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    How does–and how could–Te Tiriti o Waitangi inform the perceptions and praxis of the trans-Tasman alliance?
    (Informa UK Limited, trading as Taylor & Francis Group, 2024-09-03) Greener BK
    Te Tiriti o Waitangi is one of the founding documents of Aotearoa New Zealand. It provides for the potential for partnership between Maori and the Crown, though its promise has not been fully realised. When it comes to the trans-Tasman relationship, Te Tiriti emphasises the importance of genuine partnership, of understanding history and the depth of relationships, but it could also have further effects on the alliance with either an increased inclusion of Māori values into New Zealand’s foreign policy or increased autonomy for Māori within a domestic setting.
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    How to draw a self-portrait of Wallace Stevens : how Terrance Hayes uses the figure to confront anxiety and The Museum of Masculine Beauty : a thesis presented in partial fulfilment of the requirements of the degree of Master of Creative Writing in Poetry at Massey University, Manawatu, New Zealand
    (Massey University, 2018) Ingram, Callum Ronald
    This thesis consists of my research into the poetry of Terrance Hayes and poetic manuscript based on my research. In my research “How to Draw a Self-Portrait of Wallace Stevens: How Terrance Hayes Uses the Figure to Confront Anxiety” I argue that Hayes uses the figure in his work as a means of representing, confronting and overcoming his speaker’s anxiety of identity. By analysing the Hayes poems “SHAFRO”, “FOR ROBERT HAYDEN” and “SNOW FOR WALLACE STEVENS” I will show the role of speaker possessor of African, broader American and poetic identities in depicting and confronting anxiety, the role of racial issues in inciting anxiety, and how the figure – a presence in the poem based on an historic, cultural or pop-cultural figure – has been developed from a representation of a particular type of identity to a confrontation of identity anxiety. In my poetic manuscript At the Museum of Masculine Beauty I use the conclusions drawn from my research into Hayes’ use of figure and anxiety and attempt to apply them to my own poetry concerning masculine identity.
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    Negotiating multiplicity : macro, meso and micro influences on the ethnic identifications of New Zealand secondary school students : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Social Anthropology at Massey University, Manawatū Campus, New Zealand
    (Massey University, 2018) Butler, Philippa Jane
    In New Zealand, the number of people who identify with more than one ethnic group is increasing. This is particularly true for adolescents and for those whose identifications include Māori or Pacific Islands ethnic groups. However, there is little understanding of what identifying with multiple ethnicities means for individuals. This research examined the multiple ethnic identities of senior secondary school students (aged between 16 and 18 years), by focusing on how they identified themselves, what decisions formed the bases of their identifications, and what influenced their identifications at three interconnecting levels: the macro (state) level, the meso (institutional) level, and the micro (family and individual) level. A mixed methods research approach was employed, including a nation-wide survey and fieldwork in one South Auckland secondary school. The fieldwork methods were participant-observation, interviews with students who identified with more than one ethnic group, and a photo elicitation exercise. Through these methods, data were collected that gave a broad understanding of multiple ethnic identifications for New Zealand adolescents, and a deep and multifaceted explanation for one group of participants. This research explored the ways that the participants negotiated their multiple ethnic group identifications, despite macro, meso and micro pressures towards singularity. It examined macro-level influences on ethnic group data collection and the ways that ethnic group identifications are shaped and constrained by data categorisation protocols. It looked at the meso-level influences of the research school on students’ ethnic identities. The school focused on cultural identity and provided opportunities for students to participate in cultural activities and speak their languages. It examined the micro level influences of family and individual decision-making around identities, and the way that the participants maintained multiple ethnic group identifications, despite family experiences that might encourage them to focus more strongly on a single identity. This research explored the complex and nuanced ways that ethnic identifications are constructed at each of the three levels, for adolescents who identify with multiple ethnic groups.
