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Start date: 2020Subject: search.filters.subject.450721 Ngā toi ataata ngā mahi ā-rehe o te Māori (Māori visual arts and crafts)

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    Te papa noho-a-kupe : whakatere nga ripa tauarai : a thesis presented in partial fulfilment of the requirements for a Masters of Design at Massey University, Wellington, New Zealand
    (Massey University, 2025) Dunstall, Samuel
    Mātakitaki-a-Kupe, the southernmost tip of Te Ika-a-Māui is a physical convergence point of our atua Māori, the raw forces, thresholds and interface between their domains. The forest of Tāne bloom amongst the secluded valleys of Aorangi, his korowai for Papatūānuku. The oceans of Tangaroa crest high bringing life and death, and the waters of Parawhenuamea swirl and carve the land, toward the undercurrents of Hinemoana and acidify at the threshold. This wāhi tapu is a thin landing between maunga, moana, awa and ngāhere that amplifies the intensity of these collisions. Ngā Rā-a-Kupe tower over you and cascade down into the depths to join the giant wheke that led Kupe to Aotearoa. The many locations that bear the name of the great navigator Kupe represent the voyaging spirit of our ancestors, reminding us of where we come from, our connections across moana and the direction of our future - kia whakatōmuri te haere whakamua. The Ngā Rā-a-Kupe kaupapa, set out by Ngāti Hinewaka hapū of Ngāti Kahungunu ki Wairarapa provides the anchor stone for this rangahau Māori that connects ancestral knowledge, mātauranga Māori and re-emerging technologies to inform kaupapa Māori design. Centering the practices of tohunga hanga whare aims to ground this pātaka whakairinga kōrero in a shared whakapapa with the materials and narratives, understood through indigenous methods of wānanga, hīkoi, kōrero tuku iho, pūrākau, and whakatauki. The practice of the tohunga retains the sanctity of the whare and allows us to revitalise traditional knowledge through contemporary structures, ensuring that this practice retains and upholds the tikanga and kawa of the built form in te ao Māori. Painting the links between the whare and the waka draws into sight the voyage we are embarking on into the future, attuned to the knowledge of our ancestors.
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    Hōmai ō taringa kia ngaua e au : give me your ears so I may chew on them : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2024) Millar, Aroha Rose Matchitt
    This exhibition report navigates the connection to tīpuna through the customary practice of skinning manu. Skinning and pelting manu is a mana enhancing process that connects me to mātauranga held in my whakapapa. I follow in Tāne’s footsteps in search of ngā kete o te wānanga. Te Kete Aronui, Te Kete Tuauri, and Te Kete Tuatea. The knowledge inside these kete, the knowledge of the skinning process, is told through taonga tuku iho. Each taonga depicts a step in the process, and when worn, is able to communicate that process to the wearers. They speak, in the voices of aunties, nannies, and tīpuna. Connecting me through time, space, and death to my nan, who did this process before me.
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    Whare Ngaro : Ko au te whare ngaro, a broken whakapapa, a lost house : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters in Māori Visual Art, Massey University, Palmerston North, New Zealand
    (Massey University, 2024) Zimmerman, Ashleigh Elizabeth
    This exegesis contextualises the exhibition Whare Ngaro. It addresses the grief, mamae, and whakama of infertility through a wahine Māori lens. The research, methodology and practice that produced the exhibition are woven throughout this thesis. The works of a selection of contemporary indigenous photographers are referenced because they recontextualise the camera within a Māori framework to express notions of whakapapa. Other contemporary trans-disciplinary artists using whenua are linked to my use of kōkōwai to reference Papatūānuku. Both conceptual and technical links are established between the concept of conception, Māori creation narratives, and photographic processes. Whare Ngaro explores multiple visual tohu to communicate the human experience of being trapped in a perpetual state of Te Kore. Curatorial considerations and decisions are explained through the development process in relation to the Geoff Wilson Gallery at Whangārei. The impact of this exhibition and kaupapa is then reviewed through shared kōrero and pūrakau.
