DOCSLIB.ORG

Introduction to M¯Aori Culture Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction to M¯Aori Culture Contents introduction to m¯aori culture contents Haere Mai - Welcome Page 1 Tangata whenua - the people of the land Page 2 M¯aori and tourism Page 3 M¯aori creativity Page 6 M¯aori culture Page 8 Whanau Page 8 Other aspects of M¯aoritanga Page 8 The haka: New Zealand icon Page 9 T¯a Moko Page 9 M¯aori and the land Page 9 M¯aori and the sea Page 10 The marae Page 10 Ten stages of a p¯owhiri Page 10 The M¯aori Renaissance Page 12 The Treaty of Waitangi The signing of the Treaty Page 14 The relevance of the Treaty today Page 14 How does the Treaty impact upon me as a visitor to Aotearoa? Page 14 Story of the silver fern Page 15 Glossary Page 16 Please note that the comments stated in this brochure may not apply to all M¯aori people. M¯aori society is made up of iwi (tribe), hapu (sub-tribe) and whanau (family unit) groupings which are geographically based throughout New Zealand in accordance with their tribal boundaries. The various differences in character, cultural practices and protocols between iwi all contribute to the richness of M¯aori society, M¯aori culture and New Zealand. haere mai welcome “N¯a t¯a u rourou, n¯a ta ¯ ku rourou, ka ora It is a culture that, due to initiatives over ai te manuhiri” the past two decades to revitalise M¯a ori language, art and culture continues to grow By your food basket and my food basket, from strength to strength. As singer Hinewehi the visitors will be nurtured. Mohi, who sings only in M¯a ori, pointed out M¯a ori, the indigenous people of Aotearoa in an interview with M¯a ori magazine Mana: New Zealand, make up 15% of the population “In Europe they’ve already done the Latin and and are well-represented at the highest levels Celtic thing - and they’re ready for the Pacific. throughout New Zealand. M¯a ori achievements I’m quite staunch about te reo [language] in in arts and entertainment, business, academia, my music. People ask me to translate the lyrics sports and politics have ensured contemporary and I shrug and say: ‘Why?’” M¯a ori society has solid role models to look up to. With nearly one half of M¯a ori language speakers less than 25 years of age, Traditional M¯a ori customs still play a big part in there may come a time when she won’t the lives of many modern M¯a ori in be asked to. New Zealand and are an intrinsic part of Kiwi culture for New Zealanders. Nothing arouses the passion of Kiwis like the haka as the All Blacks go through their pre-game challenge; nothing chills like the spine-tingling emotion upon hearing a karakia (prayer). Probably New Zealand’s best known international M¯a ori identity is opera diva Dame Kiri Te Kanawa. She made her debut at Covent Garden in 1971 and has been a star in the opera world ever since. But Dame Kiri isn’t alone. People such as writer Witi Ihimaera, who penned the novel ‘Whale Rider’, actor Temuera Morrison, film director Lee Tamahori, golfer Michael Campbell, artists Cliff Whiting, Jacqueline Fraser and Shane Cotton, the late poet Hone Tuwhare and businessman Wally Stone add to the culture of Aotearoa. 1 tangata whenua: the people of the land M¯a ori lost much of their land through European colonisation and over the past decades some have been compensated for their loss. A number of iwi or tribal groups currently await negotiations with the Government to settle their historical grievances. Today, although many M¯a ori live in urban areas, away from their tribal regions, their marae remains an integral part of their life. Any visit to New Zealand is bound to provide an encounter with this country’s unique M¯a ori culture. An encounter that will allow you to experience a culture rich in traditions passed on from generation to generation. Some key statistics from the 2006 Census • One in seven people (565,329) in New Zealand were M¯a ori • Nearly nine in 10 M¯a ori lived in the North Island; one quarter of the M¯a ori population lived in Auckland alone • A quarter of the M¯a ori population spoke the M¯a ori language • The largest tribe was Nga ¯ Puhi from the Northland region • The M¯a ori population had grown by 7.4% over the last five years 2 m¯aori and tourism M¯a ori are increasingly utilising tourism in a bid Whale Watch now employs around 75 people to preserve and promote their culture and supports many extended M¯a ori wh¯a nau and create a more prosperous future for (families). Whale Watch Kaik¯o ura has