The Marae’S Waharoa (Gateway), with Vibrantly Coloured Windows, Is a Built-In a Tribute to All New Zealand’S Voyagers
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Art's Histories in Aotearoa New Zealand Jonathan Mane Wheoki
Art’s Histories in Aotearoa New Zealand Jonathan Mane Wheoki This is the text of an illustrated paper presented at ‘Art History's History in Australia and New Zealand’, a joint symposium organised by the Australian Institute of Art History in the University of Melbourne and the Australian and New Zealand Association of Art Historians (AAANZ), held on 28 – 29 August 2010. Responding to a set of questions framed around the ‘state of art history in New Zealand’, this paper reviews the ‘invention’ of a nationalist art history and argues that there can be no coherent, integrated history of art in New Zealand that does not encompass the timeframe of the cultural production of New Zealand’s indigenous Māori, or that of the Pacific nations for which the country is a regional hub, or the burgeoning cultural diversity of an emerging Asia-Pacific nation. On 10 July 2010 I participated in a panel discussion ‘on the state of New Zealand art history.’ This timely event had been initiated by Tina Barton, director of the Adam Art Gallery in the University of Victoria, Wellington, who chaired the discussion among the twelve invited panellists. The host university’s department of art history and art gallery and the University of Canterbury’s art history programme were represented, as were the Museum of New Zealand Te Papa Tongarewa, the City Gallery, Wellington, the Govett-Brewster Art Gallery, New Plymouth, the Dunedin Public Art Gallery and the University of Auckland’s National Institute of Creative Arts and Industries. The University of Auckland’s department of art history1 and the University of Otago’s art history programme were unrepresented, unfortunately, but it is likely that key scholars had been targeted and were unable to attend. -
Ascent03opt.Pdf
1.1.. :1... l...\0..!ll1¢. TJJILI. VOL 1 NO 3 THE CAXTON PRESS APRIL 1909 ONE DOLLAR FIFTY CENTS Ascent A JOURNAL OF THE ARTS IN NEW ZEALAND The Caxton Press CHRISTCHURCH NEW ZEALAND EDITED BY LEO BENSEM.AN.N AND BARBARA BROOKE 3 w-r‘ 1 Published and printed by the Caxton Press 113 Victoria Street Christchurch New Zealand : April 1969 Ascent. G O N T E N TS PAUL BEADLE: SCULPTOR Gil Docking LOVE PLUS ZEROINO LIMIT Mark Young 15 AFTER THE GALLERY Mark Young 21- THE GROUP SHOW, 1968 THE PERFORMING ARTS IN NEW ZEALAND: AN EXPLOSIVE KIND OF FASHION Mervyn Cull GOVERNMENT AND THE ARTS: THE NEXT TEN YEARS AND BEYOND Fred Turnovsky 34 MUSIC AND THE FUTURE P. Plat: 42 OLIVIA SPENCER BOWER 47 JOHN PANTING 56 MULTIPLE PRINTS RITA ANGUS 61 REVIEWS THE AUCKLAND SCENE Gordon H. Brown THE WELLINGTON SCENE Robyn Ormerod THE CHRISTCHURCH SCENE Peter Young G. T. Mofi'itt THE DUNEDIN SCENE M. G. Hire-hinge NEW ZEALAND ART Charles Breech AUGUSTUS EARLE IN NEW ZEALAND Don and Judith Binney REESE-“£32 REPRODUCTIONS Paul Beadle, 5-14: Ralph Hotere, 15-21: Ian Hutson, 22, 29: W. A. Sutton, 23: G. T. Mofiifi. 23, 29: John Coley, 24: Patrick Hanly, 25, 60: R. Gopas, 26: Richard Killeen, 26: Tom Taylor, 27: Ria Bancroft, 27: Quentin MacFarlane, 28: Olivia Spencer Bower, 29, 46-55: John Panting, 56: Robert Ellis, 57: Don Binney, 58: Gordon Walters, 59: Rita Angus, 61-63: Leo Narby, 65: Graham Brett, 66: John Ritchie, 68: David Armitage. 69: Michael Smither, 70: Robert Ellis, 71: Colin MoCahon, 72: Bronwyn Taylor, 77.: Derek Mitchell, 78: Rodney Newton-Broad, ‘78: Colin Loose, ‘79: Juliet Peter, 81: Ann Verdoourt, 81: James Greig, 82: Martin Beck, 82. -
Vladamir Cacala and the Gelb House (1955) G. Elliot Reid
Vladamir Cacala and the Gelb House (1955) G. Elliot Reid Eisenman writes of a "modernism of alienation"1 which arises in the anxiety of dislocation, an architecture of "an alienated culture with no roots." "Architecture has repressed the individual consciousness in the physical envi ronment that is supposed to be the happy home. I think it is exactly in the home where the unhomely is, where the terror is alive-in the repression of the unconscious. What I am trying to suggest is that the alienated house makes us realise that we cannot only be conscious of the physical world, but rather also of our own consciousness. "2 I feel that a rootless alienated repression can be a central fact of life in New Zealand, par ticularly for the exiled immigrant, to which architecture on the whole usually chooses to 'turn a blind eye,' that architecture refuses to engage with a social disintegration and a repression, preferring instead to fragment itself, submerge itself uncritically into its own condition. 