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week 8 group tasks

Group work

Group Task 1

Meet up and share the resource you've found (this should give you 5-6 resources per group), and add to the mind-map you made last week. (about an hour)

Start to plan what your tool might be, in relation to this. What might be some particular tikanga/ethics/values you might need to consider in relation to your tool. And why are they important to your specific project? (about an hour)

Group Task 2

WATCH: Meet in your group to watch the following video together:

Lee, Kerry Ann. “Not about us without us: Asian Aotearoa Arts.” Presentation as part of Words As Weapons programme on occasion of Candice Lin’s Pigs & Poison exhibition at The Govett-Brewster Art Gallery, New Plymouth, 26 September 2020.

(Total viewing time: 34mins. Watch from timecode 56:10 – 1:30:26)  

DISCUSS: What are some of the key ideas in Kerry Ann Lee's lecture? Keep notes as a group. (about 30 mins)

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week 8 independent

Task 1Reflect: Have a look at your responses to the independent study from week 7, how did this weeks class discussion deepen or help develop and expand your initial understanding? You could write about this in a sentence or two, or you could go back and add to your original notes.

well it did and didn't, catherine and holly chatted about how we just need to be really careful about appropriation and sharing knowledge that isn't ours. Need to think long and hard about our positions as New Zealanders and how we can incorporate the ideas but not colonise them. Which in a way sounds quite difficult to do - lots of nuance to this subject because there aren't huge rights or wrong in the world of design there is just acceptable and unacceptable - without being a part of the culture who the knowledge belongs to it's hard to know when is too far - but I guess one of the easy ways is to acknowledge who we are making it for and why.

Task 2 Research your topic and find 1 academic resource from the library or online — Don’t forget to try out the discovery and research advice.Read what you have discovered and sourced — make notes. (about 2hrs)

Clive Aspin, 'Hōkakatanga – Māori sexualities', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/hokakatanga-maori-sexualities/print (accessed 22 September 2023)

this is a nice little piece of writing about maori sexuality - it goes over traditions to do with sexuality, ways this is expressed through songs and art. it also goes into historical examples of same sex relationships and things that happened when the settlers arrived in nz. It also talks about contemporary nz, ideas, acknowledgements, and projects. It's quite short but it gives really good starting points for historical information.

basically it starts by talking about how open maori were with discussing sex and sexuality - with some quotes from Hinepuariari, and Rongomaiwahine, both which I cannot understand fully because I don't know old timey english

Hinepuariari; ‘Kāore hoki tērā te hanga o taku tāne, kāore e rūpeke mai ana, takoto noa mai te nuinga i waho.’ (The remarkable thing is that the treasure of my husband could not be admitted and the major part of it was obliged to remain outside.)

Rongomaowahine; ‘Nā te mea anō rā he kōpua pāpaku, mehemea e taka mai ana ki te kōpua hōhonu a Rapa e tuhera atu nei, pokopoko ana ia ki roto.’ (It is because it is a shallow pool; should it have fallen into the deep pool of Rapa (her father) now opening towards him, it would have been lost out of sight.) 

another thing gathered from folklore is the story of Tūtānekai and Tiki. - Tūtānekai refers to Tiki as ‘taku hoa [my friend] takatāpui’. The term takatāpui was defined in the Dictionary of the Maori language compiled by missionary William Williams (1844) as ‘an intimate companion of the same sex’.

sexuality is also present in song and carvings such as a waita composed for a young man named Papaka Te Naeroa, who died in battle. It describes him as ‘Ko te tama i aitia e tērā wahine e tērā tangata.’ (A youth who was sexual with that woman, with that man)

then there are also carvings that have the sexual organs on them, so the gender of the ancestor can be known there is also depictions of sexual acts such as A papa hou (carved box), in the British Museum, depicts male figures having sex.

