#Māori and Pacific Perspectives

[thisisgraeme]

Taking Action with AI in Education: Practical AI Applications for Educators (Volume 2)

Kia ora! Volume 2 of our AI in Education guide is out now! This hands-on guide gives educators practical strategies to use AI tools like ChatGPT, personalise learning, and create culturally responsive lessons. Download your copy and start exploring today!

Kia ora anō, koutou! After the release of Volume 1: AI Insights for Educators, I’m excited to share Volume 2: Practical AI Applications for Educators, co-authored with Michael Grawe. While the first volume laid a foundation of understanding around AI in education, this next guide is all about getting your hands dirty — exploring practical, hands-on ways to integrate AI tools into your teaching…

[anaadworldwidellp]

Best Architecture Degrees in New Zealand

New Zealand is a country renowned for its breathtaking landscapes, innovative design practices, and commitment to sustainable development. For aspiring architects, New Zealand offers world-class education combined with opportunities to explore unique architectural challenges. This article highlights the best architecture degrees in New Zealand, detailing the institutions, courses, and career prospects available to students.

Why Study Architecture in New Zealand?

Discover why Study in New Zealand is the perfect place to make career in architecture. Explore innovative design, cutting-edge technology, and breathtaking landscapes that inspire a unique architectural perspective.

Global Recognition: New Zealand's architecture programs are recognized internationally, with degrees accredited by bodies such as the New Zealand Registered Architects Board (NZRAB) and the Architects Accreditation Council of Australia (AACA).

Focus on Sustainability: As a leader in green building practices, New Zealand integrates sustainability into its architecture curricula.

Cultural Diversity: With influences from Māori culture and contemporary global design trends, New Zealand offers a rich tapestry of architectural inspiration.

Practical Experience: Architecture degrees in New Zealand emphasize hands-on learning, including studio work, internships, and collaborative projects.

Top Institutions Offering Architecture Degrees in New Zealand

1. University of Auckland

The University of Auckland is the country's largest and most prestigious university. Its School of Architecture and Planning offers a robust curriculum designed to prepare students for a successful career in architecture.

Programs Offered:

Bachelor of Architectural Studies (BAS)

Master of Architecture (Professional)

Master of Urban Design

Key Features:

Accredited by NZRAB and AACA.

Focus on sustainable design and urban planning.

Access to cutting-edge facilities such as the Design Studio and Digital Research Hub.

Career Prospects: Graduates often secure roles in leading architectural firms, urban planning agencies, and government bodies.

2. Victoria University of Wellington (Te Herenga Waka)

Victoria University of Wellington offers programs that blend theoretical knowledge with practical experience, fostering creative and critical thinking.

Programs Offered:

Bachelor of Architectural Studies (BAS)

Master of Architecture (Professional)

Master of Interior Architecture

Key Features:

Strong emphasis on research and innovation.

Opportunities to engage with Māori and Pacific design principles.

Collaborative projects with local communities and industry partners.

Career Prospects: Graduates excel in design roles, research, and policy-making, contributing to New Zealand’s vibrant architectural landscape.

3. Unitec Institute of Technology

Located in Auckland, Unitec is known for its practical approach to architectural education.

Programs Offered:

Bachelor of Architecture

Master of Architecture (Professional)

Key Features:

Real-world experience through internships and live projects.

State-of-the-art workshops and labs.

A focus on digital technologies and sustainable practices.

Career Prospects: Many graduates join architectural firms or start their own practices, leveraging their practical skills and industry connections.

4. Ara Institute of Canterbury

Ara Institute, based in Christchurch, offers a Diploma in Architectural Studies and a pathway to further studies or professional practice.

Programs Offered:

Diploma in Architectural Studies

Key Features:

Ideal for students seeking a foundational understanding of architecture.

Hands-on learning with a focus on technical skills.

Career Prospects: Graduates often progress to bachelor’s programs or take on roles as architectural technicians.

ALSO READ- Architecture Degree in Australia

Course Structure and Curriculum

Architecture degrees in New Zealand typically span three to five years for undergraduate programs and an additional two years for master’s programs. The curriculum includes:

Design Studios: Central to architectural education, these studios focus on developing creative and technical design solutions.

Building Technology: Courses on materials, construction techniques, and structural systems.

History and Theory: Understanding architectural movements and their cultural contexts.

Professional Practice: Preparing students for the business aspects of architecture, including project management and ethics.

Sustainability and Innovation: Emphasizing environmentally responsible design.

Admission Requirements of Architecture Degree in Ireland

To enroll in an architecture program in New Zealand, students generally need:

Undergraduate Programs:

Completion of secondary education with strong grades in relevant subjects such as mathematics and art.

A portfolio showcasing creative and design skills.

Postgraduate Programs:

A bachelor’s degree in architecture or a related field.

Relevant work experience or internships (in some cases).

International students must also meet English language proficiency requirements, typically through IELTS or TOEFL scores.

Scholarships and Financial Aid

Several scholarships are available for both domestic and international students pursuing architecture degrees in New Zealand:

University-Specific Scholarships: Institutions like the University of Auckland and Victoria University of Wellington offer merit-based and need-based scholarships.

Government Scholarships: The New Zealand Scholarships program supports students from eligible countries.

External Scholarships: Organizations like Fulbright New Zealand provide funding for international students.

Career Opportunities After Graduation

An architecture degree from New Zealand opens doors to diverse career paths, including:

Architectural Practice: Designing residential, commercial, and public spaces.

Urban Planning: Shaping sustainable cities and communities.

Interior Design: Specializing in creating functional and aesthetic indoor spaces.

Project Management: Overseeing construction projects from concept to completion.

Academia and Research: Contributing to the field through teaching and innovation.

Conclusion

New Zealand’s architecture programs offer a blend of rigorous academic training, practical experience, and exposure to innovative design practices. With a focus on sustainability and cultural integration, these programs equip students with the skills and knowledge needed to excel in the global architectural landscape. Whether you’re an aspiring architect or a professional looking to advance your career, studying architecture in New Zealand is a rewarding choice that promises a bright future.

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[bestartproject]

The Evolution and Appeal of Abstract Art - A Deep Dive into Abstract Art in New Zealand

Abstract art, a genre that diverges from traditional representation, captivates audiences worldwide with its vibrant colors, intricate patterns, and evocative compositions. In New Zealand, the allure of abstract art is no exception, reflecting a dynamic blend of local culture, natural beauty, and innovative expression. From the bustling art scene of Auckland to the burgeoning online marketplace, abstract art is thriving in diverse forms—be it canvas paintings, wall sculptures, or works on paper. This guest post explores the various dimensions of abstract art in New Zealand, delving into its evolution, its different mediums, and its growing popularity among art enthusiasts and collectors.

