#Te Ao Marama

[thisisgraeme]

Te Ara TuhiTuhi: Master the Journey from Initial Idea to Polished Composition

Te Ara TuhiTuhi: A System for Learning How to Write Better Welcome to “Te Ara TuhiTuhi,” a comprehensive yet easy-to-understand writing system designed to transform your initial ideas into polished prose.  This system takes you through a cyclical journey, mirroring the natural progression from the birth of an idea to its full realisation in writing. Here’s how you can navigate each…

[thatmivy]

13, 28?

I will answer 13 (favorite 80s song) with a few actually:

Ashes By Now by Emmylou Harris

Take On Me by A-Ha

I Won't Back Down by Tom Petty and the Heartbreakers

Gonna say multiple for 28 (a song with a voice you love)

In Memoriam by The Oh Hellos Maggie Heath's voice is so beautiful it brings me to tears, and that's not for this song specifically either.

Mata Kohore by Lorde. Her voice is enchanting in this one, and Marlon Williams' background vocals are as well. This song is absolutely gorgeous and everyone should listen to the Te Ao Marama album.

Obligatory Lord Huron answer: Drops in the Lake. The vibe in this song is outstanding and it owes a lot to Ben Schnieder's really haunting vocal performance in it. He doesn't bust out that aura all the time which is pretty cool.

From this ask game

[ashleysingermfablog]

Wk 12, 25th of April, 2024 Research

In Aotearoa, Papatūānuku is the feminine earth

From the text: "Ko wai ahau? Papatūānuku and I" on The Pantograph Punch, 2017…

"Whenua in Aotearoa is feminine and her name is Papatūānuku. She exists in almost every culture and manifests under several pseudonyms. In Bolivia, she is ratified and protected by the constitution. The notion of land as feminine has persisted relentlessly throughout history, hand in hand with a colonial desire to claim and subjugate her. As a child, I saw the sinuous curves, danger and beauty of the whenua as evidence of a living, breathing wāhine.

Her waist, the crevices and valleys between her hips and bosom, were cinched by years of erosion. The flowering and prospering native fauna and flora spoke to her investment in tikanga; the protection of this taonga ensured her health, sustainable growth and fertility. Her diverse environments co-exist; the dehydrated plains of central Otākou, the salty West coast wind, the glare of the Ahipara sun; were all telling of her fragmented self.

Her legs the length of the Waikato River. To speak her name, Papatūānuku, was to taste sea-spray, ochre soil and the shade of a kauri." - Miriama Aoake (Ngaati Maahuta, Ngāti Hinerangi, Waikato-Tainui): writer, critic and postgraduate student in Māori Studies.

I think it would be disrespectful if my research on the landscape, flowers and fruits in Aotearoa and what is observable in Tāmaki Kakaurua, didn't acknowledgement Māori sciences and tikanga. I am researching these thinkers and writers in order to fill in any gaps.

From the text: "Ko Taupiri te Maunga, Ko Waikato te Awa, Ko Pōtatau te Tangata" Taupiri is the Mountain, Waikato is the River, Pōtatau is the Man…

"Colonial desecration is defined by the erasure of Te Ao Māori, and the establishment of invasive, foreign boundaries that must fall. Māori understanding of Papatūānuku as a living body comes with an understanding of kaitiakitanga, that she exists alongside Māori, personified in the geographic terrain of Aotearoa. To apply Marama Muru-Lanning’s assertions of landmarks as a living being, “[rivers] were just part of the way we lived, not something to be controlled or owned” by Muru-Lanning, Marama. ‘The Analogous Boundaries of Ngaati Mahuta, Waikato-Tainui and Kiingitanga. University of Auckland. Pages 9 - 41.

Papatūānuku, against her will, became subject to settler reconstruction. Lisa Taouma purports European interest in the Pacific and her bountiful land is synonymous with the construction of the dusky maiden stereotype, “naive, untouched and passively inviting of Western penetration.” Papa’s autonomy was stolen from her, defiled, devalued and defaced. She was forcibly fragmented by irreversible colonial boundaries, becoming an unwilling subject of the Crown. The domineering Pākehā hegemony dissolves the importance of the Māori world view within the self to promote a monocultural agenda. Colonial methodology evaporates the visibility of tikanga; manaakitanga, whanaungatanga, kotahitanga, rangatiratanga, mohiotanga, maramatanga, tuakana, kaitiakitanga, atuatanga, wairua and mauri. Resistance is the less desirable, more difficult path to restore the principles of tikanga to reclaim the whenua/body." From ‘Ko wai ahau? Who am I?’." -Miriama Aoake access here: https://www.pantograph-punch.com/posts/papatuanuku-and-i

From the text: Saana Murray — and an awakening for a Pākehā by Kennedy Warne, 2016, E-tangata…

Kennedy Warne, a co-founder and former editor of New Zealand Geographic and the author of Tūhoe: Portrait of a Nation, on how the cultural sleep was rubbed from his eyes.

