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Item Knowing, belonging & becoming-with the Ōruawharo : an ethnography of a river : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Social Anthropology at Massey University, Albany Campus, Aotearoa, New Zealand(Massey University, 2025-11-17) Joensen, ClareThis thesis is situated in the northwest of Te Ika-a-Māui, the North Island of Aotearoa New Zealand along the Ōruawharo river, a salty tidal tributary of the Kaipara Harbour. For over a hundred and fifty years, the Ōruawharo and surrounding district have been storied by a dominant ‘settler’ narrative which maps onto place, as names, text, histories, monuments and civic apparatus. However, this is not the only story of the Ōruawharo. There are multiple stories, multiple ways of knowing the river; knowings which produce different belongings. As such belonging to a place is always a process of becoming, and this becoming is produced relationally, as a series of “withs”, with both humans and non-humans. These becoming-withs produce embodied ways of knowing which in turn, remake place when given the opportunity to be known by others. This thesis aims to bring to light the unknown, hidden and subordinated Ōruawharo knowledges in order to reveal multiplicities and develop new ways of thinking about place. This is Pākehā research done inbetween Māori and Pākehā worlds in a Māori-Pākehā place; a form of research which comes with its own set of troubles. As it is a Pākehā imperative to decolonise (Shaw 2021b), I stay with the trouble (Haraway 2016), and through a level of discomfort, produce small decolonising acts in written text, public speaking roles and through the curation of an exhibit. Decolonising actions, spurred on by this thesis, have then led to others as people come to know more, including that which cannot be unknown. Drawing on knowledges generated with boats (boat ethnography), people (interviews and casual conversations), texts (archives, books, texts, journals, letters and documents), the curation of an exhibit and a wide range of encounters in my community, I debunk knowing place as a singularity and demonstrate the value of knowing place differently through these methods. Ultimately, this ethnography of a river offers a multiplicity of knowings-with and in doing so, shifts human-centric and settler-centric narratives with tendencies to dominate. With dynamism, knowing, becoming and belonging are shown as relational, embodied, in amongst the withs, ever in motion, shaping lives and reshaping place, place as seen, imagined, felt, understood, experienced and remade.Item On LIFE within the Society-of-Captives : exploring the pains of imprisonment for real : a thesis presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Psychology at Massey University, Manawatū, New Zealand(Massey University, 2024-12-12) Luff, Daniel JohnInstitutional and social discourse upholds the prison as an effective rehabilitative solution to crime, but more recently there has been increasing criticism of the prison as a producer of harm rather than healing. Despite such criticism, discussions of the rehabilitative potentials of prisons predominantly exclude and silence insider, incarcerate voices in criminal justice debates and literature, and often do not describe what those ‘inside’, like me, are living and experiencing. The primary aim of this project is to theorise twenty years of lived experience of incarceration in the hope of contributing to the work being done to problematise risk-averse, harmful correctional practices. Through a deeply reflexive autoethnographic performance, the reader comes with me beyond prison walls, into the largely closed off, inaccessible world within. Through navigation of my lived experience of imprisonment, I reflexively theorise memories of incarceration that are usually only speculated upon through objective, exclusionary research. The account that emerges from theorising incarceration ‘for real’ analyses the constraints of political narratives and risk averse policy and practice produced within our prison system, and within the bodies that system contains. Through an interweave of autoethnographic field noting, performance and analysis, the research unpacks the connections between the structural, socio-political issues, and the pains of incarceration. Using Arrigo’s Society of Captives (SOC) thesis, the harms being produced are theorised with regard to subjectivities constituted through prison – the prisoner, their guard, and society at large. Theoretical storying shows how socio-political issues are having considerably detrimental impacts on correctional policy and practice. Prisoners are neither seen nor heard, and their keepers too are held captive, unable to engage with their charges ethically lest they be reprimanded for doing corrections differently. Through this multi-layered harm, a society of captives is being perpetuated within which the very harm and risk it proclaims to alleviate is reproduced. Embedded in a pursuit of social justice, I argue for a relational, ethical praxis wherein people are seen, and heard, for real. The change is not only theorised but rare instances of it, and the healing power it produces, demonstrated. Through autoethnography’s theoretical praxis, and embracing of the SOC thesis’ pursuit of becoming, my research also involves considerable personal movement. It illustrates how, through the utilisation of autoethnographic methodology, in particular reflexive process, it becomes possible to ethically resist harmful representations