then we move onto maori sexuality upon european arrival - viewed from an outsiders point of view because there are accounts from visiting sailors about what they observed and saw and thought such as; Māori chiefs would often have more than one wife. Except for puhi (high-born women set aside for a political marriage), sex before marriage carried no stigma - a French explorer; Julien Crozet said, ‘[Māori] gave us to understand by signs that we must not touch the married women, but that we might with perfect freedom make advances to the girls.' then a naturalist Georg Foster said; 'Their ideas of female chastity are, in this respect so different from ours, that a girl may favour a number of lovers without any detriment to her character; but if she marries, conjugal fidelity is exacted from her with the greatest rigour.' which is in a way backwards to theirs, in western society it is believed that no woman have sex with any man until after she is married, from whence onward she would only be able to have sex with this one man to whom she is married. - going off of this maori also believed it important that children born outside of marriage be raised within the tribe to gain ancestral knowledge from their whanau about their whakapapa, tikanga and te reo maori.

an historical example of new settlers cohabiting in same-sex relationships with Māori. The most well-documented example is the Reverend William Yate, an English missionary. His relationship seems to have been accepted by the Māori community but it was frowned on by his religious peers. Richard Davis observed that ‘[they] showed no shame. They simply declared that they were unaware of any sinfulness in such practices and that Yate had not initiated them.’

then we move on to the influence, sexual attitude of maori changed due to what the missionaries imposition of a code of conduct based on victorian concepts. such as; sexual behaviours is to only occur between a man and a woman within the parameters of marriage and for the purpose of procreation.

the imposition of these ideas led to some pretty drastic attempts at removing sex adjacent things in carvings and karakia. Sexual organs in carvings were often covered over or removed. Waiata and karakia, which often had explicit language in them, were often censored/changed. Europeans collecting Māori traditions often censored them. John White, a collector of numerous Māori traditions and stories, noted, ‘Nearly all my best tales are tainted with indecency’

contemporary society

Nowadays in a more open and willing society the term takatapui is being reclaimed as it acknowledges both the sexual and cultural aspects of one’s identity, and has both contemporary and traditional connections with the Māori community.

It is important to note that the term takatāpui embraces transgender men and women. As is the case with many indigenous peoples throughout the world, transgender people hold a revered position within Māori society. Transgender people play an important role within both the takatāpui community and wider Māori community as holders and transmitters of ancestral knowledge.

Task 3Read: This task prepares you for next week. Read the following and make notes:Lu, Rose. “All Who Live on Islands.” The Pantograph Punch, 3 September 2018. 

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notes week 8

Watch: Guarding the Family Silver (NZ on Screen), a documentary presented by Moana Maniapoto.

in class we didn't really do much, we had holly read us a karakia from her perspective/position of a pakeha - she mentioned she felt it unfair that maori are always expected to know and perform a karakia at any point and time and decided to take it upon herself to deliver her own.

Discussion: As a class discuss your understanding of Te Tiriti from independent study, in relation to art and design, through Guarding the Family Silver. What kinds of issues does this raise for artists and designers?

we didn't do te tiriti other than go over how it matters in terms of the western viewpoint of everything having to be owned by someone and not able to be shared compared to maori knowledge and how it isn't knowledge if it isn't shared - but then in terms of the treaty it was said that maori would have control and governorship over their taonga works and mautaranga maori which doesn't work with Intellectual property laws !!

Assignment: As a class share your group's finalised topic:

What is the topic?

What are the key ideas/issues of your topic?

What considerations in terms of tikanga and values does it raise?

Do you have any ideas in terms of what your tool or resource might become yet?

Discuss your own positionality in relation to your groups audience and how your group might work with Kaupapa/ethics to engage with other cultures/any community they do not identity with.  E.g. considering who the work benefits and why, and ensuring they educate themselves before they jump in....

we mostly just listened to holly and Catherine chat about how we can take ideas from the culture to inform our positionality. Still, we cant necessarily then go on and regurgitate the information we have learnt. have to recontextualise it to our position and then make a resource to show own learning etc. so we didn't really do this exercise in class. We have a topic and we made a thing about it - then we want to research and see what we find - which will then lead to a resource rather than working the opposite way.

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group tasks week 7

Watch Guarding the Family Silver (NZ on Screen), a documentary presented by Moana Maniapoto before class (About 45 minutes).

we watched it here are my notes;

bascially all the notes for this other stuff is on our miro board/in our discord so I haven't bothered to move it / I probably will not bother to move it over

task 1  

About 60 minutes — As a group divide the reading Ko Aotearoa Tēnei: Taonga Works and Intellectual Property amongst yourselves (approx. 6 pages each, if you're in a group of 5). Read and make notes individually in your workbook.

