Te kauae ki runga : exhibition report presented in partial fulfilment for the degree of Master of Māori Visual Arts, Massey University, New Zealand
| dc.contributor.author | Bigham, Bonita | |
| dc.date.accessioned | 2021-11-14T22:52:28Z | |
| dc.date.available | 2021-11-14T22:52:28Z | |
| dc.date.issued | 2020 | |
| dc.description | Some possibly copyrighted Figures are re-used under the "Fair dealing" principle for the purpose of criticism or review. | en |
| dc.description.abstract | As a colonised indigenous people, Māori have suffered the same kinds of cultural oppression and suppression as many of our indigenous brothers and sisters around the world. Here in Aotearoa, the most visible and perhaps the most personal of suppressed practices was the art of moko, in particular moko kanohi, the marking of faces as ultimate expressions of cultural identity. This exhibition report has an inherently inward, personal focus as it explores many factors pertaining to my own journey towards my receipt of moko kauae, which in turn informed my work for the exhibition component for this Masters of Māori Visual Arts qualification. It will not be a revisiting of the pūrākau about Niwareka and Mataora; her escape back to Rarohenga from her abusive husband who then remorsefully sought her out for forgiveness, only to discover moko and be allowed to receive it as commitment to his change in ways, and their happy return with the artform to Te Ao Mārama. In fact, this will be the only reference. This report instead focusses heavily on my own experiences, inspiration, conversations and research and offers an insight into my process of experimenting, of making and creating. I also consider historical narratives surrounding moko kauae, review its evolution over time and look at survival, revival and ascension to increased visibility in the modern context, as a living cultural and political statement. It examines the impacts of colonisation in relation to my own experience and speaks to ongoing efforts of decolonisation. It honours those who have influenced and impacted my journey. I purposefully omit including a glossary of Māori words in deference to applying my own constrained translations and interpretations. Instead I implore the reader to do their own research and develop their own understanding, within the context of the discussion. By no way is this report meant to be a comprehensive inventory of issues and answers relating to moko kauae, in fact there are many references not included from notable authorities (like Rawinia Higgins and Linda Waimarie Nikora), such are the practical limitations of a report of this nature. I would hope that those reading this report remember its context as merely an archive relating to the exploration of my own story and how I chose to artistically and creatively make that manifest. | en |
| dc.identifier.uri | http://hdl.handle.net/10179/16741 | |
| dc.language.iso | en | en |
| dc.publisher | Massey University | en |
| dc.rights | The Author | en |
| dc.subject.anzsrc | 450721 Ngā toi ataata ngā mahi ā-rehe o te Māori (Māori visual arts and crafts) | en |
| dc.title | Te kauae ki runga : exhibition report presented in partial fulfilment for the degree of Master of Māori Visual Arts, Massey University, New Zealand | en |
| dc.type | Thesis | en |
| massey.contributor.author | Bigham, Bonita | |
| thesis.degree.discipline | Māori Visual Arts | en |
| thesis.degree.grantor | Massey University | en |
| thesis.degree.level | Masters | en |
| thesis.degree.name | Master of Māori Visual Arts (MMVA) | en |