10 research outputs found
Recollections of Māori Marsden: A Podcast Series
No full textRecollections of Māori Marsden is an audio podcast series accompanied by an exegesis for a practice-oriented Master of Arts thesis in Māori development. The artefact presents five podcasts, which are personal memoirs of the late Reverend Māori Marsden, an Anglican minister and traditional tohunga who was renowned within Māori society as a repository of mātauranga Māori or Māori knowledge systems.
The contributors are Marsden’s immediate and extended whānau in the following order: Myself with Toiroa Williams, along with podcasts I have conducted with my brother Te Ahukaramū Charles Royal, Bishop Te Kitohi Pikāhu, Shane Jones, and Marsden’s adult children, Rangitane, Raiha, Kahu, and Raphael who were interviewed together.
The exegesis addresses a practice-oriented research inquiry: with the proliferation of digital devices, can podcasting provide a straightforward way to disseminate meaningful content to Māori audiences that might otherwise prove difficult to publicly access? It contextualises the process of gathering personal recollections via podcasting, particularly when information is being shared due to whānau relationships between the podcaster and discussants. Importantly, it presents ethical considerations that can arise when podcast contributors may not altogether want unedited conversations about their whānau made available to the public
He uri nō Te Whakatōhea: Navegando pelo patrimônio cultural em face da injustiça histórica
No full textThis article presents the practice-led doctoral research project “Tangohia Mai Te Taura: Take This Rope,” conducted by Māori scholar Toiroa Williams. The research examines historical injustice, identity, belonging, and connections to whenua (land) through Māori documentary practices, centring specifically on the unjust execution of Chief Mokomoko in 1866 and its enduring impact on Te Whakatōhea iwi. The central research question explores how Māori documentary methods can authentically represent and elevate whānau narratives while addressing sensitive historical and cultural issues. Contextually, the study engages with historical narratives surrounding Chief Mokomoko and Reverend Carl Sylvius Völkner, examining their broader implications for iwi identity, historical memory, and ongoing struggles for restitution. It situates itself within established Māori documentary traditions, referencing influential filmmakers such as Barry Barclay and Merata Mita, and contemporary practitioners who employ multimodal storytelling approaches. Methodologically, the research is grounded in a kaupapa Māori framework, integrating pūrākau (traditional storytelling) and heuristic inquiry. Multimodal narrative methods including photography, poetry, waiata (songs), whakatauākī (proverbs), and mōteatea (laments) were employed within the installation documentary Tangata~Whenua. The study contributes to indigenous documentary practices by demonstrating effective methodologies for culturally grounded narrative representation. It offers reflections on methodological complexities, ethical considerations, and community engagement, providing recommendations for future indigenous practice-led research.He uri nō Te Whakatōhea, que se traduce como Soy descendiente de Te Whakatōhea, es una presentación que pone de relieve una injusticia histórica que ha afectado a generaciones de descendientes maoríes indígenas de la tribu Te Whakatōhea, situada en la costa este de Nueva Zelanda. Esta presentación no sólo reconoce la importancia cultural de Mokomoko, un destacado jefe whakatōhea, sino que, como nieto de séptima generación de Mokomoko, celebra un rico patrimonio cultural. A través de la fotografía, la música, la poesía y el lamento tradicional, nos reunimos para honrar las conexiones sagradas entre la familia, la tierra y las injusticias históricas sufridas por nuestra comunidad. Este enfoque pretende amplificar las voces y los relatos que conforman nuestra identidad colectiva como pueblo. Comprender nuestro pasado es vital para navegar por nuestro futuro. Al explorar nuestro whakapapa, o linaje genealógico, conectamos con nuestros antepasados. Esta exploración nos ofrece valiosísimos conocimientos que guían nuestro viaje hacia un futuro imbuido de propósito y resistencia. La sabiduría y la resistencia de quienes nos precedieron nos sirven de guía, iluminan nuestro camino y nos recuerdan la importancia de reconocer sus luchas. He uri nō Te Whakatōhea sirve de plataforma para redefinir la representación indígena y comprometerse con las instalaciones documentales, representando tanto las facetas contemporáneas como las antiguas de nuestra identidad. Simboliza una