The Essence of Abstract Art

At its core, abstract art is about freedom—freedom from the constraints of literal representation and the liberty to express ideas, emotions, and forms in a way that transcends the concrete. Famous abstract art pieces, like the works of Jackson Pollock or Wassily Kandinsky, have paved the way for contemporary artists to explore new techniques and perspectives. These trailblazers of the abstract movement utilized non-traditional methods, such as dripping or splattering paint, and relied heavily on color theory and geometric forms to evoke emotion and meaning.

Abstract art paintings vary widely, from the fluidity and spontaneity of abstract expressionism to the meticulous precision of geometric abstraction. In New Zealand, artists have embraced these varied styles, creating pieces that speak to both local and global audiences. The nation's diverse landscapes, cultural narratives, and vibrant urban environments offer fertile ground for artists to develop unique voices within the realm of abstraction.

Abstract Art in New Zealand: A Flourishing Scene

New Zealand has a rich tradition of visual art, and abstract art has found a prominent place within it. Particularly in Auckland, the art scene is vibrant and dynamic, with numerous galleries, exhibitions, and artists contributing to the ever-evolving discourse of abstract art. Auckland abstract art reflects a distinct flavor, often drawing inspiration from the unique natural beauty of the region, as well as the cultural influences of Māori and Pacific Islander heritage.

The city’s art galleries showcase a wide array of abstract art paintings and abstract canvas artworks, from the avant-garde to the more traditional. Collectors and art lovers can find everything from abstract modern art paintings that explore contemporary themes to abstract acrylic paintings on canvas that highlight texture, color, and movement. For those looking to acquire unique pieces, there is a growing market for original abstract art for sale online, providing an accessible avenue for people to own a piece of this expressive genre.

Exploring Different Forms: Canvas, Paper, and Sculptures

The mediums of abstract art are as diverse as the styles themselves. Abstract canvas wall art remains a popular choice for its versatility and impact. The tactile nature of canvas, combined with the vibrant possibilities of acrylics, oils, and mixed media, allows artists to experiment with texture, depth, and color in unique ways. Abstract canvas art NZ and abstract canvas wall art are increasingly sought after, particularly for their ability to transform spaces with bold and dynamic visuals.

But abstract art isn’t confined to canvas alone. Abstract art on paper offers a different kind of delicacy and immediacy, often employing watercolor, ink, or pencil to create fluid, spontaneous designs. Artworks on paper can range from small, intricate studies to larger, more expansive pieces, each offering a distinct sensory experience.

For those looking for something more three-dimensional, abstract wall sculptures and geometric wall sculptures are gaining popularity. These pieces add depth and dimension to a space, interacting with light and shadow in ways that two-dimensional works cannot. In New Zealand, wall sculptures NZ offer a unique way to appreciate abstract art, often blending contemporary design with organic, natural elements.

Buying Abstract Art in New Zealand: Online and Offline Options

With the growing popularity of abstract art, finding the perfect piece has never been easier. Many galleries and artists in Auckland and throughout New Zealand now offer their works online, making it convenient to purchase original abstract art for sale online. This not only opens up a broader market for artists but also provides collectors with a diverse range of styles, sizes, and price points to choose from.

For those interested in local talent, searching for abstract art inspired Auckland or abstract art for sale Auckland can yield a treasure trove of options, from emerging artists to established names in the New Zealand art scene. Whether you're looking for a striking abstract painting on black canvas to make a statement or a delicate piece of abstract art on paper for a more subtle touch, Auckland's art community offers a wealth of choices.

Abstract Art Projects: A Creative Journey

For many, abstract art is not just something to admire, but something to create. Engaging in abstract art projects can be a deeply rewarding experience, allowing individuals to explore their creativity and experiment with new techniques and materials. Whether it's a simple abstract acrylic painting on canvas or a more complex mixed-media project, the process encourages personal expression and experimentation.

Abstract art projects can be particularly enjoyable for those who appreciate the freedom and flexibility that this genre offers. There's no need to adhere to strict rules or guidelines; the goal is to let the imagination roam free and to create something that resonates personally. This openness makes abstract art an excellent medium for artists at any stage of their journey, from beginners to professionals.

The Future of Abstract Art in New Zealand

The future of abstract art in New Zealand looks promising. With a growing number of artists pushing the boundaries of traditional techniques and exploring new mediums, the abstract art scene is set to expand further. There is a strong emphasis on incorporating local elements—whether through materials, cultural narratives, or environmental themes—creating a unique fusion that distinguishes New Zealand's abstract art from the global market.

Galleries and exhibitions across the country continue to support and promote both emerging and established abstract artists, while online platforms provide a global audience for their work. This combination of local enthusiasm and global reach ensures that abstract art in New Zealand will continue to thrive, evolve, and inspire.

Conclusion

Abstract art offers a world of possibilities, from the bold and vibrant to the subtle and contemplative. In New Zealand, the love for this art form is evident in both the local art scene and the online marketplace. Whether you're an art collector, a casual enthusiast, or an aspiring artist, there is a wealth of abstract canvas artworks, abstract art on paper, and abstract wall sculptures to explore and enjoy. As the abstract art movement continues to evolve, New Zealand remains a fertile ground for creativity, innovation, and artistic expression.

With so many options available, now is the perfect time to dive into the world of abstract art—whether by exploring the diverse offerings in Auckland's abstract art scene, purchasing abstract art for sale online, or even starting your own abstract art project. The journey promises to be as dynamic and colorful as the artworks themselves.

[sustainabilityandthecity]

Workshop Week (pt. 3) - Fashion Activism: Jeanine Clarkin

Our second Fashion Designer speaker was Jeanine Clarkin. I know I’ve said this about literally all of the speakers so far, but Clarkin truly left a lasting impression for numerous reasons. A Fashion Activist and Designer, Clarkin stands as a trailblazer in Māori fashion within Aotearoa. Renowned for skillfully blending indigenous and Western cultures, she established her label over 27 years ago. Since then, Clarkin has artfully woven her culture, storytelling, sustainability, and upcycling into her creations, long before these concepts became widespread [1]. Notably, she has also collaborated multiple times with esteemed figures such as the Pacific Sisters and Te Rongo Kirkwood. “Jeanine Clarkin’s designs tell stories, both gently and loudly, she introduced to cult couture new ways to tell stories by recycling and re-imagining fabric. She is ahead of her time” - Chantelle Whaiapu [2].

