A Waharoa (Gateway)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Canterbury Society of Arts Autumn Exhibition
-But i Canterbury Society of Arts Autumn Exhibition 12th April - t6th May 19 61 The Canterbury Society of Arts [Inc] 81st Annual Exhibition of New Zealand Art Opened by Prof. Vernon Griffiths, Dean of the Faculty of Music and Fine Arts on Wednesday, April 12th 1961. PATRON HIS EXCELLENCY THE GOVERNOR-GENERAL THE Rt. HONOURABLE VISCOUNT COBHAM, G.C.M.G. PRESIDENT G. T. C. SANDSTON, M.B.E., LL.M. VICE-PRESIDENTS H. G. HELMORE, M.B.E., FRANK GROSS ERIC J. DOUDNEY, F.R.B.S. PAUL PASCOE A.R.I.B.A. RONA FLEMING. COUNCIL IVY G. FIFE, D.F.A. (N.z.) STEWART MINSON, A.R.I.B.A. JOHN OAKLEY, DIP. F.A. DORlS LUSK F. MILES WARREN, A.R.I.B.A., DIP. ARCH. OLIVIA SPENCER BOWER QUENTIN MACFARLANE, DIP. F.A. (HONS.) PROF. H. J. SIMPSON HON. TREASURER D. B. WILKJE SECRETARY-TREASURER ANDRE BROOKE HON. AUDITOR B. F. BICKNELL, F.P.A.N.Z., F.I.A.N.Z. HON. SOLICITORS Messrs. WILDING, PERRY & ACLAND FOREWORD a The Annual Autumn Exhibition this year has attracted a greater number of exhibitors, with a wider variety of work than in recent years. You will find that many of the paintings re present the more contemporary conception of art. We are anxious to introduce you to the work of these young New Zealand artists, and while you may perhaps find some of them difficult to follow, we think you will find many of them exciting, colourful, and vigorous. During the last hundred years, the great French painters Cezanne, Gauguin, Renoir, and later the English painters and sculptors Sutherland, Nash, and Henry Moore, to mention a few, have broken away from the traditional methods of ex pression, and the work of artists has become more individual. -
The Museum of New Zealand Te Papa Tongarewa at the Musée Du Quai Branly
Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly by Lily Phillips A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in French Victoria University of Wellington 2014 2 Contents Abstract ............................................................................................................................... 5 Acknowledgements ........................................................................................................... 7 Introduction ........................................................................................................................ 9 Chapter One ...................................................................................................................... 13 A new Museum of New Zealand ................................................................................ 15 The influence of Te Maori ............................................................................................. 19 Towards “Our Place” ................................................................................................... 21 A bicultural museum ................................................................................................... 24 Mana Taonga ................................................................................................................ 27 Un autre regard ............................................................................................................. -
Stories from Te Wharenui Teaching Resource ‘Identity’
Stories from Te Wharenui Teaching Resource ‘Identity’ OVERVIEW This unit explores the importance of oral and visual storytelling in Māori culture to show identity and record the history of people and events over time. Learning Outcomes Students will: ● Identify the purpose, context and materials of traditional Māori taonga seen in wharenui ● Identify key patterns and symbols found in whakairo, kōwhaiwhai and tukutuku ● Share their own stories of who they are or retell traditional stories using a range of ways Contents 1 – WHARENUI (Carved Meeting House) Wharenui represent the ancestors and are made up of many parts to symbolise the human form. Many contain carvings and panels that show whakapapa (genealogy) of the iwi (tribe) and stories of the people and land. 2 – WHAKAIRO (Carvings) Māori did not have a written history in the form of an alphabet, but the carvings themselves are recorded history that people could read; the shape of the head, position of body and surface patterns combine to tell stories. 