won their youth. That initiative is assisting in the many awards, including a gold award from preservation of the natural environment the Pacific Asia Travel Association, the British of Aotearoa. Airways Award for best eco-tourism venture and the Green Globe Achievement Award in New Zealand, one third of which is covered Berlin for distinction in tourism. Its chairman, in parks and reserves, is fast becoming a Wally Stone, served on the Tourism headline stealer following Peter Jackson’s New Zealand Board from 1999 and was three-film adaptation of JRR Tolkien’s ‘The chairman from 2002 to 2008. Lord of The Rings’ - and M¯a ori offer a unique way of exploring the country through its people The Hetet family has integrated traditional and culture. The Nga ¯ ti Whare and T¯u hoe M¯a ori arts with tourism and education in its iwi (tribes) in the Central North Island offer M¯a ori Treasures complex in Lower Hutt, walking tours through the Whirinaki rainforest - 20 minutes from Wellington. Five generations one of the world’s most spectacular rainforests, of Hetet creativity is on display at the centre, and home to ancient species of flora and which is located in a converted house among fauna. Local M¯a ori guides provide tales of tribal 40 others belonging to the Hetet wh¯a nau. history and explain the medicinal purposes of The late Erenora Puketapu - Hetet was the plants. internationally renowned as a weaver of M¯a ori guided tours are also available through traditional korowai (cloaks) - a tradition passed Northland’s Waipoua forest. Footprints down to her by her husband’s grandmother, Waipoua takes visitors on tours through the Rangimarie Hetet. Master carver Rangi Hetet is forest, telling legendary stories, entertaining the last surviving member of a special group of tourists using forest themes and bringing carvers known as Konae Aronui. He shares his the unique environment of the forest to life skills in a specialist art school, Konae Aronui for them. A bi-cultural partnership between W¯a nanga, at the M¯a ori Treasures complex. conservationists and Te Roroa iwi (M¯a ori The complex bases its business on family guardians of the area) works to protect, restore, tradition and features a M¯a ori artisans’ studio, interpret and promote Waipoua. gallery, gift store and café. Visitors to the Whale Watch Kaik¯o ura – on the eastern side M¯a ori Treasures complex go on an art tour of the South Island – is proof of the success of that includes a sculpture garden, traditional established M¯a ori tourism ventures. Prior to its M¯a ori musical instruments and weapons and development in 1987, many local Ng¯a ti Kur the opportunity to meet M¯a ori artists at work. people were unemployed and their relationship M¯a ori Treasures also assists in encouraging with the town strained. Ng¯a ti Kur elders the growth of M¯a ori arts in the Hutt Valley decided to take action, so four families put community. It has helped establish a their homes on the line to buy a boat to start a community arts council, through a network whale watch operation. They went to their tribal of 11 marae throughout the region. authority, the Ng¯a i Tahu M¯a ori Trust Board, to The M¯a ori Treasuresi venture includes a raise funds. comprehensive online store selling artworks. 3 m¯aori and tourism cont. T¯a maki Tours is another extremely successful He and Lenna started out with the marae M¯a ori operation. Ten years ago, Mike Tamaki experience at Mangamuka then developed had a dream to create an in-depth M¯a ori guided tours at Waitangi. They then began cultural experience for tourists, but he had providing guided tours for cruise ship visitors no funds. He spent three months trying to - and finally developed the Culture North convince his brother Doug to sell his much- Waitangi Sound and Light Show. The show is loved Harley-Davidson motorcycle to start the an evening production at the Waitangi Treaty company. Grounds in the Bay of Islands. It combines M¯a ori culture, live drama, sound and lights The bike was eventually sold, and T¯a maki and covers the story of Kupe, the first M¯a ori to M¯a ori Village proved so successful Doug discover New Zealand, through to the present was not only able to replace his Harley- day. The story is told through the eyes of a Davidson, but Mike got one as well. T¯a maki grandparent speaking with a grandchild. Tours now has two operations, each telling of a different chapter of New Zealand’s Whakarewarewa - The Thermal Village is a history.