proyección significativa hacia el presente y el futuro, dando forma al discurso sobre la defensa de la justicia y la reconciliación. Esto es especialmente relevante a la luz del reciente acuerdo (2024) entre nuestra tribu, Te Whakatōhea, y el Gobierno de Nueva Zelanda, lo que subraya aún más la importancia de esta obra para contribuir a la curación y al progreso de la sociedad.He uri nō Te Whakatōhea, que significa Eu sou um descendente de Te Whakatōhea, é uma apresentação que destaca uma injustiça histórica que afetou gerações de descendentes indígenas maoris da tribo Te Whakatōhea, localizada na costa leste da Nova Zelândia. Esta apresentação não apenas reconhece o significado cultural de Mokomoko, um proeminente chefe Whakatōhea, mas também, como neto de sétima geração de Mokomoko, celebra um rico patrimônio cultural. Por meio da fotografia, da música, da poesia e do lamento tradicional, nos reunimos para honrar as conexões sagradas entre a família, a terra e as injustiças históricas sofridas por nossa comunidade. Essa abordagem busca ampliar as vozes e as narrativas que moldam nossa identidade coletiva como povo. Compreender nosso passado é vital para navegar em nosso futuro. Ao explorarmos nossa whakapapa, ou linhagem genealógica, nos conectamos com nossos ancestrais. Essa exploração oferece percepções inestimáveis que orientam nossa jornada rumo a um futuro imbuído de propósito e resiliência. A sabedoria e a resistência daqueles que vieram antes de nós servem como uma luz guia, iluminando nosso caminho e nos lembrando da importância de reconhecer suas lutas. AHe uri nō Te Whakatōhea serve como uma plataforma para redefinir a representação indígena e envolver-se com instalações documentais, representando as facetas contemporâneas e antigas de nossa identidade. Ele simboliza uma projeção significativa no presente e no futuro, moldando o discurso sobre a defesa da justiça e a reconciliação. Isso é particularmente relevante à luz do recente acordo (2024) entre a nossa tribo, Te Whakatōhea, e o governo da Nova Zelândia, ressaltando ainda mais a importância desse trabalho na contribuição para a cura e o progresso social
He uri nō Te Whakatōhea: Exploring Cultural Heritage and Historical Injustice
No full textHe uri nō Te Whakatōhea is a presentation that sheds light on a historical injustice that affected generations of Māori descendants from the Te Whakatōhea tribe, situated on the east coast of Aotearoa New Zealand. This presentation acknowledges the cultural significance of Mokomoko, a prominent Whakatōhea chief, through an account from a seventh-generation grandchild, serving as a celebration of cultural heritage. Through the mediums of photography, music, poetry, and traditional lament, the project honours the sacred connections between family, land, and the historical injustices endured by the community. This approach aims to amplify the voices and narratives that shape the collective identity of the people. By exploring the researcher’s whakapapa, which refers to the genealogical lineage that connects to the ancestors, the study provides insights that guide the path toward a future imbued with purpose and resilience. The wisdom and endurance of those who came before serve as a guiding light, illuminating the journey ahead and reminding us of the importance of acknowledging their struggles. He uri nō Te Whakatōhea serves as a platform for redefining indigenous representation and engaging with documentary installations. Representing both the contemporary and ancient facets of identity, it symbolises a projection into the present and the future, shaping discourse surrounding justice advocacy and reconciliation. This project is considered within the context of the recent settlement (2024) between Te Whakatōhea and the New Zealand Government, further underscoring its significance in contributing to healing and societal progress
Tū ake ngā uri o Muriwai: Understanding Key Factors that Lead to the Success of Rangatahi Māori from Ōpōtiki
No full textŌpōtiki is a small rural town in the Eastern Bay of Plenty with a large Māori population. The town also has one of the largest youth populations, by percentage, in New Zealand. The aim of this research was to look at the rural community of Ōpōtiki and to understand the significant factors behind the success of rangatahi Māori (Māori youth) from this particular community. This research provides knowledge that will inform the whole community about nurturing these unique success factors so that they can contribute to a greater success rate of rangatahi within the community. The research is presented in two parts: a written component and an artefact - a 30-minute documentary about rangatahi Māori who grew up in Ōpōtiki.
