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    Whanaketanga/Evolution : exhibition report for Masters of Māori Visual Arts at Massey University, Palmerston North, New Zealand
    (Massey University, 2017) Morgan, Tracey
    "Whanaketanga | Evolution, focused on technical construction and application using various materials. As art evolves, we find new ways to express concept, thought and imagination. This Exhibition Report is aimed at maintaining customary concepts and techniques using new materials, not customarily associated with Māori weaving such as cane, chain, screen mesh, perspex and plastic. Whilst the customary use of Māori woven taonga serves a utilitarian purpose, the challenge was to show new ways of thinking aimed at creating new forms of art not necessarily seen before. This biography of a decade of practice as a weaver begins with works completed over the past two years, submitted and exhibited as part of the Master of Māori Visual Arts journey. The exhibition is supplemented by previous works to demonstrate a personal evolution into new works employing non-customary materials."--Foreword
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    Whāriki : beyond simple : an exhibition report presented as partial fulfilment of the requirements for the degree of Masters of Māori Visual Arts, Massey University, Palmerston North, New Zealand
    (Massey University, 2016) Henare, Te Hemo Ata
    This thesis/exhibition report is an explication of the significance and relationship of Kai rāranga, rāranga whāriki and their relationship with whānau, hapū and iwi. It explores the impetus behind and relationships important in, and to the production of whāriki. Through the exploration of these relationships the necessity for whāriki wānanga throughout Aotearoa and having wānanga as the preferred medium of imparting knowledge pertaining to rāranga whāriki and for continuity in the production of whāriki is emphasised. It touches on the Māori convention of tono that facilitates interaction between the Kai rārangaresearcher and the Kai tono-researched negating the sometimes invasive convention of ethics approval and formalised contractual obligations. It follows the pathway of author and Kai rāranga, Te Hemo Ata Henare’s, coming to be of her mahi whāriki practice. It is an intimate account that extends from function and technique to foundational connectivity to the wider roopu whāriki and those who have preceded us with templates of excellence that recognise the importance of the whakapapa of Māori whakaaro, our epochs and eons of transcendent time and the interconnectedness of all things in and through these patterned processes (Jackson, 2013; Marsden, 2003; Tamanui, 2013). As Karani Sonny Pāpuni said; “…you take this whāriki home with you and then a piece of us will always be with your whānau” (Mate ki Tātahi [Sonny] Pāpuni, personal communication, May 17 1991). A clear objective emerging out of this research exercise was to produce a body of work in the form of an exhibition of whāriki and to produce a pictorial and written explication of the process and praxis of whāriki wānanga. However, through the research process, I was returned; i hoki atu ki te timatatanga ō oku mahi, so I could come to know and be. The theme that emerges through rāranga whāriki is the inseparability and the multiplicity of whakapapa and/or whanaungatanga that the Kai rāranga embodies essential for the continuation of the praxis of rāranga whāriki that can only be described as extraordinarily ‘Beyond Simple’.