Load more

Recommended publications
  • Download PDF Catalogue
    artart & objectobject Important Paintings & Contemporary Art Thursday 26th April 2012 Welcome to ART+OBJECT’s first Important Paintings and Contemporary Art ART+OBJECT catalogue of 2012. In recent months ART+OBJECT clients have enjoyed a 3 Abbey Street run of significant single vendor catalogues from the ground breaking A. T. Newton Pycroft rare book catalogue in November 2011, the Leo Tattersfield collection Auckland of Chinese Jade which was the centrepiece of A+O’s Asian Art catalogue of PO Box 68 345 February, The English Collection of Modern Design on March 1 and latterly Newton the Russell and Shirley Hodgson Collection of Contemporary Art which was Auckland 1145 offered on March 22 of this year. Turn to page 10 to review some of the auction Telephone: +64 9 354 4646 highlights of this cutting edge collection. Freephone: 0 800 80 60 01 Facsimile: +64 9 354 4645 In each case these collections revealed an acute eye and a passion for [email protected] assembling definitive and insightful holdings – in some cases assembled over www.artandobject.co.nz many decades. Collectors have responded to these with great enthusiasm resulting in some of the most successful auction catalogues A+O has ever offered. Another trend has been the emergence of the collecting group. A significant Cover: section of this current catalogue is devoted to the Times Group, a collective John Ward Knox founded in 2002 with a defined lifespan of a decade. On page 8 Ben Plumbly Untitled (4) (detail) examines the Times Group Collection and the group’s approach to building a oil on calico large and diverse collection.
    [Show full text]
  • Download PDF Catalogue
    Ron Left Axial No. 9 Corner Painting acrylic on shaped board title inscribed, signed and dated 1985 1690 x 1100 x 700mm $2500 – $4000 Covers: Ann Shelton Frederick B. Butler Collection, Puke Ariki, New Plymouth, Scrapbooks from: Hawera 1949 December – 1950 March to Opunake 1952 August – 1953 February, No. 12 (detail) C type print, edition of 3 1370 x 930mm $3500 – $5000 Important Paintings & Contemporary Art Viewing: Friday 20 November – Thursday 26 November Auction: Thursday 26 November 2009 at 6.30pm Art + Object Telephone: +64 9 354 4646 3 Abbey Street, Newton, Freephone: 0 800 80 60 01 Auckland Facsimile: +64 9 354 4645 PO Box 68 345, Newton, [email protected] Auckland 1145 www.artandobject.co.nz Contents 2 24 74 Catalogue Introduction Photography section Works from the Celia Dunlop commences Collection – lots 84 to 99 6 Objects of Desire – Auction 33 86 Preview Recording artist – a collection This is no Shadowland by Dick of Julian Dashper vinyl records Frizzell – essay by Hamish 10 Coney Twisting the Void – A+O 36 advises NZI on a major Shane Cotton’s Gate (I – XII) sculptural installation to Nga Rangi Tuhaha – essay by celebrate 150 years in New Oliver Stead Zealand 46 15 Sculpture section commences Important Paintings and Contemporary Art (Viewing 56 Times) The Old Sentinel by Charles Goldie – essay by Ben Plumbly 20 Three major works by Peter 70 Robinson from the 1990s – Northland by Colin McCahon – essay by Rebecca Rice essay by Laurence Simmons Welcome to ART+OBJECT’s final major art auction for 2009. This catalogue is the largest and most varied assembled in the company’s history – testimony to the confidence of vendors and collectors in the ongoing performance of the market.
    [Show full text]
  • Canterbury Painting in the 1990S, 2 June - 8 August, 2000
    759. 9938 CAN CANTERBURY PAINTING in the 19905 Published on the occasion ofthe exhibition Canterbury Painting in the 1990s, 2 June - 8 August, 2000. The Robert McDougall Art Gallery and Annex acknowledge the generous support and assistance ofthe artists, public and private collectors and galleries who have made works available for this exhibition • Intended as a celebration ofthe depth and diversity ofpainting in With materials ranging from oil paint and bitumen to excrementand Canterbury over the last decade, this exhibition has been drawn gold and stylistic approaches including realism, figuration, minimal largely from the collections of the Robert McDougall Art Gallery, abstraction and abstract expressionism, this brief selection of with several works also bon-owed from public and private collections paintings demonstrates a formidable diversity, revealing just how locally. Consisting ofthirty four works by emerging and established wide-ranging painting in Canterbury has become. The connections artists, it is, necessarily, an abbreviation of the full story and does each ofthe thirty four artists have to the province also vary between not pretend to represent every aspect of, or artist involved in, those of long-term residents to brief visitors on fellowships. Many contemporary painting practice in the region. Howevel~ the quality have taught here, within both the secondary and tertialy systems; and range presented here bear encouraging testimony to' the still more have been educated at one or more of Canterbury'S art continued health of painting in Canterbury over a decade full of institutions. Whatever their association, all of the artists selected for change and challenge. this exhibition have made an impact on, and contribution to, the fabric ofart within this region.
