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Статті в журналах з теми "Whakapapa"
1
Graham, James. "He Āpiti Hono, He Tātai Hono: That Which is Joined Remains an Unbroken Line: Using Whakapapa (Genealogy) as the Basis for an Indigenous Research Framework." Australian Journal of Indigenous Education 34 (2005): 86–95. http://dx.doi.org/10.1017/s1326011100004002.
Повний текст джерелаАнотація:
AbstractThis paper explores the notion of whakapapa as providing a legitimate research framework for engaging in research with Māori communities. By exploring the tradition and meaning of whakapapa, the paper will legitimate how whakapapa and an understanding of whakapapa can be used by Māori researchers working among Māori communities. Therefore, emphasis is placed on a research methodology framed by whakapapa that not only authenticates Māori epistemology in comparison with Western traditions, but that also supports the notion of a whakapapa research methodology being transplanted across the Indigenous world; Indigenous peoples researching among their Indigenous communities. Consequently, Indigenous identity is strengthened as is the contribution of the concept of whakapapa to Indigenous research paradigms worldwide.
2
Forster. "He Tātai Whenua: Environmental Genealogies." Genealogy 3, no. 3 (July 19, 2019): 42. http://dx.doi.org/10.3390/genealogy3030042.
Повний текст джерелаАнотація:
Whakapapa, an indigenous form of genealogy of the Māori people of Aotearoa New Zealand, is a powerful tool for understanding social phenomena. In this paper, the environmental histories of Aotearoa New Zealand are converted to whakapapa/genealogical sequences and kōrero tuku iho/narratives derived from whakapapa, to demonstrate this explanatory power. It is argued that whakapapa is much more than a method for mapping kinship relationships. Whakapapa enables vast amounts of information to be collated and analysed, to reveal a multitude of narratives. It also facilitates a critique of indigenous rights issues, revealing Māori agendas for environmental management. Therefore, the whakapapa sequences and narratives created as part of this paper provide an understanding that is not restricted to the grand narrative or the past as whakapapa is never-ending, dynamic, fluid and future-focused.
3
Marshall, Yvonne. "Indigenous Theory is Theory: Whakapapa for Archaeologists." Cambridge Archaeological Journal 31, no. 3 (May 18, 2021): 515–24. http://dx.doi.org/10.1017/s0959774321000214.
Повний текст джерелаАнотація:
Drawn by their foundation in fundamentally ‘otherwise’ posthuman ethical and moral worlds, archaeologists have in recent years employed a number of indigenous theories to interpret archaeological materials. In this paper I consider the potential of New Zealand Maori whakapapa, loosely and reductively translatable as genealogy or ancestry, to become a strand of general theory in archaeology. The qualities of whakapapa which I feel have particular potential are its moral and ethical embeddedness and its insistence on multiple forms of relating. Importantly, whakapapa has an accessible indigenous voice. There is an extensive published literature, both Maori and non-Maori, academic and general, discussing, interpreting and applying Maori social theory, including whakapapa. In addition, whakapapa remains today fundamental to everyday and ceremonial Maori life. It is lived. Employing whakapapa as archaeological theory does not, then, depend on a having a specific authoritative interpreter. Here I have taken recent work by installation artist Maureen Lander as a forum to outline the key principles of whakapapa and to inform my discussion of whakapapa as archaeological theory.
4
Kawharu, Margaret. "Whakapapa and Metamorphosis." Sites: a journal of social anthropology and cultural studies 10, no. 1 (2013): 51–72. http://dx.doi.org/10.11157/sites-vol10iss1id231.
Повний текст джерела
5
Manawaroa Gray, Rev Maurice. "Whakapapa and whanaukataka." Ata: Journal of Psychotherapy Aotearoa New Zealand 9, no. 1 (August 30, 2003): 20–26. http://dx.doi.org/10.9791/ajpanz.2003.03.
Повний текст джерелаАнотація:
The traditional world of the Māori understands relationships in the context of Whakapapa and Whanaukaraka (Genealogical Relationships) that exist at the three levels of the cosmic, natural and human worlds, which are inextricably linked. Whakapapa is synergised in both apodictic and scientific truths, which co-exist in a complementary manner. Humanity is viewed as being merely a microcosm of the cosmic realm; the self is viewed as being a reflection of the Universe. Māori culture, then, insists on the indivisible linkages between all things, whether human, environmental, or celestial, which are all viewed as being related.
