The Ka Mate Reverse-Bait Snap Trap – a Promising New Development

Total Page:16

File Type:pdf, Size:1020Kb

The Ka Mate Reverse-Bait Snap Trap – a Promising New Development Thomas, B.; R. Taylor, P. Dunlevy, K. Mouritsen, and J. Kemp. The Ka Mate reverse-bait snap trap – a promising new development The Ka Mate reverse-bait snap trap – a promising new development B. Thomas¹, R. Taylor², P. Dunlevy³, K. Mouritsen4, and J. Kemp5 ¹Ka Mate Traps Ltd, 190 Collingwood St., Nelson 7010, New Zealand. <[email protected]>. ²13 Templemore Drive, Richmond 7020, New Zealand. ³USDA-APHIS Wildlife Services, 3375 Koapaka Street, Honolulu, HI 96819, USA. 4 Waiaro Sanctuary, P.O. Box 6, Colville 3584, New Zealand. 5 Department of Conservation, Private Bag 5, Nelson 7042, New Zealand. Abstract Development, field trials and potential of Ka Mate reverse-bait snap trap are described. Prototypes were tested on five species of rodents in a range of environments in New Zealand, Alaska, Hawaii, Wake Atoll, Wallis & Futuna Islands, New Caledonia and Seychelles. Paired testing of reverse-bait traps in close proximity to treadle traps was found to be inappropriate because trap function combined with animal behaviour skewed results. The first factory product, the Ka Mate medium “safeTcatch” trap, the corflute “flatpack” trap station and various wax baits are now under evaluation by professional conservation and science practitioners worldwide. One example is Waiaro Sanctuary (Coromandel, New Zealand) where in one year, using only Ka Mate rat traps, 75 ha of forest yielded 656 rats, reducing population indices from 100% tracking tunnel rates to 10%. Data indicates that over 95% of rats were trapped with head/neck strikes, and only one bird was caught in Waiaro in circa 90,000 trap nights using Ka Mate traps set unprotected on the forest floor. Keywords: Ka Mate traps, reverse-bait snap trap, treadle trap, Victor, Catchmaster, Ezeset, Mus, Rattus, Wake Atoll, Wallis and Futuna Island, Waiaro Sanctuary, New Zealand. INTRODUCTION Advances worldwide in rodent control or eradication comm.). Poor trap performance has exacerbated negative on islands during the past three decades have centred on public attitudes, resulting in stricter rules for trapping and the use of rodenticides (Howald et al. 2007). However, the animal welfare now embedded in policy and law (Mason propensity for rodents to develop a tolerance for toxicants and Litten 2003; Powell and Proulx 2003; Litten et al. (Bailey and Eason 2000) and increasing public opposition 2004). to use of poisons may limit their continued use, particularly Traps have traditionally varied from toggle trigger traps in mainland situations (Williams 1994; Towns and Broome with a small (baited) trigger to large treadle plate designs 2003; Mason and Littin 2003; Towns et al. 2006). Traps that use a lure to entice target species to step onto a plate to have similarly evolved in design and strategic use but they spring the device. Treadle snap traps are generally easier to also attract a public opposition, ostensibly over animal use than trigger traps. Many trap designs are operationally welfare issues. unstable and not robust enough to withstand the rigours of The New Zealand Department of Conservation long term field use. Baseboards on wooden models warp (DOC) requires a better performing snap trap that gives or split, staples pull and weak points on plastic variations more consistent catch/kill rates; improved animal welfare soon break. The larger trigger area of treadle traps makes outcomes; less non-target catch and environmental them more prone to misfire due to environmental events interference; enable higher quality trapping data; have and the presence of non target species. greater durability; less maintenance; quicker servicing during routine checks; and are easier for operators to use THE KA MATE REVERSE-BAITING SNAP TRAP than current preferred rodent traps. In short, better returns from traps in relation to money expended (Keith Broome Trap development pers. comm., April 