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    Mana māna : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2024) Ireland, Kim Marie
    This exhibition report, Mana Māna, reflects a four-year journey of artistic exploration and research into uku as a medium for understanding both my identity and my transgender tama. We take a deep dive into the rangahau of mana wāhine theory to understand the oppression of wāhine and our cosmogony. The overlap of takatāpui and Māori rainbow within mana wāhine provides a solid foundation for why it is the platform for fighting discrimination. Pūrākau, as a methodology is rationalised for its capacity to embed cultural codes, transmit mātauranga, and is utilised as a wellbeing approach by Māori clinicians. Takatāpui participant, Hariata Wilson, recalls their story of healing through the experience of mana atua wānanga. Woven throughout the report are Papatūānuku, Hineahuone, Hinehauone, Hinetītama, Hinenuitepō and Hinepūtehue. Each appearance is a reminder of their significance to this kaupapa. Thinking is sculpted and marked into the uku, with the guidance of three toi māori practitioners, Reuban Paterson, Colleen Waata Urlich and Paerau Corneal. Key challenges and aha! moments are disclosed as turning points in both the making of the hue and the installation; Māori Marsden’s philosophy moves the space into Te Pō. Finally, as this journey comes to an end, I look to me and my son, and I perceive an arrival.
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    Te wā o naianei : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters in Māori Visual Arts, Massey University, Palmerston North, New Zealand
    (Massey University, 2024) Munn, Justine
    The exhibition report begins with a brief historical focus upon the representation of Māori in paintings by late 18th-century european artists. It examines two artists that utilised classical techniques in their portrayals of tūpuna Māori, whilst one artist paints a dramatic image in romanticism. In addition, I include my own connection to a tupuna through classical portraiture. The literature review highlights contemporary wāhine Māori painters who have implemented painting techniques in portraiture and figurative art within the paradigm of customary Māori visual storytelling, moving beyond colonial documentation. These modern works engage with themes such as kōrero, pūrakau, atua Māori, Rangatahi and the impact of the urban shift moving from their ancestral tūrangawaewae, and whānaungātanga. In further their art contextualises the social and political issues of Māori history and contemporary challenges from colonisation in Aotearoa. The report then leads into the discussion of the methodology for the main body of work, concentrating on how whānaungātanga and whānau are expressed through portraiture and figurative imagery. My works pay tribute to my parents, impacted by the rural migration for work and training, whilst maintaining their turangawaewae. Furthermore, the exhibition aligns with the kaupapa Māori research principles and the strategic commitment to upholding the principles of Te Tiriti o Waitangi, of Nga Toi Māori, Taonga Gallery and Studios gallery, Okorere.
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    Tōku whare tukutuku : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts, College of Creative Arts at Massey University, Palmerston North, New Zealand. EMBARGOED until 27th May 2027.
    (Massey University, 2023) Stokes, Te Arahi
    He whare tangata ora rānei, he whare tangata mate rānei? These questions must plague the minds of wahine who battle with infertility and miscarriage which has been my struggle over a period of 19 years with trying to conceive a pēpi. Since the birth of my pōtiki Te Aumangea in February 2023, I have had time to reflect on the physical and mental challenges and share my personal journey in this exegesis and my final thesis exhibition. My methodology utilises the framework of the whare such as whare rūnanga, whare ora, whare mate and whare tangata to support my kaupapa. The ‘whare frameworks’ allow me to embed and document the various stages of my journey with In Vitro Fertility (IVF). My final thesis exhibition, Tōku whare tukutuku, dissects and deconstructs customary tukutuku patterns to recreate patterns that aim to communicate the emotional whakapaparanga of my journey.
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    Kua rangitamiro mai nei : we have assembled here : Masters of Māori Visual Art, Te Kunenga ki Pūrehuroa Massey University
    (Massey University, 2023) Konia, Brook Frederick Charles
    “Wehea te muka, kua whati te taura, whiria kia mau, kia ū he taura mau waka.” Ko te aukaha hei here i ngā waka, te pūtake o tēnei mahi toi. Tēnei aukaha e here ana i ngā rākau ki te taura me te puru. I konei ka miro i te muka tī kōuka hei taura whiri. Kua purua te kōhao ki te puru rākau, he puru tāwhao, he puru mānuka. Ko ngā tārai he rākau e whai pānga ana ki taku ngākau, he paketai, he kōporo, he paraki mira anō hoki, hei tohu i te mana whakapapa, i te whanaungatanga, me te manaakitanga. Ko tā te paepae tāutuutu, he hiki i te tapu, he tuitui i te tāngata kia piri, kia kotahi. “Wehea te muka, kua whati te taura, whiria kia mau, kia ū he taura mau waka.” "Separated fibres may break, yet when bound tightly together, they can meet any challenge." 'Kua Rangitāmiro Mai Nei' delves into the wood-joinery technique of aukaha (lashing) used in waka construction. I have explored aukaha through the tī kōuka (cabbage tree/cordyline australis), collecting and processing the rau (leaves) to create taura (ropes), revealing the function and design. Exploring aukaha and lashing together, found and collected rākau that carry personal connection of whakapapa, whakawhanaungatanga and manaakitanga - creating puru plugs and block-shaped components from these rākau. 'Kua Rangitāmiro Mai Nei' shares mātauranga of the strength in assembling and working together. In the metaphoric language of whaikōrero and mihimihi emboldened at the paepae, kupu whakarite is masterfully spoken, words used that allegorically reflect inherent qualities seen in nature that appropriately share the roles and responsibilities tāngata have to a place. In presenting two seats facing each other to conceptualise the paepae and words spoken there, this body of work considers the potential of joining and working together.