The inter-relationship between the four cosmic elements of Fire, Air, Water and Earth are synonymous with the micro-levels of the self: the Spiritual Body, the Psychological Body, the Emotional Body and the Physical Body. Maori therapeutic practices insist on the well-being of the person being centred around the mauri (life-force) of inner well-being; the balance of these with each other, with the four environmental elements, and with the cosmos.
At a therapeutic level, then, relationships for Māori refer to the interplay between the archetypal entities that exist within a person's cosmology, and the influence on these by their whanau, social contacts and interactions. In this context, the person understands themselves as existing as a part of the sum total, less important as an individual than the collective whole. It is important for psychotherapists to understand these complex elements when working with Māori clients.
6
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.
Повний текст джерелаАнотація:
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.
7
Mahuika, Nēpia. "A Brief History of Whakapapa: Māori Approaches to Genealogy." Genealogy 3, no. 2 (June 14, 2019): 32. http://dx.doi.org/10.3390/genealogy3020032.
Повний текст джерелаАнотація:
Whakapapa is the Māori term for genealogy. It has been described by some as the skeletal structure of Māori epistemology because all things have their own genealogies. In research, whakapapa has been presented in tribal histories, Māori Land Court records, and consistently as a framework for mātauranga Māori (Māori knowledge) and Māori research methodologies. This essay offers a brief overview of the ways in which whakapapa has been understood and negotiated in research particularly after the arrival of Europeans. Some early ethnographers, for instance, applied their own genealogical methods of dating to whakapapa, which influenced various Māori approaches from the twentieth century. With the advent of literacy and print, Māori experimented with new ways to record genealogy, and yet the underlying oral, ethical, and cultural practices that are crucial to whakapapa have remained integral to how it still lives and operates in Māori communities today.
8
EVANS, DONALD. "WHAKAPAPA, GENEALOGY AND GENETICS." Bioethics 26, no. 4 (December 7, 2010): 182–90. http://dx.doi.org/10.1111/j.1467-8519.2010.01850.x.
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9
Ngata, Apirana, and Wayne Ngata. "The terminology of Whakapapa." Journal of the Polynesian Society 128, no. 1 (March 2019): 19–41. http://dx.doi.org/10.15286/jps.128.1.19-41.
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10
Metge, Joan, Jeff Sissons, and Lily George. "Whakapapa - New Zealand Anthropology." Sites: a journal of social anthropology and cultural studies 10, no. 1 (2013): 4–29. http://dx.doi.org/10.11157/sites-vol10iss1id228.
Повний текст джерелаДисертації з теми "Whakapapa"
1
Kelly, Stephanie Marina. "Weaving whakapapa and narrative in the management of contemporary Ngai Tahu identities." Thesis, University of Canterbury. Department of Sociology, 2002. http://hdl.handle.net/10092/2547.
Повний текст джерелаАнотація:
Ngai Tahu Whanui claims most of the South Island as its takiwa (territory) and is one of the largest Maori iwi (tribe) of Aotearoa New Zealand. In 1996 Ngai Tahu Whanui became the first
tribal group to have its identity recognised in legislation. The basis for membership in the legal-political
identity, Ngai Tahu Whanui, is registration of whakapapa (genealogy) to a South Island
kaumatua (elder) listed in the 'Blue Book', a list compiled in negotiation with the Crown in 1925.
I argue that the management of whakapapa by the contemporary leadership Te Runanga 0 Ngai
Tahu - constitutes the adhesive that holds together the individual members, who have historically
been geographically, politically and culturally dispersed. This management is carried out through
the Ngai Tahu Whanui roll of members and is legitimated by a supporting public narrative. The
Ngai Tahu Whanui public narrative relies on the potency of whakapapa as metanarrative and
three meta-themes about time, place and 'The Claim' Ngai Tahu have made against Crown
violations of the 1840 Treaty of Waitangi. This management privileges the new legal-political
identities of 'Ngai Tahu Whanui' by silencing or excluding other historic South Island Maori
identities.
Research for this dissertation includes participant observation in a range of Ngai Tahu settings
and a series of recorded life histories and face to face interviews with Ngai Tahu individuals over
the period from 1996 to 2000. Through investigation of political events over this period, within a
context of historical events since 1840, and the personal narratives of Ngai Tahu individuals, the
complexities of contemporary South Island Maori identities are examined.