"It was 1989. New Zealand Geographic, the magazine I co-founded and edited with the publisher, John Woods, was less than a year old. One of our photographers, Arno Gasteiger, had produced a set of evocative images of the Spirits Bay — Cape Reinga area, and I was keen to publish them but didn't have any text to go with the photos. A friend suggested Saana Murray, a poet, an elder of Ngāti Kuri, the tribe of that place, and a keeper of the long-burning fires of her people. I asked how soon she could deliver the text. What she told me I have never forgotten. “I cannot write anything here,” she said. “I will have to go to the land". She said it as if she were stating the obvious. Yet it was the first time I had heard such a thing: that words about the land required the presence of the land. That knowledge was inseparable from its context. For someone steeped in scientific thinking — a mindset in which knowledge is a commodity, endlessly transferable — it was a challenging thought. For a moment, the fabric of my fact-based worldview started to fray, and I caught a glimpse of another country. I‘ve come to learn that this is the country Māori inhabit. In the Māori worldview, context is vital. Knowledge is not disembodied information but part of a living matrix of encounters and relationships, past and present, natural and spiritual. Tūhoe take this sort of experience in their stride, incorporating it into a life narrative that interweaves many ways of knowing. And, really, this is what Saana Murray showed me all those years ago, when she said she had to go to the place where the knowledge belongs." -Kennedy Warne.

Adding to Warne's comments

From the text: Becoming ‘really Pākehā’ by Jen Margaret, 2019…

"The Pākehā nation is an unruly beast. Reflecting on the state of the Pākehā nation is therefore a daunting task that has made me query what the Pākehā nation is, as well as what it might be.

I employ the common usage of Pākehā, which describes the diverse group of people who are white European, particularly of British descent. Our stories prior to arrival in Aotearoa are varied, as are our experiences since arrival. What we have in common is our privilege as beneficiaries of colonisation.

Ani Mikaere (Ngāti Raukawa, Ngāti Porou), a barrister and solicitor and teaches Māori law and philosophy, said:

There is nowhere else in the world that one can be Pākehā. Whether the term remains forever linked to the shameful role of the oppressor or whether it can become a positive source of identity and pride is up to Pākehā themselves. All that is required from them is a leap of faith.

Problematic theories of the inherent superiority of white folk (like the Great Chain of Being), which many Pākehā disavow while holding firmly to patterns of thought which the theories have planted. While often articulated in more subtle ways than in the past, cultural racism — the innate belief that cultures have certain attributes that make some superior to others — is flourishing in Pākehā society.

Within the article, Rebecca Solnit attests that being dominant “means seeing yourself and not seeing others” and how, in this way, privilege limits and obstructs imagination. Winning the colonisation race — the race of cultural dominance — has generated huge imbalance and loss. Māori have been the most devastated, yet Pākehā too have been damaged.

We should teach our colonial history, because we don’t, and this is a huge mistake. You cannot know who you are as a society unless you know your history. Look out across the world and see the extraordinary divisions within societies. Frankly, the rise of white racism is partly because people don’t understand their history. (Jim Bolger)

Pākehā ignorance is coupled with British ways of operating that don’t fit here on Māori land. Re-centring indigenous ideologies is a core dimension of decolonisation.

In the face of climate change and growing inequity, decolonisation is critical to the survival and health not only of indigenous peoples but of us all. "The task of calling things by their true names, of telling the truth to the best of our abilities, of knowing how we got here, of listening particularly to those who have been silenced in the past". (Rebecca Solnit)

[influenzalake]

Batfam and Superfam as Lorde songs

- - - 

Bruce: Yellow Flicker Beat

"My blood is a flood of rubies, precious stones, It keeps my veins hot, the fires find a home in me...

This is the start of how it all ever ends, They used to shout my name, now they whisper it..." 

~

Selina: Swingin Party

"If being wrong's a crime, I'm serving forever, if being strong's a crime, then I need help here with this feather... 

If being afraid is a crime, we hang side by side..."

~

Dick: The Love Club

"I'm in a clique, but I want out...

What about the kid, It's time the kid got free, Be a part of the love club, Everythin' will glow for you... 

I'm sitting pretty on the throne, there's nothing more I want, Except to be alone..."

~

Jason: Glory and Gore

"There's a humming in the restless summer air, and we're slipping off the course that we prepared, but in all chaos, there is calculation, dropping glasses just to hear them break....