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    A study on how a sojourner's identity is affected when not surrounded by family or customary cultural traditions : submitted in part fulfillment of the requirements for the degree of Masters of Arts, in Psychology, Massey University, New Zealand
    (Massey University, 2005) Gardiner, Nicola Maree
    Every voyage can be said to involve a re-siting of boundaries. The traveling self is here both the self that moves physically from one place to another, following "public routes and beaten tracks" within a mapped movement, and the self that embarks on an undetermined journeying practice, having constantly to negotiate between home and abroad, native culture and adopted culture, or more creatively speaking, between a here, a there, and an elsewhere. Trinh Ti Minh-ha, Travelers' Tales, 1994, p.9. I first came to Dubai, in the United Arab Emirates, nearly 14 years ago as an employee of Emirates Airlines. At first, I believed I would complete my three-year contract and return home to New Zealand. Instead, I met my partner, Bruce. I chose to remain in Dubai as we started a life journey together. During this time, I began my University studies, at first part-time and then, leaving my employment, full-time. Along the way, there was a temporary relocation, namely to Singapore for a year, which involved traveling between Dubai (our home), Singapore (Bruce's work apartment) and New Zealand (for university Post Graduate courses). The excitement of this year's constant sojourning and subsequent learning opportunities was short-lived when I was personally devastated by the sudden and severe illness of my mother and her subsequent death, which occurred not long after the loss of my father. After a break from my studies for six months, I now embark upon this project of learning and discovery. Living in the Middle East has, I believe, significantly changed me personally and developmentally, yet, paradoxically, I remain the same. This contradiction can best be explained by the plurality of 'roles' I occupy as a New Zealander living as an expatriate in Dubai. Arguably, any changes are due to the abundance of new and varied multicultural influences upon my identity, predominantly contextually, culturally and interrelationally cued, which were principally welcomed yet at times seemed 'imposed'. My 'sameness' results from the flexibility and stability of my identity or self, and continued interaction with friends and family at 'home' in New Zealand and fellow expatriates residing in Dubai. It is thus inevitable that my words and thoughts, and indeed even my choice of research topic and avenue, are somewhat affected by my own developing identity. [FROM FOREWORD]
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    Dancing from the inside out : using design thinking to explore the intersections of street dance, social media, and self-identity in Aotearoa : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, College of Creative Arts, Wellington, New Zealand
    (Massey University, 2016) Smith, Phoebe J
    Street dance, derived from hip hop dance, is a vehicle for self-expression, connecting with others, understanding purpose, promoting confidence, challenging and improving oneself, and positively impacting participants’ lives (Henderson, 2010). Beyond a form of physical activity, it holds much potential to influence self-identity. Since the advent of YouTube in 2005, social media platforms—particularly YouTube, Facebook, Twitter, and Instagram—have become central to street dance culture’s production and consumption. These networked mediascapes have increased the culture’s visibility, accessibility, participation, and provided a platform to share dance expression, join the international street dance community, as well as access or even create professional opportunities. The way street dance cultural flows circulate through social networking sites recursively shape and inform the culture itself. Dancing from the Inside Out uses design thinking methods to investigate how engagement with street dance culture in networked spaces—where self-identity is performed, actively constructed, and negotiated—might impact an individual’s relationship with street dance. Following empathy research, the project uses the Māori health and wellness model Te Whare Tapa Whā as an analytical framework, and identifies an opportunity to strengthen one’s taha wairua, or spiritual wellbeing, concerning ideas around self-expression and understanding identity. These concepts are at the heart of street dance culture and promote identity development, though risk being overridden by emerging cultural practices that digitally networked spaces have shaped. The project’s design response takes the form of Hikoi (Māori term meaning to step, stride, march)—the initiation of a movement starting in online social networking environments, in pursuit of the heart and soul of street dance. A practice-based design investigation, Hikoi movement builds a narrative across Facebook and Instagram, and using video portraits, blog posts, and still images, that adhere to a manifesto, aims to inform and inspire Aotearoa street dancers about strengthening taha wairua, in the age of social media.
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    Anorexia nervosa stories : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Arts in Psychology at Massey University
    (Massey University, 2005) Gibson, Marion
    The wind, the seas, the storms unpredictability their nature howling, raging, destroying some soul structure hopelessly enveloped within an unknown grip a grip that tenses, strangles. (Diary extract, 1972) These words take me back 35 years ago to my lived experience of anorexia nervosa. It is this history that enabled me to question the relational narratives of anorexia - my own history and that of the women who participated in this research. This thesis is a study of the way women, who were once diagnosed as 'anorexic' story their lives. I wanted to find out what relationships and what cultural knowledges constituted their stories. I believe 'anorexic' stories are the starting point for understanding the meaning given to experiences of anorexia because it is the stories we live by which enable us to make sense of our lives. My study of these stories and their cultural knowledges has been informed by social constructionist and post-structuralist theories. These theories have enabled me to understand that the meanings we ascribe to our identities are mediated through power relations embedded in cultural discourses. Using Brown & Gilligan's (1992) voice-centered relational method for doing psychological research I have listened to three women's stories to understand how meaning was inscribed on their experiences of anorexia nervosa. My analysis of the women's stories focussed on the relational actions and events they experienced whilst growing up. I found it was the dominant relationships the women encountered which gave meaning to their lives and spoke to them of their thin identities. These were very thin identities, framed by our dominant cultural knowledges, and which, for women in our society specify a highly individual and gender specific way of being in the world. The possibilities for re-authoring our thin anorexia stories are also discussed.