2004). During the mid-1980s, two of us (RT and BT) In this paper, we describe the development and field experimented with ways to improve snap trap efficiency. trials of Ka Mate (KMT) reverse-bait snap traps, which Modifications were made to wooden based trigger “Ezeset” have been designed to meet modern efficacy and animal traps being used to catch Norway rats (Rattus norvegicus) welfare requirements. which led to “reverse-baiting” snap traps with dense, supportive bait beneath rather than on top of the trap trigger. Traditional, wooden based “break-back” traps (snap This utilised the bait as a removable structural component traps), have been used in New Zealand since at least 1920, of the trap, introducing significantly more stability into the particularly for bio-security at ports, rodent control around trigger function. factories, and as a health measure in urban environments (Wodzicki 1950). They have also been used internationally Six steel reverse-bait snap traps were then engineered for scientific data collection and in conservation management in 2003 and of the five ship rats Rattus( rattus) these first programmes (Bull 1946; Watson 1956; Wodzicki 1969; killed, three were cranial and two were humane neck strikes. Daniel 1973; Innes et al. 1995; Dunlevy et al. 2000; Efford Fifty of these traps were subsequently incorporated into a 6 et. al. 2006; Malcolm et al. 2008; Theuerkauf et al. 2010). month paired trial with “Victor Professional” traps at Weka More recently, snap traps have been employed in many Bush, Nelson Lakes National Park. In 2005, 100 handmade large-scale New Zealand mainland island rodent control aluminium prototypes (Fig. 1), which we called Ka Mate programmes (Saunders 2000, 2003; Speedy et al. 2007; (KMT) traps, were integrated with the steel traps into an Ogden and Gilbert 2008) and as adjuncts to toxicants in alternating trap trial with “Victor Professional” rat traps island eradication campaigns (Morrell et al. 1991; Taylor and tested over 13 months in Nelson Lakes Big Bush rodent et al. 2000; Merton et al. 2002; Thomas and Taylor 2002; control area. Another 100 KMT prototypes were included MacKay and Russell 2005; Nugent et al. 2007; Witmer and in an alternating trap trial with Victor Professional rat traps Burke 2007; Varnham 2010). in DOC’s 2005 trap research programme in Te Urewera National Park. Rats have been eradicated from at least two islands of up to 21 ha with snap traps (Moors 1985; MacKay and The KMT traps caught and killed mice (Mus musculus), Russell 2005; Howald et al. 2007), but trapping is usually rats (Rattus rattus), weasels (Mustela nivalis), stoats considered to be too labour intensive and expensive as a (M. erminea) and hedgehogs (Erinaceus europaeus). In sole eradication technique for rats (Keith Broome pers. the Te Urewera trial, the KMT traps also had far fewer Pages 233-238 In: Veitch, C. R.; Clout, M. N. and Towns, D. R. (eds.). 2011. Island invasives: eradication and management. IUCN, Gland, Switzerland. 233 Island invasives: eradication and management Fig. 1 Relative condition of Ka Mate prototype (left) and Victor Professional (right) after equal environmental exposure at adjacent sites in the Big Bush trap trial. Fig. 2 Ka Mate “safeTcatch” trap - with trigger cowling and wax bait. unsprung/bait missing events than Victor traps (2 versus 71, respectively), indicating that the reverse-bait trigger it was mechanical malfunction (rectified in seconds with a reduced problems with non-target and environmental file) that caused the problem in the small number of KMT triggering. When compared with wooden-based wire striker traps afflicted whereas learned avoidance behaviour by rats traps, operators also found the aluminium KMT to be the was the cause with the CM traps. safest to set and handle, easiest to clean and maintain (Fig. From 2007-2010, KMT prototype traps were used in 1), required the least service time during routine checks, ecological surveys on New Caledonia, Wallis and Futuna and had the greatest durability in the