Mātauranga Māori has become commonplace in international sport events involving New Zealand athletes and teams to create a national identity. The heart of this article examines the journey and implementation of mātauranga Māori into the New Zealand Olympic and Commonwealth games teams at Athens 2004, Torino 2006, Vancouver 2010 and Delhi 2010. The experiences of one cultural advisor (referred to here as CA), who is also an ex-Olympian, are presented through an analysis that considers the principles of rangatiratanga and ōritetanga as advocated in Te Tiriti o Waitangi.
Āhuatanga Māori is at the forefront of an education students can expect to receive at a Māori tertiary organisation. Mainstreaming e-Education involves normalising electronic modes of teaching and learning into a conventional face-to-face teaching and learning tertiary environment. Conscientisation, resistance and transformative praxis are processes or stages that conventional teachers experience when faced with new electronic modes of course delivery.
The Ngā Tohu o te Ora research project was developed to investigate outcomes associated with rongoā Māori, in order that this practice might enjoy increased support as a funded service. The primary aims were to: 1) identify wellness outcome measures used by traditional Māori healers; and 2) develop and test a framework of traditional Māori wellness outcome measures.
Māori wellbeing is the foundation of Māori development, yet Indigenous peoples (including Māori) are often invisible in universal measures of wellbeing. In 2006 Mason Durie outlined Māori-specific measures of wellbeing, built upon Māori understandings of what constitutes a “good life”. Following Durie this paper describes developments in the culturally responsive measurement of Māori wellbeing. These have culminated in Te Kupenga, the 2013 survey of Māori wellbeing by New Zealand Statistics, and two Māori mental wellbeing assessment tools, Hua Oranga and the Meihana Model.
The grounding of the MV Rena on Ōtāiti, 5 October 2011, had significant environmental impacts that were experienced in anthropocentric terms as impacts upon social, economic and cultural well-being. The Rena Long-term Environmental Recovery Plan goal is to “restore the mauri of the affected environment to its pre-Rena state”.
It has been suggested that Aotearoa New Zealand’s designed and cultural landscapes do not reflect its status as a bi- cultural nation. To address this problem, the Landscape Architecture programme at Victoria University of Wellington set up a partnership with Manaaki Taha Moana: Enhancing Coastal Ecosystems for Iwi and Hapū, funded until 2015 by the Ministry of Business, Innovation and Employment, Wellington.
Recruitment and retention of participants in longitudinal studies relies on systems that support the participants throughout the research, and ensures high quality data management and protection. In addition, working with indigenous communities and participants requires specific processes that are informed by indigenous knowledge and understandings of the constituent properties underlying “good” and ethical research practice.
The history of Māori miners at the Aorere gold rush in 1856–1858 is well documented in research by Hilary and John Mitchell. Philip Ross May examined the multi- layered history of Māori in the goldfields of the Buller and Westland, and the full story of the convoluted machinations of government agents and miners and their dealings with the Māori of the Coromandel are becoming known as Treaty of Waitangi hearings examine the past.
Ngā Pou Wāhine is a culturally embedded mana wāhine framework that addresses the complexity of Māori women’s gambling experiences, and provides an empowering process for behavioural change to regain their power and status. A key element of Ngā Pou Wāhine is the potential to encapsulate and endorse women’s stories by drawing on te ao Māori to facilitate analyses of Māori women’s gambling and their need to gamble. The theoretical framework of Ngā Pou Wāhine is based on well- known Māori artist Robyn Kahukiwa’s “Ngā Pou Wāhine” series.