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Item From Hinengaro to Hineora: Tracing the origins of Intergenerational Trauma to attain Intergenerational Healing(Elsevier Inc., 2024-09-13) Haami D; Tassell-Matamua N; Pomare P; Lindsay NIn Aotearoa New Zealand, colonisation continues to impact Indigenous Māori lived realities. However, Māori have been steadily progressing towards reclamation of all that was suppressed during colonisation, including tūpuna (ancestor) understandings of trauma and healing, of which wairua (referring to spirit) is at the centre. My research aimed to understand the role of wairua in the intergenerational transmission of trauma and healing through exploring my own lived experiences of trauma and healing. My methodology was developed based on tūpuna knowledge, resulting in the implementation of a Rongo-ā-Wairua Framework, a Whakapapa Methodological Approach, Whakapapa Wānanga and Te Pūtake: An Origin Analysis. Through this application of tūpuna knowledge and the centring of wairua within the research process, I uncovered the origins of the soul wounds I had inherited, enabling me to transform from Hinengaro, The Obscured Daughter into who I am now – Hineora, The Daughter of Healing.Item Māori in Engineering Podcast, Episode 9: Georgina Stokes: designing how we experience and understand spaces(Māori in Engineering Podcast, 2022-12-07) Stokes G; Lysaght AEpisode 19 of The Māori in Engineering podcast is now live! A long time coming in getting episodes out, mō taku hē. So it was great to dust off the mic! Awesome to catch up with Georgina Stokes (Ngāi Tahu) - someone who is an incredible thinker in the spatial design space and inspiration to those she lectures at Toi Rauwhārangi College of Creative Arts at Massey University kei Te Whanganui a Tara. Georgina is an overall awesome wahine, pretty evident in the way she communicates so passionately with the work. Really interesting points of discussions was her mahi in whakapapa plotting to better how we experience spaces and the alignment in her studies and her Māoritanga 🤯 Available on all podcast platforms and the website https://lnkd.in/gPkURGxB Listen on Spotify here: https://lnkd.in/gz3xkQyj #MāoriinEngineeringItem 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.Item Theorising Māori health and wellbeing in a whakapapa paradigm : voices from the margins : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Communication and Journalism at Massey University, Te Kunenga ki Pūrehuroa, Center for Culture-Centered Approach to Research and Evaluation (CARE)(Massey University, 2022) Elers, ChristineThis thesis explores communication infrastructures at the margins of Indigeneity to understand Māori health and wellbeing meanings, challenges, strategies and solutions, articulated by whānau whose voices have been ignored, or not sought. Māori health and wellbeing understandings, forged amidst ongoing colonial processes of socioeconomic and health inequities, are best articulated by Māori with these lived experiences. The communication platforms established by the settler colonial state are infused with power dynamics that determine the communication rules including who can speak, what can be said and how that should be delivered. The privileging of communicative spaces to experts, leaders, and community champions, shaped by the underlying ideology of whiteness that organises the settler colonial state, forecloses the space to those not fitting these categories. Māori health and wellbeing meanings emphasise the totality of Whakapapa as a basis for communicating health and wellbeing. Kaupapa Māori theory, and Whakapapa as a super-connector of relationships both in the spiritual and physical domains, anchored the research. Rooted in Māori epistemology, the enduring intergenerational relationship between health and land formed the basis for the participants’ understandings of health and wellbeing. Positioned also in dialogue with the Culture-Centered Approach (CCA), we foreground whānau voices through the co-creation of voice infrastructures at the margins of Indigeneity, with whānau members candidly sharing lived experiences navigating health and wellbeing through the establishment of the Feilding advisory group. The interplay of land, rivers and health is a dominant theme. Strategies for improving health and wellbeing include co-creating communicative infrastructures, such as platforms for voices to emerge at the margins of Indigeneity. The campaigns documented buttress the importance of regaining stolen land, (re)connecting to land through the collective establishment of māra kai with the advisory group. Indigenous communication infrastructures disrupt hegemonic, top-down configurations of health and wellbeing campaigns, providing the impetus for localised strategies to emerge into mainstream communicative spaces. Voice and the right for the “margins of the margins” to be listened to by the Crown are also included as taonga in article two, Te Tiriti o Waitangi. The co-creation, resource sharing and decision-making about communicative infrastructures can be harnessed to drive health equity.Item Haehae and the art of reconciliation : cutting through history to generations of artistic expression : an exegesis presented in partial fulfilment of Master of Fine Arts, Massey University, Wellington(Massey University, 2018) Bigham, BonitaAt the heart of the Parihaka story is its people. Its origins, its resistance, its desecration, its desolation is its people. A place where