The dissertation does not adopt a 'body of theory' as such but uses a range of theorists from
various disciplines. Anthony Giddens is relied on for consideration of whakapapa as cultural
resource. Margaret Somers, Ken Plummer and Nigel Rapport are followed in their consideration
of the role of personal and public narratives in the constitution of identity. Somers' concept of
'metanarrative', the most potent form of cultural resource, is used to analyse whakapapa. It is
because of its metanarrative properties, including its role as narrative and a range of metaphoric
associations and the interweaving of the meta-themes in whakapapa, that its strategic uses by
Ngai Tahu Whanui leadership are consented to both by the Crown and by South Island Maori.
While other political practices by the contemporary leadership are often challenged in
counternarratives by Ngai Tahu individuals and by non-Ngai Tahu, the management and use of
whakapapa as a resource is never challenged.
I also consider Russell Bishop [1996] for his autobiographical contribution to account of the role
of whakapapa as narrative. I have also used Corrine Kratz's typology of 'rhetorical techniques' to
investigate aspects of tradition in my analysis of the Ngai Tahu public narrative.
The dissertation includes an argument about the framing in narrative and supporting management
of a national ethnic identity, borrowing from Margaret Somers, Craig Calhoun, Charles Tilly and
Benedict Anderson.
To my knowledge, this dissertation is the first in the study of contemporary identities for Maori to
consider whakapapa for both its metanarrative qualities and for its uses as political resource.
2
Langham, Karin. "Exploring Maori identity (Whakapapa) through textile processes : a visual arts program for year 11 students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1862.
Повний текст джерелаАнотація:
In 2007 the Curriculum Council of Western Australia (CCWA) introduced a new Visual Arts Course of Study (2007), which contains a postmodern perspective and is inclusive of social criticism, multiculturalism, feminism and non-Western art forms. In keeping with the new Visual Arts Course of Study in this Creative Visual Arts Project, I have used the CCWA course outcomes as a framework to develop a visual arts program that is a vehicle for exploring individual personal identity, and has the potential to increase self-esteem in students in Western Australian secondary schools.
The research stems from my personal view that students can benefit significantly from investigating their identity, enabling them to situate their self in a stronger position in their present day life-world when they have a more definite sense of who they are and where they come from. I have placed myself in the position of ‘the subject’ in order to transfer the process into a visual art program that can be utilised within the classroom. The visual arts program is underpinned by Efland’s expressive psychoanalytic model for aesthetic learning, which posits that art is self-expression, a form of learning that contributes to emotional growth. Visual art awakens intellectual inquiry in an individual, increases cognitive potential through enabling personal liberation, and is an adjunct to informing society and culture.
The research project culminates in an exegesis and an exhibition of artworks that communicate personal memories and significant historical events exclusive to my whakapapa (Maori genealogy). The artworks are a vehicle for exploring my individual self-identity, enabling me to connect more deeply with my Maori cultural roots. The research paradigm utilised is narrative inquiry, a process of collecting and structuring stories that is characteristic of the traditional Maori practice of storytelling. This project has resulted in a reinterpretation of the perception of myself within my personal life-world. I have a deeper understanding of my cross-cultural roots, a stronger sense of who I am, and a sense of empowerment. I believe Year 11 students can also achieve this outcome through the visual arts program, using it as a tool for investigating their own identity, challenging cultural, social and gender limitations that impact on them, and ultimately empowering their personal life-world.
3
O'Regan, Hana Merenea, and n/a. "Ko Tahu, Ko au." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 1998. http://adt.otago.ac.nz./public/adt-NZDU20070524.123022.
Повний текст джерелаАнотація:
This research is concerned with ethnic identity and focuses on the experiences of my tribe, the Ngai Tahu of the South Island of New Zealand, as a case study. Material drawn from interviews with eight Ngai Tahu respondents are used to illustrate the factors influencing Ngai Tahu identity, which include whakapapa, land, language, tikanga, mahinga kai, the Claim, our legal identity, and the perceptions of significant others. These factors are discussed within the context of the wider Maori identity and the New Zealand environment.
The interviews also provide an insight into the personal nature of Ngai Tahu cultural identity and the experiences of the respondents in terms of inclusion and exclusion from the general Maori identity.
A theoretical base on the issues of cultural identity development is gained from the literature and used as a framework for discussing Ngai Tahu identity development. This research investigates the development of pan-Maori identity and how it has manifested itself within New Zealand society. The cultural criteria used to measure and assess membership in the Maori ethnic collective are often inadequate and inappropriate for Ngai Tahu and within the Ngai Tahu context.
