#kaitiaki

[polwarth]

Kaitiaki sculpture on Rotoroa Island

[bleuraspberrygalacticdust]

[planetwaving]

KAITIAKITANGA

(guardianship for the sky, the sea, and the land)

[koyato]

Kaleesh week

Day 4

Pups

@tuberculosis-bot-9000

All for our with @komorebi-art-blog AU

OKAY WELL SORRY I KNOW THIS IS NOT CUTE but still about children i guess?.. sorry, really sorry...

In Kaleesh society we have many sins... disrespect your family, run from a fair fight... but what are the worst?

Little Kaitiaki Huna have a jackpot. He's cannibal corpse eater.

Young and weak ginger Kaleesh lost his family really early, nothing special. But he was with a little, maybe even newborn he doesn't remember, sister and brother. And this was beginning of the final part of war.

I've been writing about it in last post but Huks started use chemical weapons to poison the nature and start the Great Hunger. And yes, trio was in this poison lands. They already lost family when they was trying to eat something, Kaleesh very tolerate to poisoning, but not in this time. And toxic zone was too big for children to cross fast.

After few days without even water older understood that it's dead end if they immediately don't find something. And the only clear meat in all forest was already here. Huna choose that little brother is weakest one and simply strangled him to death. When him and sister finally got out there was no clues that there were three of them and what happened.

Only Kaitiaki knows, for God's sake sister was to little to remember that. And well yes ancestors know it too. He convinced that they let him live only to protect remaining child.

In Kaleesh culture there is two constant values. Family, your parents, partners... and the most value-children. Children is future, murder a child is the worst thing, they don't know life yet, they don't became honorable warriors. Their souls would be cursed by ignorance.

In our headcanons Kaleesh believe in cycling of life and dead. You born, live your best life, die with honor, your family bury you in common grave, when your meat slowly rots and only bones remaining soul go in heaven, there you have good time with ancestors, help your children, but eternal existence without death sounds like curse. So when soul is ready she is reborn as a totally different kaleesh, and the past life is gone.

So little children can't go on heaven like honorable warriors, they just faster go in another life, and this is gone forever too fast... and Huna do this curse to his own brother he needs to protect no matter what. And even more he ate him, he defiled the corpse. He betrayed second great Kaleesh thing-Death.

He make himself and sister not better then Huks. Soulless demons. Maybe gods will forgive little one, but now he is getting used to the thoughts of his imminent punishment in any moment.

Аnd has nightmares every night... everytime he eats meat he again feels this taste and thinks that his mouth looks like Huk's one. Maybe it's true...

[wingkink]

I hate that now maybe forever whenever I see/hear the word kaitiaki a part of me will have to stop and get mad @ marisha ray about the. everything. and it's soooo insane how little it was talked about in the fandom

[uispeccoll]

#MiniatureMonday

Happy Māori Language Week from Special Collections & Archives!

Te Wiki o te Reo Māori, Maori Language Week, is celebrated annually the week of September 14th to commemorate Te Wā Tuku Reo Māori, the Maori Language Moment, which stamps the presentation of the Maori Language Petition in New Zealand at 12 pm on September 14, 1972.

Te Reo Māori is the language of New Zealand's Indigenous Maori people. It is a part of the Austronesian language family and shares its roots with other island languages including Tahitian and Hawaiian. The celebration of Te Wiki is rooted deeply in efforts to revitalize the Māori language after years of the speaking and use of te reo was banned in schools. Today, te reo Māori is the official language of New Zealand, or Aotearoa as it is called by the Indigenous people. It has become increasingly used in New Zealand society, culture, and professional institutions. The Māori language has also become something of global interest, with the popularization of the language through its presence in music, film, television, and sports commentary.

In the United States, Polynesians as a whole make up less than half of a percent of the American population, with Māori people as one of the smallest migrant populations. Still, for those living abroad or interested in learning the language from afar, the language revitalization movement has certainly spread to the United States, along with its learning materials and resources.

There is a Māori proverb that reads ahakoa he iti he pounamu, "although it is small, it is greenstone." This refers to the importance of things small but precious, such as these miniatures!

The Reeds' Lilliput Māori dictionary and Reeds' Lilliput Māori proverbs live in Special Collections as part of the Smith Miniature Book Collection. These 5cm tall miniature books were published by A.W. Reed in the early 1960s, the dictionary in 1960 as part of a collection of miniature dictionaries made popular by other global publishers. The book of whakatauki, Māori proverbs, joined the mini-dictionary in 1964. Other language dictionaries include Spanish, French, and Romanian. Due to their size, it is likely that these books were made to entertain more so than educate. Still, they are certainly one of the many taonga, treasures, of Special Collections.

