i ngā whakaaro tūhuraina i roto i tēnei tuhinga.

Consistent with the theme of this year’s conference, “Tōna Kanohi, Kauae Moko: The Face that Turns Towards her Ancient Self”, this article includes a personal narrative about taking moko kauae, and some of the cross-cultural tensions associated with that decision within our whānau/family. It also describes my thesis Te Pūtahitanga o Ngā Tai e Rua (The Meeting of Two Tides) (Collins, 2004). The thesis aimed to provide new insights and understandings about the challenges, vulnerabilities and strengths associated with being of mixed Māori and Pākehā heritage in Aotearoa New Zealand. It was based on the life narratives of eleven men and women of dual Māori–Pākehā heritage and looked at change over time, particularly the process of seeking and developing cultural and ethnic identity strength as Māori. It acknowledged ongoing stresses and tensions; coping strategies; and described two cases in which coping strategies were overwhelmed and breakdown occurred. It considered whether a dual Māori–Pākehā ethnicity can be maintained and stabilised over time in the light of inequities and racism in society. Most participants in the thesis were high achievers in terms of education, career success and acculturation and socialisation as Māori. These factors perhaps facilitated the level of self-validation required to tolerate the stress of maintaining a dual identity position for some. The Māori cultural and political renaissance has involved defining Māori in terms of difference from Pākehā/Europeans, but this thesis explored the overlap — genetic, cultural, and social — between the two ethnic groups and provided new insights into diversity within the Māori ethnic group. Waitara Ōrite ki te kaupapa o tē hui o tēnei tau, “Tōna Kanohi, Kauae Moko: The Face that Turns Towards her Ancient Self”, kei roto i tēnei tuhinga he kōrero whaiaro e pā ana ki te tāmoko kauae, me ētahi o ngā maniore ahurea-whakawhitinga uru mai ki tērā whakaritenga i roto i tō mātou whānau. Ka whakaahuahia anō taku tuhinga roa ‘Te Pūtahitanga o Ngā Tai e Rua (Collins, 2004). Ko te whāinga a te tuhinga he whakarato tirohanga mātatau hou e pā ana ki ngā wero, hauaitu me ngā awe piri ki te hunga whai totorua- Māori-Pākehā i Aotearoa Niu Tīreni. I pūpū ake mai i ngā kōrero koiora ā ngā tāngata tokongahuru mā tahi heke mai i te toto Māori-Pākehā, ā, ka titiro ki ngā nekenekehanga haere o te wā, whaitika tonu I te huarahi kimihanga ā, whanaketanga o te awe ahurea, awe ahurea tuakiri Māori. E whakaaea ana e haere tonu ana ngā kōhikuhiku, ngā maniore; ngā whakahaere rautaki; ā, ka whakaatuhia ngā tauria e rua i te āpuruahangatia ngā whakahaereng rautaki, ā, ka puta te mānukanuka. I whakaarohia mēnā ka taea te pupuri te whakakōhatu i te ahurea Māori-Pākehā huri noa te wā, inā rā i te āhua o ngā rerekētanga me te aukati iwi i rō porihanga. Ko te nuinga o ngā kaituku kōrero o te tuhinga nei, he ihupuku teitei i roto i te mātauranga, te mahi, te tuakiritanga me te hāpori i roto i tōna Māoritanga. Nā ēnei whiwhinga pea i āwhinahia ai te pae o tōna whaitake-whaiaro i taea ai te hiki i te kōhukihukinga o te mau ki o rātou tuakiri rua. I te whakaaranga rangatiranga ahurea, tōrangapū Māori te whakaurunga mai o te rangatiratanga o te Māori rerekē anō ana i te iwi Pākehā/Kiritea, engari ko tā tēnei tuhinga he rangahau i te tautoro — ira, ahurea, hāpori — i waenganui i ngā rōpū tuakiri e rua, ka whakauru tirohanga hou ki te kanorautanga kai roto i te rōpū tuakiri Māori.

