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week 6 Independent study

Make some notes on your understanding of tikanga, considering this in relationship to ethics and values.

Tikanga practice must be correct and right while Pono should be considered in the terms of the principles of Maoritanga. Within Aotearoa tikanga was neglected while iy flourished in parts of Polynesia.  Judgement was made upon the practice of a particular tikanga being true to Maoritanga or is a borrowed example from elsewhere. Today, Innovations are being introduced to tikanga. Pono might not always pass the test of genuine maori culture. There had to be a balance on one hand being, the link between tika and pono and on the other hand the values as ‘principles or standards of behaviour’. These values have to continuously be influenced,  principles, goals and values were not necessarily achievable. Various cultural tests were taken into account of the values appropriateness, correctness and adequacy. Whanaungatanga embraces whakapapa focusing on relationships. Individuals expect to be supported by all relatives in the same way, the collective groups expects to be supported from individuals. This is a fundamental principle. Relatives are expected to support the entire ceremony at a tangihanga. In the tikanga of muru people taking heirlooms, goods, products of the land, sea and forest, etc; the value of manaakitanga still holds the principle of behaviour must remain in place. These people are given a meal and are allowed to leave in peace. Mana involves the place of an individual in the social group. People with mana tend to carry leadership roles in the community drawing their power from ancestors. This power is socially founded upon the kinship group, parents, whanau, hapu and iwi. Tapu’s source goes to the heart of Maori religious thought in dispute of the majority of maori being members of various Christian churches. Maori respect tapu of places and buildings as well as people.

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Practical component piece

Process: the brief stated for the piece to be 1 A4 sheet however in making my artwork still slightly bigger than this it was still not enough space to fully communicate what I needed to. Due to the restrictions of covid I was not able to get anymore paper in time In a larger format to restart and recreate my draft above.

Within my piece I have represented the hands of Tane separating sky and land. The human figure hairs is weaved into the waterfall representing their strong connection to the land they live upon. I have shown the sun and moon where celestial bodies were found aswell as a star compass in which they used to navigate Aotearoa.

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week 5 independant study

Reflect

Key points in kenealys essay include food advertisements identifying for themselves the imaginings of what is ‘kiwi’. Watties sauce and Supersoft bread were the two main focuses in which both showed children in barefoot in their advertisements. The technique used here puts its viewer in a position where their national identity is being defined for them. “New Zealand’s National character is often strongly linked to the outdoors.” (Kenealy, 3). This creates a system where identity is taken from an individuals and put in a controlled environment.  They are attempting to associate these products by assuming the national character of Aotearoa with stereotypes. These include kiwis being  labelled ‘Supersoft’ and not being ‘kiwi’ if they don’t purchase these products.

further reflection...

Essay introduced readers to idea of banal nationalism with imagined communities and national identity being excluded. Anderson and Billing structure the existence of a nation, why it’s important, and why we shouldn’t ignore these factors. Advertisements are something majority of Aotearoa people see daily which should not cause an obtrusive pavement to be walked upon for its viewers in which could support the arising of a war or recession. These ideas are used in the second section of the essay by going into further detail in their arguments using the idea of a flag and how its positioned on separate occasions. In war, flown proudly at front of army whereas in peaceful times its hang at front of post shop being constantly engaged in community. Regardless of how its evoked its still means ‘this nation’. Food advertisements are then given example to in further text explaining how they show banal nationalism. Overall Andersons and Billings ideas are part of what form this whole essay and informing readers of ways banal nationalism is blindly in the community.

bibliography:

Kenealy, Robyn (Pākehā). “A “kiwi” at my table”. Unpublished (student essay), n.d.

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Artist talk notes

Had to rework work to tell a different story

Residency 2018

West coast story relate to our traditions

Taranaki land taken away left out of narrative

Carpet work relates to experiences in taranaki

Church st Mary’s drawing from that created flags of British and numbers

Blazing trail of scored earth

Sacred flag

Nz flag on ground comparison huge reactions

Walking around and silting flags sending messages to gods believe

Maori mid 19 century British military, cults

Reverse appropriation

Parallels impervious to bullets

Related to wedding cake

Polices government made for Maori

Putting maoris in city to civilise them

Royal icing created for them

Name of work ……

Ship called pioneer

Go up Waikato river to blast sediments

Sank

Intridge me

Windows

Surround us memorials for war

Land laws dedicated to friendly Maori

Otherwise of conflict

Right by river across the river from sediment established by hero of Waikato women leader

Interesting contradiction

Ontop of statue person of war

Memorial to war and land laws

Polices in regards of 50s and 60s

Victorian wallerpaper covering it

Old art forms

Anti digital age

Thinking of grandparents house

Victorian wallpaper

BBC news

Hand crafts

Civilisation victory over nature

Referring to Victorian plaster panels and ceilings

Wallpaper designs being produced mechanicallly

Radiating earth

Sucking up worlds resources to create

Master caster friend helped

‘Monument’

Relationship not straight forward

Not peaceful

1816 in regards to first time muskets entering land

Forcing other tribes to gather flags

Son came

One handle of kit

Physically resources and spiritual resources

Irony two tribe refused

Safe bond

Waikato history

Possibility’s of sculpture and video working in conjunction with each other

2018 century’s after Waikato leader made his stand against resisting idea of young men fighting in ww1

Why should we fight for a government that’s treated us this way?