Te Wiki o te Reo Māori 2023 begins Monday, September 11, and concludes Sunday, September 17. Celebrate through songs, stories, conversations, or by learning some library-related Māori vocabulary! You can also visit the University of Iowa LibGuide on learning beginner's te reo Māori.

NGĀ KUPU WHARE PUKAPUKA LIBRARY VOCABULARY

pukapuka book

pūranga archive

whakaputunga collection

kaitiaki pukapuka librarian

wāhi tuku pukapuka reference desk

pānui to read

ako to learn

--From M Clark, Instruction GA

Reeds' proverbs (SMITH PL6465.Z77 .R44 1964) and Reeds' dictionary (SMITH PL6465.Z5 .R44 1960)

[cringefaecompilation]

so why do you see orym as a poc? not hating just asking!

a couple reasons!

orym has darker skin than the rest of the human(oid) characters which is subtler in the campaign art but extremely obvious in the animated intro. it isn't just the lighting of the scenes he's in either! imogen, fearne and chetney are all fair-skinned (and laudna is literally a corpse) and orym is not. he's also got fuller lips compared to them as well

(examples with multiple different lighting sources)

the only time orym has been depicted with fair skin is in a pin on the critrole shop, but the pins also have scanlan, vax, vex, and pike depicted with fair skin despite them all now being portrayed with dark skin. though orym does have brown eyes in the pin and it is very cute

there's also the whole "kaityake" thing which is a corruption of the terms "kaitiaki/kaitiakitanga" from the maori language because of the ashari's connection to nature and the elements. (sidenote: i'm not exactly thrilled about the usage of it being turned into a "fantasy" word but the same can be said for the word "mana"). also orym's full sleeve tattoo he got in honor of his dead loved ones lends well to maori culture too.

basically i think orym is mixed fantasy polynesian. i just think it'd be neat.👍

[a-solitary-sea-rover-backup]

On it’s 20th anniversary, BLAKE (formerly the Sir Peter Blake Trust) is celebrating two decades of work dedicated to empowering New Zealanders to commit to a sustainable future for Aotearoa and continuing the environmental leadership legacy of one of the world’s most accomplished yachtsman, Sir Peter Blake.

To mark this significant milestone, BLAKE has published its BLAKE 20th Anniversary Impact Report to demonstrate the enduring and positive influence its immersive environmental programmes have on young Kiwis by inspiring and educating them to become environmental leaders and conservation kaitiaki.

Since 2004, more than 108,000 students and 640 schools have participated in BLAKE’s current programmes – NZ-VR, Explorers, Inspire, Expeditions, and Ambassadors – with many students interacting with the natural marine environment for the first time, and often having life-changing experiences.

[katiefratie]

Kaitiaki 🥺 Marishas face!!!!! This is her town this is her people!!!!

[waltwhitmansbeard]

my fair lady: chapter six

here are the first five chapters. thanks again to @romeoandjulietyouwish for the inspiration!

They arrive in Syngorn around midday, weary from four days of travel. Keyleth's knee bounces nervously inside the carriage as the guard driving presents their papers to the Syngornian sentries at the gate. Percy reaches a hand out to still it. "You need to relax."

Keyleth feels sheepish for being so anxious. "I haven't seen my father in so long. And this is to be my first presentation to another nation's court. And...you know, I'm me."

Percy rolls his eyes. "Bandits try to rob and kill you in the middle of the road but it's a presentation at court that has you fluttering about."

"I'm serious, Percy. I have guards to deal with bandits. Unfortunately none of them can ensure I don't trip and fall flat on my face in front of kings and nobles."

He gives the knee a pat. "You'll be fine. Just imagine everyone naked, that's what I always do."

She gives him a concerned look. "I wish I could go back to a time when I didn't know this about you."

As the entourage rolls through Syngorn, Keyleth is glued to the little carriage window, taking in all of the sights of the elven city. The architecture is stunning, far more ornate and artistic than the Ashari's more pragmatic style. The stone is covered in climbing ivy and other greenery, making the buildings seem alive. They approach the Emerald Citadel, with its ancient faded marble and emerald-tipped spires, and Keyleth's heart is a hummingbird in her chest.

The carriage comes to a halt at the base of the curved marble stairs. Her door is opened, and the first things she sees, standing at the base of the steps with his retinue of advisors, in her father, broad-shouldered and tall.