About 60 minutes — Then share/discuss as a group, making sure that each of you has an understanding of the whole text.

my notes from my section of the reading (pages 12-17)

1.2.5 kaitiaki have pertetual relationships with taonga works which intellectual property laws do not account for - IP rights are granted for only a period of time - usually an individuals lifetime and 50 years beyond.

oral traditions of sharing knowledge (waita, whakapapa, korero) fail to qualify for copyright becauae they do not exist in any material form.

the ip system does not provide kaitiaki with the means to prevent tuses of taonga works that are culturally offensive.

the trade marks act provides advice to a commissioner as to offensiveness - this advice is non-binding

ip law provides no protection for ideas - only fixed products of ideas

kaitiaki want to control the use of both the taonga work and the mautauranga maori that created it - kaitiaki consider it their role to prevent misuse of mautauranga Maori . ip law doesn't support kaitiaki relationship with mautauranga maori

1.3 kaitiaki want to protect the ingetgrity of their taonga works and mautauranga maori - which led ti the establishing the trade marks advisory comittee to advise the commissioner of of trade marks whether a proposed trade mak is offensive to maori.

non-kaitiaki are able to acquire rights in taonga works without the condense tof or any benefit to kaitiaki.

this is not about presenting others from enjoying what mautauranga maori has to offer but recognising the ongoing nature of the kaitiaki interest in taonga works and mautauranga maori - preventing others from freeriding maori culture by acquiring private rights in it. giving kaitiaki the control over taonga works and mautauranga maori and receiving benefits from any commercial use. e,g acknowledgement from the source, or financial benefit .

1.3.2 the crown is concerned that taonga works may not be as protected as the claimants wish them to be. emphasised the role of IP law in terms of economic development - protecting taonga and matauranga maori might undermine creativity and deter businesses from investing in nz.

because kaitiaki were responsible for making knowlegd publically available they must have anticipated it would be used by anyone who wishes to do so. - claims were utterly unrealistic in the contemporary world.

1.3.3

a large number of third parties showed interest in the claim - especially in the area of taonga works and IP. traditional maori designs are incorporated into contemporary new Zealand art design and architecture.

michaelsmythe - maori imagery is often used by artists and designers as an inspiring starting point in the creative process. Can be seen as a tribute to the countries cultural and artistic heritage rather than a blunt form of misappropriation.

oofenssive appropriation or celebratory iconography - okay to be done by maori designers and not okay to be done by non-maori - should see works as an eloquent representation of an integrated bi-cultural nation. no benefit to denying pakeha designers the freedom to use maori imagery in their work - could lead to a mono-cultural representation of nz in areas like social services, tourism and popular culture.

a free flow of ideas contributes to the development of national culture and identity and that both are subject to a constant process of evolution. - all artists use, adapt and develop the ideas and work of others. - use of maori imagery should be considered (respecting the place of maori imagery) but shouldn't be held to a regulatory regime.

1.4 various international forums have produced proposals for the protection of traditional knowledge. e.g World intellectual property and genetic resources, traditional knowledge and folklore, and the declaration on the rights of indigenous peoples.

draft principles and objectives have been made by the intergovernmental committee for the protection of traditional cultural expressions and traditional knowledge e.g stories, songs, instrumental music, dances, plays, rituals, drawings, paintings, sculptures, textiles, pottery, handicrafts and architectural forms.

traditonal cultureal expressions and traditional knowledge have intrinsic value to both indigenous communities and all of humanity.

the reproduction, publication, adaption, broadcasting, public performance, communication to the public, distribution, rental, making available to the public and fixation would only be okay to be carried out by non owners of the knowledge with prior informed consent.

the declaratio addresses indigenous peopels individual and collective rights in respect of their culture, identity, language, employment, health, education and other issues. these principles provide guidance om these issues and reflect the spirit of the principles of te tiriti.