    [Show full text]
  • Our Finest Illustrated Non-Fiction Award
    Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each.
    [Show full text]
  • Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and Beyond
    Intervention Intervention Post Object and Performance Art in New Zealand in 1970 and beyond Robert McDougalI Art Gallery & Annex November 9 — December 10, 2000 Contents © 2000 Robert McDougall Art Gallery & Annex Text and images copyright © 2000 the authors and artists. ISBN 0-908874-61-8 ' Trans-Marginal: New Zealand Performance Art 1970—1985 by Jennifer Hay 5 The Art This catalogue was published to accompany Intervention, an exhibition considering Post-object of the Heist by Nicholas Spill 27 Jim Allen: From Elam to the Experimental Art and Performance Art 1970—1985, at the McDougall Contemporary Art Annex, Foundation by Blair French 33 The Gift in Littoral 9 November—10 December 2000. Intervention was part of Colloquium, a multi-media arts Art Practice by Bruce Barber 49 New New Zealand event comprising exhibitions and public programmes and jointly presented by the ‘New Art’ by Prof. Tony Green 59 Robert McDougall Art Gallery & Annex and the University of Canterbury. About the Writers 95 All rights reserved under international copyright convention. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher. Research Assistance: EH. McCormick Library, Auckland Art Gallery, Toi o Tamaki Te Papa Tongarewa, Elam School of Art ’Open Drawer’ File, New Zealand Film Archive, Hocken Library Design and typography by circledesign Scanning by Digital Pre-Press Ltd. Printing by Rainbow Print, Christchurch Paper supplied by Spicers Paper Ltd. Printed on Lumi Silk 150/250gsm and Freelife Vellum lZOgsm Cover: Body Articulation 1974, Jim Allen Courtesy of the artist and the E.H.
    [Show full text]
  • (Te Papa) in the Rejuvenation of Taonga Puoro
    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. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future.
    [Show full text]
  • Te Aho Tapu Uru Tapurua O E Te Muka E Tui Nei a Muri, a Mua the Sacred Strand That Joins the Past and Present Muka Strands Together
    Te Aho Tapu uru tapurua o e te muka e tui nei a muri, a mua The sacred strand that joins the past and present muka strands together Gloria Taituha A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy 2021 Te Ipukarea Research Institute 1 Abstract This is an exegesis with a shared collaborative creative component with two other weaving exponents, Jacqueline McRae-Tarei and Rose Te Ratana which is reflective of a community of shared practice. This shared practice and subsequent collaborative creative component will be based on the overarching theme of the written component, a synthesis of philosophy, tikanga rangahau (rules, methods), transfer of knowledge and commitment to the survival of ngā mahi a te whare pora (ancient house of weaving) in a contemporary context. The sole authored component and original contribution to knowledge for this project is the focus on the period of 1860 – 1970, which will be referred to as Te Huringa. The design of this exegesis will be informed by Kaupapa Māori Ideology and Indigenous Methodologies. Te Huringa, described as the period from first contact with Pākehā settlers up until the Māori Renaissance in the 1970s. After the signing of the Treaty, the settler population grew to outnumber Māori. British traditions and culture became dominant, and there was an expectation that Māori adopt Pākehā culture (Hayward, 2012, p.1). This period, also defined, as the period of mass colonisation, saw the erosion of traditional Māori society including the status of raranga as a revered art form.
    [Show full text]
  • Artwork Pack Storytelling Term 4 2016
    CREDIT: PAGE 6 PAGE CREDIT: Artwork Pack Storytelling SUPPORTED BY Term 4 2016 Copyright Copyright of this document is held by Auckland Art Gallery Toi o Tāmaki, a part of Regional Facilities Auckland. No content from this document may be reproduced, transmitted or copied without our permission except for the purposes of private study and research, criticism and review, or education consistent with the provisions of Sections 40 to 44 of the New Zealand Copyright Act 1994. Failure to comply may be an infringement of the Act and could contravene obligations which the Gallery has to donors, lenders, artists and descendants with respect to the copying of works of art. Māori Images Auckland Art Gallery Toi o Tāmaki is grateful to all the descendants who have given permission for images of their ancestors to be included in our database, some of which are reproduced in this document. These images have a special significance for Māori and we ask you to treat these images with respect. Please view and store these images in study areas only. The presence of food and drink or their display in inappropriate ways will denigrate their spiritual significance. Years 1–2 Grand Designs In many parts of Europe there was a proliferation of grand country estates in the late 17th and 18th centuries, reflecting the increasing wealth brought about through the introduction of industry and agricultural reforms. While architects scurried to outdo each other with their grand designs, aristocratic and newly emergent middle class owners sought out artworks of all kinds to decorate their rural mansions as well as their elegant town houses.
