Cultural Values Report
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And Did She Cry in Māori?”
“ ... AND DID SHE CRY IN MĀORI?” RECOVERING, REASSEMBLING AND RESTORYING TAINUI ANCESTRESSES IN AOTEAROA NEW ZEALAND Diane Gordon-Burns Tainui Waka—Waikato Iwi A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in History The University of Canterbury 2014 Preface Waikato taniwha rau, he piko he taniwha he piko he taniwha Waikato River, the ancestral river of Waikato iwi, imbued with its own mauri and life force through its sheer length and breadth, signifies the strength and power of Tainui people. The above proverb establishes the rights and authority of Tainui iwi to its history and future. Translated as “Waikato of a hundred chiefs, at every bend a chief, at every bend a chief”, it tells of the magnitude of the significant peoples on every bend of its great banks.1 Many of those peoples include Tainui women whose stories of leadership, strength, status and connection with the Waikato River have been diminished or written out of the histories that we currently hold of Tainui. Instead, Tainui men have often been valorised and their roles inflated at the expense of Tainui women, who have been politically, socially, sexually, and economically downplayed. In this study therefore I honour the traditional oral knowledges of a small selection of our tīpuna whaea. I make connections with Tainui born women and those women who married into Tainui. The recognition of traditional oral knowledges is important because without those histories, remembrances and reconnections of our pasts, the strengths and identities which are Tainui women will be lost. Stereotypical male narrative has enforced a female passivity where women’s strengths and importance have become lesser known. -
Whale Rider: the Re-Enactment of Myth and the Empowerment of Women Kevin V
Journal of Religion & Film Volume 16 Article 9 Issue 2 October 2012 10-1-2012 Whale Rider: The Re-enactment of Myth and the Empowerment of Women Kevin V. Dodd Watkins College of Art, Design, and Film, [email protected] Recommended Citation Dodd, Kevin V. (2012) "Whale Rider: The Re-enactment of Myth and the Empowerment of Women," Journal of Religion & Film: Vol. 16 : Iss. 2 , Article 9. Available at: https://digitalcommons.unomaha.edu/jrf/vol16/iss2/9 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Whale Rider: The Re-enactment of Myth and the Empowerment of Women Abstract Whale Rider represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original form and its re-enactment—to critique the subordinate position of women to men in the narrated world. To do this, the myth is extended beyond its traditional scope and context. After looking at how the movie embeds the story and recapitulates it, this paper examines the film’s reception. To consider the variety of positions taken by critics, it then analyses the traditional myth as well as how the book first worked with it. The onclusionc is, in distinction to the book, that the film drives a wedge between the myth’s original sacred function to provide meaning in the world for the Maori people and its extended intention to empower women, favoring the latter at the former’s expense. -
Te Korowai O Wainuiārua Historical Account – Draft for Eminent Historian Review Contents
Te Korowai o Wainuiārua historical account – 25 June 2020 Te Korowai o Wainuiārua Historical Account – Draft for eminent historian review Contents Te Korowai o Wainuiārua Historical Account – Draft for eminent historian review .............................. 1 1. Uenuku, Tamakana, and Tamahaki at 1840 and the Treaty of Waitangi ....................................... 3 Uenuku, Tamakana, and Tamahaki identity at 1840 .......................................................................... 3 Uenuku ............................................................................................................................................ 3 Tamakana ........................................................................................................................................ 3 Tamahaki ......................................................................................................................................... 3 The Treaty of Waitangi........................................................................................................................ 4 2. Uenuku, Tamakana, and Tamahaki and the Colonial State 1840-1860 .......................................... 4 The New Zealand Company ................................................................................................................ 4 The Spain Commission ........................................................................................................................ 5 Crown purchasing negotiations ......................................................................................................... -