1.5 + 1.5.1

can the gap between taonga works, matauranga maori and ip law be bridged ? should the parameters of the laws be expanded to meet some of the desires of kaitiaki?

englidh version of te tiriti - to protect maori in the exclusive and undisturbed possession of their properties v maori authority and control over all their treasured things.

the english text containd familiar language to that of property rights - matauranga maori cannot be possessed - it is a core characteristic of almost all knowledge that it is shared. it is the sharing of matauranga maori that makes it valuable. as these are both aspects of culture. the value is found through being performed displayed, being shared.

the promise in the maori text in much more appropriate this wording allows aitikai to protect the integrity of the mautauranga or taonga work.

the text speaks of authority - but not exclusivity to taonga - the legal framework should deliver a reasonable measure of kaitiaki control over the the use of taonga works and matauranga maori. how far should that rangatiratanga authority should go in today's world? - what is a reasonable measure of control - assess the relationship between kaitiaki and taonga then a balancing of interested inherent in the relationship against other countervailing interests.

1.5.2

te hau ki turanga - famous carved ancestral gouse held at te papa. which is a taonga work and contains taonga works. it is a product of matauranga maori. the ancestors are embedded in the work - so it has whakapapa - their existence brings ancestors to life. this taonga has koreko - which means it mas mauri and the primary obligation of a kaitiaki is to protect the mauri

age is not a premeditator to a taonga work have mauri - the invocation of ancestors and embedding of korero e.g the forth floor at te papa has mauri, even though materials used are new and styles are innovative

reading notes done will go back and make them shorter then send tog group / add to miro

my shortened notes

rose pgs 12-17

1.2.5 intelletual property laws do not account for relationships between kaitiaki and taonga works / mautauranga maori. As Kaitiaki are guardians of taonga works and mautaranga maori they want to protect these ideas but 

ip law provides no protection for ideas - only fixed products of ideas - cannot prevent misuse

1.3  kaitiak wanting to protect taonga works led to the establishing the trade marks advisory comittee to advise the commissioner of of trade marks whether a proposed trade mak is offensive to maori.

non-kaitiaki are able to acquire rights in taonga works without the condense to or any benefit to kaitiaki.

1.3.2 the crown is concerned that taonga works may not be as protected as the claimants wish them to be. emphasised the role of IP law in terms of economic development - protecting taonga and matauranga maori might undermine creativity and deter businesses from investing in nz. because kaitiaki make sure knowledge is publically available - claims are unrealistic in the contemporary world.

1.3.3 a free flow of ideas contributes to the development of national culture and identity and that both are subject to a constant process of evolution. - all artists use, adapt and develop the ideas and work of others. - use of maori imagery should be considered (respecting the place of maori imagery) but shouldn't be held to a regulatory regime. no benefit to denying pakeha designers the freedom to use maori imagery in their work - could lead to a mono-cultural representation of nz in areas like social services, tourism and popular culture. 

1.4  various international forums have produced proposals for the protection of traditional knowledge. e.g World intellectual property and genetic resources, traditional knowledge and folklore, and the declaration on the rights of indigenous

1.4 the declaration addresses indigenous people individual and collective rights in respect of their culture, identity, language, employment, health, education and other issues. these principles provide guidance on these issues and reflect the spirit of the principles of te tiriti.

1.5 + 1.5.1 the english text te tiriti, contains familiar language to that of property rights - matauranga maori cannot be possessed - it is a core characteristic of almost all knowledge that it is shared. it is the sharing of matauranga maori that makes it valuable. as these are both aspects of culture. the value is found through being performed displayed, being shared. 

1.5.2 te hau ki turanga - famous carved ancestral house held at te papa. which is a taonga work and contains taonga works. it is a product of matauranga maori. the ancestors are embedded in the work - so it has whakapapa - their existence brings ancestors to life. this taonga has koreko - which means it mas mauri and the primary obligation of a kaitiaki is to protect the mauri

Group task 2

About 60 minutes — Identify and record what strengths each of you bring to your group, and how your project can draw on the different fields of art and design that you are each interested in.

About 30 minutes — Identify and record your research abilities, and how you might support each other.

accomodations

no uni work after 10pm!!

office hours (differ for everyone)

e.g joy and jimmy have insomia and can't be messed with/can't fuck with it (preventions)

schedule a meeting for once a week saturday (1pm?)

understand people don't know how to use miro

be understanding of audio processing/deafness/spacing out (may need to repeat things)

2nd language speakers !! (billingual kings)

understanding of others disabilities and how they deal with it

accomodate others - get online (zoom discord)

understand people don't know how to use discord - roles different channels etc

communicate if doing too much work / falling behind / share and ask for help

keep each other accountable

aim for an A - B (do our best!!!)

small goals week to week

avoid procrastination (preferable as some of us have other classes and some have jobs etc)

respectful of each others pronouns/backgrounds

Group task 3

At least 30 minutes — As a group finalise your topic. Get some large sheets of paper (or use a Google Drawing in Docs or Miro or similar) and mind-map what you already know about the topic, and what you might need to find out.

