Te Kaharoa (E-Journal)
Not a member yet
335 research outputs found
Sort by
Introduction
Get PDFKa Haka! Māori and Indigenous Performance Studies Symposium 2018: Special section of Te Kaharo
Constructing ethnic identity through Taiwanese Indigenous music and dance performances: The case of TITV
Get PDFThe effects of identity can be felt across all facets of life. Culture, ethnicity, language, and music and dance are all meaningful expressions of identity. This paper explores the identity of Taiwan’s Indigenous ethnic groups through the lens of a traditional music and dance performance and the media platform of Taiwan Indigenous Television (TITV). Elements examined include the impact from the national system, the interaction between ethnic groups, and the sharing of music and dance, which may have negative impacts. How can ethnic media organizations such as TITV present these conflicts? As ethnic consciousness emerges, conflict may arise between the national system and the will of the community. How does ethnic media handle this kind of news? This paper analyses the controversy of the Pangcah / Amis Chi-mei tribe (Kiwit tribal community) intellectual property infringement that occurred in Taiwan in August 2018, identifying the problems that occurred between the government and the tribe. Through the observation and analysis of the media, the occurence has become an important reference for future disputes
Performing Difference Differently: New Ways of Doing, Old Ways of Seeing
Get PDFIn our daily lives, we perform difference differently. ‘We’ here refers to a collective of cosmopolitan artists, members of my company: JK Productions: He Korero Ngā Tahi. JK Productions was established in 2017 as a platform for developing diverse theatre and other artistic work in Auckland, New Zealand. Our first major production was America Rex by Tom Minter, which I directed for a developmental presentation at The Auckland Performing Arts Centre (TAPAC) in August 2018. Our company was extraordinarily diverse, especially by New Zealand standards, a mix of tangata whenua and tauiwi, including some who were Indigenous, albeit in other lands (the Caribbean, Zimbabwe, Samoa, and so on). For most of us in this work, especially as members of intersecting diasporas, the colonial past remains proximate. Yet, what we make as theatre artists is not always, or even often, what an audience sees so clearly as we intend
I am Ngaitai – Ko Ahau te Uri: A discovery of Indigeneity
Get PDFThe terms Indigenous and indigeneity are used to position groups of people who are classed with the same ideology. What is indigeneity and what is not indigeneity? What are the boundaries needed to belong and to utilise this framework? Do we as Māori or do I as a Ngaitai Women need to align and belong to an indigenous world for the pure intent to validate my own identity? Where does Te Tiriti o Waitangi fit in this space and how do I align my practice?
I am Ngaitai – Ko Ahau te Uri is a positioning perspective on the notion of indigeneity and also looks at the roller coaster ride through whakapapa and social work practice when utilising terms that have a political agenda
Mua
Get PDF1.39 am
32 year old Private investigator Marama Walker squinted at the road ahead trying to see past the battering rain pelting against her windscreen. Huddling closer to the steering wheel, she absently pushed a wayward lock of wavy black hair with one hand and steered with the other. As the wind picked up outside, she wondered what the gods were trying to tell her. After all, it’s been years since she quit her job as a cop and became a private investigator. A decision made at an impulse after the death of her daughter five long years before. It came as a shock when the Chief of police demanded she meet him tonight. Looking at the time she couldn't help but think just what was so urgent that her former boss the Chief of police sought her out after half a decade. Marama couldn’t help but grimace at the thought a niggling feeling of foreboding creeping on the back of her mind. Marama fumbled around the front of her shirt until she felt the touch of a smooth stone, a pounamu touched her finger. Marama often did this to remember who she used to be. Sighing she let go and forged ahead towards her destiny
‘Twixt cup and lip: Language revitalisation strategies: a comparative approach with special reference to New Zealand Maori language policy
Get PDFThis paper considers Te Māngai Pāho – Television RFP June 2018, a paper reflecting strategy and policy regarding Te Reo Maori in New Zealand. There is an attempt to aim for a wide view where as many positions as the author has found to apply to and, possibly, inform the policy from around the world have been examined. As the paper develops several themes emerge. One is the difficulty in moving from the local to the supra-local. Another is a review of the media that might best be used in language revitalisation and there is a critique of television using comparisons and contrasts with Ireland and other situations. Through the course of the paper many and various perspectives are considered including, inter alia, scopophilia, being a good neighbour, examples from personal experience with a considerable emphasis on possibilities on the internet. The intention is to approach Te Māngai Pāho – Television RFP June 2018 from a variety of angles particularly in terms of language and mind and then to evaluate those perspectives in the conclusion
WHAT IS INDIGENEITY?