3 - TUKUTUKU Tukutuku are the woven harakeke (flax) panels that adorn wharenui and are placed between poupou. Their purpose is to tell stories of life to complement the poupou on each side. Explore their symbolism. 4 – KŌWHAIWHAI Kōwhaiwhai patterns are found on the rafters of the wharenui and as well as being decorative, they are used for enhancing stories. Nature is often the inspiration for these beautiful patterns. Curriculum Links Social Science: English: ▪ Place and Environment ▪ Making meaning ▪ Continuity and Change ▪ Creating meaning The Arts: Digital Technology: ▪ Understanding the Arts in Context ▪ Designing and Developing Digital Outcomes ▪ Developing Ideas ▪ Computational Thinking ▪ Communicating and Interpreting Mathematics and Statistics: Te Reo Māori - Te Whakatōtanga 1: ▪ Geometry and Measurement ▪ Kōrero - speaking Technology: ▪ Mātakitaki – viewing ▪ Technological practice ▪ Whakaatu – presenting ▪ Nature of technology Identity Resource by Imogen Rider is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 License. -
The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860S-1940S
The Colonial Reinvention of the Hei Tiki: Pounamu, Knowledge and Empire, 1860s-1940s Kathryn Street A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in History Victoria University of Wellington Te Whare Wānanga o te Ūpoko o te Ika a Māui 2017 Abstract This thesis examines the reinvention of pounamu hei tiki between the 1860s and 1940s. It asks how colonial culture was shaped by engagement with pounamu and its analogous forms greenstone, nephrite, bowenite and jade. The study begins with the exploitation of Ngāi Tahu’s pounamu resource during the West Coast gold rush and concludes with post-World War II measures to prohibit greenstone exports. It establishes that industrially mass-produced pounamu hei tiki were available in New Zealand by 1901 and in Britain by 1903. It sheds new light on the little-known German influence on the commercial greenstone industry. The research demonstrates how Māori leaders maintained a degree of authority in the new Pākehā-dominated industry through patron-client relationships where they exercised creative control. The history also tells a deeper story of the making of colonial culture. The transformation of the greenstone industry created a cultural legacy greater than just the tangible objects of trade. Intangible meanings are also part of the heritage. The acts of making, selling, wearing, admiring, gifting, describing and imagining pieces of greenstone pounamu were expressions of culture in practice. Everyday objects can tell some of these stories and provide accounts of relationships and ways of knowing the world. The pounamu hei tiki speaks to this history because more than merely stone, it is a cultural object and idea. -
The Whare-Oohia: Traditional Maori Education for a Contemporary World
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. TE WHARE-OOHIA: TRADITIONAL MAAORI EDUCATION FOR A CONTEMPORARY WORLD A thesis presented in partial fulfilment of the requirements for the degree of Masters of Education at Massey University, Palmerston North, Aotearoa New Zealand Na Taiarahia Melbourne 2009 1 TABLE OF CONTENTS He Mihi CHAPTER I: INTRODUCTION 4 1.1 The Research Question…………………………………….. 5 1.2 The Thesis Structure……………………………………….. 6 CHAPTER 2: HISTORY OF TRADITIONAL MAAORI EDUCATION 9 2.1 The Origins of Traditional Maaori Education…………….. 9 2.2 The Whare as an Educational Institute……………………. 10 2.3 Education as a Purposeful Engagement…………………… 13 2.4 Whakapapa (Genealogy) in Education…………………….. 14 CHAPTER 3: LITERATURE REVIEW 16 3.1 Western Authors: Percy Smith;...……………………………………………… 16 Elsdon Best;..……………………………………………… 22 Bronwyn Elsmore; ……………………………………….. 24 3.2 Maaori Authors: Pei Te Hurinui Jones;..…………………………………….. 25 Samuel Robinson…………………………………………... 30 CHAPTER 4: RESEARCHING TRADITIONAL MAAORI EDUCATION 33 4.1 Cultural Safety…………………………………………….. 33 4.2 Maaori Research Frameworks…………………………….. 35 4.3 The Research Process……………………………………… 38 CHAPTER 5: KURA - AN ANCIENT SCHOOL OF MAAORI EDUCATION 42 5.1 The Education of Te Kura-i-awaawa;……………………… 43 Whatumanawa - Of Enlightenment..……………………… 46 5.2 Rangi, Papa and their Children, the Atua:…………………. 48 Nga Atua Taane - The Male Atua…………………………. 49 Nga Atua Waahine - The Female Atua…………………….. 52 5.3 Pedagogy of Te Kura-i-awaawa…………………………… 53 CHAPTER 6: TE WHARE-WAANANGA - OF PHILOSOPHICAL EDUCATION 55 6.1 Whare-maire of Tuhoe, and Tupapakurau: Tupapakurau;...……………………………………………. -