"Keyleth." He says her name like a sigh, and the sound of his deep, resonant voice makes Keyleth feel like a little girl again. She resists the urge to rush to him, instead climbing down carefully from the carriage and stepping forward to greet him. "Kaitaiki, father." She bows.

"Kaitiaki, daughter." He lifts her chin to look into her face. "I've missed you greatly these past weeks."

She can't hold back any longer; she wraps her arms around her father, burying her face in his chest. He chuckles, squeezing her back. "Alright, let's get you inside. I'm sure you'd like to rest after your time on the road." He looks past her toward the rest of the entourage. "Lord Percival, thank you for making the journey."

Keyleth pulls away to see Percy bowing deeply. "Of course, Your Majesty."

Her father's advisors greet her, and then Sovereign Korrin leads his daughter up toward the brass gates of the palace, explaining, "Normally you would have been greeted by the High Warden and her family, but knowing you as I do, I figured you would appreciate the opportunity to collect yourself before any formal introductions are made."

A weight vanishes from Keyleth's shoulders. "Thank you, father. I would appreciate that quite a lot."

He squeezes her shoulder. "I'm very glad you're here. This is a time for celebration, and I couldn't imagine celebrating without you."

Keyleth beams, for the first time in days feeling not an ounce of nerves.

.

The chambers Keyleth has been granted for her stay are lovely. The marble walls are carved with reliefs of pastoral scenes, so finely detailed that she can touch each individual blade of grass in the stone. She's been granted some attendants for the duration, but Keyleth has always preferred bathing and dressing alone. She does so, finally scrubbing the last of Vax's blood from beneath her fingernails, and dons one of her finest gowns, a pale blue number that reminds her of the skies over Zephrah.

She's just finishing brushing the road from her hair when there is a knock at her door. "Enter, please!"

Vax, having been standing sentry outside, opens the door to reveal her father, who asks, "Am I interrupting?"

"Of course not. I'm nearly ready."

He steps inside, but as Vax attempts to close the door behind him, he holds out a hand. "Actually, Vax'ildan, I was hoping to speak with both of you."

Keyleth's stomach sinks like a stone, and she looks in panic between the two men. Her father certainly doesn't seem upset or angry, though there is a hint of tension behind his eyes that she can't define. Vax obediently enters the chambers and closes the door, standing tall and straight just inside.

Her father paces over to one of the large windows that looks out over Syngorn, just a few feet away from where Keyleth sits at the vanity. "I wanted to start by saying that Lord Percival filled me in on what happened while you were on the road." He cocks an eyebrow at his daughter. "It would have been nice to hear that there had been an attempt on your life from you, Keyleth."

She wrinkles her nose. "You know how I hate when you worry."

"And you thought I would worry less if the news came from someone else?"

Being chastised like this makes her feel like a child again. "I'm sorry."

"And you." He turns to face Vax, who straightens up even more. "Lord Percival also informed me of your part on that day. According to him, you took swift and decisive action to remove my daughter from the fray before any harm could come to her, and that you were even wounded in the attempt. Is this true?"

Vax's mouth opens and closes a few times, and Keyleth watches him scramble for what he thinks is the correct answer. Finally, he settles on, "I only did what any personal guard would do, Your Majesty."

Her father tuts. "That may be so, but you did it, and know that I will forever be in your debt for it."

Keyleth sees a myriad of emotions flicker across Vax's face, which he tries but fails to keep still. She knows how much this means to him, to receive the approval of a king. "No more debt than I am in to you, Your Majesty." Keyleth thinks of any one of their late-night conversations, when Vax confessed to her and the stars his fraught relationship with his own father right here in Syngorn, his admiration for the kind of father the sovereign is to her. She knows that her father believes Vax indebted for the position he's been given, but that what Vax is truly grateful for is the understanding of what a father could be.

"Yes, well, speaking of debts..." Her father turns to face her again, and the tension in his face has only worsened. "I need to explain to you all of the terms of our peace accord, which is to be signed tonight at a celebratory ball."

Keyleth leans forward eagerly. "Yes, tell me everything! I want to hear all about how the negotiations went."

He smiles, but it doesn't reach his eyes. "There will be time for that, dear, but the terms are what's important for you to understand first. Most of them are your standard fare for these types of deals: new trade routes, imports and exports, promises of mutual aid in times of crisis, and so on. Some land has been moved around, as should be expected after this kind of war, but there is one stipulation that King Kruvanis would not relent upon."

