Research indicates that claiming a contemporary identity as Pākehā is being redefined by those individuals who engage closely with Te Ao Māori. This reopens the discussion of the implications for Pākehā researchers who engage across Māori research spaces. This article reports a reflective study I conducted using the transtheoretical model and its six stages of change (J. O. Prochaska & DiClemente, 1982) to understand my Pākehā cultural identity.
When considering higher education, the voices and experiences of minority researchers are often absent. Within educational research, in particular, the voices and cultural realities of minority teachers are rarely valued and are often ignored. This paper is my attempt to “be heard”, particularly in relation to the education of Tongan males in Aotearoa. I am a Tongan teacher–researcher, and, through the autoethnographical approach, I have discovered a way to tell my story and, in doing so, legitimise my knowledge.
Wellbeing has predominantly been measured using self-report. However, methodological issues have led to an increased interest in informant-report. Māori literature suggests wellbeing measures should involve the self and others, providing a holistic view of Māori experience. Given the potential for differing impressions, and the implications of this for Māori, self-report versus other-report approaches to assessing wellbeing is an important area of exploration.
We explore the notion of homeland from the perspective of the Māori iwi or nation of Rongomaiwāhine from Māhia Peninsula. The research is drawn from a qualitative study initiated and conducted by the iwi in the period of 2012 to 2013 and sought to identify important iwi mātauranga from iwi members. Included within the research data was the iwi conceptualisation of a homeland, which is discussed through the three themes of connection, community and the tapu of the whenua.
Writings on traditional Māori economies have highlighted the value system that philosophically underpins them and the relational nature of trading interactions. Further, the significance of mana in sustaining economic relationships has been emphasised, leading to the concept of an “economy of mana”. In this paper, we explore traditional Māori economies, the concept of mana and the limited exploration of an economy of mana in order to propose future research directions for Māori economic research.
How might Māori values in relation to soil contribute to national strategies for identifying, maintaining and enhancing soil health? This article uses the Hua Parakore framework, a kaupapa Māori approach developed out of the Māori organics sector, to address these questions. Soil is an essential national resource on which New Zealand’s primary sector and agriculture industries depend. Soil is also part of the woven universe constituting Māori ways of knowing and doing (Marsden, 2003).
The realisation of the developmental aspirations of Indigenous communities requires a reframing of economy and economic representation. The “diverse economies” framework provides a platform from which to counter the dominant Western narrative surrounding notions of economy, and bring to the fore forms of enterprise and practices all too often “hidden” or viewed as alternative, and therefore deemed inferior.
This article draws on the textual analysis of films that produced three distinctive collective resistances across New Zealand film history. Hāhi Ringatū leaders protested to the Chief Censor about the portrayal of their beloved prophet Te Kooti in the Te Kooti Trail. The director was forced to make changes, and delayed the release. Later, after decades of support, Te Arawa were collectively absent from film production for nearly 40 years after director Alexander Markey insulted their manaakitanga with a series of misdemeanours during the production of Under the Southern Cross.
Young Māori parents strategically navigate Western parenting expectations, and issues of indigeneity in their construction of early parenting. A culturally based narrative approach to research with young Māori parents revealed personal stories of early parenting located in wider expectations from family and peers, their Indigenous community and society. The application of a Māori relational analytical framework reveals how young Māori parents navigate and negotiate assumptions about being young and being Māori.
This paper outlines key categories and elements of Kia Manawanui: Kaupapa Māori Film Theoretical Framework, developed to interrogate film texts and shed light on the processes of Māori film production and environments within which filmmakers operate. Kia Manawanui film theory is informed by diverse expressions of Kaupapa Māori , Indigenous and critical media studies, discussions with Māori filmmakers, theorists and film texts, particularly Ngati (1987), Mauri (1988) and Te Tangata Whai Rawa o Wēniti—The Māori Merchant of Venice (2002).