On the Repatriation of Māori Toi Moko Colleen Murphy a Thesis Submitted in Partial Fulfillment of the Requi
Talking Heads: On the Repatriation of Māori Toi Moko Colleen Murphy A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts with Honors in the History of Art THE UNIVERSITY OF MICHIGAN April 2016 Murphy 2 TABLE OF CONTENTS Whakawhetai (Acknowledgements) . 03 Text Introduction: Detached Heads . 04 Ta Moko Tattooing . 07 Early Contact with Europeans . 09 Changing Attitudes . 16 General H.G. Robley . 19 People on Display . 26 Western Displays of Māori Art and Artifacts . 30 The Māori Renaissance . 34 Repatriation Practices . 37 Legislation Related to Repatriation . 39 Conclusion: Ceremonial Repatriation . 41 Endnotes . 42 Bibliography . 46 Images . 50 Murphy 3 Whakawhetai (Acknowledgements) I would like to sincerely thank my faculty advisor Dr. David Doris for his indispensable guidance during this process. He continuously found time in his busy schedule to help me with my research, and I am incredibly grateful for his generosity, sense of humor and support. I am also grateful to Dr. Howard Lay for his assistance both in this project and throughout my career at the University of Michigan. He reaffirmed my love for the History of Art in his lectures both at Michigan and throughout France, and demonstrated unbelievable dedication to our seminar class. I am certain that my experience at Michigan would not have been the same without his mentorship. I am greatly appreciative of the staff at Te Papa Tongawera for their online resources and responses to my specific questions regarding their Repatriation Program, and the Library of the University of Wellington, New Zealand, which generously makes portions of the New Zealand Text Collection freely available online. -
![COLIN Mccahon [1919-1987 Aotearoa New Zealand] ANNE Mccahon (Née HAMBLETT) [1915-1993 Aotearoa New Zealand]](https://docslib.b-cdn.net/cover/4998/colin-mccahon-1919-1987-aotearoa-new-zealand-anne-mccahon-n%C3%A9e-hamblett-1915-1993-aotearoa-new-zealand-1794998.webp)
COLIN Mccahon [1919-1987 Aotearoa New Zealand] ANNE Mccahon (Née HAMBLETT) [1915-1993 Aotearoa New Zealand]
COLIN McCAHON [1919-1987 Aotearoa New Zealand] ANNE McCAHON (née HAMBLETT) [1915-1993 Aotearoa New Zealand] [Paintings for Children] 1944 Ink, pen, watercolour on paper Private Collection [Harbour Scene - Paintings for Children] 1944 Ink, pen, watercolour on paper Collection of the Forrester Gallery. Gifted by the John C. Parsloe Trust. [Ships and Planes – Paintings for Children] 1944 Ink, pen, watercolour on paper Private Collection, Wellington Colin McCahon met fellow artist Anne Hamblett in 1937 while both studying at the Dunedin School of Art. The couple married on 21 September 1942 and went on to have four children. In the mid-1940s, Anne began a sixteen-year long career as an illustrator, often illustrating children’s books, such as At the Beach by Aileen Findlay, published in 1943. During this time, the McCahons collaborated on the series known as Paintings for Children. This would be the first and only time the couple would produce work together. The subject-matter was divided among the two, Colin was responsible for the landscape, while Anne filled each scene with bustling activity, including buildings, trains, ships, cars and people. These works were exhibited at Dunedin’s Modern Books, a co-operative book shop, in November 1945. This exhibition received positive praise from an Art New Zealand reviewer, who said: “These pictures are the purest fun: red trains rushing into and out from tunnels, through round green hills, and over viaducts against clear blue skies; bright ships queuing up for passage through amazing canals or diligently unloading at detailed wharves, people and horses and aeroplanes overhead all very serious and busy… They will be lucky children indeed who get these pictures – too lucky perhaps because the pictures should be turned into picture books and then every good child might have the lot.” 1 Two years later, in 1947, a group of Colin McCahon’s new paintings were also exhibited at Modern Books. -