"What is it?"

He takes a deep breath. "You are to be betrothed to the king's youngest son, Tiberius Stormwind."

Keyleth stares at her father, a dull ringing in her ears. She can see his face, can tell that he's speaking, but she can't hear anything else after his initial proclamation. There's a roiling in her stomach, as if she's standing on the deck of a ship in the middle of a hurricane, and she worries that if she opens her mouth, she'll vomit all over her father.

She watches his mouth form her name—Keyleth? Keyleth?—but she cannot answer. She stares straight ahead, unblinking and unmoving. Somewhere, through the swimming din in her ears, she can make out an echo of his voice: "I'll leave you to sit with this for a while. I'll come back later." And then he's gone, and Keyleth is staring at the place he left.

A few moments pass, or maybe an hour, Keyleth has lost all sense of time, but eventually a new face appears, just a few inches from hers. "Keyleth?" Vax is kneeling in front of her, eyes scanning her face. He grabs her hands where they rest listless atop her lap. "Kiki, are you okay?"

It hits her all at once. She launches herself out of her chair, knocking Vax's hands away, and grabs the unused chamber pot tucked beneath the bed. She hurls into it, body heaving as she empties her stomach. He feels a hand run up and down her back, and when she's spent, a second hand gently pulls the chamber pot away. Vax wraps her up in his arms, gathering her into his chest. He shushes softly in her ear as she sobs, her body trembling.

She doesn't know how long they stand there, her falling apart, him keeping her together. After some time, when her sobs have somewhat subsided, he leads her over to the large bed, where she sits and stares at the ground. Vax disappears for a moment, then returns with a bowl of water and a cloth, which he uses to pat her face, which she imagines must be red and swollen by this point. A hairbrush materializes, and he begins slowly and methodically brushing out her hair, from crown to ends, before he perches on the bed beside her to work a system of interlocking braids into her locks. The sensation of his warm, steady hands helps her breathing return to normal, and her eyes slide closed.

"I don't know what to say." His voice is little more than a whisper. His hands are around her shoulder blades now, working the braids into a larger plait.

Keyleth takes a deep breath. "I...have spent a lot of time thinking about destiny. I've reconciled a great many things about what my future will hold." A single tear trails down her cheek. "I never thought...how did I not see this coming?"

"Hey." The braiding stops, and a finger hooks under her chin to turn her head toward him. She opens her eyes. "No one should have their future written for them like this. I..." He sighs. "I wish I knew how to fix this."

Keyleth smiles sadly and places a hand on his face. "I know you do. So do I." She looks down at her dress, which now feels like a prisoner's uniform rather than a beautiful gown. "How am I supposed to go out in front of my people and Draconia's and Syngorn's and pretend that my world isn't collapsing around me?"

Vax brings a hand up to rest against the column of her throat. He looks directly into her eyes. "Let me be perfectly clear about something: regardless of any treaties or bargains or edicts from kings, my loyalty will always lie with you. Not your father, not the Ashari Nation, you. If you ask me to get you out of here, I will." He takes a deep breath. "If you ask me to kill this Prince Tiberius Stormwind, I will."

"Vax!"

"I'm serious, Keyleth. Anything you ask. My entire purpose is to lay down my life for you, and that is what I'll do, even if that means losing my head for assassinating a prince."

Keyleth grips the edge of his armor tightly. "You cannot say these things out loud. This is not Zephrah; we don't know who is listening."

He nods, and she relaxes. Her life has spun so wildly out of control in just a matter of minutes, and she wishes desperately she had never left home. "Will you do me a favor?" He makes a face that clearly reads, Are you really asking me that?, so she presses on. "Will you...gather what information you can about..." She can't bring herself to say his name. "...this prince? What he's like, if he seems...I don't know, cruel or arrogant or....I just want to be prepared for the ball tonight."

He kisses her forehead, and for a moment, she considers changing her request to his offer to whisk her away from this citadel. "I will find out everything I can."

"Do so without being seen. The last thing we need is for the Draconians to think their new allies are spying on them before the peace treaty is even signed."

Vax smirks. "Please, have you met me? I'll be a ghost." He quickly finishes up his braiding, tying it off in a lovely bow with a blue ribbon that matches her dress. He presses a final kiss to her cheek. "I'll go look into the prince. Grog will be placed at your door." He gets up and makes for the exit.

"Vax?" He turns to look at her. "I know I'm not the only one suffering under the weight of this...turn of events." She slides off of the bed and draws herself to her full height. "And let us be clear on this: your purpose is for something far greater than laying down your life for me. Do you understand?"