Result of of ww1 battles

Take territory, protect

Possession and claim of land ownership

Exclusion

History of Auckland Waikato

ThomasRussell bank of nz established wealth came from gold mines

Sending wealth overseas

Process of taking land and establish yourself and creating institutions excluding Maori

Taranaki video

Taking black sand away make profit

Water between Maori and European territory

And comes from explosions from tar Ali mountains

Extracted processed to make steel

Beaches were rocky

Summoned sand cloud to dump sand on beaches to land canoes

Killed locals

Drone footage

Maori text

Both taranaki and Waikato

Created statements her response to works

Refers to sub took away young men military camps

Be patient

Land of west people

Strategy taranaki people dealt with

Feels peaceful not aggressive

Video- where Waikato and taranaki fought

Shipwreck dilemma Maori territory should b killed

Took these people back to safety in New Plymouth

Vision when Gabriel came to him missionary trained peace and war dilemma

Maori couldn’t defeat British physically but could spiritually

Indigenous statilites

Revive and give messages to work

Dance around these

Based on rituals imitated them they would gain power

Idea of resources

Reading letters of settlers 1940s

Put a price on everything

All resources would b theirs

Putting resources on wheels and taking them away idea behind work

Structure made by

Wheels to elegant agricultural wheels from last century “I’ll take those”

Sandblast it

Look like ones of seen in museums

Did majority of carving on it

Graphite makes it look like lead

Love that look

Paint it and put graphite in while it’s still wet gives it different look

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week 4 independent study

Task 2: Reflect

Smith defines mana as influencing ways of being, promoting qualities such as integrity, dignity and respect. Which can only accumulate through capacities and achievements acknowledged by others. Aspects of language revitalisation include oratory competitions; kapa Haka (cultural performances); and development of Maori language music, theatre, film, radio, and television to continue restoration of mana as a living language.

In the 1840’s Maori’s as well as their culture and society was dominated from the influence of new settlers culture and language. Usage of Maori language fell throughout the twentieth century and even more so from the 1940’s. By the 1970’s the language was at a rapid decline with only 18,00 speakers fluent today. There was an establishment of Ohanga reo in 1982 which is key to revitalising the language of Maori’s. The passing of Maori language act was passed in 1987 making it an official language of New Zealand.

Paragraphs reflecting on Te Reo Maori in Aotearoa today...

What does it mean to uphold the mana of Te Reo Maori?

The mana of the language is indigenous to this country as the Maori being the first people of Aotearoa. Upholding mana gives Maori children had the right to learn the language of their ancestors. Expressions of mana may be described as the fundamentals of authority and leadership from Maori. This supports them to achieve their goals of improvement , cultural assertion and acknowledgment  of indigenous human rights. “Mana originates from not only our human heritage but the heritage of the entire natural world” (Smith, 95) This gives evidence to mana in forest, weather, oceans and human relationships. Mana can be restored as all things exist in relation to each other which can bring back balance when something is ‘at loss of mana’.

Where do you see or hear Te reo Maori in your own life?

I personally see Maori incorporated in schooling systems from the names of student houses to assignment tasks. The national anthem begins in Maori language, motifs of Maori are located in street signs to public buildings. Maori being included in public speeches. There’s a television channel dedicated to Maori, their culture and language for all ages. Carvings within maraes telling the stories and narratives of Maori in the architecture.

How might Maori be incorporated in more widely in media, art, and design of nz?

Maori can be incorporated more widely through media, art and design by having more Maori content on at peak viewing times and also making it accessible to those with limited language skills giving them the opportunity to learn and understand easier which could include well known phrases and words. Using Maori native materials such as wood, stone, bone and flax giving a visual form and shape to cultural belief systems and expressed spiritual ideas.

bibliography:

Smith, Huhana (Ngāti Tukorehe, Ngāti Raukawa ki Tonga). “Mana: Empowerment and Leadership”. E tū ake: Māori standing strong”. Te Papa Press, Wellington, 2011, 92-143.

Task 4: upholding the mana of language

bibliography:

Lyiscott, Jamila (African American - Haiti). “3 Ways to speak English”. TEX Youtube.

Wendt, Albert (Samoa). “Tatauing the post colonial body” Originally published in Span, Vol. 42, No. 43, April-October 1996, 15-29.

Task 5:

Testing stencils I made on paper for practical component.

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week 3 independent study

Task 2: tapu and noa

Task 3: final example and contextual understanding of this 

Contextualising visual example

 Tatai Arorangi, the sky navigator is a sculptural piece representing past and present navigators for their skill in finding their way back home on their journey to new lands. The first Maori settlers used the stars to navigate and find New Zealand. The circling lines represent star trails and knowledge of the night sky. Maori legend tells us of how Maori would memorise the placement of the stars in the sky, where they would rise and set.