    [Show full text]
  • Exhibtion History 1999 – 2009
    EXHIBTION HISTORY 1999 – 2009 Manufacturing Meaning: The University of Wellington Art Collection in Context 22 September 1999 ­ 31 January 2000 The inaugural exhibition of the Adam Art Gallery showcased ten key works from the university collection, spanning a period from the 1930s to the present. The works of Frances Hodgkins, John Weeks, Gordon Walters, Colin McCahon, Ralph Hotere, Michael Smither, Jacqueline Fahey, Richard Killeen, John Pule and Peter Peryer were each presented in relation to the artist's practice or ideas and issues raised by the work, and each was accompanied by a catalogue. Manufacturing Meaning offered important new insights into the history of New Zealand art, through the research and presentation of selected critical thinkers ­ curators, art historians, writers and artists Elizabeth Eastmond, Linda Tyler, Damian Skinner/ Ngarino Ellis, Ewen McDonald, Jack Body and David Crossan, Stuart McKenzie, Anna Miles, Greg Burke, Lisa Taouma, and David Maskill. Concept Curator Christina Barton Language Matters Mary­Louise Browne, Terrence Handscomb, L.Budd et al, Colin McCahon, Joanne Moar & Lucy Harvey, and Michael Parekowhai 11 February ­ 26 March 2000 Language Matters brought together six New Zealand artists who use language in their practice in varied forms and with diverse intentions. The exhibition acknowledged the pervasive presence of spoken and written language in contemporary New Zealand art. Curated by Christina Barton Guests and Foreigners, Rules and Meanings (Te Kore) Joseph Kosuth 2 March ­ 30 April 2000 Joseph Kosuth's installation Guests and Foreigners, Rules and Meanings (Te Kore) was the fifth in a series, situated in disparate locations: Oslo, Dublin, Frankfurt, Istanbul and Chiba City, Japan.
    [Show full text]
  • Exhibitions & Events at Auckland Art
    Auckland Art Gallery Toi o Tāmaki 1 Main gallery Cnr Wellesley and Kitchener Sts PO Box 5449, Wellesley St On Show Open daily 10am to 5pm except Christmas Day and Easter EXHIBITIONS & EVENTS Friday. Free guided tours 2pm daily. Free entry to the gallery. Admission AT AUCKLAND ART GALLERY TOI O TĀMAKI FEBRUARY / MARCH / APRIL 2007 // FREE // www.aucklandartgallery.govt.nz charges apply for special exhibitions Ph 09 307 7700 Infoline 09 379 1349 www.aucklandartgallery.govt.nz 3rd Auckland Triennial Venues: 2 New Gallery Cnr Wellesley and Lorne Sts 3 ARTSPACE Level 1, 300 Karangahape Rd 4 The Gus Fisher Gallery 74 Shortland St 5 ST PAUL ST Level 1, WM Building, 34 St Paul St 6 Academy Cinemas Central Library building, 44 Lorne St Getting there: By foot – all venues are within walking distance of each other By bus – Link buses pass near each venue every 10-15 minutes. Bus, ferry and train info: www.maxx.co.nz or ph 09 366 6400 By car – $4 all day parking on weekends and public holidays at Victoria St carpark, cnr Victoria & Kitchener Sts. Park then collect a discount voucher from Auckland Art Gallery or Academy Cinemas. ARTG-0009-serial The Auckland Art Gallery Toi o Ta¯maki is provided by On Show Edited by Jennifer Dann Designed by Inhouse Printed by Spectrum Print ISSN 1177-4614 From the Welcome to Auckland Art Gallery Toi o Tāmaki relies on the good will and generosity of corporate partners. We are delighted to acknowledge their ongoing support. Director Auckland Art Gallery It’s your gallery.