75 The Gelb House I refer to a work by such an exile, Vladimir Cacala, the Gelb House, Mount Albert (1955). Cacala's work on the whole remained committed to a small circle of influences, choosing to explore a reduced vocabulary of architectural forms. (This alien ground holds no memory, no associative value for Cacala.) The typical Cacala house comprises two enveloping walls with large expanses of glass to the north; planes pushed forward at floor and roof level in the manner of Richard Neutra (for example the Kun house, 1936, or the Davis house, 1937). -
A Survey of Recent New Zealand Writing TREVOR REEVES
A Survey of Recent New Zealand Writing TREVOR REEVES O achieve any depth or spread in an article attempt• ing to cover the whole gamut of New Zealand writing * must be deemed to be a New Zealand madman's dream, but I wonder if it would be so difficult for people overseas, particularly in other parts of the Commonwealth. It would appear to them, perhaps, that two or three rather good poets have emerged from these islands. So good, in fact, that their appearance in any anthology of Common• wealth poetry would make for a matter of rather pleasurable comment and would certainly not lower the general stand• ard of the book. I'll come back to these two or three poets presently, but let us first consider the question of New Zealand's prose writers. Ah yes, we have, or had, Kath• erine Mansfield, who died exactly fifty years ago. Her work is legendary — her Collected Stories (Constable) goes from reprint to reprint, and indeed, pirate printings are being shovelled off to the priting mills now that her fifty year copyright protection has run out. But Katherine Mansfield never was a "New Zealand writer" as such. She left early in the piece. But how did later writers fare, internationally speaking? It was Janet Frame who first wrote the long awaited "New Zealand Novel." Owls Do Cry was published in 1957. A rather cruel but incisive novel, about herself (everyone has one good novel in them), it centred on her own childhood experiences in Oamaru, a small town eighty miles north of Dunedin -— a town in which rough farmers drove sheep-shit-smelling American V-8 jalopies inexpertly down the main drag — where the local "bikies" as they are now called, grouped in vociferous RECENT NEW ZEALAND WRITING 17 bunches outside the corner milk bar. -
Hāngaitanga | Relevance
Tauhere | Connections, Issue 1, May 2016. 1 Hāngaitanga | Relevance Issue 1, May 2016. Tauhere | Connections, Issue 1, May 2016. 2 Committee members: Rebecca Keenan, editor Tamara Patten, editor Shelley Arlidge, sub-editor Jessica Mio, sub-editor Serena Siegenthaler, designer Milly Mitchell-Anyon, web developer MA Board liaisons: Talei Langley Daniel Stirland With much gratitude for the support and advice of: Elspeth Hocking Migoto Eria Ashley Remer Emerging Museum Professionals Group c/o Museums Aotearoa, 104 The Terrace, Wellington, New Zealand. www.tauhere.org | [email protected] ISSN 2463-5693 Tauhere | Connections, Issue 1, May 2016. 3 Content Page 3 Editorial Page 5 The Dowager Empress Cixi’s comb: A provenance treasure hunt Jane Groufsky Page 10 A Māori perspective on the localised relevance of museums and their community relationships Teina Ruri Page 17 Cultural institutions and the social compact Courtney Johnston Page 24 Potential Chloe Searle Page 28 Exclusion in the art gallery Elspeth Hocking Page 32 Curating outside your comfort zone Aimee Burbery Page 38 The Canterbury Cultural Collections Recovery Centre: Reflections of an intern Moya Sherriff Tauhere | Connections, Issue 1: Hāngaitanga | Relevance Editorial Nau mai, haere mai. Each piece approaches the relevance Welcome to the inaugural issue of of museums in a unique way, with Tauhere | Connections. discussions around the following: collection care in the wake of the Tauhere | Connections was Canterbury earthquakes, major conceived by the Emerging Museum developments in a regional museum Professionals group as a way to context, researching an object’s address a gap in New Zealand’s backstory, the challenges of curation museum publications offering – a in an unfamiliar subject area, an professional journal for the museum exploration of tikanga Māori in a sector that is not tied to the work of a museum context, comparing and single institution. -
