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    Te Kura i Huna : te whakahāngai i ngā pūrākau hei wheako akoranga tino whai hua i ngā kura kaupapa Māori : He tuhinga rangahau hei whakatutuki i ngā tikanga o Te Tohu Kairangi i te Kunenga ki Pūrehuroa, Papaioea, Aotearoa
    (Massey University, 2023) Moeahu, Alishia Rangiwhakawaitau
    Ka whai mana tonu ngā mahi pūrākau i te mātauranga Māori, i te mea kei te pupuri ēnei kōrero i ngā taonga tuku iho ā wō tātau tūpuna. Ka taea hoki ngā pūrākau te whakarato i ngā pūmanawa ako i roto i te akomanga. Nā reira ko te kaupapa matua o tēnei rangahau, ko te tūhura ki te whakahāngai i te pūrākau, i te pakiwaitara, i te kōrero tuku iho hoki, hei wheako akoranga tino whai hua i roto i ngā kura kaupapa Māori. I whakahāngaitia anō tētahi huarahi rangahau, tikanga Māori, mā te whakamahi i tētahi anga o ‘Ngā Tai o Whakaaro’ me ngā mātāpono o Te Aho Matua, hei wetewete i ngā raraunga, me te whakaatu i ngā uara e huna ana i ngā pūrākau. I whakamahia te tātaringa kaupapa (thematic analysis) i ngā tikanga arohaehae me ngā kaupapa pūputu i ngā raraunga (Braun & Clarke, 2006). I whakamaheretia te rangahau nei, ki ngā pātai, mai roto i ngā uiuinga, ki te tirotiro ki te whakamahinga o ngā pūrākau, ki roto i ngā mahi whakaako o ngā kaiako e waru, i roto i ngā kura kaupapa Māori. Ko te pātai matua: He nui ngā hua i puta mai i ngā kitenga i ngā kaupapa maha, me te hononga anō o ngā kaupapa ki ngā mātāpono o Te Aho Matua. Ka tirotiro e te rangahau nei ēnei tino hua. Ko te whakamahinga o te pūrākau, he whai mana ki te whakatinana i te mātauranga Māori, kua mau ki roto i ngā pūrākau. E whai hua ana te whakamahi pūrākau hei whakaakoranga i ngā wheako ako. Kua kitea te angitū me te orangatonutanga o te mātauranga i roto i ngā kura kaupapa Māori nā te whakamahi pūrākau. Kua kitea hoki te whakaritenga anō o te pūrākau, kia torotoro i te kaha o te ako, hei tautoko i ngā mahi ako mō te roanga o te wā. Ko te whanaketanga ahurea anō hoki tētahi āhuatanga kua kitea.
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    Once upon a time in the land of five rivers : a comparative analysis of translated Punjabi folk tale editions, from Flora Annie Steel's colonial collection to Shafi Aqeel's post-partition collection and beyond : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature, Massey University, Manawatu Campus, New Zealand
    (Massey University, 2019) Fatima, Noor
    This thesis offers a critical analysis of two different collections of Punjabi folk tales which were collected at different moments in Punjab’s history: Tales of the Punjab (1894), collected by Flora Annie Steel and, Popular Folk Tales of the Punjab (2008) collected by Shafi Aqeel and translated from Urdu into English by Ahmad Bashir. The study claims that the changes evident in collections of Punjabi folk tales published in the last hundred years reveal the different social, political and ideological assumptions of the collectors, translators and the audiences for whom they were disseminated. Each of these collections have one prior edition that differs in important ways from the later one. Steel’s edition was first published during the late-colonial era in India as Wide-awake Stories in 1884 and consisted of tales that she translated from Punjabi into English. Aqeel’s first edition was collected shortly after the partition of India and Pakistan, as Punjabi Lok Kahaniyan in 1963 and consisted of tales he translated from Punjabi into Urdu. Taking as my starting point the extensive (often feminist) scholarship on the ideological functions of folk lore and tale-telling, I explore the assumptions affirmed or challenged in these collections. My particular focus is on the differences between Steel’s late nineteenth-century, female-edited, Western/colonial Indian collection and Aqeel’s post-partition, ‘native,’ male-edited, Islam-inflected Pakistani collection, keeping in mind the collectors’ sociohistorical and political backgrounds along with differences in their implied audiences. The first chapter considers the history of and motivations for folklore collection in nineteenth-century British India and the colonial folklorists who were involved in this activity, especially in the Punjab. The second chapter offers a discussion of Flora Annie Steel’s biographical background and her various writings in order to suggest how her position as a (ostensibly) feminist colonial Memsahib, along with the editorial supervision of Richard C. Temple, may have influenced her collection and translation of Punjabi tales. The chapter also discusses how, at the time, female collectors like Steel relied on the authority of