Добірка наукової літератури з теми "Whakaora reo"

This article, originally presented in the context of and following a dance performance, discusses how the author, also the choreographer/performer and a dance therapist, works with movement and meaning as part of the therapeutic journey. Following some discussion about dance, the language of dance, and dance therapy, the article presents the view that the concept of relinquishment, as represented by the title of the paper, is intrinsically linked to the concept of home, and that, without recognising the significance of relinquishment, we cannot fully know or understand the concept of “home”. Both the dance work, represented in pictures in the text, and the paper itself explicate this link between home and relinquishment: presenting the idea that by recognising and embracing relinquishment we come closer to knowing wholeness and wellness. The article also describes how the performed dance My House Burned Down can be interpreted as a therapeutic process and, as such, can be seen to move through struggle to a new perspective on presently held ideas about ‘home,’ ‘self’ and the capacity and potential of one’s self. Ko tēnei tuhinga, taketake ake i whakaatuhia i roto i te horopaki whakaari kanikani, ā, whai muri mai i matapakihia i pēhea tā te kaituhi, me te kaiwhakarite/kaikanikani me tētahi kaiwhakaora kaikanikani, whakamahi i ngā oreorehanga me ngā tikanga hai haerenga whakaora. I muri i tētahi matapakinga kanikani, ko te reo kanikani, me te whakaoranga kanikani, ka whakaatuhia e te tuhinga te aroro tuku, e ai ki tā te ingoa o te pepa, e mau pū ana ki te aroro mō kāinga , ā, inā kore e mōhio i te takenui o te tuku, kāre tātou e mōhio whānui, e mātau rānei ki te aroro o “kāinga”. Takirua ko te mahi kanikani whakaahuahia nei i roto i ngā whakaata kei roto i te kupu, me te tuhinga tonu e whakamārama ana i tē hononga o te kāinga me te tuku: he whakaaturanga i te ariā mā te kitenga, tauawhinga tukunga ka tata atu tātou ki te mōhiotanga o te kotahitanga me te oranga. Ka whakaahuahia anō hoki e te tuhinga me pēhea te whakaaritanga kanikani I Wera Taku Whare e taea ai te kī he takinga oranga ā, ka kitea te wheta ki tētahi tirohanga hou tae atu hoki te tētahi whakaarohanga hurihanga.

This article is based on an interview of Colin Wrennall conducted by Keith Tudor. We first met as a result of Keith contacting Colin with regard to The Book of Evan, and got to know each other more through some further conversations. The interview itself was conducted in a conversational style; the resulting article is based on a transcription of the interview and subsequent research, and further writing and editing. The article focuses on and covers Colin’s background and work in farming and psychotherapy and, specifically, psychodrama, and discusses the interplay between these two worlds. Following this and drawing on matters arising from the first part of our recorded conversation and subsequent writing, in the second part of the article, we discuss the phenomenon of our ageing practitioner community, sustainable professional development, and succession-planning. Whakarāpopotonga Ko te uiuinga o Kōrini Werenara e Kīhi Tūhoro te tūāpapa o tēnei kōrero. I ara ake te tūtakitanga tuatahi i te whakapānga atu o Kīhi i a Kōrini mō te pukapuka Te Pukapuka o Ēwana, ā, ka mōhio pai ake i a māua mai i ngā kōrerorerohangai muri ake. He kōrero te momo hiki i te pātaitai, hoi anō nō te hopu reo o taua uiuinga me ngā rangahau te pūtake o tēnei tuhinga. Ka arotake tēnei tuhinga i te whakatipuranga ake o Kōrini me tāna mahi kaipāmu, me te mahi whakaora hinengaro pokapū tonu ki te whakatautau hinengaro, ka matapaki ai i te haeretahinga o ēnei ao e rua. I muri ake mai i nga take ara ake i te wāhanga tuatahi o te hopunga reo me ngā tuhinga i tuhia, i roto i te wāhanga tuarua o te pepa, ka matapakihia te āhua o te taipakeke haere o te hunga mahi o te hāpori, te pupuri whanake ngoio me te whakatakotoranga-tauatanga.