Embodied Pedagogy: Examples of Moral Practice from Art Education
EMBODIED PEDAGOGY: EXAMPLES OF MORAL PRACTICE FROM ART EDUCATION Ruth Boyask University of Canterbury, New Zealand Educators operate today in a climate that favours instrumental means to achieve economically rational ends. This emphasis conflicts with the moral purpose of education, which is concerned ostensibly with widening participation and increasing personal liberty. Framed by this potential conflict is an investigation into the activity of historical figures in New Zealand art education to reveal how their deliberate activities negotiated the dominant discourses of their times, and how they shifted cultural production and understandings towards divergent social ends. These historical cases provide insight into possibilities for contemporary educators. Teaching and learning occur both within and outside of educational institutions, policies and sectors. Whilst this premise may not appear particularly innovative or surprising, taken seriously it has the potential to destabilise existing orders of educational practice. It indicates that the creation of knowledge as it is experienced does not necessarily conform to generalised policies nor does it occur within the formal institutions and educational sectors that we have constructed for its legitimation and continuance. However, this premise conflicts with basic assumptions operating currently within the discipline of education, where educational knowledge is positioned in relation to specific and discrete epistemological constructions. This article is developed from a fundamentally phenomenological position, whereby social discourses are constructed through embodied interaction and dialogue, resulting in social practices such as pedagogy, which are ritualised and re-enacted throughout our institutions. The discussion claims that pedagogies have moral implications in that they expand or inhibit social participation and personal liberty, and therefore they encourage educators, when determining a course of action, to deliberate on how their practices intersect with educational structures. -
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). -
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. -
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;...……………………………………………. -
MAI a WAIWIRI KI WAITOHU: How Mātauranga Māori Enhances Iwi and Hapū Well Being and Ecological Integrity
Manaaki Taha Moana: Enhancing Coastal Ecosystems for Iwi and Hapū Report No. 18 November 2015 MAI A WAIWIRI KI WAITOHU: How Mātauranga Māori Enhances Iwi and Hapū Well Being and Ecological Integrity MAI A WAIWIRI KI WAITOHU: How Mātauranga Māori Enhances Iwi and Hapū Well Being and Ecological Integrity Dr Huhana Smith [With support from Horowhenua MTM team- Moira Poutama and Aroha Spinks.] ISBN 978-0-9876639-7-9 ISSN 2230-3332 (Print) ISSN 2230-3340 (Online) Published by the Manaaki Taha Moana (MTM) Research Team Funded by the Ministry for Science and Innovation Contract MAUX0907 Main Contract Holder: Massey University www.mtm.ac.nz Approved for release Reviewed by: by: Cultural Advisor MTM Science Leader Mr Lindsay Poutama Professor Murray Patterson Issue Date: November 2015 RECOMMENDED CITATION: Smith, H., 2015, MAI A WAIWIRI KI WAITOHU: How Mātauranga Māori Enhances Iwi and Hapū Well Being and Ecological Integrity, Manaaki Taha Moana Research Project, Massey University: Palmerston North/Taiao Raukawa Environmental Resource Unit: Ōtaki. 43 pages © Copyright: Apart from any fair dealing for the purpose of study, research, criticism, or review, as permitted under the Copyright Act, this publication must not be reproduced in whole or in part without the written permission of the Copyright Holder, who, unless other authorship is cited in the text or acknowledgements, is the commissioner of the report. MIHIMIHI1 Tuia i runga, tuia i raro, tuia i waho, tuia i roto, tuia te here tangata, ka rongo te pō, ka rongo te ao. Ka tuku te ia o whakaaro kia rere makuru roimata atu ki te kāhui ngū kua hoki atu ki te waro huanga roa o te wairua, rātou kei tua o te ārai, takoto, okioki, e moe. -
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).