men to secure the validity of their work, needing a male scholarly stamp of approval. The third chapter discusses the life and works of Shafi Aqeel and the differences between the two editions of the collection (one published in Urdu in 1963, the other in English almost fifty years later in 2008). My own translation of the Urdu version illuminates the extent to which the English translator of Popular Folk Tales of the Punjab, Ahmad Bashir, added yet another level of appropriation to what were originally oral tales from the Punjabi region. Chapter Four provides a comparative analysis of selected tales from each collection focusing on the differences evident between similar tales that appear in each collection and discusses the reasons behind the changes introduced. Building on this, my concluding chapter, makes claims about what is distinctive about each version of the tale and collection, and offers possible reasons for their differences. As a supplement to the thesis I have included my own translations of selected tales from Aqeel’s Urdu edition as an Appendix, along with a note detailing the principles followed in the preparation of these translations. I have also appended two scanned versions of one tale from Aqeel’s Urdu edition and its English version, my own translation of which is already in the appendix. Through the analysis of the historical, social, political, and authorial background of the collections, and the analysis of the prefaces and notes to these, my study concludes that each collector (and/or translator) has imposed their own particular set of assumptions and values on the tales they have chosen to collect. The differences I observe between the collections and editions are often subtle but sometimes startling. These differences, I argue, can be attributed to the historical moment in which they were collected/published, and the ideological/political persuasion of the collectors and their anticipation of readers’ expectations. Differences between the editions not only prove revealing about the workings of folktales but also about how the collection of these might reflect cultural and social shifts and understandings, particularly in the Punjab region of Pakistan.
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    Niho taniwha : communicating tsunami risk : a site-specific case study for Tūranganui-a-Kiwa; an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Design at Massey University, Wellington, New Zealand
    (Massey University, 2018) Repia, Harmony
    For some people living in Tūranganui-a-Kiwa, tsunami are recognised as a natural hazard that could threaten the entire East Cape region at any time. However for most, an ethnographic study of local residents reveals high levels of complacency within the Gisborne urban community when it comes to being aware and prepared for tsunami risk. A recent study by Dhellemmes, Leonard & Johnston (2016) was conducted along the East Coast of the North Island of Aotearoa to explore the changes of tsunami awareness and preparedness between 2003–2015. Results from this study revealed coastal communities including Tūranga had low levels of tsunami awareness and high expectations of receiving a formal warning before evacuation (Dhellemmes, et al. 2016). As a result Geological and Nuclear Sciences (GNS) with the Joint Centre for Disaster Research (JCDR) have identified that the population needs to respond with urgency to natural warning signs (one being an earthquake) rather than assuming an official warning will come through formal Civil Defence channels. There is also a need to raise tsunami awareness by understanding what influences tsunami preparedness in communities. The tangata whenua of Tūranganui-a-Kiwa hold various bodies of knowledge that can contribute to our society and future risk management. Māori oral traditions are often mapped to the whenua and anchored in our genealogies, which King, Goff & Skipper (2007) explains enables the transfer of knowledge down through the generations. The method of acknowledging the contextual location of Tūranga is crucial in understanding the community’s need to raise tsunami awareness for their own iwi, hapū and whanau. This process proposes that by allowing the community to share responsibility for their response to an unfolding crisis, it opens up new opportunities to raise awareness. This design-led research explores how Human-Centred-Design (HCD) methodology underpinned by Mātauranga Māori principles can contribute new ways of designing novel tsunami communications for Tūranganui-a-Kiwa. This project intends to create a site-specific work based on an extensive community-based design.