 This sculpture signals the direction of wind making it kinetic, this refers to the elemental force for movement between cultures. This could relate to the colonisation of NZ where Maoris taonga was forgotten and decided by authorities. The time capsule dome supporting the figure show the traditional way of passing on knowledge through narrative and communicating this knowledge with future generations. Johners sculptural piece is presented in dark colours referring to the night sky. You can also notice the N, E, S, W letter added on , once again representing the night sky used as a compass. I enjoyed how to artist used their own personal mark to the piece through adding Otakawhe Bay stones  for the new land where they touched down.

 (add course resources…)

TĀTAI ARORANGI - THE SKY NAVIGATOR

Artist: Daniel Johner Materials: Bronze, Black Tinted Concrete, Otakawhe Bay Stone

draft of part 3 asignment:

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Week 2 Independent Study

Task 1: Reflect

Task 2: whakapapa

From this article I gathered how whakapapa is constructed of 3 concepts including kumara, aruhe and ti by exploring their status in a logical sense in addition to cultural considerations in their creation. We learn of how Rongo provided the celestial kumara by stealing it. From this act he brought theft into the world and with this risk although he disrespected family and insulted mana he reflects the benefits of forgiveness and restoring relationships. This new food source outweighed this risk and the consequences that came with it. “Maori traditions about this important food source also provide a number of accounts as to its origins, handed down in the form of narrative and whakapapa.” (Roberts 8). Modern Maori are encouraged to learn of these narratives to have a better understanding and knowledge of the world today and how things came to be.

Task 3: Huhana notes and artwork

Harakeke acts as a ‘whole environment healer’

A4 spraypaint on paper, mixed media chalk and charcoal.

The harakeke is made up of the child, parents and grandparents. It acts as a whole environment cleaner by sucking up the nutrients from the water and cleansing it. The people with the area can have a clean water source as well as their stock to feed from. The flax is also used by the people for weaving as demonstrated by my artwork above with the sky weaving into the stream leading to a large watering whole being enjoyed by the cows within the land.

Task 5: definition of key term 

TATAI ARORANGI

  Maori astronomical knowledge was lost or dismissed following the colonisation of New Zealand often defined as myth. The framework of this knowledge was based around spoken narrative that held philosophical and technical data. It is also found within carving art forms and song. These narratives referred to the beginning of the universe also know as the nothingness. Rangi Nui (skyfather) and Papatuahuku (earth mother) were birthed and pressed together in embrace. Tane separated them and let light into the world by hanging the family of light in the sky forming the universe. Celestial bodies were formed in the moon, stars and sun as Tane placed the objects in the sky. Astronomy had strong connection with planting crops and harvesting. Maori would plant crops on a full moon as the moon would draw water nearer to the surface  and the seedling would suck up the water at a quick pace. Maori’s also used stars as a compass as they memorised the placement of the stars in the sky for navigation.

-          Manuscripts referencing astronomical knowledge    

Bibliography

"Tātai arorangi". Project Mātauranga. Presented by Ocean Mercier (Ngāti Porou), season 2 episode 8, Pokapū Akoranga Pūtaiao: Science Learning Hub, 2012.

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week 1 Independent study

Maori culture has been placed into boxes as cultural and spiritual decisions of Maori cornering their taonga have been forgotten and decided by local authorities. These local authorities muzzled their personal worldview more equal than Maori “modern man has summarily dismissed these so called myths and legends” (Marsen 55).  In the legend of Tane ascending to the highest heaven in a bid to obtain the “baskets of knowledge”. This legend tells of how Tane accomplished the uprising that led to the parting of their parents Rangi (Heaven) and Papa (Mother Earth). Myths and legends form the essential structure in which their holistic view of the universe is based. This forms a worldview of a culture which lies at the heart of one. This legend is part of the body of scared knowledge not shared with the community. This was vital so information was not mistreated by Tutua.

Expanding on initial response…

Kaitiaki are guardian spirits directed to look over their relatives and secure holy places. They are frequently signified through animals and other wildlife. Every family have their Kaitiaki in which each of them will have various accounts of them and symbols by which they can be perceived. “In the event of the death of a relative the owl will appear and utter a special cry to close kin, forewarning them of the event.” (Barlow 34.) Here we can see evident the how Maori can perceive knowledge before scientific proof has been applied and seen as a myth to Tutua.

Bibliography:

Barlow, Cleve (Ngā Puhi). "Kaitiaki". Tikanga whakaaro: Key concepts in Māori culture. Oxford University Press, 1992, 34-35.

Marsden, Māori (Ngāi Takoto, Te Rarawa). "Kaitiakitanga: A definitive introduction to the holistic world view of the Māori" The woven universe: selected writings of Rev. Māori Marsden. Te Wananga o Aotearoa, 1992, 54-57.

"Tātai arorangi". Project Mātauranga. Presented by Ocean Mercier (Ngāti Porou), season 2 episode 8, Pokapū Akoranga Pūtaiao: Science Learning Hub, 2012.