field (Paton et al. Islands (Theuerkauf et.al 2010) and in trials to test the 2007; Morriss et al. 2007; Moorcroft et al. 2010). efficacy of unprotected KMT traps against “Ezeset” In August 2005 on the Seychelles Islands, Gideon wooden based trigger traps on Pacific, ship, and Norway Climo (pers. comm.) undertook three 2 hour evening rats (Theuerkauf et.al 2011). These studies concluded trapping sessions using six KMT prototype traps, which from C. 2900 trap nights that KMT traps were the more were systematically set, checked, cleared and rebaited effective against rats > 100 g (i.e. predominantly ship and with coconut on a rotational basis. He caught over 60 ship Norway rats), whereas “Ezeset” traps were more effective rats, achieving 100% humane head and neck strikes on the against rats < 100 g (predominantly Pacific rats). A high adults and predominantly shoulder and mid torso strikes percentage of “Ezeset” traps were sprung by heavy rain on small rats. but rain had no effect on the KMT traps, which maintained The first Norway rat (R. norvegicus) caught in a KMT a significantly higher percentage of operational traps prototype was on Adak Island, Alaska in May 2006. The throughout the trials. The durability of the KMT traps was technician reported “a perfect kill just behind the eyes” and considered an advantage for long term field use. that the unprotected traps remained set and continued to catch after exposure to “gales whipping vegetation, deluges The “safeTcatch” rat trap of rain and burial in snow” (Lisa Spitler pers. comm.). The first commercial KMT trap to be produced was the On Wake Atoll in October 2007, BT and PD established “safeTcatch” (“sTc”) rat trap (Fig. 2), which incorporates a 200 x 200 m trapping grid for rats consisting of 100 traps a safe set mechanism and is currently available from KMT spaced at 20 m. Fifty KMT prototypes formed a central core Ltd, Nelson, NZ. The traps are constructed from extruded within the grid and were surrounded by 50 Catchmaster aluminium with stainless steel shafts and fasteners and (CM) wooden based trigger traps modified to operate as double sprung with galvanised springs.
Recommended publications
  • Perspectives of Research for Intangible Cultural Heritage
    束 9mm Proceedings ISBN : 978-4-9909775-1-1 of the International Researchers Forum: Perspectives Research for Intangible Cultural Heritage towards a Sustainable Society Proceedings of International Researchers Forum: Perspectives of Research for Intangible Cultural Heritage towards a Sustainable Society 17-18 December 2019 Tokyo Japan Organised by International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI), National Institutes for Cultural Heritage Agency for Cultural Affairs, Japan Co-organised by Tokyo National Research Institute for Cultural Properties, National Institutes for Cultural Heritage IRCI Proceedings of International Researchers Forum: Perspectives of Research for Intangible Cultural Heritage towards a Sustainable Society 17-18 December 2019 Tokyo Japan Organised by International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI), National Institutes for Cultural Heritage Agency for Cultural Affairs, Japan Co-organised by Tokyo National Research Institute for Cultural Properties, National Institutes for Cultural Heritage Published by International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI), National Institutes for Cultural Heritage 2 cho, Mozusekiun-cho, Sakai-ku, Sakai City, Osaka 590-0802, Japan Tel: +81 – 72 – 275 – 8050 Email: [email protected] Website: https://www.irci.jp © International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) Published on 10 March 2020 Preface The International Researchers Forum: Perspectives of Research for Intangible Cultural Heritage towards a Sustainable Society was organised by the International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) in cooperation with the Agency for Cultural Affairs of Japan and the Tokyo National Research Institute for Cultural Properties on 17–18 December 2019.