Clarkin has exhibited her collections both in Aotearoa and internationally, persistently advocating for indigenous design on a global scale. Drawing inspiration from the conceptual framework of the Wharenui, she embraces elements such as Whare Tinana (physical body), Wairua (spirit), Mauri (life force), and Te Taiao (environment), seeking to maintain their delicate equilibrium [1]. Her designs are infused with patterns originating from Tukutuku, honouring the rich tradition of Māori women's fiber art. Demonstrating a strong commitment to sustainable fashion, Clarkin’s work prominently features the repurposing of vintage, high-quality wool textiles. Through her creations, she delves into the complex narrative of colonisation and the historic exchange of Māori lands for blankets. Her garments stand as bold statements of contemporary high fashion, deeply rooted in the wisdom of Matauranga Māori [1].

Similar to our previous speaker Te Rongo Kirkwood, Clarkin approaches her craft with a holistic mindset. Graduating from fashion school during the peak of the Māori land rights and art renaissance in Aotearoa, Clarkin was deeply driven to let her cultural identity shape her designs. Her goal was to amplify Māori voices and culture within the fashion industry. This commitment led her to infuse Māori culture and traditions into her work, resulting in bold designs intended primarily for Māori wearers. Her focus wasn't merely on catering to the wider Pākehā audience but rather on crafting garments specifically for her own community. 

This ethos reflects to me an admirable perspective for a designer and entrepreneur: a Māori woman designing and producing for fellow Māori, deeply pondering what truly constitutes a Māori garment. 

"I managed to convince, inspire, trick an entire generation to wear this loincloth over their jeans," Clarkin proudly declares [3]. For Clarkin, her garments served as accessories to Te Reo Māori – Māori individuals adorned them during Te Reo classes, cultural gatherings, and protests. She views clothing as a non-verbal means of self-expression. Through her designs, Māori can proudly showcase their cultural heritage, boldly defying a history of suppression. "It helped people feel secure in their culture. It’s a tool to help and heal," she elaborates [3]. Furthermore, her work sparks discussions about Te Ao Māori and colonisation with non-indigenous communities. 

Clarkin's distinctive fusion of sustainability, upcycling, and indigenous cultural practices is extremely inspiring to me. From her innovative use of blankets transformed into garments to the seamless integration of her diverse cultural influences, there are many exciting concepts to draw from Clarkin's lecture. Both Jeanine Clarkin and Te Rongo Kirkwood have been incredibly inspiring designers to learn from, and I genuinely cannot properly express how much their stories have inspired me as a future designer. There is so much more I hope to explore regarding Clarkin and Kirkwood's cultural and sustainable practices in this blog and my own creative journey.

Thank you to Jeanine Clakin for sharing her incredible knowledge with us.

Signing off for now,

Adam <3

References

[1]

[2] Clarkin, Jeanine. Seminar presented at SF7502 Earth-Centred Design and Cultural Sustainability, Whitecliffe College, February 25, 2024.

[3]

Photos:

All accessed from https://www.jeanineclarkin.com/gallery

[annphanh]

CONSEQUENCES FOR CRIME

Sentencing reductions in New Zealand come in different forms, such as parole, remission for good behavior, home detention, and community-based penalties. These policies aim to find a balance between punishment, deterrence, and rehabilitation, while also ensuring public safety. When offenders are released, they may have some restrictions, like electronic monitoring, and the impact of victim statements can influence sentencing decisions.

The legal basis for these policies is the Sentencing Act of 2002, which highlights values like community protection, offender accountability, and fair punishments based on the severity of the offense. It's important to stay updated on the current legislation and guidelines, as the approach to sentencing reductions and criminal justice policies in New Zealand may evolve over time.

Currently, this is a topic of great political debate, with the National Party proposing stricter punishments to address the crime situation in Aotearoa. Their policy includes placing a maximum limit on sentence reductions, implementing harsher terms for convicted criminals, providing increased support for victims, and ensuring proper rehabilitation for remand prisoners (Luxon, 2023). This proposal has sparked various arguments, and I'll share some of them with you.

The government has taken some steps recently to lower the number of people in prison, like using more home detention and community sentencing. These measures, though, haven't been enough to offset the growing number of people being sent to prison. So, New Zealand's prisons keep getting bigger, and now the country has one of the highest incarceration rates in the OECD. This is especially concerning because Māori and Pacific Islanders are overrepresented in the criminal justice system. (Ministry of Justice, 2022)

There are a bunch of things that people say contribute to this high rate of putting people in jail in Aotearoa. Some potential good things that could happen are: making sure that there's less room for judges to decide things on their own, so that similar cases get treated the same way. And maybe this could help reduce the chance of unfairness or discrimination in sentencing. Also, when judges have less discretion, the justice system becomes more open and accountable, because judges have to follow the rules that are already set. Maybe the National Party has a point?

But there are also negative things and responses to what the National Party is proposing. For example, Labour has spoken out and said that National's policy has been used over and over again for many years. (Ensor, 2023) Plus, National got criticised for not thinking about how much it costs to keep people in the correction system.

The formulation of sentencing policies is heavily influenced by political discussions. These conversations happen in various settings, from media outlets to legislative chambers, and they have a big impact on the development and modification of sentencing laws. Cases or incidents that are reported publicly and catch the public's attention often lead to intense political debates. When the public raises concerns about perceived injustices in sentencing, politicians may feel pressured to examine and revise current policies. Advocacy and interest groups with different perspectives can greatly influence the direction of sentencing policies and contribute to these political conversations through lobbying and advocacy efforts.

With that being said, when we limit judges' discretion in sentencing, it can have a big impact on Māori and Pasifika communities because they are considered to be overrepresented in the system. By reducing judges' discretion, it may mean that they are unable to take into account cultural aspects that have an impact on the rehabilitation and reintegration of indigenous Māori into society, such as their connections to their land and community. This can lead to a one-size-fits-all approach to sentencing that doesn't address the unique circumstances and needs of Māori and Pasifika offenders, which can potentially continue the cycles of reoffending and marginalization within these communities. Additionally, when we limit judges' discretion, it may undermine the principles of restorative justice, which prioritize healing and reconciliation over punitive measures, and this can further worsen the unfairness faced by indigenous populations in the criminal justice system. (Tauri, n.d.)