This research illustrates how the environment and the choices it offers to people of Ngai Tahu identity both in the past and the present. I will argue that Ngai Tahu identity is largely a product of its circumstance. Although primordialist notions such as whakapapa are consistently present in that identity, the weight that they carry is largely determined by the political and cultural environment and context.
The project concludes with an assessment of the level of appreciation given to differences that exist within different sections of Maoridom and the need to understand the validity and legitimacy of those differences if a positive sense of cultural identity is to be achieved.
4
Christianson, Amy Nadine. "Assessing and improving the effectiveness of staff training and warning system response at Whakapapa and Turoa ski areas, Mt. Ruapehu." Thesis, University of Canterbury. Geological Sciences, 2006. http://hdl.handle.net/10092/1271.
Повний текст джерелаАнотація:
Ruapehu is an active volcano located on the North Island of New Zealand, with the most recent major eruptions occurring in 1945, 1969, 1975, and 1995/96. Ruapehu is also home to the three major North Island ski areas, Whakapapa, Turoa, and Tukino. Because of the high frequency of eruptions, there is a significant volcanic hazard at the ski areas particularly from lahars which can form even after minor eruptions. Most recently, lahars have affected Whakapapa ski area in 1969, 1975, and 1995/96. The most significant risk at Turoa is from ballistic bombs due to the proximity of the top two T-Bars to the crater. Ash fall has also caused disruption at the ski areas, covering the snow and causing damage to structures. There is yet to be a death at the ski areas from a volcanic event; however the risk at the ski areas is too high to be completely ignored. The ski areas at Whakapapa and Turoa are currently operated by Ruapehu Alpine Lifts (RAL), who have been significantly improving their commitment to providing volcanic hazard training for their staff and preparing for handling a volcanic eruption. RAL is joined by the Institute of Geological Sciences (GNS) and the Department of Conservation (DoC) in trying to mitigate this risk through a range of initiatives, including an automated Eruption Detection System (EDS), linked to sirens and loudspeakers on Whakapapa ski areas, as well as by providing staff training and public education. The aim of this study was to provide RAL with recommendations to improve their staff training and warning system response. Staff induction week at both Turoa and Whakapapa ski areas was observed. Surveys were distributed and collected from staff at both ski areas, and interviews were conducted with staff at Whakapapa ski area. Data obtained from staff interviews and surveys provided the author with insight into staff's mental models regarding a volcanic event response. A simulation of the warning system was observed, as well as a blind test, to collect data on the effectiveness of training on staff response. Results indicated permanent and seasonal staff were knowledgeable of the volcanic hazards that may affect the ski areas, but had differing perspectives on the risk associated with those hazards. They were found to be confident in the initial response to a volcanic event (i.e. move to higher ground), but were unsure of what would happen after this initial response. RAL was also found to have greatly improved their volcanic hazard training in the past year, however further recommendations were suggested to increase training effectiveness. A training needs analysis was done for different departments at the ski areas by taking a new approach of anticipating demands staff may encounter during a volcanic event and complementing these demands with existing staff competencies. Additional recommendations were made to assist RAL in developing an effective plan to use when responding to volcanic events, as well as other changes that could be made to improve the likelihood of customer safety at the ski areas during an eruption.
5
Ream, Rebecca. "Capturing the Kiwi Spirit: An exploration into the link between national identity, land and spirituality from Māori and Pākehā perspectives." Thesis, University of Canterbury. Social and Political Sciences, 2009. http://hdl.handle.net/10092/2742.
Повний текст джерелаАнотація:
People telling stories of national identity, land and spirituality contribute to the local formation of the nation. I explore this view of nationhood in Aotearoa/New Zealand from Māori and Pākehā perspectives. Theorising this exploration, I form my own national identity concept for guiding analysis, that of locally narrated roots. Locally narrated roots is, essentially, a way of looking at national identity through the everyday narration of land, spirituality and history/ancestry by individuals. Supporting the production of this term is Smith’s (2003) theory of revised ethno-symbolism, which links religion, nationalism, land and history/ancestry, and Thompson’s (2001) grounded, everyday approach summed up as local production of national identity. Research methods draw upon Thompson’s people-focussed approach in conjunction with a narrative approach inspired by life story and Kaupapa Māori Research practices, which informed the conducting of twelve semi-structured interviews. From these interviews, six Māori and six Pākehā stories of history, ancestry, spirituality, land and identity were generated. These narratives revealed that colonial settler society, romanticism and whakapapa (genealogy) are central to this research and vital for further exploration on national identity. I close with the suggestion that participants’ stories enact a process of locally authenticating one’s national identity. I also suggest this local authentication is a secular spirituality, an idea that combines both patent secularism and spirituality, and is expressed through land, history and ancestry in Aotearoa/New Zealand.