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;...……………………………………………. -
Pacific Island History Poster Profiles
Pacific Island History Poster Profiles A Note for Teachers Acknowledgements Index of Profiles This Profiles are subject to copyright. Photocopying and general reproduction for teaching purposes is permitted. Reproduction of this material in part or whole for commercial purposes is forbidden unless written consent has been obtained from Queensland University of Technology. Requests can be made through the acknowldgements section of this pdf file. A Note for Teachers This series of National History Posters has been designed for individual and group Classroom use and Library display in secondary schools. The main aim is to promote in children an interest in their national history. By comparing their nation's history with what is presented on other Posters, students will appreciate the similarities and differences between their own history and that of their Pacific Island neighbours. The student activities are designed to stimulate comparison and further inquiry into aspects of their own and other's past. The National History Posters will serve a further purpose when used as a permanent display in a designated “History” classroom, public space or foyer in the school or for special Parent- Teacher nights, History Days and Education Days. The National History Posters do not offer a complete survey of each nation's history. They are only a profile. They are a short-cut to key people, key events and the broad sweep of history from original settlement to the present. There are many gaps. The posters therefore serve as a stimulus for students to add, delete, correct and argue about what should or should not be included in their Nation's History Profile. -
Legend -Voyage from Hawaiiki
Voyage from Hawaiki The The story of Te Arawa begins in Hawaiki, the distant land of our ancestors. Our iwi (tribe) is named aer the Te Arawa waka that brought them to the shores of Aotearoa. Theirs was an epic ourney; one that took courage, skill, and powerful magic to survive. Houmaitawhi# was a chief of a tribe called Nga# %homairangi in Hawaiki. His family became embroiled in a series of con&icts which lead to the momentous decision to leave. Trouble in Hawaiki The trouble began when the powerful chief Uenuku ate Potakatawhi#, the pet dog of Houmaitawhi#. The chief)s sons Tamatekapua and Whakaturia missed their father)s pet and set out to +nd him, calling his name as they went. When they entered Uenuku)s village they were delighted to hear an answering howl , only to discover that the sound was coming from inside the belly of Uenuku. The two brothers schemed how to take revenge for this insult. They se-led on the idea of stealing kuru (breadfruit) from Uenuku)s precious tree. Night aer night, they crept up to his house on s#lts and took as much as they could carry. .ut before long, they were found out. A violent ba-le ensued. Tamatekapua)s forces won the +ght, but Houmaitawhi# told his son to seek out a peaceful life in a new land. So he began to make prepara#ons to leave Hawaiki forever. Houmaitawhi# was too old to go himself. So he appointed his son Tamatekapua leader of the e0pedi#on. The Voyage Begins A great tree was felled and the waka (canoe) was built, ready to take on the fearsome ocean waves. -
Patuone - Ngati Hao & Ngapuhi 3/16/16, 2:40 PM
Patuone - Ngati Hao & Ngapuhi 3/16/16, 2:40 PM Back to "Patuone A Life" Index Ngāti Hao and Ngāpuhi Apart from the mention of Ngāti Hao in various census records of hapū members, there is little recorded in official histories. The history of Ngāti Hao therefore is therefore better known through the exploits of its much later rangatira. The links of Ngāti Hao are, however, closely interwined with Te Popoto. The stronghold of Patuone's section of Ngāti Hao in Patuone's own time was the upper reaches of the Hokianga in the Waihou Valley at a place called Whakanekeneke together with lands, cultivations and and a kainga near Horeke, much closer to the harbour proper. There are accounts from Williams, Earle, Angus and others about visiting Patuone