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Massey Research Online

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Migration, medicine and colonial legacies: occupational licensing for international medical graduates (IMGs) in Aotearoa New Zealand
(Taylor and Francis Group, 2026-05-19) Thomas-Maude J
This article explores the experiences of international medical graduates (IMGs) in Aotearoa New Zealand, who must undertake the New Zealand Registration Examination (NZREX) pathway to gain medical registration. Drawing on mixed methods research, the paper examines how occupational licensing frameworks can reproduce colonial hierarchies, privileging qualifications and experience from the Global North. Many other IMGs face prolonged underemployment, identity loss and systemic disadvantage. These outcomes reflect broader tensions between migration, development and recognition. The article argues for policy reforms to address brain waste and ensure equitable professional opportunities for migrants in Aotearoa New Zealand and other postcolonial settings.
Introduction: Re-evaluating Evaluation
(Palgrave Macmillan, 2026-05-02) Mullen M; Hazou R; Woodland S; Mullen M; Hazou R; Woodland S
This introductory chapter situates Artful Evaluation within the dynamic landscape of participatory arts, health, and wellbeing in Australia and Aotearoa New Zealand. Arising from the 2023 Precarity, Creative Arts, and Wellbeing Symposium, the chapter foregrounds the need to re-evaluate evaluation itself—challenging dominant social impact paradigms and advocating for methods that reflect the holistic, embodied, and relational nature of arts-based practices. It explores how creative methodologies, Indigenous knowledge systems, and transdisciplinary approaches are reshaping conceptions of value, evidence, and impact. In critiquing standardised, instrumentalist frameworks, the authors call for a move towards more ethical, context-sensitive, and co-designed evaluation practices that reflect the lived experiences of communities. The chapter also introduces ‘artful evaluation’ as an agile, critical, and creative practice that integrates evaluation into the artistic process. This book, therefore, aims to shift evaluative discourse and practice by placing values, equity, and imagination at the centre of participatory arts in health and wellbeing.
Trust the process and those to whom they have been invested : an exhibition report presented as a partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts, Massey University, Palmerston North, New Zealand
(Massey University, 2024) King, Lorraine Marion
Wahine Māori have played instrumental roles as leads with both projects, which is evident in my learning as the practitioner. Wahine Māori artists in this report are highlighted as agents of change and enablers who support and create space for growth and take the lead when needed. This exhibition report navigates the firsthand experiences of two projects that formally catalysed my art practice. The report has no literature review but shares ideologies that support wahine toa to take leadership roles that are perceived as the responsibilities given to the male counterpart. Wahine Māori led both community projects to serve their communities. The projects drew from the customary arts of kowhaiwhai and taniko designs to embellish the new build ‘Te Hononga’ and refurbish an existing whare, the NorthTec whare Te Puna o Te Mātauranga. My current work demonstrates my applied methodologies from the context of working in collaboration with others. Values of manaakitanga, ahurutanga, and whanaungatanga supported the projects. My thesis exhibition celebrates where I am and uses kowhaiwhai design units to create multiple visual narratives. This exhibition report navigates the firsthand experiences of two community projects that provided the catalyst for my art practice into the future. I have extracted shapes from an existing composition. I utilise colour and paint applications to give new relevance to my practice and nurture my continued ideals of working for my communities.
They say : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
(Massey University, 2026) Scully, Samuel
They Say is a response to the often-homogenised rhythms of life that are experienced by those who are raised in small town or rural Aotearoa. Self-reflexive in its methodology They Say utilises photography to mediate the discourse between the external and my own internal abstractions of the world, concerning itself with lyrical forms of storytelling and adapting techniques from the literary genre of magical realism, They Say navigates the line between documentary truth and narrative fiction. The visual research conducted throughout this study aims to identify how photography can be used as a tool to subvert the construction of mythologies pertaining to the development of young men in rural Aotearoa. I have developed a methodology that explores how portraiture, constructed collaboration and exploratory imagery, can begin to weave new narratives from the threads bared by those photographed. Birthed from the traditions of documentary photography, They Say dismembers itself from the quest for objective truth, and instead visually adopts a “documentary style” approach that is concerned with literary modes of working such as narrative development. They Say melds influences such as magical realism, rural gothic, and the epic banal. Through its meditation on these themes, They Say becomes a layered and complex narrative, that through its ambiguity and extraordinary sensationalisation of everyday life in rural New Zealand disturbs the understanding of what it means to be a product of rural Aotearoa.
Marino te hau = calm the wind : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University Te Kunenga ki Pūrehuroa, Wellington, Aotearoa, New Zealand
(Massey University, 2026) von Bassewitz, Noa Noa
This exegesis examines an interdisciplinary art practice grounded in auto-archaeology—a methodology of embodied excavation that merges personal narrative, myth, and material process. Through large scale air-inflated sculptural forms made from parachutes and other repurposed materials, the project is an adaptation of printmaking beyond the frame and into atmospheric space, where air and breath become medium and metaphor. Engaging mythic figures such as Papatūānuku, Hine-nui-te-pō, and Persephone as internal archetypes, the work explores transformation, ageing, and the maternal body as sources of creative and political power. The project is a performative act, a show without actors retelling a heroine’s journey through a birth/death/rebirth cycle that is charted by the southern hemisphere seasons. It proposes an ethic of gigantic softness—making as resistance, care as method—and situates the Crone as both feminist symbol and regenerative force.