Make sure you all document this process in your workbook or blog

Consider taking photos of your creative process if you meet in person

If you meet online: screen capture or otherwise export (as a jpg, png or pdf) your mind-maps so that everyone has copies for independent reflection

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independent week 7

Task 1

Reflect: Have a look at your responses to Chapter 7 Tikanga: Doing  it Differently by Keri Opai  

well we didn't discuss it much in class because we moved on to making our groups but!! what I do recall discussing/saying is that Catherine was like this is a great resource for pakeha and maori alike to understand concepts around tikanga/tikanga in a really digestible way - super easy to read and made so that it explains concepts well etc.

How did this weeks class discussion deepen or help develop and expand your initial understanding? You could write about this in a sentence or two, or you could go back and add to your original notes.

I feel like alot of the academic readings I have done on tikanga/tapu and noa academic readings they make it really hard to understand the concepts (of tapu and noa) because of the way they are written. with so many extra words that make it really hard to understand the point of the writing or what I am supposed to understand about tapu and noa and tikanga in general. I am also super interested to be introduced to the term - tauiwi, meaning a non-maori or especially non indigenous new zealander. in general I like this book/guide - it presents tikanga as yes/no ways of acting in line with tikanga maori and its really helpful!! because I am introduced to concepts in a digestible way rather than a whole bunch that are overexplained/not put simply so I feel incredibly confused about what is the way to act.

Task 2

Discover or reintroduce yourself to Te Tiriti o Waitangi (pdf file on Stream).

Read both versions: te reo Pākehā and te reo Māori

Review Hugh Kawharu's notes (column 3 in the above file)

article 1 talks about how the queen / queen representative would have power to rule over both maori and pakeha - whereas the maori version stated that maori would continue to exist without interference from the crown.

article 2 talks about how cheifs in new Zealand will still have every right to their own land and country and that their land will not be sold at a price or sold at all unless both parties agree

article 3 talks about giving maori people the same rights as British citizens but in their own country - but this doesn't really account that maori have their own system (tikanga maori) of acting in society.

Write notes and attempt to illustrate what comes into mind as you review Hugh Kawharu's responses to the Treaty: how does it relate to your own perspective?

i hate reading law documents or documents about laws etc. they are always so hard to read because they make them like that so you can get confused. then reading the maori version translated I am getting confused by all the footnotes and loosing myself in them.

I just feel confused mostly about what the treaty is saying because of the English version - like english is my native language and I have no idea what it's trying to say at all. Like I read the two versions and I don't understand how they are different other than their wording but I guess that is the point of them - they are worded differently so they are difficult to comprehend in relation to one another!

Then choose one of Kawharu's notes and reflect on its significance in your workbook, and the broader implications of this for artists and designers, culturally, politically, socially, philosophically, economically and so on…

my chosen footnote and the passage from which footnoted;

For this agreed arrangement therefore concerning the Government of the Queen, the Queen of England will protect all the ordinary people of New Zealand and will give them the same rights and duties (10) of citizenship as the people of England (11).

(11) There is, however, a more profound problem about "tikanga". There is a real sense here of the Queen "protecting" (i.e. allowing the preservation of) the Maori people's Tikanga (i.e. customs) since no Maori could have had any understanding whatever of British Tikanga (i.e. rights and duties of British subjects.)This, then, reinforces the guarantees in Article 2.

im not gonna lie I dont fully comprehend what this is asking me to do but basically my understanding is that the treaty determined that maori/all citizens in new Zealand would live under the same rights and duties (such as rights and duties of the British citizens) this comes as a crossroads as Kawharu mentions/notes as the way of acting (ethics/values) for British citizens is completely different. Their society and way of regarding and treating each other is completely different to ours as we live in completely different societies so culturally speaking there can be some shock as to the differences between the two - such as items that are considered tapu and noa.

then because there is a lack of understanding from either group/nation of peoples (maori/settlers) there is problems socially because of what is perceived as a lack of respect or acting in a disrepectful way because either party does not know the customs.

this all applies to artists and designers, making without considering tikanga can lead to social faux-pas and much worse situations such as take-utu-ea where there is an issue that needs to be resolved because one party has offended another through the work produced as not all ideals of tikanga were considered (maybe only customs in terms of pakeha were considered rather than in the context of tikanga maori).