    [Show full text]
  • Page Auē Le Oti: Samoan Death Rituals in a New Zealand Context. Abstract
    Auē le oti: Samoan death rituals in a New Zealand context. Byron Malaela Sotiata Seiuli1 University of Waikato Abstract Given that dialogue relating to death and grief for many Samoans still remains in the realm of tapu (sacred) or sā (protected), few attempts have been made by researchers of Samoan heritage to understand whether the cultural contexts for enacting associated rituals might also provide avenues for healing. Psychological scholarship on recovery following death, particularly among men, is largely based on dominant western perspectives that continue to privilege both clinical and ethnocentric perspectives as the norm. This case presentation, which forms part of a larger doctoral research by the author, demonstrates that some Samoan end-of-life rituals opens space for greater consideration of recovery from death as a culturally-defined process. In many instances, instead of severing ties with the deceased person as is popular in clinical approaches to grief work, Samoan grief resolution strongly endorses continued connections through its mourning patterns. Their end-of-life enactment helps to transition the deceased from this life to the next, while drawing the living together. Critically, the performance and maintenance of such important tasks create space for heaving emotions to be calmed, where meaning is made, and where the lives of those impacted are slowly restored. Some of these familiar rituals offer therapeutic value, enabling Samoans involved in this study to walk hand-in-hand with their emotional distress, while
    [Show full text]
  • Indigenous Cultures and Trademarks
    WTR_39 Paginated - 2_WTR 28/08/2012 13:48 Page 49 Feature By Tracey L Mosley Getting expressive – indigenous cultures and trademarks As efforts continue to develop protection for traditional cultural expressions, brand owners need to ensure they are tracking the latest legal developments as they develop new trademarks and brands Imperfect for the task though they may be, the basic concepts of trademark law may provide a route towards recognition and protection for the traditional cultural expressions (TCEs) of indigenous peoples. TCEs, along with traditional knowledge (ie, cultural practices and knowledge handed down from one generation of a group of indigenous people to the next) and genetic resources (ie, natural resources located on, above or below the land traditionally inhabited by indigenous peoples), have increased in profile due to their morally sensitive nature and the prospective changes that their recognition and enforcement may bring to IP laws. This article addresses TCEs in the context of trademark law. Defining TCEs and trademarks Firmly defining ‘TCEs’ (which are sometimes referred to as ‘expressions of folklore’) is impossible because they represent knowledge that can be sacred and ancient, as well as being rooted in skills or practices handed down inter-generationally, not for the purpose of personal or commercial gain, but rather to sustain identity and support family and community. The World Intellectual Property Office (WIPO) describes TCEs as including “music, art, designs, names, signs and symbols, performances, architectural forms, handicrafts and narratives” – parts of that description easily call to mind trademarks. In its narrowest legal interpretation, a ‘trademark’ is a mark that has been adopted by its use in association with a product or service for the purpose of distinguishing that product or service from the products or services of others.
    [Show full text]
  • In Ngāti Mutunga (1820 – 2019)
    Nā te kōti i tatari: The inconsistent treatment of tikanga taurima (whāngai) in Ngāti Mutunga (1820 – 2019) Matiu Payne A thesis submitted for the degree of Doctor of Philosophy At the University of Otago, Dunedin, New Zealand 1 August, 2019. Acknowledgements He kura tangihia, he maimai aroha. Mākū ana te whenua i te roimata, i te auētanga o te whakaaro o te hunga kua whetūrangitia. Kei te mārama taku titiro atu ki maunga Taranaki ki maunga Pipitarawai me ō rāua taketake, ngā takotoranga whakamutunga o ōku huānga, o ōku kaumātua i riro atu ki te pō. Ko Joe Tapara, ko Charlene Tapara, ko Bob Goomes, ko Teresa Goomes rātou i ū ki ngā kaupapa Ngāti Mutunga ki Wharekauri. Ko rātou anō hoki ngā whenū o tōku korowai whakaruruhau i runga i tēnei huarahi mātauranga. Nō reira e ōku raukura, e ōku rauhuia, otirā e te rau o tītapu. E moe, e moe, e okioki. Mā ngā parirau whānui o te kākākura koutou e tauawhi i runga i tō koutou huarahi. Haere, haere, haere atu rā. Many supportive Ngāti Mutunga kaumātua have passed away during the course of this thesis. I spent many hours in discussion, with their warm company, and encouragement. Their knowledge of Ngāti Mutunga history and experiences were invaluable. I wish to acknowledge Uncle Joe and Aunty Goog (Charlene) Tapara, Aunty Teresa Goomes and Uncle Bob Goomes without whom the journey to completion of this PhD Thesis would have been arduous. In my own whānau, Aunty Linda Grennell and Uncle Graeme Grennell have joined our tūpuna (ancestors) throughout the duration of this thesis.
    [Show full text]
  • The Misappropriation of the Haka: Are the Current Legal Protections Around Mātauranga Māori in Aotearoa New Zealand Sufficient?
