Ngā Whakamarama/Glossary of Māori Terms
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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. -
Tangihanga: the Ultimate Form of Māori Cultural Expression— Overview of a Research Programme
Tangihanga: The Ultimate Form of Māori Cultural Expression— Overview of a Research Programme Linda Waimarie Nīkora, Ngāhuia Te Awekōtuku, Mohi Rua, Pou Temara, Te Kahautu Maxwell, Enoka Murphy, Karyn McRae and Tess Moeke-Maxwell Tangi Research Programme, The University of Waikato Abstract Death, observed through the process of tangihanga (time set aside to grieve and mourn, rites for the dead) or tangi (to grieve and mourn), is the ultimate form of Māori cultural expression. It is also the topic least studied by Māori or understood by outsiders, even after televised funeral rites of Māori leaders and intrusive media engagements with more humble family crises. It has prevailed as a cultural priority since earliest European contact, despite missionary and colonial impact and interference, and macabre Victorian fascination. Change is speculative rather than confirmed. Tangi and death rituals have yet to be rigorously examined in the Māori oral canon, or in the archival and historic record that may be discarded or reinforced by current practice. As researchers we are committed to studying tangi, conscious of the belief that such work carries the inherent risk of karanga aituā (inviting misfortune or even death itself) by drawing attention to it. Contemporary Aotearoa New Zealand is constantly touched by aspects of tangi practice through popular media and personal exposure. This volatile subject nevertheless demands careful and comprehensive scrutiny in order to extend and enrich the knowledge base, reveal the logic that guides ritual, inform the wider New Zealand community and, more importantly, support the cultural, social, ritual, economic and decision- making processes of bereaved whānau (family, including extended family), people affiliated with marae (communal meeting complex) and iwi (tribe, tribal). -
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 ......................................................................................................... -
Māori Symbolism - the Enacted Marae Curriculum
Māori symbolism - the enacted marae curriculum Jamie Lambert Te Awem āpara, Ng āti Hinekura, Te M āhurehure familial connections Te W ānanga o Aotearoa, Te Awamutu, New Zealand [email protected] Symbolism and other metaphoric representations of aspects of M āori (Indigenous peoples of Aotearoa/New Zealand) culture such as whaik ōrero (formal speaking), moemoe ā (dreams), and whakatauk ī (proverbial sayings) has existed with M āori for generations. This paper examines M āori symbolism and its importance in M āori culture more specifically the maintenance, sustenance and transmission of our indigenous knowledge systems for generations to come. Traditional use of symbols is also explored through the contextual application of the marae (traditional M āori living complex) and how symbols exist in various parts of the marae. The enacted curriculum is also investigated looking at specific examples of how these symbols can enact both non-Māori and M āori formal curriculum areas. Symbolism Symbolism as a part of an expressive culture operates on a number of levels and across a range of frequencies according to your perceptions and having deeper understandings of what is truly represented. These symbols appear as images, words, behaviours and actions function in different spaces and places with differing meanings. This depends heavily on context, that is they are culturally and contextually relevant. Much of the value is encoded in metaphor. Symbols stand for concepts that are often too complex to be stated directly in words (Womack, 2005). Furthermore, Womack cites social anthropologist Raymond Firth (Ibid) who writes “it is assumed that symbols communicate meanings at levels of reality not accessible through immediate experience or conceptual thought. -
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 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;...……………………………………………. -
1 the Impacts of COVID-19 on Tangihanga B. Rangiwai (Ngāi
The Impacts of COVID-19 on Tangihanga B. Rangiwai (Ngāi Tūhoe, Ngāti Porou, Ngāti Manawa, Ngāti Whare) A. Sciascia (Ngāruahine Rangi, Ngāti Ruanui, Te Ati Awa) Abstract The influenza pandemic of 1918, which killed 50 million people, has been acknowledged as the most significant disease event in human history. In response to the pandemic, the ways in which tangihanga (Māori funeral practices) were carried out changed. Bodies were immediately taken to the urupā (burial ground) without the customary extended ceremonies. Similarly, the impacts of the burgeoning COVID-19 situation has meant uncomfortable, albeit temporary, changes to Māori funeral practices. At the very worst part of the COVID-19 experience, tangihanga were essentially prohibited, and immediate burial or cremation became the norm. In some cases, tūpāpaku (bodies) were cremated with the intention that the remains would be returned to tribal burial grounds at a later date. This article will explore the impacts of COVID-19 on tangihanga and how technology has been used in this context with particular reference to Taranaki examples. 1 The Impacts of COVID-19 on Tangihanga Introduction Tangihanga is a customary practice that holds great significance within Māori communities and whānau (families) bringing multitudes of people together to farewell the dead. Travelling the breadth of the Aotearoa New Zealand to attend tangihanga is commonplace and represents the great lengths that whānau and Māori communities go to, to pay their respects. It is not unheard of for whānau to travel all hours of the night and morning to arrive on time and be first to the gateway of the marae (traditional gathering place) to be then welcomed in and invited to farewell the deceased through oratory, song and gifts. -