there as well as a watercolour depiction of Patuone's kainga by Augustus Earle, dating from 1827. Nene also had a pa at Lake Omapere1. Ngāti Hao derives its name from an incident rather than an ancestor. This is in accordance with what is accepted as one account for the iwi name Ngāpuhi, that it relates to an event rather than attaching to a person and founding ancestor. Following a massacre at Te Totara, an island in the Waihou River, the 'Hao' of Ngāti Hao refers to the assigned role of gathering up the bones of the slain. Ngāti Hao is also significant in that it was an influential hapū due to the great mana which attached to its key leaders over many generations right down to Patuone. Later references by pākehā suggested it was a powerful but declining force in the latter stages of the lives of Patuone and Nene. -
Redalyc.Reintroducing Maori Ethnomathematical Activities Into
Revista Latinoamericana de Etnomatemática E-ISSN: 2011-5474 [email protected] Red Latinoamericana de Etnomatemática Colombia Trinick, Tony; Meaney, Tamsin; Fairhall, Uenuku Reintroducing Maori ethnomathematical activities into the classroom: traditional Maori spatial orientation concepts Revista Latinoamericana de Etnomatemática, vol. 8, núm. 2, junio-septiembre, 2015, pp. 415-431 Red Latinoamericana de Etnomatemática San Juan de Pasto, Colombia Available in: http://www.redalyc.org/articulo.oa?id=274041586021 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Trinick, T., Meaney, T., & Fairhall, U. (2015). Reintroducing Māori ethnomathematical activities into the classroom: traditional Māori spatial orientation concepts. Revista Latinoamericana de Etnomatemática, 8(2), 415-431. Artículo recibido el 13 de noviembre de 2014; Aceptado para publicación el 1 de mayo de 2015 Reintroducing Māori ethnomathematical activities into the classroom: traditional Māori spatial orientation concepts Reintroduciendo actividades etnomatemáticas maoríes en el aula: conceptos tradicionales maoríes de orientación espacial Tony Trinick1 Tamsin Meaney2 Uenuku Fairhall3 Abstract Māori mathematical practices were excluded from schooling in Aotearoa/New Zealand for over 150 years as a result of explicit policies precluding the use of the Indigenous language and culture. As a consequence of the range of assimilationist policies, by the 1970s, the Māori language was considered endangered. In response to the perilous state of the language, Māori communities set up their own schools, initially outside of the state system, to support the revitalisation of the language and culture. -
SHAHRIAR ASDOLLAH-ZADEH B
[email protected] SHAHRIAR ASDOLLAH-ZADEH b. 1985, Philippines Lives and works in Auckland, New Zealand EDUCATION 2010 Post Graduate Diploma Fine Arts (Distinction), Elam School of Fine Arts, The University of Auckland 2009 Bachelor of Fine Arts, Elam School of Fine Arts, The University of Auckland AWARDS 2020 Good Design Australia Gold Tick award, ‘Architecture and Urban Design’ category 2019 Designers Institute of New Zealand Best Awards Supreme Purple Pin award, ‘Exhibition and Temporary Structures’ category 2019 Designers Institute of New Zealand Best Awards Gold Pin award, ‘Colour’ category 2019 Designers Institute of New Zealand Best Awards Gold Pin award, ‘Lighting Design’ category 2019 Designers Institute of New Zealand Best Awards Gold Pin award, ‘Exhibition and Temporary Structures’ category 2013 Finalist, National Contemporary Art Award, Waikato Museum Te Whare Taonga o Waikato 2010 Finalist, Amnesty International Defender of Human Rights SELECTED COLLECTIONS Auckland Council Public Art Collection He Kohinga Toi, New Zealand Whangarei Art Museum, New Zealand University of Auckland Art Collection, New Zealand SELECTED SOLO EXHIBITIONS 2020 Rainbow Machine, Māngere Arts Centre – Ngā Tohu o Uenuku, Auckland, New Zealand 2020 SPECTRUMS, Māngere Arts Centre – Ngā Tohu o Uenuku, Auckland, New Zealand 2014 The revolution continued: the metamorphosis of memory, The Film Archive, [email protected] Auckland, New Zealand, curated by Paula Booker 2013 Fear Faith and Persian Pop, Papakura Art Gallery, Auckland, New Zealand 2012 -
7.1 Rākau Preservation Technique