6
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.
Повний текст джерелаАнотація:
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.
7
Bennett, Adrian John Te Piki Kotuku. "Marae : a whakapapa of the Maori marae : a thesis submitted [in fulfilment of the requirements] for the degree of Doctor of Philosophy in [Cultural Studies] at the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1027.
Повний текст джерелаАнотація:
A whakapapa of the marae Whakapapa, a Maori word, is often abstracted to the English language as the word genealogy. Whakapapa however has a more subtle and comprehensive meaning in Maori. In that language it has complex connotations of genealogical lines, yes, but also the history of the people involved and perhaps most importantly, the inter-relationships between those people. Degrees of consanguinity are all important when establishing relationships within Te Ao Maori - the Maori world. Marae, the basis of this thesis, is another Maori word. A marae, at its simplest, might be referred to as an agglomeration of separated, functional buildings on an area of reserved land, usually deemed to be sacral to some extent. Marae have an ancient history both in New Zealand Maori culture, but really originating at least in part, in the older cultures from which our Maori culture was eventually derived, from other, earlier settled, Pacific Islands. This thesis then is a genealogy, a sort of cultural history of marae, but is based on the idea and Maori sense of the whakapapa and so partakes of the nuances involved. It is these additional complexities that are referred to by the use of the word whakapapa in the title of this thesis. This thesis investigates the lineage of the marae, tracing it back to legendary roots, but it also examines the relationships between the components of the marae and also the place the marae has established within Maori (and other) communities. Beyond the historical forms of the marae that this thesis investigates are the other aspects that delineate what a marae really is. It is not simply a group of buildings at all, although this is a common non-Maori understanding of its disposition. A marae is a tapu or sacred space, and within or nearby that space are buildings whose form, function and meaning have only come to their present conjunction in (written) historic times. What makes the marae is the combination of the people and the ritual that is involved on a marae, the marae space and lastly, the physical buildings. The buildings, particularly carved houses, have additional meaning that they lend to the thread of the story. They themselves represent the whakapapa of the marae, and specifically of the hapu (or sub-tribe) who inhabit that marae. They do this by direct representation, but also by analogy and by spiritual means that are little dealt with in most literature. Ancestors in Te Ao Maori are deemed to exist within the very fabric of the building and have a renewed or continuing existence that is created in the first instance by a melange of ritual and belief. This thesis discusses both the usage of ritual to create such physical interjacence, utilised in modern times within whare (houses), and the continued use of regular ritual on marae for human functions. It is only together that a complete modern marae is created. With any of these elements missing the marae form is truncated or lessened and diminished in some ways. So, marae which have been recreated in preserved forms, such as those in museums, are discussed at length in this thesis, by contrast with marae in regular usage for 'traditional' purposes. In essence then, this is an investigation of the marae, but in terms, manners and ways, which have not always been fully or comprehensively dealt with before.
8
Edwards, Shane. "Titiro whakamuri kia marama ai te wao nei : whakapapa epistemologies and Maniapoto Maori cultural identities : a thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy, Massey University." Massey University, 2009. http://hdl.handle.net/10179/1252.