The written section of this thesis answers the question: “What factors lead to the success of rangatahi Māori from Ōpōtiki?” It also explores te ao Māori (the Māori world-view) in relation to the methodology. Finally, it provides an in-depth analysis of the documentary findings relating to the research question.
The documentary (artefact) involved a select number of participants from various backgrounds - teachers, youth workers, and wider community members - in one-on-one interviews. These were then compiled and edited to develop the documentary.
The interview questions were designed to examine the variables that contributed to the achievements of rangatahi Māori from Ōpōtiki, and the visual component provides an insight into their lives and what they, themselves, believe has made them successful.
This thesis critically examines the success factors in the lives of rangatahi Māori who have been acknowledged as high achievers in their respective fields.
Related thesis artefact:
Ōpōtiki Su-Peer Heroes https://youtu.be/YdgCc0Cjvk
Tū ake ngā uri o Muriwai: Understanding Key Factors that Lead to the Success of Rangatahi Māori from Ōpōtiki
No full textŌpōtiki is a small rural town in the Eastern Bay of Plenty with a large Māori population.
The town also has one of the largest youth populations, by percentage, in New
Zealand. The aim of this research was to look at the rural community of Ōpōtiki and to
understand the significant factors behind the success of rangatahi Māori (Māori youth)
from this particular community. This research provides knowledge that will inform the
whole community about nurturing these unique success factors so that they can
contribute to a greater success rate of rangatahi within the community. The research is
presented in two parts: a written component and an artefact - a 30-minute
documentary about rangatahi Māori who grew up in Ōpōtiki.
The written section of this thesis answers the question: “What factors lead to the
success of rangatahi Māori from Ōpōtiki?” It also explores te ao Māori (the Māori
world-view) in relation to the methodology. Finally, it provides an in-depth analysis of
the documentary findings relating to the research question.
The documentary (artefact) involved a select number of participants from various
backgrounds - teachers, youth workers, and wider community members - in one-onone
interviews. These were then compiled and edited to develop the documentary.
The interview questions were designed to examine the variables that contributed to
the achievements of rangatahi Māori from Ōpōtiki, and the visual component provides
an insight into their lives and what they, themselves, believe has made them
successful.
This thesis critically examines the success factors in the lives of rangatahi Māori who
have been acknowledged as high achievers in their respective fields
Tangohia mai te Taura - Take This Rope: Exploring Māori Documentary-Making Approaches to Elevate Whānau Narratives
No full textTangohia mai te taura (Take This Rope) was a practice-led research project that delved into whānau (family), identity, belonging, whenua (land) and historical injustice. The thesis study involved the conceptual and physical creation of a documentary of installed photographs, waiata (songs), whakatauākī (proverbs), poetry and filmed mōteatea (laments) that artistically considered connections between Mokomoko, whenua and whānau. In so doing, the thesis artistically explored the potentials of documentary making in relation to form, space and Kaupapa Māori (Māori research approaches). The study employed a pūrākau methodology activated through the orienting principles of manuhiri, wero, whaikōrero, and karakia. The significance of the study lay in its potential to rethink documentary inquiry as culturally located practice. As such, the thesis not only contributed to the corpus of research about Mokomoko, it also extended ways in which processes of indigenous documentary making might be approached and constituted in the pursuit of a communicative space that elevates whānau narratives and rhetorical assertion.