Copyright Is Owned by the Author of the Thesis. Permission Is Given for a Copy to Be Downloaded by an Individual for the Purpose of Research and Private Study Only
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. HE IPU WHAKAIRO – INSCRIBING PEACE, KNOWLEDGE AND UNDERSTANDING: New/beginning social science teachers’ delivery of Treaty of Waitangi and citizenship education in New Zealand Secondary Schools. A thesis presented in partial fulfilment of the requirements for the degree of Masters of Arts in Māori Studies At Massey University, Palmerston North, Aotearoa New Zealand. Hona Lambert Black 2013 Abstract This thesis examines new/beginning social science teachers’ delivery of Treaty of Waitangi and citizenship education in New Zealand secondary schools. A lack of education about the Treaty and New Zealand citizenship has seen poor understanding amongst our citizenry about the Treaty, race and ethnicity in Aotearoa New Zealand. Research conducted with six new/beginning Māori and non-Māori social science teachers explored, from their perspective, their ability to deliver Treaty and citizenship education based on their teacher training, the New Zealand Curriculum, teaching resources, and their professional development. Mōteatea and whakatauāki, critical consciousness and critical education formed a theoretical base for this work. Individual semi-structured in-depth interviews and thematic analysis were utilized to collect and analyse data, observing Durie’s (1998) ethical framework on ‘mana’. Research findings revealed that Treaty education receives little attention in schools, and teachers, little support to deliver it. For example, although specified within the Curriculum as a learning subject as well as a principle for schools, teachers reported they received no guidance on how to deliver education on the Treaty and were unable to identify how it translated into classroom or school-wide practices. -
Articulating a Māori Design Language
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Articulating a Māori Design Language Te Hononga Toi Māori Part 3 A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Arts at Massey University, Palmerston North. Aotearoa New Zealand Johnson Gordon Paul Witehira Ngāti Hinekura, Tamahaki, Ngāti Hauā, Ngai Tūteauru, Ngā Puhi 2013 Te Hononga Toi Māori (Part 3) was developed by the author as a reference for Māori terms, the Māori design elements and principles, and customary Māori surface pattern. When used in tandem with Toi Runga (Part 1) and Toi Raro (Part 2), Te Hononga Toi Māori (Part 3) acts as quick reference to understanding Māori terms and relevant design terminology. Māori terms are introduced using a convention of Māori term followed by the English translation in brackets and thereafter only the Māori term is used. The Elements and Principles of Māori design In the previous chapters this research sought to explicate the visual language of Māori design through an examination of eighteenth and nineteenth century Māori carved pare (door lintels). Articulating this Māori design language was critical to answering the research question; how can the visual language and tikanga of customary Māori carving be used to inform contemporary Māori design practice? The aim of this thesis is to develop tikanga, or practicing guidelines for contemporary Māori designers. -
A Comparative Analysis of Content in Maori