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    The art of involvement : a thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Development Studies at Massey University
    (Massey University, 1998) Bryant, Claire
    Levy (1996, 367) says, The art of involvement discovers the current of music. How do we make a symphony rise from the murmur of a multiple? How do we transfer the sound of a crowd into a chorus, without a musical score? The collective intellect continually brings the social contract into play, it keeps the group in a state of renewal. This thesis focuses on the role of the relations of production in building human capital, recognising this as a component of economic development, along with mobilising financial capital and utilising the natural resource base. Although relations of production sometimes destroy human capital, this thesis discusses examples where marginalised groups have used creolisation strategies to resist globalisation and build their human capital - first, Maori seeking to improve their position of equity within the economy and, secondly, women seeking to use the Net on their own terms. The privatising of the economy, and of the Net, symbolises the continued exclusion of marginalised groups from control, or even much influence, within the post-industrial economy of text and image flows now dominating global economics and culture-making. The risk for Maori and women is that the hunger of a global digital entertainment industry (which today includes marketing, movies, games, politics, chat lines and the news) for different and especially new information, even in the midst of what is, for the individual, infinitely abundant information, is that their stories will be absorbed but leave them with no means of exchange. The telling of different, but equally persuasive stories, is characteristic of the use of creolisation strategies that resist global cultural colonisation. In both large and small ways, the Maori and women in the case studies are using involvement in interactive performances to deny the power of the one-way monologue transmitted by elites seeking passivity, isolation and un-resisting consumption. Although we may live in a 'sea of stories' and sometimes the tide seems to bring only other people's stories it is useful to remember the power of the undercurrent to subvert surface intentions. I use hermeneutic methodology to discuss historic examples of interactive performance and, by comparing these with present day case studies, I develop the argument that such performances have always been used to build human capital. As a relation of production, interactive performance is based on mutuality and negotiation and, when people have the opportunity to practise these skills, they also increase their choices to adopt them in their daily life. By providing 'safe' environments, like flags on the beach within the marae and on the Net, interactive performances create a collective playspace that encourages people to practice and explore self determination skills, and remember the presence of the undercurrent.
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    He huarahi ako : pathways to learning : the academic and cultural self-efficiency of Maori student teachers : a thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Maori Studies at Massey University, Palmerston North, New Zealand
    (Massey University, 1997) Goulton, Frances Materoa
    The present study sought to investigate the factors that affect Māori student teachers academic and cultural self-efficacy in a teacher education programme. Identifying these factors is considered important for developing appropriate teacher education programmes to better provide for this increasing population of student teachers. The target sample goup are Māori student teachers who are enrolled in the general teacher education programme at Te Kupenga o te Mātauranga. Underpinning the development of these student teachers lies an expectation that they will provide Māori input in general education schools and programmes, based mainly on the fact that they are Māori. Ensuring that these student teachers are therefore culturally competent to do so is important it success is to be achieved tor themselves personally, for Māori and for New Zealand society. A framework has been developed to assist in examining important Māori concepts in relation to teacher education. The development in Kura Kaupapa Māori teacher education programmes has meant that the pool of more culturally competent Māori student teachers has been absorbed into those programmes. There remains, however, a commitment to Māori student teachers in general teacher education to continue achievement in both Te Ao Māori (the Māori world) and Te Ao Whānaui (the wider world). This study analysed two kinds of data; a survey (of 24 student teachers) and formal interviews (of four of the survey participants). Quantitative analysis were integrated with qualitative data from the interviews. In identifying factors that affect the academic and cultural self-efficacy of these student teachers it became clear that their sense of collective efficacy was highly influential in both contexts. In the academic context however, it was given lesser emphasis than in the cultural context, as work in the academic context in the main required them to work independently. These student teachers were more inclined to work in groups, to support each others learning and to discuss tasks amongst themselves. These factors tended to develop in them a stronger sense of collective efficacy. Student teachers who had come straight from school with formal qualifications (Bursary) generally displayed higher levels of academic self-efficacy. However, many had entered college with other qualifications such as work experience or suitability for teaching and tended to have lower levels of self-efficacy in the academic context. While the majority of these student teachers claimed to be capable learners, most also claimed the need to develop skills and strategies that could help them in both the academic and cultural contexts. Achievement in Te Ao Māori (the Māori world) was for all of these student teachers a key issue. Yet, most expressed quite low levels of self-efficacy in this context. In particular, these low levels of self-efficacy were related to their competency in Te Reo Māori and Tikanga. Having high self-efficacy is said to provide higher levels of effort and perseverance in activities (Bandura, 1986). Despite having generally lower levels of self-efficacy for Te Reo Māori and Tikanga, these student teachers showed persistence and motivation in learning about their own culture. Te Reo Māori. Tikanga and Whānau proved to be key sources in the development of these student teachers' cultural self-efficacy.