As we age or become terminally ill, we are confronted by our mortality. Being confronted by our own or another’s death can be a time of accelerated and profound growth and development. Using examples from research and personal experience working in a hospice, this article explores challenges facing our own dying as well as that of clients and family members. It discusses the relevance and benefits of psychotherapy at end of life. Throughout the dying process, disturbances can occur that may be dismissed or pathologized. This article goes further and suggests that the dying person’s apparent confusion, complex language, agitation or unusual movements, dreams and visions are some of the ways they communicate their needs and let us know what is happening to them. These phenomena are doorways through which we can connect and assist the dying to find meaning in what is happening. The dying may also experience altered and extreme states of consciousness such as coma. It is believed that in these deep inner states they are continuing their development and making spiritual connections. Rather than leaving them alone to fend for themselves, innovative interventions such as joining the world of the patient and pacing their breath are suggested. The work described in this article is based on the methods and skills found in Process Oriented Psychology, and its application to palliative care. Whakarāpopotonga Ka koroheke haere ake tātau, ka whakahemohemo ana rānei, ka putēhia mai tātau e mate. Putēhia mai ana e tō tātau, tō tētahi atu mate rānei, te wā whakatere whakaaroarohanga pakeketanga whanaketanga. Mai i ngā tauira rangahau, ngā wheako whaiaro mahi i te whare whakahemohemo, ka tūhurahia e tēnei tuhinga ngā whakatumatuma hāngai ki tō tatau, tō ngā kiritaki me ō te whānau. Ka matapakihia te whaitake me ngā hua o te whakaora hinengaro i te mutunga o te koiora. I te wā e whakamatemate ana tērā pea ka puta ake he ngākau kāhuirangi, a, e kene pea ka parea ki rahaki ka whakaaramātaihia rānei. He tirohanga atu anō tā tō tēnei tuhinga, e kī ana ko te ngākau kāhuirangi o te tūroro, te reo matatini, te kōmingomingotanga, oi rānei, ngā moemoeā ngā matakitenga ētahi o ngā momo whakaaturanga i ō rātau hiahia whakamōhio hoki e ahahia ana rātau. He kuaha ēnei pāmamaetanga e taea ai te hono atu, te āwhina atu i te hunga mate ki te rapu māramatanga mō ēnei pānga. Tērā pea ka wheakohia he takotoranga rērerekē, takotoranga tōpitopito o te mauri pērā i te maurimoe. E whakaponohia ana i roto i te ēnei takotoranga houroto e whakanake haere tonu ana rātau, ā, e hono atu ana ki te taha wairua. E meahia ana kaua rātau e waiho mokemokehia ki ā rātau anō, engari me huri ki te kōmuhu hou pēnei i te hono atu ki te ao o te tūroro ka whetoko i ō rātau hā. Ko te tūāpapa o ngā mahi whakaahuahia i roto I tēnei tuhinga nō ngā tukanga me ngā pūkenga kai roto i Tukanga Pānga Hinengaro, me ana whakatau ki te mahi haumanu.

I runga ngā kōrero whakawhiti a tōkū tumuaki o te Kura a Rohe o Uawa me Kahukuranui, ka kōrero hoki ki ētahi o ngā kaumātua / pakeke, otira mai ngā kai korero katoa, mai i te hāpori o Uawa ka whakaurahia te tauihu o tēnei kaupapa, kia tūteitei ai ki ngā whakangarungaru o te ao hurihuri nei, kia ora mo ake tonu atu. Ka karapinepine i ngā māramatanga me ngā kōrero tuku iho ā rātau mā ka whakatakoto i waenga i ngā reiputa o te iwi o Te Aitanga a Hauiti kia whiriwhiria mai ngā whenu o te karanga. I au e whakaritorito i ngā pūkōrero, ngā kai kōrero, ki ngā kōtiro hoki mai te whārua o Uawa, ka tō te aro, ki te hanga he rauemi, ki te whai take a hangarau, ki te pāhekoheko ki te ahurea wānanga, ki ngā horopaki o tēnei wā, ko te karanga hei ako. No reira, nā runga i te rongo i te karanga a te kura, te karanga a te hāpori kei te mimiti te reo karanga ki runga i ngā marae, ka pūmina ake te whakaaro, “he reo reitū” te kaupapa. Ko tōna tikanga ka āhei te ākonga ki te whanake, ki te whakapakari, ki te whakangungu, i runga i te tika me te pono, ngā whenu o te karanga. Ko rātau hoki te reo reitū, mo apōpō, hei kanohi mo te reo okawa, hei pupuri te reo mana-aki o te marae, kia ora ai tēnei taonga ki tua o pae. No reira ko te ahunga o te reo reitū kīhai ki ōku tīpuna, koinei te reo ka rangonatia ake e te ao wairua kārekau rawa e ōrite ana ki te kōrero ā-waha.