    [Show full text]
  • Tiwissue01.Pdf
    CONTENTS Issue 1 Winter 2006 EDITORIAL Edward Smith Introducing Te Iarere Wavelength Page 5 POINTS OF VIEW Christine Fenton Pathogen paranoia 9 Edward Smith Where to publish 15 CREATIVE WORKS Lesley Pitt Patriarchs, paddocks and the personal 7, 14, 61 Donna Willard-Moore Image details of Dragon 8, 22, 48 ACADEMIC FORUM Rod Bentham Holistic influences on teaching 23 Ian M Clothier Hybrid cultures: what, where and how about us? 33 Megan Dixon 21st century plagiarism 49 TE IARERE WAVELENGTH Issue 1 WINTER 2006 IN THIS ISSUE P 4 Pathogen paranoia by Christine Fenton This is a light-hearted yet factual look at personal health, how we perceive it and what we do, rightly or wrongly, to keep ourselves healthy. Some aspects are traced to the Middle Ages while others relate to developments in modern medicine. Chris- tine was formerly Head of Science at WITT. She is Convenor of the NZ Microbiological Society Education Group and is particularly interested in scientific journalism. Where to publish by Edward Smith As a historical prologue, some of the publishing characteristics and habits of the great early atomic physicists are recounted. This is followed by a consideration of the pub- lishing options for academics. Edward is Director of Research, ICIARE at WITT. He is a mechanical engineer interested in industrial and applied research. Patriarchs, paddocks and the personal - poems by Lesley Pitt These poems were written as part of Lesley’s Masters thesis entitled – “Patriarchs, paddocks and the personal”. She is a Tutor for the Diploma in Social Work and her academic interests include women’s issues, storytelling/life stories and post struc- tural ideology as a way of making meaning.
    [Show full text]
  • Lisa Reihana: Emis Saries New Zealand a T Venice 2017 a Uckland Ar Tg Aller
    LISA REIHANA: EMISSARIES LISA NEW ZEALAND AT VENICE 2017 AUCKLAND ART GALLERY TOI O TĀMAKI TOI GALLERY ART VENICE 2017 AUCKLAND NEW ZEALAND AT LISA REIHANA EMISSARIES 1 LISA REIHANA EMISSARIES EMISSARIES.indd 1 8/02/17 10:59 am 2 LISA REIHANA EMISSARIES 3 EMISSARIES.indd 2-3 8/02/17 10:59 am 4 LISA REIHANA EMISSARIES 5 ALASTAIR CARRUTHERS PLATES COMMISSIONER’S FOREWORD 6 PORTRAITS IN PURSUIT OF VENUS [INFECTED] VIDEO STILLS 90 WITI IHIMAERA MIHI 8 VIVIENNE WEBB LES SAUVAGES DE LA MER PACIFIQUE: A DECORATIVE COMPOSITION IN WALLPAPER 116 RHANA DEVENPORT PREFACE 10 ANDREW CLIFFORD UNMUTING HISTORY: A POLYPHONIC TABLEAU 124 RHANA DEVENPORT EMISSARIES: A NEW PACIFIC OF THE PAST FOR TOMORROW 14 KEITH MOORE TEARDROPS, TIME AND MARINERS 130 NIKOS PAPASTERGIADIS ARCADIA AND THE IMAGINED MEMORIES 30 MEGAN TAMATI-QUENNELL ARTIST BIOGRAPHY 134 ANNE SALMOND VOYAGING WORLDS 42 SELECTED EXHIBITIONS AND PUBLICATIONS 136 JENS HOFFMANN REANIMATION 66 CONTRIBUTORS 140 CAST AND CREW 141 BROOK ANDREW & LISA REIHANA IN CONVERSATION 74 ACKNOWLEDGEMENTS 143 EMISSARIES.indd 4-5 8/02/17 10:59 am 6 ALASTAIR CARRUTHERS COMMISSIONER’S FOREWORD LISA REIHANA EMISSARIES 7 Lisa Reihana: Emissaries is the most ambitious project in Lisa Reihana’s Special thanks must also go to the exhibition catalogue contributors: Witi Ihimaera, longstanding digital practice. Much like Captain James Cook’s three epic and world- Rhana Devenport, Anne Salmond, Nikos Papastergiadis, Lisa Reihana, Brook changing Pacific voyages, each iteration of its centrepiece – the video in Pursuit of Andrew, Jens Hoffmann, Vivienne Webb, Keith Moore, Andrew Clifford, and Megan Venus [infected], 2015–17 – became more ambitious in scale, required more resources Tamati-Quennell.
    [Show full text]