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notes in class week 7

amazing news found out today!! the work book does not need to be submitted at the end (if you want) so I could not do any of the independent study and just do a lot of other shit but I wont ill still do the work I have to do!!.

anyway notes from class;

DISCUSSION: Have a discussion together about the construction of "New Zealand" as a nation, unpacking the ways in which we are 'reminded' of what it means to be a "New Zealander", in a dominant, mainstream sense? How might this operate on a series of inclusions and exclusions? Where do we get our ideas about 'being a New Zealander', or what a New Zealand 'is' or 'should be'? Who benefits from the ideas which dominate how New Zealand identity is defined in mainstream ways? What identities are used in Aotearoa that might challenge this, or be used to form different political unities? Discuss the connections you see between nationalism and language, and your independent study. You could start by making a list of all the things which are commonly perceived as definitively 'New Zealand', before moving on to your critical consideration. What does it mean to be Pākehā?

        “What does my day look like with active decolonising/indigenising?”

i always find it really difficult to relay/note down discussions - it really takes me out of being present in the conversation so I always seem to write half a note and then look back and forget what we were talking about.

at the bottom of this page is stuff about decolonising/indigenising nz so what different ways we could do our resource on in terms of our group project resource.

what independent study i actually have to do because Catherine went over it and told us what we do/don't actually have to do. pretty simple stuff other than the group work

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break and pivot independant

cannot believe we had independent study to do over the break when we are simultaneuosly told to take a break and relax

okay re-reading what it says its telling me to take my time doing the independant and to not forget about it - explore at your own pace

reading is  Hirini Moko Mead's Ngā Pūtake o te Tikanga: Underlying Principles and Values. 

Make some notes on your understanding of tikanga, considering this in relationship to ethics and values. You will need to bring this to class for discussion in week 7.

notes from the reading;

Tikanga Maori - English doesn't do it justice but Tikanga is basically the customs and practices and all-encompassing things to do with Maori culture. for example as outlined in the text -tikanga maori is something that (for example) a ceremony must have to be correct and true to the principles and values of maori culture.

principles of tikanga maori

tika - right, correct

pono - true, genuinue (when making a judgement in terms of maoritanga)

tuturu - fixed, permament, enduring (use to emphasise a fixed and never changing practice but now meaning has changed to be more like pono)

take - a breach of tikanga

utu - recompense

ea - a state of resolution in which all parties are satisfied

manaakitanga - expected standard of behaviour - an ideal that one should aspire to reach.

value - the regard something is held to deserve; importance or worth

values - principles (holding something to be important

whanaungatanga - embraces whakapapa and focuses upon relationships.

kanihi kitea - a face seen

muru - the ritual redistribution of property

mana - authority, control, influence, prestiege, power, psychic force, effectual, binding authoritative - the place of the individual in the social group.

pono is an old idea and its meaning is free of other connotations - by focussing on pono judgement can be made about whether the practice of a particular tikanga is true to the principles of maoritanga or if it is borrowed from somewhere else (i dont know what this means).

what a spectator might observe and be told is genuine Maori culture may not pass the test of pono - so a tikanga Maori ceremony needs to be correct and true to the principles and values of Maori culture.

judgment about the application is based on whether the principles or standards of behaviour or practice have been observed adequately - so a judgment is made by assessing a range of variables

concept of take-utu-ea comprises an analytical template for examining behavioural issue. each of the three individual concepts ca be applied to a variety of situations and is subject to many variables such as; mana of the persons involved, severity of the breach and economic situation of the wrongdoers.

williams argues that tikanga maori deals not so much with rules but with values which are subject to various cultural tests of appropriateness, correctness and adequacy. some argue that values do not have a place in tikanga such as manaakitanga is an ideal that only few can attain and sustain. people in turn reach towards the values and practise them to the degree they can manage.