The Marae As an Information Ground Spencer Lilley Massey University New Zealand
The Marae as an information ground Spencer Lilley Massey University New Zealand Marae are a gathering place for Māori (indigenous New Zealand people). Māori gather at marae for a variety reasons, including meetings, celebrations, tangi (funeral rites) and to socialise. Most marae are attached to a particular hapu (sub-tribe) and an iwi (tribe) will have many hapu as part of its structure. Many marae are in traditional areas associated with that particular hapu or iwi, but since the 1950s there has been mass urbanisation with 80% of the Māori population living in the cities. Urbanisation has led to the development of urban marae, with many of these still associated with an iwi. However, most major cities have urban marae that have no association with any particular iwi but are attached to urban Māori who no longer have links or easy access to their own marae. Although many of the activities that take place at the marae can be quite casual, there are also very formal ceremonial functions associated with a marae, particularly when welcoming and hosting visitors and the rituals associated with tangi. The marae cannot simply be described as a single information ground as described by Pettigrew1 (2000) Fisher (2004, 2005) who developed the concept As they are large complexes with many different zones and encounters taking place it qualifies as the ultimate Māori information conduit with a smorgasbord of information available for exchange. The main areas of a marae where information can be exchanged while carrying other activities are: the waharoa (gateway) the marae-atea, wharenui (meeting house), 1 Karen Pettigrew later became Karen Fisher wharemoe (sleeping quarters), wharekai (dining room), mahau (porch/veranda), wharehoroi (bathrooms), kauta (cookhouse), hangi pit (earth oven pit). -
Oranga Marae Summative Evaluation Cohort
ORANGA MARAE: SUMMATIVE EVALUATION Final Report Prepared for: Te Puni Kōkiri and the Department of Internal Affairs June 2020 1 CONTENTS Executive Summary ................................................................................................................................. 4 Background ............................................................................................................................................. 8 What is Oranga Marae? ...................................................................................................................... 8 Vision and intended outcomes....................................................................................................... 8 Eligibility criteria ............................................................................................................................. 9 Funding ......................................................................................................................................... 10 Evaluation ............................................................................................................................................. 10 Evaluation questions ........................................................................................................................ 10 Oranga Marae Intervention logic and outcomes framework ............................................................... 11 Our approach ....................................................................................................................................... -
The Waitangi Tribunal and the Regulation of Maori Protest
University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Arts, Social Sciences & Humanities 2011 The Waitangi Tribunal and the Regulation of Maori Protest Juan M. Tauri University of Wollongong, [email protected] Robert Webb Auckland University of Technology Follow this and additional works at: https://ro.uow.edu.au/sspapers Part of the Education Commons, and the Social and Behavioral Sciences Commons Recommended Citation Tauri, Juan M. and Webb, Robert, "The Waitangi Tribunal and the Regulation of Maori Protest" (2011). Faculty of Social Sciences - Papers. 3195. https://ro.uow.edu.au/sspapers/3195 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Waitangi Tribunal and the Regulation of Maori Protest Abstract Much of the current academic and political discourse related the development and operations of the Waitangi Tribunal over its first twenty earsy portray it as a forum that provided Maori with a meaningful avenue for settling Treaty grievances compared to the formal legal systems performance in the preceding 100 years. In contrast, we argue that from its inception and throughout much of the 1980s, the Waitangi Tribunal functioned primarily as an informal justice forum that assisted the New Zealand state's regulation of Maori Treaty activism during the transition from a Fordist to a Post-Fordist mode of capital accumulation. Keywords maori, regulation, protest, tribunal, waitangi Disciplines Education | Social and Behavioral Sciences Publication Details Tauri, J. & Webb, R. (2011). The Waitangi Tribunal and the Regulation of Maori Protest. -
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.