This paper contains the main points I made in my two keynote presentations to the New Zealand Association of Psychotherapy (NZAP) conference in April 2015. The theme of mourning, and especially facing the aggression involved in this process, runs through it. The first section describes my emotional experience when coming face to face with the devastation left by the Canterbury earthquakes, and I draw attention to the importance of mourning in freeing up the energies required to adapt and to rebuild. I draw attention to the scale of loss to be faced, and raise an anxiety that aggression mobilised by this process may be difficult to bear, and be displaced onto the long-term project of turning a monocultural profession into a bicultural entity that acknowledges explicitly that it exists in a country that is home to both Māori and Pākehā. The second section has two aims. Firstly, I provide a detailed clinical illustration of my work, which is located within the psychoanalytic tradition, in order to make explicit my conceptualisation of a patient’s difficulties and show how these emerged in our work together. Secondly, I endeavour to show how difficult it is to integrate experience within a new cultural milieu alongside representations that stem from our original one — our “native” world of self and others. The patient I describe in my clinical example used her cultural difference as a defence — a deeply ingrained one — to protect herself from the pain of mourning and thus the possibility of moving on. I go on to discuss this material with special reference to its relevance for the development of the profession in a bicultural Aotearoa New Zealand. Waitara Kei tēnei tuhinga ngā aronga matua o ngā kauhau matua e rua i hoatu e au i te Wānanga a NZAP i te marama o Paenga-whāwhā 2015. Ko te tangihanga te kaupapa, inarā te whakarae i te riri i roto i tēnei tikanga. Ka whakaatahia aku wheako whaiaro i te kitenga ā kanohi i te parawhenua i whakarērea iho e ngā rū i Waitaha, ā ka whakaarohia ake te whai tikanga o te tangihanga hai tuku i ngā pūngao hei urutaunga hei whakahou. Ka huria ngā aronga ki te titiro ki te whānui o te paekura hai taki, te whakapikinga ake o te mānukanuka tērā pea ka uaua rawa te mau i te riri ka puea ake i tēnei mahi ā, ka waiho ki te taha ki te huring mahi akonga ahurea tūtahi ki tētahi mea kākanorua.E rua ngā whāinga o te wāhanga tuarua. Tuatahi, ko te whakaatanga whānui o taku mahi haumanu, te ture pū tātarihinengaronga, kia āta mārama ai taku whakaahuatanga o ngā raruraru o te hāura ka whāki ai i pēhea te putanga ake o ēnei i roto i ēnei mahi. Tuarua, ka nanaiore au ki te whakaatu i te uaua o te whakauru wheako ki roto i tētahi atu nohoanga ahurea i te taha o ngā tūnui o te ao toi waia o te whaiaro me ētahi atu. I whakamahia e te hāura whakaahuahia e au i roto i taku tauira haumanu tōna ahurea hai pākati — toka ana te mau — hei ārai i a ia mai i te mamae o te tangihanga, ā, tērā pea te haere whakamua. Ka tuhia tēnei kōrero me te huri ki tōna hāngaitanga mō te whakapakaritanga o te akonga i roto i te kākanotanga o Aotearoa.

I had a dream once where I was walking along a beach or river. I often saw a taonga (treasure) as toki (adze) submerged between the sand and the water flow. I remember not wanting to acknowledge that the toki was there and I would pretend I didn’t see it. Coincidently in my waking life, I was drawn to the art of Māori carving, I took up a journey of reconnection and rediscovery through toi whakairo (the art of carving). During my whakairo journey, between 2010 to 2018 I discovered research gaps in knowledge, specifically about wahine Māori carving and examples. My research enquiry investigates the experiences and perspectives of wahine kaiwhakairo (women carver) from a distinctive Ngāti Awa mana takatāpui position. The study contemplates the role of wahine in whakairo from a Māori worldview and the impacts of colonisation on contemporary Māori women carvers. This presentation is drawn from a Kaupapa Māori and practice-led Doctoral inquiry, activated through a pūrākau methodology. Pouwhare (2020) describes how a pūrākau methodology can synchronise a way of being Māori and artistic practice that enables a process of working from a distinctive ontological and epistemological position that recognises the role of the seen and unseen. This poster presentation will discuss the pūrākau methodology used to capture the narratives of what it means to be a distinctive Māori carver. Traditional gender roles and fluidity will be considered with references to takatāpui (an umbrella term for Māori diverse gender identities) and traditional Māori narratives. There will be a discussion on the creative research methods used to explore notions of gender fluidity within the practice of carving and the art form itself.

Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.

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.

Já se passaram dez anos desde que o conceito de Plataforma de Publicação foi publicado na edição especial do Scope Journal ISSN (versão on-line; 1177-5661). O termo “Plataforma de Publicação” foi introduzido no relatório de prática O Site de Publicação na Prática Contemporânea. Este artigo pesquisou uma série de projetos de publicação analisando modelos editoriais distintos como locais para discussão, colaboração, apresentação de prática e reflexão. Neste contexto, o termo “Plataforma de Publicação” é empregado para descrever um espaço para uma série de modos editoriais distintos. A plataforma considera o impresso como espaço de diversidade de discursos e disseminação de ideias, ampliando o significado e as fronteiras da mídia impressa por meio de um espectro de cenários editoriais. A Plataforma de Publicação posiciona os espaços impressos como sites para refletir sobre estruturas editoriais, conteúdo, práticas de design e metodologias colaborativas. Uma das ideias centrais do relatório foi o papel da colaboração para conduzir o conteúdo, examinando como as relações criativas e a parceria de produção de mídia afetam a prática editorial e os resultados do design. Dez anos depois, a Plataforma de Publicação evoluiu e renovou-se com projetos de publicação emergentes, para incorporar um espectro de prática responsiva à comunidade, experimentação, interdisciplinaridade, conexão crítica, criatividade, produção cultural, artes contemporâneas e discurso artesanal. Este artigo apresenta um estudo de caso da “Threaded Magazine” como um projeto editorial e o papel de sua abordagem culturalmente conectada. Este estudo usa o termo “abordagem culturalmente conectada” para enquadrar como a Threaded Magazine incorpora, como uma base orientadora para cada edição, os três princípios de Te Tiriti o Waitangi: participação, proteção e parceria. Esta apresentação reflete sobre como estes princípios se conectam a quem a Threaded Magazine é coletivamente, como editores e designers, e é determinada por quem nos associamos, fazemos parceria e colaboramos. Um fator-chave que influenciou a Threaded Magazine a adotar uma abordagem mais culturalmente conectada surgiu com o convite para participar da publicação internacional intitulada Projeto 16/2, encomendada pela Fedrigoni Papers para a Feira do Livro de Frankfurt, na Alemanha. O Projeto 16/2 criou uma oportunidade para um processo de autodescoberta editorial. Esta trajetória traduziu a tradição da narrativa oral para a linguagem gráfica, transmitindo a essência (te ihi) de quem éramos. A visualidade e tato da mídia impressa definiu um formato para para a Threaded Magazine se concentrar na herança cultural, tradições originais e narrativas de Aotearoa. Este artigo apresenta uma visão geral da introdução de um kaupapa para a edição 20, a edição de “Novos Começos” e o processo de adesão a tikanga Māori e Mātauranga Māori, enquanto estabelece um kawa editorial específico (protocolo) para a publicação. A influência e colaboração com o consultor cultural rōpū (grupo) Ngā Aho, kaumātua e kuia (conselheiros) irá desenvolver o princípio da participação. A edição 20 conectou a Threaded Magazine profissional, espiritual, física e culturalmente com a identidade única e a paisagem dos praticantes indígenas na vanguarda do mahi toi (arte contemporânea maori) em Aotearoa. A edição especial, número 21, em desenvolvimento, continua a avançar uma abordagem culturalmente conectada trabalhando com whānau, kaiwhatu (tecelões), tohunga whakairo (escultores), kaumātua e kuia para explorar narrativas culturais, conexões, visualmente, por meio de uma estrutura editorial.