Повний текст джерелаАнотація:
The work I have presented here pulls together Maori epistemologies as evidenced in the whakapapa knowledge particularly of Ngati Maniapoto to see if and where connection lies with understandings of Maori cultural wellbeing. Whakapapa knowledge is the unbounded collection of theory, observation and experience as seen through Maori eyes. It is intricately connected by whakapapa, a tool for working with and extrapolating understanding and is the common thread that binds hapu, whanau and iwi (O’Regan, 2001). The aim is to investigate contemporary Maori realities with a strong interest in these traditions of wisdom and knowing. The rangahau presented here is of necessity both deconstructive and reconstructive. As a deconstructive project the rangahau seeks to place under the microscope of indigenous gaze the colonial theoretical, ethical, moral and political construction of Maori ways of knowing and being and the ontological orders of western paradigms and non-Maori worldview (Romero-Little, 2006). As a constructive project I am concerned with placing on the record and opening up sites for, but not defining, Maori epistemology as legitimate and ‘tika’ and at the same time putting forward ‘alternate epistemologies’ (Collins, 1991; Lopez, 1998; Smith, 1999; Marsden, 2003) that challenge certified knowledge and critically challenges dominant constructions of the truth as related to knowing. The implications of these explorations of epistemologies for Maori lives, opportunities and experience are also considered. This work argues for the maintenance of Maori cultural identities via whakapapa knowledge using connections to Maori ways of knowing. This includes examination of the effects of coming to terms with, of encountering, coming to terms with and engaging with Maori cultural practices, as well as, processes commonly referred to as ‘culture shock’ (Weaver, 1993) the psychological, emotional and physical responses to the phenomenon of identity reclamation and how these realities can be negotiated. What I found is that Maori knowledge systems are replete with elements that contribute positively to the maintenance of cultural identities and these identities are uniquely and distinctively contextually and culturally relevant. These systems have been and continue to be threatened by the impacts of colonisation and colonial ideologies. The work has found that elders and relevant contexts retain and provide a large volume of knowledge that when engaged with can provide useful insights into living within Maori paradigms that can enhance wellbeing in the present. Maori communities and whanau are under high levels of stress with the pressures of contemporary living and the dis-location from ancestral lands, and the living activities, knowledge sharing opportunities and learning practices they support. This work seeks to offer up solutions via the maintenance, enhancement and advancement of cultural identities as a way for mediating and removing some of the effects of the stresses. The implications are that the continued disconnection of Maori from unique cultural identities informed by whakapapa korero knowledge may serve to weaken important elements and connections to an individual’s and group’s cultural identity, including personal history, stories, land and people. The potential exists for further investigation of how crucial cultural connections that acknowledge contemporary realities and yet support the maintenance of cultural identities with strong and vibrant connections to whakapapa korero knowledge connections might be maintained, enhanced and advanced. Additionally, the work here opens up the space for and advocates for much deeper exploration of distinctive elements of a groups identity through contextually located knowledge in forms such as waiata, purakau, pakiwaitara, whakairo, rongoa, wairua and the many other knowledge forms of tea o Maori to further depths/heights not yet achieved to reclaim (k)new and subjugated knowledge forms. This potential is exciting but there are a range of risks involved (including appropriations of indigenous knowledge) that requires certain minimum standards of knowledge protection such as discerning which knowledge is suitable for public consumption and that which is not. This is most suitably done after receiving guidance from the knowledge holders as to what the appropriate forums for such knowledge might be and analysing risks for abuse, risks of misinterpretation and risks of unintended use that might cause whakama. The enquiry suggested above as being of benefit is of course a deeply personal exploration and ideas of what is appropriate for public consumption and what is not is something that must be explored at the time of enquiry. As in my work here I was asked to include some things and to exclude others as a result of views by the elders that the public consumption of some knowledge they contributed was inappropriate to be shared beyond our korero because it could be perceived in a number of ways, some helpful and some not, for the people concerned, or for different groups of people. The knowledge that has been shared here and that which has not has therefore been discerned.
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Graham, James Philip Hector. "Whakatangata kia kaha : toitū te whakapapa, toitū te tuakiri, toitū te mana : an examination of the contribution of Te Aute College to Māori advancement : a thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy in Education at Massey University, Palmerston North, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1254.
Повний текст джерелаАнотація:
The thesis examines the contribution of Te Aute College to Maori advancement by exploring the whakapapa of Te Aute College and the brand that has developed out of the school’s whakapapa from its beginnings in 1854 prior to major European settlement in the Hawkes Bay through to the 21st century. In doing so, the notion of whakapapa is used to reveal the layers of tradition, history, connections, narratives, achievements and setbacks that have enabled the realisation of Maori potential and the ability of Te Aute College to sustain a contribution to the advancement of Maori. This thesis contends that the contribution of Te Aute College to Maori advancement stems from its whakapapa and its brand that is unequivocally Te Aute in focus and character. An Indigenous Maori research paradigm, a whakapapa research methodology, provides the context for researching Te Aute College, the basis of this thesis. The thesis also explores whakapapa as a tool that can be used as a legitimate research framework when engaging in Maori research. It posits an Indigenous Maori research approach as a paradigm base for a philosophical and theoretical discourse when researching Maori institutions and communities. This thesis signifies the continuation of both a personal and professional journey that originates from the author’s enduring interest in and sense of obligation to contributing to the story of Te Aute College. The initial thesis discourse contextualises the research through a historical chronology of the tangata whenua connection to the research community; of the first 150 years of Te Aute College providing education for predominantly young male Maori and of the ‘special character’ education that is offered by Te Aute College today. Three interconnecting themes provide the systematic basis for exploring the distinctive yet simultaneously universal layers of Te Aute College that emerged as significant to this research; the Te Aute Experience, the contribution of Te Aute College and He Toa Takitini - Collaboration. Finally, an analysis is given of these themes in conjunction with the whakapapa of Te Aute College and the future role of Te Aute College in sustaining its contribution to the advancement of Maori.