    523 THE MISAPPROPRIATION OF THE HAKA: ARE THE CURRENT LEGAL PROTECTIONS AROUND MĀTAURANGA MĀORI IN AOTEAROA NEW ZEALAND SUFFICIENT? Isabella Tekaumārua Wilson* This article analyses the protections the New Zealand intellectual property framework provides for the haka and mātauranga Māori. Part II of this article defines the key terms of "misappropriation", "traditional knowledge" and "mātauranga Māori" in order for the reader to fully understand these concepts in an indigenous, and specifically Māori, context. Part III of this article discusses the importance and significance of haka in Māori culture, particularly looking at the history and significance of Ka Mate, the most well-known haka in New Zealand and the world. Examples of different companies, both New Zealand and internationally-owned, using the haka for commercial benefit are analysed to establish whether or not their use of the haka is misappropriation, and if so, the harm this misappropriation has caused Māori. Part IV discusses the current legal protections New Zealand provides for mātauranga Māori and whether they sufficiently protect the haka and mātauranga Māori generally. It will assess the Haka Ka Mate Attribution Act 2014 as a case study. Part V outlines the limitations of the intellectual framework. Part VI of this article looks to what legal protections would be sufficient to protect against the misappropriation of the haka and mātauranga Māori generally. I INTRODUCTION Kua tae mai te wa, e whakapuru ai tatou i nga kowhao o te waka. The time has come where we must plug the holes in the canoe. * Ngāti Whātua Ōrākei and Waikato-Tainui. 524 (2020) 51 VUWLR All over the world, indigenous communities are seeking greater control of their culture.1 Māori culture has been suppressed in Aotearoa New Zealand for decades, and now, non-Māori businesses and individuals, in New Zealand and overseas, have begun to exploit Māori culture to promote and enhance their business dealings and sell their products.
    [Show full text]
  • Small Yet Strong VOICES from OCEANIA on the ENVIRONMENT Lalomanu, Samoa
    Small yet strong VOICES FROM OCEANIA ON THE ENVIRONMENT Fishing near Lalomanu, Samoa. CARITAS Small yet strong VOICES FROM OCEANIA ON THE ENVIRONMENT Small yet strong in the love of God, like Saint Francis of Assisi, all of us, as Christians, are called to watch over and protect the fragile world in which we live, and all its peoples. Pope Francis: Evangelii Gaudium #216, 2013 Ka mate te whenua, ka mate te tangata, Ka ora te whenua, ka ora te tangata. If the earth dies, the people die, If the earth lives, the people live. ST FRANCIS DAY 4 OCTOBER 2014 Tutu ana te puehu Stirring up the dust © Caritas Aotearoa New Zealand PO Box 12193 Thorndon, Wellington 6144 AOTEAROA NEW ZEALAND www.caritas.org.nz [email protected] Lead research and writing: Martin de Jong Additional writing and editing: Lisa Beech, Julianne Hickey Research assistance/liaison: Emily Benefield, Cathy Bi, Nick Borthwick, Leo Duce, Catherine Gibbs, Mark Mitchell, David Nonu, Christina Reymer, Anna Robertson, Taneora Ryall, Murray Shearer, Gemma Sinnott, Br Adrian Watson Editing: Johanna Knox Design: Rose Miller Advice on Te Reo Māori content: Te Rūnanga o te Hāhi Katorika ki Aotearoa Cover photo: Crispin Anderlini Photo shows taupata (Coprosma repens), an extremely tough coastal plant of Aotearoa New Zealand, able to withstand strong winds and salt spray. Birds feed on its bright orange berries. Related Coprosma species occur across the Pacific Islands, in Papua New Guinea, West Papua and Australia. This booklet has been printed on paper produced from sustainable sources, after consideration of the options available to us to reduce the impact on the environment.
    [Show full text]
  • 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.