MATTERS OF LIFE AND DEATH: A COMPARATIVE ANALYSIS OF CONTENT IN MAORI TRADITIONAL AND CONTEMPORARY ART AND DANCE AS A REFLECTION OF FUNDAMENTAL MAORI CULTURAL ISSUES AND THE FORMATION AND PERPETUATION OF MAORI AND NON-MAORI CULTURAL IDENTITY IN NEW ZEALAND by Cynthia Louise Zaitz A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, Florida August 2009 Copyright by Cynthia Louise Zaitz 2009 ii CURRICULUM VITA In 1992 Cynthia Louise Zaitz graduated magna cum laude with a Bachelor of Arts in Drama from the University of California, where she wrote and directed one original play and two musicals. In 1999 she graduated with a Masters in Consciousness Studies from John F. Kennedy University. Since 2003 she has been teaching Music, Theatre and Dance in both elementary schools and, for the last two years, at Florida Atlantic University. She continues to work as a composer, poet and writer, painter, and professional musician. Her original painting, Alcheme 1 was chosen for the cover of Volume 10 of the Florida Atlantic Comparative Studies Journal listed as FACS in Amazon.com. Last year she composed the original music and created the choreography for Of Moon and Madness, a spoken word canon for nine dancers, three drummers, an upright bass and a Native American flute. Of Moon and Madness was performed in December of 2008 at Florida Atlantic University (FAU) and was selected to represent FAU on iTunesU. In April 2009 she presented her original music composition and choreography at FAU in a piece entitled, Six Butts on a Two-Butt Bench, a tongue-in- cheek look at overpopulation for ten actors and seventy dancers. -
Download PDF Catalogue
THE 21st CENTURY AUCTION HOUSE A+O 7 A+O THE 21st CENTURY AUCTION HOUSE 3 Abbey Street, Newton PO Box 68 345, Newton Auckland 1145, New Zealand Phone +64 9 354 4646 Freephone 0800 80 60 01 Facsimile +64 9 354 4645 [email protected] www.artandobject.co.nz Auction from 1pm Saturday 15 September 3 Abbey Street, Newton, Auckland. Note: Intending bidders are asked to turn to page 14 for viewing times and auction timing. Cover: lot 256, Dennis Knight Turner, Exhibition Thoughts on the Bev & Murray Gow Collection from John Gow and Ben Plumbly I remember vividly when I was twelve years old, hopping in the car with Dad, heading down the dusty rural Te Miro Road to Cambridge to meet the train from Auckland. There was a special package on this train, a painting that my parents had bought and I recall the ceremony of unwrapping and Mum and Dad’s obvious delight, but being completely perplexed by this ‘artwork’. Now I look at the Woollaston watercolour and think how farsighted they were. Dad’s love of art was fostered at Auckland University through meeting Diane McKegg (nee Henderson), the daughter of Louise Henderson. As a student he subsequently bought his first painting from Louise, an oil on paper, Rooftops Newmarket. After marrying Beverley South, their mutual interest in the arts ensured the collection’s growth. They visited exhibitions in the Waikato and Auckland and because Mother was a soprano soloist, and a member of the Hamilton Civic Bev and Murray Gow Choir, concert trips to Auckland, Tauranga, New Plymouth, Gisborne and other centres were in their Orakei home involved. -
John Stringer Page 1 Draft 1/10/12 John Stringer Page 2 Draft 1/10/12
John Stringer Page 1 Draft 1/10/12 John Stringer Page 2 Draft 1/10/12 DEDICATION Professor Bill Sutton who redirected the journey and Frances Stringer writing her own Notebook. John Stringer Page 3 Draft 1/10/12 Contents 1. Changing the Way We See 2. Beginnings and Influences 3. Landscape 4. Portraits and Still Life 5. Surf, Sea, Skate series 6. The Eve and Bride series 7. The Masters, a shift in direction 8. A Vermeer in Our Sumner Midst by John Stringer (Interview with Kees Bruin, 2005). 9. Allusion & Illusion, Kees Bruin by Neil Roberts (Interview with Kees Bruin, 2006). 10. Appendix 11. Plates John Stringer Page 4 Draft 1/10/12 Kees Bruin’s four-decade painterly oeuvre. 1970s-1990s Photo-realism; Surf, Sea, Skate, culminating in Euphoria, 1995. The Peace Tree series Early 1980s to early 1990s The Door series Early 1990s The Eve series Mid-1990s to mid 2000s The Bride series 2000s The Masters Mid to late 2000s The Vanitas series Late 2000s The Bride Grounded culminating in Signs of the Son of Man, 2009. 4 September 2010 7.1 earthquake, Canterbury (Darfield) 22 February 2011 6.3 earthquake, Canterbury (Port Hills) John Stringer Page 5 Draft 1/10/12 Forward John Stringer Page 6 Draft 1/10/12 1. Changing the Way We See The emotional pathos of tragedy is well captured in art: war (Picasso’s Guernica, 1937; Goya’s The Third of May 1808, 1814), mental angst (Munch’s The Scream, 1893; Van Gogh and James Robinson), loss (Nigel Brown’s I Miss You Terribly, 1979; Gains & Losses, 1980), and dislocation (Margaret Hudson-Ware’s Refugees, 2003).