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Has files: NoSubject: search.filters.subject.450721 Ngā toi ataata ngā mahi ā-rehe o te Māori (Māori visual arts and crafts)

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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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    Te urunga mai o te tāhuhu kōrero toi o Ruatepupuke : the origins of whakairo based on the historical accounts of Te Tairāwhiti : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand. EMBARGOED to 15th June 2028.
    (Massey University, 2020) Parata-Taiapa, Rongomaitawhiti
    Te urunga mai o te tāhuhu kōrero toi o Ruatepupuke investigates the origins of whakairo based on the historical accounts of Te Tairāwhiti. Essentially, this thesis focuses on Te Tairāwhiti cosmology, geography, and genealogy in order to trace and identify how these particular elements underpin Te Tairāwhiti tribal identity, history, and traditions with a key focus on whakairo. The relevance of whakapapa in this study is central because Te Tairāwhiti whakairo traditions have their origin in atua Māori. For this reason, the methodological approach draws on kaupapa Māori research and principles to demonstrate mātauranga Māori epistemology. The creative component of this study reflects the research of each of the elements and presents them in whakairo rākau (woodcarving) form. Te urunga tū (the artistic piece) is comprised of seven individual parts that are intended to fit together to represent the embodiments of the forementioned elements. The exhibition and analysis reflects my thoughts around choices of exhibition location, art piece title, instalment, and personal and public reflections and engagement. The report concludes by highlighting how this project contributes to a clearer understanding of the philosophical aspects that underpin my art form, as well as acknowledging how historical knowledge lives on and contributes to contemporary art forms.