Get PDFThis paper aims to explore and understand the definition of indigeneity from a Māori world view. Presented is a selection of narratives by authors and scholars that provide their knowledge and experience of Māoritanga. In this way, indigeneity is described by the indigenous themselves, which often contrasts to the non-indigenous definitions.
The following sections will also include the effects of post-colonial assimilation on Māori culture, beliefs, philosophies, and way of life, which negatively impacted on the identity of Māori.
I also include my personal views on the terms "indigenous" and "indigeneity" from the perspective of a wāhine Māori that was born and raised in an urbanised environment in the 1970s. Religion also contributed to the misinterpretation of my indigeneity and indigenous background. As a consequence of this, I have personally experienced what’s known as an identity crisis that has led me to search and discover my inherent identity as wāhine Māori.
Therefore, I present a culmination of knowledge that I have learned through a personal journey of identity, which has evolved into my desire to reclaim my indigeneity. With this said, the need to reclaim one’s indigenous identity implies that an indigenous born person can lose their indigeneity. For many Māori this is true, and I include the effects that colonisation has had on the loss of indigenous knowledge throughout Aotearoa.
Despite this, the knowledge which tūpuna passed down from one generation to the next has always been available if there is enough desire to seek it out and learn from it. This essay attempts to disentangle the fabrication of indigenous Māori from a colonised viewpoint, and present the authenticity of tradition, belief, and philosophy from a Māori worldview
Explorations of the term ‘Indigenous’
Get PDFI am an Indigenous Practitioner, but I am still on a journey to discover what that truly means. Our struggle as Māori in Aotearoa, as a colonised people, has created a raft of inter-generational issues that we are still feeling and dealing with. For me growing up, it has been hard to fully embrace my “taha Māori”. Although I went to a Māori high-school, and my whanau identified strongly with our Māori heritage, outside these spaces, “being pakeha” offered advantages I would never have received had I looked Māori. It is only in the past 15 or so years that I have truly come to understand the power, resilience, love and grace of te ao Māori. And here I find myself, challenged to position myself in this world, and therefor to be able to define what it means to be Indigenous.
On the surface the word Indigenous seems self-evident, but I actually need to understand its significance, its use in both local and global contexts, and how it impacts how we do what we do. It appears to me as if we go through decades where a particular set of words become the every-day buzzwords. Over the past couple of years, I have often said to people that I work with, that while innovation is the buzzword of this decade, indigenous will be the buzzword of the next decade. What I mean by this is that I can see the word indigenous being used and commercialised by western organisations and systems, with little or no regard to the true understanding of what it means to be indigenous. We only need to google “cultural appropriation” to see examples of this in practice. While I only have anecdotal evidence of this trend, living in a world that straddles both digital innovation and kaupapa Māori, I believe this to be true. In this position paper, I will explore the meanings of the words indigenous and indigeneity, and look at how they are used by various organisations around the world. I will define what indigenous means in my practice, and why I believe it is important for us, as Māori, to own the use of Indigenous and Indigeneity in Aotearoa
Educational Transformation through whānau (or marae-a-hapū if you prefer): The centre of our universe
Get PDFIn 2012-2013 an evaluation of the Te Wānanga o Aotearoa social work degree programme Te Tohu Paetahi: Ngā Poutoko Whakarara Oranga BSW (Bi-culturalism in Practice) was conducted at the Tauranga campus. In particular, we wanted to explore the critical indigenous space of marae and how Noho marae-based wānanga delivery might enhance tauira learning through their relationships with this space and their engagement with tribal epistemologies, in a bi-cultural social work programme. Also how this pedagogical approach might provide opportunities for contextualisation of nga takepu and tikanga in its authentic state