its people have shaped its legacy, but one that could never be told or acknowledged without the survival of those people. Today its restoration, rejuvenation and revitalisation are still about its people. My people. From August 2000 to January 2001 an exhibition at Wellington’s City Gallery, curated by the late Te Miringa Hohaia, titled ‘Parihaka: The Art of Passive Resistance’ took the artistically interpreted story of those people, of that settlement, of that injustice and a hugely important but conveniently ignored part of this nation’s history to a wider public audience than ever before (Hohaia, O’Brien, & Strongman, 2001). It cut a swathe through the heart of ignorance, of cultural amnesia, of colonial government corruption and introduced thousands of unknowing citizens to a story purposefully forgotten and unspoken and one that, ironically today, still remains a largely unknown aspect of Aotearoa’s history. To date there has not been another single collection or exhibition of this magnitude brought together to speak directly of the Parihaka experience, but while the opportunity for continued education from an exhibition on that scale has not yet been realised, many other artworks, projects and exhibitions during the ensuing years have featured work which continues to educate by reflecting that painful legacy. That enduring pain continues to cut deep, into the consciousness of those of us who are descendants and into the psyche of those who come to the knowledge later in life, asking why they were never told (Warne, 2016). This thesis proposes to examine the integrated notion of cutting – or haehae, in its literal and figurative manifestations, on materials in creative output, within the hearts, minds and skin of Parihaka uri (descendants). It will examine its representative aspect within the art that relates to my Parihakatanga and is exemplified through many artforms created by other artists, with whom I share whakapapa to the Kipa (Skipper) whānau (family). I will also explore my own artistic response to that legacy, leading to the development of my final project, inspired by two specific personally experienced events – which on the surface seem totally unrelated, but in actuality are intrinsically linked. The first is ‘He Puanga Haeata,’ the Parihaka-Crown Reconciliation Ceremony held at Parihaka Pā on Friday 9 June 2017 (‘He Puanga Haeata’, 2017), while the second event is the May 2018 mass beaching of parāoa (sperm whales) along the South Taranaki coastline (Boult, 2018). Developing a cultural narrative and artistic transition from art reflecting pain, anguish and trauma to hope, promise and reconciliation is an ongoing challenge, a journey that myself and others may continue to articulate within various aspects of our work, cutting across history and generations.Item 'Whakapuputia mai o mānuka' : a case study on indigenous knowledge and mitigating the threat of myrtle rust (Austropuccinia psidii) : a research thesis presented in partial fulfilment of the requirements for the degree of Master of Science in Horticultural Science, School of Agriculture and Environment, Massey University Te Kunenga ki Pūrehuroa, University of New Zealand, Palmerston North, New Zealand(Massey University, 2019) Tora, Mesulame J.This research centres on the recent myrtle rust (Austropuccinia psidii) incursion in New Zealand to review the literature on the disease specifically and to create a localised case study with Ngāi Tāneroa hapū of Ngāti Kahungunu ki Wairarapa. The case study focused on the importance of whakapapa, mātauranga Māori, tikanga Māori and the practices of kaitiaki to ethnobotany and the development of indigenous biosecurity measures (tools) to protect culturally important plant species within the Māori community The proverb stated in the title of this thesis whakapuputia mai o Mānuka, kia kore ai te whati – (cluster the branches of the Mānuka, so they will not break off) recognizes the status of plant knowledge in te Ao Māori. It provides a foundation of understanding how Māori can participate in resource management against biological threats, which are becoming increasingly common. The science around myrtle rust and the mitigation of any incursion threats is clearly aligned to western paradigms. The information presented in this thesis outlines an extensive understanding of the intricacies of the disease as understood by the science community. But this science alone has not been able to halt the spread or risk of myrtle rust into new geographical regions. Therefore, future management of the risk of myrtle rust incursions needs to look at alternative approaches for the development of suitable management tools. The holistic approach of traditional biodiversity management using mātauranga and tikanga Māori has much to offer to conservation of taonga resources, especially the mitigation of biological threats. The Māori worldview of the environment encompasses all elements beyond the physical attributes of an ecosystem that thrives through traditional kaitiaki inputs. The case study with Ngāi Tenaroa introduced several examples of how Māori can contribute to the mitigation of all threats on the ecosystem, not just fungal threats. Firstly, the role of whakapapa is explicit and cannot be ignored. This role consolidates the management tools across all generations at the very least. Secondly, the role of networks within Māori communities and inter-generational learning is also clear – and the risk that exists if this is lost is apparent. Lastly, examples