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dc.contributor.authorTe Ao, Shannon
dc.date.accessioned2016-03-10T22:19:13Z
dc.date.available2016-03-10T22:19:13Z
dc.date.issued2015
dc.identifier.urihttp://hdl.handle.net/10179/7574
dc.description.abstractUsing Australian artist and writer Ross Gibson's 'wayfinder' as a point of departure this essay discusses a range of recent moving image and performance works by Shannon Te Ao. Follow the party of the whale (2013), two shoots that stretch far out (2014), and Untitled (epilogue), (2015) are among the works discussed in relation to Maori spatial and temporal conceptions such as Te Kore and whakapapa. These frameworks, alongside content referencing Maori lyrical traditions are implicated within a discussion exploring various aspects of the local, social and cultural significance of poetic forms found in waiata and whakatauki. Metaphor and ambiguity - as they are enacted in live performance, and lyrical modes - are identified as tools to promote a poetic sensibility.en_US
dc.language.isoenen_US
dc.publisherMassey Universityen_US
dc.rightsThe Authoren_US
dc.subjectGibson, Rossen_US
dc.subjectTe Ao, Shannonen_US
dc.subjectCriticism and interpretationen_US
dc.subjectOceania in arten_US
dc.titlePart tree, part canoe : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealanden_US
dc.typeThesisen_US
thesis.degree.disciplineFine Artsen_US
thesis.degree.grantorMassey Universityen_US
thesis.degree.levelMastersen_US
thesis.degree.nameMaster of Fine Arts (M.F.A.)en_US


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