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    Te kākahu whakataratara o Ngāi Tūhoe : a thesis submitted in partial fulfillment of the requirements for the degree of Doctorate in Māori Studies, Te Kunenga ki Pūrehuroa, Massey University
    (Massey University, 2015) McFarland, Agnes Jean
    He maha nga putake mo taku ara rangahau. He titiro ki te ahua o te whakatakoto i te reo o Ngai Tuhoe me ona tikanga hangai pu ana ki te kawa o Ngai Tuhoe. E wha nga momo reo e ata tirohia ana, ara, ko te reo okawa, ko te reo okarakia, ko te reo opaki me te reo oao e tuhia ake ana i roto i nga rerenga korero. Ma weneki kupu, ma enei whakatakotoranga o te whakaaro mo te whakapuaki korero mo te kaupapa ‘Te Kakahu Whakataratara o Ngai Tuhoe’ hai whakaatu i te rangatiratanga, te umu whakapokopoko o weneki momo korero hangai ki weneki ra ki teneki ao hurihuri ma nga whakatipuranga o Ngai Tuhoe. He whakatipu i te reo, he whakaora i te reo, he whakapakari i te hapu, i te iwi e whai ana i nga ahuatanga o te reo ki nga taumata o te hunga kaikapukapu i te reo rangatira. He painga whakaataata, he huapai whakaatu kai roto i weneki momo korero mo tena whakatipuranga, mo tena whakatipuranga hai tuhonohono i a ratau korero kia titiro whakamua, kia titiro whakamuri. Ko te whakaaro he tauira weneki tuhinga whakapae korero e tareka ai te mohio, te ako ki te whakatakoto, ki te rangahau i te kupu, i te whakaaro auaha ki roto, ki waho kia mau ai teneki momo wananga-matauranga reo a-korero, reo a-tuhi. Koia te kaupapa o teneki kaupapa ‘Te Kakahu Whakataratara o Ngai Tuhoe’ hai whakapuaki i tenei momo auaha e tipu ai he kupu, he whakaaro ka whakatau i weneki taonga, he taonga tuku iho ma Ngai Tuhoe ake. He kaupapa nui rawa weneki momo tuhituhi hai whakatipu i te kiri mohio me te kiritau e ahukahuka ai te taha rerehua, te taha wairua kia topu nga wheako auahatanga o nga korero, o Te Kakahu Whakataratara o Ngai Tuhoe hai whakatipu whakaaro hou, hai whakawhanau whakaaro hou. Ki te rapua te tino putake ki weneki taonga, korero tuku iho, kai kona ka puta te raumaharanui ki a ratau mahi kua rupeke atu nei i te tirohanga kanohi ki nga nohanga matamata. I puta, i hora ai a ratau taonga hai parepare makahu whakaruruhau mo nga kaupapa maha e piripono nei ki o tatau ngakau, ara, ko Te Kakahu Whakataratara o Ngai Tuhoe e rauhi ai ki te wairua a o tatau tipuna. He maioha karangaranga rerehua weneki hai matapono arahi i a tatau katoa ki nga putake korero e tawari, e piki ake nei. Ko weneki taonga to parepare hai taua, hai pare atu i nga whakawai, i nga ngaru whakaporearea e whakahukahuka mai nei ki tai roa, ki tai tawhiti, ki tua mai nei.