There's a long pause, and then Vax slowly ducks into a bow, his eyes never leaving her face. He straightens up and sweeps out of the room, leaving Keyleth alone and shattered in her chambers.

[a-flickering-soul]

what r ur alecto predictions

Wonderful question! I have a running list of predictions on Discord that I started September 21st after I read Nona and am planning on updating continuously until Alecto comes out. I actually have split it into plot/character predictions and meme reference/allusion references! It's a little long, so I'll put them all below the cut :)

Alecto the Ninth prediction list (started 9/21/22, ongoing): -Chussy fisting scene PLEASE PLEASE PLEASE -The gang goes through the stoma -The wedding that's supposed to happen is between Kiriona and Ianthe because god forbid a single good thing happens to Griddlehark girlies -There IS a God and it's not Jod and Harrow finds them -The wedding is actually between a straight couple just for laughs -The kaitiaki meta is correct (I will CRY if so) -Pyrrha sacrifices herself for Paul or Harrow or Gideon with some allusion to domestic life -Alecto kills herself to take John out -Corona kills Ianthe and then she kills herself -Ianthe consumes Corona and double-Lyctors herself to become the big bad -Griddlehark both die -Griddlehark amnesia endgame -No good Griddlehark ending is what I'm trying to say because FUCK this woman

Alecto the Ninth meme/reference prediction list (started 9/21/22, ongoing): -Griddlehark Orpheus/Eurydice parallels -Superhell reference -If two guys were on the moon and one killed the other with a rock would that be fucked up or what -BOE member named with Rickroll lyrics -"Road work ahead? Uh. Yeah, I sure HOPE it does" quote -Someone references Mary Oliver's "Wild Geese" -The tower will fall and it'll be totally a reference to the Tower of Babel or something like this whole backlash against daring to defy God -Judith stabs someone w/ something resembling a peg -Paul quotes Galatians 3:28 or some bastardization of it -ENDS WITH 1 CORINTHIANS 13:13 -Carmilla by Le Sheridan Fanu quotation -Pyrrha sees someone she loves get killed and she goes berserk and fulfills her Iliad role -ABBA reference

[asin201hons]

The extraordinary exhibition of Selwyn Ruru’s works (Ruru for short). At Mt Cecilia Park Pah homestead gallery in Hillsborough.

Explores elements of ranginui and papatūānuku (sky father and earth mother respectively), of Māori justice and cultural markers that were damaged due to violent acts of colonisation, brutality and injustice. The glossary given was a beautiful summation of key elements within different works, translated in a simplified version in English.

My works look at themes of rongo wairua (or the spirit of peace). Using Māori language in art practice is a way to decolonize work from the limitations that English language places on work that concerns itself with the whenua (land) of Aotearoa. My work is made in Tamaki Makaurau and therefore should respect the language of this place especially in regards to spiritual processes.

Works of mention in Ruru’s practice:

This body of work includes a number of different mediums, each a testament to the breadth of his legacy as an orator, activist, visual artist, broadcaster, playwright, musician and actor (amongst other things!). In perusing the collection, I was struck by the versatility of our Māori artists – particularly in light of Muru and his contemporaries. Amongst this generation, so many actions exist that have shaped the social landscape we find ourselves both witnessing and, in our own contemporary context, navigating now. Highlights include the paintings Half-caste Ruru (2002) and Maunga Piko (1999), which are an honouring of the role that kaitiaki play in our lives, and the whakapapa that connects us to our whenua. I was also particularly taken by the Untitled Figures (circa 1985), having spent a significant portion of time letting my eyes follow the lines as they mimic the shapes of traditional whakairo patterns.

https://i.stuff.co.nz/entertainment/arts/300777985/te-hkoi-toi-the-length-and-breadth-of-selwyn-murus-legacy

[nzconservationjobs]

Educator - Rotoroa Island - Auckland

The Rotoroa Island Education Programme supports young people (in years 6, 7 and 8), around the Auckland region to explore and discover nature and their own potential as conservation leaders and kaitiaki (guardians). We have a vacancy for an Educator, starting in Term Four 2024. This is a part-time contract working over Term Four of the school year. The educator role involves delivering our…

[teepeecider]

Kaitiakitanga is a Māori term used for the concept of guardianship of the sky, the sea, and the land. A kaitiaki is a guardian, and the process and practices of protecting and looking after the environment are referred to as kaitiakitanga.