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    Cannibals and survivors : narrative strategies in third culture literature : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Creative Writing at Massey University, Manawatu, New Zealand
    (Massey University, 2013) Ehterington, Bonnie Joy
    In this thesis I look at the narrative strategies at work in my own fiction, The Glass House, and also those at work in Yann Martel’s Life of Pi, and examine both in light of the context of third culture literature. Sociologically, the term “third culture” describes those people who are raised outside their passport nations as children, in multiple countries, as expats rather than immigrants. Antje M. Rauwerda takes this term from a sociological context and applies it to a literary one and, in doing so, identifies several key concerns which unite third culture fictions. While Rauwerda focuses specifically on these concerns as representing distinct characteristics in third culture literature that set it apart from other international literatures, my project is focused on how these characteristics manifest themselves through particular narrative strategies in both my own work and that of Martel’s. To conduct my research I look at the construction of third culture narratives from the perspective of both writer and reader. By writing Part 1 of The Glass House, I am able to examine narrative strategies through the writing process itself. Through a critical reading of Martel’s Life of Pi, I am able to unpick the results and effects of these strategies as a reader. In “Cannibals and Survivors,” I argue that by critically examining these strategies, it is possible to see that the freedom to pick and choose the narratives we consume (and how) comes with specific implications for those who have their feet in multiple worlds.
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    Ngā tai-ā-roto : ko wai au? Atu i te urupoumanu ki te urupare ko wai au! : he tuhinga whakapae hei whakaea i nġā whāinga o te tohu paerua i te mātauranga ki Te Kūnenga Ki Pūreuroa, ki Te Kupenga o te Mātauranga, Papaioea, Aotearoa
    (Massey University, 2010) Riwai, Tania Te Aroha
    He mea whai haere tēnei tuhinga whakapae i ngā rerenga o ngā wāhine Māori e toru, i a rātou e whakatere ana i ngā tai-ā-roto, ngā aumiha, ngā auhāro, me ngā tuarangaranga o te moana ki te whai i te ia o te wai, atu i te pātai ko wai au? Ki te whakataukī ko Wai au! Ka āta tuhi tēnei rangahau i ō rātou waha ake i a rātou e ruku ana ki te rētōtanga o Tangaroa e hōpara ana i ngā karekare-ā-roto, i ngā wheako, me ngā tini motuhenga mā rātou, i ngā tini horopaki. Ka āta tirohia ngā rautaki nā rātou anō i kimi, i waihanga, i maumahara rānei hei whakapunga i a rātou i te aro o hākoakoa, o hinapōuri, o hurō, o piere nuku. Kua whakawhenua kē ngā kōrero nei i ngā tirohanga Māori, ā, nā ngā ariā Māori hoki i ārahi haere te whakatewhatewhatanga whāiti nei, nā te reo Māori i whakarāwai. Nā ngā reo rōreka o ngā wāhine nei i whakapuaki ai ngā whiwhinga o te tuakiritanga me ōna tini mata i roto i te ao hurihuri nei. Ngā tini kawenga ā rātou, heoi anō kia whai wāhi ai kia whakakopa katoatia ēnei ki te pū o manawa; koinei kē, ki tā ngā wāhine nei, te tino wero. Kia whai wā ki te noho i roto i te waikanaetanga o Te Kore, ki te āta rongo i te matihere mōna me ōna tini mata. Hei tōna raro, ko te rongo-ā-whare te noho. Ka mātai atu tēnei mahi ki ngā tāngata, ngā taiwhanga, me ngā kaupapa nā rātou i poipoi, nā rātou i wero kia puta ai a Hine-māia, a Hine-wānanga, a Hine-pukenga otirā a Manawa-Hine. Kia tū tangata ai, ki te kii, Ko Wai au! Ko ngā ara i whāia e ngā wāhine, e kitea ana i ngā inoino, ngā pīhere me ngā makaurangi kua tāngia ki te kauae. Ko te nuinga i uru kōkau mai, i tōna otinga, ka puta he kauae-tehe.