Related thesis artefact:
Tangata Whenua Ōpōtiki https://www.dropbox.com/scl/fi/gurj6sk06ai2mo9aq11iz/Tangata-Whenua_Opotiki.1.3.pdf?rlkey=fps1rgiakdop4u0gofnl1c5im&e=3&st=ucktju65&dl=
He uri nō Te Whakatōhea: Navigating Cultural Heritage in the Face of Historical Injustice
No full textHe uri nō Te Whakatōhea, which translates to, I am a descendant of Te Whakatōhea is a presentation that sheds light on a historical injustice that affected generations of indigenous Māori descendants from the Te Whakatōhea tribe, situated on the east coast of New Zealand. This presentation not only acknowledges the cultural significance of Mokomoko, a prominent Whakatōhea chief but as a seventh-generation grandchild of Mokomoko, it also serves as a celebration of rich cultural heritage. Through the mediums of photography, music, poetry, and traditional lament, we come together to honour the sacred connections between family, land, and the historical injustices endured by our community. This approach aims to amplify the voices and narratives that shape our collective identity as a people. Understanding our past is crucial for navigating our future. By delving into our whakapapa, genealogical lineage, it connects us to our ancestors. This exploration provides invaluable insights that guide our path toward a future imbued with purpose and resilience. The wisdom and endurance of those who came before us serve as a guiding light, illuminating our journey ahead and reminding us of the importance of acknowledging their struggles. He uri nō Te Whakatōhea, serves as a platform for redefining indigenous representation and engaging with documentary installations. Representing both the contemporary and ancient facets of our identity. It symbolises a meaningful projection into the present and the future, shaping discourse surrounding justice advocacy and reconciliation. This aligns with the recent settlement (2024) between our tribe Te Whakatōhea and the New Zealand Government, further underscoring the significance of our work in contributing to healing and societal progress
Mahi Whakaahua: A Practice-Led Methodological Approach into Documentary Filmmaking Through a Kaupapa Māori Paradigm
No full textIt is generally accepted practice that research writing should include a review of the methodology and methods designed to increase the chances of the discovery of new knowledge in the field of inquiry. However, in indigenous research, the over-reliance on Western paradigms and methodological frameworks can be problematic, because they do not consider the ontology and epistemology located in ancestral practices. By considering the Māori doctoral thesis: ‘Tangohia mai te taura’ (Take this rope), this article argues that a methodological approach for indigenous researchers must be extended to embrace many forms of knowledge, including Kaupapa Māori as an approach to scholarly research, informed by historical narratives, and knowledge based on oral repositories of experience that exist in indigenous waiata (songs), oriori (chants), karakia (prayers) and pūrākau (storytelling). As an extension of this, an indigenous inquiry that seeks to exhume lived experiences of injustice must also frame the genealogically connected, orally accounted experiences of communities as valued repositories of knowledge when designing a methodological approach to filmmaking.
Training for Bicultural Intervention with Families.
No full textAs a Maori and a Pakeha we came together as lecturers and practitioners in this project to set up a context for training that could best reflect genuine commitment to an understanding of the term "bicultural". Our starting point was our recognition of the Treaty being about partnership and the active protection of taonga (treasure). In this context we defined taonga as the health and welfare of individuals and families in the bicultural community and in the classroom. Over the years many students, Maori and Pakeha, had disclosed that their voices in the classroom were subdued by their fear of saying the "wrong" thing in relation to bicultural politics in social practice. We believed that the most effective way to actualise the bicultural in the training context was, as Maori and Pakeha, to model our own dialogue, which had led to a collaboration we described as "work in progress". We wanted to avoid a teaching style that replicated oppressive adherence to orthodoxy, and thereby intended to maximise the significance for the learning outcomes of the lived experiences of the students in "dialogical action" (Freire, 1970). After the eight-week course, the students were surveyed as to their experience of this type of participation in the classroom. Primary in the focus of this research was both the effectiveness of the course and congruency with the process agreed on with the students at the outset. Responses strongly suggested that this style of training was effective and relevant with regard to both process and outcomes. The modelling we used as a key method in this project was cited in the survey results as the significant catalyst to inclusive and productive dialogue. "Waiho I te toipoto, kaua toiroa." "Let us keep close together, not wide apart." [ABSTRACT FROM AUTHOR] Copyright of New Zealand Journal of Counselling is the property of New Zealand Association of Counsellors and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.
Reo Rua (Two Voices): A Cross-cultural Māori-non-Māori Creative Collaboration
No full textIn 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