of local knowledge such as the effect of hukahuka on plant health, companion trees and role of kaitiaki in decision-making have been identified and their importance conveyed from the hapū under study.Item To what extent are principles of kaupapa Māori reflected in the current practices of Māori mediators in Aotearoa? : a thesis presented in partial fulfilment of the requirement for the degree of Master of Business Studies in Management at Massey University, Manawatū, New Zealand(Massey University, 2018) Hau, Te Reo O Te OmekaIn the current practice of mediation as a form of Alternative Dispute Resolution (ADR) within Aotearoa there has been very little research conducted into principles of kaupapa Māori and how these concepts are reflected in the practice of mediation in Aotearoa. Indeed, almost all my studies completed through Massey University’s Dispute Resolution Centre within the Massey Business School have been based on research from a Euro- Centric perspective. This gap in current mediation research is the main motivator in designing the following as my research question: “To what extent are Principles of Kaupapa Māori reflected in the current practices of Mediators in New Zealand?” In addressing this question this paper intends to contribute to mediation literature by investigating principles of kaupapa Māori within the current mediation process practiced in New Zealand. It will seek to address if kaupapa Māori principles of Whakapapa, Whanaungatanga, Mana, and Tapu are prevalent within a mediation process and to what extent. Existing literature is scarce on this topic however some reliance will be placed on Tomas & Quinces’ (2007) contribution to Spillers Dispute Resolution in New Zealand as well as comparisons with literature in the restorative justice field and mediation and indigenous dispute resolution writings Semi-structured interviews of 10 currently practicing Māori mediators have been undertaken to assist in answering the research question. Results were presented as participant narratives where seven themes were analysed and presented to demonstrate how Māori principles and practices can enhance the mediation process.Item Hokopapa : an exhibition report presented in partial fulfilment of the requirements for the degree of Master of Maori Visual Arts at Massey University, Palmerston North, New Zealand(Massey University, 2017) Tuuta, BrendaThis exhibition report details the evolution and processes related to fibre work created for Hokopapa, the Master of Maori Visual Arts Thesis exhibition at Mahara Gallery in Waikanae in February 2018. This work has evolved over a period of three years researching my Moriori whakapapa. I wanted to illustrate through weaving the importance of family connections and in particular my personal connection to Nga Moriori. I have looked at ways of manipulating customary weaving materials and techniques to create a freestanding tree formation. Trees were not only significant in the daily lives of Moriori but also represent genealogy within mainstream New Zealand. The metaphor of the tree signifies the grounding of each of us to Papatuanuku, enveloping us within the never-ending cycle of life, a cycle that is out of the hands of all of us.Item He kākano i ruia mai i hea? : Kāwera : rekindling the home fires : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Māori Studies at Massey University, Manawatū, Aotearoa(Massey University, 2011) Nuku, Pareputiputi; Nuku, PareputiputiKāwera (Ōmāhu IB4B2) is tūrangawaewae to the Nuku whānau (family). It is a relatively small block along the winding Taihape Road, that looks no different from any of the other neighbouring farm lands apart from our whānau urupā (family cemetery) and a stone waharoa (gateway) standing, as it might appear, randomly in the middle of the front paddock. Our tīpuna (ancestors) lived and worked on this land until the 1940s. They have all long since gone now, sadly taking with them, most of our oral narratives, our waiata (songs) and our pūrākau (ancient legends) that pertain specifically to Kāwera. Therefore this journey of uncovering our history, our whakapapa (genealogy), our stories, has in the main, depended on Māori Land Court records and fragments of memories held by only a few of my elders. The significance of the block was solely based around our loved ones at rest in the urupā (cemetery) and our own experiences - camping and eeling at Kāwera over the years. However, this research has revealed that Kāwera has a rich and extensive history. This land has been fought for, both in combat and through the spoken word, and I strongly believe that we are extremely fortunate that this block is still retained by our whānau. A great deal of the data has been collected from evidence provided to the Native Land Court in the late 1880s by my tipuna (ancestor), Wiramina Ngāhuka. Wiramina was an expert witness in terms of whakapapa and land sites, and well-known for her skills as a historian, as the holder of whakapapa that spans back to pre Ngāti Kahungunu. She deserves to at least be acknowledged by her own descendants. The research also looks at Kāwera’s contemporary history, and whakapapa narratives pertaining to the hapū (sub-tribe) affliliations of Wiramina and her husband, Nuku II. The hope is that in some way, this research will sow a seed that rejuvenates a bond between us and Kāwera, and with each other.Item 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 ArohaHe 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.