Public opinion plays a big role in shaping decisions on sentencing policies. When policymakers make choices about which direction to take with policies, they often take into account what the general public thinks and wants. It's important for sentencing policies to align with public sentiment because it can greatly improve the chances of getting re-elected for politicians. Surveys and polls are key in figuring out what the public thinks about sentencing issues, and they give policymakers important data to help them make decisions. Public sentiment can also push for changes in the criminal justice system. When people are worried about things like mass incarceration, racial disparities in sentencing, and whether or not the current sentencing policies actually work, they can put pressure on lawmakers to make real changes. For example, if surveys show that people are really unhappy with how the sentencing system is working, elected officials might feel like they have to do something about it in order to keep the support of the public. On top of that, public sentiment can also influence how resources are allocated. Instead of only focusing on punishment, people's opinions can help guide the allocation of resources towards programs that focus on rehabilitation as an alternative.

Ideologies of political parties have a big impact on strategies to reduce sentences. Policies about sentencing are heavily influenced by the ideology of the coalition or party in power. Conservative political ideologies often stress the importance of maintaining law and order and promote strict guidelines for sentencing as a deterrent. They might be against reducing sentences and prefer a "tough on crime" approach. On the other hand, progressive or liberal parties focus more on reducing sentences and implementing rehabilitation programs. Their main concerns usually revolve around prison overcrowding, racial disparities in sentencing, and the human toll of harsh sentencing guidelines. Sometimes, bipartisan collaboration can lead to improvements in sentencing that bridge conservative and liberal philosophies. Initiatives for criminal justice reform, particularly those related to mandatory minimum sentences and alternatives (Travis et al., 2014).

With a bunch of different opinions and arguments for and against the policy that I've mentioned, the talk about reducing sentences in New Zealand can get pretty complicated and nuanced. Some people say that reducing sentences might result in punishments that don't really show how serious the crime was and make people lose faith in the legal system. On the other hand, some folks believe that it can help with restorative justice and rehabilitating offenders.

[oliviamartinphotography]

Chevron Hassett 

Chevron Hassett is a visual artist born in Lower Hutt, Aotearoa. He works mostly with lens-based media, sculpture and installation. His work, as he puts it, reflects his life. Subject matter and ideas are influenced by his environment. From living in the city to living in Whangarei, these environments and experiences he has within them inspire his work. The Māori concept of whanaungatanga, meaning to connect, build and maintain relationships within communities, is prevalent in his earlier work. His recent works deal with ideas surrounding socio-cultural identities, urban indigeneity and colonialism within Pacific and indigenous histories. He aims to represent local Māori by telling their stories. His series "The Children of Maui" is my favourite of his work. It offers such a raw, stripped back perspective of his environment and local Māori which is very beautiful and enhanced by his shots.

[jesspressnellgrad604]

Creative Profile 5 - Brett Graham

Brett Graham is an Aotearoa based sculptor and artist and is the son of prolific sculptor and artist Fred Graham.

"Brett Graham is widely regarded as one of New Zealand’s most accomplished contemporary artists. He has been an artist full time since 2005, exhibiting twice at the Sydney Biennale in 2006 and 2010 and at the 52nd Venice Biennale in 2007. Graham’s father, sculptor Fred Graham, and contemporaries such as Selwyn Muru, Paratene Matchitt and Ralph Hotere were early influences on his artistic development.

Graham works from Tāmaki Makaurau, though has been a constant traveller through his career. He has undertaken a range of Residencies throughout Te Moana-nui-a-Kiwa (the Pacific), North America, Asia and Europe and his work is included in the collections of National Gallery of Canada, the National Gallery of Australia, the National Gallery of Victoria and the Honolulu Museum of Art.

As noted by the Laureate selection panel, “His understanding of Māori, indigenous and western art forms, his perspective as tangata Māori, tangata moana and his steadfast commitment to artistic excellence, results in works which in scale and form may be confronting, yet conceptually endowed, meditative and beautiful. We are challenged to reflect on our tangled, contested histories and the complex relationships they encompass, through a lens of respect and decorum, as a pathway to the future.”

[fatehbaz]

Global conceptions of Antarctica are dominated by colonial narratives [...]. The politics of Antarctica remain firmly rooted in notions of discovery and sovereignty on a ‘tabula rasa’, where the intersection of nationalism and resources leads to particular challenges and consequences. [...] [These] dominant historical Antarctic narratives and claims [...] have far-reaching consequences for present policy and governance. [...]

Despite Indigenous involvement in [...] science in Antarctica, scientific practice, state-centric governance and decision-making has excluded Indigenous knowledge, interests and aspirations [...].

In the Southern Ocean, the migratory pattern of whales, and the humans that have charted and followed them, is just one relationship that connects Indigenous peoples and Antarctic seascapes. Humpback whale migrations through the seascapes of Tahiti, Tonga and other Polynesian islands across the Pacific have led to strong cultural associations and non-human kin relationships with migratory cetaceans that are embedded in many Polynesian stories.

---

Human voyaging into Antarctic waters by Hui Te Rangiora and his crew on the vessel Te Ivi o Atea in around the seventh century may have followed cetacean migratory routes from Rarotonga in the Cook Islands. In so doing, they were perhaps the first humans to set eyes on Antarctica; evidence of their likely discovery lies in its name Te tai-uka-a-pia which denotes the frozen ocean, as well as oral accounts handed down through the generations.

Similarly, accounts of the flora, fauna and physical geography indicate sub-Antarctic as well as likely Antarctic visitation by Hui Te Rangiora and his crew; thirteenth century Māori sub-Antarctic exploration is well-established [...].

Other noted Māori explorers of the Antarctic region include Tamarereti, who pursued the origins of the aurora australis.

---

These traditions record enormous ice cliffs with towering mountain ranges behind them, with nowhere to gain a footing, and suggest that those with Tamarereti gained an understanding of the physicality of the Antarctic region, including the Antarctic Circle. Hui Te Rangiora’s descendant Te Aru Tanga Nuku hundreds of years later also journeyed far into southern waters.

In Aotearoa New Zealand, these explorers are of such importance that they remain commemorated in elaborate carvings and recalled in navigational and astronomical knowledge. 