    [Show full text]
  • SPIRIT and SONG of the MAORI of AOTEAROA {NEW ZEALAND} ANN CLEMENTS “Kei a Te Po Te Timatatanga O Te Waiatatanga Mai a Te Atua
    SPIRIT AND SONG OF THE MAORI OF AOTEAROA {NEW ZEALAND} ANN CLEMENTS “Kei a te Po te timatatanga o te waiatatanga mai a te Atua. Ko te Ao, ko te Ao marama, ko te Ao turoa.”1 It was in the night that the gods sang the world into existence. From the world of light, into the world of music. MAORI are the indigenous people of Aotearoa (island of the “long white cloud”) or New Zealand. According to Maori mythology, music called the world into creation. As soon as the gods turned night into light, they turned light into music. The connotation of this story is that when life fi rst appeared, it brought with it the complexities of living experience, including emotions that are most easily and genuinely expressed through music. All Maori songs (waiata) stem from the emotions that the gods displayed during creation. “There are songs of sorrow, anger and lament; of loneliness, desire and joy; of peace and love.”2 These aesthetic attributes of music echo music’s functions and uses globally. Humans use music to defi ne, represent, symbolize, and unify or disrupt society. Music is an expression of our social, political, spiritual, and self and group identity. Within Maori culture, music plays all of these roles—from its imperative position in sacred (tapu) ritual to its unifying task in the preservation, creation, and demonstration of group identity. Music is a primary social adhesive that has sustained Maori culture and heritage for hundreds of years. Ann Clements Associate Professor of Music Education The Pennsylvania State University School of Music [email protected] CHORAL JOURNAL Volume 55 Number 2 17 SPIRIT AND SONG OF THE MAORI This brief encounter with Maori Over several centuries in relative iso- an independent dominion in 1907 and music will provide an interweaving of lation, these Polynesian settlers refined supported the United Kingdom militarily culture and musical knowledge.
    [Show full text]
  • The Māori Offer for Service Abroad Who Hung out the Whole of the Bitter Trench Work in France in 1916–18
    Chapter 1 Thei Māor Offer for Service Abroad With centuries of military traditions behind him, it was natural that the Māori should have been eager to shoulder rifle alongside his Pakeha compatriots in the Great War. He knew what it was to give up all for a cause, an idea. In the olden Māori polity, the tribe came first; the tribe had first claim on the strong arm of the clansman, and the tribe stood behind every one of its members. No freeman of the hapū [clan] or iwi [tribe] could suffer injury from a member of another clan and appeal in vain to his kinsmen for help in exacting justice. The whole strength of the collection of families which formed the tribe was at the disposal of the paramount chief and the war captains once a certain line of policy had been decided upon. Here was Empire in miniature. It was easy for the modern Māori to appreciate the importance of united action in defence of the congeries of great families called the British Empire. He was quick to perceive The Forgotten Maori Contingent. 15 Māori in the Great War the truth of the motto that unity is strength, and to realise that his duty as a citizen of the Empire was to come into alignment with his white brothers and cousins against the common danger. But a still more powerful impelling force was the thought that flashed from tribe to tribe that here at last was the great opportunity of showing what the present-day Māori could do in the field of battle.
    [Show full text]
  • I WHAKAPUTAHIA TE PUKAPUKA NEI MÖ NGÄ TÄNGATA E PÄNGIA ANA E TE MATE HUKA I TE WÄ KUA PAKEKE RÄTAU “Mä Te Tiaki I Taku Mate Huka E Ora Ai Au”
    “Mä te tiaki i taku mate huka e ora ai au” I WHAKAPUTAHIA TE PUKAPUKA NEI MÖ NGÄ TÄNGATA E PÄNGIA ANA E TE MATE HUKA I TE WÄ KUA PAKEKE RÄTAU “Mä te tiaki i taku mate huka e ora ai au” ISBN 978-0-478-19221-6 (print) ISBN 978-0-478-19222-3 (online) A5 Diabetes Maori.2 13/10/10 10:55 AM Page 6 TAHI He aha te mate huka? Ko te mate huka, he mate tënei e pängia ana ki te tangata he rahi rawa te huka kei roto i ana toto. Mö ëtahi tängata e pängia ana e te mate huka, tërä käore e kitea ana ngä tohumate. Mö ëtahi atu tërä ka: • tino hiahia wai unu • tino mimi • tino ngenge • makaro ngä kamo • pängia i ngä mate roma mimi me ngä mate kiri • pöturi te whakaora o te tinana. Me haere ngä tängata e whakaaro ana tërä kei te pängia rätau i te mate huka ki te kite i tö rätau takuta, tö rätau tapuhi ränei. Mehemea käore e whakamaimoatia te mate huka ka tükinotia te manawa, ngä kamo, ngä waewae, ngä täkihi me ëtahi atu wähi o te tinana. Ko wai kei te noho morearea? Ngä tängata: • tino taumaha • he paku noa nei tä rätau whakakori i ö rätau tinana • e pängia ana ö rätau whänau i te mate huka • neke atu i te 40 tau te pakeke • he Mäori, nö ngä moutere ränei o te Moana-nui-ä-Kiwa. I tua atu ko ngä wähine i: • pängia e i te mate huka i te wä e hapü ana • whakawhänau pëpi rahi.