This Kaitiakitanga symbol is inspired by the pekapeka, the native bat. A taonga (treasure) Pekapeka act as a kaitiaki for the wearer and are passed down through generations to continue guardianship of the mauri (life force). Pekapeka live in the native bush just a few kilometres from the orchard and fly over it.

At TeePee Cider we think of ourselves as as Kaitiaki working with nature to protect the orchard. #orchard #kaitiakitanga #TeReo

[dreidful]

REID PRAYS TO HIS MOTHER, HINENUITEPŌ [ #03 ]

this  feels  dangerously  natural  to  him  at  this  point  ;  the  warmth  of  the  summer  air,  the  sea  salt  ring  and  kukui  candles  and  the  summoning  of  spirits  to  his  area  to  strengthen  the  connection  between  his  location  and  rarohenga.  he  begins  by  speaking  the  following  in  te  reo  māori  "  whaea  hinenuitepō,  atua  o  te  po,  kaitiaki  o  rarohenga.  whakarongo  mai  ki  taku  karanga.  "  he  repeats  it  three  times  as  it  is  a  number  of  completeness  in  polynesian  thought.

"  mother,  there  is  concern  in  other  pantheons  of  half  gods  not  returning  to  their  place  of  rest.  a  shinto  warrior,  asuka,  has  no  way  as  her  soul  vanished  when  she  was  murdered.  please,  allow  me  to  know  and  to  understand  what  needs  to  be  done  to  right  this  wrong.  i  am  a  warrior  to  rarohenga  and  will  protect  the  natural  order  as  it  should  be  done.  "  he  then  casts  DEATH'S  EMBRACE  as  a  bubble  around  him  in  preparation,  just  in  case.

[ashleysingermfablog]

Wk 10, 12th of April, 2024 Research

Women embodying nature

ashley singer, untitled, 2024, poem

Following iconography of women leaning into landscapes and becoming emerged into them in the picture plain, this poem unpacks the historical connection women and our bodies have had with the cycles of the earth. the moon cycle is a pivotal example of the celestial world having an external pull on menstruation which follows a monthly cycle. further many spiritualities see women as the earth mother, in Aotearoa she is Papa or Papatūānuku, she can be Gaia, or Mother Nature colloquially.

From the text: The Earth Mother Concept In Te Ao Māori by Aotea…

Chapter: Papatūānuku as a mother

Papatūānuku is a nurturer. She, in her wisdom, impart life’s essential lessons to her tamariki (children). In other words, she teaches us how to act, what to value, what to prize and what to let go of in life. Her gifts include endurance, action and decision, caution, humour, hope and courage, judgement and fairness. 

Chapter: Papatūānuku as the earth

Māori have a spiritual link to the land that is the land of their ancestors. In one respect, respecting the land connects them with their ancestors in the distant past. In another respect, it is directly respecting and maintaining the authority of Papatūānuku. Papatūānuku gives us the air we breathe, rivers and lakes in which to clean our bodies, food and medicine & plants and animals. Conflicts over land and mana whenua (territorial rights, authority over the land) are common, but Papatūānuku herself shows manaaki (care) for her tamariki (children). Māori consider themselves tangata whenua, people of the land. As tangata whenua, they are therefore the kaitiaki (guardians) of Papa’s natural environments: te takutai (the coast), ngā repo (wetlands), ngā moutere tapu (islands), te pō (the night), te whenua waotū (the high country) and Te Wao Nui a Tāne (the forest). This role is important for sustainability of these treasured environments.

Contemporary New Zealand Māori Artist, Star Gossage (Ngāti Wai / Ngāti Ruanui) portrays elements of Papa in her personification of divine wahine in her painting practice. She lives and works, surrounded by whanau, on ancestral land at Pakiri, north of Auckland.The imagery Gossage brings forward is expansive on one plane, yet lit by her inner world quotes Ngahiraka Mason, Artand, 2014. Star Gossage produces hauntingly beautiful figurative works connected to the land, often using elements of the earth: clay, soil, lime and tar mixed with pigments. While drawing inspiration largely from her Maori heritage, she also draws influence from Australian painters Sidney Nolan, Albert Tucker and Arthur Boyd.

various artists, depictions of the divine feminine in seasonal times, time periods vary: 1900-1950, illustrations

The language of the divine feminine and womanly figures ebbing and flowing into the landscape is also seen in a different manner in images from children's stories and European narratives of the seasons- these narratives of Spring, Snow, Frost and The Mist largely come from indigenous European folkloric images of women as the weather or women who personify the seasons.