For example, Hui Te Rangiora’s voyage and return are depicted in carvings at the source of the Riuwaka River at the top of the South Island, as well as on the meeting house of the Ngāti Rārua people. For Māori, the Milky Way in the night sky is more than a navigational system; it represents Tamarereti’s seafaring vessel, or waka, Te Rua o Maahu. In this visualization of astronomical knowledge, the Southern Cross is the anchor and the two pointers the rope for the waka.

These visual memory aids underscore the skills required to navigate southern oceans, and place Māori firmly in relationship with the southern oceans. [...]

[A]n Indigenous paradigm from Aotearoa New Zealand offers a relational perspective [...]. By highlighting Māori connections with Antarctica the continent, Antarctica the seascape and Antarctica the living entity of human-kin relationships, we challenge the intellectual legacies of Antarctica framed within existing mindsets and expand these to grow alternative conceptions of human relationships and responsibilities to Antarctica and the seas that surround it.

---

Figure, captions, and all text published by: Priscilla M. Wehi, Vincent van Uitregt, Nigel J. Scott, Tasman Gillies, Jacinta Beckwith, Rata Pryor Rodgers, and Krushil Watene. “Transforming Antarctic management and policy with an Indigenous Maori lens.” Nature Ecology & Evolution 5, 1055-1059. May 2021. [Bold emphasis and some paragraph breaks/contractions added by me.]

[thisisgraeme]

Transform Learning with AI in Education: Volume 1 - Insights for Educators

Kia ora! I’m excited to share Volume 1: AI in Education–Insights for Educators, a practical guide for educators and leaders in Aotearoa. Learn how to navigate AI tools, ensure ethical use, and apply culturally responsive frameworks to support all learners

Why We Wrote a Guide on AI in Education (And Why This is Just the Beginning) Kia ora! Over the past year, I’ve been working with my fellow AI enthusiast, Michael Grawe, on a project that’s been both exciting and challenging: a three-part guide series on Artificial Intelligence (AI) in Education, tailored specifically for educators in Aotearoa New Zealand. We just released Volume 1, and I’m…

[mutant-distraction]

An interesting perspective of the Humphead wrasse, with its thick lips on display.

The Humphead wrasse (Cheilinus undulatus), also known as Napoleon or Māori wrasse, is a large coral reef fish widely distributed across the Indo-Pacific region. Males usually grow to an average length of 1 m but some are known to have reached up to 2 m and weighing up to 180 kg while females rarely grow larger than 1 m. This species can be recognised by its thick lips, the prominent bulge on its forehead and two black lines behind its eyes. The Humphead wrasse is crucial to coral reef health as its feeds on crown-of-thorn starfish which is a damaging coral reef predator. However, it is listed as Endangered on the IUCN Red List and in Appendix II of CITES. Its main threat is due to unsustainable and severe overfishing since it's a valued luxury food within the live reef food fish trade across Southeast Asia.

📷 garybrennand

www.instagram.com/garybrennand/

[bimonkee]

Adding onto this!!

Family and community is an extremely important in many cultures within the Pacific Islanders. Maybe not all but most, so the gods/goddesses would most likely visit their kids every once in a while to either bond with them or just to check up on how they’re doing.

Also! I feel like cause of this fact, the gods/goddesses probably claim their children either at birth or when they reach the age that their powers start showing. And since in the mythology, the gods don’t seem to mingle with mortals other than for protection, guidance or anything like that, I can imagine that they wouldn’t have many Demi-god children but they would maybe have a few.

Also due to a more peaceful life of their lives, monsters aren’t a problem and due to Maui being a clear implication that Demi-gods don’t really age past a certain point they can live up to thousands of years but some will choose to age normally if they choose to live outside the protected village. But since they don’t deal with problems in the godly world, their mortal life is what they deal with the most.

* The Sea and water demigods dealing with the great garbage patch in the Pacific Ocean

* Most Demigods who live in the islands majority of the year dealing with tourists.

* The Māori demigods dealing with the New Zealand government and the past that is being ignored.

* All Demigods who live with their mortal parent dealing with racism or their culture being erased.

* The sexualised perspective of tourist with some pasific islander cultures due to their cultural performance clothing and dance.

I also 100% believe that Maui would be like the Chiron of the village for the young ones, being the most known and most likely oldest Demi-god.

!!!RANDOM THOUGHT!!!

So, I’ve been watching Percy Jackson and with the confirmation that other cultural gods exist I begin brain storming…Pacific Islander gods/goddesses and their Demi-god children in their own version of camp half-blood.

Maybe instead of a camp, it’s split into 3 different villages in the pacific islands. One in each region of the Pacific Ocean, Polynesia, Micronesia, Melanesia. And instead of cabins, it’s obviously huts and they’re separated into what the godly parent is in charge of instead of WHO is the godly parent. So a Hut for the sea, earth, war, sky, weather, hunting ect.

Another idea to go with the thought comes from the Moana movie, how Maui has his tattoos. Since Maui’s tattoos are all about his victories and stories, what if the children of Polynesian gods/goddess get magically tattooed whenever they face a victory or complete a quest. So like, whichever has more tattoos are obviously the more experienced since they’ve completed more quests or had more victories.

[sciencespies]

Antarctic ice reveals human impact on the atmosphere long before industrial fires

https://sciencespies.com/environment/antarctic-ice-reveals-human-impact-on-the-atmosphere-long-before-industrial-fires/

Antarctic ice reveals human impact on the atmosphere long before industrial fires

Our planet’s air during the preindustrial period was not quite as pristine as you might think, according to new research out of Antarctica.

An analysis of six ice core drillings taken from the southernmost continent has revealed a substantial increase in black carbon starting in the 14th century.

That’s long before humans in the southern hemisphere started burning coal, which means the pollution likely came from preindustrial fires feeding on natural biomass. Over the intervening 700 years, emission levels appear to have steadily climbed, ultimately tripling in number.

When researchers modelled the potential flow of black carbon particulates, they tracked the soot back to Tasmania, New Zealand, or Patagonia. While Tasmania and Patagonia were settled by humans first, the Māori people made their home in New Zealand in the late 13th century, right around when this black carbon started showing up in Antarctica’s ice core records.

The island nation’s paleofire records also align with this timeline, which suggests land burning in New Zealand was responsible for the large-scale distribution of soot.

The initial mass migration to New Zealand must have been quite large to achieve an impact so immediate and widespread, researchers say.

“The idea that humans at this time in history caused such a significant change in atmospheric black carbon through their land clearing activities is quite surprising,” says atmospheric scientist Joe McConnell from the Desert Research Institute (DRI) in Nevada.