We gladiate, but I guess we're really fighting ourselves Roughing up our minds, so we're ready when the kill time comes..."

~

Tim: No Better 

"I see you happy in the front seat, I see you with all of your front teeth, You're allergic but you never said, We're getting dead and it's the right way..."

~

Damian: Bravado

"All my life, I've been fighting a war...

Cause I was raised up, to be admired to be noticed...

But I can take it from here, I'll find my own bravado..."

~

Clark: Liability

"They say 'You're a little much for me You're a liability'.... 

So they pull back, make other plans, I understand, I'm a liability...

Better on my own...

They're gonna watch me disappear into the sun, 

You're all gonna watch me disappear into the sun..."

~

Lois: Homemade Dynamite 

"A couple rebel top gun pilots, flying with nowhere to be, Don't know you super well, But I think that you might be the same as me... 

Our rules, our dreams, we're blind, Blowing shit up with homemade d-d-d-dynamite Our friends, our drinks, we get inspired, Blowing shit up with homemade d-d-d-dynamite..."

~

Jon: Perfect Places

"Every night, I live and die...

Spill my guts beneath the outdoor light...

All of our heroes fading, now I can't stand to be alone, Let's go to perfect places"

~

Conner: White Teeth Teens 

"We got the glow in our mouths, White teeth teens are, up for it...

But we got our methods and there's nothing here to stop, to stop this...

I'll let you in on something big, I am not a white teeth teen, I tried to join but never did...

And everything works out so good, I wear the robe like no one could, White Teeth Teens are out..."

no better is my #1 favorite album cover , #2 is melodrama and te ao marama, #3 is pure heroine 

might do a part 2 for variety times, Lorde is more than 2 albums RIP 

[603harrietneradtpart2]

Colour Choice

I chose to stick to a traditional Maori colour palette of black, red and white in order to stay true to the themes at hand that are addressed in the speech and maintain a personality and tone throughout. These matched the patterns used as well. I used red mostly to highlight the important words to add emphasis and white to denote the patterns in a black plain/ setting for the background.

Black: represents the long darkness from whence the world emerged. It represents the heavens.

Red:It symbolises the female element. It also represents active, flashing, southern, falling, emergence, forest, land and gestation. Red is Papatuanuku, the Earth Mother, the sustainer of all living things.

White: represents Te Ao Marama, the realm of Being and Light.

Red as the highlight and accent for all words relating to femininity and maternal instincts as it is the female denoting colour in Maori lore.

[scarletttjgrad603kinetictype]

Week 3: Opening Sequence Experiments, Colour choices

This week, I experimented with different colour ratios, and considered appropriate colours for my animation. Red, white, black and possibly blue are my current palette. Red is associated with opera (’opera red’), and red, white and black are significant in Māori culture (symbolising Te Korekore- black, potential, before life; Te Whai Ao- red, birth, coming into life; and Te Ao Marama- white, being, life.)  I may also use blue, as Kiri talks about England, and the union jack is red, white and blue. These colours contrast well and form a classic, timeless palette. The red I am using is a rich wine red to capture the sense of elegance conveyed by Te Kanawa’s presence.

Below: Experimenting with different colour ratios, and adding vector assets. I made these calligraphic assets on illustrator, based on letterforms in the calligraphic typeface used for the text (aldery). I used a round edged, irregular stroke and a chalk brush to create a rough, hand drawn effect. I animated these with the same technique used for the write on text (stroke effect).

Below: The animation above felt too stagnant, lacking movement. I added a ‘turbulent displace’ effect to the text and calligraphic strokes, and made keyframes using the random seed evolution option to flick between different displacements, creating an effect of jittery motion.

[tulipblack]