Han pasado diez años desde que se publicó el concepto de Plataforma de Publicaciones en la edición especial del Scope Journal ISSN (versión en línea; 1177-5661). El término “Plataforma de publicación” se introdujo en el Informe de práctica, el sitio de publicación en la práctica contemporánea. Este artículo examinó una serie de proyectos de publicación que analizan modelos editoriales distintivos como espacios de discusión, colaboración, presentación de prácticas y reflexión. En este contexto, el término “Plataforma de Publicaciones” se emplea para describir un espacio para una serie de modos editoriales distintivos. La plataforma considera al material impreso como un lugar para una diversidad de discursos y diseminación de ideas, ampliando el significado y los límites de los medios impresos a través de un espectro de escenarios editoriales. La Plataforma de Publicaciones posiciona los espacios impresos como sitios para reflexionar sobre los marcos editoriales, el contenido, las prácticas de diseño y las metodologías colaborativas. Una de las ideas centrales del informe fue el papel de la colaboración para dirigir el contenido, examinando cómo las relaciones creativas y la asociación de producción de medios afectan la práctica editorial y los resultados del diseño. Diez años después, la Plataforma de Publicaciones ha evolucionado y se ha renovado con proyectos editoriales emergentes para incorporar un espectro de prácticas que responden a la comunidad, la experimentación, la interdisciplinariedad, el cableado crítico, la creatividad, la producción cultural, las artes contemporáneas y el discurso dirigido por la artesanía. Este documento presenta un estudio de caso de “Threaded Magazine”, como un proyecto editorial y el papel que tiene su enfoque culturalmente conectado. Este estudio utiliza el término “enfoque culturalmente conectado” para enmarcar cómo Threaded Magazine encarna, como fundamento subyacente rector de cada número, los tres principios de Te Tiriti o Waitangi: participación, protección y asociación. Esta presentación reflexiona sobre cómo estos principios se conectan con lo que Threaded Magazine es colectivamente como editores y diseñadores, y está determinado por con quién se asocia, comparte y colabora. Un factor clave que influyó en Threaded Magazine para adoptar un enfoque más culturalmente conectado fue la invitación a participar en la publicación internacional titulada Proyecto 16/2, encargada por Fedrigoni Papers para la Feria del Libro de Frankfurt, en Alemania. El Proyecto 16/2 creó una oportunidad para un proceso de autodescubrimiento editorial. Esta trayectoria tradujo la tradición de la narración oral al lenguaje gráfico, transmitiendo la esencia (te ihi) de quiénes éramos. La visualidad y la capacidad táctil de los medios impresos establecieron un formato para que Threaded Magazine se centrara en la herencia cultural, las tradiciones originales y las narrativas de Aotearoa. Este artículo describe la introducción de un kaupapa para el número 20, la edición de “Nuevos comienzos” y el proceso de adhesión a tikanga Māori y Mātauranga Māori, mientras se establece un kawa (protocolo) editorial particular para la publicación. La influencia y la colaboración con los asesores culturales rōpū (grupo) Ngā Aho, kaumātua y kuia (asesores) se desarrollarán sobre el principio de participación. El número 20 conectó Threaded Magazine profesional, espiritual, física y culturalmente con la identidad y el paisaje únicos de los practicantes indígenas a la vanguardia del mahi toi (arte contemporáneo maorí) en Aotearoa. La edición especial, número 21, en desarrollo, continúa avanzando en un enfoque culturalmente conectado, trabajando con whānau, kaiwhatu (tejedores), tohunga whakairo (talladores), kaumātua y kuia para explorar narrativas culturales y conexiones visualmente a través de un marco editorial.