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    Ngā pari tai rua : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2024) Clamp, Shannon Te Rangihaeata
    This exhibition report traces the progression of my two-year exploration in the Master of Māori Visual Arts program and frames its impact on the development of my painting practice. It navigates the history of Māori visual culture, and discusses the effect of European contact and colonisation on indigenous art practices. The exploration encompasses customary carvings, the history of painting in Aotearoa and the transmigration of Māori visual concepts. Within this context, contemporary Māori Artists exploring customary visual culture and figurative painting from the nineteenth century, are referenced. Their work is then contextualised against my own practice from 2022 and 2023, providing an understanding of both continuity and transformation of Māori visual arts. The culmination of this exploration is embodied in my latest body of work, the thesis exhibition Ngā Pari Tai Rua. This exhibition invites viewers to engage with a visual representation of the ao Māori, navigating through stories of kaitiaki, tūpuna and the enduring mana of pūrākau.
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    Hei whare onerua : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters in Māori Visual Arts at Massey University, Te Papaioea, Aotearoa
    (Massey University, 2024) Bentley, Java
    Hei whare onerua speaks to compost in relation to the cyclic nature of all things within a whare onerua context. Onerua relates to hangarua, as the second life of soil or oneone. Firstly, this exegesis investigates mana wāhine through the relationship between tangata and Papatūānuku. Secondly, pūrakau and the innovation of ringatoi Māori present new ways of approaching kaitiakitanga in relation to Te Taiao. Therefore, presenting whakapapa and the provenance of all materials is crucial in demonstrating the reciprocal cycle of giving and receiving. By developing the relationship between people and the land, the connection to the whenua is central in sustaining a sense of belonging. Onerua does not exist in isolation but binds tangata whenua and thus a shared sense of belonging to the land and one another. The making of compost is inherently collaborative. This kaupapa was the preparation of onerua as a site-specific project to the Cubeside Annex thus providing a kāinga rua for creatives studying Māori Visual Arts based at Te Pūtahi-a-Toi in Te Papaioea. From the framework of reciprocity, this kaupapa honours the creatives who have paved the way for future generations and as a gift, the onerua represents the return of new mauri back to the Cubeside Annex.
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    Taa e kōrero ana : marks that speak : an exhibition report presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2023) Edwards-Buerger, Vanessa
    This exhibition report is in support of the exhibition Taa e kōrero ana - Marks that speak held at Edith Gallery, Whanganui 30th September - 14th October 2023. It outlines the research that underpins the exhibition and personally peels back the layers of colonisation within my upbringing and print practice as a colonised Māori printmaker. I have a 20 year career as a printmaker and am a founding member of Toi Whakaata - Māori print collective established in Whanganui in 2006. Over that time we have continuously discussed what is Māori printmaking? How can we ground our print practice within a Māori framework in an authentic way that maintains the integrity of both the print process and Māori world view. Nearly 20 years later this research contributes to that discussion by looking carefully at the introduction of the printing press albeit a letter press, and finally outlining aspects of a Māori approach to printmaking as developed over time. Formally, this is a historical account of the introduction of the printing press to Aotearoa in the early 1800's and the implications within Māori culture. Introduced by the missionaries I critically discuss the need for, and the creation of a written Māori language to evangelise and civilise the Māori people. The introduction of literacy and text into Aotearoa had some expected and unexpected outcomes that are discussed further. The reclamation of text as visual culture is explored through artists' models and a brief reflection on previous bodies of work made within my career since graduating with a Bachelor of Fine Arts in 2002. This is followed by an in depth analysis of Social Amnesia, my first year MMVA exhibition in 2019 and finally Taa e kōrero ana - Marks that speak, 2023. The research and exhibition sheds light on the dual worlds I have had to navigate as a Catholic Māori woman and reflects on the effects of colonisation through religion, education and media. This work is a purposeful step towards decolonising myself through my print practice and I hope it will be able to assist others in doing the same.