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Peters, Murray Hamaka. "The confiscation of Pare Hauraki: The impact of Te Ao Pākehā on the Iwi of Pare Hauraki Māori; on the whenua of Pare Hauraki 1835-1997 and The Foreshore and Seabed Act 2004." The University of Waikato, 2007. http://hdl.handle.net/10289/2366.
Повний текст джерелаАнотація:
Kia mau ki te rangatiratanga o te Iwi o Hauraki Just as the whakataukī explains Hold fast to the power and authority of the Hauraki tribes the focus of this study is to examine and evaluate the impact of Te Ao Pākehā on Pare Hauraki lands and Tīkapa Moana under the mana of Pare Hauraki Māori and Pare Hauraki tikanga. The iwi of Pare Hauraki have land claims through the, (Wai 100) and the Hauraki Māori Trust Board, before the Waitangi Tribunal highlighting whenua issues and their impact on Pare Hauraki iwi. Also relevant is the foreshore and seabed issue which is documented leading on to the infamous Foreshore and Seabed Act 2004, (for Māori anyway), sparking widespread opposition by Māori throughout the country, and other supportive non-Māori groups because of the issue concerning Māori kaitiiakitanga and guardianship roles. This investigation will commence by outlining the histories of discovery and settlement of Pare Hauraki, the concept of mana-whenua/mana-moana as it applies to Pare Hauraki Māori and our tikanga, and then to subsequent issues leading to land alienation of the early 19th to late 20th cenutries and then to the foreshore issue of the early 21st Century. This research will include information showing that before 1840 to Te Tiriti o Waitangi and thereafter that Pākehā and various Crown agents, through legislation claimed the rights to the lands, waterways and oceanic areas under the kaitiakitanga of my tupuna of Pare Hauraki. Tupuna and other iwi members have expressed their disgust seeing the mana of their traditional lands, waterways, oceanic areas and kaitiaki roles slipping away from them through these activities. Therefore, this thesis is a response to those issues and the impact on (a), Māori as a people, and our tikanga Māori and (b), Pare Hauraki Māori as the kaitiaki/guardians of the Pare Hauraki rohe/territory in accordance with tikanga Māori, and the significance of the responsibilities which arise out of the Māori concepts of kaitiakitanga, manaakitanga and rangatiratanga.
Книги з теми "Whakapapa"
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K, Stead C. The singing whakapapa. Auckland, N.Z: Penguin Books, 1994.
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Clough, Peter W. J. Benefit assessment of recreational land: The Whakapapa area, Tongariro National Park. Palmerston North, N.Z: Massey University, 1989.
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Tony, Foster. Plant heritage New Zealand: Te whakapapa o ngā rakau = interpreting the special features of native plants. North Shore, N.Z: Raupo, 2008.
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Tony, Foster. Plant heritage New Zealand: Te whakapapa o ngā rakau = interpreting the special features of native plants. North Shore, N.Z: Raupo, 2008.
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Tony, Foster. Plant heritage New Zealand: Te whakapapa o ngā rakau = interpreting the special features of native plants. North Shore, N.Z: Raupo, 2008.
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Webber, Melinda. The space between: Identity and Māori/Pākehā. Wellington, N.Z: NZCER Press, 2008.
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In/visible sight: The mixed-descent families of Southern New Zealand. Wellington, N.Z: Bridget Williams Books, 2009.
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Ra, Mitaki. Maori language: Tapu a Io ko Atu : sacred code of Io and the gods : behind the face of Whakapapa. Te Kauwhata, N.Z: Mitaki Ra Publications, 1999.