We once thought human impacts on Earth’s atmosphere or our planet’s climate prior to the industrial revolution were negligible. Studies like these contribute to a growing awareness that our ability to change environments far and wide isn’t a strictly modern phenomenon.

New Zealand was the last habitable place on Earth to be inhabited by people. When the Māori arrived, forest cover was approximately 85 percent. Today, it’s about 25 percent, and research suggests these forests were lost or eroded within a few decades of human habitation.

As far back as seven hundred years ago, it seems the Māori were systematically burning native forests, which had little experience of fire and succumbed easily to the new force.

(Jack Triest)

Above: The James Ross Island core drilled to bedrock in 2008 by the British Antarctic Survey provided an unprecedented record of soot deposition in the northern Antarctic Peninsula. Robert Mulvaney led collection of the core.

As evidenced in the ice cores, black carbon from these fires made it as far as Antarctica. Given what we can see today, emissions appear to have peaked in the 16th century, hitting roughly 36,000 tonnes per year.

To put that in perspective, in 2019, global energy-related CO2 emissions hit 33 gigatonnes, which is over a million times more.

Still, even that relatively small amount of black carbon dwarfed other human emissions in the region during the last 2,000 years, impacting some of the remotest parts of our planet.

Not only was the sooty smoke deposited in Antarctica, micronutrients from these fires probably also dropped into the South Pacific, feeding plankton thousands of kilometers away.

“Compared to natural burning in places like the Amazon, or Southern Africa, or Australia, you wouldn’t expect Māori burning in New Zealand to have a big impact, but it does over the Southern Ocean and the Antarctic Peninsula,” says hydrologic scientist Nathan Chellman, also from DRI.

“Being able to use ice core records to show impacts on atmospheric chemistry that reached across the entire Southern Ocean, and being able to attribute that to the Māori arrival and settlement of New Zealand 700 years ago was really amazing.”

Not only do findings give us a better baseline by which to measure current industrial activity, they also reveal truths about New Zealand’s earliest settlers and the timing of their arrival in this great south land.

Just a few months ago, a study in New Zealand found the widespread deforestation started by the Māori and continued by white settlers today has already caused some insects to lose their ability to fly.

After all, without the forests around to protect them, the winds of change could easily blow a flying insect off course. The current study once again suggests we are the ones doing the huffing and puffing.

The study was published in Nature.

#Environment

[deargodsno]

Some months ago a new student told me she had missed the first three weeks of lectures for the year because she didn’t have a suit. I asked what she meant, and she replied that, because she was studying to be a lawyer, surely she had to wear a suit to her lectures.

While humorous on one level, this anecdote is an example of what we call the “hidden curriculum”: the unspoken rules, behaviours and perspectives that can have a significant effect on the success or failure of students, and their levels of comfort in environments that may be new to them. While the explicit syllabus covers what is substantively taught, the hidden curriculum relates to social expectations of conduct and behavioural patterns, as well as deeper values and messages that are subconsciously conveyed about what is “normal” – which results in centralising and prioritising of particular cultural values, gender, sexuality, faith and class perspectives.

The hidden curriculum can include issues such as what to wear and forms of address – which may seem minor, but can cause embarrassment and discomfort if breached. The one time when suits are required in legal education is when students appear in mock trials or moots. Not being “appropriately attired” resulted in marks being deducted, which caused immense stress among students who had never owned formal wear or the means to buy it.

A group of my friends shared the one suit they had between four of them in their moot – which was made obvious by the fact that its owner was 6ft 4in and the suit was bright teal (it was the 90s – all the rage). I also recall the anxiety of not knowing what to call my lecturers, or whether it was OK to make contact outside the classroom and, if so, how – expectations that are more commonly communicated today.

The boundaries of professional relationships and behaviours are also culturally bound: an experienced teaching colleague who migrated from Scotland was initially mortified to see me sharing personal information and photos of my whānau in my classes, but has since learned that Kiwis in general are less formal than Europeans, and that such practices are key to engaging with Māori and Pacific students.

Ways of showing respect differ between groups – years ago I was puffing slowly uphill to a class across campus, and turned to tell the group of students who were lagging behind me to overtake. One young woman timidly said that they couldn’t: as Koreans, it would be disrespectful for them to place themselves in front of their teacher. We were all late due to me being unfit.

While we regularly review and reflect upon the explicit content we teach as educators, other things remain largely unquestioned, such as the role of the teacher, the geography of the classroom, how we test knowledge, and what we do when we don’t understand. The classical pedagogical method in law teaching is the Socratic method of question and answer – co-operative argument through questioning – which is challenging to many non-Westerners, many of whom actively avoid classes where it is used, for fear of being exposed.

And yet this method is assumed to be effective, known and understood – without any direct instruction. It may seem obvious to many that, if we don’t understand, we raise our hand and ask for clarification, and therefore our silence implies understanding and/or acceptance of what was said. Those assumptions do not apply across all cultures and ethnicities. Perceived class barriers also prevent some people from asking for help for fear of drawing attention to themselves.

Sexuality and gender identities are also relevant. Despite the general movements in social and legal acceptance of diverse sexualities over the past generation, for the most part textbooks, assessments and exams presume heteronormativity. I had never thought about this until a gay colleague wrote a same-sex couple into an exam paper this year, in which their sexuality was not relevant at all. In recent years I had been careful to include names from different traditions in assessments, but not sexualities – as a straight, cis-gendered woman, I have not seen the need.

Systems and processes often fail to recognise or provide for different cultural or faith priorities, such as family or community obligations, sabbath timings or requirements, and this can cause frustration, confusion and resentment. Knowing how to navigate the processes and practices of environments such as universities is not second nature to members of communities who have little connection or experience of them.

The connection to privilege is obvious – what sociologist Robert K Merton dubs “the Matthew effect” of accumulated advantage, in reference to the biblical verse from the Gospel of Matthew that can be summarised as “the rich get richer and the poor get poorer”. In relation to the hidden curriculum, this means the unarticulated rules confirm general power dynamics to further entrench privilege.

In his 2008 book Outliers, Malcolm Gladwell illustrates the impact of a lack of social and cultural capital in tertiary education through the example of Christopher Langan. Despite an IQ that left Einstein in the dust, working-class Langan bombed out of university due to seemingly minor hiccups – missing a deadline for financial aid and being unable to navigate how to make a timetable change. In my experience, these kinds of bumps in the road can trigger a fight-or-flight response in students like Langan, who catastrophise such events to affirm their inner narrative that they neither fit nor deserve to be at university.