7.1 RAAKAU PRESERVATION TECHNIQUE UNLOCKING DORMANT KNOWLEDGE YVONNE TAURA (NGAATI HAUAA) ___________________________________________ Ngaa mihi ___________________________________________ Introduction ___________________________________________ Importance of repo to Waikato-Tainui ___________________________________________ Kaupapa Maaori research ___________________________________________ Conclusion ___________________________________________ Want to learn more? ___________________________________________ 156 RAAKAU PRESERVATION TECHNIQUE TE REO O TE REPO – THE VOICE OF THE WETLAND Ko Maungatautari me Maungakawa nga Maunga As a tribal member you continue to embrace your cultural values, so the learning never ends. I’m Ko Topehaehae me Piako-Iti nga Awa so grateful for the guidance of my friends and Ko Tainui te Waka colleagues from WRRT. A big mihi to them for their Ko Ngaati Hauaa te Iwi patience and understanding, and for taking me under their wing and showing me a world that Ko Ngaati Werewere te Hapuu has added immensely to my life. Ko Rukumoana me Kai-a-te-mata nga Marae Nei te mihi manahau. Ko Hamiora/Samuels te ingoa whaanau o tooku Nei te mihi matakuikui, kia koutou te hunga kua tupuna whaea whakatau, kua manaaki hoki i ahau mai tooku As an emerging kairangahau, and a tribal member taenga ki waenga i a koutou, tae noa ki teenei of Waikato-Tainui, I am privileged to have had waa. the amazing opportunity of a 2-year secondment Naa koutou ahau i aawhina kia marama pai ki working for both Waikato Raupatu River Trust (WRRT) ngaa tikanga o Waikato-Tainui, me te whakahono and Manaaki Whenua – Landcare Research. Made ano i ahau ki ooku iwi noo koonei, no reira me possible through the Vision Maatauranga Capability mihi ka tika kia koutou. -
The Canoe Is the People Indigenous Navigation in the Pacific
The Canoe Is the People Indigenous Navigation in the Pacific NAVIGATING NAVIGATING ..................................................................................................1 Video 1 - Cook Islands navigator Tua Pittman .....................................................1 Video 2 - Satawalese navigator Mau Piailug ........................................................2 Video 3 - Satawalese navigator Jerome Rakilur....................................................2 Video 4 - Maori master canoe builder, Hekenukumai Busby (New Zealand) .......2 1 Preparing and Starting Out .....................................................................................3 Video 1 - Maori master canoe builder, Hekenukumai Busby (New Zealand) .......3 Video 2 - Satawalese navigator Mau Piailug prepares his crew and visits his father’s grave before a voyage ..............................................................................3 Video 3 - A spiritual cleansing ceremony takes place in the Cook Islands ...........4 Story 1 - Turtle and Canoe: The Importance of Preparation (Palau,Micronesia)4 1.1 Canoe ...................................................................................................................5 Video 1 - Satawalese navigator Jerome Rakilur....................................................5 Video 2 - Satawalese navigator Lewis Repwanglug..............................................5 1.2 Food .....................................................................................................................5 Video -
He Kupu Whakataki - Introduction
HISTORY OF THE WAIAU-TOA / CLARENCE RIVER He Kupu Whakataki - Introduction Ngāti Kurī are the tangata whenua who have manawhenua and manamoana from Te Parinui o Whiti (White Bluffs) in the north to the Hurunui River in the south and inland to the main divide. Māori have occupied the Kaikōura district for over 800 years before the arrival of the first Europeans. The Waiau- toa was is an area of cultural significance to Ngāi Tahu and was a particular focus point for Ngāti Kurī claiming manawhenua over the Kaikōura coast. Tāpuae O’Uenuku The mountain Tāpuae O’Uenuku is located in the Waiau-toa catchment, and is the highest peak in Kā Whata Tū a Rakihouia (The Seaward Kaikōura Range). The name Tāpuae O’Uenuku means “The Sacred footsteps of Uenuku’. In Māori tradition Uenuku is the Rainbow God. Tāpuae O’Uenuku is recorded as an passenger on the famous Ārai-te-uru waka that brought kumara to Aotearoa. The Ārai-te-uru tradition is important for not only explains the origins of kumara in New Zealand but explains how many of the mountains and other major geographic features of Te Waipounamu were created and named. The Ārai-te-uru waka crashed at Matakaea (Shag Point) on the northern Otago coastline with the kumara and gourds of the Ārai-te-uru waka washing onto the beach to form Kaihinaki (The Moeraki Boulders). Many of the passengers on board the waka decided to leave the waka and walk over the new lands, however they needed to be back on the waka before daylight.