there are obligations in terms of whanaungatanga - relatives are expected to support the whole ceremony at a tangihanga. many tikanga prescribe ways of restoring a balance in relationships because it is recognised that relationships are fragile and need to be nurtured. this relationship reaches beyond actual whakapapa relationships to include non -kin as through shared experiences they can become like kin.

all tikanga are underpinned by the high value placed upon manaakitanga - nurturing relationships, looking after people and being very careful about how others are treated. manaakitangi is always important no matter what the circumstances might be.

personal and group relationships are always mediated and guided by the high value placed upon mana. people with mana tend to be persons with leadership roles in their community.

as a general rule, mana must be respected and public events should enhance the mana of participants. actions that diminish mana result in trouble.

tapu is not the matter of choosing one religion over another, it has to do with integrating different philosophies and making an attempt ar reconciling apparent contradictions. tapu is inseparable from mana.

as maori they respect the tapu of places and buildings, respect the tapu of people - these are ideals and values that they believe in - but nowadays not many know about these values or what to do. tapu remains an important part of their actions and beliefs.

there is value placed upon utu as compensation or revenge, or reciprocity. the concept of utu is present in warfare and economic transactions - metge regards its main purpose as maintaining relationships.

it is not useful to think of noa an the opposite of tapu or the absence of. the state of noa indicates that a balance has been reached, a crisis is over, health is restored and life is normal again, 'ea' and 'noa'.

underlying principles and laues are persuasive in any study of tikanga maori. it follows therefore that these principles and values will arise time and again in the descriptions of the range of tikanga maori.

Make some notes on your understanding of tikanga, considering this in relationship to ethics and values. You will need to bring this to class for discussion in week 7.

tikanga maori is a whole bunch of values and principles that underly how maori exist and move through the world - how they treat people in different states, how conflict is resolved, how we treat one another at all times.

the same goes for ethics and values in the western world but I feel as though compared to tikanga maori they are no where near as hashed out. ethics is taught and debatable and is always trying to reach the best state of achievement with it - compared to tikanga where it is acceptable that people do the best they can with all aspects - as they do the best they can their values and ethics aren't questioned because it is a shared idea that you are doing your best to achieve.

i also feel because ethics wasn't formed by one group of people in a small country and instead independently by multiple it is much harder to decide what is ethical - because what is etical to one is not to another.

[cccrhirdb2]

assignment breif

Throughout this assignment you will need to ethically consider what is appropriate when engaging with other peoples knowledge, or sharing your own cultural knowledge, in a colonised context.

I don't know how this will play out without misappropriating something but I guess that is the whole point??

so what seems to be different so far is that for the 2nd assignment we have to have a work of art in a group setting instead of individually - we still have to write on our own though, which makes sense because I cannot imagine co-writing a definition with other people.

group part

so will need to choose a topic from the list; Whakapapa, Sovereignty/Nationalism, Kaitiakitanga, Te Tiriti, Tikanga, Pacific Histories, Te Reo, Asian Aotearoa Histories, Tātai arorangi, Takatāpui/Queer Histories, Colonisation, Decolonisation and Capitalism, Mana Wahine/Feminism

then consider your own position/identity within the context of the project (or in context of the example??) - pose yourself a question e.g “What does my day look like with active decolonising/indigenising?” (I can only presume indigensing means existing to involve ingidneous people or knowledge, bringing it back to who was here first)

and then make an interactive or response artwork to it!

part 2

section a

200 words reflection on the chosen resource for the group (does resource mean what we made or the topic chosen)

consider these questions/use them to help you respond

What did you learn/begin to understand differently?

If you were going to produce your resource commercially what ethical concerns might you address?

Who benefits? What benefits are there?

Who is your audience? Who might be included/excluded?

What further research might be necessary if you were going to continue developing the resource?

What changes would you make, having completed your prototype?

okay so i think by resource it means the thing we make.

section b

1000 word formal writing that unpacks the key topics of chosen example.

Must include at least 3 resources from google scholar, massey library, discover (your own found resources)

must also include 1-3 art and design examples that may have inspired or informed proposal - must be captioned correctly with images

must site correctly in MLA format

workbook (dont have to do individual one)

do not have to submit a workbook that shows the process of making your resource and responces to the weekly independant tasks.