titbit 179 KILLER DONUT

https://www.mixcloud.com/dmrobertson/titbit-179-killer-donut/ 1. Jonathan Bree featuring Princess Chelsea and Nile Rodgers - Miss you [NZ] 2. U.S. Girls - Tux (Your body fills me, Boo) 3. Elita - She bangs like a fairy on acid 4. Fever Ray - Even it out 5. SZA - Kill Bill 6. Cute door - Revenge 7. Lebanon Hanover - Strangelove 8. Vera Ellen - Carpenter [NZ] 9. Tiny Ruins - The Crab / Waterbaby [NZ] 10. Theia - Pray 4 me [NZ] 11. Greta O'Leary - Mountain tip [NZ] 12. Benee - Green Honda [NZ] 13. boygenius - $20 14. Bully featuring Soccer Mommy - Lose you 15. Caroline Polachek - Pretty in possible 16. Gracie Moller - mess for you [NZ] 17. Nessie Oh - Ki te ao Marama [NZ] 18. Proteins of Magic - Divine Physics [NZ] 19. Paige - Loyalty [NZ] 20. beabadoobee - Glue song 21. Miu Miu featuring Nganeko - Leaping tiger [NZ] 22. Womb - The Dove [NZ] 23. Kelela - Holier 24. Black Belt Eagle Scout - My blood runs through this land 25. Rita Mae - Night drive [NZ] 26. Pickle Darling - KIng of Joy [NZ] 27. Fazerdaze - Winter [NZ] 28. Ashnikko - Worms 29. Laure Briard - The smell of your hair 30. Tennis - Let's make a mistake tonight 31. Lola Young - Don't hate me 32. Nia Archives - Conveniency 33. Dry Cleaning - Swampy 34. Iris G featuring JARNA - Aroha Taaoke [NZ] 35. Foley featuring Tim Atlas - Coffee [NZ] 36. Lana del Rey - A&W 37. Princess Nokia - Closure

A Kebabette mix featuring: ... and more. Full track listing at: https://episodictable.wordpress.com/music-titbit-and-cockblock/

[culturedub]

🔥🔥🔥 Alpha Steppa & Horomona – Ipurangi (Te Ao Mārama) – Un voyage méditatif à la rencontre de la culture Maori de Nouvelle-Zelande inna Dub Style ! 🔥🔥🔥 Avec cette nouvelle production intitulée « Ipurangi (Te Ao Mārama) » proposée en polyvinyle 10 pouces au pressage très limité, Alpha Steppa nous plonge dans la musique traditionnelle du peuple Maori de Nouvelle-Zélande, les sons des instruments, appelés Taonga pūoro, joués par le maître Horomona Horo, se mêlent à la perfection au Dub Stepper du génial producteur UK pour nous entrainer dans un voyage méditatif et trouver la lumière, à découvrir inna Culture Dub : https://culturedub.com/blog/alpha-steppa-horomona-ipurangi-te-ao-marama/ Large Up, AlexDub #ipurangi #maori #taongapūoro #newzealand #nouvellezelande #dub #stepper #Steppa #meditation #meditative #meditativeart #Spirituality #respiration #lumiere #tradition #culture #music #creation #creative #imagination #chronique #review #culturedub @alphasteppa @horyfulla13 @culturedub https://www.instagram.com/p/Ck6DWU4M5yt/?igshid=NGJjMDIxMWI=

[graceabplanalp]

Colour & Material exploration:

Red - represents Te Whei Ao, the realm of Coming into being. It symbolises female, active, flashing, south, yelling, forests, gestation and spirals. Red is Papatuanuku Earth Mother, the sustainer if all living things. Red is the colour of the earth from which the first humans was made

Black - represents Te Korekore the realm of Potential Being. The long darkness from whence the world emerged. 

White - represents Te Ao Marama the realm of Being and light. It is the physical world, which symbolises purity, harmony and enlightenment.

https://studylib.net/doc/6865292/maori-colours-and-their-meanings

[bitingdown17]

LORDE RELEASED AN EP CALLED TE AO MĀRAMA WITH 5 SONGS FROM SOLAR POWER SUNG IN AN INDIGENOUS LANGUAGE OF NEW ZEALAND

[soundchxck]

Lorde - Te Ao Mārama

[nonenglishsongs]

Lorde - Te Ao Mārama (Māori)

this is going to singlehandedly revive this blog

[escinsight]

A Different Kind Of Buzz: Croatia, Lorde, And Māori At Eurovision

A Different Kind Of Buzz: Let's Send Lorde To Eurovision For Croatia

There are several options for broadcasters with a large domestic population seeking to send a competitive entry to the Eurovision Song Contest. You can run an extensive, multi-week National Selection that allows you to validate an internally selected range of songs against popular opinion and international jurors’ perspectives (“hej Sverige!”). Or your mostly local language cultural sphere can…

[mirmidones]

sometimes i think music should only be listened to in a completely unknown language

[ms-hells-bells]

lorde released a maori version ep of 5 of her solar power songs, and it’s way better. if you don’t like lorde’s new album, try it. in time with maori language week starting on monday! te ao marama. 100% of album profits for the first 48 hours go to the texas abortion lilith fund, then after that 100% of the proceeds go to charity; forest and bird (conservation), and kawariki charitable trust (funding for four marae to disperse for their communities)

Edit: actually, all proceeds got to the nz charities, it’s 100% of her merch profits for 48 hours for the lilith fund

[bougainvilea]

te ao marama is literally gorgeous what the fuck