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Jones, Pei Te Hurinui. He tuhi mārei-kura: Ngā kōrero a te Māori mō te hanganga mai o te ao nō ngā whare wānanga o Tainui. Kirikiroa, Aotearoa: Aka & Associates Limited, 2013.
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Jones, Pei Te Hurinui. He tuhi mārei-kura: A treasury of sacred writings : a Māori account of the creation, based on the priestly lore of the Tainui people. Hamilton, N.Z: Aka & Associates, 2013.
Знайти повний текст джерелаЧастини книг з теми "Whakapapa"
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Marsden, Peter H. "Stead, Christian K.: The Singing Whakapapa." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17148-1.
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Williams, Lewis. "The whakapapa (genealogy) of all things." In Indigenous Intergenerational Resilience, 210–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003008347-8.
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Rameka, Lesley. "Whakapapa: A Māori Way of Knowing and Being in the World." In Encyclopedia of Educational Philosophy and Theory, 1–6. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-287-532-7_172-1.
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Rameka, Lesley. "Whakapapa: A Māori Way of Knowing and Being in the World." In Encyclopedia of Educational Philosophy and Theory, 2343–48. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-287-588-4_172.
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"Whakapapa (Genealogy)." In Encyclopedia of Educational Philosophy and Theory, 2343. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-287-588-4_101124.
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Jones, Alison. "A Surprising Whakapapa." In This Pākehā Life: An Unsettled Memoir, 173–85. Bridget Williams Books, 2020. http://dx.doi.org/10.7810/9781988587288_13.
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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.
Повний текст джерелаАнотація:
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.
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"Kōrero Whakapapa: Stories from Our Ancestors, Treasured Legacies." In The Many Facets of Storytelling: Global Reflections on Narrative Complexity, 23–33. BRILL, 2013. http://dx.doi.org/10.1163/9781848881662_004.
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Waretini-Karena, Rawiri. "He Kakano Ahau Framework." In Handbook of Research on Indigenous Knowledge and Bi-Culturalism in a Global Context, 289–310. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6061-6.ch016.
Повний текст джерелаАнотація:
The He Kākano Ahau Framework is a concept whose whakapapa (genealogy) stems from a traditional whakatauki (proverb). The whakatauki was later composed as a waiata Māori (Māori song). An underlying feature behind He Kākano Ahau expresses that I am a seed born of greatness descended from a line of chiefs. The He Kākano Ahau Framework as a strategy addresses historical trauma through a Māori lens. A major feature of the He Kākano Ahau framework investigates whānau (family) history alongside the intergenerational ripple effects of colonization, which confiscated land resources and assets and also stripped away traditional ways of knowing and practicing, causing the loss of the Māori language, Māori cultural identity, and Māori cultural heritage.
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Godfery, Morgan. "Whiteness, Blackness, and Somewhere in Between: Māori and the Whakapapa of Race." In Towards a Grammar of Race: In Aotearoa New Zealand, 116–25. Bridget Williams Books, 2022. http://dx.doi.org/10.7810/9781990046636_10.
Повний текст джерелаТези доповідей конференцій з теми "Whakapapa"
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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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
“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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Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.
Повний текст джерелаАнотація:
In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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.
Звіти організацій з теми "Whakapapa"
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Singh, Niranjan. A Method of Sound Wave Diffusion in Motor Vehicle Exhaust Systems. Unitec ePress, April 2017. http://dx.doi.org/10.34074/ocds.072.
Повний текст джерелаАнотація:
It is common practice among young vehicle owners to modify the exhaust system of their vehicle to reduce exhaust backpressure with the perception that the output power increases. In the process of backpressure reduction, the output noise (Whakapau) of the vehicle also increases correspondingly. The conflict of interest that arises from modified vehicle exhaust systems and the general public is well publicised. This prototype was designed to meet the demands of exhaust back pressure reduction while at the same time mitigate the sound output of the vehicle. The design involves lining a cylindrical pipe with common glass marbles which is normally used for playing. The marbles are made of a sustainable material as it does not erode when exposed to exhaust gases and it is easily recycled. The prototype muffler is much smaller in size when compared to conventional mufflers. All tests were done in a simulated controlled environment and data collated using approved New Zealand Transport Agency testing regime. It has to be noted that the test focus was noise mitigation and not comprehensive engine performance testing. The results of the test prove a reduction of sound levels, however more testing needs to be undertaken with varying annulus depth, marble sizes and arrangements and engine loads.