Scrutiny of the hidden curriculum is important to recognise barriers to effective engagement and success. It may also uncover discrimination – and inconsistency in messaging – such as teaching Māori knowledge, divorced from a Māori context, values and practices. Good reflective practice requires ongoing questioning and analysis of why we do what we do.

Khylee Quince is associate professor of law at Auckland University of Technology.

[airandangels]

“Of the 1651 offence or weapon incidents where a person's ethnicity was known, 51 percent were Māori, 36 percent Pākehā, 10 percent Pacific, less than 3 percent Asian and less than 1 percent Middle Eastern, Latin American or African.

“There were 49 uses of force towards people; of which 53 percent were used against Māori people, 41 percent against Pākehā, and 4 percent against Pasifika.

“One suicidal man was pepper sprayed. Others who were suicidal or in mental distress had Tasers presented towards them.”

For perspective on these numbers, Māori are about 15% of New Zealand’s population but half the prison population. We’re not running a fair system here by a long shot.

[marinamitchellblog]

Week 1 Independent  Study

1.Have a first-up curious online broad research: what types of museums exist in areas you have potential interest; - The Louvre - National Gallery of Art - The Museum of Modern art - Tokyo Photographic Art Museum - Military Museums - City Gallery Wellington Top 3 Museums of Interest (collections and what they do) a.)Te Papa showcases newzealand local and international culture to us and travelers celebrates art and creative means as a form of documentation of historical events Focus on Pacific cultures and taonga Maori and respectful curatorial processes educates and informs “container of treasures” collect, exhibit and preserve heritage, science and achievement Collections: Marae 800,000 art pieces, taonga, collection objects , botanical and zoological specimen Anzac exhibition Toi Art Collection Highlights : https://collections.tepapa.govt.nz/

b.) Museum of Sex (NYC) prioritising the importance and cultural significance of  preserving human sexuality immersive and educational experience including science, history, and art exhibits.  offer a variety of fun and cultural exhibits that showcase different perspectives on sexuality. advocating open discourse surrounding sex and sexuality as well as striving to present to the public the best in current scholarship unhindered by self-censorship. Collection: the Museum of Sex preserves an ever-growing collection of sexually related objects that would otherwise be destroyed and discarded due to their sexual content. permanent collection of over 20,000 artifacts is comprised of works of art, photography, clothing and costumes, technological inventions and historical ephemera

c.) Venustempel Museum of Sex (Amsterdam, Netherlands)

Worlds 1st therefore oldest sex museum in existence

aims to reveal and illustrate the attitude people had towards sex from Classical Antiquity until the Victorian period

The museum looks at many aspects of sensual love through the ages, displaying an extensive collection of erotic pictures, paints, recordings, photographs and more. fun,laughs,light hearted entertainment, amusing examples of sex toys, pictures and general information on sexual persuasions kitsch yet informative Collections: quite historic artifacts and date exhibition nothing that really develops and ties in the 21st century navigating exhibitions

2.Visit  museum or art gallery and sketch two maps;

Map 1 : 3 first works you naturally gravitate to  Map 2 : Move the way the space intends for you to move

Differences and Similarities ;

map 2 ;cleaner, more efficient appears to make more sense fleshed out on a map. more vs less rooms visited  different directions and flows What impact does the atmosphere have on your senses?

formal layout directs you straight to info desk open layout directs you straight to Hancock gallery sounds and obnoxiously big or interestingly intriguing works draw the eyes and ears Does gallery space contribute to your experience of items of display?

large space everything's quite distanced and has its own space to shine not interfering with experience of other works.

permitted to wander 

3.

Core Text - Readings Notes

Lewis - History of Museum

institutions that preserve and interpret material evidence of human race, activity and the natural world innate human desire to collect and interpret and having discernible origins in large collections built up by individuals and groups before the modern era describing private collecting conducted in ancient and medieval times reviewing the development  of modern public museums from renaissance to present day  etymology classical origins greek “mouseion”seat of muses philosophical institution or a place of contemplation collection of curiosities established to preserve, display a collection to the public 18th century  19th//20th century the word museum denoted a building showing cultural material in which the public had access museums continued to respond to societies that created them -emphasis on building itself less dominant

ecomuseuems outdoor environment virtual; museums museology and museography- body of theory conversation and display conflict of purpose - lack of clear identity human propensity to acquire and inquire environment ,communication classical collections archeological and historical records don't provide evidence that museum life we know today developed in such earlier times religious,magical,economic,historical values sepcicailised personal collections interest in human and natural history spirit of system and rational inquiry toward the modern museum private, public,collection renaissance-symbols of social prestige tradition, nobility, ruling advancement of knowledge increasing world exploration not only for inspection and entertainment of learned and curious but for general use and benefit of public instruction and gratification public concern royal collections in France inaccessible to public European colonial influence influence of industry and science social reforms to overcome problems resulting from industrialization contributed to the development of municipal museums urbanized population legislation educational facility a source of leisure activity medium of communication inspire and voice a sense of wonder,reality ,stability and nostalgia increased awareness of the environment and the need to preserve it 

Huhana Smith

Mana Taonga and the micro world of intricate research and findings around taonga Māori at the Museum of New Zealand Te Papa Tongarewa

-guide to practice of staff- collections of art ,cultural, natural ,historical material in context of Aotearoa  museum studies -Maori curators involved in intricate and intimate research contemporary understandings how curators actively engage in research processes that re-enhance the inter-relationships between people and their cultural material indigenous cultures-colonial states mana taonga- principle acknowledges spiritual forces wairua,mana people, animals ,inanimate objects, symbols ,collection iwi,hapu ,whanau representation genealogical reference system methodological system tribal elders and leaders sensitive careful final verification on research findings personal adornment ceremony embodiments of an ancestral past with the responsibility to care for them in future prized personal possessions harmony peacemaking ancestral and or personal significance safe keeping, memories and associations passing on knowledge

[letterboxd]

TIFF Premieres.

We reveal the highest-rated world premieres at Toronto, and unpack the Letterboxd reactions to the TIFF People’s Choice winner, Jojo Rabbit.

The ten highest-rated narrative feature films at TIFF this year were, in order: Parasite, Bacurau, Portrait of a Lady on Fire, Marriage Story, The Lighthouse, Knives Out, Uncut Gems, Pain and Glory, Honey Boy and Jojo Rabbit.