and risk-focused correctional practices. In making these movements the research brings us out of prison, and provides in-depth consideration of my bodily attempts to reintegrate into the community after two decades of largely harmful carceral experiences. In these, the narrative contributes to a growing consciousness, global debate, and movement regarding prison, rehabilitation, and how community safety is best served. And it contributes to a process of becoming within me, a bodily movement, a transition into a place where humanness can be done differently…Item Resistance, healing and empowerment through autobiographical therapeutic performance–– 愛，媽媽 (Love, Mum) : a solo matrilineal memoir and autoethnographic inquiry on Chinese womanhood and ‘The good woman’ ideal : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing at Massey University, New Zealand. EMBARGOED until 30 July 2027.(Massey University, 2024) Lam, Cynthia Hiu YingMy research is an autoethnographic inquiry that employs creative and critical methodologies to examine the question: How does the process of writing and performing one’s life experiences and trauma act as a form of resistance to the dominant ‘good woman’ narrative, leading to personal healing, empowerment and transformation? Through the creation of my one-woman show, 愛，媽媽 (Love, Mum), a matrilineal memoir about three generations of Chinese women, I investigate how the creative process involving the writing, rehearsing and performance of my play can become a form of resistance and counter-storying against the dominant ‘good woman’ narrative, leading to personal healing and empowerment. I begin by discussing the historical context of the virtuous Chinese woman, and present research by scholars who demonstrate that depression in women contains a gendered lens, resulting from the socio-cultural pressures of living up to the ‘good woman’ ideal. My analysis uses the methodological framework of autobiographical/autoethnographic therapeutic performance (ATP). This is a method that focuses on the working through of personal traumatic material through writing and performance. My research utilises a transdisciplinary praxis, combining both arts-based and psychoanalytic theories and practice related to trauma recovery and the healing processes of ATP. My investigation is autoethnographic and deeply personal as my own life experience and creative process is used to answer my research question, as well as shining a light on the socio-cultural structures we live in. Employing a mixture of creative practice, personal reflection, theoretical examination, and a close reading of my play script and performance, I demonstrate how the creative process I went through has led to a form of personal healing and transformation, with the potential to impact and engage with the wider community.Item Unpacking ethnology within contemporary paradigms (the practice of packaging, transfer, and delivery) : a thesis presented in partial fulfilment for the degree of Doctor of Philosophy in Creative Arts at Massey University, Palmerston North, New Zealand(Massey University, 2023) Henare-Findlay, FraserThis thesis examines multi-layered notions of Māori identity and descriptions of Māori contextualised against a personal artistic response to being Māori. The art of packaging, transfer, and delivery is presented as an artistic embodiment of Māori identity, illustrating how popular beliefs shape not only the construction of identity but also influence cultural institutions and affiliations. Examples of Māori identity are discussed throughout the study to illustrate how artists and established practices embracing Māori concepts advance Māori identity. The packaged artworks explore the theme of identity by weaving together narratives and concepts that draw attention to the displaced and disconnected perspective of what it means to be Māori. They also shed light on the subjugation and stereotyping of Māori culture and identity. This sense of displacement is intricately linked to the process of postage, delivery, and receipt. Ethnology, which is essentially the comparative study of ethnicity to understand the characteristics of different peoples (races) and the differences and relationships between them, is featured in the thesis title and in the packaged artwork that constitutes the practical component of the thesis. However, it is not extensively discussed within the thesis itself. This is not due to its lack of importance as a field of study but rather because the packaged artworks primarily feature various characters who have been either created for the screen or have developed personas within the music industry. Most of these characters are 'constructed' identities, meaning they have been shaped to adopt the attitudes of the screenwriter. These diverse characters have played a significant role in shaping my own identity and have contributed to who I am today. In this study, a comprehensive examination of Māori identity, art, and the prevalent impacts of stereotyping and discrimination will be conducted through a diverse range of methodological approaches. These multifaceted methods will not only inform the creative and theoretical dimensions of the artwork but also highlight the relationship between Māori identity and the researcher. Key methodologies, such as Kaupapa Māori research and Autoethnography, will be applied, with a particular focus on incorporating personal experiences and reflections into the research process, inspiring and clarifying the intended significance of the artwork.