    [Show full text]
  • A Sociological Examination of Genetic Research Into the 'Warrior Gene'
    1 Science or bio-piracy? A sociological examination of genetic research into the ‘warrior gene’ in modern Polynesians Lena Rodriguez PhD Student University of Newcastle Email: [email protected] Abstract Advances in genetic testing and research have led to a proliferation of studies of indigenous people in an attempt to understand issues of ancestry, migration, susceptibility to specific diseases and predictability of behaviours. This paper questions the assumption that the ‘new genetics’ is value free and argues that this science is subject to a range of social constructions as part of the post-colonial discourse. In this paper I wish to discuss the selection of Polynesians as exemplars of the ‘Warrior’ or ‘Violent’ gene. A small study of seventeen Maori men has become the centre of an international controversy regarding the application and evaluation of genetic studies which seek to attribute determinist conclusions in the absence of other sociological data. This paper focuses on the genetic debate concerning Polynesians, and explores the extent to which the interpretation of these findings may be ethnocentrically formed. Keywords: Indigenous, Maori, Genetics, Cultural Safety, Ethics Why Polynesians? The exponential rise in genetic studies, has generated a demand for more subject populations to examine. In the case of Polynesians1, they have been singled out as allegedly being host to the ‘Violent’ or ‘Warrior’ gene. The physical makeup of Polynesians, and their history, has been incorporated into the fundamental thinking of geneticists seeking to piece together the ‘human genome puzzle’. Why Polynesians have been selected for this particular role, and the controversial interpretation of their genetic status, form the subject of this paper.
    [Show full text]
  • Haka and Hula Representations in Tourism
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ResearchArchive at Victoria University of Wellington Haka and hula representations in tourism A thesis submitted to Victoria University of Wellington for the degree of Master of Arts in the School of Māori Studies (Te Kawa a Māui) Victoria University of Wellington November 2009 By Acushla Deanne O’Carroll I Abstract Haka and hula performances tell stories that represent histories, traditions, protocols and customs of the Māori and Hawai’ian people and give insight into their lives and the way that they see the world. The way that haka and hula performances are represented is being tested, as the dynamics of the tourism industry impact upon and influence the art forms. If allowed, these impacts and influences can affect the performances and thus manipulate or change the way that haka and hula are represented. Through an understanding of the impacts and influences of tourism on haka and hula performances, as well as an exploration of the cultures’ values, cultural representations effective existence within the tourism industry can be investigated. This thesis will incorporate the perspectives of haka and hula practitioners and discuss the impacts and influences on haka and hula performances in tourism. The research will also explore and discuss the ways in which cultural values and representations can effectively co-exist within tourism. II Mihimihi I te riu o te whenua Te Rua o te Moko I raro i te maru o Taranaki I ruia i ngā kākano o te ora Kia ora ai te hapū, ko Puawhato te Rangatira! Ko Taranaki te maunga Ko Aotea te waka Ko Waingōngōrō te awa Ko Ngāruahine Rangi, Ngāti Ruanui me Te Ātiawa ngā iwi Ko Otaraua me Kanihi-Umutahi ngā hapū Ko Otaraua me Kanihi-Māwhitiwhiti ngā marae Ko Acushla Deanne O’Carroll tōku ingoa Tēnā tātou katoa III Dedication This thesis is dedicated to all of the participants involved in this research.
    [Show full text]