Of those, only Knives Out and Jojo Rabbit had their world premieres at TIFF; the others have had the chance to climb the Letterboxd ranks over the past several months (with the exception of Marriage Story, which premiered at Venice, and Uncut Gems at Telluride).

But when we looked at the ten highest-rated narrative features based purely on TIFF world premiere status, that shook things up. We get some Midnight Madness, several local Canadian features, three women directors, and Riz Ahmed speaking both in English and American Sign Language. We made a list:

The top ten premieres at TIFF 2019 as ranked by the Letterboxd community.

Unpacking the People’s Choice winner

The Taika Waititi-directed Jojo Rabbit won TIFF’s coveted Grolsch People’s Choice award, a gong that often points directly to Oscar success, as outlined in this IndieWire explainer. The first runner-up was Noah Baumbach’s Marriage Story, and Bong Joon-ho’s Parasite claimed third spot.

We were at Jojo Rabbit’s world premiere screening, where the atmosphere was buoyant and the jokes landed just where Waititi intended (for most audience members, but we’ll get to that).

A still from Taika Waititi’s short film ‘Tama Tū’ (2005).

Considering Jojo Rabbit in the context of Waititi’s earlier films, it’s rewarding to see threads that run through his other work all tied together in this. War, and the ordinary people who get stuck in it, is a topic of fascination, from the silly humor juxtaposed against a tense waiting game in Tama Tū, his short about a small contingent of the 28th Māori Battalion fighting in Italy in World War Two, to the scene on the beach in Boy, where Boy, his brother and their wayward father Alamein play at “war” with sticks. (The name is no accident: El Alamein in Egypt was the site of the longest WWII campaign fought by New Zealand soldiers, including members of the Māori Battalion. It's telling that Alamein prefers to go by his Crazy Horses gang name, "Shogun".). Then there’s the epic finale of Hunt for the Wilderpeople, which literally involves the New Zealand Army.

Te Aho Eketone-Whitu, James Rolleston and Taika Waititi in ‘Boy’ (2010).

Children in sticky situations—usually caused by adults—is another common thread, whether they’ve been left to fend for themselves outside a rural pub (watch that one here), or lifted from the city and fostered out to a remote farm, or sent to a Nazi Youth boot camp. These are horror scenarios, but by focusing on the worlds and friendships that children create for themselves in these circumstances, Waititi invites us to see how ridiculous grown-ups are; often more childish than the children they’re supposed to be parenting. That stupid Terminator argument between Ricky Baker and Paula the child welfare officer in Hunt for the Wilderpeople; the “foolish sucka!” scene in Eagle vs. Shark; the debate over whose turn it is to do the bloody dishes in What We Do in the Shadows.

A still from Taika Waititi’s short film ‘Two Cars, One Night’ (2003).

Colonialism and its consequences sit heavily beneath all of Waititi’s work, even Thor: Ragnarok, in its examination of the bloody history of Asgard, the events that precipitate a refugee crisis, and what it means to lose your land, and your people. Absent parents—and the effects of yearning for father figures in particular—are common themes, too. This is true even when a parent is present. Witness Alamein's plea in Boy: “Can you stop calling me ‘dad’? It sounds weird.” And the slow transformation of Sam Neill's "man alone" Wilderpeople character.

Waititi said at the Jojo Rabbit premiere that the film is a love letter to solo mothers. This applies off-screen as much as on: his mother introduced him to Christine Leunens’ book Caging Skies, upon which the film is based, and his wife, producer Chelsea Winstanley, who spent many years as a solo mother, provided inspiration for the imaginary friend storyline. Finally, Jojo Rabbit is also an ode to freedom, especially the freedom of one’s own mind in the face of inappropriate heroes and dangerous ideologies.

One thing the Letterboxd reviews out of TIFF agree on: the brilliant young actors (Roman Griffin Davis as Jojo, Archie Yates as his best friend Yorkie, and Thomasin Harcourt McKenzie as Elsa). “One has to congratulate Waititi for his—once again—great casting. The child actors are a joy to watch,” writes Jesse, with Brock praising McKenzie in particular: “Thomasin McKenzie smashes it again, proving with this, and last year’s underseen masterpiece Leave No Trace, that she is one of the best young actresses working today.”

What’s more debatable, looking through the reviews, is Waititi’s command of the film’s tonal shifts. "This is stupid and smart at the same time and is made with a great big heart," writes Ella. “Some things happen that are so heartbreaking that it would be difficult to imagine how the film could go back into joke mode a mere two scenes later, but it does, and it works,” observes Justin. This was all a pleasant surprise to Matt, who writes: “I had no idea Waititi was capable of landing such diverse and effective tones while still keeping things (relatively) fun.”

“Taika’s skill is to masterfully weave humor, sweetness, the absurd and goofiness right alongside weightier issues and tragedy,” Jennifer elaborates. “He does it with such a deft hand that you might miss how incredibly talented he is. He is my modern day Frank Capra.”

Sam Rockwell, Scarlett Johansson and Roman Griffin Davis in ‘Jojo Rabbit’.

However, not everyone was charmed by Waititi’s style. Keith Uhlich took issue with the way the director “prefers to treat his audience like drooling cretins who need their hands held through every shift in tone, reassured that everything, even in a world off its axis, is going to work out”.

“Anti-intellectual nonsense,” writes Jesse. “Waititi claimed to have made this film in order to remember the horrors of nazi Germany and WWII, instead it joins the ranks of narratives that [revise] history… belittling them from their ideology.”

This was concerning to Awilmc: “I was shocked to read a number of negative reviews that said it glossed over the details of WWII… I mean… it was a satire and told through the perspective of a child who clearly wasn’t aware or, at the very least, did not fully understand the circumstances of the devastation and evil around him… Jojo was after all in every single scene.” Adds Karsten, “If there was a film that truly felt like it needed to happen in 2019, it was Jojo Rabbit.”

At several points in the film, characters note that, within the horrendous circumstances of war, people "did what they could". The same is true of Waititi, from whom nobody expects a straight-up drama. In what other movie would "Shitler" be portrayed with a shabby German accent by a Jewish-Māori from the South Pacific?

‘Jojo Rabbit’ is currently sitting at 3.9 out of 5 stars on Letterboxd; higher than any other aggregated score for the film. It opens in US cinemas October 18 and over subsequent months around the globe.