Protein intakes of advanced age Māori participating in Te Puāwaitanga o Ngā Tapuwae Kia Ora Tonu (LiLACS NZ) are presented. Detailed dietary assessments were completed by 216 Māori men and women aged 81–91 years using a repeat 24-hour multiple pass recall. Nutrient intakes were analysed using FOODfiles 2010. Among this cohort of older Mäori men and women, the highest contributors of protein intake were fish and seafood, meat and poultry. By contrast, bread, followed by milk, beef and veal were the main protein source in men and women over 70 years in the New Zealand Adult Nutrition Survey 2008/09.

Many Māori researchers have mahi-toi skills. Mahi-toi, arts and the production of art, is where a concept takes physical form, and is brought into the physical realm by mahi-ā-ringa. The mahi-toi practitioner is the conduit. When the practitioner is also the researcher and vice versa, these vernaculars can enrich each other, and structure the work. Setting research writing practice beside mahi-toi practice also lends theoretical and analytical frameworks that could be useful for mahi-toi practitioners making the transition to academic research. In this article, I focus on mahi-toi as the scaffolding for theoretical analysis and writing frameworks across the arts.

In recent times, during the Māori language revitalisation era, there has been a renewed interest in learning and promoting Māori dialects. Iwi identification is often signalled by younger speakers of Māori through pronunciation, idiom, vocabulary and written forms that are thought to be associated with a particular iwi or region. To date, there has not been promotion of a standard form of Māori; standardisation efforts have instead largely focused on lexical/technical development and promoting orthographic consistencies for writing Māori.

This paper is about the adoption of a novel way of using documentary analysis in order to be culturally responsive in a research setting. It describes an original method, located in an actual empirical study in a wānanga, that meshed the analysis of documents with a group hui through a bricolage approach. To support a Māori kaupapa, the researcher wished to incorporate values of participation and collaboration, thus overturning the traditional values of simplicity, passivity and individuality that are the purported advantages of documentary analysis.

The guaranteed Māori seats are a distinguishing and controversial feature of New Zealand’s democracy. In recent years, a number of reports, commentators and politicians have called for the seats to be abolished on the grounds that they are no longer “needed” in New Zealand’s proportional electoral system. These claims are usually grounded in principles of equality. This paper makes the opposite claim: that principles of equality create convincing and coherent justifications for the Māori seats.

A growing body of research within the realm of Māori entrepreneurship is being produced by researchers offering powerful alternatives to Western hegemonic academic discourses. Ethnic minority research has also sought to challenge the West’s construction of entrepreneurship and its lack of plurivocality, yet few entrepreneurship models have embraced intersecting theory. We think that this oversight presents a useful opportunity for enhancing the study of Māori entrepreneurship in Aotearoa New Zealand.

Whiria ngā tangata: Weave the people together

In most areas, whaikōrero in pōwhiri has survived the test of time sheltered by the confines of marae, but the performance aspect of this art form has changed significantly. The impacts of Christianity, the influence of European culture and the movement of pōwhiri from outdoors to indoors have created a more subdued speaker, free of weaponry and limited body movement. In recent years there has been a renaissance among particular groups to revive past ways of performance. According to Rewi (2010), there has been an evident increase in the use of a variety of Māori weaponry during whaikōrero since the turn of the millennium.

How can waiata declare and perpetuate one’s belonging to place, to tūrangawaewae? Waiata are commonly performed at pōwhiri, following, and, in support of whaikōrero. Within this context, place is central to waiata. Its purpose is to complement the whaikōrero, ultimately expressing identity, broaching responsibility for, and the significance of place. Place in the form of tūrangawaewae, a place to stand, a purview of the use of language through waiata, contextualizes cultural identity through song.

This paper considers the use of contemporary popular waiata in promulgating a Māori worldview by expressing cultural identity and belonging. Waiata are a traditional medium, a practice through which Māori knowledge, histories, culture and language continue to be passed down from one generation to another (Ka‘ai-Mahuta, 2010; McLean, 1996; Orbell, 1991; Smith, 2003). Similarities can be observed between traditional and contemporary waiata, in that messages are delivered through musical, melodic, rhythmic and harmonic motifs that are distinctively Māori.

Like a number of fundamental Māori rituals and practices, pōwhiri have appeared in New Zealand fiction feature film since its beginnings in the silent era. Pōwhiri are multisensory, kinaesthetic experiences that, for most Māori, recall one’s tūrangawaewae—where he or she stands and belongs—because, in general, the predominant experience of pōwhiri is at home, amongst one’s own community. This article critically analyses pōwhiri as it has been constructed in New Zealand feature film history. It first presents an historical overview of pōwhiri and then focuses on Tearepa Kahi’s Mt. Zion (Hita, Milligan & Kahi, 2013).

Pōwhiri has a long history and generates deeper meanings beyond the formal enactment of welcome. What happens when this ritual is transferred into contemporary environments, especially those beyond the traditional marae? In particular, how might the performance of this ritual as adapted to suit objectives beyond its ritual origins be seen, even so, to reconstruct and reinforce the sense of identity, communality and belonging—who we are and how we come together—that pōwhiri was evolved to engender? The act of performing pōwhiri itself creates a sense of marae—a kind of “virtual” or “alt-marae”— regardless of the actual setting.