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.

Mo ratou, ma matou, ma koutou, ma tatouFor them, for us, for everyone As the Māori Television Service (MTS) celebrates its first year on air, it is easy to forget the long and at times painful struggle to get there, the aspirations of those who have worked in, consulted, wrote, and protested their way through the various incarnations of Māori broadcasting. The incarnations include Māori programming on mainstream television, Aotearoa Television, the Electoral College, Te Manu Aute, Nga Aho Whakaari, MTS legislation and the exhaustive process of building a new channel for all New Zealanders. We pay homage to those who have gone before and their passion to see Māori Television for and by Māori, to hear our Reo, tell our stories and to bring our way of life to all New Zealanders.

He Whakarāpopoto Kai te reo ōna ake whakaaro e pupūtia ai ngā take-pū Māori. He mea tuku iho tēnei e ngā mātua tīpuna ki ngā whakatupuranga o nāianei. Ki te kaha te tangata ki te raparapa haere, ka kitea tonutia te hōhonutanga o ngā takepū nei, hai arataki paitia i a ia. Ko te kaupapa o te tuhituhi nei, he arotahi i te takepū o te āta. Kai konei ka kitea ētahi tauira, hai whakamahitanga ki ngā wāhi maha, kai reira te hunga tangata. E whakapaetia kai konei anō ngā take-pū hai mahinga mā te tangata i a ia e tipu ana. Abstract The language has its own capacity to give a depth of meaning to Māori concepts. This was passed down by the ancestors to the present generations. A determined researcher can access the depth of these principles and find it most rewarding. This paper focuses on the principle of “āta” and examples are given which can be applied in workplaces. The claim is made that these principles can be applied to one’s own development.

This commentary was developed around two interconnected meditations sparked by Chris Milton’s paper: firstly on the idea of poetry as complementary to the healing alchemy of analysis and secondly on how the encounter with a new landscape and culture in Aotearoa New Zealand forms the ground of transpersonal life for Pākehā, especially those of settler descent. The language of poetry, with its capacity to connect us with the mythopoeic world, is offered as a way of contextualising the arrival of Jungian analysis in this land and imaginal ground. Waitara I whanake ake tēnei kōrero mai i ngā taumauri hononga takirua i pupū ake i te pepa a Chris Milton: tuatahi mai i te whakaaro me haere takitahi te ruri me whakamātau tūmahu o te tātarihanga, tuarua te huanga ake o te taiao hou me te ahurea hou i Aotearoa Niu Tīreni hai hanga papa whakawhiti ki te taha wairua mō te Pākehā, torotika nei ki ngā hekenga tauiwi. Ko te reo ruri me ōna pānga ki te hono i a tātau ki te ao atua, kua homai hai horopakinga i te taenga mai o te tātarihanga Hungiana ki tēnei whenua me te papa pohewa.

Te Parapara Garden is the only complete pre-European-style Māori horticultural garden in the world. Historically inspired and empirically researched, it lies within the Hamilton Gardens on a young river terrace immediately adjacent to the Waikato River in Hamilton (Kirikiriroa), Aotearoa New Zealand. In this article, Wiremu Puke (Ngāti Wairere, Ngāti Porou) ‐ a tohunga whakairo (master carver, including using pre-steel tools) and a tohunga whakapapa (genealogical expert on his tribal affiliations) of Ngāti Wairere (the mana whenua, or first people of the traditional ancestral tribal lands of Kirikiriroa) ‐ describes the design and development of Te Parapara Garden from its initial concept in 2003 and the construction of its many features, including the waharoa (gateway), pou (carved pillars), pātaka (storehouse), whatarangi (small storehouse), taeapa (fencing) and rua kūmara (underground storage pit), and the sourcing and use of kōkōwai (red ochre). The garden was completed in 2010. Its ongoing functioning, including the annual planting and harvesting of traditional pre-European kūmara (sweet potato) using modified, mounded soils (puke or ahu), is also covered. The unique Te Parapara Garden is of great cultural importance and a source of pride, knowledge and understanding for national and international visitors and empirical and academic researchers.