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

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dc.contributor.authorHenare, Te Hemo Ata
dc.date.accessioned2018-06-18T03:51:49Z
dc.date.available2018-06-18T03:51:49Z
dc.date.issued2016
dc.description.abstractThis 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’.en_US
dc.identifier.urihttp://hdl.handle.net/10179/13476
dc.language.isoenen_US
dc.publisherMassey Universityen_US
dc.rightsThe Authoren_US
dc.subjectTextile fabrics, Maorien_US
dc.subjectMaorien_US
dc.subjectWeavingen_US
dc.subjectHand weavingen_US
dc.subjectHandicraften_US
dc.subjectWhāriki whakairoen_US
dc.subjectRarangaen_US
dc.subjectWhanaungatangaen_US
dc.subjectResearch Subject Categories::HUMANITIES and RELIGION::Aesthetic subjects::Arten_US
dc.subjectResearch Subject Categories::INTERDISCIPLINARY RESEARCH AREAS::Cultural heritage and cultural productionen_US
dc.titleWhāriki : 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 Zealanden_US
dc.typeThesisen_US
massey.contributor.authorHenare, Te Hemo Ata
thesis.degree.disciplineMaori Visual Artsen_US
thesis.degree.grantorMassey Universityen_US
thesis.degree.levelMastersen_US
thesis.degree.nameMaster of Maori Visual Arts (MMVA)en_US
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